Episode Two - The Players

May 1st, opening night in Hamilton. On jD's left, a fan of The Hip who doesn't do musicals. On his right, a woman who's never heard of them.

His buddy David is the first one, and he mentions the musicals thing on the drive in (great timing, David). The second is 82, the mother of a Theatre Aquarius subscriber, and she knows nothing about The Tragically Hip. Nothing. Then intermission. Guess which one of them ends up at the merch table. Two people, same row, opposite ends of the room, and when jD told that story to the cast, Brandon McGibbon said it was the whole job in one sentence.

That's day two of It's A Good Life, five episodes, one a day, all week, from The Tragically Hip Podcast Series. Yesterday was where the idea came from. The Players is about the people who have to stand up there and carry it. Seven of them sat down with jD between April and May, and when he asked how they found The Hip, most of them didn't tell him a story about a band. They told him a story about Canada.

Ali Momen came here from Iran when he was three, and The Hip were the backdrop to how he understood "the canvas of Canada." Years before there was a script, he had a very specific note for the producer. Karim Butt came over from Pakistan, heard 'Bobcaygeon' and 'Poets' on the radio and thought they were pretty cool, then got booked for the workshop and went straight to one documentary. You can guess how that went. Tahirih Vejdani's first memory of the band runs through a high school teacher in Regina with a claim to fame. Rebecca Auerbach found out she knew a lot more of the words than she thought. Talia Schlanger calls the whole thing zero burden and pure joy. And Sameer Cash grew up calling Gord Downie Uncle Gord.

Then the harder part. Somebody behind the script asking if they were cool enough, rocky enough, grungy enough to touch these songs. A bar band voice on a musical theatre stage, and an apology to musical theatre for every bad thing ever said about it. The one song by The Hip a cast member could play at 18, learned on a trip to Nepal, and the day she found out where it was going. Why somebody calls The Hip the cast's emotional support animal. And a note from Gord that Sameer hadn't gone back to until now.

Most of them brought their own families into the roles. A mother's convenience store in Regina. A father and a brother-in-law. A country left behind for something better. One of them was in Kingston on August 20, 2016, and carries what Gord said from that stage into this show. And one cast member shares a story about their grandfather, the show, and a lot of gratitude. It's theirs to tell, so it's in the episode.

WHAT ELSE IS IN HERE

• A cast member who met Tom Thomson by way of 'Three Pistols' and kept on reading.

• The workshop audition Mary Francis Moore promised would not get them the job.

• 'Little Bones' cranked in the car on the way to a first audition, and the guitar hook that said this might work.

• Jesse LaVercombe on how fast they found Jonathan, and what Brandon did to the writing.

• Bob Foster's arrangements, Marc Kimelman's choreography, and a song at least one of the cast had never heard before.

"That's the two people that you're thinking about, and you want to do a show that's for both of them." - Brandon McGibbon, Jonathan

WHO YOU HEAR

• Ali Momen as Waleed.

• Talia Schlanger as Kate.

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