Oh. Hey, Joyce. Nice to see you again.
Hey, hey. Welcome to what's good with John and Joyce.
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Thank you all. Your name again is. I have no idea.
Man. But we are so excited.
A gentleman who came up with the name for our podcast, What's Good.
He happens to be here.
One of the most talented young men I have ever met.
This guy performed, I believe it's Frankie
Valli and a Florida production, I believe, of, Jersey boys.
He's done independent films. He's an actor.
He's a singer.
He does it all. He washes your dishes if you want.
He bangs his head in the microwaves.
Well, get down the line.
But we like to welcome, Nick Rapino to what's good with John and Joyce.
Hey. What's good? Nick, right?
Yeah. Right.
Right. Exactly.
We want to talk about something good.
And you said something like. Oh, that's okay. For a name,
right?
Yeah, yeah. So it's worked out really well.
Todd, told us not to be afraid of
just talking casually before the camera even gets.
So. I mean. Oh, yeah.
So that's what we'll just. We don't. Nope. Not at all.
I know, just like.
Like you said before, there's too much slickness in the world now.
And like, all they're just being podcasting.
But, you know, you know, I've been listening to you guys.
You guys just you.
Yeah,
well, we got to be us because everybody else is taken, right?
Right. Sammy Davis, 1969.
Okay. So.
That's right.
So, Nick.
So, Nick, tell us about you.
I mean, yeah, I mean, tell us about how you got from here to there, there
to here and a little bit about you because your your career is just amazing.
And you're like, you know, a baby, you're like, 19 years old.
Yeah.
No, I've
just I guess from a young age I've always like from,
like towards movies and stuff and I wasn't really wasn't a sportiest kid
on my appreciate sports but like it was just
when I saw like movies as a kid, the Disney VHS,
I was like that, I want to do that.
And then, that just kind of I didn't really do it a lot until high school.
And then I started doing drama in high school.
I was like, I forgot, I really this was what I really wanted to do.
And then I just was like, okay, so I'm going to.
So, after high school, I went to my other studio of acting.
I started with like, every
three hour train or whatever. The guy coach.
Yeah, there.
And halfway through, I was like, I started working with, this,
director who was, who I just as soon
as I was directed by him, I was like, I was like, I like what he's doing.
And I'm like, I think that's what I want to do.
And I still act, you know?
I'm still doing all that. But like, he really, like,
kind of inspired me to, to tell stories instead of just the environment.
So, I made a movie and then I made two more,
and then I started a theater company up here.
We've even played the Bushnell.
And, that's a big deal for Glengarry Glen Ross.
I was, and then right after we did Glengarry Glen Ross there,
I produced that show.
And, where, you know, I was just producing it.
My friend Kath directed it, and, we had a great cast and was a great,
great turnout.
I can believe you like the tickets for, like, the Bushnell comes to diamond.
Yeah.
So I just long story short, like, I just wanted to make something
to tell stories and to make movies or fun plays that I like and plays
that I think are important and people usually do, but also are recognizable
in the way so it's hard because of my, my range of interest in
what kind of movies or plays or musicals I like is so eclectic.
You're all over the map now, but how about your parents?
Were your parents very, very, encouraging
because so many times people say, get a real job, were in the arts, right?
Get a job.
You're going to make money with this.
It's it's hard. It's hard to tell.
You know, people like me, it's hard to tell the parents that.
Like, it's convinced them that, like, this is actually a job, you know?
Right.
But they get it to an extent.
Yeah. Do an extent.
You see it happening like, oh, crap, this is actually happening.
Like like this is going like they they get it right.
They knew that he's going to do stuff with movies and theater and stuff.
That's what he's good at. That's what he's going to do.
They're not like, oh yeah, they're going to go be an accountant, you know?
Right. They want to be right.
But they never did like the whole like, don't do what you want to do,
do something else. And they never did. That's awesome.
It's nice when parents realize that.
Plus we we need eclectic. We do.
We need an account.
We need an actor.
We need a producer accountant on the movie.
Right?
Yeah.
Well, the and the
the money you're bringing in, hopefully somewhere down the line, you know?
Yeah, a lot of times it's a play.
Yeah.
You do so much and then like two weekends of a show goes
by and I'm like, you going to take a sales? I'm like, you're either like,
but pretty much
recently last couple, once I produced the one with my,
theater partner Jeff,
we last couple shows we did, we end up in the green room.
We were very happy, so.
Well, Patty and I went to see misery recently. Your version of.
That's one of my favorite Stephen King movies. Misery?
Oh, what was a Kathy Bates and James Caan?
And then, of course, who else could do terms of Endearment,
one of the saddest movies ever you produced,
but that was one of the most amazing productions
you did there, because it would that's that's kind of a tough story to do.
A long story. Yeah.
Yeah, they, they kind of the, the stage adaptation
like cuts it up into like the best parts of the movie.
That's all right.
I produced it, but I was working alongside the director.
And we both direct the same way.
So we had the same things to say about it, and,
we the funny story was, the people that we selected Wallingford
senior scientist
while you were starting out in the company,
and it was just the senior center didn't have really any lights or anything.
So we had to bring our own lights and, and, the people that the seniors that are
didn't really understand, like what we were doing, they couldn't understand
whether, we had to do a week of rehearsal and they were kind of like, oh, you.
Oh, I thought you just showed up on stage and did it right.
It wasn't that they were like mad or anything that really concerned, like,
do you really need this?
And then one guy who was just like, really not getting it, came to see it.
And then at the end of the show was bawling.
And he goes, yeah, this is why you need to rehearse.
Light bulb went on.
It was just it's just fun to see how people like, yeah,
once they once they see what other work and put into they appreciate it more.
And hopefully I personally go to see more theater and do more theater.
So it was just funny how like just,
you know, telling people like, yeah, we have to be here a week
until the show goes off, right?
You know, like after like we're elsewhere rehearsing
to two times, three times a week and then like the final week, Monday
through Thursday before we open the show.
We have to do that every night, too, right?
So that's good. And it just didn't get it.
And then finally they saw it and they were like, okay, we get it.
Yeah, we get what you need to do.
And that that was very nice.
Now what a gift though.
That you have
because you're putting something together and it's got to be stressful.
And the I mean you're looking
if you look at everything as a whole, it's going to be overwhelming.
But if you take a piece by piece day at a time, little by little, right?
And there's always a moment in every show where it's like,
I'm sitting there and I'm like,
this is not right.
We're not doing it like that.
There's no way it's going to come. It's every single time.
And, mostly in theater, not necessarily film.
Yeah. But,
but every single show I've done there's been like, for me, just like what?
What? It's not that we were on the air
and you can just that, like, so much is happening.
It's only, you know, amateur theater.
It's not like, you know, let's be in or anything.
So like, it's just a bunch of people giving their time.
You know, and talent and showing up some. Yes.
Yeah, but someone doesn't show up for their
event or something that happens.
I had to, where I work in New Haven Academy of Performing Arts.
They have a theater company, Broadway, I mean theater.
And that's where I work now.
And, one day, the guy playing
Bert wasn't feeling well and kind of needed assistance.
Medical assistance?
And I had to run upstate.
I was just in the lobby.
Just like being in the lobby guy, you know,
because I was just there to support, like, I've been in the the whole thing.
And then, like, the directors looked at me and it was,
go find a costume in my heart.
So. Wow. Yeah, yeah.
And I don't know the lines. I don't know the thing.
So then I go up and there's, this young actress, who has studied
this for a couple of years, like, ran up with me. We were like, like,
yeah, yeah.
He says you can use my hand. And then, like, they threw her had at me.
And then she ran out the door to go to her scene.
And I went in the dressing room, like putting on my clothes.
Getting into this really ridiculous makeshift
costume of a bird from Mary Poppins.
Like, with a little I look. It didn't fit.
Yeah.
The difference between me and Billie, who was playing bird,
who actually went on and it was totally fine.
Just needed rest. Yeah.
I was back. There was great movie set.
Like it was going to go from Bird and Mary Poppins being like,
to to, like, all of a sudden he goes out and I said that his arm.
Ha ha ha, wow. Like that.
But he was fine. He did the show as a trooper.
He's the best.
So I didn't have to go on. And I'm like, now, nigga.
I mean, you know, theater enough and and the script ahead of time,
you know, somewhat.
If you had to go in there and do that role, you can actually fake it
enough to, to, to make it work in my hand on stage.
Oh, you would have brought the script with you. Okay.
And the audience would understand obviously.
Yeah. It's something that that drastic.
But he pulled through.
Wow. Good for him and did all wow.
He wasn't like he was never second.
He was. He's the best. He was. He was sick.
He just had some kind of something was up with him like woozy and but he survived.
But I mean those injuries on the floor where I've been, you know, out of it.
And then like, I had the performance to just, like,
jolt into anything in general and just kind of sure.
Yeah. Yeah.
I remember working with Robin Williams on a few shows
and he was going through a really bad time, like they were divorced at the time,
and he was backstage in the green room
sobbing, I mean, sobbing to the point
I went to his manager and I said, there's no way he's going on this date.
There's no way he said, he'll do it, and I'll tell you, those lights went on.
He was introduced.
He pulled himself together and he was Robin Williams.
No one was disappointed, but I think that could take a toll
on somebody after a while, especially comedy. Yes.
And people expect you at a certain level all the time.
So you have to take care of your mental health.
I think we all do, but especially actors,
especially on a Broadway play, we're playing the same role over.
It's like it
doesn't joke that, comedian John Burnett stands with
and Hairspray.
He goes, it's the same show every day.
Like, you know halfway through you can't go, oh hahahahahahahaha.
Yeah, yeah.
But have you ever gone on stage yourself and had like a brain fart
or or just basically.
Oh yeah. Exactly.
I'm sure that's happened as well. Right.
When the rest of the cast goes. Really?
No. But like you're like like you forgot your lines.
Yeah.
Yeah, that's happened before I did, but I, I don't like I kind of like
just go forward if like, I've missed something, I try to fix it.
Right.
I think,
there's been a couple times, I think I just kind of block them out of my memory
that what had happened.
But I don't remember any
specific time where it was like, oh, my God, I'm so, like, nuts.
But,
I think I was I don't know
if it happens.
I just kind of like now because I get so soon.
Anyway, I just you've got to have a great memory.
Yeah.
I remember there recently there was a line
and I was in A Christmas story, I probably a name and,
I give I play the father, you know, the old man
with the lamp and everything I gave, I gave the the wife,
the, the note that says I won and I said, read it, read it.
And we she and I came up with a bit that wasn't in the script, which was like
most of our,
you know.
Oh, did you really know? Okay, okay.
Yeah.
There was a moment where I go read it, read it, and we thought it'd be funny
if, like, she starts reading it, like, silently, and I just go out loud,
joke.
So I read it, read it, and then I'm standing there
and I forget that we made up the bed, and I'm just like this.
And I go, yep, yep.
It was like, I remember that was the most recent one.
But, yeah.
Sometimes if I had to do a song and I like, do the first verse last
or the last verse first or something, that that kind of sucks.
You know what makes you so good?
And just knowing you, I know this, that you really have your finger
on the pulse of life and you know what's what's going to be funny.
You know what people are going to relate to.
You just innately know that.
And that's what makes you a good director.
It's I try I think it's just natural what they know.
I mean, let me ask you this, Nick.
You make movies, two independent films.
Matter of fact, I was able to do the voiceover
and a couple of them playing a DJ a couple of times, right.
Throughout the whole.
Yeah, throughout the movie, it was kind of cool.
Yeah. And that was an honor and privilege.
And that's the last line of saying,
oh yeah, but but tell me about the whole process of movies.
First doing theater.
So I tell everybody all the time
that I do theater for a couple of years, and then I get sick of it,
and then I make a movie,
and then I do a movie for two months, and I get sick of it, right, right, right.
Like a circle of theater or film?
Theater or film.
So, like, I miss doing film when I'm doing theater and I miss,
you know, I'm doing film, but, like, I love both of them equally.
But, right now, I mean,
it's a very low budget movie.
It's a Christmas movie.
And, we are in the tail end of, the shooting schedule.
So we'll be finishing up soon and hopefully premiering it. Wow.
Watch a Christmas movie.
And the thing is, when you think when it was Christmas.
But, Bob, when I first met Nick, I mean,
it's it's the drama, but it's not, like, scary.
Yeah, but when I first met you, Nick, I was introduced to you by your.
Or your cousin and your cousin Vinny. Right?
You should do that show, right? Yeah.
Oh, wouldn't that be awesome?
But when he told me all about you, I thought,
you know, guy, make it a local movie, this and that.
You know, you had lower expectations.
And then when I met you and I saw the films you actually made
very professional.
The acting and everything just well done.
And this and this would hold up raving about you, your movie.
The quality is just I mean, they, they they definitely go
I a lot of my first movie that I made is not as good quality as my second.
My seconds. I was just calling.
I'm sure it's just like a you just learn and you keep getting better.
You do like you know, depending on
depending on the movie, like this movie is very, very low budget.
Like we don't even have like a full crew.
It's just like actors telling us, putting the story first
instead of worrying about putting the pictures.
Let me ask you something because I never thought of this question before.
If you want to do a play and the play already exists,
or was a movie like My Cousin Vinny, do you have to get right.
Yeah.
You do like Terms of Endearment already had an adaptation
that you can get the rights to.
Okay.
So, misery are with a play that already got
made into something, and that's what I did for our cabaret, our name.
And we did that. That was like a big one.
That was huge.
That was insane.
And I was working on Neil Fuentes,
who runs the tech and directs the Broadway shows.
I directed the show, and then he came in and just designed everything around it,
and we learned during the process that, like,
we are, we we know like we we don't.
We have the same vision. Yeah, almost every time.
Like if I say, you know what we should do, we'd be like, yeah, we should do this.
You're the yin to his yang.
We're just like, we know. Like, right. He goes, okay.
And he doesn't really know. What about this? I'll be like, yes.
Like we work really well.
And then there's another adaptation.
That's all.
That was a play.
First, we took together, I rarely co-direct with Neil,
and I work so well together.
We're doing steel Magnolias. Wow.
So, yeah, my wife's gonna love that.
Yeah. That's right.
On with the show.
Wow. Yeah.
So we're doing that next. That's going to be the next best.
We're following up misery with Steel Magnolias, and then
they're doing, we're we're doing, school of Rock and.
Oh, my goodness, that's going to be so much fun.
I want to see that.
Yeah.
That's, Cabaret on Main Broadway,
and it's running so you can do all the music, everything.
You have full rights?
Yeah.
So Billy is the owner of where I work, and, he he's running everything.
The producer.
So you have to go on a website and there's a couple of,
sites that have the rights to these shows, and,
they you just get permission to buy the rights, like.
And then you have a certain time to do it.
They give you the rehearsal material. You can't change anything.
You can.
You have to make sure it's to the TV
because they're giving you this to perform it in somebody else's, like property.
And then they got the rights for school rock, and they do this for the rock.
Yeah.
So many kids fight for that front you.
They don't get a percentage.
Yeah, we pay for it upfront and then you get the estimate.
Like we have this many people in our seats.
We have this many performances.
So it's usually like this much amount for performance
depending on your ticket sales and how many people you have.
Oh what.
And I h we've been trying to get those rights for.
Well now you played Frankie Valli in Jersey boys ago.
It was called.
There was two of them.
One was called. Oh, what a night.
There's also another.
Oh, what a night somewhere that's still going on.
But we called ours over tonight.
But the big one we did was on the Jersey experience.
Oh, like,
it really was like you were sitting in, like, a lounge singing place with.
That. Must have been awesome stories.
And we just did all the songs.
About this one thing and created the jersey.
Yeah, because I love Jersey boys, and definitely it's my favorite thing ever.
And I saw it 32 times on 32.
That's good.
I live there and it was like $27 for student tickets.
I went when I was in a bad mood.
I love the I love the movie. And,
it was my favorite thing ever.
And, so when I was working on a theater company
in Florida, you know, like, let's do a Jersey boys show, we can't do Jersey.
It was the right idea.
But let's there's so many, so many people do.
Jersey striptease. Let's do it.
Yeah. I did it for like two years. And there's one.
Wow. What?
Who else would you like to play if you had the opportunity?
Yeah, like a person in real life.
Sure. Like maybe.
Maybe if you were going to do it, I would love to play Billy Joel.
If I can play the piano like him.
Yeah, a little bit. Not like that.
Yeah, yeah.
There's one.
I played a lot of roles that I've already done.
I would like dream roles, but, I could do is Billy Joel.
Yeah,
right.
There's one role that really
the Catholic Academy.
Oh, yes.
Yes. Yeah.
But my movie is, amazing role in that.
Yeah. Yeah. That was a great movie.
Yeah.
That was a remake too.
That wasn't, it wasn't an original of Cashman.
The musical was the adaptation of the movie.
Right. Okay. Yeah.
But I'm stuck on it.
And so what about people who, whatever
their age, old or younger, is
getting into acting?
Because I don't think there should be an age cutoff for that.
Because you always need characters, right? Yeah.
It doesn't matter.
Like, any, like, just because, you know, you're
tall as when you have to play tall people, you know, they have to.
Anybody can play anything.
And, I think, like, I teach acting at New Haven Academy, informing arts.
I, I do classes, twice a week and, three times a week.
Actually, I teach teenagers as well.
And I've noticed that some people just come in
because they just are interested and interested. Right.
And they come in and they and I give them the training that I, you know, was given
and all the stuff that I was doing, whether on film or stage
and it just they end up loving it.
They come back, they, they do auditions and stuff
and that's just, a thing that people have an interest for.
And they go do it. And, safe space to learn. Yeah.
To just try and do first the first round of people who never even thought of it
and just said, this might be fun, are actually now going out and auditioning
and getting parts.
And oh, yeah, they're like, let me see if this works for me.
And it's like, oh, it does.
So that's what yeah, there's something about playing the role and doing that.
I remember playing a lot of, of roles in high school, college, community theater.
They're not make players, which are, well known here in Connecticut.
And I and I loved it.
I remember my mom, God rest her soul,
when I learned how to learn my lines, she would always read me my cue.
So when I was in high school and college, I go home
and we go into the room at night, and she'd be reading my cues and I just,
you know, be oh, okay, blah, blah, blah, blah.
But my mom, thank goodness every time I did a show,
she was there to help me with it.
And then you become that character.
You think, how are you going to memorize all this?
You look at the script, you just do.
And when you're put in that situation up on stage with all the other actors,
it becomes who you are.
You become that person.
And then you were saying before, I like,
you know, how do you memorize all those lines?
Like, that's the one thing
everybody asks that actor, like, how do you memorize on stage of his life?
And for me, it's it's like, you know, like
I can tell you a long joke with a good punchline.
If you really like a joke made you laugh.
Tomorrow you can go tell your friend that same joke that you are.
Oh, I got to tell you this joke. Yes.
Right, right.
Because as long as you know where it's going, right?
Don't you know the punch line?
You can get there that way.
I always tell people, like
when it's a play and there's no music, it's just dialog and dialog.
It's not about memorizing lines, about memorizing the conversation.
So like my line make sure you say that.
And I know when you say that my response is that.
So like it's about memorizing the memorizing.
Everyone does it in a different way.
Yeah.
But it's about memorizing the stories,
memorizing what these characters are going through.
I want you to just do it over and over again. It just.
And it really wasn't as difficult as I thought.
You know, even if it was a lot of, you know, a lot of dialog because,
I mean, I had a lot of roles where I was the lead
role and I had a lot of a lot of that, and for the
well written and everything falls.
Yeah.
Awesome. Right?
I we did Glengarry Glen Ross, that's David Mamet.
He's known for so many words and so many. Yes.
Back and forth. Quick, quick quick quick.
Do I even like the little stutters?
Need to be precise.
Yeah.
That like people just when they start to, when they start doing it,
you know, it's just becomes like a second nature.
And instead of memorizing, oh, what am I saying?
What are the words like this?
It's more like,
I'm on this roll with these lines, and then this guy's going to come in,
then I'm going to go over.
It's just it's just memorizing, just acting it just memorizing,
being in the moment instead of worrying about, you know, what lines I'm saying
now, are you one of those directors is really strict about the script.
Are you do you do you give your players a little?
Are your actors a little bit of flexibility as possible? Okay.
Depending on the kind of the Clint Eastwood approach, my favorite.
And I mean, my movies, I people are like,
I remember I had a, the lead in sandstone, the first of all
he did with me, he he was like, he's not giving me any direction.
I don't know what's going on.
And then, like, he realized, oh, he'll say something if something's not going well.
So something on sandstone that was like it didn't tell me and direction,
but like, he was moving on and he's like, if Nick doesn't say anything, it's fine.
Yeah.
So like right now, because I like to have everybody breathe.
Yes. Do it themselves and see what comes out of that.
If I really need something to be precise, I'll tell em.
I like just throwing the camera up and just, like, getting raw and stuff.
Yeah. You know, it's really interesting.
Wow. And,
But yeah, but when it comes to a play, depending
especially depending on the, you know, what rights company you get them.
So most of them are really strict about like you can't change it.
Can't change it.
But like David Mamet can't change it.
You know, but sometimes if something's funny comes up
and they want to add something a little bit.
Sure, but like, but usually, like,
I don't care about, you know, it's all about what's around the lines.
What's around the lines can be freedom.
An interesting line.
So it depends. I'm not a stickler.
If they paraphrase a line, I'm not gonna be like,
like they're going to be doing this.
They're on stage. They can't stop. Right?
Because they're in the moment.
Right?
That happens.
You know, like
some people are very particular about it, but I'm not as articulate about it.
A lot of people, depending on what it is,
if it's something that needs to be said a certain way, that's different.
Yeah. But sometimes people paraphrase. It's not.
It's not a favorite movie of all time, said a woman,
Al Pacino, who is the guy who played with.
No, I mean with Al Pacino. Who's that young guy?
Whether he was great, forgot his name
was something.
Yeah, yeah, that was a great movie.
Oh, I love that movie too.
It's one of my favorites.
Field of dreams, Kevin Costner.
Yeah, yeah, I'd like to. Notebook for men.
That's a good one, right? You like that?
You know, if I had to pick one that I could watch over and over
because of the dialog, it's the man who came to him, right?
Yeah, yeah, it's classic.
He was a professor at Yale.
He did the part in the play, and I think he might have been
the only one that was brought over to the movie.
But wow.
If the dialog of that is quick, quick witted and it doesn't even get old,
even though he's speaking to Eleanor Roosevelt.
Yeah,
I heard I heard Nick's also working on another project, too.
But these two people do a podcast.
It's kind of like the morning show.
You know? Right.
Exactly. Exactly.
Happened on that exact.
That's right.
But, well, their names are,
Joey and Jay.
But we have to have you come back again.
There's just too much here.
Especially when the new projects come out to keep us up to date.
And, we appreciate you being a part of this podcast from day one.
Nick, you unselfishly help
Joyce and I came up with, with a name is in my next movie.
Oh, it is really?
Whoa. That's nice.
You can see, like, like up front and center, what's good. But,
Yeah.
Oh, the thing is, you know, quite frankly, the royal,
the royalties from what's good since he came up with the name that we pay
Nick is financing a lot of his movies.
I get paid.
It's funny because.
The guy picks up two mugs, and one of them is the what's good money, right?
And then, like, the one next to it, is it?
Oh, no.
Hahahahaha. Yeah.
There you go.
Well, hey, thank you so much for, you know, watching
listening to What's Good with John.
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Thank you. And Nick, thank you so much for being here.
Continued success.
And we just appreciate you and you're welcome here.
Any time. All right.
Till next time I'm John Cadillac Seville.
And who are you? I have I don't know,
Joe, I so we love you.
Bye. Hey, I heard you got engaged.
Congratulations.
Now it's time to book the DJ.
And that's where we come in.
Hi, I'm John Cadillac, Seville with John Seville entertainment.
Wedding wire and the knot 2026 Couples Choice Awards winner.
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