Episode #254: Lauren Marcus TALKS 'Be More Chill,' Love for 'Little Shop' & "Skinny & Blonde"

It is a privilege to welcome actress and singer Lauren Marcus to <i>The Jake's Take with Jacob Elyachar Podcast.</i> <br /><br />Stephen Mosher of <i>BroadwayWorld </i>best described Lauren: "Take all the female rock stars you have known and loved and roll them up into one. Take, for instance, Linda Ronstadt's soul, Tina Turner's sexiness, Pat Benatar's grit, Debbie Harry's defiance, and all the Go-Go's playfulness. Mix and bake at 350, then frost with a five-inch thick layer of The Icing of Originality, and you've got Lauren Marcus." <br /><br />Hailed as "fabulous" by <i>The Boston Globe</i> and a "powerhouse" by <i>The Chicago Tribune,</i> Lauren is a multi-hyphenate actor, singer, and writer whose work has been seen on stage and screen. She has appeared in countless regional theatrical productions, including <i>Company</i> (with Aaron Tveit; Amy), <i>Fiddler on the Roof </i>(Tzeitel), <i>Hello, Dolly!</i> (with Tovah Feldshuh; Ermengarde), two productions of <i>Little Shop of Horrors</i> (Audrey) and <i>Merrily We Roll Along</i> (Mary Flynn). She also was part of four world premieres, including <i>Beatsville </i>(Carla), <i>Love in Hate Nation</i> (Miss Asp), <i>Pregnancy Pact (</i>Jenn), and <i>Punk Rock Girl! </i>(Patricia). <br /><br />She also appeared in the Off-Broadway productions of Sarah Silverman's <i>The Bedwetter </i>(multiple roles) and <i>White Girl in Danger</i> (Meagan). Lauren was also part of <i>Be More Chill's</i> journey. She portrayed Brooke Lohst in the regional, off-Broadway, and Broadway productions. Lauren starred as Donna in the Netflix adaption of the Lin-Manuel Miranda-directed <i>Tick, Tick…BOOM!</i> Lauren also performed across New York City's famous music venues, including 54Below and Rockwood Music Hall, where she had multiple residencies and had a party of 12 performers on stage. While she considers her live shows – half-party/half-therapy, Lauren's sound is inspired by the effervescent melodies of 1960s pop, the lyrical poetry of 1970s troubadours, and the electric edge of co