Stage Whisper
Whisper in the Wings Episode 566
(upbeat music) - Welcome back in everyone to a fabulous new Whisper in the Wings from Stage Whisper. I am so excited about the show that we have today. We've got another show that was formerly of the New York City French Festival and is now part of the Turn the Lights Festival at Playhouse 46. And this show, I mean, it will knock your socks off. It is so good. It is another of our creators picks from the French Festival. So we are beyond excited to be sharing this with you and joining us to talk about this show, we have several of the actors, producers, the playwright, director, Louis Feliciano, Kristen Hoffman, Patrick Bond, and Penelope Dean. These wonderful artists are all part of Torch Ensemble's presentation of the climate fables. And it's playing July 13th and 14 at Playhouse 46. You can get your tickets and more information by visiting Playhouse46.org. When I tell you that the show is amazing, I am not just, you know, blowing smoke in the air and trying to butter up people. This was such a great piece that is going to continue to see life long after this current festival. But the perfect people who can give you a better idea of what the piece is, of course, is our guest. So let's welcome them on. Louis, Kristen, Patrick, Penelope, welcome in to Whisper in the Wings from Stage Whisper. - Hello audience. - Hello, hello. - Hey. - Hello to you all, I'm so excited to see you all on this sweltering day in the city. And I'm so excited that we get to talk about your incredible work, the climate fables. Bravo to all of you, first of all, truly your performance and work at the New York City Finch Festival was phenomenal. It's such a great time with the show The Trash Garden was the one and the two I got to see. And I'm excited to see both of these now, back to back later this weekend. Patrick, why don't we start with you? You're the playwright of these pieces. Why don't you remind us a little bit about what these shows are about? - Okay, well, first off, thanks a lot, Andrew, that that was really kind of you to say. So the climate fables are a canon of environmental plays that I've been working on for about five years now. I have a seven of these scripts finished and I'm going for 12. And these two plays The Trash Garden and Debating Extinction are the first two climate fables that we have had the opportunity to produce ourselves. We brought them to Edinburgh Fringe first. We did them at New Perspectives in the 14th Street. Why we've been able to do it at The Fringe. And so these just have had a really beautiful life so far. And so the climate fables are a canon of kind of fairy tale plays about climate change and the end of the world set in like a mythical setting. So The Trash Garden is the show that you saw and it's a reversal on Adam and Eve. They're the last two people on earth. They're in the Garden of Trash instead of the Garden of Eden. It's like a Beckettian dump of them looking for meaning in their lives, knowing that they are directly facing extinction. And I thought I would make a comedy based on our current existential crisis. The other play is called Debating Extinction. And it's based on Rapunzel. It's a romance tragedy about a young climate refugee couple deciding whether or not to have children in an inhospitable planet. There's a witch in it. There's a forest coming back on soil that doesn't know how to grow. And we do these plays together. Each has three characters between the four of us. We're able to do both shows. And so we've been doing them as a touring packet. That is incredible. Oh, I love that. Patrick, I want to ask you regarding the writing of these two, what inspired you to have these? Like this is such a large project that I'm in a sense I'm inspired by everything I've ever seen, or read, or everything that's ever happened to me. I guess I'm trying to synthesize the whole world that I have experienced and put it into one theatrical project. But ultimately, it was studying more about climate change in college, going for an environmental studies degree, and learning more about the state of the planet, and combining that with the theater that I was studying in school, and that I was seeing around me in New York, I started writing in the pandemic, too, and I knew that Shakespeare wrote Lear in the pandemic. And it was such a dark time, but I thought maybe I could write something that would be able to transform my life and maybe transform the theater that was suffering so much once the pandemic was over. That's part of why this is called Tor Johnson, that we would maybe be a light after the pandemic with new work that might be able to last. And so I was trying to fix my own environmental dread and turmoil with this story, thinking maybe you would never be performed. But now that it is, it's really affecting other people and I think helping them with their climate anxiety of being able to laugh about it or cry about it in a theater with other people. Yeah, so that was the source of it. - That's fantastic. Now, Penelope, I would like to come to you as one of the actors and one of the producers, obviously, was the show. How is it that you came upon this piece? - The four of us went to Hunter College together and we had seen each other in different plays. A few of us were in a production of Hamlet together, Pato and I were able to play the role of Hamlet together. And that senior year I was frustrated with the lack of performance opportunities provided by our university post the pandemic. So I took it upon myself to produce a play that I had seen at Sleepaway Camp when I was a young girl called a blaze. It was really scary, it was this horror play. And in doing that, I was able to produce a play in college and in doing that, I was able to, I think get Pato's attention. So he approached me at the end of 2022 after I had graduated and he said to me, hey, I have these two plays, I want you to be an actor in one of them and help me produce both of them and run with social media because I had done that for my play. And I was like, let me take a look at these. And as soon as I read them, I was like, yes, count me in, let's make this happen. And of course I want to work with Kristen and Lewis as well. We had always floated around each other. So I was very happy that Pato was able to grab all of us and go, it was really special and I will be thanking him for the rest of my life for that. - That is fantastic. I love how this came together. Now I want to bring two of our other actors in, I should say actors and producers, Lewis, Feliciano and Kristen Hoffman, you were the two that I got to see in the trash garden and you were just so, so good. Anyone out there, when you get the chance to see the show, it is insane how good they are and insane what they do at the set. I'll leave it at that. But I want to ask the two of you, as you head into performances later this weekend, what has it been like developing this current iteration of the show? And Kristen, why don't I start first with you on that? - Oh man, first off, and Drew, you're too sweet. Yeah, this show's been really interesting. Something that I find helps constantly develop it, 'cause we've done many iterations of the show, has been doing it in a different space. Every time we perform it, yeah. So like we're in a new space this time around and I was able to go into our tech and suss it out. We have a complete new set of like, there's different set pieces in it. The stage arrangements completely different. And something that, you know, me, Lewis and Pato, try to avoid is being a little too choreographed with the way we play. We try to be really spontaneous in the way that we play. So incorporating all the new set pieces as much as possible, different trash. We collect our own trash, fun facts. So every time we have different things just to influence us, Lewis and I are trained clowns. So that's something else that really influences our style of work in this show. So similar to different set pieces, different props, et cetera, we have different audiences each time. And I think the clown lets us really, really connect with our audience directly. So depending on who's in the space will affect the show. This last couple and our last few rehearsals, we've been outside, like we rehearsed at a park, which was really fun. So we were just like, even taking in the audience around there in the space there, just seeing like, how can we be different this time? How can we find different meaning behind this? What play interests our characters this time around? It's really just seeing how much newness can we let influence us each time we go through the piece. - That is so amazing. I admire that you collect your own trash too, because I was thinking during that show. I was like, where did they get ahold of this? I'm sure they washed it. I hope they washed it. - Yes, we do. - We should be way more clear about that. It's our trash that we cleaned. We need to be really clear about this, but bubbly. - Now, Lewis, what about you? I will say, Chris, in touch on the fact that it is a new staging notes in the thrust. What has it been like developing the show again? - Yeah, I think it's been amazing to get to do it again and again with so many different variables around us. The audience is changing. We've had our audiences in New York, but we've also played in Scotland, which is a whole different world of people coming back to the fringe this year. - Yeah, I think it's how the biggest thing we came to question is how do we keep it new and fresh for us? And I think a huge lesson that I've taken away is if I'm discovering something new right now, then the audience is discovering something fresh and new. Basically, there's one night in Edinburgh. I was a little tired, so I wasn't playing as optimally and new and fresh as I could. And that was one of the least 20 times I'd ever played. And I was like, oh, I just wasn't discovering. I wasn't letting it in. I wasn't letting the new circumstances in and change with the play. So I think looking for that in comedy, how can it be fresh for me every time? And that we have so many different things to take in, which is really helpful, but it also demands a certain level of openness and curiosity for me that I don't always get to flex with other players that I do. - That is fascinating, wonderful. Patrick, I wanna come back to you and I wanna know, is there a message or a thought that you're hoping the audiences take away from these works? - Yeah, ultimately, for each play, I'll start with the trash guard. And that's that our defense against this climate dread and this kind of facing of the abyss that we're all dealing with is play and is human relationships and are imaginations. Or at least that's how I've lived and what seems to be working for the people around me. But these characters that Lewis and Christian play are Atlas and Evelyn and they're the last two people and they're just playing games with each other the whole play, so the play is about play. And the audience members get to be involved in that play. My character, the ghost, appears and takes different shapes during those games, but they're even able to fashion the garbage that is our set into the set of their own games. And that I guess was inspired by Wally in certain ways. But I think it's a simple, absurdist message that to acknowledge, okay, we're the last people on Earth, but we're still alive. It's not over yet. And we do actually have this time and we really ought to be using it on each other and on harnessing our creativity because we have all of humanity to look back on. There's so much inspiration for us to draw from now living in the future. And it's difficult, but a life can be made out of that. And I think it can be an antidote to that kind of climate suffering. And also like every piece of garbage you use is on our set and we'll be in the set of the future. So just like trying to make people aware of their own trash, like how, you know, like do you need to get the straw? Do you really need to do it? Like do you need to get the plastic bag or can you just like carry your chicken over rice like to where you're going? I don't know, just simple things. Using our own trash has like changed our perspective on, I think so. Like we become more intimate with our own garment. Basically everyone needs to because there's no such thing as throwing something. There's no a way to throw anything to. And then debating extinction. The hope is that like different people take different things from it. It's called debating extinction. It's a, it's an argument. And the core armaments that are being had between this witch mother Miranda and this young traveling boy, Teddy, is should humanity continue? Yes, because you know, humanity learned a lot from climate change. We can start over. We can like be good people and like humans are amazing creatures. No, because humans destroyed the planet. All other life forms are suffering because of us. We make each other suffer. Humanity should end for nature's sake. That's an argument. There's this woman Susan who is the character that Penny plays and she kind of is the avatar of the audience being caught in between these ideologies. And so we've had different audience members. The whole every time we've done, I always ask like, who did you agree with? People always, sometimes they'll be like, I agreed with Miranda. I think human, I, I, that's how I feel. I don't think humanity should continue. Like people have said that to us. And there are a lot of people who are like, no, I agree with Teddy, I agree with the boy, like, you know, like we need another chance. And then there are people who are like, I'm with Susan, I have no idea, but I just want to be yelled at. And I want to come to my own conclusion. And so I'm always hoping for arguments after that play. That was the idea with that. 'Cause I think, you know, that'll foster more kind of dialogue about how we should be living in the climate crisis. - I love those thoughts, love them. Kristen, I want to ask that same question to you. You know, what, what is the message or thought you hope people take away from your shows? - I mean, yeah. So I'm in both, I, you know, I'm Evelyn in the trash garden. I'm Miranda, the witch in debating extinction. So like with debating extinction, I really had a pad of Patrick. I think you said it really well. So I'm like, how do I put this in my own words? But essentially, you know, I am really interested in starting the dialogue and getting people to like, just start talking about it. I'll expose myself a little bit. Like I, from my hometown, I know a lot of people who don't really care about the topic too much and like this conversation's not even in their brain space. So for me, I love that these are, we have them packeted as touring shows 'cause I really want people to start thinking about it and like have that conversation with their friends. Like, even if you're in an argument about something, the conversation in the topic still kind of lingers in your mind. So that has to be something, you know? And with the trash garden, I'm really interested in human connection. I feel like a lot of problems that come up, almost for anything, have to be with people just not really seeing eye to eye or not being willing to look at another person and say like, let's connect for a minute and actually talk about this instead of just like fighting, fighting, fighting. There's something about seeing the last two people. It's like Atlas and Evelyn have their problems, but at the end of the day, they talk through it where they play through it and find ways to come and connect. I'm a big advocate for play. I think play can save the world. It seems a little cheesy, but I really think that, you know? So, yeah, I want the conversation about the climate crisis to get going and I really want people to see play, can save. I don't know, I feel like play can save the world. Can make us connect more. Yeah, I think that's where I'm at with it. I love that thought though. Absolutely. Amen, play not only do you put plays, theater, it's gonna save the world. Penelope, let me come to you first for my final question in this first part and I'd love to know who are you hoping to have access to these shows? That's a beautiful question, everyone. Because everyone lives on this planet and everyone has to deal with the themes of these plays. You're asking me this question and I have the honor of playing Susan. So, I've been thinking a lot, Susan is pregnant and she thinks a lot about, you know, is it right to have a child under these climate conditions and I find myself as a woman also thinking about that. So, and I've had a lot of women talk to me about Susan and seeing that story and how much it's meant to them and how they've connected to that. So, I mean, I haven't wanted to do any station, but I personally just feel like women have to think about it and it's a great place to have that conversation. And we had a 12-year-old boy come see us at Edinburgh Fringe, C debating extinction. And after that show, I mean, he was freaked out. He was like jumping out of his seat. It was electric, honestly. And after the show, his dad was like, we have a lot of things to talk about now and I'm really thankful that we can now have these conversations and that's awesome. That a father and a son, a middle school son can have these conversations with our plays as a starting point and anyone can do that as the truth. As we've had elderly people come, see the trash garden and I've been in the room all the time when that play happens, it's the best play to watch a thousand times. It never gets old, it's amazing. And it's interesting to know how the vibe of the room is so different when the audience is elderly people versus when it's younger people because we all feel some type of way about the planet and we all have guilt and some more than others and you can feel that when you sit in that room and it gets people thinking and that's why people need to be in that room. That's why this play needs to be seen. It's a really important conversation of how do we not get here? We don't want to have an Atlas and Evelyn. Really, we want to take care of our planet. We want it to be beautiful. We don't want women thinking being put in the situation that Susan is in, that Miranda and Teddy are in, like, how do we not get there? And how far away are we from these plays and these themes or more scary, more shockingly, how close are we? And what's similar and what's different? And we need people to start thinking now. We need people to take action now. That clock is ticking in Union Square. And if we can use theater as a platform, which has been used since the beginning of time to share messages and tell stories and get people to relate, then we've made a difference on this planet. And I don't know about, I'm not gonna speak for the others, but I find that to be very fulfilling work. And I love that we're making a difference. So these plays are absolutely for everyone. As young as 12, maybe even a little younger, I mean, if they can handle it, but where everyone can come and we want everyone to come. We want to hear how everyone feels about these plays. - I love that answer, that is wonderful. Lewis, I want you to have the final word in this first part. And I wanna ask the same question, who do you hope have access to these works? - I think my biggest hope is to have people who are not thinking about these things, come and see these shows and be exposed to these conversations. And I think what I love about the play is that if you, the plays is that you come in and you don't exactly know that it's about climate change at first. So it's just like, I know these regular people, well, the trash bags is a different situation, but at first you just see a few people connecting and I love that people get drawn in. And then by the end, you start to realize, oh, this is about climate change. This is holding up a mirror to me right now. So I think I really want people who don't think about climate change, who get that straw, who get that extra plastic bag. I want those people to come, have a good time, and then on their way home, be like, oh, oh, they're holding all this stuff in their hand. They're like, oh God, it's about me. (upbeat music) Well, for the second part of our interview, we love giving our listeners a chance to get to know our guests a little bit better. And I can't let you all go without asking my favorite question, which I think I've asked the majority of you before. So I'm interested to hear another, but that of course is, what is your favorite theater memory? - I pulled a very chaotic story last time. And don't you worry, I have another one for you. - I'm in the production of a show when I was in high school. And this was the time where that little silly Charlie Charlie thing was going on. You remember the two pencils on top of each other and you like some of the ghosts or whatever. And there were a bunch of people who were doing this backstage in intermission, but they were like, half doing it. So I was like, you all are being lame. If you're gonna do it, just do it. So I did the thing, the ritual, add intermission, which was not a good idea because then the ghosts came out to play. And I was sitting on stage at a platform that was facing the back 'cause it was gonna turn around to reveal us. And I heard from the side and I turned my head and I see a ladder that the stage manager swears had never ever existed or been there. Fall right onto my body and cut my legs open. Maybe about one minute until I'm about to be like a window stripper. So that was awesome. And then later in act two, there was a helicopter and my brother who was playing the lead was getting into this helicopter and I watched it go up and then I saw the boom. And then I heard the stage manager go, it's not flying, it's not flying, it's not flying. And I was like, did I curse this show? Are all my guy friends about to die in the helicopter on stage right now? They were fine and we love a stage manager that makes us a quick, strong, fierce call when something's not safe. Thankfully that the helicopter sadly didn't run that night, but no one was hurt. And I was blamed for years for summoning this ghost and I now no longer do that on the commission. I had the cuts to, it ended up on me so, but that is my chaotic story for you this time. I'll have more for you next time I swear. - Oh my gosh, I love that, I love that. These are superstitions, they are real. They are real. - They're real. - All right, my story, that's a chaotic, but it is different from the last one I had told stuff. There's that. So I was trying to rack my brain. So come on, Chris, what's your favorite story? And honestly, the person that gave my mind was when we were doing the Edinburgh Fringe, what do you call it? Not this past summer, the summer before. A backstage, every time I would sing this song, pump the jam, pump it up super quietly. And it was so funny 'cause we didn't really have a backstage. There was just a curtain and maybe a foot of space for us to just stand against the wall till we came out. So I would just be silently dancing and trying to look over my co-stars, pump up the jam right before we go. And on the last day, Lewis was like, "I was singing it to him." And he was like, "Come on, we're gonna go bananas this time." And I was like, "What?" And he's just backstage dancing, like, "We're gonna go bananas right now." And so we're just stuck in between this one foot, going crazy behind the curtain just like right before he came out. And I'm pretty sure this is during Trash Garden, so we had our trash bags up. And you just hear like insane rustling of trash bags. It's like, what's going on back there? Like, but it's like, I never get that out of my head. And now like, I love singing that song like before a show or like, is like having that phrase around us being like, "Let's go bananas this time." Yep, that lives rent free in my mind. (laughs) - I love that. I'm sensing a theme today of backstage experiences. This is amazing. - Yeah, let me hop in real quick and give some context to the bananas thing. (laughs) My favorite theater memory was at the Edinburgh Fringe. Someone recommended this show called "The Amazing Banana Brothers" to Kristen and I, and it's starring Bill O'Neal, directed by Natalie Palimidus, the premise of the show. Two brothers attempt the impossible. Slip on a thousand banana peels or your money back. So that was basically how I went around selling the show to my friends and Penelope and Pato came on a whim because they just trusted our instinct for the show. And then it was funny because Nelope actually got separated with one of our other friends, Annabella. So like, I got to, I was like on the side, I got to see the show and Penny's reactions to everything going on. And this show, I still think about it to this day. It was the craziest thing I've ever seen. I was literally on the edge of my seat between laughter and fear and shock and glee. It was awesome. And it was so funny to see Penny like, every time something really wild would happen on stage. She would just like, look with like what is going on. And yeah, that was my favorite show that we're seeing still for this day. And yeah, the going bananas thing, every time I need an extra little pump in my glee, I'm like, just go bananas, just go bananas, just go bananas. - I love that. The title of that show, oh my gosh. I was like, I need to see the show now. That's, and the sales, but listen, Edinburgh just sounds like so much fun. I need to get over there. Y'all are having way too much fun with all of this. Well, Patrick, bring us home on this. What is your favorite theater memory? - The story I told last time was about like traveling through like the little Greek towns and like hiking and doing Antigone Greek. And I mean, that takes so much of a cake for me. And I was trying to think of like different stories to share during this, but actually like what's so important to me is like kind of my first memory, like ever is being in a rehearsal room and watching my dad perform. Both of my parents are actors and my dad is part of the city company. And so like I was watching them do a production of Macbeth, but I was just like this little like kid like sitting in the rehearsal room like kind of running around. And it's this, like my dad was playing Macdeth and this other guy, kind of my uncle Steven was playing Macbeth and they like came at each other with weapons and they were doing the whole like turn, hell have turn, damn be he who first cries hold. And they lunge at each other and I didn't cry hold, but I was like because I really thought it was happening. And I was so mad. I was like, I can't believe Steven's attacking my dad with like a chair. And I rushed up and I was like, don't do this. Like you love each other. And they were like, we're acting. And I was like, what? And it was just so convincing to me. And I was like a child. So I was in a state of an imagination and play. And like when you play with a kid now if you're babysitting or you have little cousins, it's like, as an adult, you're maybe better at playing 'cause you can create the circumstances of the world. You can create the theater or you can create the game. But the kid is like really experiencing. Like the kid, it's more real for them. So in a sense they're dead play. But yeah, just like, I think having one of my first memories be like in the rehearsal room, understanding the difference between what was real and what was theater, kind of like informed the kind of theater that I wanted to make later down the line. One of my first memories was being in a rehearsal room for Macbeth. And so Shakespeare became really important to me. And it just informed like, I want theater to feel real. I want theater to feel like someone's about to really get got on that stage or something real is about to happen on the stage, even though it's protect. I love all of those. That is amazing. Thank you all so much for those great, great theater memories. - Well, as we wrap things up, I would love to know, do any of you have any other projects or productions coming on the pipeline and you might be able to plug for you? - How do you tell 'em? You tell 'em, how do you tell 'em? - We just got accepted as a resident theater company with Frigid at Under St. Mark's. And that's real. We're about to start announcing it. They're about to start announcing it. But truly this fall, we're gonna do four more climate favorites. We're gonna do a new play in August, a new play in September, a new play on October, a new play in November. And we could keep going, but we were like, four is enough for this year. But it's ambitious. We're gonna be able to work with a lot of more people. We have this amazing opportunity to put up our work at Under St. Mark's, which is where the fringe was and Frigid, like they made it through the pandemic. They are able to hold onto a space and we're just so lucky to be involved with them. But yeah, the climate fables, by the end of this whole journey, it's gonna be a full can. And so, to be able to put up these four new plays, The Claps of the Hubbard Glacier, which is kind of based on Noah's Blood, Ogallala, which is sort of based on the Whisper Bos, and it's the immediate sequel to Debating Extinction. And then the Green Apple Play, which is like a kind of Brechtian take on, I would say Princess Mononoke, and then this other play called Coyote, which I'm in the middle of writing right now, but I know that it'll be able to go up. - Yeah, we're gonna be doing all that in the fall. We're gonna have auditions right after our run of Playhouse 46. So the journey continues and we'll basically just be growing. - That is incredible. Congratulations, that's amazing. Oh, we will be there with bells ringing. I can't wait. This is wonderful. Well, that leads to my final question for you all, which is if our listeners would like more information about the climate fables or about any of you, maybe they'd like to reach out to you. How can they do so? - You can find us on Instagram. We are at Torch Ensemble. We are also working on being on other platforms, and I believe the same handle is for TikTok, and we are Torch Ensemble. Maybe even the Torch Ensemble on Facebook. I am Penelope Dean. You can find me free easily. I've got a bunch of accounts. Hard to miss me. Please feel free to reach out. I'm always thinking and feeling and exploring and doing things, but that's Penelope DEEN. - If you wanna reach out to me, Kristen, personally, that's under, you can reach out through the Torch Ensemble Instagram or reach out to my own at the Kristen Hoffman. - Yeah, boy, Lewis, you can find him on Instagram. At least as prime. L-E-E-G-U-S-P-R-I-N-E. - Yeah, my Instagram is @padrigbond. P-A-D-R-A-I-G. Bond like James Bond. - Serious inquiries can be sent to Padric Henry at gmail.com. - Make sure to follow our accounts that you can stay up to date with everything that we've got going on and maybe some opportunities. - Yes. Well, wonderful. Well, Lewis, Kristen, Padric, Penelope, thank you all so, so much for coming back on. Thank you so much for sharing this amazing show. Thank you so much for sharing your amazing news about becoming artists and residents. Like, this is also wonderful. This could not be happening to more deserving or better people. So thank you all so much for your time today. - Thanks, Andrew. - Thank you. - You're so wonderful. - Thank you, Andrew. - My guests have been several amazing artists from Torch Ensemble Theater, including Lewis, Feliciano, Kristen Hoffman, Padric, Bond, and Penelope, Dean. They joined us to talk to us about Torch Ensemble's presentation of the climate fables playing July 13th and 14th at Playhouse 46. You can get your tickets and more information by visiting playhouse46.org. It should be none of that these shows are creators' picks, so you're not gonna wanna miss 'em. You've got two chances to catch 'em. Two days, head over to playhouse46.org, get your tickets. We also have some contact information for our guests, which we'll be posting on our episode description as well as on our social media posts. But run, don't walk, get your tickets before they are sold out and they are going to sell out. I promise. Again, the show is the climate fables playing July 13th and 14th. So until next time, I'm Andrew Cortez, reminding you to - Turn off your cell phones. - Unwrap your undies. - And keep talking about the theater. - It's 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 @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'm way prepared ♪ ♪ I swear I don't care anywhere ♪ ♪ I'll know you'll come, make me there ♪ [BLANK_AUDIO]