'ta-da!' Off Broadway at the Greenwich House Theater

"ta-da!" is a new off-Broadway production, featuring collection of stories and jokes presented in 80 minutes with 2,000 power point slides presented. Hear about it from performer Josh Sharp, who leads the show, and director Sam Pinkleton of "Oh, Mary!"

Alison Stewart: This is All Of It. I'm Alison Stewart, live from the WNYC studios in Soho. Thank you for sharing part of your day with us. I'm really grateful that you're here. On today's show, we'll talk with Robin Givhan about her new book, Make It Ours: Crashing the Gates of Culture with Virgil Abloh. New York Times food columnist Melissa Clark joins us to talk about how to make the most of produce during this harvesting season, and we'll continue our week-long Summer in the City series with a conversation about things to do in Brooklyn. That's the plan, so let's get this started with Josh Sharp and Sam Pinkleton. [music]

The sign outside of Josh Sharp's show says ta-da!. In the show, ta-da! refers to Josh's childhood as a magician. It also refers to his euphemism for being gay. It also refers to his lovely mom who beat the medical odd and survived cancer for longer than expected. Or it may refer to the 2000 PowerPoint slides he uses to tell us about all of the above. That's right. The show features 200 slides that are funny, intricately designed, make a statement, and tell us the story of Josh Sharp. Sharp is known in the downtown comedy scene as part of the Upright Citizens Brigade and, of course, was unforgettable in the Funny or Die series, Jared & Ivanka. Ta-da! is at the Greenwich House Theater until August 23rd, and it was directed by Sam Pinkleton. Yes, the Sam Pinkleton who won a Tony for directing Oh, Mary! Sam and Josh, welcome.

Josh Sharp: Oh, my God. Thank you for having us. This is an honor.

Sam Pinkleton: It's so exciting to be here.

Josh Sharp: My only disappointment is that we aren't sharing the interview with the fresh produce person. I have so many questions.

Alison Stewart: I have a lot of questions for Melissa. Just write them down.

Josh Sharp: I will. I need to know what to be doing with my vegetables.

Alison Stewart: When did you decide comedy was for you, Josh?

Josh Sharp: I feel like in high school, I was a social drifter who mostly was like, "I can make everybody laugh so I can get along with all the different groups," but did not think it was a career path. Then in college became one of those people who was down bad for improv. That's what led me to move to New York because we would go up in the summers and go to the Upright Citizens Brigade theater. That was what made me go like, "I want to do this."

Alison Stewart: Sam, when did you decide that directing was for you?

Sam Pinkleton: Oh, goodness.

Josh Sharp: Have you decided yet?

Sam Pinkleton: I'm trying it out. This is my first show. I was a kid who was really saved by theater. Capital S saved. I went to an extremely cool public arts high school in Virginia, and from being a teenager, loved to choreograph, loved to run a room, loved to be in charge. From the beginning of my adult life, I really have been like, "I just want to be a theater director." It's so nerdy, but I've always loved it, and it's all I've ever wanted to do.

Josh Sharp: I'm so jealous. My country bumpkin high school didn't have a theater program.

Alison Stewart: Where'd you go to school?

Josh Sharp: In this little town, Morganton, North Carolina, that's actually great, but in the foothills of the mountains. In third grade, I was in Oliver Twist and Best Christmas Pageant Ever, and also Peter Pan. That was a big year. All in third grade.

Sam Pinkleton: Wow. What a star.

Josh Sharp: Peter Pan was one of those where this married couple comes through town, and they roll up on a Monday and then hold auditions, and then you all pay, and there's three days of rehearsal. Then Friday, you put up the show, and she is Peter, and he's the director, and then they go to the next town. Isn't that incredible? We should do that.

Sam Pinkleton: That's our next show.

Josh Sharp: We should do that business now.

Alison Stewart: It's so interesting because when you're a director, Sam, you have to make a lot of decisions. That's what directors have to do. What was a big decision you had to make for ta-da!?

Sam Pinkleton: Casting was a nightmare, first of all, but we found our girl.

Josh Sharp: We really wanted Michael Urie to tell the deeply personal stories of my life, but he's tech unveil.

Sam Pinkleton: I think one of the gifts of working with Josh and working on a solo comedy show is Josh has been making hilarious things on his own for years and without my help or the help of a director. Having this opportunity to do it at the Greenwich House and bring in designers and collaborators to take this person's absolutely singular brain and blow it out in four dimensions into a night at the theater, yes, directing is about making decisions, but it also really to me, is about bringing the right people together and setting them up to make their best work. That's been so satisfying.

Josh Sharp: And you file down my corns.

Sam Pinkleton: We said we weren't going to talk about that.

Josh Sharp: You file down my corns. And that's a big part of what directing is. Performing is mostly developing corns.

Alison Stewart: During the show, you make a point, Josh, that what you're doing is different than stand-up. What makes it different?

Josh Sharp: I love stand-up quite legitimately and even love some of the great stand-up presented as theater shows, where you are in a gorgeous theater watching a comedian do their art for 80 minutes. I was with this show like, "I don't want to do the lazy version where it's just me talking into a mic." I wanted every moment you to see that I've had to memorize 2,000 cues that I've worked deeply too hard on this for you.

I do think that it's stand-up, but it's housed in this device that makes me hustle harder than you think I should have to. Then with Sam and building this version of the show, we've just been able to really take a warm bath in some of the theater elements of one, just hiring all these designers, like you said, where we hired a genius to reformat all our slides so that these things that I made in PowerPoint in my bedroom now look stunty.

Then also to just understand that this version of the audience is down for some of the storytelling. There's a part of the show that is just ram, bam, joke, joke, joke and then there's parts where I feel like you can tell a story and be like, "I trust you're with me, and we can be on this together and be in this room together and treat it like theater re." You know what I mean? Getting to do both at once has been very fun.

Alison Stewart: How does that impact you that it's not a stand-up performance? That it's just a performance?

Sam Pinkleton: I think every show I make comes with its own weird, specific set of rules, which I love. What keeps me interested is I have to start from scratch. I think a secret of Josh and this show is that it has a big beating heart.

Josh Sharp: Bleep that quick.

Sam Pinkleton: I'm so sorry to expose you.

Josh Sharp: Don't let anyone know that. Oh, God.

Sam Pinkleton: It is a really special thing that theater can do. I'm feeling so cheesy today, y'all, but it's a thing that theater can do to be like, "Hey, everybody, we're in this room together for a very short amount of time, much like our time on earth, and we've all been through a lot." We've never really talked about this as stand-up. We've always talked about it as theater or as a show, as a thing for people to experience together. I work with a lot of very funny people, but I never think about it as, "I'm helping this person with their stand-up."

Josh Sharp: Then it's fun. The part we have talked about is though we are building a theater piece, one, so much of the content is stand-up, and also there's so much just of the stand-up POV you can bring to it in a way that I think feels exciting because I fully can see all of your faces. Not that actors aren't always playing to the energy of the room, but there's no fourth wall. I'm looking at you in the eyes, and I can really feel how people are receiving it and play off that energy in a way that feels very--

One of the joys of stand-up is because you're so used to rolling up to whatever venue you're rolling up to and playing what's there that you have to just be like a witch reading energies. You know what I mean? Even though this is a show that's at the same well-air-conditioned theater, I'll have you know every night that it's like I can be very present as far as how are you, 199 people feeling? Not that the show changes that much, but there is this-

Alison Stewart: Interesting

Josh Sharp: -communication between us that I think is what stand-up is rooted on is, I am in the room with you and I can feed off of you.

Sam Pinkleton: You're taking care of us. You really take care of that room.

Josh Sharp: I have to file their corns. That's how it works. [laughs] I agree. It's fun both with the comedy. What we were talking about the other night because there's things where we're giving notes on timing, but sometimes it's very night to night, where it's like "This bit was a little longer tonight," and it's like, "Yes, they were really vibing with it."

Alison Stewart: I was going to ask.

Josh Sharp: I have to let them vibe with it.

Alison Stewart: You're in previews now. How do you decide you know what? That needs to be a little bit shorter, that needs to be a little bit longer. Or is it a night-by-night situation, Sam?

Sam Pinkleton: Josh has this brain that only Josh has, and this experience as a comedian working the room, but to me, I do think that surprise is the engine of any good live performance, whether we're talking about a three-hour play or Beyonce, which this thing is neither of those things.

Josh Sharp: It's the third thing. It triangulates both of them.

Sam Pinkleton: It's the space in between the three-hour play and Beyoncé.

Josh Sharp: It's [unintelligible 00:09:46] distance to both. It is both similar and dissimilar in equal ways.

Sam Pinkleton: I think our job together in previews is really listening to the audience and making sure that we're taking them on a ride and that they're going on that ride with us, and that that's surprising. Some of that is technical, and a lot of that is ooey gooey alchemical nonsense, and it's fun and impossible to describe.

Josh Sharp: It's witchcraft.

Sam Pinkleton: Complete.

Josh Sharp: I'm fully very pro witchcraft, and so we're trying to do that in the space.

Alison Stewart: I'm talking to Josh Sharp and Sam Pinkleton. We're talking about Josh Sharp ta-da!. It's at the Greenwich House Theater on Barrow Street until August 23rd. You explained to the audience what is going to happen to them. Would you explain to our audience what happens? With the slides, what's going to happen in the show? Just so they get a sense of it.

Josh Sharp: Up top, we do several minutes on this where it's--

Alison Stewart: Hi, hello. Hey, welcome. Hi.

Josh Sharp: The first couple minutes is just an intensely choreographed series of greetings where I am nonsense babbling, but exactly on text to the words you're seeing behind me. That's mostly done to show you right off the bat, this is me, and I'm on it, and also to disorient you. We've always liked that the show starts, and you're like, "What the dang heck is going on??

Sam Pinkleton: How did this happen? Where am I?

Josh Sharp: Did your producer love the way I didn't curse? I'm thriving in this new, clean comedy space. Gosh, get me to the Midwest ASAP. Then we try to unpack it a little bit of the different ways we'll use it. To me, sometimes I think it's fun that, especially as the show goes on, you start to realize, "Oh, my brain can just take in both at once." There's times where I'm saying one thing and you're reading something else, and sometimes it's to underscore a point, or sometimes it's to make a joke that's in contrast to what I'm saying, or truly sometimes to just fill in gaps in my speech. I love now that I can shoot you a look and then press a slide that says "text", and you label what's going on.

Then other times, to me, it's playing with the expectation of what stand-up is, where this might feel like the cuff, but it's deeply scripted. Sometimes I just want the words to come up on the screen as I say them, particularly if I'm turning a phrase that I am taken by. I want you to know I chose these words for you to see them, and often it's just music. To me, a lot of comedy is making the funniest sounds, and then hopefully you put them in context, really that someone can understand it. There's a lot of it where it's just percussive, where I'm just like, "I think there's something funny about the rhythm of this speech, and I want to highlight that for you."

Alison Stewart: You also show the audience that your clicker's real.

Josh Sharp: Oh, yes. I give it to the audience and let them do it because I don't want anyone thinking some union stagehand is doing it for me. It is true. Sometimes I am wrong.

Sam Pinkleton: We're obsessed with not lying.

Josh Sharp: We're obsessed with not lying.

Sam Pinkleton: We're obsessed with the show really putting all of its cards on the table. Pardon the pun.

Josh Sharp: I'm doing this tightrope walk for you, and also, like we say, it's 2,000 slides.

Sam Pinkleton: It's real.

Josh Sharp: It's absolutely accurate. We're not lying. It's me doing it. I'm tightly tethered to my speech, and so if I make a mistake, I either have to cutely address it to you or somehow compensate on the fly to get there. Again, it feels very in the room.

Sam Pinkleton: You have to be in the room with it.

Josh Sharp: We're doing this, and it's only for you.

Alison Stewart: What do you consider the slides? Are they an assistant to Josh? Are they another person in the play?

Sam Pinkleton: Wow. What a great question. I think they are a scene partner in a way.

Josh Sharp: That's how I'm feeling.

Sam Pinkleton: I do think it's a two-person show, and one person is Josh and one person is the screen. It is this incredibly, I think often very beautiful thing of seeing things line up and contradict and oppose each other and disagree with each other as you would in a scene. Often, you mention this, but I do feel like sometimes the show feels like this exercise for your brain. It feels like your brain is getting this massage because you're getting information that is coming at you in two ways, aggressively. Sometimes that's really funny, and sometimes that is, to me, at least, unexpectedly quite moving.

Josh Sharp: It's fun to flex this part of your brain that I think once you do it, you're like, "I can't believe I can take in both these streams. Then we just play a lot with what do you do with it? I agree, it's a scene partner. We're really finessing a lot of the timing of when I say this, and then she-- I've just now decided that she's she.

Sam Pinkleton: She's she.

Josh Sharp: Clearly. She's she/they. Don't you feel like?

Sam Pinkleton: I do.

Josh Sharp: She's any and all, with respect, but I feel like [chuckles] a lot of times we're doing the timing of when I say this joke and then she chimes in with this slide. It's funny if you hold one second or whatever. I do think it's a two-person show between me and PowerPoint.

Alison Stewart: When you look at the PowerPoint, because you mentioned that you were an SAT tutor, was that hard to look at it when the grammar isn't right?

Josh Sharp: Is the grammar wrong in our show? Oh, God. No, it is often wrong. No, no, no. We wanted the slides to have POV. Also, I'm very into that this thing that's on its face feels very erudite and highbrow is so stupid. I want to be clear. It's so dumb. Both how we use it and the things it's often saying are dumb, dumb, dummy dumb. I think we wanted it to not feel like a TED Talk. Even though I understand a lot of this pitch sounds like I'm doing a TED Talk, it's so stupid and manic.

Sam Pinkleton: It's aggressively approachable, I think. It's so hard to explain the show to people, but I do think we have a mutual obsession of doing incredibly dumb things with absolute rigor. I think what you've done is the smartest thing I've ever seen and the stupidest thing I've ever seen, which is two things at once.

Josh Sharp: Also, because you brought it up, there's a story I tell about being a boy magician. Honestly, before I even was a magician, I was just obsessed with magic, and I would dress like a magician, and my parents said I would come into the room and just go, "ta-da!". I tell that story, and when I say ta-da!, I hit it and text comes up behind me that says, "ta-da!".

I would come in the room and go, "ta-da!". Then the slide says in parentheses, gay. That becomes nomenclature in the show, that anytime I say ta-da!, it's gay. That to me is funny because I can put an idea in your head--

Sam Pinkleton: Visually.

Josh Sharp: Visually, I can say what you are saying inside of your own brain using this thing that I don't have to say, and it gets a big laugh. It's funny to be able to have this other thing that's doing jokes that I don't have to say, that I can cram in jokes in between my speech. Also, I'm addicted to jokes, so it helps us just pack in more-

Alison Stewart: That works out.

Josh Sharp: -jokes and then also helps us sometimes when the show does become a little more heart-led, it's nice to use it to label certain things. Like when we're telling the story of my mom, there's certain texts that just repeats again and again and again, because I want you to take in certain pieces of the information and be seeing it over and over visually while you're hearing it. It's been fun to explore as a device, but again, I want to underscore that it's dumb.

Sam Pinkleton: Deeply dumb.

Josh Sharp: Please come knowing you're getting smart and dumb in equal measure and leaning dumb more than smart.

Alison Stewart: We're talking about Josh Sharp ta-da!. It's at the Greenwich House Theater on Barrow Street until August 23rd. We're talking with Josh Sharp as well as director Sam Pinkleton. Did you start rehearsals for Josh's show after the Tony Awards?

Sam Pinkleton: [chuckles] Josh developed this material for a long time on his own, and then we've been talking about making a theatrical version now for about a year, but in earnest, we started rehearsal immediately after the Tony Awards, which was a week that-- I think of the Tony Awards as a diving accident. I have absolutely no recall of it.

Josh Sharp: You did hit your head pretty hard. Did you not know this?

Sam Pinkleton: When I was accepting the award.

Josh Sharp: Have you not seen the footage? The Tony actually falls on you.

Sam Pinkleton: They drop it onto your head. That's how you know you won. We started right after, and it's been an absolutely brilliant thing to spend time with.

Alison Stewart: It's amazing.

Josh Sharp: Can I put on record that Sam is deranged and complimentary? We did start directly after the Tonys. I didn't go to the ceremony. I went to the after parties. We were at the after party, sometimes sidebarring like, "Hey, I have an idea for a joke.

Sam Pinkleton: Planning the show.

Alison Stewart: Really?

Sam Pinkleton: At the Tony after party, for sure.

Josh Sharp: We had been in conversation about it for a while, and then rehearsals were when we really had the team in the room, but we truly were at the Carlyle being like, "What if this slide actually--"

Sam Pinkleton: That's how you make fun stuff. Stuff.

Josh Sharp: I really do think the point of being alive is to make fun projects with your friends. You know what I mean? Sorry to my therapist. I know he's listening. Work-life balance. Good G. I get it. Can you say G-O-D?

Alison Stewart: You can say it.

Josh Sharp: Good God. I got a thumbs up. It is fun to be friends who get to make stuff together.

Sam Pinkleton: You always say, you're like, "Can you believe we do this as our job?" I do think that's worth saying out loud. It's amazing. There's horrific things happening. We're making a comedy show.

Alison Stewart: You're making people happy.

Sam Pinkleton: I hope so.

Josh Sharp: I hope so, too. Practicing gratitude is I think good as a practice, but it's especially good when it's easy. When you mean it. When you actually are like, "I love that we get to do this." Then you have to take a warm bath in that.

Sam Pinkleton: We take making people happy very seriously.

Alison Stewart: What do you like about doing small theater? Off off Broadway theater. Because that's where Omari started in this little theater. Lucille Lortel Theatre, and then it went to Broadway, but you're back at Greenwich House doing Josh's great show. You've got a whole bunch of other stuff planned. You've also got Broadway planned. What is it that you like about--

Josh Sharp: Us? We're going? This is how I find out.

Alison Stewart: What do you like about small theater?

Sam Pinkleton: I like making theater and thinking of it as an experience of hospitality. I love thinking about every single person being welcomed into the room at whatever terms work for them. I find in smaller rooms that's sometimes just a little easier to do in a way that's authentic, but also what Josh said about being able to see every face in the room. That matters. It mattered when we were doing Oh, Mary! at the Lortel or doing this at the Greenwich House. That I can look around and actually see everybody's faces. I do think it's a big deal that people put their pants on and left their house and came to a room to be with strangers.

Josh Sharp: A well-air-conditioned room. I just want to say again. I know that's a big part of the sell.

Sam Pinkleton: I like and I think it's something that our show does very intentionally is reminds people that you're in a room together and you're not dead. I take that part of the assignment very seriously. I think working in smaller rooms and working off Broadway, you can just feel the specialness of we're all here together. Look around, you can see everybody's faces.

Josh Sharp: I agree. The Greenwich House in particular, is 199 people. It's enough people for there to be a palpable energy in the room. Even compared to other off-Broadway theaters that have a similar seat count, you're really in with each other, which plays great for comedy because you do want people just packed in. Comfortably, I'll have you know.

Alison Stewart: Drinks too.

Sam Pinkleton: That's right.

Josh Sharp: You better believe. Have a Cosmo before and after is how the artists intend-- Turin even. Sneak it in in a flask. Don't tell the Greenwich House I said that, but it's true. I can see everybody in a way you can't in other spaces. Last night, Sam came with his husband and didn't tell me, and was sitting back row balcony, and I could fully see them. I got off the stage and texted, "Your husband was here." He's like, "Wait, you knew?" I'm like, "Oh, honey, I can see every person in this theater. [crosstalk]

Alison Stewart: The show really touches on some emotional issues, so I can talk about that for just a second. About your mom, about coming out, things that were really significant to you. That seemed to have importance to you. First of all, why did you want to be so revealing about your life?

Josh Sharp: I think it's okay to say the thesis statement, which is that in the middle of the show, after 30 minutes of incredibly gay and crass material, I tell this story about how my mom, who passed away from ovarian cancer in 2010, in the last year of her life, made it her mission to gently bully me out of the closet before she passed away. One, it just does feel linked to the material I've done before in a weird way. Again, I'm talking about things I cannot say on air or else I will be--

Also, it's a part of this thing that we're doing with the slides where it's two at once. I want the show that has space for a certain type of material to also surprisingly, have space for another type of material. Also, frankly, I just love my mom and love that story. It's a true joy to tell it to people and explores this device we're using, like I'm saying. I think even at that point, it still has a lot of space for jokes and even many inappropriate jokes. It uses this thing to, one, allow you to take in two ideas at once and underscore some of the things I'm saying, which is connected to her story.

She passed away in a way that was so sad, but also, it was such a rad year we had together where she not only gently bullied me out of the closet and this doesn't come up in the show, but she just made it her mission to be like, "I'm going to truly use this time to deeply connect with a lot of people." My family and friends still all have stories of it that come out even years later, where they're like-

Alison Stewart: Oh, wow.

Josh Sharp: "Did you know she told me this and that?" I'm like, "She did what?" It feels two at once, where it's such a sad story, and yet I feel such a sense of optimism and joy about it. I don't know. There's many answers, I guess, really. One is how it connects to the gross gay material that precedes it, but the other is how it just, I think allows you to feel two things at once, to be like, "Dang, that's sad," and also, "Dang, that sounds amazing."

Sam Pinkleton: I feel like getting to be the visitor on planet Josh, which I'm very lucky to be. I feel like I have fallen in love with your mom, who I never met.

Josh Sharp: Dude, you would have loved her.

Sam Pinkleton: That's so clear.

Josh Sharp: She ruled so hard.

Sam Pinkleton: I feel like, in a way, this format feels to me like the only way you ever could have told this story, which is so insane to say, because it is an incredibly bizarre format that I've never seen before of somebody in a manic PowerPoint. It feels like the most honest way to tell the story because the story has contradictions and complexities.

Alison Stewart: Being crass. Would you like to see this go to streaming?

Josh Sharp: Sure. Por que no?

Alison Stewart: Porque no.

Josh Sharp: Only after we've let her have a stage life. I actually mean this. If my agent's listening, take this down, but I do think it's such a theatrical piece that, of course, everybody wants something to live in that way. I really want people to feel what it's like to do this thing together in a room. For now, and maybe for a long time, I'm more just like, "I want to have people in this space with us feeling this thing together."

Sam Pinkleton: Going on the ride. It's a ride in the room. That's something that requires [crosstalk]

Josh Sharp: It's a ride in the room. If you came to me right now like, "You got to close early to shoot the special," I'd be like, "No, my dude."

Sam Pinkleton: Absolutely not.

Alison Stewart: Really? How cool?

Josh Sharp: I just love this as a piece we get to feel together.

Alison Stewart: Sam, you're working on Rocky Horror.

Sam Pinkleton: I am. I'm directing a new production of the Rocky Horror show on Broadway at Studio 54 next spring.

Josh Sharp: Come on.

Sam Pinkleton: No pressure.

Alison Stewart: That's amazing.

Sam Pinkleton: It's very exciting.

Alison Stewart: Anything else we can expect from you?

Sam Pinkleton: I am working with an incredible, incredible genius comedian, activist, hero called Morgan Bassichis, who is making a show called Can I Be Frank? That is a conversation with dance with a comedian called Frank Maya, who died of AIDS. He was a comedian who was just on the precipice of mainstream success when he died of AIDS. Morgan has made this hilarious show that is an excavation of Frank's material, and there's nothing like it. We're doing it at Soho Playhouse, and it starts previews next week.

Josh Sharp: Mere blocks from my theater. [crosstalk] May I also just affirm-

Sam Pinkleton: You could do two in one day.

Josh Sharp: -Morgan rules as a human, much less a performer, activist, and I can't wait to see the show, but also you could literally do a two-show day.

Sam Pinkleton: You could do a two-show day.

Josh Sharp: Saturday, one of us has a 5:00 and the other has an 8:00.

Sam Pinkleton: It's a gay comedy summer, everybody.

Alison Stewart: Gay comedy summer.

Josh Sharp: It's gay comedy, West Village, have a cosmos. There's time for a Cosmo in between two. They're both relatively short.

Sam Pinkleton: There's time for a turkey dinner.

Josh Sharp: Darling, yes.

Sam Pinkleton: Under 90 minutes.

Josh Sharp: Have a hot turkey dinner. Nothing better in August than a full turkey dinner.

Alison Stewart: Josh Sharp ta-da!. It's at the Greenwich House Theater on Barrow until August 23rd. I've been speaking with Josh Sharp and director Sam Pinkleton. Thanks for coming in.

Josh Sharp: Thank you, Alison.

Sam Pinkleton: What a pleasure.

Josh Sharp: Again. We're just going to stay here until that produce person comes. I'm not leaving.

Sam Pinkleton: Got some big thoughts on harvesting.

Josh Sharp: I've actually glued myself to the floor, Just Stop Oil style, because I will not leave until I hear about produce.

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