Stage Whisper
Whisper in the Wings Episode 613
(upbeat music) - Hello everyone and welcome into a fantastic new episode of Whisper in the Wings from Stage Whisper. What a great show we have to share with you today. We are really excited about this one, not only personally because I've got a sweet tooth for the 80s, but the style of the show is being done and is one that I have quickly grown accustomed to. I've really gotten into the style of theater and we have a full house joining us to talk about this great show. Today we have the director and artist director, Michael F. Toomey, the actor and producer Mia Alexandra, the actor, producer and PR rep, Fernando Zermino-Gerevito, the actor and producer Peter Lane and the actor and PR rep, John Michael Bowen. They are all here to talk to us about their new show, Mad, Mad, Mad. It's playing September 6th through the 15th at the Target Margin Theater in Brooklyn, New York. And you can get your tickets and more information by visiting thehumanistproject.org. The title alone, if you are a child of the 80s, should immediately perk your ears up. I mean, it sounds very similar to whether it's a song or a film from that period. But this is a really unique story. And again, the style is fantastic. I can't wait to learn more about it. So let us waste no more time. Let us welcome in our guests, everyone welcome into Whisper in the Wings from Stage Whisper. - Ooh, thank you very much for having us. - Hi. - Hi, thank you. I'm so happy you all are here. This is one of those moments I wish we were a video podcast 'cause everyone immediately like hands in the air raised the roof and I was like, audio description. Everyone is cutting loose. The party is lit. No, I'm so happy that you're all here and you're bringing us this great show, Mad, Mad, Mad. Michael, let me start with you first. You're the director and artistic director of this company. Can you tell us a little bit about what Mad, Mad, Mad is about? - Well, Mad, Mad, Mad, mutually assured destruction. And it's the nuclear policy that was prominent during the 80s and it's also still the policy for most countries today on how to best deal with nuclear armaments. And what Mad, Mad, Mad is about is in the 80s, there was a true incident where a Soviet soldier is credited with saving the entire world from nuclear annihilation. This soldier was in charge of an early warning system in the Soviet Union and he was on the late shift and his job was if there was anything of concern like a launch from the United States was to call the people that would decide whether to retaliate and he's on the late shift and suddenly the warning sirens go off and there's a launch. And not only is there one launch, but eventually it's basically the United States according to their computers have launched everything. And he decides to do nothing. And there's 20 minutes where they could do something they could respond in some way. And he waits those 20 minutes until they can confirm that it's actually a false alarm. And because of the circumstances during the early 80s, Reagan and the Soviet Union, the evil empire, that all that stuff is going on at this time, some scholars credit him for saving the entire world because the response would have been a full launch. Now, that's where the idea of the show starts because this is a comedy. This is a clown show and there's nine clowns on stage which for if you've ever seen clown shows or these days that's rare. Most clown shows that I experience or I see are either a double act with two people or a single act, most are single acts. And then if you're really lucky, you might encounter a group of four or five, but I've actually never seen a show with nine clowns in it. Somehow my hometown of Danvers, Massachusetts gets roped into the show and it's kind of like a love story to growing up in suburban America in the 1980s. But again, because of the type of work that the Humanist Project does, it's never, there's always a point to our comedy and there's always a point to what we do. Some person, a friend of mine, kind of called it "Gadfly Topics" where these kind of small entities are poking at the larger institutions around us. Yeah, I mean, who else can say something about the show in itself? - I mean, it's a wacky little adventure. I mean, from the get-go when Michael, well, we started at school, all of us were students at the American Academy and Michael said, let's do the show as part of the company. So when we started doing it, it was like, you want me to do a monologue in the original Scandinavian, that's the game? Okay, and it was just crazy how it started evolving into like suddenly we had a show. And like to all of it, just like how Michael described it is a show, like starting from games, just like having fun and we were like, is there gonna be a show? And it's like, what are these games? And suddenly we had a show. And it really happened like all of a sudden we had a show. Like, oh, there's characters, there's scenes, there's like a plot, there's like, oh, we did do it. So, and just like getting all of that madness, I mean, if anyone hears you talk about that, like the whole situation of Sadness Love, Petrov saving the world, it's like, oh, we almost, this never had happened. Or we hear so much about war and nuclear arms still like around. So it's very anxiety ring, but once you add the clowns, it's like, oh, we can't do anything, let's just have fun. In my head, that's like the best part of it. Like, oh, we really are doomed as a society. Oh, let's make the best of it. Like in my head, it's, and that's the way we can advance. You know, and that's like, I think the whole point of the show is like, what are you gonna do? - So, the show too, we just started with an idea that we created, the whole ensemble created the show together. And when we started, we just had some images and some ideas, and then this incident with Stan Slab, the Soviet soldier. And then it was through about six weeks that we created the rough draft of it. And it was through games and through playing with each other and through scripting and other various things that we created this script of Mad, Mad, Mad, created the characters, they're all based on the original developers of the show. And then we went out and did research, a ton of research on this time period. And part of our research was actually a lot of these folks going out and interviewing people that were growing up, both in the United States, but also in the Soviet Union at this time and getting their response to it. And one of the most fascinating things for me was a lot of the American, like it's these guys' parents or older uncles that were growing up during this time. I was also growing up during that time. I think it was a little younger than some of these parents. But the universal response that seemed to happen was this phrase of, you know, they talked about, yeah, we were aware that there was a lot of tension and the Cold War, but the phrase that kept coming up was, what are you gonna do? And they were just living their lives and like going to the mall and, you know, trying to hang out with each other and date and listen to music. And the dichotomy of that was really fascinating compared to like one of the interviews that we did with someone who grew up in the Soviet Union at that time. And the difference between what it was like for the Americans and then for the kids growing up in, you know, in that regime and the restrictions that were put on them at the time. - I love all of that. I am truly fascinated as a child of the '80s with all of that. So Mia, I wanna come up to you now. I'd love to know, you know, how did you all come upon this piece or settle on doing this piece? - Yeah, so as Fernando had mentioned earlier, we were all in school together and that's when the idea kind of came about. Michael had conceived this idea and we were cast in it. And I think what's most interesting is that like most of us have had like little to no clown experience at all. And it was just like Michael, I guess seeing the potential and believing in us and being like, this is, you know, I believe that you can create this. And I think that was huge for all of us. Like, because clown is, for me, the most terrifying thing I've ever done in my life. Like way scarier than any other type of theater I've done. And it really just came down to, you know, like all of us just allowing ourselves to be super honest and present in the space with each other. - Yeah, so I think it was just like this magical moment of all these people coming together and having ideas and allowing those ideas to come through. And I think Michael is really good at creating a space where it's really play forward and there's really just a lot of space for you to be who you are. I know I personally was going through a really hard time at the moment and in most of the first rehearsals like couldn't stop crying and I was like, what, how am I gonna play like this? And Michael was just like, you know, this is part of it. Like everyone just bringing themselves forward and everything they're going through. And I think that's why this play is so amazing. It encompasses so much inside of it and so many personalities and it, yeah, it feels like a space that really accepts everyone and everything and everything they're going through. So that to me feels the most special thing about this play, I think. - That is wonderful. I love that. Peter, let me jump to you. Another one of our wonderful actors. I'm curious to know as we roll into, you know, just under a month before the show goes up, what has it been like developing this work? - So we did the show that back at the American Academy, we were all cast by the faceless authorities of the school in this show. We were selected due to our virtues, our hidden clown virtues, which were so clearly seen by the authorities. No, I think we were all very appropriately chosen for this show and we, yeah, that's when we came up with the show at school. So this was all, you know, churning and making itself into a show within the academic environment. And then we performed it three times at the school and now that we're out of school, we loved it so much, we want to do it again. And it's our show, you know, we don't have to pay anybody. It's our show. So it's already ours. We don't have to ask somebody, please come, we do this because like we're doing it. So yeah, now we're doing it again. And now we are actually still, 'cause you use the term development, we are still developing it. That's what's nice about the show, is that it has this chorus quality. We can chop it up if we want to, we can, you know, mix it up, we can add and we can subtract. So there is still that element going on. And yeah, we're still rehearsing it and letting it breathe and expand and become what it needs to be, especially for this premiere outside of the academic environment. - There's definitely a workshop version of it. Part of one of the big things that we're shifting and changing is the kind of soundtrack to it. I wanted to, it was a very 80s inspired soundtrack, but I wanted to create, I wanted to take that inspiration and see if we can create our own music with it. And so we have a composer who is working to take the kind of inspirations of certain music, pop songs of the time and to create a version of it that has the same core at its heart. But is our own so that we're not, so that we're not just using, you know, really fantastic artists as a shortcut to that world but trying to create that other level as well. - That is fantastic. John, I want to ask you with this very powerful story, this great historical story and this unique way of telling it what exactly can audiences expect from Mad, Mad, Mad. - It's gonna sound cliche, but they can expect the unexpected to be completely honest. It's one of those shows where, no matter how many times I've explained it to people, like to try and get a sense of like, how to understand what will happen, I can never fully encompass what will happen or like what they will experience. And it's a little bit by design 'cause it's very much like an interactive, there's a lot of games, there's a lot of both structure and free flow, but generally it will make you, I remember Michael posed these three questions to us, for the rehearsal process. Does it make us laugh? Does it make us think? Does it teach us something about a human condition? And I believe this production will ask those questions to you and it's something that audiences will walk away with, especially the topic about the mutually assured destruction and nuclear policy. 'Cause we also, in between everything that we've just explained, there is a running through line of the personification of MAD and the nuclear policy. And he's present throughout most of the play. And he will directly ask you questions about nuclear mass, mutually assured destruction. So yeah, a piece that makes you think, a piece that makes you laugh, cry at experienced emotions and the unexpected, that's what I would say. I love that, that is a great, great, like Hulk, if you will. You know, I think that's fantastic. Fernando, I wanna kick off this next question with you and I'm curious to know, kind of building on John's answer, what is the message or thought you hope audiences take away from the show? - I think, I keep going back to the phrase, what are you gonna do? And instead of it being like apathetic, I'm like, what are you gonna do? I think it's more like, well, what are you gonna do? Like, yeah, like bad stuff will happen. But instead of saying like, what are you gonna do? That's what, that's the world we're living. It's like, yeah, I mean, that's the world we're living, but can I be cool with my friends for a bit? Like before worrying about all of this stuff. Like, can I listen to Prince or Madonna or Cindy Loper and be like, yeah, I like 1999 and little red Corvette, but I'm also thinking about the nuke that's like right there, you know? So I think if we can have people say like, yeah, a lot of bad stuff is happening, but let's get together and like say, what are you gonna do? Like, what can we do? And in times like, like in our research, I looked up a lot like like really complicated moments in history and who comes up first? Like I saw videos of when 9/11 hit and it's SNL, it's Letterman, it's Leno. Like all of these people came up and lifted the city. So I think like I'm not comparing Mad, Mad, Mad to like whatever happened in New York City back then. But if some, if two people go and see our show and get out and say like, yeah, that was weird and that was scary, but that had a lot of fun. And I'm still thinking about the nuke and I'm still thinking about impending doom. But at the same time, what am I gonna do? I'm gonna go spend time with my friends and family and have fun and laugh and put that aside for a bit. So I think that's the first thing, like comedy can uplift at the same time that it can make you cry and think. - Yes, I love that. Michael, as the director, I'd love to know what is the message or thought you hope that audiences take away. - Honestly, I don't know. I can never control what an audience is gonna walk away with. What I can do is set up a lot of questions. And 'cause there, I think, you know, I'm really good at like making funny things and acting and but coming up with a sane nuclear policy, that's like out of my brain pan. But, you know, but there are other people, there are a lot more intelligent people in that way out there that I think we need to pose questions. Like that's our job is to pose questions. And I think the questions that Mad, Mad, Mad really asks is this the best that we can do when it comes to this? And the question that Nuki, played by Fernando, who is, you know, a walking, talking nuclear missile. And he's a commercialized sponsor for mutually assured destruction. I think that the question asks and the kind of light that it shines on is the madness that, I mean, that even the policy itself is called Mad. And so that, I mean, I want people to go away and start having conversations and start talking about what is going on in the world. And I don't know what the answer is, but I want people to start talking with each other and actually paying attention. And at the same time, you know, having a great time. The thing about what I love about comedy when it's really great is that I think it allows artists to ask those questions in a way that people can actually take them in. And I find, and we've really discovered this with other kind of, you know, one of the ones that we talk about is, is it the day after this 1980s made for TV film that is terrifying. And I watched it when I was like eight years old, I still have visions of it sometimes. And that is one way of talking about and asking the questions. But I also find, I find it much more effective for me, like Dr. Strange Love and talking about these, the same subjects, but in a way that I, through laughter, I can actually process from a place of like, wow, that's a really messed up situation as opposed to like the terror. 'Cause I think sometimes when we terrify with our artwork, it can be motivating for some, but I think also for some, it's a weight. Does that make sense? You know, so I hope that we kind of prompt these questions that they go out, they talk to each other and they've been laughing so that they can actually take in what we have, you know, what's going on. - I love that idea. John, I wanna round this question out with you 'cause you've already told us what you hope audiences will experience. What do you hope the audiences will take away? - Definitely people who have been living in the '80s, hopefully there's a bit of nostalgia there that we're able to capture and like bring you back to your childhood. People who haven't been living in the '80s or grew up with it like myself to learn a bit more about like what the world was like in comparison to now. 'Cause during my research and like doing the rehearsals and just hearing from folks like Michael who've been through the '80s, it feels very different than my own childhood of like right now. So, and especially because I haven't grown up in America, I'm from Barbados originally. So I had no clue about either side of this, just learning a bit more about like world history and world events and how sort of like the politics of the time and maybe of now are really coming into play. So a lot of different things will pop up. - That is fantastic. Peter, I wanna kick my final question off for this first part with you. And I'm curious to know who are you hoping have access to Mad, Mad, Mad? - Oh my gosh. I mean, it would be great if whoever it is you can solve this problem sees the show 'cause we don't know how to do it. So yeah, I feel like, it's such a great question. I think that that's sort of at the core of like what we're asking is like, what are we gonna do? It's also the question is like, who is gonna do it, right? Is it gonna be a scientist who solves this problem? Is it a politician? Is it gonna be a clown? I mean, from our perspective of like, and as Michael was saying, like we're good at making funny stuff, but we're not in the business of figuring out nuclear physics or international relations, you know? So hopefully someone who is good at that, but also just people, you know, we need, as Michael was saying, it's about creating conversations. So just like people who will speak to each other and create momentum in terms of, I think conversation among people, you know, ends up becoming conversation in the larger political world, you know? So hopefully people who are interested enough that it will spark them to talk to each other. And hopefully it'll get to the point where it reaches someone that has the capacity to really, and maybe we all have the capacity, you know? The questions, it's just, it's something that there is no answer to right now. So really all we can do is start a conversation and ask questions. So anyone who, anyone who is willing to start thinking about it and talking about it with each other. - I love that answer, I love that answer. - Mia, bring us home on this. Who are you hoping have access to your show? - Wow, honestly, anyone. I think this show is so, is so attractive to so many different kinds of people. And I think it's a really, really special kind of theater that I really hope people, it kind of like stretches people's idea of theater. I think it's really unique in the way that it's, it's almost like watching an 80s movie, but also a cartoon and also, you know, clown and theater. And so I honestly think that like, anyone who would come to see this show, it would really challenge them in different ways, depending on their relationship to the 80s, to theater, to war, to clown, all of that. I think I personally, even before, had my own preconceptions about clown, and I didn't picture that it could be something like this. You know, in my head, clown was one very specific thing that in recent years had become kind of traditional in popular media. And I didn't think that it could also be, you know, a full out play as opposed to just clown acts. And so I just think that anyone who would come see this show would really, really be challenged and have a lot of fun. (upbeat music) - For the second part of our interviews, we love giving our listeners a chance to get to our guests a little bit better. Take your brains, if you will. And I want to jump to my favorite question to ask guests. And that, of course, is, what is your favorite theater memory? Yes, Fernando, kick us off with this. - I saw that one. I remember like the first time I saw someone on stage and I said, and it wasn't like, I want to do that. It was like, oh, I'm gonna do that. Like, I remember that I saw the producers, the musical in Mexico. And I remember seeing that and I was like, oh, oh, this is World War II. This is Hitler, but this is like really funny. Like, why? Why is it so funny? Like, why is everyone dancing? And why is Hitler up there dancing and doing a number called "Hyle" myself? Like, it just popped up so many questions in me. Like, why? Why are they doing this? Like, I'm gonna do that. Like, I want to do that. And I think that's like, I was 10. And I remember watching that and it was like, oh, yeah, that's not like a thing I want to do. Like seeing Fred Astaire or Gene Kelly as a kid. I was like, I want to do that. And I saw that and I was like, oh, that's what I'm gonna do. And I think that's like my first thing of like, my first, if anyone mentions like the theater memory, it's like, oh, the first time I realized that's what I was gonna do. - Oh, I love that. We love a great origin story. Thank you for sharing that. Yes, Mia, please. Yeah, I think one of my favorite ones and also one of my first ones, I was 15 and I went to see, I grew up in Israel, there's this play in Israel called "The Bride and the Butterfly Hunter." It's one of my favorite plays of all time. I hope one day to translate it and put it up in America. But the play essentially is about a runaway bride in a park who runs into an insurance agent who on his free time catches butterflies. But you end up finding out that she is running away from an abusive relationship, but her husband is a flutist, so he doesn't speak. He just plays the flute. And so it's all told through this really abstract lens of two kind of lonely people coming together and just being there for each other. And I remember seeing it and just being like blown away by what you can do with stories and how you can make people, all different kinds of people. I mean, my dad is an insurance agent. And like, I felt seen and he felt seen. And so many, like I really was just astounded by the power of theater to make people feel seen and feel heard. - What a fabulous memory. What a great show to be sharing. That sounds amazing. Thank you for sharing that. John, please tell us your favorite theater memory. - Yeah, I'm going way back for this one. I was 18, back home in Barbados. I was a part of Operation Triple Threat, shout out. And we were doing Into the Woods and I was milky white. At first, it was my first time dealing with a full puppetry 'cause that's a version we did. And there was something about me picking up that puppet for the first time and then going through each of the performances that not only resonated for myself but for like the hundreds of people that saw it. Years later, like I would be somewhere else on the street and they would be like, that's the cow, that's the cow. And I'm like, it's been two years. But that was a role that even though I had nothing but ensemble singing, I really felt seen and that I really put myself all into, if that made sense. - So yeah, milky white is my take outside of anything I've done with this group 'cause I love these people. - That is a super memory, I love that. Yes, oh, what a good memory. Michael, please, please tell us yours. - There's a show called Slava's No Show who's a famous Russian clown. And at the end of it, he creates a blizzard on stage and it kind of pours into the audience. And then as the clowns, and that's the end of the show and as the clowns are bowing, there's these giant balls that have been appearing through the show that they push out into the audience. And it creates this atmosphere where they're like playing, the audience is playing with these balls and it's a huge three tiered building. They're having snowball fights with the fake snow. And part of the show is the house managers are not allowed to kick anybody out of the house at this point in time. Everyone has to choose to leave. And so this keeps going on like the snowball fight, the balls going up in the air, this kind of party atmosphere. And I'm there for about 45 minutes and it's still going on after the show. And my friends, they insist I start leaving and I'm like, "Okay." And we leave and I see this probably five year olds and one of the clowns just playing with each other, this mirror game. And they're so present with each other. They're so in the moment and they're playing with each other. And then the doors of the theater clothes. And for me, that clown and that kid, I mean, that was maybe 20 years ago are still in my imagination still playing out there in the universe. - Wow, wow, that's beautiful. Thank you for sharing that. I love it. Peter, bring us home on this. What is your favorite theater memory? - I have a memory that is a fragment. It's from 20 years ago. It's very, it's dusty and vague at this point, but it was one of my first theater experiences. I saw a small show in London. I can't even remember the name of it. And I remember there was a girl playing an angsty teenager and she wasn't even saying or doing much and her friend asked her to like check something on her collar, like the tag on her shirt, like what size is it or something. And she was just leaning over and doing it. And that, she was so good at just being present that simple action was so stunning just because it had that quality of a lack of consciousness, of performing a lack of consciousness. And the same thing they always talk about don't perform with dogs and babies because they don't have that self-consciousness. And I remember seeing that and part of it was also the silence. Was there was nothing going on? It was just the presence itself was so strong. And that's something you can I think get in film and TV to a certain extent, but I had it felt presence in the present, in the moment, in a room like that. So that really, I think, started the ball rolling my mind about acting and like the kind of deep poetic quality you can find in it without it needing to be this like huge, you know, crying drama, nothing's anything wrong with that. But the power of that simplicity really affected me. That is also a beautiful memory. I love all of you. Those were fantastic memories. I really appreciate you sharing those. Thank you. As we wrap things up, I would love to know, do you or your company have any other projects or productions coming on the pipeline? We might be able to plug for you. Yes, John, tell us. Yeah. Yeah, so outside of Man, Man, Mad, coming in October, I will be in another production, 30 Legal Secrets by Sally Nova Productions in New York. So that will be happening. They will reach out and do their own thing. But I am not answering that one. So that's coming up in October. Amazing. Yes, Michael. Go ahead. Yeah. I just want to say there's like there in early developments, but the Humanist Project has two kind of ideas in the cooker. One is a one person show about health care called Nobody Cares. And it's about the Grim Reaper gets into an accident while he's on the job. And because he's a gig employee, he has no health insurance. So he has to go through the whole kind of going to the hospital, how you pay your bills and kind of the adventure or the kind of, you know, the seven levels of what it means to have health care or not in the United States. That's one. And then the other one in its early kind of makeup is. So Danvers, which is my hometown, which this, all this, this show, Mad, Mad, Mad happens in is the original place where the Salem, which craze happened. And the crucible is all happens in that area. And so the kind of next big project I have in mind is a, a comic version of the crucible. Using the characters from Mad, Mad, Mad. That sounds incredible. Well, that leads to my final question, which is, if our listeners would like more information about Mad, Mad, Mad, or about any of you, perhaps he'd like to reach out to you. How can they do so? So Michael, why don't you kick this off with that? Well, I mean, they can find information on Instagram at both the official Mad, Mad, Mad. I think it's at Mad, Mad, Mad, official. And then there's also the humanist projects, both our websites and on Instagram. They can also follow me at Michael F to me. And all that information about where to get tickets, what we're doing next. The, you know, and all, all that is available there. Also, soon we're going to have a Tik Tok, the humanist project on Tik Tok. So a lot of things are going to come up there. But yeah, Mad, Mad, Mad, official on Instagram. And then we have the humanist project.org and we have all the information there. And I'll just throw in mine at a ZG, 1996, just because. And that's me. That's all for me. And for me, I mean, the Mad, Mad, Mad, official has all of our tags on it. For videos that are watching, so you can go to that one to catch all of us. But I guess I can throw my hat in the ring to JHN on the score and like KUL, B-O-W-E-N is my Instagram handle. And my website is JM-B-O-W-E-N.com. Mia, Peter, anything for you too? Yeah, you can check out my website. It's mialexandra.com and it has everything there. My social media as well as my backstage profile and everything. Yes. And for me, I got one of those new fangled email accounts. So you can check that out at Peter Lane LA and like Nancy E.W.S. that's S like Sam@gmail.com. Well, Michael, Mia, Fernando, Peter and John, thank you all so much for taking the time to speak with me today and for sharing all your wisdom about the show and about your memories. It's been so wonderful. I am so excited about the show. I'm going to have to get on a train to Brooklyn and check this out because this sounds amazing. Congrats to all of you. And thank you for your time today. Thank you. Thank you. Thank you for having us. Yes. My guests today have been several of the artists that are putting on a wonderful new work, Mad, Mad, Mad, September 6th through the 15th at the target margin theater in Brooklyn, New York. You can get your tickets and more information by visiting thehumanisproject.org. We also have some contact information for our guests, which will be posted in our episode description as well as on our social media posts. But hurry and get your tickets for this limited run. You're not going to want to miss it. Yes, it's, it's one of those nostalgia plays, but it rings even more true today. It's mad, mad, mad playing September 6th through the 15th. And we also want to remind our American listeners that election day is November 5th. Make sure you are registered to vote. You have a plan to vote and you do your democratic duty. You can find out how and where you can register 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. Wrap your candies. And keep talking about the theater. It is stage. Quisper. Thank you. 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.com. 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 stagewhisper 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 care anywhere near your town. Make me down.