-A lot of -- A lot of making forts,

and going to the fort and not hitting the lava,

and Power Rangers.

And we would do Rapunzel.

I played Rapunzel.

And we would put mattresses on the staircase,

and my brother would have to climb up the staircase

on mattresses as if it was a tower.

And then I would have to slide out of it.

It was really -- It was really thrilling -- and dangerous.

♪♪

-A lot of -- A lot of making forts,

I'm Gideon Glick, and I'm nominated for

Best Featured Actor in a Play for "To Kill A Mockingbird."

My brother and sister and I

used to put on shows all the time at home.

We would do "The Little Mermaid"

or "Little Red Riding Hood" or "The Three Little Pigs."

I was obsessed with my sister's Barbie dolls.

When we asked for our Kids' Meal,

uh, they would say, "boy or girl."

So she would have to say girl

'cause I always wanted my -- my little Barbies.

And she had these paper dolls too,

that you could put different paper dresses on.

I had a lot of stuffed animals.

I'd just hold court with them.

I don't know what I was doing.

Oh, I sta-- I had a coven.

I created a coven in school with my three best girlfriends.

I started piano lessons, and I wasn't very good at piano.

I'm still not.

And I got bored,

so I just started singing the songs that I was playing.

It was actually "Memory" from "Cats."

And I remember my mom came in, into the room.

She said, "Were you just singing?"

And I said, "Yes."

And she was like, "Oh, that was -- That was good."

And that kind of -- that's when --

that was my first, um, conception

of "Oh, what I'm doing could be good."

Bernadette Peters' performance of "Gypsy,"

that was one of those moments where I thought,

"Oh, I -- I have to do this.

I have to do whatever she's doing."

'Cause it was so, so -- it changed me.

But then, her performance at the Tonys was so incredible.

This is not the theater.

This is Radio City Music Hall.

And I don't understand how she could tap into that,

'cause it's a -- it's a profound performance.

I grew up just doing musicals.

And it was only when I moved to New York after I left

"Spring Awakening," I started doing plays.

And I -- I, um, it's not ever what I set out to do.

I thought it was just gonna be musical theater.

And now I predominantly do plays.

I was in the seventh grade.

And it was a pretty transformative book for me,

just because that's how I learned

how to be a critical reader.

And to think now that I'd be in "To Kill A Mockingbird,"

as 10-year-old, it just kind of, uh --

life is really surprising and unexpected.

To be recognized by the community is --

is really moving to me.

And then, I'm also really moved for Bill --

that Bill is recognized.

This is not a -- a character

that typically comes to the forefront.

It's just it's very moving to me

that this young, queer boy could --

who -- who's searching for acceptance

and searching for love could be accepted in this way.

I think it could only happen now.

And I -- I really hope that it's --

it's taught more now in schools.

I -- I hope this adaptation is gonna affect that,

'cause he's based off Truman Capote.

He was a young, queer boy. And --

And it can only happen now, and that shows progress.

Getting to work with Celia and Will --

they're one of the most extraordinary parts

of this whole thing because we're --

we're three kids, but we're kind of one kid.

We're one unit.

We're separated, almost.

We exist in our own kind of realm, and it just doesn't --

no performance exists without the other.

And -- And no performance is good without the other.

It all lifts each other up.

And that -- And that's been a really profound experience.

There's a -- It's a secret language.

And -- And it's a --

And the odds of that working out are very, very, very little.

And -- And it has.

And it's been, um kind of blowing my mind.

♪♪

The coven. [ Chuckles ]

♪♪

-A lot of -- A lot of making forts,

-A lot of -- A lot of making forts,