Ireland’s most iconic Panto Dame? Oh yes he is!!

11:17Joe Conlon:in the family have to be ready and knowing how

11:21Mario Rosenstock:you're saying you're making a point of saying not only do you have to be physically ready you have to be emotionally ready

11:26Joe Conlon:absolutely in capital letters because I'm not talking about I've missed that line, I was late coming on here oh god that didn't work it's stuff can arise within a family and you just have to and that's natural enough when you're with people for such a long time stuff happens going what's all this about it might necessarily be you could be within the family so you have to be aware of how to deal with that and then when it dissipates it's fine and get on with it and stuff like that happens constant changes when you go into work you'll get an email or a whatsapp to go we need you in early someone is sick we need to do changes and when those changes happen if you are tired you're on two shows a day and going oh god where am i now okay where's that line going are we cutting that line yeah cut that line because goes into that and then there's blocking so the choreographer has to change the whole routine and so you're into a room you're getting ready you've checked your notes and you're on and you're constantly on and even between shows two shows a day so some of us might have press calls so you're out of that costume I as the dame would have two people looking after me very fortunate to have that but you're off stage the press company are in PR company are in pick you up do press grant it's part of your job it's part of your job to make sure that you look reasonably well in your appearance because you're representing a brand so how do I know all that I learnt from watching other people going God they look sharp you're just off stage however you're constantly on the go

13:15Mario Rosenstock:Who did you look up to? Who were the greats?

13:17Joe Conlon:I would look up to John Kavanagh The actor? The actor

13:22Mario Rosenstock:Was he because he's an actor He's an actor Anita

13:25Joe Conlon:Anita Reeves

13:27Mario Rosenstock:yeah Twink John Cavanagh amazing actor Twink

13:30Joe Conlon:oh my god John Cavanagh

13:31Mario Rosenstock:Twink I remember seeing John Cavanagh in the gate in Juno in the pay call oh I can still see that with Donal McCann

13:39Joe Conlon:and Maureen Potter

13:40Mario Rosenstock:with Donal yeah no not Maureen at that time

13:42Joe Conlon:no but with Donal

13:44Mario Rosenstock:and Joxer

13:46Joe Conlon:yeah

13:47Mario Rosenstock:and Donal fine actors

13:49Joe Conlon:yeah and that's why not going away from the question that's why I go to the theatre quite a lot on my own Do you? Quite a lot Why? To learn

14:01Mario Rosenstock:To study and learn

14:01Joe Conlon:To study, to learn gain knowledge Do you? Not a night out for you then?

14:06Mario Rosenstock:No It's a bit

14:07Joe Conlon:Yes So the year the year before last The Gaiety had a great play on I can't remember it because I most recently saw The Crucible which is phenomenal but in that play the one last year there was an actor called Joe Hanley

14:23Mario Rosenstock:I know Joe, he was Fair City.

14:25Joe Conlon:Absolutely. And he played a phenomenal role. Not alone did he, but the ensemble cast. An amazing cast of quality actors. And he had quite a difficult role, but in a comedic flair. Because it was so complex, but yet there was such an important part of his text to the storyline. and he came to his own in Act 2 and I remember saying to someone in there the manager said God this is fantastic Joe Hanley is phenomenal and she said wait till you see Act 2 Joe his comic timing in Act 2 offering his hand of marriage to this character and I was so overwhelmed by it I had to go and see it again because you were taking in so much.

15:20Joe Conlon:And I'm going, oh my God. So I went the second time and I knew what to look out for this time. And I was so enlightened that, I remember leaving the gaiety now, that night thinking, that's how you do it. It's his physicality. And that's why I go to the theatre a lot. Even recently in The Crucible, it is phenomenal. The casting is phenomenal. but some of the casts of actors are just they're off the scale and it is it's quite a long piece of work you have to be very clued in you're not going to that piece of work going I'm really not up to this just I will go to that again Rory Nolan

16:09Mario Rosenstock:Russell Carroll Kelly

16:11Joe Conlon:I'm a bit of a fan of Rory's as he sort of knows I've seen him in Druid and all that and to see him in this character I can't think of the name but his diction his diction there's no falling off the end of lines and I was upstairs and you could hear and I'm always saying to young children about your diction your diction

16:33Mario Rosenstock:you know So this is good this is what's coming across to me you know you're Joe Conlon you're known to me as the Panto Dame You make people laugh. You're associated with happiness and fun. Frivolity, frippery, you know, wildness, dressing up as a woman, being outrageous, cracking politically incorrect guides. And yet the person sitting in front of me today is so professional, so serious about their profession. More serious, I think, because I know a lot of them, than a lot of actors who are so-called serious actors. it's funny watching you because you are completely committed to what you're doing and I think one of the reasons you are is because you had no other option by the cage that you put yourself in this contract that you put yourself in you either have to as Morgan Freeman famously said get busy living or get busy dying you know because you're going to get caught out if you don't tell me what during the height of Panto season tell me bring me quickly through your day from the moment you open your eyes to the moment you go to bed?

17:42Joe Conlon:So it's a two-show day. The alarm will go off at 7am. Quick cup of coffee and just like, who am I? What am I? Lunch and stuff and food prep is done the night before. So for an 11am show, I'm in the theatre for 9 o 'clock. Get all my food prep, leave it in the green room, leave it there. check notes, any stuff that's left at the stage door requests, any emails from the management stuff, all that. Then I'll do my own vocal warm-up and I'll do my own physical warm-up, some weights which I'd have in the dressing room and a bit of stretching. Then I get ready, make sure my makeup is on, my face is on, check costumes with the team, the two girls, Roisin and whoever's assisting Roisin and then some hot water and lemon.

18:39Joe Conlon:A bit of honey just to warm up your vocal cords. Does that help? Yes, it does. Loads of... And steaming my voice.

18:48Mario Rosenstock:Steaming your throat.

18:49Joe Conlon:Constantly. That helps? All the time. So it's moist all the time.

18:52Mario Rosenstock:Moist. So they're putting your head over the hot water. That's what I'm saying. Moistens your voice?

18:57Joe Conlon:Absolutely. I have a thing called Dr. Nelson which I got in London and just steams. You suck onto it and just steams and steams all the time. And then you're called on stage for vocal and physical warm up. Then there's notes. And that's about 25 past 10. Stage director calls us. Any notes, any clean ups. And then the show. And then you're on 11 a.m. show.

19:19Mario Rosenstock:And that show. Those are long shows.

19:22Joe Conlon:They're long shows.

19:23Mario Rosenstock:And they might have multiple costume changes.

19:26Joe Conlon:I would have a costume changes, eight wig changes, shoes. It's constant. And that show is over. between shows it's rest vocal and physical rest unless you have a yeah what do you do after the first show show finishes might do a few meet and greets which are lovely to do yeah and costumes off into trackies chill

19:50Mario Rosenstock:what's where chill

19:51Joe Conlon:chill in the green room okay people congregate chat and it's it's lovely to observe people talking bit of a giggle laughing is is great laughing is so important during that time and finding out more about your colleagues never knew that about you I brought up bonding bonding in one word bonding never knew you were a twin Jo yeah tell us more that's it you know stuff like that and then all of a sudden I would go into my room and it's close to the stage to the green room lie down throw over me and out for the count and I'd wake up in the middle of that and the silence in the theatre everyone has just gone to their space and I often used to think God listen to the silence and then within an hour there's going to be magic and I'm part of that magic I'm just breathing and so I'm awake now I've taken that hour's rest and just chill and partake in the silence and then within half an hour ladies and gentlemen this is your half hour call now it's on you're on freshen up get ready again you're on the treadmill and that's constant so

21:13Mario Rosenstock:and then the next show is

21:14Joe Conlon:next show following morning 11 o 'clock

21:16Mario Rosenstock:no no no the next show that night oh 6.30 6.30 and you're full on again multiple costume changes multiple costume makeup on makeup off

21:23Joe Conlon:freshen up makeup

21:25Mario Rosenstock:wigs checked

21:26Joe Conlon:all my costumes laundered

21:28Mario Rosenstock:between shows between that shows Those shows take at least two and a half hours.

21:32Joe Conlon:Two and a half hours. That's constant. So there's no complaining here because you've signed the contract. No. You've sealed this. And so on you go. And they expect the first show. Every show they see is a first performance. It's no less. I've done 15 shows.

21:51Mario Rosenstock:Standards are high.

21:52Joe Conlon:They have to be.

21:54Mario Rosenstock:They never should falter. Who's responsible for those standards? Apart from yourself. It would be The creative team

22:02Joe Conlon:Darren Crosby

22:03Mario Rosenstock:When you say the creative team Darren Crosby

22:05Joe Conlon:Director Director And Donna Leonard Our stage manager Okay But you have an honest yourself

22:10Mario Rosenstock:You do yeah

22:11Joe Conlon:You're a craft Your shoes are dirty Everything about dirty shoes

22:15Mario Rosenstock:Does the director Sit in on every performance

22:18Joe Conlon:No but constantly Notes Does that Is that a pain in the arse sometimes Absolutely Get over yourself But you're tired You go Are his notes correct they are correct because that's going to be tired pick that up just watch the timing and that can't hear that word oh right oh jeez can't be no but

22:37Mario Rosenstock:it's part of our job see that's what I see because I've come to see the panto at all different types all different stages and as a professional I'm watching it for I'm watching it for for tiredness I'm kind of going and you're right they just don't they rarely they really don't drop the ball no everything is is as tight as it can be. I can criticise the writing at times, but that's fine. But they're executing it. Yes. Absolutely perfectly. Another one I admire, I'll get back to you now in a minute, but another pro I admire in your game is, is it Michael or Nicholas Grinnell?

23:14Joe Conlon:Nico. Nicholas Grinnell.

23:16Mario Rosenstock:He is just, by the way, folks, he's the baddie.

23:19Joe Conlon:He's the baddie. Always was.

23:20Mario Rosenstock:The kind of camp British baddie.

23:23Joe Conlon:Yes, you are. Disgusting, all of you.

23:27Mario Rosenstock:That kind of Horrible

23:29Joe Conlon:Oh boo I'm so glad you brought that up Because you saw in that actor Who's this guy God he knows his craft

23:37Mario Rosenstock:Oh yeah no he does

23:39Joe Conlon:But he moves like an actor And he's anal about stuff

23:42Mario Rosenstock:But he moves like an actor

23:44Joe Conlon:But not alone is he an accomplished actor But he comes from a dynasty of accomplished

23:50Mario Rosenstock:Yeah his father Aidan and everything It was a matinee idol

23:52Joe Conlon:Absolutely You know So and rightly so But I would be concerned about actors coming into the industry and not having that discipline. Oh, yeah. And I've seen that.

24:08Mario Rosenstock:Well, maybe I'll ask you this question then here because I was going to ask you it at some stage. I presume you are a soul of discretion. So I won't be pushing you on that level. But I will ask you a general question. Yes. Have you seen, have there been times when you've seen someone, We don't even have to mention Whether their gender Somebody come into the company And they're clearly not ready For what they were about to

24:33Joe Conlon:I can't believe you said that In 14 years Particularly in the gaiety I was incensed at something I saw And I went to the stage manager

24:44Mario Rosenstock:Tell me what you saw Without telling me what you saw So in other words be discreet I saw late attendance Okay

24:51Joe Conlon:And not giving their all on stage Yeah And I let it fly

24:58Mario Rosenstock:Can I ask you a teasing A leading question Yes Was the person a starter offer Or well established Or well known name already

25:06Joe Conlon:Would have experience Okay And would know Yeah

25:10Mario Rosenstock:But we're sort of phoning it in

25:12Joe Conlon:Phoning it in Now

25:14Mario Rosenstock:Unacceptable to Roy Keane

25:15Joe Conlon:Just come here Roy you're right If you're listening

25:19Mario Rosenstock:Roy doing panto would be hilarious Roy Roy being a panto dame would be hilarious Did you see him You know I could because he would execute it you know he doesn't realise seven costume changes at the end of the day I've got my makeup on and off

25:33Joe Conlon:and look at you phoning it in as the fucking body that's him he doesn't realise his comic timing he's very funny right and that's naturally very funny but this particular company member late and I saw it and I saw something else and I saw so this particular day this actor continue this and I said to Donna can I have a word with you he said are you alright Nana it was never Joey or Joe it was Nana and I said no I'm not I'll be honest with you I said this is not acceptable I said I'm saying this on my last year here that someone in this company says I know I've seen it right I said great I said I'm sorry for complaining no you complain I said because Donna I'm I and this company are breaking their neck out there to maintain that standard They're in the gaiety And whether they're in the local hall In that loan In whatever There's a standard to be maintained Yeah And I go Hello But I didn't go to that individual actor Because it's not my job to do so I went to the person in charge And also the dance captain And she said Thank you I am over

26:43Mario Rosenstock:And was it sorted?

26:44Joe Conlon:It was sorted

26:44Mario Rosenstock:And did that person accept Their ticking off and get on with it?

26:47Joe Conlon:But went back to the same way

26:49Mario Rosenstock:Oh

26:49Joe Conlon:So that won't last

26:51Mario Rosenstock:It won't last

26:51Joe Conlon:That won't last

26:52Mario Rosenstock:That won't last

26:52Joe Conlon:And when I saw it again I went Not my business No not this time

26:56Mario Rosenstock:You've done it Good luck You're not going to last You've made your intervention Absolutely But that person won't be around for long No he will not No no He okay it's a he

27:04Joe Conlon:Well look 48 hours are crucial

27:09Mario Rosenstock:Anyway So then You'd be in bed by what time

27:13Joe Conlon:Oh in bed by 10.30 In bed And would you

27:16Mario Rosenstock:Like people often ask me this

27:17Joe Conlon:No I know what you're going to say I know But people often ask me this

27:20Mario Rosenstock:You know so I'll tell you the answer before you tell me your answer. So in the early days, I mean, in the early days of me doing my tours and everything, you know, I would come off stage sometimes at 11 o 'clock at night, sweating, exhausted, elated. And, you know, of course, the immediate instinct is to keep that feeling going. And in other words, you get greedy about that feeling and you go, I want to feel even better. Right. So I used to tell people this story that, and I actually did some research on it, that the physical, the physical, your physical senses after you come off stage after a one man performance and you're feeling elated, right?

27:56Mario Rosenstock:So I don't have a great sense of smell and after I come off stage in one of those I can smell everything because all the blood capillaries in my nose are opened up because the adrenaline is pumping through my body. My brain is moving at twice the speed of normal people at that time of night and all you want is to make that ecstatic feeling continue. Continue. And so you'd often take drink go drinking and 3 o 'clock or 4 o 'clock in the morning and you regret it. So after a few years I stopped doing that because you just can't keep it going and now I just enjoy the feeling for as long as I can but I do find it very, very, very difficult to calm down.

28:33Mario Rosenstock:So I like to play chess or watch a complicated documentary on television or read a complicated book because your brain is so alive. So I'm asking you, how do you get to bed at 10.30? How do you calm down?

28:45Joe Conlon:So I'll answer that in a second. I'm just going to go back to that feeling that you got and get coming off stage because that's a feeling we as performers and creatives can't explain to the general public and it's a feeling of great elation. It's just like you're really tired going on to that 6.30 show and going, oh, and Donna's buzzing everyone up. Come on, you're great. Curtain up and you just start, right? Curtain down going, jeez, where did that energy come from? Where did that come from? And it's a great feeling of accomplishment, right? To go back to your question, when I go home, bags at the bottom of the stairs, lights on, heating on, whatever, straight up to the bathroom and clean my face properly, face makeup and all that stuff.

29:33Joe Conlon:And then into PJs, into a dressing gown, relax, something light to eat and some green tea and something light like that. And just chill, watch a little bit of TV, but my brainwave is it's five past ten okay give ten minutes quarter past ten

29:50Mario Rosenstock:you're still on a regimen

29:50Joe Conlon:go to bed go to bed wow

29:52Mario Rosenstock:and get to the bed

29:54Joe Conlon:get to the bed

29:54Mario Rosenstock:in other words do the act of lying down

29:56Joe Conlon:the rest absolutely the rest is really important that bedtime yeah and then sometimes the alarm before the alarm of course for seven grand wait a few minutes

30:07Mario Rosenstock:for me it was always the bed you don't drink or do you drink moderately I do but

30:11Joe Conlon:not within that not within a contract like that

30:13Mario Rosenstock:you don't even drink within the contract no no no you would cut it out for four months

30:16Joe Conlon:so no no I'll tell the truth if I have a day off that evening I can have one or two drinks

30:24Mario Rosenstock:the evening before you get the evening and you'd have a glass of wine maybe

30:28Joe Conlon:yeah a glass of wine pint of something

30:30Mario Rosenstock:right

30:30Joe Conlon:right but not no

30:33Mario Rosenstock:you can't again again so professional because you have

30:37Joe Conlon:you have a responsibility I know to the punting your voice and funny enough

30:42Mario Rosenstock:you're such a professional I mean, there are so many people in so many professions, I hope you understand this, that aren't remotely as conscientious as you are about doing what they do. And they're good at what they do. Oh, absolutely. But they're not remotely as conscientious as you.

30:54Joe Conlon:I think that's a discipline. And I think I've learned it from the Greco. I think because... What's the Greco? From the word go.

31:04Mario Rosenstock:Oh, sorry.

31:05Joe Conlon:From when I said... From the get-go. From the get-go. Oh, I thought you said Greco. What did I say? Greco. No, I'm wrong. Get-go. I think from a young kid I've always had that discipline and that Have you? Yeah I've always had that

31:17Mario Rosenstock:Did you get that from your parents?

31:21Joe Conlon:Did I get that from mum and dad? No No I think You must have come from somewhere I think because yes it has to because I think because I was a non-academic all those school issues and all that but when I got on stage hello and I'm a Virgo I'm all that so I think that is something Don't mind

31:40Mario Rosenstock:What's your date?

31:41Joe Conlon:September the 5th

31:42Mario Rosenstock:Ah okay 31st of August

31:43Joe Conlon:So I think I'm something like that

31:45Mario Rosenstock:Ray Darcy's a Virgo as well Is he? Well done Yeah Perfectionist Depression Didn't work Didn't work I knew it wouldn't work It wasn't perfect I know it Ray shut up It's fine Ray was always Ray is always so negative About things that won't work Because he's trying to be perfectionist No

32:06Joe Conlon:You'll always make it work And it will happen Yeah It takes time to get there To that process of But worrying about Will it work It's not going to work

32:15Mario Rosenstock:No it's not

32:16Joe Conlon:Like it's not Because you're putting Such a negative Thought process to it

32:20Mario Rosenstock:Yeah You know I'm the total opposite Does being You're of course Not just a panto dame You are A disciplined And professional actor Has being a panto Has being A panto dame Affected Your casting ability as an actor?

32:40Joe Conlon:Yes.

32:41Mario Rosenstock:Tell me about that.

32:42Joe Conlon:Because you're pigeonholed. Yes. Okay. And that's a constant.

32:49Mario Rosenstock:Isn't that a little unfair?

32:50Joe Conlon:Absolutely it is.

32:51Mario Rosenstock:I mean, considering that when you are playing the Panto Dame, you are almost unrecognizable and unlicable as Joe Conlon. And if I wanted to cast you in Glenrow, Fair City or Scent of a Woman or any bloody film, people wouldn't have a clue that you're a Panto Dame. They just go, here's this rather slim, lithe man who could be interesting in rather number of roles.

33:14Joe Conlon:I did a show called Dusty Memoirs in the Viking Theatre a few years ago with this lovely actress called Maria Blaney. And it was a two-hander. And the writer said to me, would you be interested? I said, I would. Can I see the script? And so I don't doubt my ability, but I want to make sure I'm right for the role and I can give it 100 % and I put myself under a wee bit of pressure. But when I did it, the amount of people that came to see that play because it was Joe Conlon at the Panto Dame and when they were leaving, you'd meet them because it was a lovely space. The Viking going, never knew you could do that.

33:57Mario Rosenstock:Yeah.

33:58Joe Conlon:And it was always that.

33:59Mario Rosenstock:Absolutely.

34:00Joe Conlon:I'm drama trained. I've basic training.

34:02Mario Rosenstock:People pigeonhole you.

34:03Joe Conlon:Pigeonhole you. And that's why That decision two years ago With stuff happening now With the play With some great castings Doing the film recently With Brad Pitt

34:16Mario Rosenstock:Have you been in it?

34:17Joe Conlon:I was in it Great As the head tree Up the back Great And that was the reason I did it And did you see Pitt on set And everything? Like as close as we are

34:27Mario Rosenstock:Okay and how's he looking?

34:28Joe Conlon:Not only is he aesthetically beautiful Yeah But he's a gorgeous man Is he? He's the loveliest, loveliest guy.

34:35Mario Rosenstock:Tell us a bit. Is he going down well on set? People are enjoying his company. He couldn't have been nicer to everyone.

34:42Joe Conlon:Just walked on set.

34:44Mario Rosenstock:Has a thing, a nice way about him.

34:46Joe Conlon:Just walked on set. We had our rehearsal because I was dancing and all that and we left the set. He had his rehearsal with the other actor. We all came together. He was last on number one as coming into the room. Fine. He walked in. Good morning, everyone. Hope you're all well. sat down took his place and went into rehearsals and we were there for quite a lot of time he had to do his bit and engage with us he was wonderful and particularly two young children on the set

35:14Mario Rosenstock:his two young children

35:15Joe Conlon:no another two no two actor children oh ok he could not not have been nicer and that experience and you could tell

35:24Mario Rosenstock:it's a nice way about him

35:24Joe Conlon:oh absolutely 100 % he just and he was a jobbing actor doing his thing engaging with people in the room He was being an actor

35:34Mario Rosenstock:Absolutely Doing his job Yeah

35:35Joe Conlon:And what was lovely about that day A long day 5 a.m. Till what? 8.30 p.m. Like it was a long day But I remember going home In a car with a colleague And we just smiled The day was long But to be in the presence of someone Of that magnitude And also lovely You know It was just a great Brilliant And it was straight after the panto Straight into that

36:00Mario Rosenstock:Terrific

36:00Joe Conlon:It was lovely to be part of that Yeah definitely

36:03Mario Rosenstock:Great memory A great memory Nice day spent with Brad Pitt Yeah And what is the film I've heard We've all heard

36:09Joe Conlon:It's called The Riders A book The Riders And he's Turning around the world And he's filming around the world And I think he's in Corfu now For the next five and a half weeks I just hope the weather's better Than it is Yeah

36:24Mario Rosenstock:He's a fine actor

36:25Joe Conlon:Very fine actor

36:26Mario Rosenstock:Yeah I think he's a really good actor

36:28Joe Conlon:Watching him turning it on immediately Yeah

36:30Mario Rosenstock:He's a very good actor Very very good Oh God Sort of in that same, maybe on the level of kind of Tom Cruise. And what I mean by this is that both Tom Cruise and Brad Pitt have been compromised to many extent by their movie star and their looks status. The fact that they've been regarded as gorgeous. Yes. Gorgeous male stars. Yes. And that's kind of blinded us to the fact that they're both fine, fine working actors. Cruise is a great actor a tremendous performer and Pit I've enjoyed in so many films Yeah I mean even in the last 12-15 years I would name I would name two or three he made a tank a World War 2 tank movie called Fury absolutely stunning

37:20Joe Conlon:I think we don't

37:21Mario Rosenstock:stunning and also Inglourious Bastards his performance in that with Tarantino is fabulous really funny as an actor and then another one oh god this one is great if you can have a look at this one tell me if you haven't seen it quite recent about 10 8, 9, 10 years old Ad Astra no oh get it out you'll love it right a deep space movie but one of those modern space movies which is very sort of high concept you know dark it's set slightly in the future slightly in the future on earth and man and man can travel much deeper into space and Pitt's father was a famous space guy but he got lost out in space but they pick up a signal from where he was which indicates he might still be alive and Pitt goes in search of his father he sets out and goes in search of his father from Earth it's absolutely class

38:24Joe Conlon:I'm thinking of that team of actors in the gait at the moment we have in this country the best actors across the board and we don't acknowledge them enough I think you know Tom Von Law or people like that Ruth Negga I saw Ruth Negga on Broadway in that in that Shakespearean piece of work with Daniel Craig and she was phenomenal you know Sinead Keenan Andrew Scott we've just I think we don't give ourselves enough credit in the arts industry here.

39:01Mario Rosenstock:It's not an Irish thing to do though. No, of course it's not. You know, we're...

39:04Joe Conlon:Well done you, you're great. Oh no, no, don't give him...

39:07Mario Rosenstock:Don't give him a kick up the arse now. Back in your box.

39:10Joe Conlon:Back in your box.

39:11Mario Rosenstock:You know, as Bono said, the old difference between Irish and Americans. You're driving by in your car and you see the big house on the hill and the Irish and the American guy would go, someday I want to be that guy.

39:21Joe Conlon:Yeah.

39:21Mario Rosenstock:And in Ireland we go, someday I want to get that guy. Yeah, yeah. That's the difference Americans are so positive And aspirational Irish people are so down Keep back in your box So we're not the kind of people You know You won't find Sir Joe Conlon Or Lord Conlon Of Malahide You know We just don't do that To each other We just go There's Joe Yeah And that's it That's his nut That's you know Joe did a good job Fair play to him That's Cillian Donnelly

39:51Joe Conlon:Yeah That's Cillian Donnelly That's Cillian God I met him recently Going down to Cork Both on the same training And that's exactly There's Joe Yeah Where are you going I'm going to Down to Moreland On a press call So am I

40:07Mario Rosenstock:How are you doing Yeah I know It is But you can't get ahead of yourself in Ireland And that in a way Is a good thing in a way Because it keeps you It keeps you working hard Absolutely It keeps you grounded So if your ego Could put up with it I mean some of us Could sit at home and go Why don't people tell me Constantly they're loving my work But it's just That's not the way life works You know And I mean You should love the work enough That that should be enough Absolutely I've had to come to terms With that a lot myself That idea of You know Sometimes I break my bollocks Right Putting out a sketch And I think it's You know It's my Michelangelo Or whatever You know And I go Why aren't more people Telling me And then I have to just Come to the conclusion Shut your mouth Do you love it enough Oh my god Okay But also Do you love it enough In itself To want to do it And the answer is always yes and that's what keeps me going I love love love

40:55Joe Conlon:and I think once you love it once you then you'll move forward quicker correct I think that have that passion and drive determination or discipline

41:05Mario Rosenstock:but also like also you've got to be you can't be a baby about the whole thing no you can't you just explained Brad Pitt there right and one of the words you mentioned was 5am you know so whether it's Brad Pitt Joe Conlon whoever or Cillian Donnelly the call is 4.50 in the morning yes right Right?

41:23Joe Conlon:Yeah.

41:23Mario Rosenstock:Right? Now, you might be getting paid one and two million for it, right? But still, you have to get up at 4.50 in the morning and act like a human and a grown-up and not act like a dickhead. Yeah?

41:35Joe Conlon:When I was promoting recently that documentary, Curtains Up, curtain, no, behind the curtain, I had a press call. I had to go to Cork, to Dahia Mora train, two and a half, three hours. Do that for two minutes back on the train up back home at 8 o 'clock arrived into Houston it's dark it's raining I'm back up the following morning at 6.30 to go to RT for another press call with Marty Whelan I can't tell you I voicemailed the two lads the two producers I am going to kill the both of you I'm exhausted I'm tired I'm hormonal I don't want to be a celebrity just do the document And they were peeing themselves up.

42:23Joe Conlon:I was just tired. I was just, oh my, but you have to do it. You have to get on with it.

42:28Mario Rosenstock:Absolutely. Joe, when you're doing Panto, you say it's a four-month contract, right? Again, you can answer this discreetly or as discreetly as you want to. Well, I'll ask you baldly. Would you get paid enough in the four months to survive for the whole year?

42:44Joe Conlon:No.

42:44Mario Rosenstock:No. No. So would you get, the fact that you're doing, you're the Panto Dame, the fact that you're doing two shows a day, Is that reflected in your pay? The fact that you're working so hard I mean normal plays Only go on once a night You're doing twice You get paid double time Treble time No That doesn't mean to contract

43:02Joe Conlon:As you know

43:03Mario Rosenstock:Yes but do you get paid well?

43:05Joe Conlon:You get paid enough to survive

43:08Mario Rosenstock:That's not a great That's Lots of people get paid enough To survive Joe And survival is Survival is Subjective I suppose

43:16Joe Conlon:I don't think Surviving I don't think it should be measured By the amount No but I'm curious though But Curiosity Killed that cap But yeah Get paid very well

43:26Mario Rosenstock:Oh do you

43:26Joe Conlon:Oh no absolutely

43:27Mario Rosenstock:Absolutely

43:28Joe Conlon:I have a great contract

43:29Mario Rosenstock:Yeah so you do get paid well Oh yeah But that's important to know Yeah Because I would hope that you do

43:34Joe Conlon:And in fairness to the management In there Very appreciative of that Yeah Can't say Enough about Caroline Downey

43:41Mario Rosenstock:Is She's great I love Caroline Absolutely And she's The Do you get paid bonuses No No I'm just wondering For example if If like If the run If the run has a tremendous Even more success Do you get add-ons God no

43:56Joe Conlon:No No Okay

44:00Mario Rosenstock:That's not very egalitarian No Contract is Contract is Contract is Contract is Signed Do you always know how long Your contract is going to go on till Or does sometimes It gets extended No

44:13Joe Conlon:It'll always be extended Right It will always You have a A clause in the contract Subject to extension Yeah But it always And this year Just filled out again Yeah

44:25Mario Rosenstock:Is it always full Always full Yeah Are some years better than others Yes Right Yeah Can you tell why The name of the show

44:34Joe Conlon:Are some years This year it was exceptional Why Because of the The casting Yeah Beauty and the Beast The story Young children Belle Young kids want to be Belle Male or female They all want to be In that yellow dress Alright And What I think the music This year Oh my god The music this year There are panto's That I've been in But that's a personal Opinion That I've gone Oh god I don't like this Get on with the gig And do it

45:07Mario Rosenstock:Yeah absolutely Let's talk about that So if you had one panto Right Joe And I said to you Robin Hood Joe you're We'll come back to the question now You have one panto Joe You have one panto To pull in the people this year One panto That's all you're allowed to choose What would it be?

45:21Joe Conlon:Beauty and the Beast

45:22Mario Rosenstock:It would be Beauty would it?

45:23Joe Conlon:Yeah

45:24Mario Rosenstock:Would that be a popular decision? Or is that just you talking?

45:27Joe Conlon:That's me It was either Beauty and the Beast Or Peter Pan What about Cinderella

45:30Mario Rosenstock:For fuck's sake?

45:31Joe Conlon:Oh Cinderella's got Yeah she gets the ride And she goes to the ball And she gets the slipper

45:36Mario Rosenstock:But isn't that what everybody loves?

45:37Joe Conlon:Well I'm sure they do But I think

45:39Mario Rosenstock:Do you think Beauty and the Beast Pulls them in?

45:42Joe Conlon:Oh it definitely did this year Yeah Yeah Peter Pan last year Oh You couldn't get a ticket For Love or Money with flying sequences.

45:49Mario Rosenstock:Do you think the word spreads about a panto?

45:52Joe Conlon:Oh, definitely.

45:52Mario Rosenstock:Really, is it important?

45:54Joe Conlon:Yeah. So people go,

45:55Mario Rosenstock:that panto is good this year.

45:56Joe Conlon:Yes. And I think the pressure on the Gatty Theatre is, and Caroline Downey as producer, is that Beauty and the Beast was phenomenal last year. Now they're doing Robin Hood this year.

46:07Mario Rosenstock:It has the highest standards, doesn't it, Gatty? Because they do the most effects and everything. Yeah, they do some great effects.

46:13Joe Conlon:Without exception.

46:15Mario Rosenstock:Why? I, here's an interesting question for you, right? So, the Gaiety is great. I did five nights in the Gaiety this year. And it's a beautiful space. But would there be a temptation among the producers to, let's say, take it into the Borgosh or the Three Arena?

46:38Joe Conlon:It would never work.

46:39Mario Rosenstock:Would it not?

46:40Joe Conlon:No. Tell me why. It would lose its intimacy. The Gaiety is a tradition. going back a long time ago Jimmy O'Dea Maureen Potter who I was on stage with who I learnt my craft from and more but to transfer that product into the board gosh too big we have a connection with the audience on that stage and as you know as a solo artist it's a great connection you can see lights you can see everything and that's what's great people feel part of it where the Bordeaux or wherever three arena nah wouldn't work

47:19Mario Rosenstock:yeah right definitely

47:21Joe Conlon:good point in my personal opinion no I don't think

47:23Mario Rosenstock:yeah yeah good point Maureen Potter what was she like

47:26Joe Conlon:oh she was fantastic and funny enough at the start of this that's a name I forgot about because at 18 years of age when you're on stage with people like her and a man called Danny Cummins was a wonderful comedian Vernon Hayden all those great people

47:45Mario Rosenstock:Jack Cruz

47:46Joe Conlon:Jack Cruz Jack Cruz in the Olympia Cecil Nash all these great stalwarts so when you're 18 years of age there's no drama schools there's no stuff like that where there are now you just you take it all in you watch it you watch her you watch her discipline her the accuracy of her timing oh my god fantastic so you you bring that with you in life you just you used to see her you know

48:24Mario Rosenstock:it rubs off on you

48:25Joe Conlon:of course it does and even at the end

48:28Mario Rosenstock:you breathe in her memory you breathe in the feeling of being around her and you go I want to be that now

48:32Joe Conlon:she wasn't without alright she was she was a strong lady right okay now

48:40Mario Rosenstock:I'm interpreting what you're saying there now is that's very euphemistic talk yeah So that's like the fella At the funeral who goes John didn't suffer Fooled gladly I.E. He was a bollocks John liked to drink A chronic alcoholic So Maureen was strong headed At times She was strong

48:58Joe Conlon:Bull headed

48:58Mario Rosenstock:Or When you say that Do you mean that she was forceful In her opinion about How something should be done Or was she grumpy Is that what you mean

49:08Joe Conlon:Yeah she could be

49:09Mario Rosenstock:Grumpy Yeah

49:09Joe Conlon:Yeah she could be Yeah And when you heard things like Miss Potter's not you hear Miss Potter going what the fuck Miss so you never cross the line there oh yeah you know passing the room walking very quietly past that room there was stuff like that

49:30Mario Rosenstock:in other words she had this kind of there was a regal presence about her is that right

49:34Joe Conlon:yeah there was

49:35Mario Rosenstock:yeah but she was lovely as well

49:37Joe Conlon:oh absolutely she was was she kind yeah she was very kind yeah

49:41Mario Rosenstock:generous as an actor

49:44Joe Conlon:Maybe to be discussed At a later time Okay Yeah

49:48Mario Rosenstock:So like they used to say Do you ever hear the famous stories About Cyril Cusack About the upstaging Yeah He'd keep walking Backwards So that people Keep the focus on him Yeah So did she want the limelight on her Oh yes Oh really So she had a healthy ego

50:02Joe Conlon:She had a healthy ego And it was lovely too I was in Annie with her After doing loads of pantos And To see her change from That panto character and I'll get back to that Panto Dame in a few minutes about characters and Panto Dames because there's a slight difference but when she changed into Miss Hannigan she was a formidable actress oh my god

50:27Mario Rosenstock:yeah I know

50:27Joe Conlon:she was just like holy god she just changed it around

50:32Mario Rosenstock:well a lot of comedians and comedians are formidable actresses because some people would say that comedy is much harder than straight yes so they can easily they can revert to the straight easier than a straight can do comedy

50:44Joe Conlon:yeah because the amount of straight actors that I've said would you ever consider doing a panto Jesus no good God no do what you're doing you must be joking wouldn't be able for that I said you don't know oh no couldn't do that I went oh alright oh you sure oh no because I was talking to some two great lads going you'd be great as actors to bring that I would love to see actors as children would see great actors like do a panto you know but it's whatever their concerns would be a few I've said no Joe God how do you do it you're much older than me it's nothing to do with age no no just definite no and going back to that thing about the female actor as the lead in that dame role so I was doing a bit of research recently and the dame is always a man so Maureen would be the female lead as Twink was the female lead and so they weren't the dames Jimmy O'Day was the dame Maureen took over as the female lead but she was her energy the minute she came on and her timing yeah the MO you gave me

52:02Mario Rosenstock:of Maureen was a mixture of things brilliant and you know tough as well So she had an ego She was kind But she was tough She could be grumpy She'd have to be careful Around her Yeah And all that How does that list Of Attributes Compare with twink

52:24Joe Conlon:Twink was just Arrive And go Oh sweet Jesus She's here She just arrived This is your five minute call We've no Adele Oh she's on the way And she'd arrive 99 dogs 101 bags and arrive on stage and the whole production would just elevate elevate and to watch her on stage and her energy and her comic timing sweet deliverance sweet deliverance Jesus like we go what's Adele on today what's going on like just like

53:00Mario Rosenstock:so what are you saying

53:00Joe Conlon:brilliant pure brilliance you couldn't but not acknowledge how wonderful she is during that time which is great

53:10Mario Rosenstock:she's terrific

53:11Joe Conlon:terrific yeah

53:12Mario Rosenstock:so when you say terrific you're talking about terrific technical ability mixed with mixed with star quality

53:19Joe Conlon:oh star quality in abundance in abundance

53:22Mario Rosenstock:and ability as well

53:23Joe Conlon:oh her ability would she sing a lot in pantos oh my god she's a good singer beautiful voice but when she would get on that floor in the rehearsal room that energy going no can we take that line out no can we not change that to go down because they're going and all with the best intent right so wanting it great

53:42Mario Rosenstock:real pro

53:43Joe Conlon:oh Jeannie Mac you couldn't question that of that lady

53:47Mario Rosenstock:what about her in terms of demanding our our our grumpiness

53:52Joe Conlon:you know you have to give credit with someone of that stature that someone that would come with it

53:59Mario Rosenstock:alright

54:00Joe Conlon:and that's part of that person if they have that with them fine whatever the reason is behind it fine but it comes with people of that quality and magnetism and great talent

54:14Mario Rosenstock:she would and very kind yes abundantly kind I'll take that I'd say she wouldn't be the only we wouldn't be the only people in the world apart from Twink to think that she doesn't get the credit she deserves I'd say she'd be number one on the list in terms of people to think that she doesn't get the

54:32Joe Conlon:I kept fucking R.T.

54:34Mario Rosenstock:on the road alone I did I've seen her say that but do you think maybe she doesn't get enough credit or has she got enough credit oh god

54:47Joe Conlon:you know we're in different times now and we've moved on so I think

54:59that

55:03Joe Conlon:she's in a way

55:04Mario Rosenstock:The twink has arrived into the room and she's holding a gun to Jo's head.

55:07Joe Conlon:She's been away for quite a while. You know, and I think as a jobbing actor that I was very lucky to share that stage with her. I just, you know.

55:19Mario Rosenstock:She probably really admired your professionalism.

55:22Joe Conlon:Yeah, probably did. I don't know that, but I honestly would have to admire hers and I always did. Even myself and Nico, we'd always talk about her through the panto run. She would always come into our conversations. And we go like, how'd she get away with that? How'd she do that?

55:42Mario Rosenstock:Joe, listen, it's been an absolute pleasure talking to you. There's a couple of things I didn't get around to talking to you. And for example, you had cancer in 2018. Yeah. And prostate cancer. Yeah. And well done for working your way through that. And I presume, of course, you'd tell people to get checked out.

56:00Joe Conlon:Men, get out there and just get checked out.

56:01Mario Rosenstock:And of course, you got, if you're 66 now, I still can't believe I'm saying that, but if you're 66 and this is eight years ago, that means you would have been 56. I was, yeah. Which is, of course, in the sniper's alley. Yeah, absolutely. For men of our age, in our 50s.

56:15Joe Conlon:I was very lucky and blessed.

56:16Mario Rosenstock:Very lucky. Did you catch it early in? Absolutely. Wasn't an easy journey. No?

56:21Joe Conlon:But it was part of the course and I accepted that.

56:24Mario Rosenstock:Did it come in the midst of a production?

56:27Joe Conlon:No, just before one. So I was all right.

56:30Mario Rosenstock:You were in the clear? Yeah. So you got to work

56:32Joe Conlon:I wasn't saying I was in the clear

56:33Mario Rosenstock:I know you got to work though

56:34Joe Conlon:I got to work

56:35Mario Rosenstock:Yeah

56:35Joe Conlon:And that panto was Was Aladdin Yeah And that cast helped me so much Did they? Only for them

56:42Mario Rosenstock:Had you had radiotherapy Yeah and all that And during the panto And you would have been a bit weaker

56:47Joe Conlon:Yeah absolutely

56:47Mario Rosenstock:And they helped you

56:48Joe Conlon:Yeah Just people Love people Yeah

56:51Mario Rosenstock:People become very close don't they During productions Yeah they do And do you make some friends for life?

56:56Joe Conlon:Absolutely I do

56:57Mario Rosenstock:People you stay in touch with?

56:58Joe Conlon:And you don't make enemies you just they're not fitting into your journey but you make great friends and the best of memories absolutely you do yeah

57:08Mario Rosenstock:well Jo congratulations on 34 amazing years in Panto I hope this is a new beginning for you and I hope that you're good I mean you are so you're looking so amazing and fit and I can't believe you told me your age was 66 I mean it was just so far away you look like you know the jockey you know Peter Stringer the jockey yeah I hope you get to write. But it's been brilliant talking to you. It's brilliant talking to you and I'm really blown away by your professionalism and your conscientiousness and your credit. Your credit to those 34 years and a credit to everybody that's worked with you and that you've been a Maureen Potter yourself and spread your professionalism presumably to so many young actors and actresses.

57:52Mario Rosenstock:So well done.

57:53Joe Conlon:Bothly. Thank you very much. Thank you.

57:57Mario Rosenstock:And my thanks to Joe Conlon for coming in and talking to us on the Mario Rosenstock podcast. If you would like to get in contact with me, just mariorosenstock at gmail.com. I read them all and I get back to most of them. Please, if you can, if you enjoy these series of podcasts, they're free. Just subscribe. Unlike a lot of other podcasts where there's premium and you have to pay and, you know, every month you don't have to pay a penny for this one. Just subscribe and follow if you enjoy it. And please just tell one other person if you did enjoy it. Thanks a million. See you same time, same place next week.

58:29We'll be right back.