>> HASKINS: Coming up on
"Theater Talk"...
>> SCHUMER: If me or any of my
co-stars in this play will say
it's a joke we've said every
night, and it's just crickets.
And we just -- Laura Benanti
says it's like she dies for a
second and she sees her
grandmother.
So, now we have trouble not,
like, if a joke bombs, like,
kind of looking up to the sky
and going like, "Grandma?"
>> ZINOMAN: [ Laughs ]
♪♪
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins.
Happy holidays, everyone.
And I am joined by my co-host,
Jason Zinoman, of
The New York Times.
Jason. And we have a wonderful
holiday guest.
It is Amy Schumer, now appearing
on Broadway in Steve Martin's
"Meteor Shower."
Amy, welcome.
>> SCHUMER: Thank you so much
for having me.
>> HASKINS: Well, the pleasure
was all ours.
>> SCHUMER: Oh, no.
That's not true.
>> ZINOMAN: So, I mean, first
off, you're a huge,
arena-filling comedian,
best-selling author, right?
>> SCHUMER: Yeah.
These are the things that
identify my -- Yes.
>> ZINOMAN: So, what are you
doing on rickety old Broadway?
>> SCHUMER: Oh.
It's just -- It's not about the
money, Jason.
>> ZINOMAN: [ Laughs ]
>> SCHUMER: I have been doing
plays since I was 5 years old,
and then majored in theater in
college.
I've seen a ton of theater.
I have a theater company.
I did a two-year
Meisner Intensive with
William Esper.
>> HASKINS: You have a theater
company now?
>> SCHUMER: Yeah.
The Collective.
>> HASKINS: So, how often do you
get to work with then?
>> SCHUMER: We meet every
Monday.
We workshop new plays, or if
there's something we're working
on, I -- Every movie or every
scene on my TV show was also
workshopped through my theater
company.
>> ZINOMAN: Did you work with
them at all before working on
"Meteor Shower"?
>> SCHUMER: No.
Jerry Zaks really wanted me to
kind of show him the respect of
letting him direct me and us.
And, yeah, I trusted him and
went with that and didn't get
any extra help on the side.
>> ZINOMAN: But were you someone
who theater and then wanted to
find a project or was this one
that came to you?
>> SCHUMER: I always wanted to
go back to do theater.
>> ZINOMAN: Right.
>> SCHUMER: And this came up.
And I did Steve Martin's play,
"Picasso at the Lapin Agile" in
college.
>> HASKINS: Oh, you did. Yeah.
>> SCHUMER: Yeah.
And he said, "Will you read this
play?"
And I read it.
And he was like, "Do you want to
do it?"
And I was like, "I do.
I really do want to do it."
And then the next question was,
"What's the least amount of time
I can do it?"
>> ZINOMAN: [ Laughs ]
>> SCHUMER: I said, "Is that the
kind of team-player attitude
you're looking for?
Just with other, like,
obligations I have, it was,
like -- You know, they were
like, "Okay.
Three weeks of previews, a
12-week run, and like a month
and a half of rehearsal," which
is still a pretty big
commitment.
And I said, "Let's do it.
And we started doing readings
and workshopping it.
And, yeah, so, it was a
combination of Steve and really
wanting to just kind of get back
onstage in a way that wasn't
stand-up and just learn, you
know?
Like, go in there knowing I know
very little and, yeah, just be
open to it.
>> HASKINS: And you're doing
somebody else's material, which
is kind of unusual for you.
>> SCHUMER: Right.
I do get the opportunity to do
stuff I've written and also be
collaborative with a writer.
And Steve has been really,
really cool and open with
working with the actors on what
we feel comfortable saying or
ideas.
And he's been really down to,
like, let you try something.
And then if it works, he's like,
"All right, I'll put it in."
>> HASKINS: I would think he
would identify with you.
Do you think that's the case,
that he looks at you, and you
have a career trajectory kind of
similar to his?
>> SCHUMER: We definitely
connect and identify as
performers.
I don't know if it's because
of -- I think his trajectory was
so crazy, and he skyrocketed so
quickly.
And even though it's been
written that that's what
happened to me, that has not
been my experience.
>> HASKINS: You didn't see it
that way, no.
>> SCHUMER: No.
I've been doing stand-up for
15 years.
And I wrote "Trainwreck," and
that came out like 3 or 4 years
ago.
And so, you know, it was a good
10 years of, you know --
>> HASKINS: Really hard work.
>> ZINOMAN: Yeah.
>> SCHUMER: Yeah, yeah.
>> HASKINS: Yeah.
>> ZINOMAN: Which is in front of
a live audience.
I mean, a lot of film actors
have trouble with coming to
Broadway 'cause they haven't
worked in front of live
audiences, which is not the case
for you.
But what is the difference
between getting laughs in a
comedy-club audience versus a
Broadway audience?
>> SCHUMER: Well, the similarity
I can start with, because I
really think there's only one,
which is that when you're -- You
know, it's like a science
experience.
You do these jokes, and they're
tested.
And by the time the play opens,
you know where the laughs are.
In some audiences, it will be a
big laugh, and some pretty
muted.
But once in a while, a joke that
always hits just gets nothing.
And it really throws you.
And, for me, I think bombing is
really funny.
You know, it really makes me
laugh if me or any of my
co-stars in this play will say a
joke we've said every night, and
just crickets.
And we just -- Laura Benanti
says it's like she dies for a
second and she sees her
grandmother.
So, now we have trouble not,
like, if a joke bombs, like,
kind of looking up to the sky
and going like, "Grandma?"
[ Laughter ]
And that will happen in
stand-up, too, and you're like,
"Did I say it wrong?"
I mean, 10 out of 10 times, a
joke that works.
And then the difference is --
it's really playing a character,
because my stand-up has gotten
closer and closer to who I
really am.
I'm playing a character.
My theater training -- it's
real, like -- really grounded in
reality, but you're playing this
character who -- She's dynamic.
You know, she goes through a
change by the end.
But it's such a farce that to
really live it out and just be
this woman, it's not that.
So, this was another way it was
kind of less comfortable for me,
because it's not just, you know,
living this out truthfully.
It's like -- It's so insane.
>> ZINOMAN: Is it still changing
night-to-night?
>> SCHUMER: Not that much, but,
yeah, there will still be
moments.
It's like now we're open, and --
I don't know.
I'm following the lead of these
veterans, you know, with
Jeremy Shamos and Laura Benanti,
who are just -- I just love them
so much.
And Laura and I have fully
fallen in love.
So, there will be nights where
we break.
And Laura will -- Just something
she does, and it just kills me.
And I just -- The other night, I
literally just tapped Jeremy to
say my next line, because I knew
I would die laughing.
>> HASKINS: Don't people love it
when you break?
>> SCHUMER: They do. They do.
>> HASKINS: Those are my
favorites, yeah.
>> SCHUMER: But, you know, you
do everything you can not to
break.
And I feel really bad about it
when I do.
But it is -- Yeah, it's fun.
>> ZINOMAN: A lot of critics
have pointed out that there's,
like, allusions to Edward Albee,
right?
>> SCHUMER: Albee, Ionesco,
Durang.
Sure.
>> ZINOMAN: Is that something
that was, like, a conscious
thing in the rehearsal room that
you talked about or was it,
"This is --"
>> SCHUMER: No.
No, not at all, actually.
>> HASKINS: Well, how much was
he there?
Steve Martin.
>> SCHUMER: Oh.
I was like, "Edward Albee?"
Every day.
He was there a lot.
Yeah, he's on the road with
Marty Short doing their act.
But he was there every second he
could be.
>> HASKINS: So, would he ever
impose upon you his references
or he just let it play?
>> SCHUMER: No, he was really
respectful of Jerry also.
>> HASKINS: Yeah.
>> SCHUMER: But, you know, it
was also just a free environment
to pitch things and whatever.
But I think one of the reasons
and where he felt connected to
me was -- he wrote this, and
then from the first reading, I
would say it.
And I could look at him, and he
looked at you the way you want
your parents to, just, like,
beaming at me, you know?
Like, "That's exactly how I
wanted that to be said."
>> HASKINS: Now, you spent
15 years on the road in comedy,
you just told me.
And I only briefly was around --
I worked in comedy clubs.
Now, I was not a comedian.
>> SCHUMER: Really?
What'd you do?
>> HASKINS: Oh, I worked in
Chicago for the
Chicago Comedy Showcase.
I did publicity and things like
that.
I was their publicist.
>> SCHUMER: It's a very sexist
world.
It's difficult.
>> SCHUMER: Well, it's a sexist
world anywhere.
>> HASKINS: Yes, in the big
world, in the big world.
>> SCHUMER: Yeah.
>> HASKINS: Did you -- I mean --
>> SCHUMER: I guess what you're
asking, kind of, is like, "Is it
harder for women in comedy?"
>> HASKINS: Is it harder for
women and --
>> SCHUMER: And "how can you
succeed?"
>> HASKINS: Yeah.
>> SCHUMER: Yeah, so, I would
say it's harder just for women
anywhere, in any industry.
Going to a Starbucks, it's just
harder.
You don't know what you're gonna
encounter.
And some of the things that now,
with the climate when it comes
to sexual harassment right now,
I think we're just -- We're more
aware of these things that we've
been conditioned to be used to.
We're noticing them more and
thinking, "Oh, I better tell
this guy, 'I'm uncomfortable
with this.'"
Not just to protect yourself,
but to protect the women who
come after you.
If they're a doctor or a
co-worker or just, you know,
even a date, it's like it's up
to us to teach people what
behavior is okay.
I would say, as a female comic,
you -- In my experience, I was
given more opportunities,
because they want a woman on the
bill.
It doesn't look good for them.
So I was given opportunities I
wasn't ready for.
But, you know, you've got to
catch up.
You do the work. You get better.
And I definitely encountered
situations I was uncomfortable
with.
But I've had a very sweet path
and have always been this way,
where I've just, you know, not
been worried about being liked,
you know?
>> HASKINS: That's a big thing,
yeah.
>> SCHUMER: Yeah.
Just not having that concern
about, "Well, I don't want to
make anyone uncomfortable."
I mean, I have over the years --
Like, as a younger girl, maybe
you know a guy's gonna kiss you,
and instead of going, "Hey, I
can feel you're gonna kiss me.
Just don't."
You would just kind of be like,
"I'll just kiss him so I can
skip this interaction."
But, honestly, as a female
comic -- And I guess I just
think of myself as a comic.
I think that's important to say.
But I didn't get harassed very
much.
There are, you know, rude
comments and people making up
reasons why I was succeeding and
lies and things like that.
But, like, I've never slept with
anyone who could help me at all,
you know?
Like, that sounds great, but
I've never even dated a guy with
money.
>> HASKINS: Well, that does
sound great.
>> SCHUMER: Like, that sounds
awesome.
>> HASKINS: Me neither.
>> ZINOMAN: Has this whole
moment made you look back on
your career and double -- like,
think again about some exchanges
that you had.
>> SCHUMER: There are things now
that I encounter that I didn't
used to.
You know, I've made like
five movies.
And there were sex scenes.
There's somebody coming over and
micing you, which means that
there's someone -- And you have
a very nice sound guy here, so
I don't want to make him
self-conscious.
But it's someone, you know,
coming over and putting a little
microphone here.
It's a very intimate thing.
And then a sex scene -- You
know, I had guys say -- I had a
guy say -- He was completely
off-camera, but he was just kind
of tapping my inner thigh.
Like, I just -- And I'm like,
"Why are you doing that?"
He's like, "Just, like, to help
you, like, think of what it
would be like."
And I'm like, "Please don't do
that."
And they kept doing it.
And, you know, you just have to
assert yourself.
>> HASKINS: Well, that's a
"Me Too" moment.
>> SCHUMER: There are
"Me Too" moments every day.
I mean, really.
And, you know, I know, for
women, it's like, "Oh, you don't
want to make a big deal," but
the thing is -- it's not --
Everyone already knows this, but
it's not unique to actresses or
comics in a male-dominated
industry.
It was when I was waiting tables
was probably when it was worse
than anywhere else, you know?
>> HASKINS: But, yet, you had
the confidence to do what I'll
call raunchy material.
Excuse me. You know?
>> SCHUMER: Well, I think, in a
lot of ways, yeah.
>> HASKINS: You were brazen to
do that, yeah.
>> SCHUMER: I think, in a lot of
ways, that was me trying to sort
of take the control back.
I make jokes about the things
that make me the most
uncomfortable.
And if there was sadness going
on in our family, I'd find a way
to joke about it.
Things that really hurt me --
Like, I used to watch that show
"I Survived..."
>> ZINOMAN: Mm-hmm.
>> SCHUMER: Which it's just
these stories of these people
who had near-death experiences
and they were assaulted or they
were attacked by a mountain
lion.
And the first time I saw an
episode of that, I cried
hysterically.
I was so horrified with what
happened to these two
girlfriends.
>> ZINOMAN: Mm-hmm.
>> SCHUMER: And then the next
time I watched it, I was kind of
laughing and joking about it,
and it's because I just felt too
awful and vulnerable.
And, so, I think there is a lot
of funny stuff to be mined from
sex, but I think it is that,
too.
>> HASKINS: When I read your
biography, I saw that there was
tragedy in your childhood, with
your father.
You dealt with some tough stuff
in your childhood, and one
wonders if that didn't add to
your resilience, that made you
so tough.
>> SCHUMER: For sure, for sure.
That was my defense mechanism.
>> ZINOMAN: But you also have
done some of the funniest and
kind of most important feminist
humor, primarily in your TV
show.
And, I mean, I can't help but
wonder -- Like, right now, we're
in such a revolution right now.
>> SCHUMER: Yeah.
>> HASKINS: Yeah.
>> ZINOMAN: Do you feel like,
"Oh, I would love to be working
on sketch comedy right now so I
could weigh in on what's going
on"?
>> SCHUMER: I don't.
I don't want to be doing that
right now, not since the
election, not in this climate.
I don't feel like I could make
anything funny about this right
now, not really.
I'm, like, too upset.
>> ZINOMAN: Yeah, yeah, yeah.
Well, I think a lot of people
are like that.
>> SCHUMER: And all this
stuff -- I was furious while we
did it.
>> ZINOMAN: Right.
>> SCHUMER: But I just feel like
the election -- it made us feel
so beaten down.
I just needed a little time to
recharge, and so, right now, I
feel like it's this sort of --
this rise of me and my friends
I'm close to, ready to really,
really fight, you know?
>> ZINOMAN: This play is, in
many ways, sort of escapist, but
there's some lines in it which
do kind of resonate with the
moment.
And you have one line in the
play where you say -- Your
character says you wouldn't want
to be a man 'cause you couldn't
stand the advantages.
>> SCHUMER: Yeah.
They say, "Aren't you glad
you're not a man?"
Then I say, "Oh, so relieved.
I couldn't stand all the
advantages."
And the crowd goes nuts.
>> ZINOMAN: They do.
Has the reaction changed over
the course of --
>> SCHUMER: Except for, like,
one Wednesday matinee, but it
was just a sea of the whitest,
rich-- It looked like the
audience had been on the
Titanic.
>> ZINOMAN: [ Laughs ]
>> HASKINS: We have a minute
left, but I just want to ask
you, do you ever feel a little
overwhelmed by all -- I mean, do
you have things swirling around
you now.
You know, do you ever think,
"Oh, this is too much"?
Or are you just up to it.
>> SCHUMER: It's just not real.
>> HASKINS: Ah.
>> SCHUMER: As long as you know
that.
And I am lucky.
I became -- I was recognized as
an artist, you know, in like my
30s, so I already knew it's
cyclical.
And, you know, to get any
confidence from any sort of hype
about you or what people want to
talk to you in that moment is --
I wasn't that naive.
So my friends, my family -- you
know, that's it.
>> HASKINS: Amy Schumer, how
wonderful to have you here.
>> SCHUMER: Thank you.
>> HASKINS: Jason Zinoman,
always a pleasure.
>> ZINOMAN: Thank you, Susan.
>> HASKINS: Always a pleasure.
>> SCHUMER: Wonderful, a
pleasure.
>> HASKINS: He's the best.
I'm told I use very banal
adjectives, all right?
[ Laughter ]
>> ZINOMAN: Who tells you that?
Stop talking to that person.
[ Upbeat music plays,
rhythmic clapping ]
>> HASKINS: So, Michael Musto,
when you and I first talked
about you becoming one of my
guest co-hosts, the first guest
that we both thought of is here
with us today...
>> Both: Agosto Machado.
>> MUSTO: Welcome, Agosto.
>> MACHADO: Oh, thank you.
>> MUSTO: Agosto is one of the
bright lights, as you know, of
avant garde theater.
And you started in the '60s with
Jack Smith, a performance
artist.
And then you entered into the
world of La MaMa, thanks to
Jackie Curtis, who, of course,
was a famous drag queen who was
later discovered by Andy Warhol.
>> MACHADO: Yes.
>> HASKINS: Yes.
And I say to people -- younger
people -- I say, "You know the
song 'Walk on the Wild Side'?"
Well, there's Jackie Curtis and
Candy Darling, with whom you
co-starred in the epic
production called
"Vain Victory," which
began in 1971.
And I want to show you a little
clip of that right now.
>> MACHADO: If the only sin --
evil -- according to the world,
is to take a life, then murder
is a symbolic act of evil.
And one must instinctively
recoil from it.
Aah!
Operator! Operator!
[ Laughter ]
>> HASKINS: Agosto, what were
you playing there?
What was your role?
>> MACHADO: I think I'm a loose
woman there.
>> MUSTO: Now, you have always
said -- and you were so wrong --
that you have no talent.
That already proves that you
have a lot of talent.
>> MACHADO: It was a question
mark of what am I doing?
What am I saying?
>> MUSTO: You have said also
that you got swept into this
theatrical scene almost by
accident.
It was like Alice falling into
the rabbit hole.
>> MACHADO: Yes.
And I'm still falling.
>> MUSTO: So it was not a choice
that you went after.
>> MACHADO: No, no, no.
I tell people that I was a
pre-Stonewall Christopher Street
queen who got swept up in the
revolution of alternative
theater, gay rights, anti-war.
And I don't know why I was
marching with Black Panthers and
anything, including the
St. Patrick's Day Parade.
I just had so much fun and I had
no idea where the journey would
take me.
But there were so many wonderful
people, which includes
Marsha P. Johnson, whose button
I'm wearing, who -- She and
Sylvia Ray Rivera are truly the
Stonewall veterans and a
continue-on of the transgender
generation.
>> HASKINS: Yes.
>> MUSTO: So you were pretty
much a full-time activist, and
then you find yourself onstage
at La MaMa.
How did you make that
transition?
>> MACHADO: Well, it's still
puzzling, but Jackie Curtis
invited me across the front
lights, and I told her, "Jackie,
I really can't sing, dance, or
act."
And she said, "You're even
better.
>> MUSTO: [ Laughs ]
"You're perfect."
>> MACHADO: Yes.
>> HASKINS: This production,
"Vain Victory," which I saw in
1971 -- So, it began...
>> MACHADO: Earlier.
>> HASKINS: ...way earlier than
that.
And I was in college.
We came down to the Bowery.
And here's all of these what, to
me, were drag queens doing this
endless what seemed to be very
improvisatory show, which was
the smash hit of the theater
season so prescient in terms of
where the culture was going.
But Jackie Curtis organized all
you "drug freaks," as you
defined yourself, together.
>> MACHADO: Research scientists.
>> HASKINS: Research scientists.
What was the quality of
Jackie Curtis that he/she
brought all of you together in
this way?
>> MACHADO: Well, Jackie Curtis
was so all-inclusive.
If you -- She ran into somebody
in the street, and they said,
"Oh, could I be in one of your
shows?"
She said, "Of course.
Show up tonight."
That spontaneity that people
thought was, "Gee, it doesn't
look rehearsed."
Well, a lot of it wasn't.
>> MUSTO: The genius of Jackie's
plays -- I didn't see
"Vain Victory."
I saw her later plays.
>> MACHADO: Well, you're too
young.
>> HASKINS: You're too young.
>> MUSTO: Thank you.
I said that already. Yeah.
Well, they were over the top,
campy, self-indulgent, and
hilarious, and littered with
Hollywood references.
She was enamored of the old
Lana Turner, Maria Montez type
of divas.
>> HASKINS: Well, in this clip
we showed, Candy Darling was
being Jeanne Eagles.
>> MUSTO: Yes.
She was probably doing Kim Novak
as Jeanne Eagles.
♪♪
>> ♪ I'm Jeanne Eagles! ♪
>> MACHADO: And she loved
Kim Novak.
And Kim Novak actually did
write -- She wrote a fan letter,
and Kim Novak actually wrote to
her and "thank you so much."
And it is in the
Andy Warhol Museum.
>> HASKINS: And say about
Candy Darling for those out
there who don't know who
Candy Darling was.
>> MACHADO: Candy Darling was
spectacularly herself, in
beauty, in her belief.
And it was difficult coming from
Massapequa, out in Long Island.
The woman in her spoke.
>> HASKINS: And who had she been
in Massapequa?
>> MACHADO: She'd had been her
male name, but she insisted in
dressing in girls's outfits.
And then she would have to go to
school dressed in male drag and
then come back and dress around
the house.
>> MUSTO: She was sort of the
Downtown answer to
Marilyn Monroe.
>> MACHADO: Oh, truly.
>> MUSTO: Right?
Now, you said that it wasn't all
rehearsed.
How much of what we just saw in
that little clip was improvised
by you?
>> MACHADO: Oh, no.
Oh, I don't know how to do those
kind of theatrical things.
That was structured.
>> MUSTO: But through the years,
have you improvised on the spot?
>> MACHADO: Well, I don't have a
memory.
>> MUSTO: So you have to
improvise.
>> MACHADO: I have to.
>> MUSTO: Well, it's inspired,
and I wish you would stop saying
you have no talent.
>> MACHADO: No, it's true.
It's that -- Playwrights -- I'm
in plays, but they can't give me
lines, because I don't know when
to say it or...
"Now? Am I -- Now?"
>> MUSTO: You know what?
I can give you a list of people
who really don't have talent.
You're not on that list.
>> HASKINS: No, no.
But, now, Agosto, another facet
was -- you were in the orbit of
Andy Warhol back in the day.
>> MACHADO: Carefully.
>> HASKINS: Carefully.
Well, say a little bit about
that.
Why carefully?
>> MACHADO: Well --
>> HASKINS: And you're here to
tell the tale carefully.
>> MACHADO: We don't speak ill
of the dead or that circle, but
it could be hazardous and very
vicariously dangerous is the
politics.
And I should clarify something
for the future.
Everyone thinks the
Andy Warhol Factory
was one loving family.
Well, it wasn't, because the
drag queens got the attention at
every gathering, all the
photographers and so forth, and
there was that not quite
animosity, but let's say it was
jealousy.
>> HASKINS: But I think that
Valerie Solanas proved the lie
that it was all a loving family
when she got so mad at him --
>> MUSTO: Well, she was
psychotic.
>> HASKINS: Well, true. Well...
>> MUSTO: But let me just say
this.
Somebody who was a true mentor
to you was Ellen Stewart, the
creator of La MaMa.
How did she figure into your
creative life?
>> MACHADO: Well, an older
queen, whose name evades me,
took me to a little basement, a
sort of dirt-and-cement basement
on East 9th Street and he said,
"This is theater.
These people are true artists."
>> MUSTO: That was the first
incarnation of La MaMa.
>> MACHADO: Yes, in 1961.
>> HASKINS: [ Gasps ]
>> MUSTO: It moved 3 or 4 times.
>> MACHADO: Yes, since then.
But I'm still 39.
>> MUSTO: So am I.
>> MACHADO: Oh, no, I'm a year
older than you.
>> MUSTO: Was she encouraging to
you and make you feel
comfortable on that stage?
>> MACHADO: She made everyone --
She was like Jackie, so
encouraging.
"Baby, you can come here anytime
you want."
And she encouraged everyone.
And there, of course, was
Lanford Wilson, Sam Shepard --
>> MUSTO: Harvey Fierstein.
>> MACHADO: Oh, I met
Harvey Fierstein when he
was 16, when he did
"American Cleopatra."
And --
>> HASKINS: What was that?
>> MACHADO: That was a
Jackie Curtis play directed by
Harvey Tavel.
And they couldn't find this
person to do this 10-minute
monologue.
And Harvey Tavel was a
schoolteacher at, I think,
New Lafayette, and there was
this precocious student that had
personality...
[ As Fierstein ]...and pizzazz.
And he would tell his mother
he's going to do homework at
someone else's house, come, take
the subway into do a 10-minute
monologue, and then go back, I
think, the part of Brooklyn he
was from.
>> MUSTO: Now that we're all
still here, is there any
survivors still -- so many
people are gone -- or is there a
surreal feeling of "I should
embrace life.
This is beyond belief that I
keep going."
>> MACHADO: Oh, well, as a
surviving dinosaur, I do talk to
these younger people, and when I
say, "Warhol," they say, "Warhol
who?"
>> HASKINS: Oh, no.
I had students from all over the
world, and they wanted to know,
"Oh, tell us more about
Andy Warhol.
Talk about Andy Warhol."
I invited you to my class, but
going back to you didn't want to
speak ill of the dead, he
wouldn't come.
Warhol is celebrated.
That's why it's so important to
talk about those things.
>> MACHADO: With the
international students.
The local people don't.
But Andy Warhol did a great
service to the community,
because he did make Jackie,
Candy, and Holly superstars, and
that crossed boundaries and that
inspired future generations.
>> MUSTO: But what do you feel
your role is now?
To educate or just to enjoy your
life?
>> MACHADO: Well, I'm still
wandering through and falling
head over heel in the rabbit
hole.
And I just am saying yes to
being on panels and so forth and
so on.
>> MUSTO: What gender do you
consider yourself?
>> MACHADO: I was having a
little conversation with a queen
of my circle and I was talking
about drag queens.
And I noticed some younger
people near me, and they said,
"Sir, do you know, how offensive
that term, drag queen, is to
us?"
And there's a terminology -- I'm
not quite -- There's cis.
"They," apparently, is being
moved on to "I."
>> MUSTO: I'm "they," 'cause I'm
gaining weight, so I'm becoming
"they."
Cis is if you're born the same
gender you stick with.
>> MACHADO: Oh!
Is that what it means?
Oh.
>> HASKINS: And that's me.
>> MACHADO: I need a college
course.
>> MUSTO: We're boring old cis
people.
>> HASKINS: All right.
All right.
[ Laughter ]
Agosto, it is such a pleasure to
have you here at "Theater Talk."
>> MUSTO: Yes, thank you for
coming.
>> MACHADO: Oh, such a treat.
>> MUSTO: And you are talented.
>> MACHADO: Oh, well --
>> MUSTO: Tut-tut-tut-tut.
You're talented.
>> HASKINS: Agosto...
Michael Musto, as always,
heaven.
>> MUSTO: My favorite cis
person.
[ Laughter ]
>> HASKINS: Our thanks to the
friends of "Theater Talk" for
their significant contribution
to this production.
>> Announcer: We welcome your
questions or comments for
"Theater Talk."
Thank you.
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