WEBVTT 00:00:00.000 --> 00:00:01.980 Welcome to the Deep Dive, where the place you 00:00:01.980 --> 00:00:04.540 come to get the real story, digging through stacks 00:00:04.540 --> 00:00:07.360 of info so you don't have to. That's right. And 00:00:07.360 --> 00:00:10.259 today we're tackling someone really fascinating, 00:00:10.640 --> 00:00:14.060 Titus Burgess. An actor, a singer. I mean, his 00:00:14.060 --> 00:00:16.019 career path is something else. It's like he lives 00:00:16.019 --> 00:00:18.079 in two worlds at once. Well, yeah, it's almost 00:00:18.079 --> 00:00:19.980 more than duality, isn't it? It feels like a 00:00:19.980 --> 00:00:24.239 deliberate mashup. You've got this powerhouse. 00:00:25.069 --> 00:00:27.329 Broadway talent, you know, originating roles 00:00:27.329 --> 00:00:30.170 in huge shows. Like Disney shows, yeah. Exactly. 00:00:30.410 --> 00:00:33.469 And then, boom, he becomes this massive TV star, 00:00:33.729 --> 00:00:36.570 five Emmy nominations. It's incredible. And our 00:00:36.570 --> 00:00:38.909 mission, really, is to look at how he uses that 00:00:38.909 --> 00:00:41.289 incredible voice, that trained skill, to keep 00:00:41.289 --> 00:00:43.250 messing with our expectations of what roles should 00:00:43.250 --> 00:00:45.670 look like. Okay, so that's the plan. We're zeroing 00:00:45.670 --> 00:00:47.810 in on that arc. Titus Burgess, born February 00:00:47.810 --> 00:00:52.130 21st, 1979. He's 46 now, which is wild considering 00:00:52.130 --> 00:00:54.570 everything he's done. And we're kind of framing 00:00:54.570 --> 00:00:56.390 it around the two roles people probably know 00:00:56.390 --> 00:01:00.189 best. First, originating Sebastian the Crab on 00:01:00.189 --> 00:01:02.570 Broadway in The Little Mermaid. A huge musical 00:01:02.570 --> 00:01:05.269 theater achievement. And then, of course, Titus 00:01:05.269 --> 00:01:08.510 Andromedon from Unbreakable Kimmy Schmidt. You 00:01:08.510 --> 00:01:11.170 couldn't get two more different characters. Vocally 00:01:11.170 --> 00:01:14.989 or culturally? Not at all. And yet he absolutely 00:01:14.989 --> 00:01:17.969 nails both. So how does he do that? How does 00:01:17.969 --> 00:01:20.049 he navigate those worlds? Well, that's what we 00:01:20.049 --> 00:01:22.609 need to unpack. I think the key is that classical 00:01:22.609 --> 00:01:25.109 training. It's the bedrock, you know. It gave 00:01:25.109 --> 00:01:28.510 him the chops to succeed even in mainstream comedy. 00:01:28.670 --> 00:01:30.969 Right. The foundation was solid. Exactly. So 00:01:30.969 --> 00:01:34.170 to really get it, we got to go back to the beginning. 00:01:34.209 --> 00:01:36.450 See how he built that foundation. Okay. Let's 00:01:36.450 --> 00:01:38.670 start there. Athens, Georgia. That's where he 00:01:38.670 --> 00:01:42.000 was born and raised. And the sources are pretty 00:01:42.000 --> 00:01:44.780 clear. He was into theater early on, like really 00:01:44.780 --> 00:01:46.879 active at Cedar Shoals High School. Yeah, this 00:01:46.879 --> 00:01:49.200 wasn't just a hobby. It sounds like he was focused 00:01:49.200 --> 00:01:51.500 even back then. And then he took it to the next 00:01:51.500 --> 00:01:54.299 level, University of Georgia. Right. He got a 00:01:54.299 --> 00:01:57.900 Bachelor of Art in Music. Yeah. An AB01 specifically. 00:01:57.939 --> 00:01:59.920 Which is important, right? We talk about charisma 00:01:59.920 --> 00:02:02.620 and performers, but that technical skill. Oh, 00:02:02.700 --> 00:02:07.319 it's everything for longevity. That degree. That's 00:02:07.319 --> 00:02:10.830 the deep knowledge. Music theory. Breath control, 00:02:11.050 --> 00:02:13.990 how to place your voice. That's how you survive 00:02:13.990 --> 00:02:17.490 singing demanding roles eight times a week on 00:02:17.490 --> 00:02:20.310 Broadway. Okay, so he graduates. This next step 00:02:20.310 --> 00:02:22.370 is interesting. He doesn't go straight to New 00:02:22.370 --> 00:02:24.770 York. No, he doesn't. He makes a really calculated 00:02:24.770 --> 00:02:28.389 move. Orlando, Florida. Disney World. Walt Disney 00:02:28.389 --> 00:02:30.490 World, yeah. And this is often kind of skipped 00:02:30.490 --> 00:02:33.590 over, but it's crucial. Why Disney World specifically? 00:02:34.069 --> 00:02:36.919 Well, he got hired as a vocalist. Festival of 00:02:36.919 --> 00:02:39.419 the Lion King at Animal Kingdom. Okay. And why 00:02:39.419 --> 00:02:42.400 is that job, you know, a theme park gig so important? 00:02:42.599 --> 00:02:45.379 Yeah. Because it was his way in, his path to 00:02:45.379 --> 00:02:47.379 professional recognition. You mean the equity 00:02:47.379 --> 00:02:49.620 card? Exactly. The actor's equity card. For anyone 00:02:49.620 --> 00:02:51.419 listening who doesn't know the theater world, 00:02:51.520 --> 00:02:53.300 you need this card. It's the union membership. 00:02:53.520 --> 00:02:55.580 It lets you work professionally on Broadway, 00:02:55.800 --> 00:02:58.500 big regional theaters. It's hard to get, right? 00:02:59.219 --> 00:03:01.659 Notoriously hard. I mean, actors can spend years 00:03:01.659 --> 00:03:05.159 doing non -union gigs just hoping for that break 00:03:05.159 --> 00:03:07.310 that shows. that'll get them their car. But Burgess. 00:03:07.680 --> 00:03:10.280 He got his pretty quickly using that Disney contract. 00:03:10.740 --> 00:03:13.460 It's smart strategy. Think about it. Instead 00:03:13.460 --> 00:03:15.800 of grinding away auditioning in New York without 00:03:15.800 --> 00:03:18.939 the union status, he gets the credential while 00:03:18.939 --> 00:03:22.039 doing high level professional work every single 00:03:22.039 --> 00:03:25.259 day. In front of huge crowds, honing his skills. 00:03:25.500 --> 00:03:27.879 And ticking that essential docs. It's practical, 00:03:28.060 --> 00:03:30.979 professional, and it's set up everything that 00:03:30.979 --> 00:03:32.960 came next. It's like the perfect first step. 00:03:33.099 --> 00:03:35.439 Use the system to get what you need to beat the 00:03:35.439 --> 00:03:37.990 system later. Pretty much. And just before we 00:03:37.990 --> 00:03:39.889 jump to Broadway, there's a personal detail we 00:03:39.889 --> 00:03:41.949 should mention because it feels relevant to his 00:03:41.949 --> 00:03:44.789 career choices later. Okay. Our sources note 00:03:44.789 --> 00:03:48.180 he's openly gay. And this isn't just... you know, 00:03:48.180 --> 00:03:51.340 a biographical fact. It seems to feed into the 00:03:51.340 --> 00:03:53.719 kinds of roles he takes later, the unconventional 00:03:53.719 --> 00:03:56.340 ones, the ones that play with gender. Ah, interesting. 00:03:56.520 --> 00:03:59.060 Like it informs his artistic choices. Yeah. It 00:03:59.060 --> 00:04:01.159 suggests an early commitment to being authentic, 00:04:01.340 --> 00:04:03.979 which maybe translates into how he challenges 00:04:03.979 --> 00:04:06.500 theatrical norms down the line. We'll definitely 00:04:06.500 --> 00:04:08.879 circle back to that. So he's got the equity card. 00:04:08.979 --> 00:04:10.419 He's got the training. He's got the experience. 00:04:10.699 --> 00:04:13.419 The move to Broadway happens pretty fast after 00:04:13.419 --> 00:04:15.560 that. It really does. 2005, he makes his debut. 00:04:16.279 --> 00:04:18.959 Good Vibrations playing Eddie. And then right 00:04:18.959 --> 00:04:23.259 after that, same year, Jersey Boys. Hal Miller. 00:04:23.480 --> 00:04:26.720 Yeah. He's working. Consistently moving between 00:04:26.720 --> 00:04:28.540 shows. That's the life of a working Broadway 00:04:28.540 --> 00:04:31.879 actor. But 2007 feels like the big one. Oh, absolutely. 00:04:32.379 --> 00:04:35.540 Originating Sebastian the Crab, The Little Mermaid 00:04:35.540 --> 00:04:38.240 on Broadway. That's huge. Originating a Disney 00:04:38.240 --> 00:04:40.670 role. Yeah. you're basically setting the standard 00:04:40.670 --> 00:04:42.629 forever you are and what's interesting is how 00:04:42.629 --> 00:04:44.889 his sebastian was different from the movie version 00:04:44.889 --> 00:04:46.949 right samuel lee wright in the film has that 00:04:46.949 --> 00:04:50.089 very specific kind of gravelly voice exactly 00:04:50.089 --> 00:04:53.629 but burgess brought his trained tenor that powerful 00:04:53.629 --> 00:04:55.829 belt he had to hit these incredibly demanding 00:04:55.829 --> 00:04:58.470 notes capture all of sebastian's anxiety and 00:04:58.470 --> 00:05:01.759 you know Under the sea alone. Oh, yeah. That 00:05:01.759 --> 00:05:05.019 takes serious vocal agility, serious projection. 00:05:05.079 --> 00:05:07.779 Doing that eight times a week, that cemented 00:05:07.779 --> 00:05:09.779 him as a top tier Broadway singer right there. 00:05:09.920 --> 00:05:12.199 And the cast was amazing, too. Sierra Boggess, 00:05:12.300 --> 00:05:15.800 Sean Palmer, Norm Lewis as King Triton. Yeah. 00:05:15.879 --> 00:05:18.240 And keep Norm Lewis in mind, because like you 00:05:18.240 --> 00:05:20.660 said, these Broadway connections, they tend to 00:05:20.660 --> 00:05:23.180 pop up again later. It's a small world. So even 00:05:23.180 --> 00:05:25.819 while he's landing these huge, defining roles, 00:05:26.079 --> 00:05:29.449 he's already sort of. pushing buttons you could 00:05:29.449 --> 00:05:32.910 say that look at 2009 he plays nicely nicely 00:05:32.910 --> 00:05:35.410 johnson in the guys and dolls revival why was 00:05:35.410 --> 00:05:38.310 that significant the sources flag it well nicely 00:05:38.310 --> 00:05:40.629 nicely is traditionally played by a white actor 00:05:40.629 --> 00:05:43.589 often you know a larger guy more of a broad comic 00:05:43.589 --> 00:05:46.870 type okay casting burgess shifted the focus it 00:05:46.870 --> 00:05:49.589 became about the voice the comedic timing not 00:05:49.589 --> 00:05:52.970 about sticking to some outdated racial or physical 00:05:52.970 --> 00:05:55.350 typecasting. So the industry was already seeing 00:05:55.350 --> 00:05:57.930 that his talent was bigger than the usual boxes. 00:05:58.069 --> 00:06:00.649 I think so. Yeah. It was like saying his skill 00:06:00.649 --> 00:06:02.990 dictates the role, not what we expect the role 00:06:02.990 --> 00:06:04.790 to look like. Okay. So Broadway's humming along. 00:06:04.889 --> 00:06:07.670 He's versatile. He's breaking molds. How does 00:06:07.670 --> 00:06:09.930 he end up crossing over into Tina Fey's world? 00:06:10.110 --> 00:06:13.920 Ah, the D -Fuan era. 30 Rock. Right. Seasons 00:06:13.920 --> 00:06:16.579 five and six. This was his first hookup with 00:06:16.579 --> 00:06:18.899 the Faye Carlock team. He had that recurring 00:06:18.899 --> 00:06:21.819 role, DeFuan, part of Angie Jordan's entourage. 00:06:22.139 --> 00:06:25.339 DeFuan was hilarious. So over the top. Completely. 00:06:25.459 --> 00:06:29.379 But beyond just being funny, that role was crucial. 00:06:29.779 --> 00:06:32.689 How so? Well, first, screen time. experienced 00:06:32.689 --> 00:06:34.970 in front of the camera. But maybe more importantly, 00:06:35.129 --> 00:06:37.050 it built that relationship with the showrunners. 00:06:37.170 --> 00:06:39.209 Ah, they got to see him work up close. Exactly. 00:06:39.269 --> 00:06:42.050 They saw his timing, how he could deliver those 00:06:42.050 --> 00:06:46.089 fast lines, his whole energy on camera. It proved 00:06:46.089 --> 00:06:48.290 he could take that big stage presence and make 00:06:48.290 --> 00:06:50.490 it work for TV. It was basically like a long 00:06:50.490 --> 00:06:52.910 audition. A multi -season audition that obviously 00:06:52.910 --> 00:06:55.610 paid off later. Big time. And all this time, 00:06:55.829 --> 00:06:59.170 he's still doing stage work too, diversifying, 00:06:59.170 --> 00:07:02.610 regional stuff like The Wiz. Jesus Christ superstar, 00:07:03.089 --> 00:07:05.209 keeping those chops sharp. There was that little 00:07:05.209 --> 00:07:07.250 blip too, right, with Wonderland? Oh yeah, good 00:07:07.250 --> 00:07:09.589 point. He was cast as the Caterpillar in that 00:07:09.589 --> 00:07:12.170 Broadway musical, Wonderland, back in 2010 for 00:07:12.170 --> 00:07:14.290 the 2011 run, but then he dropped out like a 00:07:14.290 --> 00:07:16.550 month later. Interesting. Yeah, it just shows, 00:07:16.629 --> 00:07:18.470 you know, not every project is the right fit. 00:07:18.529 --> 00:07:20.509 Sometimes making a quick exit is the smart move, 00:07:20.610 --> 00:07:22.269 sticking to what really aligns with where you 00:07:22.269 --> 00:07:24.509 want to go. And he stayed connected to the theater 00:07:24.509 --> 00:07:26.850 community too, doing benefit concerts. Definitely. 00:07:27.449 --> 00:07:30.290 Broadway for Obama in 08. Broadway After Dark, 00:07:30.370 --> 00:07:32.649 same year. Lots of those kinds of things. But 00:07:32.649 --> 00:07:34.949 the one performance that really stands out from 00:07:34.949 --> 00:07:38.290 that time. Yeah. Broadway Backwards, 2013. Yes. 00:07:39.009 --> 00:07:41.550 Performing, and I'm telling you, I'm not going 00:07:41.550 --> 00:07:44.519 from Dreamgirls. Wow. OK, that's Effie White's 00:07:44.519 --> 00:07:47.279 song, one of the biggest, most demanding female 00:07:47.279 --> 00:07:50.720 solos in musical theater history. Exactly. And 00:07:50.720 --> 00:07:53.560 for him to take that on, I mean, it's pure vocal 00:07:53.560 --> 00:07:56.639 power, pure drama. What message does that send? 00:07:56.800 --> 00:07:58.899 It sends the message that underneath the funny 00:07:58.899 --> 00:08:02.079 guy emerging on TV, there's this absolute vocal 00:08:02.079 --> 00:08:05.439 beast, a dramatic heavyweight with serious technical 00:08:05.439 --> 00:08:07.879 skill and emotional depth. It was like a reminder 00:08:07.879 --> 00:08:10.240 to everyone, don't forget what I can really do. 00:08:10.699 --> 00:08:12.500 That performance feels like the perfect setup 00:08:12.500 --> 00:08:14.699 for what happened next. It really does. He was 00:08:14.699 --> 00:08:16.339 ready for the main event. And that main event 00:08:16.339 --> 00:08:20.879 arrived March 6, 2015. Netflix, Drox, unbreakable 00:08:20.879 --> 00:08:23.519 Kimmy Schmidt. And suddenly the whole world knows 00:08:23.519 --> 00:08:26.839 Titus Burgess, or rather, Titus Andromedon. Kimmy's 00:08:26.839 --> 00:08:30.939 roommate. Flamboyant, hilarious, always chasing 00:08:30.939 --> 00:08:34.360 stardom. Just an unforgettable character. And 00:08:34.360 --> 00:08:36.779 the critics went nuts. The New York Times literally 00:08:36.779 --> 00:08:39.610 called the role tailor -made. for him. Which 00:08:39.610 --> 00:08:41.570 it felt like. It wasn't just that he was good 00:08:41.570 --> 00:08:43.570 in the role. It felt like the role was built 00:08:43.570 --> 00:08:46.330 from his specific DNA. Absolutely. And you have 00:08:46.330 --> 00:08:48.710 to look at how it used his skills. The character 00:08:48.710 --> 00:08:51.769 is this huge comedic creation, right? But it 00:08:51.769 --> 00:08:54.529 all leans on his background as a trained singer. 00:08:54.809 --> 00:08:57.230 Explain that a bit more. Well, think about Titus's 00:08:57.230 --> 00:09:00.370 reactions. Big, theatrical. He bursts into song 00:09:00.370 --> 00:09:02.909 constantly. He projects like he's still on a 00:09:02.909 --> 00:09:04.769 Broadway stage, even in that tiny apartment. 00:09:05.169 --> 00:09:08.409 Take Pinot Noir. The song itself is a joke, right? 00:09:08.529 --> 00:09:11.210 This ridiculous ode to trying to rhyme things 00:09:11.210 --> 00:09:13.769 with Pinot Noir. Iconic. An absolute classic. 00:09:13.990 --> 00:09:15.990 But to make that joke land season after season, 00:09:16.049 --> 00:09:18.690 you need serious vocal control. Perfect diction, 00:09:18.830 --> 00:09:21.169 even when being absurd. You need that commitment, 00:09:21.309 --> 00:09:23.629 that technique he got from UGA and Broadway. 00:09:23.929 --> 00:09:26.090 So the comedy works because of the serious skill 00:09:26.090 --> 00:09:28.950 behind it. Precisely. The technical precision 00:09:28.950 --> 00:09:31.690 makes the absurdity even funnier. And that's 00:09:31.690 --> 00:09:33.710 why it was instantly memeable, why the critics 00:09:33.710 --> 00:09:35.519 loved it. And the awards followed. I mean, the 00:09:35.519 --> 00:09:38.360 sheer volume. It's staggering. Five primetime 00:09:38.360 --> 00:09:40.659 Emmy nominations. Five. Just for Kimmy Schmidt. 00:09:40.899 --> 00:09:43.980 Four for the main series, Outstanding Supporting 00:09:43.980 --> 00:09:46.379 Actor in a Comedy Series, and then another one 00:09:46.379 --> 00:09:48.759 for the interactive movie, Kimmy vs. the Reverend. 00:09:49.080 --> 00:09:52.879 Wow. That's huge for one character. Career -defining. 00:09:52.899 --> 00:09:55.259 And that's just the Emmys. He won a Webby for 00:09:55.259 --> 00:09:58.659 Best Actor, a Gold Derby TV Award, nominated 00:09:58.659 --> 00:10:01.039 for Critics' Choice Awards multiple times. Didn't 00:10:01.039 --> 00:10:03.750 he win Black Reel Awards, too? Yep. 2017 and 00:10:03.750 --> 00:10:07.210 2019, outstanding supporting actor, comedy series. 00:10:07.490 --> 00:10:10.149 It was just this wave of recognition. From a 00:10:10.149 --> 00:10:12.210 career standpoint, what does that kind of success 00:10:12.210 --> 00:10:16.210 mean, going from niche Broadway respect to mainstream 00:10:16.210 --> 00:10:19.149 global fame? It validates everything, really. 00:10:19.250 --> 00:10:21.830 It shows that the discipline, the technique honed 00:10:21.830 --> 00:10:23.950 in musical theater isn't just for the stage. 00:10:23.990 --> 00:10:26.230 It translates. It works everywhere, even in a 00:10:26.230 --> 00:10:28.710 hit streaming comedy. His skills were universal. 00:10:29.179 --> 00:10:32.259 And during this Kimmy Schmidt peak, his voice 00:10:32.259 --> 00:10:35.639 became instantly recognizable. So voice acting 00:10:35.639 --> 00:10:38.440 naturally followed. Oh, yeah. Perfect fit. His 00:10:38.440 --> 00:10:40.779 voice has so much character. He did Photog in 00:10:40.779 --> 00:10:43.340 the Angry Birds movie in 2016. Okay. And then 00:10:43.340 --> 00:10:46.879 Vanity Smurf in Smurfs, The Lost Village in 2017. 00:10:47.159 --> 00:10:49.980 Vanity Smurf. That makes perfect sense, actually. 00:10:50.100 --> 00:10:52.740 Right. He can just inject personality using only 00:10:52.740 --> 00:10:54.960 his voice. It's specific skill. He also started 00:10:54.960 --> 00:10:57.000 popping up elsewhere, like as a guest judge. 00:10:57.899 --> 00:11:00.440 RuPaul's Drag Race All -Stars. Yeah, season three 00:11:00.440 --> 00:11:03.519 in 2017. That felt like such a natural fit, didn't 00:11:03.519 --> 00:11:05.740 it? The intersection of comedy, theater, pop 00:11:05.740 --> 00:11:08.840 culture, drag. Right. It was perfect. He was 00:11:08.840 --> 00:11:10.620 really becoming part of the cultural conversation. 00:11:10.899 --> 00:11:13.059 Definitely. And he did other guest spots, too, 00:11:13.139 --> 00:11:15.519 showing range beyond Titus and Dramadon. Like, 00:11:15.519 --> 00:11:18.000 he played God's brother in Miracle Workers. Oh, 00:11:18.019 --> 00:11:20.559 yeah. And a lawyer, Wade V. In the good fight. 00:11:20.659 --> 00:11:23.539 Both in 2019. So different kinds of roles, different 00:11:23.539 --> 00:11:26.539 tones. But even with all this TV success, he 00:11:26.539 --> 00:11:29.580 didn't forget Broadway. That Hollywood Bowl concert. 00:11:29.700 --> 00:11:32.779 Yes. 2016, The Little Mermaid live in concert. 00:11:32.860 --> 00:11:35.399 He went back to Sebastian. Alongside Norm Lewis 00:11:35.399 --> 00:11:38.120 again, right? And Sir Braille's Ariel. Exactly. 00:11:38.120 --> 00:11:40.620 And this wasn't just like a fun little cameo. 00:11:40.620 --> 00:11:44.419 It was a major high profile event. It showed 00:11:44.419 --> 00:11:47.519 everyone, hey, I'm a huge TV star now, but I 00:11:47.519 --> 00:11:49.620 can still step onto a stage and kill it in the 00:11:49.620 --> 00:11:51.879 role that started it all. Keeping those stage 00:11:51.879 --> 00:11:55.000 doors wide open. Absolutely. Smart move. He knew 00:11:55.000 --> 00:11:57.299 he'd be back. So Kimmy Schmidt ends its main 00:11:57.299 --> 00:12:01.379 run. What happens next? It feels like his career 00:12:01.379 --> 00:12:05.879 gets even more unpredictable. experimental yeah 00:12:05.879 --> 00:12:08.100 that's a good way to put it yeah he really started 00:12:08.100 --> 00:12:10.259 leaning into projects all over the map embracing 00:12:10.259 --> 00:12:12.399 the weird and wonderful like the ratatouille 00:12:12.399 --> 00:12:14.759 thing oh my god yes ratatouille the musical we 00:12:14.759 --> 00:12:16.580 have to pause on this this started as a tiktok 00:12:16.580 --> 00:12:19.340 meme right just random people making songs based 00:12:19.340 --> 00:12:21.940 on the movie It was pure internet chaos. Total 00:12:21.940 --> 00:12:24.779 chaos. And then somehow it becomes this actual 00:12:24.779 --> 00:12:27.240 online benefit concert presentation in 2021. 00:12:27.539 --> 00:12:30.139 And who do they get to star as Remy the Rat? 00:12:30.360 --> 00:12:32.340 Titus Burgess. Titus Burgess. I mean, what does 00:12:32.340 --> 00:12:34.899 that tell you? A major star jumping headfirst 00:12:34.899 --> 00:12:37.840 into a project born from, like, collective Gen 00:12:37.840 --> 00:12:40.759 Z absurdity? It shows he's got zero ego about 00:12:40.759 --> 00:12:43.120 this stuff, right? Yeah. And he's super media 00:12:43.120 --> 00:12:46.860 savvy. Totally. He took this viral joke and gave 00:12:46.860 --> 00:12:49.559 it his professional stamp, turning it into something 00:12:49.559 --> 00:12:52.779 real and successful. That's understanding the 00:12:52.779 --> 00:12:54.720 modern entertainment world. But he didn't just 00:12:54.720 --> 00:12:57.379 do viral memes. He also did big traditional TV 00:12:57.379 --> 00:13:00.559 events. Annie Live. Right. Later in 2021, he 00:13:00.559 --> 00:13:03.179 played Rooster Hannigan. The villain. Totally 00:13:03.179 --> 00:13:05.259 different vibe from Remy. Completely different. 00:13:05.320 --> 00:13:08.480 Classic musical theater bad guy. Stepping into 00:13:08.480 --> 00:13:11.100 that kind of role for a big NBC Live special 00:13:11.100 --> 00:13:13.919 shows his range in a more traditional way. He 00:13:13.919 --> 00:13:16.179 can deliver for that big family audience, too. 00:13:16.360 --> 00:13:18.100 And all the while, the voice work keeps getting 00:13:18.100 --> 00:13:21.059 bigger. Oh, yeah. He landed another Emmy nomination 00:13:21.059 --> 00:13:23.720 for it. For Central Park. Yep. The animated musical 00:13:23.720 --> 00:13:27.679 series. He was a regular from 2020 to 2022. Voiced 00:13:27.679 --> 00:13:30.389 Cole Tillerman. And also, Calif Van Beesler. 00:13:30.549 --> 00:13:32.710 And the Emmy nom was for a specific episode. 00:13:32.970 --> 00:13:35.169 Yeah, outstanding character voiceover performance 00:13:35.169 --> 00:13:37.690 for the episode, A Fish Called Snakehead. Again, 00:13:37.809 --> 00:13:40.450 it just highlights that pure vocal acting skill, 00:13:40.610 --> 00:13:43.389 conveying everything with just the voice. That 00:13:43.389 --> 00:13:45.850 UGA training isn't just for singing. His voice 00:13:45.850 --> 00:13:48.230 is everywhere now. Didn't he narrate the Teletubbies 00:13:48.230 --> 00:13:51.669 reboot too? He did. 2022 on Netflix, which is 00:13:51.669 --> 00:13:54.870 just amazing. From Central Park and Kimmy Schmidt 00:13:54.870 --> 00:13:58.289 to Teletubbies. Talk about range. Effortless 00:13:58.289 --> 00:14:00.929 pivots. And it's continuing. He's got more animation 00:14:00.929 --> 00:14:04.250 coming. Spellbound in 2024, voicing Sonny, the 00:14:04.250 --> 00:14:07.039 Oracle of the Sun. And he's playing Bashful in 00:14:07.039 --> 00:14:09.740 the new live action Snow White for 2025. Bashful. 00:14:09.840 --> 00:14:12.120 Okay. Is that just voice? Voice and facial motion 00:14:12.120 --> 00:14:14.539 capture. So blending performance with new tech. 00:14:14.759 --> 00:14:16.879 But let's get back to the stage. Yeah. Because 00:14:16.879 --> 00:14:19.620 this recent period is really defined by his return 00:14:19.620 --> 00:14:21.909 to Broadway. And the kinds of roles he's choosing. 00:14:21.990 --> 00:14:24.070 Exactly. It feels very deliberate, very strategic. 00:14:24.509 --> 00:14:26.950 First, he dipped his toe back in with Schmigadoon 00:14:26.950 --> 00:14:30.769 on Apple TV. Plus, season two, 2023, he played 00:14:30.769 --> 00:14:32.730 the narrator. Which has that musical theater 00:14:32.730 --> 00:14:36.110 vibe. Totally. Then, a proper Broadway run. Moulin 00:14:36.110 --> 00:14:38.639 Rouge, the musical. As is Harold Zidler. Yep, 00:14:38.639 --> 00:14:41.120 replacement role, limited run, October to December 00:14:41.120 --> 00:14:44.740 2023. Big, flashy, host -type role, high energy, 00:14:44.940 --> 00:14:47.200 and he got nominated for a Broadway .com Audience 00:14:47.200 --> 00:14:49.899 Award for it. Showed he still had the stage stamina. 00:14:50.139 --> 00:14:53.940 And that leads us to... Oh, Mary. Oh, Mary, playing 00:14:53.940 --> 00:14:55.799 Mary Todd Lincoln. On Broadway. On Broadway. 00:14:56.080 --> 00:14:59.259 Scheduled runs in March, April, and June, August 00:14:59.259 --> 00:15:03.299 2025. This... This feels like the ultimate Titus 00:15:03.299 --> 00:15:05.179 Burgess role choice. Gender -bent historical 00:15:05.179 --> 00:15:08.080 figure. It's provocative. It's completely provocative, 00:15:08.080 --> 00:15:10.100 and it ties back to what we mentioned earlier, 00:15:10.179 --> 00:15:13.419 right? His identity, his history of pushing boundaries. 00:15:13.600 --> 00:15:15.940 Also, connect those dots. Okay, well, think about 00:15:15.940 --> 00:15:19.019 it. He's built this career on defying typecasting. 00:15:19.580 --> 00:15:22.259 playing nicely traditionally white, playing the 00:15:22.259 --> 00:15:25.700 witch into the woods in a 2015 production traditionally 00:15:25.700 --> 00:15:29.039 female. Now he's playing Mary Todd Lincoln. It's 00:15:29.039 --> 00:15:31.519 not just a gag. It's using his platform, his 00:15:31.519 --> 00:15:34.179 talent, to challenge our assumptions about who 00:15:34.179 --> 00:15:36.879 gets to play what role. It forces you to focus 00:15:36.879 --> 00:15:39.360 on the performance itself, not on whether the 00:15:39.360 --> 00:15:41.600 actor looks like the historical figure or fits 00:15:41.600 --> 00:15:43.779 some old convention. So it's about the essence 00:15:43.779 --> 00:15:47.000 of the character, not the external package. Exactly. 00:15:47.000 --> 00:15:49.759 The pattern is undeniable. He consistently chooses 00:15:49.759 --> 00:15:53.940 roles that break rules about race, gender, type. 00:15:54.039 --> 00:15:56.740 He's actively reshaping how we see these characters, 00:15:56.940 --> 00:16:00.220 how we see history on stage. It's a powerful 00:16:00.220 --> 00:16:02.720 use of his fame and his skill. OK, we've hit 00:16:02.720 --> 00:16:06.860 Broadway, TV, voice work, the boundary pushing 00:16:06.860 --> 00:16:09.279 stage roles. Yeah. But there's more in the catalog. 00:16:09.519 --> 00:16:11.559 Let's talk film. We need to see if he can dial 00:16:11.559 --> 00:16:13.740 down the tightest energy for the camera in dramatic 00:16:13.740 --> 00:16:16.320 roles. That's a key skill, right? Shifting from 00:16:16.320 --> 00:16:19.120 stage projection to screen intimacy. He definitely 00:16:19.120 --> 00:16:21.360 did that. He was in Dolomite Is My Name back 00:16:21.360 --> 00:16:24.399 in 2019 with Eddie Murphy, played Theodore Tony. 00:16:24.580 --> 00:16:27.200 Okay, ensemble piece. Yeah, comedy drama. But 00:16:27.200 --> 00:16:29.919 the big one dramatically was probably Respect, 00:16:30.259 --> 00:16:32.960 the Aretha Franklin biopic from 2021. Who did 00:16:32.960 --> 00:16:35.029 he play? James Cleveland. The gospel legend. 00:16:35.090 --> 00:16:37.590 Huge influence on Aretha. Wow. That requires 00:16:37.590 --> 00:16:39.710 a totally different energy. Gravitas. Completely. 00:16:39.769 --> 00:16:42.230 And different singing, too. Gospel singing, not 00:16:42.230 --> 00:16:44.509 musical theater belting. It draws on different 00:16:44.509 --> 00:16:46.090 techniques, different emotions. That's where 00:16:46.090 --> 00:16:47.970 that formal music training really shows its depth. 00:16:48.049 --> 00:16:50.149 You can just pivot. Broadway tenor, pop comic, 00:16:50.370 --> 00:16:53.669 gospel singer. He was also Julian in a 2018 film. 00:16:54.029 --> 00:16:57.269 Then came you. But, okay, beyond acting, he's 00:16:57.269 --> 00:17:01.429 also become a host. Yeah. Reality TV host. Which, 00:17:01.529 --> 00:17:03.690 again, feels like a smart way to use his personality. 00:17:04.220 --> 00:17:07.079 Definitely leverages the charisma. Hosting takes 00:17:07.079 --> 00:17:11.279 energy, wit, managing chaos. He did Dishmantled. 00:17:11.279 --> 00:17:13.500 Remember that cooking show where they get blasted 00:17:13.500 --> 00:17:16.240 with a dish? Vaguely. How many episodes? 10 back 00:17:16.240 --> 00:17:19.680 in 2020 and same year he hosted sing on that 00:17:19.680 --> 00:17:22.519 netflix singing competition so when he hosts 00:17:22.519 --> 00:17:25.440 is he like a generic game show host or is he 00:17:25.440 --> 00:17:27.480 bringing the titus's energy oh he brings the 00:17:27.480 --> 00:17:29.700 energy sources suggest he's not just standing 00:17:29.700 --> 00:17:32.059 there reading prompts he's witty he's quick he's 00:17:32.059 --> 00:17:34.180 part of the fun makes sense he'd also pop up 00:17:34.180 --> 00:17:36.220 on panel shows like match game and he's got new 00:17:36.220 --> 00:17:38.720 hosting gigs too yeah last bite hotel listed 00:17:38.720 --> 00:17:41.599 for 2024 and he's done named that tune he just 00:17:41.599 --> 00:17:43.599 has that theatrical flair that makes him a really 00:17:43.599 --> 00:17:46.119 engaging host not a boring Okay, time for the 00:17:46.119 --> 00:17:48.059 deep cut. The detail that separates the real 00:17:48.059 --> 00:17:52.019 fans. We've done stage, screen, hosting, video 00:17:52.019 --> 00:17:54.940 games. Yes. This is my favorite piece of trivia 00:17:54.940 --> 00:17:58.039 about him. You think five -time Emmy nominee, 00:17:58.279 --> 00:18:00.880 Broadway star. You don't usually think Grand 00:18:00.880 --> 00:18:04.880 Theft Auto. He's a GTAV. He is. Provided voice 00:18:04.880 --> 00:18:07.380 work for the 2013 game. Played a character named 00:18:07.380 --> 00:18:09.900 Bob Moulet. Oh, Moulet. Okay. But wait, it gets 00:18:09.900 --> 00:18:13.079 better. His most memorable bit, it's on the in 00:18:13.079 --> 00:18:16.460 -game radio station, WCTR, on a show called Chakra 00:18:16.460 --> 00:18:19.799 Attack. Go on. He's credited, or at least known, 00:18:20.000 --> 00:18:23.059 as the potato water guy. The potato water guy. 00:18:23.119 --> 00:18:26.279 The potato water guy. Discussing coconut water, 00:18:26.359 --> 00:18:29.519 apparently. It's this tiny, probably uncredited 00:18:29.519 --> 00:18:32.539 voice cameo on a fake radio show inside a massive 00:18:32.539 --> 00:18:34.839 video game. That is absolutely amazing. What 00:18:34.839 --> 00:18:36.460 does that tell us? It tells us everything. It 00:18:36.460 --> 00:18:39.019 says his commitment is total. He uses that instrument, 00:18:39.220 --> 00:18:41.940 his voice everywhere. Big stage, small screen, 00:18:42.099 --> 00:18:44.240 even weirder corners like being the potato water 00:18:44.240 --> 00:18:46.960 guy. The same care he put into Sebastian, you 00:18:46.960 --> 00:18:48.900 bet he put into that weird little radio bit. 00:18:49.079 --> 00:18:51.740 It shows incredible range, but also maybe a great 00:18:51.740 --> 00:18:53.900 sense of humor about his own career. Exactly. 00:18:53.920 --> 00:18:56.279 It's about applying the genius no matter how 00:18:56.279 --> 00:18:58.839 small or strange the platform. Okay, and just 00:18:58.839 --> 00:19:01.970 to round out the musical evidence, the... Right. 00:19:02.130 --> 00:19:03.890 Obviously, he's on the original cast recordings 00:19:03.890 --> 00:19:07.450 for Jersey Boys from 2005 and The Little Mermaid 00:19:07.450 --> 00:19:10.539 from 2008. Essential Listening. And solo albums. 00:19:10.700 --> 00:19:12.980 Yep, two of them. Here's two that came out way 00:19:12.980 --> 00:19:16.039 back in 2006, even before Mermaid. And then St. 00:19:16.140 --> 00:19:18.839 Titus in 2019. So he's always maintained that 00:19:18.839 --> 00:19:21.319 identity as a recording artist too. It all comes 00:19:21.319 --> 00:19:23.619 back to the music, doesn't it? Always. That's 00:19:23.619 --> 00:19:26.359 the engine driving this whole incredible, unpredictable 00:19:26.359 --> 00:19:29.859 machine. Yeah. Hashtag, tag, tag, outro. Connecting 00:19:29.859 --> 00:19:32.480 the dots and final thought. So wrapping this 00:19:32.480 --> 00:19:35.400 all up, this deep dive really shows that Titus 00:19:35.400 --> 00:19:38.420 Burgess' career isn't some happy accident. It's 00:19:38.420 --> 00:19:40.559 built on smart choices right from the start. 00:19:40.640 --> 00:19:44.059 Definitely. That music degree from UGA, the practical 00:19:44.059 --> 00:19:46.660 move to Disney to get the equity card that laid 00:19:46.660 --> 00:19:48.839 the groundwork. And that solid theater foundation 00:19:48.839 --> 00:19:51.859 gave him the chops not just for Broadway, but 00:19:51.859 --> 00:19:54.759 then to totally conquer TV comedy, especially 00:19:54.759 --> 00:19:57.400 leveraging that Tina Fey connection for Titus 00:19:57.400 --> 00:19:59.750 Andromeda. Yeah, a role that felt made for him. 00:19:59.890 --> 00:20:02.190 And his success comes from having the confidence, 00:20:02.390 --> 00:20:04.970 the skill to take that power vocal and presence 00:20:04.970 --> 00:20:07.529 and just pour it into roles that brick the mold. 00:20:07.710 --> 00:20:10.190 Nicely, nicely. The witch, Mary Todd Lincoln. 00:20:11.769 --> 00:20:14.609 It's a pattern of challenging expectations. He 00:20:14.609 --> 00:20:17.470 shifts effortlessly. High art, pop culture, stage, 00:20:17.789 --> 00:20:20.549 screen, voice acting. He does it all. Okay, so 00:20:20.549 --> 00:20:23.150 we've seen him master basically every medium. 00:20:23.769 --> 00:20:27.349 Broadway legend, Emmy -nominated TV icon. But 00:20:27.349 --> 00:20:29.829 here's the final thought for you listening. What 00:20:29.829 --> 00:20:31.970 does it really tell you about an artist's range, 00:20:32.109 --> 00:20:34.670 about their legacy, when a tiny, almost hidden 00:20:34.670 --> 00:20:37.490 role like the potato water guy in a video game 00:20:37.490 --> 00:20:41.450 feels just as... well, Titus Burgess, as the 00:20:41.450 --> 00:20:43.250 massive role that made him famous worldwide. 00:20:43.630 --> 00:20:45.769 Right. Does that obscure little credit maybe 00:20:45.769 --> 00:20:48.049 reveal more about his versatility than anything 00:20:48.049 --> 00:20:50.230 else? I think it tells us that real range isn't 00:20:50.230 --> 00:20:52.069 just about the big roles. It's about the willingness 00:20:52.069 --> 00:20:54.569 to bring your unique talent to everything, no 00:20:54.569 --> 00:20:56.910 matter how weird or small. It proves the most 00:20:56.910 --> 00:20:58.990 defining work sometimes hides in those unexpected 00:20:58.990 --> 00:21:02.829 choices. So the question for you is, what's your 00:21:02.829 --> 00:21:06.740 potato water guy skill? What fundamental talent 00:21:06.740 --> 00:21:09.359 do you have that's so strong you could apply 00:21:09.359 --> 00:21:11.380 it anywhere, even the most surprising corner 00:21:11.380 --> 00:21:13.720 of your world? Some talk to think about. Definitely. 00:21:14.180 --> 00:21:16.380 Thanks for joining us on this deep dive into 00:21:16.380 --> 00:21:19.259 the amazing career of Titus Burgess. We'll catch 00:21:19.259 --> 00:21:19.720 you next time.