Join host Ryan Paul on this special Utah Shakespeare Festival edition of the APEX Radio Hour for a warm, engaging conversation with company actor Kayland Jordan. Kayland shares her journey from attending Dallas performing arts magnet schools to taking on three prominent roles in the 2026 Engelstad Theater season: Olivia (Twelfth Night), Horatio (Hamlet), and Aeneas (Troilus and Cressida). Discover her perspective on approaching classic texts with fresh nuance, navigating non-traditional casting, and discovering personal growth within an unpretentious regional theater community.
From Magnet School to the Stage: Guest Kayland Jordan discusses growing up in Dallas, attending specialized performing arts middle and high schools, and earning a BFA in acting in New York City.
Unpacking Classical Character Depth: A discussion on bringing fresh humanity, grief, and comedic timing to iconic figures like Olivia in Twelfth Night and Horatio in Hamlet.
Representation and Intentional Casting: Kayland reflects on working with open-minded directors, rejecting tokenism, and serving the core story rather than letting casting choices feel like forced statements.
The Transformative Nature of Performance: Reflections on how collaborative rehearsal processes foster mutual trust, artistic growth, and genuine connections with live audiences.
Connect with SUU & The Festival:
[Reese Whitaker]
You are listening to the Apex Hour hosted by Ryan Paul on KSUU Thunder 91.1. This show allows more personal time with our guests, allowing them to give us their stories and opinions. We will also give you new music to listen to, hoping you enjoy some new sounds and genres. Welcome to this episode of the Apex Hour.
[Lauren Bird]
Welcome to the Apex Radio Hour Utah Shakespeare Festival Edition. I'm producer Lauren Bird and I'm here today with the director of Apex and professor of history Ryan Paul and our special guest Kayland Jordan.
[Ryan Paul]
I'll turn it over to you Ryan. Thank you Lauren. I am so excited to have Kayland Jordan here in the studio with us.
Lauren and I have talked about this. I have been a fan of yours from the very beginning because you, well I guess not from the very beginning, but since you came to the festival, since I saw you in a season where you played two very distinct roles here for us and in fact so much so that it wasn't until later that I made the connection that it was the same actor playing the same same roles and we'll talk about that. So Kayland Jordan is here with us today.
She has been with us here at the festival for a few seasons. This season she's in all three of the Engelstad shows. She's Olivia in Twelfth Night, Horatio in Hamlet and Aeneas in the the most well-known of all Shakespeare plays, Troilus and Cressida and we'll talk about those here.
So thank you for being here. I appreciate your kindness and willingness.
[Kayland Jordan]
I'm so glad to be here. I'm so glad that I'm able to join you guys and thank you for the kind words about my previous time at the festival.
[Ryan Paul]
You're very welcome and as Lauren will tell you, I'm really not a kind person. I'm just truthful.
[Kayland Jordan]
Just written all over your face.
[Ryan Paul]
As a historian, I speak nothing but the truth. So I always like to start with a question about kind of how we get to now. So if you could tell us a little bit about where you came from and kind of how you decided to do what you do.
[Kayland Jordan]
Yeah, you know, I grew up with like very supportive parents. They're so enthusiastic and they think everything is so cool that I do. Like I'm the coolest, bestest thing since sliced bread to them.
And so when I was in elementary school, they always kind of encouraged me and my sister to consider magnet schools. And I grew up in Dallas, Texas. That's what we called them there.
It's just like specialty public schools and you kind of have to, it's either merit based or audition based. And there were so many options and I was like, I don't know, the arts one sounds kind of cool. And so that's, I just auditioned for the drama program there.
And it was really because I was like, well, I dropped out of ballet after a couple months and I didn't really, I played clarinet for two seconds and wasn't big on singing. And so anyway, I was just like, I could, I could probably pull off a monologue. And so that's how I ended up going to middle school, performing arts middle school.
And, and then I really enjoyed it. And then I auditioned for the performing arts high school in Dallas. And so then I went there and it was just so regular for me that like pursuing a bachelor's of fine arts and acting was like, yeah, that's the next step.
And there was no one around to say nay. And so I ended up going to Pace in New York city in Manhattan. And that's where I did my bachelor's of fine arts.
It was a four-year program. And I loved it. It was really cool getting to like see so much different theater, like all across the board.
And yeah. And so I've just kind of, and I've just, I've just done it since then. It's just what I, what's what I know how to do.
[Ryan Paul]
So the magnet schools, it'd be like art or science or engineering. And you, you do that when you leave elementary school?
[Kayland Jordan]
Yeah. So I was in the, so fifth grade in, in, in Dallas public schools, fifth grade is the last year of elementary school and sixth grade is the first of middle school. So it's six through eight.
And yeah, I just like auditioned for this magnet school. My sister, we took very different routes. She went to the base, the business magnet school for like middle school.
And then she also did like a business magnet for high school too. So we kind of went very different directions.
[Ryan Paul]
And now she's CEO of Google.
[Kayland Jordan]
She's the CEO of Google. No, she works for Rolex though. Oh, wow.
[Kayland Jordan]
She does have a pretty cool job.
[Ryan Paul]
Yeah. So you, you went this route of acting. You didn't think, I mean, I would imagine that in these magnet schools, there's also divisions of like, I'm going to be a straight play person.
[Kayland Jordan]
Is that true? Yeah. You know, in middle school, it didn't branch off quite so much just because it was like we had our theater teacher.
And so it was very acting based. And, um, but we, it was kind of just like, if you like your average middle school had like a really ramped up, very well supported drama program where everyone's kind of doing everything. But then high school, you could kind of like major essentially in things because you had to take a little taste of everything your freshman year.
And so you do get a, you, we, um, I like, I was a set construction and an acting major. Like those were my two things. Um, but a lot of people did costume.
Um, a lot of people were more, um, uh, the design route, even, you know, like they didn't say they were like, I, I took intro to, to set construction and I just want to, I just want to draw the drawings. Okay. I don't want to participate in cutting, but we had this like crazy scene shop, like state of the art.
Like it's a really, they had just renovate. I was the first class to graduate in the new, like renovated big fancy building. But, um, and then as far as musical, like there were people who kind of, their thing was more improv.
Um, and musical theater was not big. Then they've, that school since kind of upgraded a little bit, but yeah, I was always just acting.
[Ryan Paul]
So do you have a, like, is there a photo of you in, I imagine like in the hallway of all those that made it like the photo of you and Jordan class of maybe I doubt it.
[Kayland Jordan]
No. Um, they, you know what? They actually do have these really cool like portrait galleries, kind of how we have the one here at the festival, but they do it every year with the senior year's headshots.
And so there's the music department, there's the visual department and there's the theater and dance. And they're all like in the style of whatever is the professional style photo for them. And so the visual kids are all like, it's like moody portraits and they're like all cool or doing like weird stuff.
The musicians are in there. It's like black and white with the cello. And then ours are the jewel tone headshots.
[Ryan Paul]
So when does I've had, I've always had this thought about cause that's not how the charter school type thing, that's not how it worked where I grew up. But when do you introduce like Shakespeare in, in a learning environment of kids? And I mean, were you was your texts really in college?
When did you kind of introduce yourself to Shakespeare as an actor?
[Kayland Jordan]
You know, uh, I guess the seventh grade, or maybe it was the eighth, seventh and eighth grade. And it was, um, the year below me. So I was the only seventh grader in the advanced acting class of the eighth graders.
And it was because they were doing the curious savage. And they, um, the, the theater teacher was like, I think Caitlin should play one of these people. Um, so I was in their class, but I, and I, and because of that, I ended up kind of being in charge of like co-directing a Shakespeare, abridged thing that the year below us was doing, even though we'd never done anything like that.
But I was like directing it kind of. And I remember kind of like getting to like sit on the outside and be like, like noticing like what lands and what doesn't. And it's like, sometimes you don't need your hands quite that much.
And sometimes it's like, can you go ahead and spell that out for us? And so I kind of got to see it there. But the first Shakespeare monologue I ever worked on was Tamara Titus Andronicus, have I not reasoned, think you to look pale and I used the audition for my high school with that monologue.
It's so funny. Cause it's such a, such a serious intense monologue and it's a character I will never play.
[Ryan Paul]
So, which by the way is I think one of the best Shakespeare festival productions that I have ever seen was, um, Henry Warnitz's Titus Andronicus in the old Adams theater. It was mind blowing.
[Kayland Jordan]
How long ago would that have been? I mean, I guess it was at the Adams.
[Ryan Paul]
Yes. It would have been probably 2012, 2013, something like that. I read 2012 was the last time they did it.
2012. It was, it was just on believable. So anyway.
Um, but it's interesting that I was thinking about this, your, most people's introduction to Shakespeare is in an English class, right? Where we're going to read, usually it's Romeo and Juliet, right? That's the, the default, but it's interesting that yours is not that way.
It's earlier than that, but it's in a theater environment. So your, your first introduction to Shakespeare is on the stage, like hearing the words versus reading them.
[Kayland Jordan]
Yeah. Yeah. I don't remember reading a Shakespeare play until high school and I'm so bad.
Even in high school, there were plays like, we'll talk about Hamlet, but I was like over him. Like I didn't want to finish it. Um, I kind of had to like force myself to, um, but I really liked reading Shakespeare, but I just, I was, I just wasn't into Hamlet until I think I needed to mature.
Um, yeah. Yeah.
[Ryan Paul]
This is a conversation that Michael Barr and I have had over the decades about other Shakespeare plays. And I will tell you, and Lauren knows this, my favorite Shakespeare play is? Pericles.
Pericles. A hundred percent.
[Kayland Jordan]
Check you out.
[Ryan Paul]
And I, I'm a firm believer that, and I know this is, you know, sacrilege, but if we read Pericles in high school and not Hamlet, we'd have more Shakespeare lovers because Pericles has everything. It's got everything. I mean, Hamlet's just got a lot of words.
And gravitas. I mean, I get it, but I love it. I mean, it's a great show.
So some consider it his greatest. Some do.
[Music]
Some do.
[Ryan Paul]
Some do. Okay. So let's, it is a good, it is an interesting play.
Let's talk about your, I'm just interested. What did your parents do for a living?
[Kayland Jordan]
Ooh, um, they are practically retired now, but my mother was a social worker. Um, she's a very nice lady. She's the favorite mom on the block.
And, uh, my dad has worked more business and sales, like an account executive positions and stuff for like training companies. That's his thing.
[Ryan Paul]
So what's the, the first thing you remember wanting to be when you were a kid as a job?
[Kayland Jordan]
I don't know. Like I ever wanted to work. I'm just kidding.
I actually don't know. You know, I, I kind of knew this question was coming and I, I don't, let me think. I think I've always, um, I, there was a time when I wanted to, I wanted to just work at the zoo.
It's just something with animals. For a long time. It was always animals.
That was what I wanted to do. Like I probably said I wanted to be a veterinarian or something, but it was always animals. Yeah.
[Ryan Paul]
So you're, did you have, did your parent, you, you were hinted to this, but your parents, were they taking you to theater? Were they engaged that way? I mean, what, what led you to this idea?
I mean, some people say, Oh, I watched television or I saw a show or what, how did you gravitate to say, yeah, let's do this.
[Kayland Jordan]
You know, I, I think my parents are just so supportive and they were just like anything interesting. We want you to do something interesting. We don't just want you to like, if you have the opportunity to go somewhere and do something cool, like let's do that.
Um, rather than just like the run of the mill school down the street. And so I wish it were a sexier answer, but it was, I was just like, I don't know. I could probably do a monologue.
Like it was as simple as that. Um, because I, I was attracted to the idea of going to this. Like I hadn't seen fame yet.
Um, but I remember watching it when I was in middle school and I was like, this is my life. I'm one of these people. I go to a special school, but it, I really, I don't know.
I just kind of wound up doing it and then liked it. And then, you know, I like doing things I'm good at. So yeah.
[Ryan Paul]
And your parents were, when you said, Hey, I want to be an actor. They were like, great. Do it.
[Kayland Jordan]
Yeah. They think it's so cool. Um, I also, you know, I will say, I think that if they had anything that they've had doubts about with me, they've kind of made it clear.
Like I remember watching the Olympics when I was little and me and my sister were like, we, we want to be gymnasts. My dad was like, Hmm, how about volleyball or like track or something? Cause we're both really, I'm, I'm for anyone who's listening, um, barefoot, I'm five, nine almost and a half basically.
And my sister's about the same height. And we were, I was a, I was a long baby. Like people thought my mom was having twins, but I was, I was this underweight long boned child in her stomach.
And so, um, like her womb was like a clown. This is this long skinny baby. Um, but so yeah, like that's like, they never would, they, they, they never encouraged me toward anything that I think they didn't think would work out.
Um, cause gymnastics at my height, it's like that would have, you know, so they, I think they thought it was cool and they could see it happening. And they're both all about the American dream.
[Ryan Paul]
So, So it's not as if they, they pull you aside and say, you know, your sister works for Rolex.
[Kayland Jordan]
No, what they do is, you know, my dad, um, he's, he's really good at business calls. Like he's really good at chatting people up. And, um, it's, it's just so fun cause he'll always find a way to talk about me and my sister Courtland.
And he'll be like, well, you know, my daughter, she's actually one of the greatest Shakespeare actors in the world. Uh, she's at the Utah Shakespeare festival. And like they think it's, it's like awesome.
[Ryan Paul]
And one of the largest regional theaters in the country. And at one time producing, uh, the biggest producing one when Broadway wasn't producing, we were producing when Broadway wasn't.
[Kayland Jordan]
Wow.
[Ryan Paul]
So right after that, that COVID season, we opened up first and for about three or four weeks, maybe five, we were the largest producing theater in the country.
[Kayland Jordan]
Oh, that's crazy. I didn't know that. That's very daring too.
You know, people were really wanting and missing theater and it was, it was time for it to happen.
[Ryan Paul]
It was an interesting, the, the companies were, were like, they had like a company and B company. Like if you were in the Randall shows, you were in the Randall shows and you did not isolate it. Yeah.
You did not interact with the people in the Ingolstadt shows. Um, there were no company parties. They just all kept together.
Like there was no like cross pollination of the stages. So, but it, but it worked. I mean, there were a few, you know, we had a couple COVID incidents that, you know, we, we dug deep into the understudy pool.
[Kayland Jordan]
Was that the year when Clue went up? I remember hearing that Clue had a, Clue had a big, a bunch of like, like the tests and stuff.
[Ryan Paul]
And it was a lot came out crazy. So, but it was anyway, it's interesting to think about that. And, and I do want to talk about your, your arrival here, but in your, in your college days, what, what becomes your first paid gig?
And I guess the first question is, is there a moment when you realize that, yeah, I could really do this? You know, like there's a lots of people who go to high school and to college to be actors and, and never really, it just never really connects for whatever reason. But was there a moment when you said, you know, I'm really good at this and I could make this work?
[Kayland Jordan]
You know, I think, and I think about this often. I really, I'm so blessed and I think all the stars and everything for it, but I'm someone who's always been surrounded by very encouraging people who are eager to uplift me. And so I've, I've kind of always been told, Hey, you know, you're, you got something like, you should, you should keep going with it.
And so there have been times where like, I don't think I should keep going with it. And I'm like, I'm riding on the coattails of people who believe in me. So I think, I don't know, you know, acting is, it's a career that it feels like an annual choice.
It's like, okay, how am I going to make it work this year? And, you know, cause I've, I've had the pleasure of working consistently for the last, I don't know, three or four years. And so it's been a couple of years since I've done anything outside of like literally just acting.
Um, and like my bills are all paid and I'm eating well and everything. But, um, you know, there's stretches in between where it's like, Oh God, I got a month and a half before the next gig. Oh.
Um, and so it feels like it's a, it's, it's a choice you always have to make. But I think that, um, if I were to have to point out one particular moment, I think it might've been my senior year of college. There was this class that was, I won't call it.
It was, it was a class people didn't really take very seriously. It was, um, um, theater of the absurd, I think it was. And there was a Harold Pinter play that I was assigned.
And it's just this, um, I joined the class late. I had to move my schedule. And so instead of giving me a scene and making someone else have to learn, um, I was given this like scene that's essentially like, it's like a five page monologue and it's kind of dull and weird.
Um, but I remember the first time doing it and I had less time than everyone else too. Cause I, so I only had the weekend and I really just like crammed it in. And I didn't, I was just like, just, just do the job.
All you have to do is like put it on paper. Like, how do you do, how do you put up a scene? And after I did it, my whole class was just like, Kalind, that's your degree right there.
Like you did it, you know, and the feedback was really great. And it was, and then like they gave me notes and then the second time and my friend was like, Kalind, I just, you, you took every single note and you changed it. And so I was like, man, maybe I can, maybe I really can do this.
Like if I just like think of it as like a job and I, you know, but, um, having my classmates be so impressed and supportive was like, yeah, I'm going to keep doing this.
[Ryan Paul]
So what was your first paid gig as a professional?
[Kayland Jordan]
Well, I was technically paid $20 in the eighth grade for a new play that I did. Um, but it was at the New York theater, um, workshop in New York. It was a play called mirrors.
And, uh, I graduated college in 2019 and we started rehearsal like early 2020. And then we closed, you know, early 2020 like everybody else. Um, but that was the first play.
And it was at New York theater workshop. And like, how cool is that? Um, so that was my first, I think that was my first time being paid for something theater.
I'd done some film and TV before that though.
[Ryan Paul]
Very cool. Let's take our first break. And for those of you who have listened to the podcast before or our radio show, know that instead of doing commercials, we ask our guests to come up with, with, uh, with a series of songs that we play.
Was, was it a challenge for you to come up with this list of amazing songs?
[Kayland Jordan]
Kind of, it was, it took everything in me, not to just choose a bunch of like my favorite hits of the year. Cause like, I have like a few songs I play on repeat. Um, but it was, it was really fun.
I like kind of wrote out like my ideas about it and stuff.
[Ryan Paul]
And yeah, I have a few songs that play on repeat too. And one of them is one you've chosen, but we're not going to do that one yet. So this, this list is really, really eclectic.
And, and I have never in my career heard this song we're going to play. I knew of the guy, uh, but I always thought it's a, it's an interesting, it's a very niche instrument, the pan flute that he plays. But this is a song called the lonely shepherd, uh, by James last and Zamphere.
So can you tell us why you chose this song?
[Kayland Jordan]
This song is featured in kill bill part one. And I don't, I'm not saying I have a favorite film, but it might be this if I had to name something it's probably because it's gotten, it's nostalgic for me watching with my dad. And, um, I just, I, the storytelling and Uma Thurman's incredible.
Um, but the way that this, that this song comes in at the end of part one is so perfectly timed and gorgeous. And it just feels like sorrow and victory all at the same time.
[Ryan Paul]
Have you seen the new edit that they've edited both part one and part two together? Oh, I saw it in theaters.
[Kayland Jordan]
The whole, the whole bloody, the whole bloody affair. Yeah. I saw it.
I took my dad to the movies a few months ago when it was, when it was at AMC. There you go.
[Ryan Paul]
This is the lonely shepherd by James last and Zamphere.
[Lauren Bird]
That was the lonely shepherd by James last and Zamphere. You're listening to the apex radio hour, Utah Shakespeare festival edition.
[Ryan Paul]
I'll turn it back to you, Ryan. Thank you. And who would have thought that the pan flute would be that kind of instrument, right?
I mean, beautiful. It's almost, it's almost like a Saturday night live skit ready to happen, but it's just, it's very hypnotic and, and amazing and wonderful. So we are here with a Kayland Jordan.
She's an actor here this season at the Utah Shakespeare festival. She's been here a number of seasons, but this season she is in all three of the Engelstad shows. She plays Olivia in Twelfth Night, Horatio in Hamlet and Aeneas in Troilus and Cressida.
So we, we left off talking about your, your journey now to being a paid professional actor, uh, doing, uh, traveling the world, the greatest Shakespeare actor, uh, on the stages today, as your dad would say. Quoted by Eric Jordan. Yes.
Quoted by Eric Jordan. Um, let's, I'm interested in this idea of, well, let me say this. The first time that I saw you on stage wasn't a few years ago when you played, um, Helena in Midsummer Night's Dream, which is one of our most produced Shakespeare plays.
It is probably one of the most produced Shakespeare plays, certainly one of the most popular that he ever wrote. And, uh, Helena is a brilliant character. I don't know if you'd call her a foil to her, but, but, but, but, uh, a brilliant character there.
So what, what interested me was that it was a version of Midsummer that I hadn't seen before or thought about before, but it was interesting to see a person of color in that role. And I'm wondering as an actor of color, if you have, it is like, are there certain roles that they just say you got to play? Or has there ever been an issue where you've been typecast or, or someone said, we want you to do this in a traditionally different style?
[Kayland Jordan]
You know, I think that it's two things. I think that one, I have been really lucky to have worked with the most wonderful people ever who were like really open-minded and, um, and don't just say, well, I don't see color, but they're like, I actually want you because I like the way that you are. And it's not just because like, we really wanted a black actor for this, but it's, it's, it's, it's all of the above.
And so there's no denial of race and there's no denial of like, no, no, no, no, we wouldn't. But, but, but I've, so I've been really lucky for that. And I will say there have been times where, you know, where we're a director and not, not here.
It hasn't happened here. Um, cause you guys are the most wonderful people ever, but where a director is trying to find a way to say, can you, can you put a little attitude on that? Or, um, you know, I think this is, this is an opportunity to be a little more black.
And it's like, I think I I'm, I'm a lot of black right now, actually. I think it's all here. Um, and so then there's this conversation of like, does a more formal speech not equate to blackness?
Does it seem like it's trying to aim for something closer to whiteness? Like can, can, can people of color not encompass this, that sort of stature or, you know, especially with heightened language, it can be kind of a, an awkward conversation, but, um, I've had just really great opportunities. And I remember seeing the cast list for A Midsummer Night's Dream when it came out.
And I was like, whoa, cause Hermia was black. That's the actress that played Juliet and Lysander, Lysander, uh, was, um, was also black. Um, and then Demetrius was played by Ty who's, who's white and he was Romeo.
And so I was like, man, I remember being in rehearsal and just looking around and I was like, look at us three up here. Look at these three black lovers. How sweet.
Um, so I know that that, you know, like over the last like 10, 15 years, there's been more progression. And I know like even here reflecting, um, reflecting back from what I've heard, it's become more and more like almost all the elites this summer on The Engelstad are like biracial or nonwhite. And it's, it's, it's cool.
And it's not, you know, it's not a thing.
[Ryan Paul]
It's interesting. We, so in 1968, Fred Adams, who was the founder of the festival brought in Charlene Bletson, who was an amazing actress. She was an African American.
And she was in, she was Lady Capulet with a, so people, you know, we had this, these conversations in the Grove. Some people will talk about the, the, these issues. And I like to remind them that way back in the sixties, we had an interracial couple on the Shakespeare stage.
And then there wasn't, when you look at the newspapers, there's no outcry. There's nobody saying, how dare you? And Charlene Bletson actually ended up becoming not only our first black director, but our first female director.
And then went on to teach at the U and she died on stage in New York and had a Gabler production. Oh my God. You heard that story?
No. So she, I guess I should, I'll tell you. So she was working there.
She wasn't a lead, but she'd been involved in the production. And the, she came out on stage and she had had a heart condition and had never got it rectified. I mean, her, her mom was terrified of hospitals or whatever, but she, she went on stage and said her line and died on the stage.
She just dropped. She dropped. And, and everyone thought, you know, you see that and it's like, Oh, well that's a, you know what?
And then every, the ambulance calls out and, um, and then they hold the show obviously. And then the stage manager, the theater producer comes out and says, ladies and gentlemen, you know, Ms. Bletson has just passed away. And if you give us a minute, we'll work to get your tickets refunded.
And somebody in the audience stood up and, and held out a hat and the audience collected enough money to pay for her funeral. Not crazy. And her portrait is in the portrait gallery, Charlene Bletson, but it's an amazing story.
But, but I always think about this when people, when there's pushback that in the 1960s and the mid sixties in Southern Utah, Fred Adams had a, you know, an interracial couple on stage is Lord and Lady Capulet. It's amazing story. So to that same point though, you also have played roles that are traditionally male as in, as in, well, I mean, two of the three, right.
That you're playing this season. Has that ever been an issue for anybody that you have come across?
[Kayland Jordan]
No, no worries. Said anything to my face anyway. But, but, but, you know, um, you'd actually, one of the first Shakespeare plays I ever did was Much Ado About Nothing directed by my, my good friend and classmate Bix Giegrich.
And he had originally thought of me as being Beatrice. And he'd already directed me other times too. Um, but, um, seeing my audition, he was like, I don't, I don't know.
And so I ended up playing Don Pedro. And, um, I remember like, we kind of talked about like, are we aiming for like ambiguity? Like, is, is that offensive?
Um, I don't want to try to play a man. Like that's always the question is like, are you going to like lower your voice? And it's like, ah, you know?
Um, but so I was just kind of like, I was just Don Pedro. And that was really cool and, and fun. Um, I was still in college then.
Um, but so far this year with Horatio and with Aeneas, like I like to sit and hide in the back of the seminar Grove and listen to feedback. And it's, it's been good. I haven't heard anything, uh, negative so far.
And, um, I'm glad that it's landing and it doesn't feel like people are watching. I, someone, um, told me that they were like, it just felt like you were Horatio. Like I didn't think twice about it after you came out, it was like, Oh, it's a woman.
And then it wasn't, you know, so I just don't want to be a walking choice on stage. Like the director is making a statement or something so much as just, we're telling the story. Have you been in a play where the director is making a statement?
Not where I was being used. I don't think.
[Ryan Paul]
I guess that's not true. I guess directors always make a statement in the show. But I mean, yeah, I guess my question is, have you ever felt that you are the, the, the token representative of your gender or of your race?
[Music]
Hmm.
[Kayland Jordan]
Honestly, no. I, I feel like, I don't want to sound like a traitor to my race or anything. I just, I feel like I've really lucked out and I feel like I've always ended up working with really open-minded people.
Um, I mean, I, I think in college too, it's tricky because putting those programs together, it's like, like I remember we did, um, they were doing rag time and an octoroon at the same time. And there were not enough black folk to go around. And they had these rules about like freshmen weren't allowed to audition for things.
Um, but they had to, they had to, they were like, we, we got to dig into the, to the fight. We need everybody. Um, and it's kind of like, you know, you know, maybe what were you thinking?
And I remember having a conversation, um, with the, the head of the program. I was like, you know, why aren't like, what's the, there are black, there are black men around. Cause there were no black men or any, there were two other people of color that were guys in the class.
And so it was kind of like, you know, it's like, there are scenes that can't be done, but I can't do because there's no one to do them with. And or they're like in the year below me or the year above where they graduated. And, um, they were just like, well, we don't get a ton auditioning.
And I was like, yeah, that's not true. I went to the unified's like I was there, they're there, you know, you're just not picking them. So, um, they're, you know, it's an issue, but I don't feel that I've been tokenized, especially not here.
I've never felt that way. Good.
[Ryan Paul]
I mean, I think that's a, I'm glad, I'm glad you're a brilliant, a brilliant actor. And I think that speaks to the skills of that way. Um, let's, I'm interested in now your, how do you, you graduate from college, you, I would assume, I mean, there's this thought that now are you going to be a New York actor or are you going to be a regional theater?
I mean, is that a, does every actor want to be a New York actor or do you say, you know what I want to do? I want to go and travel the country and be an itinerant, uh, in all the best connotations of that connotation of that word, uh, traveling. I want to do the regional circuit.
[Kayland Jordan]
You know, since I went, I think because I went to school in New York, it was never so much of a conversation because it's just like, you're already here. There's, you know, there's, there's all kinds of, you know, every level of theater, every kind of theater. Um, and so we never really taught even in like the theater education, like business chunk of that program, we didn't really get into the idea of traveling for like, like regional work or working outside, like outside of the United States.
It just wasn't really a conversation. Um, and also I had gotten really much more into film and TV than theater. I'd always thought I was like, no, it's the stage.
And then I just started working. I did a lot of film and TV when I graduated. And so it's honestly kind of good old Corona virus.
It was COVID that kind of shifted things. Um, like I was doing a pilot, um, right. When I remember being in transportation back from upstate New York and it was announced that the championship, what do you call the big basketball one, the world series, the final four or the NBA finals, the NBA finals.
There we go. Like the, the, the NBA cup. Um, but I remember that being announced that it was canceled and that all the actors were in the van.
Like, okay, if they're canceling the sports, we're about to be out of work. And, um, and so it was kind of like, it was like COVID that kind of made me rethink cause I'd moved back to Dallas for like a couple of years. And then I was like doing self tapes and I started just being like, well, I could, I can work anywhere.
Everybody's taking self tapes. And so that's kind of how I ended up doing it. And what are self tapes?
A self tape is an audition that you record yourself. Um, and you have like a reader, someone reading the other lines for you. And you're just, it's really just like a video of just you acting and responding.
Um, and it's an audition tape. And so you send that, um, to theaters, you know, if they have a, say they're doing Les Mis and you, you know, do a song and a scene from there. I would never audition for Les Mis for the record.
Um, we don't want to hear me sing. Um, but, uh, so I was, I was like I could send an audition tape to anyone, to anywhere. And that's when I was like, there's this whole world of regional theater.
And like, I always grew up going to like, I mean, they didn't take us to a lot of theater, but, um, when I was in high school, like I was in the arts district. So I'd go and I'd, you know, anytime I traveled, I'd try to like see something somewhere else. So I was like, I could be one of those actors.
And so that's kind of what I, that's just what I've been doing the last few years. But, um, the question of where am I going to live? And, uh, is it, is it New York?
Is it Chicago? It's always, it's always on the line.
[Ryan Paul]
So is the, is the representation the same? Like I would assume you have an agent. I used to is the agent for film and TV, the same person that's the agent for getting you stage roles.
[Kayland Jordan]
So I, I, I had representation with a, an agency until, I guess it's almost been like a year and a half now. Um, but they, it's actually in the agency that I was with, they had several different agents. And so there was, there was an agent whose thing was specifically theater and then another one who was film and TV and then another who was commercial.
So they kind of, that there sometimes there was overlap, but not usually. Yeah.
[Ryan Paul]
So cool. Let's take our next break and then we'll, we'll start off with your coming to Utah shakes. Hey, so this is a song that, um, ah, this, Jenner, I mean, I'm the oldest one in the room.
Let's be honest about this. And, uh, I remember the song cause I was in high school, maybe even junior high when it came out. Uh, but I didn't put these pieces together until you, you gave us this song.
So this is a song by, it's called, there must be an angel by the Eurythmics, right? Annie Lennox and Dave Stewart. And I didn't make the connection that it's Stevie wonder playing the harmonica.
[Kayland Jordan]
Isn't that crazy? I was actually, when I was getting it together for this, I had always, I was like, it's not saxophone. Is it because it always sounded like a saxophone solo.
And I was like, is it harmonica? And it's like, yes, it's actually Stevie wonder. And I was like, Oh my God, of course.
That's why it's brilliant.
[Ryan Paul]
Because I thought, Oh, is it, is it, I was trying to think about how was Lauren going to find this exact version. So I'm looking it up and I'm thinking, I don't see any Stevie wonder. His name's not in the crew.
And then I listened to it again. I hadn't heard it for a while. Uh, and, and then I realized that Stevie wonder playing the harmonica.
Not that I, you know, I'm not that I'm like, Oh, that's Stevie wonder on the harmonica. It's because you had said it. And so I thank you for making that brilliant connection for me.
[Kayland Jordan]
Yeah. It's crazy. Why did you choose this song?
It's a song. I really like songs that, um, that are kind of cinematic. And this is a song that like, if I were a filmmaker, I would find a, this would find its way into a film somehow, some way, somewhere.
Um, and it just sounds like dizzying and falling. And it's really beautiful. And I've probably listened to it at least 500 times.
Cause it's like one of my songs I play on repeat for months at a time. I just love it.
[Ryan Paul]
Okay. This is there must be an angel by the arrhythmics featuring Stevie wonder.
[Music]
I walk into an empty room and suddenly my heart goes boom. It's an orchestra of angels and they're playing with my heart.
[Music]
Must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel, must be a talking to an angel.
[Music]
No one on earth could feel like this. I'm thrown and overblown with bliss. There must be an angel playing with my heart.
And when I think that I'm alone, it seems there's more of us at home. It's a multitude of angels playing with my heart I must be hallucinating, watching angels celebrating. Could this be me activating all my senses, dislocating?
Could this be a strange illusion? My celestial intervention, leaving me the recollection of your heavenly connection. I walk into an empty room, suddenly my heart goes boom.
Some orchestra of angels, they're playing with my heart.
[Lauren Bird]
That was There Must Be An Angel by The Eurythmics and Stevie Wonder. You're listening to the Apex Radio Hour, Utah Shakespeare Festival Edition. I'll turn it back to you, Ryan.
[Ryan Paul]
You did a great job, Lauren, in The Eurythmics. I know that you've probably never heard of them.
[Lauren Bird]
I do know The Eurythmics.
[Ryan Paul]
My mom loves them. Your mom is amazing. She is.
So thank you for bringing that, The Eurythmics, or a flashback to my youth when I was thinner and surprisingly had a full head of hair. So like five years ago. Curly to five years ago.
Yeah, thank you. You are a good actor. Yeah, you don't look a day over 30.
What are you talking about? Oldest person in the room. Please.
So, well, I didn't tell you when I graduated from high school. You told us when you graduated from college. So let's talk about the phone call.
I mean, when does Utah Shakespeare become part of this?
[Kayland Jordan]
Oh, man. Yeah. I actually wasn't terribly familiar with it.
Like I'd heard of it and I was like, oh, that's like that big Shakespeare Festival. It was like this and Oregon are really all that I'd known about. And I knew about like the Texas Shakespeare Festival because I'm from Texas, but I'd never done it.
Like I did Shakespeare Dallas. I did Twelfth Night. It was actually the first Shakespeare play I ever did.
I played officer number two, but I remember submitting for it, just a self tape. And I was called back for like five different roles. I was called back for Sandra and play that goes wrong.
And so I did some audition tapes for that. I was called back for and Coriolanus. Who's the one that he fights with?
That's like they become like kind of, oh, it starts with an A. Ophidius. Right.
I might be making that. Anyway, I read for Ophidius. That was in the Ames that year.
I read for Hippolyta and Titania and A Midsummer Night's Dream. And I think there was one other one. And but just being called back, I was like, oh, this sounds like they want to put me in here somewhere.
And then when I got the call, it was for Helena and for Ruth Younger. And I did not read for either of those. I didn't do any auditions for either of those roles.
And so I was on the phone. I was like, hi, Tanya, Sarah. It's so nice to meet you over the phone.
Are you sure this offer is for me? This is Kayland on the phone.
[Kayland Jordan]
She was like, yes. K-A-Y-L-A-N-D.
[Kayland Jordan]
Because I was like, these are kind of left field. And also Ruth Younger, I think I'd had always imagined her being played by someone much older because I've only ever seen it played by someone who was like in their like 30s or 40s. I was like 26.
And so I was like, what's going on here? Like, why am I not playing Benita? Did you hire like a 17 year old or something to play Benita?
So I was I was kind of thrown off, but I was so excited. And I'd never actually I know it sounds crazy, but I'd never been like thought of myself as actually ever playing Helena. I think because she was always traditionally played as being so mopey.
I was like, oh, she's that miserable one. So I was kind of made sure that to not play her as miserable when I did it. So, yeah, it was it was really exciting.
But I was it was like left field.
[Ryan Paul]
This was shocking to me. Well, I was happy that we were doing A Raisin in the Sun, which is a brilliant, beautiful piece of work. But but as I said, I saw you as Ruth because I mean, I in the education when we do the orientations, we have to see the dress rehearsals, right?
So we can talk about them. And I remember sitting in the Randall watching you as Ruth and sitting in the Engelstad watching you as Helena. And I did not honestly think it was the same person.
I still remember how like the moment I realized that it was the same actor. In fact, I said to the person who told me that's not you're kidding me. That can't be can't be true because it was just such an unbelievable transformation.
And it's not because somehow you were like had old age makeup on or whatever. I mean, just the these two characters were just so different and so full of life and so beaten down in different ways in the same play that it was just like I the only thing I could think of to describe it is like a Dr. Jekyll, Mr. Hyde in the best possible way. Right.
Like like you just how could you flip between these two people in the same time? I mean, it just it blew my mind that you were the same person.
[Kayland Jordan]
Thank you. You know, thank you. I I think that I really lucked out that season because getting to because the worlds were so different and the characters have such different circumstances and not that, you know, silly in comparison, but, you know, the Raisin in the Sun is such a real world play and it's relatable and it's like these people who are they're not broke.
They're not worried about where the next meal is coming from, but they want more and they're tired of being where they are. And then like Midsummer Night's Dream, it's just there's magic. And so I think I really lucked out that season because I got to show such range like I had the opportunity to and I loved the two show days more than anything getting to like do a Raisin in the Sun in the afternoon and then like shake it off with a Midsummer Night's Dream at night.
Like it was it was really, really. That was a great season.
[Ryan Paul]
It was a good season and it was and I again, Raisin in the Sun is a play that we needed to do and needs to be seen.
[Kayland Jordan]
Yeah, that was the first time it was done. Oh, yeah.
[Ryan Paul]
Yeah. And I think that it was but anyway, I just it was mind blowing. So I loved it.
I mean, I loved you. I loved it. I did think it interesting.
That was the one of the first times we'd done the three, the two intermissions. Yeah, because it's really a three act play. We really had two intermissions.
And we had people in the Grove who would be like, that was a horrible ending of the play because they left after act two. They didn't stay for act three. Stop.
Oh, intermissions already happened. And so we had to start in the Grove. If you didn't go in the orientation, it was very clear that we would say now there's two intermissions.
Otherwise, yeah, that's an awful downer. We're that first. Oh, wow.
So yeah, but so then you you come back, which would be last year when you were in Antony and Cleopatra. And I think you were a weird sister in Macbeth. And then you were in all three Ingleside shows.
But primarily you were Rosalind in another one of the favorite Shakespeare shows. And I think one of the best versions we've ever done of the show is As You Like It. So can you talk about that experience?
[Kayland Jordan]
Yeah, I don't know what's wrong with me, but I remember being excited about auditioning because I after 2023, I thought I was really excited about auditioning for the 2024 season. And then I ended up getting an offer in Florida. And I was like, I don't know.
I feel like I made a good splash at Utah. They're not going to forget about me like I can. I can audition again some other time.
And so I didn't do I was invited to do callbacks in 24, but I didn't because I'd already agreed and other places. And and I had a great time at that theater at American Stage in St. Petersburg, Florida. But I really like I was like itching.
I missed it the whole the whole that whole summer. I was like, how are they doing over in Utah? And so it's like in like July, August, I was emailing Tanya like, hey, Tanya, don't forget about me, OK?
I just I just want you to know I'm happy to put anything on tape. You just let me know when you guys want to start seeing monologues or whatever. And I I kind of didn't.
I don't know. I was I knew I was a little too young for Cleopatra, but I was like, wouldn't that be cool? And so I did I did do a callback for Cleopatra.
And when I got the callback for Rosalind, I was like, Rosalind. Oh, OK, sure. Like, I don't know what's wrong with me, but it just did never was like over my head.
I was like, why would I ever play Rosalind, even though it's like she's the tall one? But and then I had a really good time. Like, I really liked the notes that Beth gave me for that, like because I did a video audition for it.
And then she gave me feedback that was like, try these things. And I was like, those are all the things I was kind of wondering about anyway. And so I tweaked them and then I got my offer.
And so, yeah, I was and like building it with Beth. Like we had a few Zoom meetings. We had like two Zoom meetings like a month or so before coming out here.
And it was just so exciting because we were on the same page about a lot of things. And we talked a lot about, you know, like why does Rosalind keep the Ganymede thing going when she sees that her dad is there and he's fine and like she has safety. Touchstone, Uncle Touchstone's around, you know, like she could she could put on a dress again and be safe and fine.
It's a world where women are fine in Arden. But why does she why does she keep the mask up? And so that was the conversation we had like kind of all summer.
And I think it really showed up well in the in the final outcome of the play. Yeah.
[Ryan Paul]
I think it's interesting. I mean, I also realize that I listen to these and I say, I think it's interesting a lot. So that's like you can go.
[Kayland Jordan]
Those break up all of my run on answers.
[Ryan Paul]
And so it came to pass that Kayland Jordan went to. So I found that as you like it, I had seen many times. But this production was really transformative for me.
I mean, and part of it was because and I've talked with Beth about this, this quote that I brought up often about how the force of Arden is this place where you go and who you are no longer matters and who you want to be or it's a possibility, whoever you want to be, which is a whole metaphor to theater and to history and all these things that I love. But but as an actor, I realize that it's a job. This is what you do.
And and of course, people who do it well make it look easy. And I know that it's not easy. But in a production, are you different from the beginning and the end?
I mean, is it is it like I can say, OK, I'll go in and lecture on the Civil War, on the Civil Rights Movement or on the birth of rock and roll. And and I can't say that I'm different when I leave.
[Kayland Jordan]
It's my job. Right.
[Ryan Paul]
Me as Ryan. I mean, I can see that as I study and learn more about it, I absolutely am. But but does is it always mechanical or.
Do you can you think back to productions and say, oh, yeah, I really learned something about myself there. Does that happen?
[Kayland Jordan]
Yeah, I think I learn. I think I learned things about me as Kalin, as a person and how I lead my own life. And I also learn a lot about acting and working with people.
And acting is one of those things. Every every new contract I start, I'm like, do I know how to do this? How do I start?
Is it OK if I stand right here? Can we do I need to be louder? Like sometimes it feels like it's like I'm reinventing the wheel in that way.
But then. Like for me and my own spirit, I think that with As You Like It there, I think Rosalind is she has to work really hard to not think over things, to not overthink so much. Because, like I said, she gets to Arden and like she looks around and hey, it's it's fine.
It's great here, actually. But she's still in conflict. And I think it's and some of the feedback from audiences was, you know, my heart was lighter at the end of it.
And they were like, not necessarily about anything in particular, but I just felt lighter. And I think that it's it's a play that it convinces you to chill out a little bit. You know, maybe it's maybe the dark stuff is behind you.
And I think maybe that's something that I've walked away with for that play. I'm not playing.
[Ryan Paul]
It's interesting. I saw one of my sacred times is CBS Sunday morning. Like I love that show.
I mean, I don't get up early enough to watch it. So, you know, I DVR it. But my kids know and Kami is like when I say I'm going to watch Sunday morning, I go downstairs and I watch because to me it gives it to show that that generally makes me feel better about the world.
Right. That that I mean, sure. There is one studies history.
It's easy to go down a path of of anger and frustration and despair. I don't know it too well. CBS.
So CBS Sunday morning is on Sunday mornings an hour and a half. It's like a news lifestyle type show. Like they have different segments about different things.
Like and it's not like last Sunday. It was a thing about the the Williamton coup in 1898 when they probably heard about that. I know all about the the Wilmington for the only successful coup in America where white supremacists had taken over the the partly black partly white government and took over power.
But they had segments on that and they had segments on some new singer. Last name of Abrams Gracie Abrams and so it's just this kind of stuff. Right and they have so it's just it's about environment and history and lifestyle and it's just a good show.
It's not it makes me happy. But the reason I say that is because one of the segments this last Sunday was on this new Netflix show the reboot of Little House on the Prairie. There's a reboot.
I grew up watching Little House. I did too and I love Michael Landon and there's some controversial stuff, but it's a Netflix reboot. But the guy that plays paw says that said that he's like an Australian which is odd.
Oh, he's an artful Dodger. Yeah. Well the guy that plays paw said says that you should hang out with Lauren more.
She's a really good show. Sure. Lauren's got great taste the he says the thing about paw is he always says what if this what if this is going to be great?
Like when people say oh you'll move out in the frontier or but I think about that long start to wrap that around to the force of Arden is that I think that that is the thought is that maybe we should start thinking less about what if this fails or what if this doesn't work or what if what if what if what if but it could easily also be what if this is going to be great right like what if this is going to be good and I love that and so anyway that was a long way around to that point but anyway I think that's a great let's move on to this season. So you're you're you're back interestingly in the same with the same directors.
Yeah, Beth is directing Hamlet Carolyn Howarth is directing Troilus and Cressida who directed I think Leopatra John D'Antonio is directing Twelfth Night who directed Macbeth all of which you were in so you are a is it easier to come back as a where the artistic lead a talent or the the directors are familiar with your abilities that easier or is it like I have expectations to
[Kayland Jordan]
meet maybe both it what it what it felt like was I felt very trusted like the more that I was getting the auditions and things for this season. I was like oh man I mean one of the really exciting things about working here is seeing how other people see me because like I would have never thought of Horatio Horatio has never been a dream role of mine but when I got the audition I was like oh no I need this like I got to make this work and and so it's it was really cool to think that this woman who directed me as Rosalind is very different from Horatio you know Rosalind never shuts up and Horatio it's like where's the rest of that sentence buddy what else do you have to say about this you know so neutral and so pensive and so that was really cool but I really just felt like trusted to come back and like these beloved roles I'm shouting right now and I'm really grateful for that because every year I've been here I've gotten to play roles that people are dying to play I mean Ruth Helena Rosalind a weird sister like that's so cool and you know Horatio Olivia and he is too why not but you know it's so I'm really grateful to come back and it was really easy to slip in and start working with the directors because we already have a dialogue and familiarity you know this may come as
[Ryan Paul]
a shock to you but for the first time I actually submitted an audition for the for a role in Hamlet do you mean that yeah I was I auditioned for Yorick and they gave it to somebody oh that's a good one betray John said you're not you're not bald enough for that so I gotta use that joke so you can have it
[Kayland Jordan]
thank you I'll credit you though no no no that's yours it's freely given
[Ryan Paul]
okay I'll take it and run let's let's break down these characters and and we can spend as much time as you want on either one but let's start with your your idea of Aeneas in Troilus and Cressida not one of the most well-known plays and not one of the most well-known characters so what is your thought on
[Kayland Jordan]
this particular character you know crack it open Troilus and Cressida I had you know the the the browser was right here dictionary was over here like I was the whole time it was okay I got I've made it three lines let me look up this was this a reference to this like who is this character what do they do and so the research on Aeneas I was like oh a demigod and a prince and oh goodness you know I'm the founder of Rome practically and so I but but it's funny because all those things none of that's specified in Troilus and Cressida like that the greatness that Aeneas comes into is not present in Troilus and Cressida and so it's kind of like watching the show you're just like unless you just happen to be someone who knows the lore and the history you're like that's another commander that's another one of the Trojan commanders but having to but I was like I got to encompass some like some like elated demigodness you know and and also I think in the script Troilus or who was I Aeneas am I I'm still doing the shows Aeneas is it's almost always Prince Aeneas but for the sake of our production it was more helpful to have the princes be just like the act the brothers be Hector and Troilus and or Paris and Paris yeah and so the ones for Aeneas were cut because it's like people are gonna get lost because but you know in the I almost said the history of the Trojan War who really know the mythology lore of the Trojan War like they all had their own armies and they kind of like would come together and like consult and then go away so it's like Paris is over here Troilus is over there Hector's over there and like Aeneas has got so they were all handling like different battles kind of at the same time but yeah I I kind of just why I was like well I have to be a soldier and like there are so many lines in there about Aeneas like Aeneas is fighting so-and-so Aeneas is doing this over here it's like Aeneas is like it's pretty cool if I if I can give off that kind of that fighters gravitas but I will say the one word that has been voluntarily given to me in people's review of Aeneas is swagger that's the word I keep getting and he says a lot of swagger so I'll take it and you get to boogie I get to boogie in this show do I dance oh my gosh yes we have a there's a
[Kayland Jordan]
whole dance number y'all come out and see this show you have it for the dance
[Ryan Paul]
yes I do dance yeah so it's interesting you say that because my my eight-year-old was in Shakespeare playmakers and in a scene where she was Ulysses and she's a huge mythology fan and she says well wait a minute isn't Ulysses Odysseus I said yeah she said well I'm really the most important person in the scene they haven't got there yet yeah that hasn't happened yet but but it's true
[Kayland Jordan]
it's like all this this this nostalgia and weight behind these characters and
[Ryan Paul]
these names comes later let's talk about Horatio and I let me tell you I loved this and we had Walter Kamitz here on the podcast and we brought this up also but I wanted to bring it up to you is that oftentimes you see Horatio almost in the form of sycophant or a servant in many ways of him and I think what I love about this production and your portrayal of Horatio is that that it is a friend who is watching a friend go through pain and anguish and descend into a dark place and not really know how to get them out of it and I see that in your
[Kayland Jordan]
Horatio is that kind of what you were thinking or thank you it is and you know there's so much of the language between Horatio and Hamlet is there's a lot of I think my lord is the line I say the most in that play and I mean that's typical for all Shakespeare but there's a lot of my lord like I almost never address him I don't think I ever really called him Hamlet he's always Lord Hamlet and so that's because he's he is the prince of Denmark and so that's something me and Beth talked about is like I'm not as equal but when we're at school we're just two scholars you know like at Wittenberg we're kind of equals and like sure he's like he's the prince of Denmark or whatever but so finding that balance was was pretty cool but it's easy with Walter because he's he's so calm not just accommodating but so open and like he's very friendly and he always he was joking during rehearsal because I think Beth was like less less like less hands on people like he kept getting notes about like quit grabbing people he's like I just want I just want to hold everyone but he's just he's I think he's he's a person who's eager for friendship anyway and so I think it showed it showed up and was really helpful for facilitating the relationship
[Ryan Paul]
on stage and I also think it's important to that that you're playing Horatio as a female yeah I think that that adds to I think about my in growing up and I may not growing up but once I got to high school and even post that some of my best friends and closest confidants are female right and I think that's a different relationship then but not in any kind of romantic way or anything like that but but I think that adds to the beauty of this relationship between Horatio and Hamlet yeah that that we don't say we don't we don't say that you're playing Horatio as a man but but you can have this very deep platonic
[Kayland Jordan]
friendship with a person of other gender yeah and it true in it and it really is and me and Beth we never really talked too much about it because it was just like yeah obviously but I remember asking her like why me like why why me for Horatio and one of the things she said was she's had a woman play Horatio before when she's directed Hamlet and she really liked the tone and the dynamic that it created but she mostly loved that it that it was good to see Hamlet have other women in his life beyond his mother and his and the one gal who's around court and it made it seem more like Ophelia's a choice like he loves her and that's why they're together it's not just because she's the only girl we see that's not his mom that's not his mom it's not a Greek play yeah true so I you know I think that that really add adds to it too and there are lots of theories about the relationship to between Horatio and Hamlet and there being the possibility of it being like this one-sided romance for Horatio that Horatio's in love with Hamlet and there's like pining and whatever because some of the language between them is really sweet and there are words that are kind of reserved for the more the actual romantic relationships and other Shakespeare plays and while there's the positive anything is possible I don't think any the three of us me Beth nor Walter felt that there would be any benefit to there being any spark of romance or anything so it just it never came into conversation it's just Hamlet has enough we don't need any more
[Ryan Paul]
confusion in the show so let's talk about Olivia yeah who is a much beloved character in the Shakespeare canon and and you play her with with joy and passion and such spirit that I think is amazing talk about your your journey
[Kayland Jordan]
with Olivia you know so the first Shakespeare play ever did was Twelfth Night when I was 15 at Shakespeare Dallas they would always have it's Shakespeare in the Park in Dallas and they would always have one of their shows in the season be an all high school cast and I I really wanted to play Olivia like I know Viola is like a lot of people it's like Viola but I don't know I've never like she's never done it for me and so I was really excited when the season was announced and so I did I pitched my name for Olivia and I was like I'd really really like a chance at this and I think I I've seen her be played in ways that where she's either a joke or she's she's like an ice queen and I was like there's there's more in it than that you know she she's just she's mourning for the death of her brother and of her father who both passed away in the last year and so she's in a really gloomy reserved place when we meet her but one of the things I talked about at the table read was that she's while she is that it's that with grief after you lose someone or lose something it doesn't feel right to laugh like the first like time you really have a good laugh so there's something kind of wrong about it it's like but they're not here you know and so I think that she's on the cusp of wanting to enjoy life and Cesario just happens to show up at the right time and be just the spicy feisty petite little pretty man who's also who also there's something comfortable about you know about that and it's because it's a woman and you know but yeah I was really excited to take a shot at making her a little more relatable but still fun and you know yeah.
[Ryan Paul]
What I love about this this particular production and we've done 12th Night a lot is that that unlike other productions I've seen you really get to see two people experience grief in very different ways you see Olivia experience her grief you see Sir Toby how he deals with that grief and quite frankly you see Viola what she does to kind of almost compartmentalize her grief by becoming somebody else you know but but you see these people it is very much a play about grief in a different way and and also that kind of redemption I mean this has the most redemptive ending of any 12th Night I've ever seen really how the Malvolio ending is like I've always thought how come someone hasn't done a movie or a play that begins at the end of 12th Night where Malvolio says you know I shall be revenged and then like that's where the movie begins and we see like this Count of Monte Cristo journey with Malvolio right building his revenge that's like that writes itself right but but the way John has set up Malvolio here in this ending is just so beautiful and compassionate and joyful and it's just really and I'd never seen the depth of the grief of these characters until until now and and that was even the first time I mean it was even a dress rehearsal where the Lord was was reading from the moat because he was oh yeah he was his throat was protecting his voice yeah so it was just it's the more I think about it the more I think that that you all have added depth to a show that that I didn't
[Kayland Jordan]
think could be plumbed does that make sense it does I'm glad you see it that way I think sometimes with shows that are done so often there are a lot of traditions and and things that you it's like oh this is it's often played this way or you know things are often missed and so I'm glad that there's a myriad of colors and tones showing up in it well in quite frankly in every way there's a
[Ryan Paul]
myriad of colors and tones costume and set design so what's next not like what are you like where you going next after this because we're still very early in the season but like for Kalen to Jordan is she an actor that wants to be a director or is she an actor that wants to be an actor or is she an actor that wants to be a teacher I mean what what what lies in the future I've been
[Kayland Jordan]
thinking and talking about this a lot I I do love the the research and the all the building of like I love rehearsal and so sometimes I'm like dramaturgy sounds really really cool but I I do know that I like I'm very beta I'm there I'm proudly beta I like being part of a project I like being able to make a director's vision come into play I really like facilitating that and being part of a collaborative process and so directing has never like tickled my fancy too much but I've also never tried it I've never done it with like grown-ups I've only ever directed I'm like little kids like elementary school kids and musicals so it's just fun because you know I don't even do musicals but but I know how to put it together so I I don't know I do really enjoy acting but if if a directing opportunity were to fall into my lap I would really eat it up but I don't know if I would seek it out I really love acting and it's what I'm good at and people trust me so you know I'm looking for a director for a
[Ryan Paul]
little show I'm working on it takes place at the end of Twelfth Night where
[Kayland Jordan]
oh yeah it's like it's got this like potentially like Three Musketeers
[Ryan Paul]
where all of a sudden the people you think were the good guys are actually the bad guys and we watch them all drop like flies one by one ten little Indians and the last line is something about quiet or like not talking or silence or something like that let's let's go to our next our final break and this is a song which I I'm glad again I remember the moment I first heard this song and saw this movie because I was in graduate school but it's a star is born yeah from the musical the movie Hercules score by a by Alan Menken why did you
[Kayland Jordan]
choose this song you know the I think Hercules has always been my favorite of the Disney animated like that renaissance chunk of time although Mulan and Tarzan are very close up there Phil Collins as my heart but Hercules I think it like every time I'd watch it it like it became more special to me like I remember watching it after I realized that the the women singing our Greek chorus I was like it's not just a gospel choir they're the chorus and they're the fates like it was so cool so I just I love the music I love how clever it is but I really like stories about athletes and like montages of like like I can do it I like watching like Rudy and stuff like I'm gonna cry cry like I cry watching Rocky I think that it's just like you could do it you pick up that that sack of rice and you throw it over the fence but anyway but I love I love how victorious the whole soundtrack is makes me believe in myself when I listen to
[Ryan Paul]
this song okay this is a star is born from the film Hercules
[Music]
a star is born come on everybody shout out loud
[Lauren Bird]
everybody that was a star is born from Hercules you're listening to the apex radio hour Utah Shakespeare Festival addition I'll turn it over to you Ryan
[Ryan Paul]
Thank you, Lauren. We're here with Calum Jordan. She is an actor in this season's Shakespeare Company.
She is in all three of the Shakespeare shows. She is Aeneas in Troilus and Cressida, Horatio in Hamlet, and Olivia in Twelfth Night, and those three shows are running in rep with the three shows in the Randall, Something Rotten, See How They Run, and She Loves Me, and the Ains shows, which just, we're recording this in the second week of July, so they opened, they're opening now, which is Mary Shelley's Frankenstein and the Book Club play. So thank you.
We're getting to our last segment, but I thought about this, and we've had a couple other members of the acting company on the podcast, and it's led me to ask a question before we get into what's bringing us joy, and it is this. I would imagine that as you inhabit various characters, we've talked about this code switching between Ruth and Helen and others, but I want to know what the walk-up song is for each of these characters. So as you think about it, and we'll start with Aeneas, what is Aeneas' walk-up song?
[Kayland Jordan]
Or I could even say- Strawberry Letter 23. There you go. Okay.
Something with like a, it's cool and pretty. What is, like Calum Jordan.
[Kayland Jordan]
Just like me, cool and pretty, baby. See what I did there?
[Ryan Paul]
Okay, what's Horatio's walk-up song?
[Kayland Jordan]
Something unnecessarily moody, probably. Very lyric heavy. Oh, you know what?
I was in a Tori Amos mood during some of the early parts of the rehearsal, and then Beth was like, do you know Winter Song by Tori Amos? And I was like, yeah, I love that. I love, because Winter Song has been done so many times.
I was like, yeah, I do. So maybe that's not the walk-up song for Horatio, but I think it's maybe the like, it's like, why did I tell him about the ghost? I think it's the tone of Horatio's Winter Song.
Olivia, what's Olivia's walk-up song?
[Kayland Jordan]
Is this pre-Cesario or post-Cesario?
[Ryan Paul]
This could be Olivia as Olivia's walk-up song, or as Caelan gets ready to walk out on stage as Olivia, what is the song that you... The stage manager calls, what is it? Places?
Is that the last call? Places, and you just hit play on the last song before the stage crew takes your earbuds out as you walk out on stage.
[Kayland Jordan]
Oh, it would probably be something. I think that Olivia, it's hard. I mean, I remember listening to, it sounds so lame, but like Sabrina Carpenter's Short and Sweet, that whole album, I feel like Olivia would appreciate it.
Like maybe she wouldn't live that life. But yeah, that's, I think the balance of that album is a good dressing room album for getting ready for Olivia. Okay.
So thank you. Thank you for doing this little exercise. I have a question for you, actually.
I know that you didn't make Yorick. I'm sorry, I hate to bring it up again. I know, I know.
But what would your walk-up song be?
[Ryan Paul]
Dead Man's Party by Oingo Boingo. Dead Man's Party. Yep.
That's what it would be.
[Lauren Bird]
It's a good one.
[Ryan Paul]
And I would be the best freaking Yorick you've ever seen. Just dead. Dead pan.
Yep. Dead pan. See, we should start this Malvolio thing.
We'd make some bucks.
[Kayland Jordan]
We've got two productions in the making.
[Ryan Paul]
Words cubed. Let's do it. Okay.
So this, for those of you who listened to the podcast or the radio show before, know that our last segment, we always talk about what's bringing us joy. And so let's start. Caelan Jordan, what are you currently watching, reading, listening to, or playing that is bringing you joy?
[Kayland Jordan]
Outlander. But I didn't know it was brr until I was reading it. So I'm listening to the audio book.
I think it was recorded in 2013. I don't know when the book was written. But it's 32 hours long.
And I was like nine hours in. And I was like, this is getting kind of cheeky. What's going on here?
Because I really like historical fiction and things like adjacent over there. And so I kind of, I didn't know what I was getting into. But it's, it's, but, but it, but it's also, it's very well-written and it's, it's very easy to listen to and it's got accents and stuff.
There's English and Scottish people from different parts of Scotland. It's great.
[Ryan Paul]
How about you guys? A little movie Caliente.
[Kayland Jordan]
Yes, it is. It is. It's really good.
It's really good.
[Ryan Paul]
Yeah, it's good. I I've never read it. I've seen the.
You watched, I didn't watch the series. I wanted to watch the whole, I started it. And then, so Cammie and I, we have this TV thing where like, if it's a show, like I sometimes don't watch as many episodes.
And so she's like, I got to keep going. So I got left in the dust. And quite frankly, I start watching that show and I feel a little uncomfortable watching it as an adult man by myself.
So I haven't finished it. If that makes sense.
[Kayland Jordan]
Well, maybe I should watch, cause I don't know just how cheeky it is. Cause I never watched it. I just remember like, I was like, I should watch that.
[Ryan Paul]
I'd like that. Wouldn't I? I, I don't know how the page to stay.
I've never read the book, but, but yeah, it's a, but I, I, the, the plot is really fascinating to me.
[Kayland Jordan]
It is. I'm still waiting for us to dip back into the modern day and you know, but we haven't gotten there. She's having a good old time.
[Ryan Paul]
Yeah.
[Kayland Jordan]
I think Cammie's caught up on all the, on all ends, but.
[Ryan Paul]
Okay. Lauren Bird, what are you currently watching, reading, listening to, or playing that is bringing you joy?
[Lauren Bird]
So last night my parents and I went to something rotten here at the festival. So obviously during the drive up, I had to jam out cause it's the CD that's been living in my car for years. So I'm like, I had to jam out and sing to something rotten on the way here.
And it was just delightful. I love that music.
[Kayland Jordan]
Oh, wow. You've always been a fan of it. It's not just because it was coming to the festival this year.
[Lauren Bird]
No, I saw it in like sixth grade, probably shouldn't have seen it that early, but we didn't know, but I love the show. I love the music. I've seen a bunch of different like community productions, even saw some friends in it a couple of years ago.
It's just a favorite. I love it.
[Ryan Paul]
You love it. You love it. You love it.
[Lauren Bird]
Exactly.
[Ryan Paul]
That's going to make a lot more sense if you've seen something rotten, just so you know.
[Lauren Bird]
This is true. What about you, Ryan? What are you currently watching, reading, listening to, or playing that's bringing you joy?
[Ryan Paul]
So this is not nearly as spicy as Kalen, what you said, and it's not nearly as, as, uh, as poetic as what you talked about, Lauren, but I am reading a book that I have found fascinating to me. And it's called, it's a longer title. So I wrote it down.
The U.S. Constitution, a comprehensive and annotated guide for the modern reader. And you say to yourself, exactly right by, by this brilliant, uh, professor, Melissa Murray, but, but it's a bestseller. And what it does is it has the constitution, but then she breaks it down in very thoughtful.
So she gives like the history behind each of the amendments and each of the clauses, why they're there. And in a very modern sense, writes the constitution. It's almost like reading Shakespeare in a modern, you know, some people like to hear like a translation in some ways, but she talks about, you know, why in a very narrative driven way, why the founders wanted to do this, what their vision was, and then how that's changed over time.
Like why, you know, this was like in a nutshell, and here's the context of why this matters. And it's really, I think that modern reader part is important because yes, I've read a lot of, I mean, I require my students to read the constitution and I tell them it's the hardest reading you'll ever have. Cause we don't talk like that anymore, but it's something that we all say we love, right?
We are elected leaders protect and vow to protect and defend it. But, but how do we know what it means? We know what it says, but what it means is really more important.
And I, as I've been reading it and talking to Shakespeare folks a lot, I've been thinking the same thing about Shakespeare. We know what it says, but what does it mean? And the same, like Shakespeare, the constitution means something different to each of us based upon where we are in our time of life, like theater.
So that is, I mean, Page Turner, maybe not, but, but it really has got me, has got me to think about this document that I have thought about, but that, that is becoming more and more relevant the longer we live. And that was just bringing me joy. Does that make sense?
[Kayland Jordan]
Yeah, it does. I also just watched 1776 at the Forge. It's a theater here in town.
It was their first season. And I was like, what's it? I actually remember thinking like, well, what's what's in the constitution, you know, how long is it?
But cause they were all these pages and I was wondering if the props were accurate to how many pages the constitution was.
[Ryan Paul]
But, um, So it was, it was, uh, it's been an interesting read. And if you're interested in that kind of stuff, this is a very interesting primer to, to this. And I love the fact that it says for the modern reader and she's, she's a brilliant presenter as well.
So Caitlin Jordan, thank you.
[Kayland Jordan]
Well, hold it.
[Kayland Jordan]
I have a question for you. Okay. If you were to assign homework for this season regarding the Shakespeare plays, um, what, and maybe I guess something rotten too, uh, what would your assignment be?
And, or what was your biggest homework assignment regarding this season? Flipped the script on you, didn't I?
[Ryan Paul]
I think my, the, the, the, this is a good question because I think about when I see shows, so I, I see all of the season and like we, uh, Stuart and I go to the dress rehearsals from the very beginning. So we see like every show, every night and then, and then we have a little bit of a conversation about how we present these to the people. Cause there's a difference between the orientation, which is the 15 minutes of here's what you're going to see and what you need to think about.
And then the seminar stuff that Isabel does. Um, and that we do, I mean, Stuart and I will pick those up after Isabel has to leave in September. So I think that the assignment that I would give would be to have a conversation with somebody beforehand.
Like I, I talk about like, so the homework I would give would be, um, like Troilus and Crest is a perfect, that was my biggest homework. Right. I mean, I'd read the play years ago, but I've never seen it.
Um, fortunately my colleague, Dr. David Lunt in the history department is a scholar of ancient Rome and Greece. Like he teaches that kind of class. So we've spent a lot of time talking about the, the Iliad and the Trojan war and all that stuff.
And finding that, that that work of Homer is very Shakespearean, right? It is an oral tradition. And so it really is a fascinating idea.
And so I've been, that was my first thing. How am I going to tell people to go in and to see this show with what they think they know? Because if you read, like you say, if you read the Wikipedia description of Troilus and Crest or even the play, and that's not it, this is a different cut of this show and a much better one.
Right. And so fabulous cut. So I think that for that, I would say, you know, become familiar enough with the plot, but then be able to, so Hamlet, like what kind of homework, like everyone has seen Hamlet for the most part.
Right. So what are we going to tell them about it? So I think that the, put yourself in a position.
So I don't know that I would assign readings. I wouldn't ask them to listen like to something rotten. Don't listen to the music because it's not the same.
I mean, it's the same, but it's a little bit different. So I really just would want them to say, homework would be burn your incense, burn your candle and put yourself in a position to be different when you leave. Right.
That's what I, because how do you, I know that's, is that a, is that a crazy, is it?
[Kayland Jordan]
No, it's a, it's not the direction I was, I was expecting.
[Ryan Paul]
But if it was like a book or whatever, it's like, no, I wouldn't, I wouldn't. Yeah. The 50th anniversary Shakespeare festival book by Ryan Paul.
No. But I think that, that because our, we're so diverse in our productions, it's hard to say, what would you look like? If you said, okay, tell me about each play, then yeah, I might say something, but like I read, I read Frankenstein before I saw this play.
I mean, not recently, but, but it's not, I mean, it's similar. I mean, I watched, that's my point, right. Is that how much do you want to know?
Because it's not going to be the same.
[Kayland Jordan]
Yeah. I mean, the, the amount of research is endless and like what direction you go and you know, like, what do you, you know, what homework do you need to do versus what, what can be happy surprises and yeah.
[Ryan Paul]
But I was happy though, when I saw the book club play, because I'd read some of those books they talked about, you know, I hadn't read them all. I've never read the age of innocence, but, but it's a, so anyway, that's the three words that were hardest for me to say when I started teaching university or started in the grow 15 years ago are now much easier for me to say, which is, I don't know. Like people will say, what's this?
And I think, well, I'm supposed to have the answer, but it's like, I don't know. I'll look it up. Come talk to me afterwards.
And I think that is, or let's ask Isabel or let's ask Kalen. I mean, I think the intelligence isn't knowing all the answers, but it's knowing what you don't know and knowing where you can find that answer, who can give it. I think that's what I, I do.
So, I mean, I, I guess I was a long ass for a dime. I gave you a quarter, but we can edit all that out. So anyway, that that's, it is more difficult to, to prepare for the orientations than it is, you know, to, to think about what do people want to know and what they want to know is, is this Shakespeare?
And then my question is, well, what do you think Shakespeare is? Cause you know, what we're doing, what anybody's doing on a Shakespeare stage isn't Shakespeare. It's a Victorian representation of Shakespeare, right?
So, and in fact, I think Troilus and Cressida is the most Shakespearean play we're doing this season because it's, it's, you know, Shakespeare is not focused on a time period. He's not, doesn't think about costumes or sets or anything like that. He thinks about the words.
And so in that sense, Troilus is a really Shakespearean play. It got quiet all of a sudden. Did I just offend?
Did I offend?
[Kayland Jordan]
No, no. I just, I'm realizing how, I mean, not unwell versed I am, but I'm like, oh, I guess, you know, what, what would I say is the most Shakespearean of the Shakespeare plays? But I actually don't know.
I haven't read all of them. So. Well, that's okay.
I'm an interloper here. No, no, no, no. I'm just, I'm just an actor.
No, no, no.
[Ryan Paul]
Don't forget. There's no such thing as just, because as, as we talked about, which I think is a really interesting idea is that your entry to Shakespeare is, is a physical visceral one.
[Music]
Yeah.
[Ryan Paul]
Not one where you're just turning words on the page.
[Kayland Jordan]
Not for study.
[Ryan Paul]
It was not for study. So, and I think that's, and in my mind, sometimes scholars have ruined that for us because Shakespeare really was meant to be lived. I mean, these were for people who came and paid to see these plays and wanted to see it.
And he was writing for the crowd. He wasn't writing for, you know, some bald guy like me sitting in a room turning pages. I mean, he's reading, he's writing for people who were, who want to be entertained.
And I always will say that in 500 years, we look back of who the American Shakespeare is. It's Matt Groening. It's going to be the Simpsons, right?
I mean, culturally relevant jokes that you get based upon your experience and age representing, you know, representing the time in which they live. So I don't think it's a bad thing. You heard it here first.
Yeah. So 500 years, you can call me on it when I'll be playing Yorick for real. Thank you very much for being here.
Thanks for all you've done for us at the festival, for me personally and making me a better human. I appreciate that. And for your conversation, we're going to go out with probably one of the best songs that in my, this is in my top five, absolutely top five, every playlist.
When I was taking, you know, like when I would go on trips, like we'd all with the family, this is the song we'd listen to every morning to start the day. Cause we knew it was going to, it was going to be there. This was it.
This is the song that I wish that I could be a PIP in some few former world, but this is Midnight Train to Georgia by Gladys Knight and the PIPs. Why did you choose this song?
[Kayland Jordan]
It's a story song and I love story songs and it's kind of a performer adjacent. It's this, you know, realizing you, you want to, you know, try to make it in the big city and finding that you'd rather make it in the city you're from. But I love that it's a love story though.
And she's, she says, I'll go with you. I'll go, I'll leave my life for yours. I think it's really sweet.
[Ryan Paul]
And plus in the car, you get to go. So, uh, thank you, uh, Kayland Jordan for being here. Uh, if you are interested, she is in all three of our Shakespeare shows in the Anglestad this season, Troilus and Cressida, Hamlet and Twelfth Night.
They are running in rep with something rotten, see how they run. And She Loves Me in the Randall and Mary Shelley's Frankenstein and the book club play in the Ains Theatre. Uh, if you're interested for tickets or other information, visit bard.org.
If you're interested in more of the Apex Hour podcast, you can find those, uh, the Shakespeare ones in the media section on the festival website, or you can access all of our feed, uh, on the Apex or Apex Radio Hour, Apex Hour podcast, anywhere you get your podcasts. So we'll go out with Midnight Train to Georgia by Glasnott and the Pips. And of course, thanks to Lauren.
Thanks to Kayland. And in the words of the great American poet, Bill Withers, I wish you well.
[Music]
What's left of his world, the world he left behind, not so long ago.
[Music]
He's leaving, leaving, on that midnight train to Georgia, leaving all the midnight trains.
[Music]
Yeah, said he's going back, going back to find, to a simpler place in time. To a simpler place in time. Oh, you see him, you're gonna see right by his side.
[Music]
Now be with him, I know you will. On that midnight train to Georgia, leaving all that midnight trains in Georgia. I'd rather live in his world than live without him in mine.
The world is his, his and hers alone.
[Music]
He kept dreaming. Dreaming. Knew that someday he'd be a star.
[Music]
A superstar, but he didn't get far.
[Music]
But he sure found out the hard way that dreams don't always come true.
[Music]
Oh no. Uh-uh. No.
Uh-uh. So he found all his hopes. Woo-hoo.
[Music]
And he even sold his old car.
[Music]
Woo-hoo.
[Music]
Woo-hoo. What a one-way ticket back to the life he once knew. Oh, yes, he did.
He said he would. I know he's leaving. Leaving.
On that midnight train to Georgia. Leaving on that midnight train. Yeah.
Said he's going back to find.
[Music]
Going back to find. A simpler place and time. Wherever he takes that ride.
Guess he's gonna be right by his side. I'm gonna be with him. I know you will.
On that midnight train to Georgia.
[Music]
Leaving on that midnight train to Georgia. Oh. I'd rather live in his world than live without him in mine.
Girl. He's leaving. Leaving.
Oh, he's leaving. Leaving. On the midnight train to Georgia.
Leaving on the midnight train. Yeah. Ooh, y'all.
Said he's going back to find.
[Music]
Going back to find. A simpler place and time. Wherever he takes that ride.
Guess he's gonna be right by his side. I'm gonna be with him. I know you will.
On that midnight train to Georgia. Leaving on that midnight train to Georgia.
[Music]
Oh. I'd rather live in his world than live without him in mine.
[Music]
Girl. He's leaving. Leaving.
Oh lord. Oh lord! On board!
On the midnight train to Georgia. Oh lord. On board!
On the midnight train to Georgia! Oh lord!
[Music]
On board! On the midnight train. Oh lord!
This world! I won't matter here alone! My world!
This world! I won't matter here alone! I've got to go, I've got to go, I've got to go, I've got to go