Stage Whisper
Whisper in the Wings Episode 597
(upbeat music) - Welcome back in everyone to a fantastic new whisper in the wings from stage whisper. We have an incredible show. I think I might even have to say an incredible experience to share with you today. This is a show like nothing I've ever heard of or seen in my entire life. So buckle up, this is gonna be a fabulous adventure. And leading us on our adventure is our guest today, two of the performers from the show, Lorenzo Bernesconi and Andreas Montejo. Of course, they are here to talk to us about the show, Odd Man Out, which is playing now through August 11th at the Sheen Center for Arts and Culture. You can get your tickets and more information by visiting oddmanoutnyc.com. Truly, the more you learn about this, the more excited you're gonna get. That is exactly what my response was when they reached out and they were sharing their work with me. So I can't wait to share this with you. I can't wait to learn more. So let's go ahead and welcome on our guest, Lorenzo Andreas. Welcome in to Whisper in the Wings from stage whisper. - Yeah, thank you, happy to be here. Thanks for having us. - Yeah, thank you so much for having us. We're excited to talk about this project and this format where like we get to chat for a bit. - Yes, well, thank you both for joining me today. I am so pumped about this show. You, your sales pitch was fantastic. You basically summed it up in one sentence and I was like, wait, what? Tell me more. So Lorenzo, why don't we start with you? Can you tell us a little bit about what Odd Man Out is about? - I'm shocked that I sold you on it with just a sentence because I am known to be long winded, but I can try. Odd Man Out is a story about, a fictional story about an Argentinian musician and his pursuit in immigrating to New York and becoming, you know, unfurthing his career as a musician. Now, there's a couple of factors that play in. One is that this happens, the story starts in the 60s when there was political turmoil and a lot happening in Argentina. And another factor is that this main character is also blind. So part of the experience is that you actually experience this entire show, for lack of a better word, in the complete darkness because you are seeing these characters' lives and experiencing his memories in the way that he did, which is without sight. - I love that. Yes, and for any listeners out there who were curious about the one line that sold me, Lorenzo mentioned it's done completely in the dark. And I was like, what now? So Andreas, I would love to know, you know, how did you come upon this piece? - This is actually, there's been years in the making. I first started or participated in this piece and its first iteration, it's changed a lot since then and this was back in 2020. So it's been about four years of in the making for this show. It started off, you know, as many of us were just kind of locked at home and trying to figure out what to do. We came up with the idea, all right, everyone is at home. What do we do? How can we then, if they cannot come to the theater, how can we take the theater to them? And that's when we came up with this idea of this experience being something that arrives at your house. So you would buy a ticket, you get a little box and in a box you can find a face mask, a little bottle of wine, some scents and tastes and tastes and the idea and a pair of headphones and the idea is that you sit down and kind of have like, you know, a little date at home in the middle of a global pandemic and kind of disconnect for a second and experience a beautiful story through sound and, you know, taste, smell, all the other senses, except for sight. It did really well, but of course, the main goal was to actually, you know, take this life. So it's been, yeah, it's been four years. After the box experience, we, once everything started to reopen, we did a semi-life version, which was basically the same headphones on, face mask on and you experience everything in a controlled room now, as opposed to at your own house. And then finally, we reached the main goal of the project itself, which was to do a full on live version. No need for headphones. You go into a pitch black room and you experience and a story through sound, through taste, through smell. And yeah, people are, people are very moved by it, which has been, it's been amazing. Again, four years in the making, it's kind of like pat on the back for everyone to keep doing this. It's a new style, it originated in Argentina and it's just arriving at the States now and we are, you know, incredibly, incredibly humble to be the ones kind of taking on the task of introducing a new style of theater to the States and then in the capital of theater as is New York. - I came into the project two years in. So when the project was finally ready to happen live and they wanted actors to be there, my story is like a lot of stories, thankfully a successful one of like New York, you know, theater actors on union actors. I came up on the show because it showed up on actors' access, which for those of that are listening and they're not performers. It's like a LinkedIn of auditions, essentially. And, you know, they were looking for some, for actors that were able to perform equally in both English and Spanish because we are able to perform this entire piece in English and in Spanish. And I submitted, send a video in. And then for the callback, I was at Real Studios on, you know, 8th and 38th or something. And they asked me to place a blindfold over my head or an eye mask, excuse me. And I was led into this audition room without sight at all because as actors, we are also experiencing all of this and performing all of this in complete darkness. So it was definitely one of those situations where you're kind of in it for the ride and you have to be really excited about character creation and about experimenting. And I try to bring that to the room and we just started playing around with like sounds and different like pitches and rhythms for different characters. And that's how I started to be a part of this project and we've been able to do it live now twice at this point. We finally were able to bring it to Off-Broadway last month and we're very excited from the results that we've had. That is so wonderful. What a creative way to not only create this work but develop it as well. I mean, the idea of bringing theater to people's homes that way, that is so smart. And now we get to have that full on communal experience with others, which is amazing. So I kind of want to build on that. And I'd love to know what has it been like developing this current iteration of Odd Man Out at the Sheen Center. And Lorenz, can I start first with you on that? Yeah, of course. I mean, this time around, a lot of the company members of Pitch Black, which is the company that is producing Odd Man Out, right? We had been a part of the project for a bit so we had some experience in the dark. And we had been able to train with two of our co-directors, Martine and Vaglo Arin and Martine Nune and they're both Argentinian and part of the company. They're the founders of Dad Rosiego, the company that started this theatrical concept in Argentina. So they came in, they taught us how to move in the dark, how to approach people in the dark because we set the entire audience as well. So like, how to treat everyone in the dark, how to do all of this seamlessly. And they developed the piece initially so that it would be a piece that was, you know, based having Argentina and have in New York. This time around for the sheen, I think having all of that already under belt, it was more about making sure that all of these characters are even further fleshed out, especially the female characters. And then that as a company, we were able to really create this magical experience more seamlessly on making sure that the audience members that were coming felt cared for because we know that, you know, asking someone to come to the darkness is it requires a lot of trust. - That's fantastic. Andreas, what about you, anything you'd like to add to that, the development process? - Yeah, I think one of the more challenging aspects of this show is the space. We, like Lorei was mentioning, we had Focundo and Martin come from Argentina and they did about, I can't remember, I think it was like about a two week, four to five hours in a pitch black room every day workshop on how to safely move in the dark, how to operate props, how to then act in the dark, how to deal with audience members, other actors, how to do it safely. For me, first off, that was perspective changing. And I'm talking about not even doing the show, this is just the workshop part of it. I mean, there were days where after spending two, three days, four or five hours each day in the dark, then one day we all went out into a park, by a river, walking by the city, and this is all while wearing eye masks. It is absolutely terrifying and still to be able to come to peace with that and engage with your other senses and understand how also so many other people deal with that every day, that is their normal life and understanding that was incredible. Now, when I mean that one of the biggest challenges is the space is because wherever we take this show, doesn't matter where we are, the space changes and therefore the show has to change. We have to adapt to the new space, whether that is big or small, where are those points of references for us to be able to safely navigate in a pitch black room? We actually wear sunglasses and every audience members are always like, oh, so those are night vision goggles and we don't have that kind of budget and it'd be impossible for us to have that, you know, I wish. No, we're also in a pitch black room and it's so the experience of, I don't know, for instance, before coming to, before opening off Broadway in New York, we did just the one show in Orlando's part of the festival and we had less than 24 hours to come in, identify the room, understand how it is, where is everything, how it works and then adapt to it so quickly to then operate the show in that room safely for both the actors and the audience. There is an incredible life mind that happens with the rest of the cast because you cannot communicate but just looking at each other and also you can't just be like, hey, I need some help because then everyone will hear, you know? There is this like nonverbal hive communication that has happened off of us creating a beautiful trust process, you know, throughout this and I think that is both the biggest challenge and the most rewarding thing of the show. - That is incredible, incredible. So with this amazing story, with this amazing experience, is there a message or a thought you hope that audiences take away? And Andreas, let me start first with you on that. - I think the biggest one for me and it's, you know, without spoiling anything of the show, it is mentioned at the show and it's that they play a lot with the idea that we all only fear the unknown and it's once we get to know things, whether that is a person, a culture, a place. We understand where it comes from. We understand how similar we are and we also appreciate the differences. And when we don't know it is when, I don't know if this might be instinct. I don't know if this might be human condition but there's this aspect of since it's something that we don't know, we tread carefully and almost fearfully and the play talks a lot about that. We only fear the unknown. And if anything, at least for me, is that people can take away that that is a truth, that if we all, as a species, not even as a culture, we're to work on it. My God, we'd be in such a different world right now, a world filled with conscience, you know, and like understanding, empathy. In this case, it talks specifically about what it might be to deal in a conventional world that is not designed for blind people. And once you know what that means, because you just entered a pitch black room and lived an entire experience in like, you know, lights out, you start to understand that unknown, you start to empathize a little bit more. And I think that's just, again, a lesson for so many things, not just understanding how blind people lived or any other, you know, deaf people, whatever it is. Also, again, cultures, you know, going into the other side of the world and experiencing that culture and their food and their costumes and how, once you get to know all that, you understand it better, you accept it more, you empathize more. If anything, that's it for me, in general, I guess. - I love that. That is such a fantastic idea. - For us as performers, also, like, we, it was also completely new experience for us. And it places, places and characters, I think we've never been in. So, personally, for me as an artist, it was also like an opportunity to explore, like, characters and cultures and, like, parts of myself that no one would ever sort of allow me to try, because, like, we use the visual element first. We'll always, like, bleed with what someone's headshot is like and what someone brings to the room visually is a big part of what we do in the arts. And so, I think this also gave us a freedom to explore in the dark. What do I sound like if I move my body like this? How do I create this sensation? How do I differentiate myself from this character to this other character? And it was trying to do all of this in the dark whilst also trying to create some magical moments that have to do with like sense and cooking and touch. So, it was, you know, taking our fears also and challenging ourselves as well and seeing it from the other side and being able to bring the other people into experience it's really cool too. - That is so wonderful. I love that. I love those answers. And it leads to my final question for this first part, which is who are you hoping have access to odd men out? And Loreb, I'm gonna stick with you first on this. - You know, I think accessibility has always been one of our, one of the biggest things that is important to us. We are in charge of sitting as well. We're the ushers in this darkness. So we always make sure to make space for any sort of accessibility needs in terms of having to bring someone in a chair or someone that has to transfer from a chair. Like all of this is essential for us and we've always made sure that there is a place for these communities to also be part of our show. And I'm really proud of how the team has been able to always prioritize that. But honestly, now that you asked this question, one community that I really wanna highlight is the immigrant community. Like I really hope to get a lot immigrant artists and people that have come here or have immigrated wherever they have to chase their dreams to be able to see this show because something that is really important to us as a team that is also portrayed in the show is that, you know, this is an immigrant story that is different from what we usually get. It's one of the first times that I read a script and I saw a complex story about immigrating for your art or for your pursuit for your career. And it talks about how placing yourself in that discomfort is a push, right, to keep going. But it's also, what do you leave behind? What are you sacrificing? What are you shutting down? And the duality of both wanting to pursue your art and be somewhere and also wanting to be true to your culture and having your heart be somewhere else. So I really hope we honor the different situations of folks that have immigrated to pursue their dreams in whichever way that they have. And within the company, we are, you know, I'm from Peru and this is from Costa Rica. We have Castina Céracci, Pablo Dudman, Carla Mimbola, they're all Argentinian. One of our producers is from Italy. Like we are immigrants doing a show about immigrating for your art. So that's a community that I will get to experience this show. - I absolutely love that answer. I like to add something, if you don't mind really quickly, just to piggyback from what Loda was saying, something that is very refreshing about the story as well. And speaking as an immigrant, there is no point in the story where we are dealing with immigration in the way that most other stories would, which is what was the problem that happened at costumes in the US? You know, what was the issues when you were applying for your permit to stay here, to work or your green card or did you marry someone to be able to stay? That is not covered. It's not necessarily about that. That are extra, those are extra challenges and obstacles that any immigrant might have to go through when they're trying to remain in this country and pursue their art. But more so is about that that Loda was saying. What do you leave behind the push that you have to do in order to stay here, but also most importantly, what that immigration brings to this country as well. And talking about the known, the culture that this immigration brings to this country, all the unknown that the culture in this country gets to know. That is what makes this country so great in that sense. And I love the way that this story deals with that, not with the obvious, but rather with the everyday situations that an immigrant might go through. (upbeat music) (upbeat music) Well, for the second part of our interviews, we love giving our listeners a chance to get to know our guests a little bit better. Pick your brains, if you will. And I want to start by asking the two of you, what or who inspires you? What playwrights, composers or shows have inspired you in the past or just some of your favorites. And Andreas, why don't I start the second half with you on this? - Yes, absolutely. Well, first off, I do a lot of theater. I do some TV and film, definitely looking and doing a little bit more, but I mainly do a lot of voiceover work, both commercial and animation. And I'm gonna stick with theater for this one, at least at first. One of my favorite, if not my favorite playwrights right now, is this playwright called Rajeeves Joseph. I think his stories, which a lot of them have to do with immigration or at least half immigrants, are beautifully written. They are incredibly powerful. His character development is out of this world and the layering of it is fantastic. So that's really up there for me. And then before doing "Outman Out", at least this iteration, I had the absolute pleasure of performing in what has been probably one of my favorites, if not my favorite play of all time, in what was my dream role for many years. And that is "Equest" by Peter Shaffer. And I got the opportunity to play Alan Strang. And that play changed me on so many levels. I mean, it's not only incredibly challenging, but the way, I didn't know about this, but apparently for those of you that do not know the play, this is a play that has to do is between a psychologist and his patients. His patient, Alan Strang, his 17 year old kid, happened to blind six horses with a metal spike. And they're sending him to a psychologist instead of like, I don't know, death penalty, I believe this was way back when, where this was a thing in England. And the way the playwright deals with a story that is half true, apparently this was inspired by an actual story of a really young kid in England way back when that blinded. And I think it was like 28 horses, something great. Yeah, brutal. The playwright was so moved by this that he couldn't understand why someone would do that. And he set on the mission of writing a story that can somehow explain why someone could do this. And the exploration of accepting issues or mental issues and mental health was mind-blowing to me. I think, I think, and please take this with a grain of salt 'cause I could be wrong, that equis is probably one of the best written plays of the 20th century. Things like that inspired where you get to sit down and I remember what we had already done, maybe, I don't know, 25 performances on performance number 30. I was listening to a monologue of the psychologist and still finding things out. Be like, oh, oh, that's why he's saying this because back then when this happens and then fast forward to this, this is what I have. Oh my God, absolutely incredible. When you get to work as an actor with something so meaty, man, it's almost easy. Like, you don't even have to work that hard. Like, everything is there. That is kind of like what inspires me at least nowadays, something like that, which is what I think Rajiv Joseph does a lot. And then lastly, because it sits, again, a beautiful written play, sweat by Lynn Nottage. Anything that Lynn Nottage does is absolutely brilliant. So I guess at least playwright speaking, playwright wise, those are the three for me that are at the top of the game right now. That is a fabulous, fabulous list of inspirations. Thank you for that. Lorenzo, what about you? What are who inspires you? Well, I mean, initially, the first time I had a theater experience that changed me. I am, you know, I'm born and raised in Lima, Peru. So there was much more like film in my life than theater. There's not a big theater culture there, although it's happily growing things to a lot of people that are working really hard to get that industry going. But there's this Peruvian playwright. Her name is Mariana de Adelez. And she writes a lot of plays regarding the turmoil that happened in Peru in the '90s. And then also just a lot of interesting like themes. I remember the first time I heard one of her single dynamics of like two characters that are debating whether or not jumping off of a bridge. And it's a bridge that it's known in Lima for like having that reputation per se. So like she really explores the psychology of the characters and ground stories. So I love Mariana de Adelez from the very beginning. And then I think I've had the pleasure to work mostly on new works and new pieces. I started my career in the US in Philadelphia. And, you know, I came from loving a lot of Greek theater. I love absurdism. But what really hit me about new works was that I was able to play characters that were so much more than just a young woman. And it was because of these writers, Edlina Ortiz, who cast me in one of my first plays, like she's a Philadelphia playwright. Her plays currently being produced in Philly right now. And then also Edaiza Anne. They're both currently working on new pieces that sort of diversify what we know as successful Hispanic women and like the complexities of these things that we have been talking about, you know, like immigration doesn't look one way or being from a certain culture doesn't mean that your life is in this way, right? We have, there's so much more in there and so many success stories. So I love the two of them and I'm really always looking out for their work. - I love that. Again, those inspirations are fantastic. The two of you, I need to just rely on them and be like, "Okay, what should I look at for next? "What should I read next?" 'Cause this is wonderful, these are fascinating. And now we have arrived at my favorite question to ask. And that of course is, what is your favorite theater memory? - I have one very easy and one a little bit more complex. A very easy one, a very easy answer is, again, I'm from Costa Rica, I was born and raised there. So the first time I ever saw a Broadway musical was mesmerizing in Costa Rica. Kind of like just what Lode was mentioning in Peru. There's not that much theater scene. It has grown, I've been in New York for about 10 years now. So it's definitely changed a lot back home in Costa Rica and it's grown so much, which I'm incredibly happy about. But especially when I left, it wasn't really a thing. And so when I first came to New York, which was to audition for a couple of schools, I remember my dad was like, all right, our gift is you can go to a Broadway show, we'll invite you to work. It's like, all right. And I went to see the famous fan above the opera. And oh my God, I was a little kid at Christmas. I mean, I sat down by myself, funny part of the story. I bought literally the last ticket of that night. This was back in like 2013 or something like that. And I sat down, and for those of the listeners that haven't seen the show, the show starts, there's this huge chandelier that is like on the stage on the floor, and it starts by it being lifted and kind of like rebuilt and rejuvenated us is going up in place. And just with that, which for the New York theater scene is just another cool effect or moment for me was like, oh, you can do that in the theater. Oh my God, I was again, a little kid at Christmas. So that's an easy one when it comes to kind of like a first experience situation. But more recently I had the pleasure to go to, I was in London in December, and I got to see this play that's called Dear England. And it's about the psychological aspects that goes through the mind of very young soccer players in England when they have to represent their country in things like the World Cup or the Euro Cup. And a lot of it, and this is unfortunately a problem within sports. Psychology is not taken as seriously as it should, or not psychology, I mean mental health. And when you are 19 years old, and you are stepping into the penalty zone when there is 50,000 people watching you and the weight of a country is in your shoulders because you have to score that goal and there's a 50/50 chance. That does things to you. They told the story of the English team going through the Euro Cup and the World Cup and how eventually they lost the way they did it. I mean, first, this might be a little biased because I'm a huge soccer fan, but oh my God. I mean, I was not even crying. I was ugly crying at the end, like ugly, ugly crying, not like fully understanding what this meant. And it really moved me. I think that more stories that deal with things like mental health, things like immigration, things like, you know, losing a sense. All those unknowns is really what it's, and it's not just telling a story but bringing people into the story, immersing them into what that might feel. Oh my God, perspective changing. I think that that's in general what has really inspired and moved me. One of the best experiences have been, again, the first time I saw something that I never even thought was possible. And then seeing how more and more theater is dealing with things that unfortunately, for the conventional audience, they might not necessarily want to talk about. And that is very powerful. - What memories, wow, Lorenzo, what about you? What is your favorite theater memory? - Perhaps because of how long it's run and been a part of theater, musical theater history, I actually was reminded by both of you that I have a phantom memory too. That is perhaps one of my earliest theater memories that I haven't thought about in forever. But it is, it is kind of where it all started. My, I have two older siblings that are, there's a big H gap between us. The two of them are three years apart, but with us, it's like 15. And they had a bunch of musical theater soundtracks and specifically my older sister, Ivan, I was a very fond of the phantom one. My dad had the opportunity to travel to New York on his own in the early 2000s and had brought back this disc. And I remember we would like, we would be in this like room in our house and she would play it. And it was one of those, it wasn't like a vinyl, but it wasn't also empty three, you know? We were still in the disc era. And she would put it on and she would explain to me like the storylines and what was happening. And like listen to this, he's communicating with her and she would like explain this whole theater experience that neither of us had had 'cause we hadn't even seen it. We just have the soundtrack to base it off of. And I remember being mesmerized by like the amount of emotion that words have and especially words combined with music. And so then on a personal level, I think the first time I got on a stage, I had always been sort of a more introverted kid, not shy but very monotone and like very comfortable in just like showing very little to no emotion. And I loved, but I loved singing and telling stories through singing. And so I had the opportunity to be on a stage for some sort of talent show when I was about 12 or 13. And I remember picking a really deep emotional song and my family thinking, "Why don't you sing something maybe more fun?" And I said, "No, this song is telling a story." And like this is what I wanna do. And I got up there and singing and feeling all those emotions in my body that I hadn't been able to express without these words where this music really made me fall in love with storytelling because it wasn't about me anymore. It was about like giving all of this emotion that this story was saying. And I think that's we try to continue to do till this day, especially with a show like what we're doing right now. - That is such a wonderful memory. Yes, the theme being Phantom of the Opera. Let's go. I love those though. Thank you both so much for sharing those memories. As we wrap things up, I would love to know, do either of you have any other projects or productions coming on the pipeline? We might be able to plug for you. - Nothing, there's some, a couple of things, but nothing quite confirmed yet. And my end is more on the voiceover side of things, both animation and commercial. And so yeah, if those could confirm, maybe I'll hit you up. (laughs) Otherwise, I do know that things go really well. The next really cool thing that we're gonna be doing with this show, without no doubt, is that we are taking it to LA for a couple of weeks. So that should be really, really cool. If there are any LA listeners out there, definitely look out for us come October. - In the way that Annie has voiceover and also film in his life, I also really feel really passionately about independent film. My, one of my last projects, it was a short kiddo that is done really well. It's currently on movie, I believe it's called M-U-B-I. So you can stream that. I believe for free, you have like one of those seven day trials, which is amazing. And yes, I'm looking forward to our three week run in LA. And we are hoping to take this show and like further also the stories that we tell in the dark, but like continue building this company and taking it to Europe and seeing what happens. So I'm looking forward to that. - That is incredible. And it leads to my final question, which is if our listeners would like more information about odd man out or about either of you, maybe they'd like to reach out to you. How can they do so? - You, I'm gonna go first because and this kills this final plug of where to research odd man out. So, and it's absolutely take that. You can find me. I mean, I have a website larensaburnascoon.com, but also actually you should reach out to me through my Instagram, which is at larensaburnascoon. Follow me DM me. Anything regarding art and regarding being an artist, immigration, fun, anything at all. And then odd man out on Instagram is odd man out NYC. - Awesome, my turn. Yeah, so, yeah, I mean, personally for me, I do not have a website or anything like that, but you can definitely reach out to Instagram. My handle is that, that's a tough one. I'm just gonna spell it for you. It's T-H-A-T-E-J-O. Please feel free to reach out. DM me with questions. I'm happy to, that's probably the most active one that I have, so definitely through there. As for the show, we're doing between seven to eight shows a week at the Sheen Center, and all the information you can find it at the website, oddmanoutnyc.com. You can see their tickets, performances. We do sometimes have a rotating cast, so you can find the information on which cast is gonna be performing when in the website as well. And then, as Laura said, through social media, the handle is oddmanoutnyc. So many people prefer to just go through social media and actually like the end of the account and get information like right of the bat. And so that's also a great way of reaching out. Yeah. - Wonderful. Well, Lorenzo Andres, thank you both so much for taking the time to speak with me today, for sharing this amazing show. I cannot wait to see it. I'm so, I really am. Thank you both so much for your time today. - Thank you. Thank you for having us. This was great. This was amazing. It's such a great time. And also, thank you for the questions. Those were fantastic. - 100% and your answers, both of your answers sort of sparked things. I mean, like memories and ideas to like, to think on. So thank you so much for this conversation. - Thank you. My guests today have been two amazing, amazing performers and artists. Lorenzo Bernesconi and Andreas Motejo. They're both part of this incredible show, Odd Man Out, that is playing now through August 11th at the Sheen Center for Arts and Culture. You can get your tickets and more information by visiting oddmanoutnyc.com. We also have some contact information for our guests in the show, which we'll be posting in the episode description, as well as in our social media posts, but run. Don't walk, get your tickets right now. Make sure you come join us next week. We'll be there. We'll make it a stage whisper nine out of the theater. The show again is Odd Man Out, playing now through August 11th. And we wanna add for our American listeners, that election day is November 5th. Make sure you are registered to vote and do your democratic duty. You can find out how and where you can register to vote by visiting vote.gov. The future demands that we fight for it now. - So until next time, I'm Andrew Cortez, reminding you to turn off your cell phones, unwrap your candies. - And keep talking about the theater. - In a stage whisper. - Thank you. (upbeat music) - If you like what you hear, please leave a five star review, like and subscribe. - You can also find us on Facebook and Instagram at stagewhisperpod. - And feel free to reach out to us with your comments and personal stories at stagewhisperpod@gmail.com. - And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise, tours, tickets and more. Simply visit stagewhisperpod.com. Our theme song is Maniac by Jazzar. Other music on this episode provided by Jazzar and Billy Murray. You can also become a patron of our show by logging on to patreon.com/stagewhisperpod. There you will find all the information about our backstage pass as well as our tip jar. Thank you so much for your generosity. We could not do this show without you. ♪ I don't wear away from paradise ♪ ♪ Where I don't care anywhere near your town ♪ ♪ Makes me there ♪ [BLANK_AUDIO]