Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody

A ground-breaking new jazz CD highlights a very personal journey for a jazz musician and his son.

By: Jun. 27, 2021
Get Access To Every Broadway Story

Unlock access to every one of the hundreds of articles published daily on BroadwayWorld by logging in with one click.

Existing user? Just click login.

Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody

Good day, Broadway World Cabaret readers, and Happy Pride! For Gay Pride Sunday we have a really special interview for you, one that I have been saving for weeks, just for today.

The world has seen much change and more visibility for members of the Queer Community who, historically, have been pushed back into the darkness more than some other factions of the LGBTQIA+ family. This is the trans community, and more, because recent years have brought to the foreground the non-binary members of the community - a group of people who had to find their voice and fight for their visibility, including requesting, expecting, demanding the right to be referred to by the pronouns by which they live.

In January of 2020, Jazz At Lincoln Center had a special concert performance created by and starring Glenn Close and Ted Nash, she of acting fame, and he of music legend, and the subject of the piece was the same as its' name: TRANSFORMATION. In advance of the ground-breaking work of art, this writer interviewed Miss Close and Mister Nash, and then our Rainbow Reviewer, Bobby Patrick, reviewed the performance because Bobby's specialty is Queer-themed work, and Ted had composed a part of the concert for his trans son, Eli, based on Eli's coming out. And that was that. The show had been created, curated, and performed.

Flash forward several months to May of 2021, and TRANSFORMATION was released as a live recording. I received an email from publicist Lydia Liebman, asking about an interview with Glenn and Ted, a request I was happy to accommodate... only I had done one of both artists, on this very project, and felt it should be another writer. But all of the Broadway World Cabaret writers had moved on to new things during the pandemic; all that was left was Bobby Patrick and Brady Schwind, and at a digital staff meeting, we three cis males knew that we were not the ones to tell this story. This story belonged to a trans reporter.

No trans reporters in my personal phone book, I decided to take a chance on a young trans/non-binary artist of my acquaintance, and it paid off. I called Bowie Dunwoody, a photographer, a graphic designer, a theater craftsperson (both on the stage and behind the stage), and one of the most ardent and insistent LGBTQ (and especially trans) activists I have ever known and said, "Are you ready for your next big adventure?

Below, please find (in actual chronological order) Bowie's interviews with Glenn Close, Ted Nash, and Eli Nash, whose coming-out letter to his father inspired one of the most intimate, personal, and uplifting compositions on the album TRANSFORMATION. At the end of this article, you can read Bowie's bio and all the information on where to get your copy of the album TRANSFORMATION.

All interviews have been edited for space and content.

Glenn Close

Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody
Brigitte Lacombe photographer

Glenn Close, welcome to Broadway World. Thank you so much for taking time out of your day to chat with me.

Thank you very much. How is Broadway World doing?

We're doing all right. My name is Bowie and my pronouns are they/them or he/him you can do either.


If we're going to talk transformation in 2021, I feel like we have to start with the elephant in the room - the COVID-19 pandemic.


How would you say that the pandemic has changed the way you view Transformation and all the work that you did on it?

I think it's only made it more relevant and necessary. I think all the issues that we decided to talk about and write music about in this piece are still very much at the forefront of what's happening in our country, and I think it's actually kind of amazing that it's coming out when it's coming out.

Definitely. I read in one of your past interviews that you believe all acting is transformative. How have your past characters influenced your thoughts on transformation as a concept?

It's how I go about creating a character that is transformation. You can't transform unless you know where you're coming from, and the kind of direction you want to go for that transformation. And for me, to step into the shoes of another human being, which is what I consider acting being, you have to let yourself go, you have to not be judgmental, you have to transform even the way you think because you want to think the thoughts that that character has, which I think this is totally transformative.

Speaking of past characters, I'd to talk about Albert Nobbs, a trans man that you played as a CIS woman. Has playing that role changed the way that you view transgender storytelling, especially as the industry moves, hopefully, towards more conscientious casting?

Yes! It's interesting... I think Albert could, very much, be a trans man. I don't think Albert is even aware of that. I think Albert doesn't know what or who she is, she's just in hiding, kind of, and she tries to reach out in her innocence really to somebody like Hubert, who has a full life with his wife. What really changed was that I was ignorant about the whole trans world, and I read Andrew Solomon's Far From the Tree, which is a remarkable book, and he talks about children who are born into families and are different. The chapter that affected me the most and really changed me was the chapter about the trans world, and that was before Caitlyn Jenner - nobody was talking about the trans world. There are so many suicides. I did not know how fraught it was and how full of despair; that book woke me up to it. I read that book and that was a transformative experience for me to read what Andrew wrote about what it meant, at that point in this country, to be trans.

Is there any joy you found within the trans community?

Well, first of all, that chapter is not just about the negative side (of the trans community). I have a friend whose daughter is trans, he's had the transformation and, oh my gosh, was that a learning experience for my friend, so triumphant, to see your child finally be free, you know? The first movie I did had a trans character that John Lithgow played in The World According to Garp, and that was in 82. I'm not sure if that was one of the first trans characters to be in a Hollywood movie, but I've met quite a few trans people and to me, it's a miracle. It's fantastic that there are places where there is so much joy and freedom in finding a new life and finally being able to be who you are. It makes my stomach hurt too, the things that are going on in this country now against the trans community - I'm really, really happy that we have Eli Nash reading his letter and we have that incredible piece of music that Ted wrote in response. To me, that's the heart of the whole album.

What was that like as a mom, watching Eli and Ted perform that together, a piece that was just so vulnerable and so personal?

Well, it was just so wonderful to finally meet. This idea came up because Ted told me one day, "I have a trans son and he wrote me this letter," and I thought that defines a very profound transformation. And Eli had the courage and grace to come out on a stage and read it three times - for three performances. And his presence, the way he read it, it was so authentic, it was just so real, so human. It was just a great gift. It's one of the things that I love about what we all put together is it, somebody would walk out and I'm sure the audience said, "Who's this person, and why are they here?" Then you hear their story and you think "I never in a million years, passing that person on the street, would know what their story is." To me, that is one of the great values of what we came up with because everyone has a story.

That's beautiful. You hit the nail on the head that, as a trans person, myself, that piece spoke so greatly to me, and I love hearing about how much it touched you and inspired this piece. It's just so beautiful.

It was incredible to witness for three nights because the audience had no clue. Here's a good-looking young guy just talking about being, a medical student, and then, when the story came, it was so profound. People came backstage looking as if they'd been hit over the head with a sledgehammer, they had been so affected - it was just thrilling. And when Matthew Stevenson came out, this Jewish guy that you had no idea he was the one who befriended Derek Black, that resulted in Derek's rejecting white supremacy and the entire life that he grew up in; you see this guy tell this story and you think, Holy Shit! I love that.

You said that Ted came to you first with Eli's letter to him. Did that impact the reasons you chose each of the various pieces that were curated for the show Transformation?

Ted first told me just about Eli and how he had written this letter - I didn't read the letter, I just knew about it at first. Then Ted sent me the letter - it just knocked me out. Then we thought, should we ask Eli because it would be an incredible moment if he would just simply read the letter and he did! Ted didn't know, at the first performance, whether he could get through it without just breaking down, but he wrote that beautiful piece that he was putting his heart and his soul and all his emotions into. It's pretty profound, it's a very big deal. And the fact that they did it for other people is as big a deal as the letter itself.

I'm talking to Eli later this week about his experience doing Transformation on stage, as a non-performer, in front of all those strangers.

I'm so glad. And you're talking to Ted?

I'm talking to both Ted and Eli on Wednesday.

Oh, I'm glad you're talking to them both! Especially Eli, how wonderful. That's very cool.

I'm so happy we've had a chance to talk about the Transformation project and the new CD but before we go, I just have to ask about Pippin. (Giggling)

(Laughing) Oh! He's right here! He's lying right here and I'm amazed that he's not barking. Oh, maybe he's asleep. He could be asleep because he's not barking at a golden retriever that's just trotting by.

I follow his journeys on Instagram. He's so perfect, do you get to take him with you when you travel, is he your everywhere companion?

Yes, he is! (Laughing) I didn't take him to LA when I just went there recently and I really regretted it (laughing) because he just goes with me everywhere, and I was doing this recording for an animated feature and he would have just jumped up on the couch and been lying there and made everybody happy. I can't imagine getting through COVID without Pip. I was out here from New York, which is where I have lived ever since 74. To know what New York was going through and not being there was difficult. But I live across the yard for my sister, Jess, I've been very blessed to be here with my family, but Pipp is ... you know, they say, "Is he an emotional support animal?" when you go onto an airplane, I want to say "Every dog is an emotional support animal!" (Glenn and Bowie both laughing)

I agree.

He's an incredible little dog. He's incredibly smart. We have our own language and if I don't understand what he's saying to me, I know it's my fault.

Well, Glenn Close, congratulations on the release of the Transformation CD. It is an absolutely wonderful work of art and I am so excited for people to hear it.

Oh, thank you. I am too. I really am too, because I feel like it was such an act of generosity with all my friends who came to perform and to be with those exquisite music musicians - I mean, Wayne Brady immediately said yes, and he said he would write something about forgiveness. And I thought it would be about black and white... but it's not; it was about what his mother said to him. Unbelievable! I'm just grateful and thrilled that it t's going to come out and I'm proud of it. I hope a lot of people have a chance to listen to it.

I feel the same way. I'm a very novice jazz person, but, all of it together, the jazz and the spoken word and the letter was so deeply moving for me.

I'm glad. All right, my dear, it was lovely to talk to you.

It was so lovely to chat with you. Thank you again for taking time out of your day, I hope you have a wonderful rest of your day.

Thank you, I think I will!

Give Pippin squishes from me.

I will! Wait, he's ignoring me. (Laughing) Thanks, Bowie!

Bye, Glenn

Ted Nash

Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody Hello?

Hi, is this Ted?

Yes, it is. Hi.

My name is Bowie. It's nice to meet you!

Good to meet you too. Thanks for calling.

Thank you for taking time out of your day to chat.

Of course.

As we start off our talk about Transformation, I feel like we have to mention the COVID-19 pandemic - I can't imagine that you look at the piece the same now, as you did before the pandemic. How has it shifted for you?

It's amazing because Glenn and I got together on this project... well, we started talking about this a while back and, in fact, we had a different theme... something a little bit more from like a drama like, more staged theater kind of idea - something that she was going to maybe act out. We were going to invite people and we worked a little bit on it. Then we said let's talk about something more meaningful because as we (this is way pre-pandemic) started paying more attention to what was going on in our country, politically, racially, and in so many different ways, and we wanted to address themes that felt more poignant, more relevant. And we came up with this idea of transformation, as we see so much transformation expressed in so many different ways in our lives.

So, we managed to put this together and have our project premiere and everything just before the pandemic hit. So everything got locked down and the transformations that followed, and continue to happen now, are completely different from anything that we expected, of course. And we feel like people are really looking for catharsis and looking for opportunities to change and grow through this. And so we hope this piece and all the different themes and the personal stories and everything will hopefully give people some comfort and maybe even challenge people to step up and take action. This is always the hope of doing something creative, not just that it's appreciated for its creativity, but that it can inspire people. And we look at that more and more now as sort of the hope - Glenn and I, we talk about that, about the hope that this piece will have, will give comfort and inspire, and people will pay attention to these people's personal stories because, although they didn't come out of the pandemic, they are certainly relevant.

I know that Glenn came to you with the idea of transformation, stemming from her thoughts about women and war, and the things going on in the world when you were discovering and devising the project together; then you landed on transformation. What specifically drew you to that? What made you get that, "Oh yeah, this is it" feeling?

That's a great question. I think it first came from Glenn, and we were talking about so many transitions going on, whether you see politically or racially or in terms of these kinds of ideas, we thought about just transitions. And then we thought transition is kind of a weak word, really the word is transformation, it's the higher expression of change. And, immediately what popped into my mind was my own son, my transgender son - I mean, as far as having a personal connection to a major transformation, that was one for me. I mentioned that to Glenn and she was like, "Oh yeah, we absolutely have to include that in some kind of way." So that was the beginning. Just the idea of it made us aware of people's personal stories being the strongest stories because it's about people. She started to explore some of the relationships that she had with people who had gone through big transformations, like Judith Clark, the women that came out of, incarceration, Matthew Stevenson, she knew the author of this book and invited Matthew to participate, and dealing with this kind of topic is absolutely relevant. And it's hard. This is hard stuff because it makes people have to face where in our society we need to do work and we need to improve on things.

How much of your son's transition influenced the pieces you wrote for the show? I know that you had the response piece, but as for the other pieces, how much of that was in there?

It was a challenge for me because - and I think about how actors prepare for roles and how, when they do research or they use examples of something to give them the kind of feeling they need that scene, whether it's like something that happened to them (there are all these famous examples of a director telling a child actor their dog died or whatever, and it makes her cry) to help them capture it. Well, they always warn actors not to choose things that are overwhelming, cause they may lose it, not even recover, and not do the scene right! (Laughing) But it was sort of interesting because I chose something that was deeply personal for me that, as I'm composing the music I can keep it together and everything ... but during the actual performance I got very emotional and I was able to get through it and I would say it was a challenge, but isn't that we want, to feel things deeply as possible?

I feel like a lot of times we run away from things that give us pause, to reflect or feel, or expose how we feel and express things. And I think that as an artist, it's so great to have the opportunity to embrace a personal story and make music out of it. I would say that writing that piece of music was not terribly different from writing the others. I thought about the theme of the piece, whether it was Wayne Brady doing this almost more of a rap kind of thing, to Judith Clark talking about being on the subway car and traveling for the first time on a train or Matthew Stevenson -each of those presented a different situation.

And here's something! I talked to Glenn about her process as an actress, how she approaches things. And she says, "I just use my imagination. That's the most important thing." This was a few years ago, as we just started talking about this, but then I started using that when I teach: you need to use your mind, that's the most powerful thing we have. So in the case of these pieces, I try to follow that as much as possible. I close my eyes and really think, what is this suggesting to me? Is it exotic? Is it a train going down the tracks? How can I express that musically? Is this a story about a girl who turns into a man? So, there is something that's not discussed on the record, and I've never mentioned it in any press but the opening to the Dear Dad response, the piece that features me on the soprano sax, I started off with this little vamp, with the piano and the bass and it's almost the same as Herbie Hancock's intro to a song he wrote called Maiden Voyage. So it's sort of like a little inside thing to say, okay, this is quite a voyage from Maiden to Man.

That's beautiful. I know you said in a past interview that you didn't know if you were going to be able to get through it and you got very emotional. Can you elaborate on what it was like being on stage with your son as he read that letter out loud to the room?

Oh, my god. It was interesting because you don't know what you're going to feel. I was actually a little worried about it - Eli had missed the first day because of his medical school finals and Friday, his first night playing the gig out of the three nights, it was also the night that Matthew Stevenson couldn't do because of his faith, so Christian Slater came in and subbed for Matthew Stevenson. It was sort of interesting because we had to do a quick soundcheck for their mics and stuff, so Christian and my son, Eli, and our director, Danny Gorman, and Glenn and I were just kind of doing this... and as Eli started to read his letter, just to test the mic, our director started to lose it. He couldn't talk, and I couldn't look at him or... you know what I mean? It started this chain reaction of how deep it is. And my son was like the coolest one. But on the performance, I set it up in a way where, it's like a nursery rhyme... so it starts off very simply like a nursery rhyme, which refers to the upbringing of the child coming out and being very young. Then slowly the nursery room gets thicker and thicker and becomes a little bit more dissonant, just a little bit. So it's like there's conflict, right? As we get towards the end of that, I start to respond to the things that he's saying in the letter by little comments on the soprano saxophone. And it was during that time that I started to feel like I had to breathe and I had to take these breaths and breathe. And here's the thing: do you want to make the choice to not experience that? Or to experience it at the risk of maybe losing it, or people seeing that you're emotional? I remember crossing that bridge during the performance where I said, "I would rather experience this than to not listen and just focus on my sound, my breathing, my ideas. You have this choice and I decided to go ahead and focus on the letter and what he was reading and then respond to it that way, which inspired me to play a different way, a more honest way. When I listen to that, I still get the goosebumps and things that I had.

I mean, it moved me deeply. I also wrote a letter to my dad when I came out as trans, so I was very connected to it in a very intimate way.

Wow! That's beautiful.

How has your relationship shifted with Eli since performing this together in such a deeply personal way?

It's blossomed. I would say we're closer - more intimate in a sense... I can hug him. We say, "I love you" every time we talk, but there were points during his, maybe late teens, early twenties when he was quite awkward, before he came out, before he started doing any hormonal therapies, I always felt a lot of awkwardness between us and I could never quite figure it out. It wasn't something he wanted to talk about, but when he figured out what it was and what he needed to do, I think that just gave him the space to breathe. We've never had a bad relationship - it's always been a good one, but I think it's stronger now, it's closer now. I think everyone should be honest and be truthful about who they are. If you're not, you're going to always be harboring feelings, you're going to be not letting other people see all of who you are and you're going to have resentment possibly, and you won't get as close to people. Not everybody's going to react the same - I don't know how your father reacted but I know other people with trans kids and everyone has had different reactions; some have really been challenged by it and other people have embraced it totally. I can't say that my way is better than any other way, but I think it was pretty easy because I love Eli and I want him to be happy. What other way to be is there? But other people may be challenged by certain things, maybe it's their faith, it could be their upbringing, it could be... who knows?

That's absolutely beautiful. Thank you for the great chat - I am talking to Eli in about 30 minutes

Oh, I'm so happy!

I'm so excited. Congratulations on the CD being released. I think it's an absolutely wonderful work of art and I am just so excited for people to hear it.

Oh! I really appreciate that! And say hi to Eli for me! (Laughing)

I will!

Bye Bowie.

Editor's note: Because Eli Nash is not a public figure who is used to talking to the press, we submitted a list of questions for him to read beforehand. In the editing process, I chose to include a segment of Eli and Bowie's introductory conversation because their communication shows great humanity, humor, and solidarity.

Eli Nash

Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody Hi, is this Eli?


Hi, my name is Bowie.


My pronouns are they/them. How are you today?

I'm doing well. How are you?

I'm good. Did Lydia send you the questions that I wrote down?

Yeah, she did. I looked over them a little bit.

Awesome. I know that this isn't something you do (Eli laughs) so don't worry about it. No one's going to hear the recording so you don't have to be perfectly eloquent or anything like that.

I won't be, don't worry,

(Laughing) I just want to take off some pressure - no one's going to listen to it, so there's really no pressure at all, and if there's anything you don't feel comfortable answering, it's totally fine. I know that my transition is so deeply personal, so there's no question you have to answer or road you have to go down if you don't want to.

Thanks. I really appreciate you saying that up front, but I think I'm pretty open today. (Laughing)

Great. Well, let's jump in. I know you've read the questions, so let's start with the concept of the show Transformation: how does that intersect with your personal transition?

Well, first off, I think that the producers did a really good job of finding a lot of different ways to represent that the theme was transformation. There were a lot of different types of transformations - the transitions that were in a show, a lot of them were emotional, personal, traditional, social... who they are. And I felt like, for me, my transition wasn't so much a transition of who I was. I think a lot of people thought that it would be when I first came out. It was really more of a physical transition for me, while I stayed pretty much the same person. If some people were surprised by how they felt if I was a person on the street, and a lot of the theme of transformation that was in my piece was other people coming to see me the way that I saw myself, kind of forcing other people to transform their perception of me. So in that way, I think that the theme of transformation was pretty deeply embedded into my piece and that my dad had to transform, maybe even members of the band who knew me since I was like a little girl. I was around most of those people for many years, since I was born, basically: I had to kind of transform around their perception of me, and it gets captured in the music as well. I think the audience gets involved in that and I think it fit the theme nicely, even if it wasn't maybe a transition in the way that people might think of when thinking about transgender people and transitions related to that.

Tell me more about your journey writing this letter to your dad and making the decision to perform it publicly on stage.

Yeah, it was hard. It was a long time ago, say eight years ago, seven years ago, something like that. I was in my mid-twenties and I waited a little bit too long to come out. I had already started testosterone and my voice was dropping and that was kind of what did it. People kept going, "What's going on? Did you talk too much last night? Did you get a cold?" (Laughing) I'm like, "Yes, that's what happened." I don't know why I was so worried - my family has never done anything to make me feel like I would have to worry about how they think me but I think there's just something inherently stereo about coming out as trans. So it took me a little bit longer than I needed to send the letter. And I sent a letter just because I didn't know that I could have the courage to do it in person.

And I put a lot of thought into the letter because I wanted to address any concerns that might come up for my dad, and mom, too. I didn't want them to worry, I was trying to foresee things that they would be wondering about or concerned about, so that led to my letter being awkwardly, unnecessarily wordy. (Laughing) And then, I had to drink a couple of glasses of wine and then I sent it and just forced myself to go to sleep. I got responses the next day - it was hard because I'm a pretty private person, I didn't like being so vulnerable... which makes you probably wonder why I ended up reading this on a stage in front of thousands of people. (Laughing) It wasn't really my idea. (Both Eli and Bowie laughing). I told my dad when I sent the letter, I said, "Process this in whatever way they need to, if you need to show it to someone, go for it, I'm happy to accommodate whatever you need to process this." And he showed it to a lot of people (Laughing) and I gave him permission to, but it wasn't necessarily what my first choice would have been that situation. The next thing I know, a lot of people have read it... his girlfriend, Wynton Marsalis, for god's sake. And it was a little strange for me, but I was okay with it. Then, years later, he asked me if I wanted to do this and I was okay with it. It was so long ago that it didn't feel personal now, as it would have then. And so that made it a little bit easier.

Was it difficult, reading that letter in a room full of strangers (Eli laughs) given how deeply personal and vulnerable it is?

The vulnerability wasn't as much of an issue as I originally thought it could be just because I felt a little bit far away from the letter. It wasn't really exactly the same as when I wrote seven years ago, as much as how I felt now - the emotions around it. So I was able to kind of re-experience those emotions in a way that I was able to read it emotionally, but I still felt like it was kind of far away from me now. And so I was more worried about being on a stage(Laughing) I've never been on a stage before, so just that in and of itself was scary. I didn't know how I was going to react to it. I also was just feeling a little bit nepotistic about my presence there, with my dad being the co-producer of the show. Did I belong there? With all these amazing stores who were gracing the same stage? I didn't really feel like I did. So I felt like kind of an impostor... but everyone was so cool when I showed up there's. They were so relaxed, normal that I felt like I fit right in. People were responding well to me, so I was able to easily relax and didn't get too nervous.

I can't imagine being on a stage for the first time and deciding to read (Eli laughs) one of the hardest things you've probably ever written to your family, that's really brave and amazing. Now that there's a recording and a bunch more people will probably be listening to this, people that didn't get to see you actually on stage, does that change the way you view what you wrote and your decision to share it?

I guess not really. I don't know if I've really thought about it too much. I don't know if I'm going to want to listen to it (Laughing) because it weird... I'm glad that I can represent the transition and it's important that it's been recorded. I don't know. I guess I'm not really sure how I feel about it yet. But I'm glad it's out there.

If you had a chance to go back and rewrite it - 'cause you said you don't feel the same way now - would that be something you'd ever want to do: change the way the letter is written because you feel so differently several years later?

Man, that's a good question because I actually did think about that. My dad said "Make any changes you want to the letter" (for the Transformations production) but the only thing we really ended up doing was taking out some things, but it's not like that would change the purpose of reading. The letter captured a really emotional experience that I had.

How has your relationship with your dad shifted since performing this together? I actually, just spoke to him, about an hour ago and asked him almost the same question.

Oh, what did he say? (Laughing)

(Laughing) He felt like you both got closer and you'd always been close, but you'd felt distant for a while for a long time before you wrote the letter and then this solidified a lot of that relationship that you have.

Yeah. I think, essentially, we were already getting closer in the last few years before the show, and that it that kind of culminated into the show rather than being the product of the show. So I guess the show kind of summarized nicely some of the progress of our relationship. It's cool, it's really nice, as someone who's not an artist, to be involved in a project. In my whole extended family, they're all musicians and artists in different times, and I was always the black sheep going to medical school. So it was cool, really nice to have the opportunity to do something creative with my dad, after being around the stage for so long. I definitely think that brought us closer, but we were headed in that direction already.

That's amazing. I told your dad this also: when I came out as trans, I also wrote my dad a letter.

Oh, you did!

Yeah. I feel like it's a solid choice - you don't have to look at anyone. I think it's absolutely wonderful and beautiful that you got to experience this with your dad. So thank you for sharing your story, I think it moved, and will move, a lot of people now that the CD is out.

Wow. Thank you.

No, I thank you for taking the time to speak with me today.

It was fun!

And you did great! You can check this off your list!

(Eli Laughing) Thank you so much!

TRANSFORMATION is a 2021 release on the Tiger Turn label and is available on digital platforms everywhere.

Interview: Glenn Close, Eli Nash & Ted Nash of TRANSFORMATION - Guest Interviewer Bowie Dunwoody Bowie Dunwoody (they/he) is a New York based Artist, Marketing Professional, and Activist. Currently, they are the Marketing Manager for On-Site Opera, and the Marketing Director for East Harlem's The Shakespeare Forum, where they have held several roles since joining the team in 2018. He is also the lead consultant at Rainbowie Media, the Marketing start-up they launched during the Covid-19 Pandemic.

Since graduating from the American Academy of Dramatic Arts, Bowie has held multiple roles in the theatre sphere, including actor, stage manager, producer, and social media creator. In their free time, they love reading, photography, and writing erotic fan fiction on the internet. Over the last year and a half, Bowie has procured over 25 new house plants. Visit the Bowie Dunwoody website HERE.