TRUST ME I KNOW WHAT I'm DOING

Hi. My name is Adi Roy. I'm an actor, and I play Aladdin in Disney's Aladdin on Broadway. And you're listening to Trust Me, I Know What I'm Doing.

My name is Abhay Dandekar, and I share conversations with talented and interesting individuals linked to the global Indian and South Asian community. It's informal and informative, adding insights to our evolving cultural expressions, where each person can proudly say trust me, I know what I'm doing. Hi, everyone. On this episode of Trust Me, I Know What I'm Doing, we share a conversation with Broadway lead actor, Adi Roy. Stay tuned.

Once again, thank you for taking the time and effort to listen or watch. I totally appreciate you engaging with me on Trust Me, I Know What I'm Doing and for sharing this with your friends and family. And if you're enjoying these, please take a moment and share a kind rating, subscribe, and submit a review wherever you might be getting this right now. So I've always loved music, and I've always enjoyed great acting performances. When I was growing up, my parents exposed us to Hindi films, and we had our fair share of rented videos from the Indian grocery store.

But since all 4 grandparents were close by, Marathi theater and especially musical theater was pretty prominent in my house. And when I was in 4th grade, my teacher was a big musical theater buff, and we took field trips to go see Evita and Sweeney Todd back in the day. And then about 8 years ago when Hamilton opened up in LA and after the kids had memorized just about every song, we watched and marveled and took my parents to go see the hit Broadway show. So as you can tell, I like musicals and theater of any variety, and I've always wondered what actors on Broadway go through. What motivates them, and what helps them build relationships to cultivate trust?

So it was wonderful to share a conversation with Adi Roy, lead actor for the hit Broadway musical Aladdin. Adi was born in Singapore and grew up mostly in New Jersey. He had pursued acting as a teen, and when he was a drama student at NYU, he landed his 1st Broadway role in Jagged Little Pill based on the music of Alanis Morissette. Adi next joined the cast of Aladdin as the lead role on its North American tour through over 63 cities. And this past summer, Adi started his run as Prince Ali in the lead role for Aladdin on Broadway in New York.

We had a chance to catch up and talk about actor life, about auditioning for the next big thing versus being content, and even some Alanis Morissette was reviewed too. But we started out because I was just curious about it by going over his usual pre show routine. I think, in general, it it has changed a lot in my few years of of working professionally. But I think, in general, I I tend to like to start my day kind of late. I I sleep in a lot.

I think sleep is a a big a big thing for me. And then, you know, I'll try to try to hit the gym, especially being on stage and just to vest on. You have that pressure to kind of maintain your body a little bit a little bit more than you might want to. And so I try to hit the gym, and then the rest of the day is kind of open to whatever I wanna do. Like, if I wanna go to the park, read some read some books, or go hang out with some friends, like, I have a little bit of time in the afternoon to kind of fill up with whatever I want, even if that's just like watching TV at home.

And then I get to the theater about, an hour before the show starts, and that's where the real kind of warm up begins. Like, I warm up my voice, I warm up my body, and put on my makeup, put on my costume, and, just get into the mindset of Aladdin. And then we put on the show. Yeah. Do you find that, especially as you get more reps in for this particular production, but any of the shows that you've been in, that the the preparation, as you mentioned, it evolves a little bit.

But has that also gone with an evolution of perhaps what your own personality or character is? Have have you are you always a little bit more on the extroverted or introverted side? And and does that change perhaps in in the sort of lead up to the preshow? Yeah. A 100%.

I think I've done shows with varying, I guess, involvement during the show. Yeah. Aladdin, I've I've had the opportunity and pleasure to be on stage for basically the whole time. I think I'm off stage for 10, 15 minutes in the whole show. And so because of that, like, I'm using my body a lot.

I'm using my voice a lot. So I have to be mindful of of kind of how I'm using my voice outside of the show. I am a pretty extroverted person, so I like hanging out with friends. I like going to parties. And so when when that happens, you know, you don't wanna be speaking over loud music.

You don't wanna be like screaming at your friends during the day. So you just gotta be more mindful of that. And and also, you know, hydration is a big thing as well. So drinking a lot of water, especially during the show, like I'm sweating buckets during the show. So you gotta make sure you you get the water in as well.

Do you have to get your you have to keep your towel game pretty pretty active during the show. I have a I have a wonderful dresser, Kayla, that helps me. Like, she's always backstage. As soon as I get off stage, she hands me my towel and my water bottle Right. Every time.

So, she she's got it down to a science. I'm sure I'm sure people who, you know, they might be like, oh, man. It's a regular day. I got a bike to work and I sweat a lot, but whole different whole different ballgame when it comes to trying to make sure that you maintain that, you know, to, on on stage. For you, like, has that practice part really, really resonated quite a bit?

Meaning that, like, you know, you take the practice and the rehearsal and the lead up to all of this, you know, pretty seriously. And for that matter, do you do you prepare any differently now than perhaps when you first started? Yeah, for sure. I think when I first started, again, it it is like such an involved show for me that, like, everything was daunting to me. Like, I was worried about every little aspect of the show.

So I was if I wasn't in rehearsals we we did rehearsals from, like, 9 to 5 every day, so it was, like, basically a job, for 5 and a half weeks before I started this. And then in that rehearsal time, like, I was constantly even if we're on a break, I was constantly working at it, working at it, working at it. And then when I would go home, when we're supposed to be resting, I would be rehearsing the dances, rehearsing the scenes, rehearsing the songs. And so it was kind of like a constant process for that five and a half weeks. But now it's definitely eased up.

I've got almost, like, 600 shows down on my belt now. Yeah. And so I have, like, a little cheat sheet paper that I have on my dressing room station. If I'm ever kind of worried about getting into the world of Aladdin, getting into the mindset, I'll look at that cheat sheet paper. It has intentions during each song, during each scene.

And so remind me of that, and then you can kind of use the your physical emotion during the show and during that day to kind of color the rest of the performance, from there, I think. Let me ask you this because, you know, you were in the North American production, and then you made the transition to the Broadway production. Is there some sort of switch that had to go off? Did you have to make some sort of transition or transformation in going even though you had the experience, but now sort of like taking that to Broadway with a different team and, you know, a little bit different mindset. Was there some sort of transition or change that you had to make?

I think so. I I don't know if it would be that noticeable to audience members, like, if they had seen the North American tour and they see me on Broadway. I, personally, I've worked with the director a lot about getting more mature and getting to be a different, like, an older Aladdin. I mean, the North American tour, like, I I joined when I was 20 years old, and now I'm 22. And so I I have grown up a lot.

Like, going through 63 different cities in a year and a half kind of, it did help me grow up. It made me realize things about myself and about, Aladdin and about, you know, the world. And so it helps me become a more mature person. And so now, because I have that experience, I was able to kind of change my Aladdin a little bit to be that kind of more mature character, less childlike. Yeah.

You have to have sort of that youth and exuberance on stage. But as an actor and as a performer, how would you say you know, how would you describe or define that maturity if you were having a conversation with 20 year old Adi right now versus 22 year old Adi? You know, what what would you say have been the the biggest sort of transformations? Oh, that's a good question. I think I personally know a little bit more about what makes me enjoy life and what doesn't.

Yeah. Like, I I feel a little less I'm a big people pleaser, so that was a big thing in my in my life, at that point. So I think I've put a less still am. You can't really fully get rid of that that part of yourself. Sure.

Yeah. But I I put less, I guess, concentration on pleasing others, and I focus on myself a little bit more. And that helps me be more in my body, helps me be more confident on stage. And one thing I noticed, I got to see the the Broadway show before I took over. And I just noticed that everyone on that stage has so much swag.

I know it's like a a colloquial term, but that was the best way I could describe it to my castmates. And, I just try to have half as much swag as they do on stage. You know, the production team, I'm assuming, and and I can sense that, especially from successful productions, become a family. And so for you, as you're as you get to know people, as it becomes more of a family, and and as you have this kind of mutual respect and admiration for each other, does that culture, does that tone, does that atmosphere and environment, especially for someone who has grown and matured, maybe had a little you know, taken a little bit more time with some patients and not necessarily paying attention to, you know, people pleasing and all that, Is that chemistry that you've built up, is that important to particularly unlock instinct, as a as a part of this as opposed to just pure and raw talent? I think so.

I I I'm a 100% believer in, like, the relationships you have on stage are kind of built on the relationships you have off stage as well. Yeah. And again, I'm an extroverted person. Like, I'm I I love hanging out with people. I love getting to know people.

That's kind of how I draw my energy. So I like to make the effort to to get to know my castmates. I I had that fam like, I mean, especially on tour, when you're traveling, working, hanging out with the same people for the last, like, year and a half, like, you become a family, like, a real real family. You know, you have the people you don't quite like. You have the people you love.

But there's still always that mutual love, for each other. But now that, like, you're on Broadway and and everyone kind of has their own separate lives, like, there is the ability to kind of lose that familial bond. But I personally know that I I work better on stage if I have those off stage relationships. And so I love kind of I have loved getting to know these people over the last, like, 3 months that I've been here. And I I think we have gotten to a place where we're kind of family, and we we are friends outside of work as well, which is which is great.

It's needed, I think. I imagine that that makes it that much easier again for, like, you to just be you and allow for allow for that instinct and natural ability to, in a way, with in a such a structured and very, very manicured and heavily directed set of skills that you have to perform. And yet, you know, there are always little nuances to it, I imagine, where your instinct and your experience then come through. And maybe maybe it's easier when it's with people you know and that you you sort of like have that that familiar relationship with. 100%.

100%. 100%. And, like, the audience might not see it, but, like, we're having fun on stage. And and since we've built those those bonds, like, we'll we'll do something funny just for 1 person on stage, but no one else will understand what it was. Yeah.

It's just like the small little moments you have with each other that kind of make make the the performance that much more fun. How do you deal how do you deal with mistakes and and nuances that sometimes either are super obvious to the audience and things that you're just like, oh, boy, that really went wrong. And maybe if only the cast and the directors know it and the production team knows it. But how do you deal with that a little bit differently perhaps than when you first started out? I think I have learned a little bit.

I think when I started, there'd be a few times when I'd forget a line and just completely blank. Yeah. But I feel, knock on wood, that I've gotten a little better at kind of bridging the gap between a blank mind and and figuring out where to go after that, especially knowing the show and knowing where it has to go now. You can figure out some version of a sentence that brings you to the next line. Yeah.

But I think it's you know, you you have to trust your your castmates as well. Like, when when you make a mistake, sometimes they'll have to pick up the slack and and, you know, they'll you'll talk about it off stage. You'll be like, hey. Why'd you do that to me, bro? Right.

But like, it happens. It's it's live theater, and and mistakes will happen. But sometimes you just gotta laugh it off and and keep going because the worst part is if if you, like, just shut down and and can't get through the show. Right. Right.

That would, you know, I'm I'm sure be, you know, not the most memorable of moments. You're listening to Trust Me. I Know What I'm Doing. After a quick break, let's come back to our conversation with Adi Roy. Stay tuned.

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You're listening to Trust Me, I Know What I'm Doing. Let's rejoin our conversation now with Adi Roy. I'm curious, like, from your previous experiences from tag it little pill, are are there elements of performance or techniques or or lessons and learnings from those previous experiences that that you definitely hang on to and that have actually accelerated that kind of trust that you've built for yourself and with your team on a lap? 100%. During Jagged, I I feel like I tend to say that I don't remember a lot of my time with Jagged just because it was a whirlwind time for my life.

Yeah. I had been plucked out of college to come beyond Broadway, and that in itself was a a crazy time for me. I was still living in my college dorm room while commuting to work. Right. So I went to NYU.

Yeah. And so just even that was crazy. But it was, like, 2 months of of being on cloud 9. So I I feel like I didn't remember too much of it. Like, I was just living in the the happiness of of being on Broadway, being where I've wanted to be for so long.

Right. But I think I I have learned a lot in terms of the craft. I I think I was so granular about things back then. Like, I wanted to make it perfect for myself in my mind, but I don't think it was quite getting perceived in the audience that way. And so I've learned that, especially with theater, you have to work for the entire theater.

You have to do things that allow the entire theater to come into the story and and believe the story. Whereas with, I guess, like film and TV, which I was studying at, at college, it's kind of more granular. It's kind of even like a twitch of the eye will, you know, change the perception of of the scene. So I had to let go of all that and had to to make sure that I'm bringing everyone else into my world as well, which is a lot of, like, actor talk for just being more more open, being more But, you know, it's actor talk, and yet if you really if you think about this in perfecting the craft and all the little techniques that you develop, is it better in fact to have more breadth of experiences because you just see a diversity of ways that people deal with somewhat of the same thing, whether that's letting go of some of these the attention to those small details and being granular versus, you know, kinda living in the moment and and making sure that you're engaged in present. Is it better to have that sort of breadth of experiences or to perfect the vertical?

Right? To sort of say that, like, nope. I I need to, like, take this technique and and just iterate on it until it's it's perfect. How do you approach that? You know, because, again, like, that that breadth of experience is not always possible when you're trying to really, you know, find a way to perfect a particular role.

Yeah. I think I think there's room for both. I I personally feel like the more you do things that are out of your comfort zone, the more you'll get better overall. I feel like the the way I I pursued Aladdin was very different from the way I I pursued Jagged Little Pill. The way I I saw Jagged Little Pill was very kind of everything is very intellectual, and and I have to give the service that it requires because it dealt with such such heavy topics.

So I wanted it to be very, very grounded, very nuanced, and sometimes that might not have shown. But for Aladdin, like, you want the spectacle. You want to have that magic. You want to be grandeur, I guess. And so there is 2 very different techniques.

Like, I'm I'm trying to become more open, more big. And so I would say I like to pursue the breadth of kind of experiences, and you get to see what works for you and what doesn't. Especially, like, what works for bringing the audience into you and what doesn't or what might might be a little bit more murky. Obviously, like, you should still work on everything. I think that makes you a well rounded actor.

But, you know, if you have something that you you feel that you're good at, then you can become a one trick pony. Yeah. Why not? Right? I mean, like, why not skill?

Why not? Just you have to use it. And and I'm sure that, like, you find that with more exposure and experience, you just, you know, perfect the art of taking each of those like, pieces of each of those little skills and and marrying it to to others. I like how you mentioned that the you know, you're trying to bring the audience in with you. And that that's something that sort of, you know, breaks down that that fourth wall.

Right? And and allows allows for people to to really step into to your characters. When for you personally, I mean, I know you were born in Singapore. You moved around a lot, settled in New Jersey, and kind of had some formative time there. Has that ability to kind of change directions and really get good at, in fact, being around different groups of people and learning in different environments and kind of getting comfortable in different environments.

How how is that translated to making you a better artist and making you a better performer? That's a good question. I don't know if I've ever fully, like, thought about it that way, but it's, it's given me some new perspective. Yeah. I think I think, you know, again, acting is about the relationships you you have on stage.

And if those are real relationships, they will read real for the audience. And so I think because I've moved around, because I've had to find my footing in in very many different places. I think everyone kind of has to, even even if it's just like you live one place and you're going to college somewhere else. Like, you have to still figure out how to build a life somewhere else. So, the more you do it, the better you get at it.

So I think you are more easily adaptable if you you go through those experiences. You're easier, it's easier to kind of figure out how to build real relationships. And that's, I feel like, paramount to being an actor. You you know, being an actor and having a a great solid run with a production team and now having 2 different Broadway experiences, I I've heard other actors, you know, that I've had conversations with talking about that they're just no matter what, even if they're in the same spot for for 3 years, they they do feel internally like they're always auditioning or they're always on display and thinking about sort of like, hey. You know what?

Yes. Who is it out there that that's watching me? And and so in in a way, is it hard to find balance between feeling comfortable with the production and then also that sort of idea of ambition and feeling complacent and restless and, you know, securing the next job or the next gig? And, you know, how have you been able to sort of marry both of those together? That's a good question.

I think as you probably have heard, like, a lot of people think that acting is the jobs that we do, but, like, some actors believe that the real job of acting is the audition part of it. Like, you're constantly auditioning. And so if you if you treat the auditioning as the part of it as the job and then the actual acting as kind of the the result of the job, like, the the the gift that you receive for getting the job. Yeah. I feel like that helps kind of bridge the gap of, like, feeling complacent and but also feeling grateful and also feeling like you still have to, you know, you you want to to be ambitious.

You want to to find things that, excite you creatively. And so I feel like thinking of it that way, I've heard other actors talk about it that way, and that kind of has helped me not feel like, oh, man. I I don't wanna be complacent. Like, I don't wanna just, you know, let go of everything. But, yeah, it reminds you to be grateful about it, and, also, it's a gift that you get to get to do a job.

Yeah. I love that. I mean, I I do think that there's some moments where you really, really want to be grateful and have gratitude for it, and yet the the craft that you're perfecting perhaps is when you're in the spotlight and you're constantly auditioning in that way. For for you, does that mean that it's and maybe it doesn't, but because cause I don't wanna assume that. But it does it mean that it's sometimes very hard to find a place of being content?

Yeah. That's the that's the actor's age old question. Right. I feel everyone I mean, it's not even just actors. I think everyone wants Sure.

Like, want something else. Even if you have it, you want something else. And especially with acting where it's so glamorized, it's like, okay. Like, I want I want the next thing. I want the next thing.

But then you have to remind yourself, like, I for me personally, I'm 22 playing the lead role in a Broadway show. Like, I don't think that many people can say that. And so you have to kind of pinch yourself. Like, I dreamed about this life just years ago, and here I am years later doing it. And so, yes and no.

I feel like everyone will always feel discontented with where they are. But as long as you remain grateful, as long as you tell yourself, remind yourself about these these wonderful things, like or think about your previous self who is sitting in your bedroom, childhood bedroom, dreaming of being on Broadway. You kind of Yeah. You get that that excitement. You get that, contentment again.

I'm just like I'm starting to smile just thinking about it. Like, that that was a good good question for me. Personally, like, I I I that that healed my heart a little bit. We're all about healing hearts. That's that's that's true.

You're listening to Trust Me. I Know What I'm Doing. After a quick break, let's come back to our conversation with Adi Roy. Stay tuned. Every story told is a lesson learned, and every lesson learned is a story waiting to be told.

I'm Abhay Dandekar, and I share conversations with global Indians and South Asians so everyone can say, trust me. I know what I'm doing. New episodes weekly wherever you listen to your podcasts. Hi. This is Vidya Balan, and you're listening to Trust Me.

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Hi. I'm Lilly Singh, and you're listening to Trust Me, I Know What I'm Doing. Hi there. I'm Abhay Dandekar, and you're listening to Trust Me, I Know What I'm Doing. Let's rejoin our conversation now with Broadway actor Adi Roy.

I wanna ask you this because, again, this is something that, particularly given your background, I'm very curious about. When when you're reflecting on the sort of professional journey and your professional identity, right, This sort of, like, identity formation for you as a performer, as an artist. Do you consider yourself an actor, an artist, or performer, or is it, important to have the South Asian American actor or South Asian American or Indian American actor, performer, artist label on that? Or or for that matter, does it matter? I think it definitely matters.

I mean, I think that just looking at me, you'll you'll realize that I am a South Indian or South Asian actor. But I think, yes, it is it is good to remind people that you are South Asian. You are someone that is a minority in this country that is taking up this this lead role in in a a musical because it it's a point of of representation that, like, some people don't have, haven't had. I know that I found my representation growing up in, Bollywood and Tollywood movies. My parents would sit down.

Like, that was our our dinner time kind of conversation. Instead of conversation, we would sit down and watch a movie, altogether. And so that kind of, like, brought me up because there weren't really too many South Asian actors in English movies. Like, there there just weren't. So we couldn't really bond on that that fact.

So because I I can understand their languages, I I would just sit down and watch these Bollywood and Tollywood movies. Tollywood being Telugu. My mom my mom is from, Andhra, so she Yep. She speaks Telugu. So we really love love those, those Tollywood movies.

Well, I mean and in watching Bollywood and watching Tollywood and now thinking about this, it's certainly you know, your your craft and your skill in playing a role has to be obviously, if there are cultural aspects of it or if there are things written in there that that blend in who you are and make it easier to perform that that particular role. And yet, I'm I'm sure in in some ways, kind of like being a strong actor or performer or artist is in a way agnostic to, you know, to that as well. But in a sense, like, is it important for you that there's a you know, whether people call it a responsibility or people call it, like, representation. Like, you know, is that is that something you want to be front and center for your work, or or is it sort of a sidecar, if you will? And and it could be either.

There isn't a right answer to that one, but I'm just curious, like, you know, especially in a place like Broadway that hasn't been, you know, penetrated a lot by particularly by Indian American or South Asian American artists. How does that that hit you? I think I've always thought of it as I wanna be I want to be known for my work and for my my background. Yeah. So as long as it's I have this weird kind of conflict with that because I I I want it to be not the fact that I am getting work that makes me that good actor for this background.

I want it to be the work that I'm giving and the work that I'm producing, to define me as a good actor. And then also, like, hey. This is a a person that is from India, and he's doing this wonderful job out here in America. Yeah. I think it's it's definitely it is good to have those people as points of representation.

It's it's humbling to think that I might be one of them because I I I feel like I feel like, you know, I'm so early on in my career that it it's, it's a it's an honor to to be to be that. I mentioned that, you know, Broadway being, sort of a a tougher nut to crack, and and it is a little bit more challenging of a place to penetrate when it comes to South Asian artists or performers. And why why do you think that that that is? And perhaps what needs to change to make that more of an accessible platform, an easier platform, or or one where, you know, those who are in places of power or places where the decisions get made can start reflecting on that a little bit and and make more opportunities perhaps for not just, South Asian or Indian Americans, but, you know, anyone out there. I think it's it's definitely, I think, a little bit of both sides.

I I feel like, yes, producers also have to they have to open more space, and I don't think that there has been a precedent for that in it's starting to change now. But before this, I feel as though there wasn't really a precedent for allowing minority actors to kind of take up spaces that are not defined specifically as that minority. Or but I think it's starting to change. I think there's more of an agnostic view of of acting. And as as more people in minority groups start taking up those roles, I think people will realize not only just the audience, but, like, the people behind the scenes will also realize, oh, this is this is possible.

Like, you don't have to just cast you don't have to cast just white people, basically. Yeah. Yeah. It can be it can be a minority actor as even if it's not specified for that. It it it's more, like, defined by the work and defined by the the performance, I guess.

I I mean and and as as someone who's emerging in their career and and a lot of this is blossoming for you, do you have designs on on that space, whether it's directing or producing or writing and and thinking a little bit about, like, wielding perhaps those, you know, decision making capabilities and and in the future sort of, like, being able to be at the place where, you know, yes, I I can actually be a part of that and and make those sort of things happen. Yeah. I'd I'd say so. I I haven't really dabbled in it too much. I have a bit of, I have a bit of fear actually of being, of being kind of in that directorial or even, like, writing.

But I've I've been open to to producing stuff for for a while. I mean, on Jagged, we had some South Asian producers, and and I kind of really admired having a South Asian producer. I don't think I've ever heard of that, ever seen that. And and just even seeing that point of representation that kind of opened a door for me myself. Like, I was like, okay.

I don't see why I can't do this as well. You know what I mean? So, why not? Why not? And so I think so.

I'm I'm gonna keep the door open. Yeah. I'm gonna follow it where where it takes me. But as of right now, I don't have anything stirring yet. Yeah.

Yet being the keyword. Right? Yet. Yeah. You know?

And and so a couple of, you know, more rapid fire ones. Talk to me about, your favorite Alanis Morissette song. Oh my gosh. I would probably have to say Head Over Feet. That was the one I had the most fun on.

I know ironic is probably the the cliche answer, and I did have a lot of fun singing ironic. But head to her feet, we had a swing set in the the Broadway production that we were, like, doing tricks off of while singing that song, and that was just, like, the most fun I've had, I think, in a show. Yeah. Yeah. No.

No. No. That's I I I'm sure everyone has their own, like, answer for that. I actually like that. There's I don't know the title of it, but there's a song where she's just saying she's it's a lot about gratitude, and she's saying thank you.

And there's a thank you India part in one of the songs I forget. So, it's called thank you, I think. I is that it? Yeah. Alright.

I think so. I gotta I gotta step up my Atlantis game here. I can't believe I'm not even knowing the song. How about what's your favorite Disney movie? Oh, I'd have to say Hunchback of Notre Dame.

Oh, wow. Okay. That's a that was a wild card, for sure. And it is my favorite one of my favorite stage plays as well. So that kind of colors it as well.

Yeah. No. And and was that something that you watched as a as a kid growing up? Or Yeah. I'd say so.

Yeah. Yeah. I I watched both the the bootleg, sorry, of the of the stage version and the the animated feature countless times. Nice. Nice.

Well, listen. We'll we'll get you out of here on this. I mean, I know that, audiences are are being, you know, thrilled particularly with your performances. But for those who are now getting to see you for the first time and they're you're they're just actually, getting introduced to you, What do you want them to remember about you the most? How do you want them to feel particularly after after seeing you for the first time?

I think the greatest compliment an actor in general can can receive is that that someone felt something, that someone felt a real experience that you're feeling on stage, and and they felt that experience, internalized it, and and kind of had that experience with you. And if you feel something while coming to Aladdin, I I hope that so that's something I can do for you. And hopefully, you take away that this this story is while it's it's a lot of glitz and glamour, it's also like a a very grounded human story, especially with Aladdin himself. He kind of wants to he's someone who just wants to better himself at the end at the end of the day. And that's something it's a human experience that everyone can relate to.

And and if you buy into that that idea, then I I think you'll go on a wonderful journey with us. Well, I know lots of people are are having that experience, relating to you and your performance and and really going on that journey and hopefully for many, many more journeys. Adi, thank you so much. This was really a treat to to share our conversation, and I hope we can catch up with you down the road. Yes.

Wonderful. Thank you so much. Thanks so much, Adi. And if you're in New York, please check out Adi as Aladdin at the New Amsterdam Theatre. Big shout out to Sonali on her first birthday, and to all you theater kids out there.

Till next time. I'm Abhay Dandekar.