From Kat: If you’ve ever talked to anyone in the voice over industry, chances are you’ve heard the name Andy Roth. Casting Director, Voice Director, and Producer are his official titles, but those in the industry know him better for his kindness, his talent, and his brilliance on all things VO. If you’ve auditioned for Andy, taken his class, or seen his work- it’s obvious he was meant to do this.

Like many of us starting out, however, Andy didn’t know VO was an industry you could make an entire career in. But he’s done that. And he’s done it all while bringing joy and innate humanness to his tremendous success. 

With the ever-expanding technology changing our world’s landscape, the voice over world has quickly asserted itself as the most innovative and adaptable industry to work in. Whether you’re an actor interested in exploring the world of VO or a producer/creator looking for a new medium to work in, Andy reminds us of how to chase our goals with our authentic self, putting relationships first, and what to do “when best laid plans go awry.” (sort of…)

I can’t help but give my deepest and purest admiration to who Andy is, the love he puts into his job, and the way he’s able to uplift those around him. He’s always and forever #goals.  And he’s got a hot take on dogs that can’t be argued with...

Business owner. Producer. Casting Director. Coach. Andy Roth, ladies and gents! Andy, we’re thrilled and honored you’re taking the time to chat with us. We’ll get into the business facts, would you introduce yourself to our readers with some “human facts”?

Thank you!!  It's awesome to be a part “The Obvious Path.” 

Hi all, I’m Andy Roth.  I’m a Casting Director, Voice Director and Producer.  I’m also an avid whisk(e)y collector, competent plumber and I think dogs are the best things ever.  

You started as an assistant to a voice over agent. Was VO always the industry you wanted to be in? What made voice over casting a better career choice for you?

Like most people starting out, I didn’t know enough about the voice over world to know that it was even a part of the business that someone could focus on.  They didn’t cover enough of it in school to really form an opinion about it, much less choose it as a career.  I had no idea that it was actually a whole self-contained and incredibly lucrative industry; or how expansive the VO landscape is and how quickly it is to adapt to this ever-evolving biz. I knew about cartoons of course and a little bit about commercials, but until you really jump in it’s hard to appreciate how deep the water is.  It’s a sea of animation, video games, commercials, e-learning, industrials, narrations, dubbing, live announcing, promos, audiobooks and more.  And it’s becoming more vast all the time.  Social media, the web, VR and Augmented Reality have expanded the VO world so much so quickly.  And with Hologram technology around the corner, it shows no sign of slowing down.  VO grows its roots into almost every new tech breakthrough.  SIRI is the perfect example … I mean, who saw that coming?  

But I actually think I fell in love with the VO people before I fell in love with the work.  The work is fun and often exciting, but it’s fleeting.  Most jobs come and go fairly quickly (from a casting standpoint).  The relationships that are born from it however tend to be much longer lasting.  VO people are the friendliest in the business.  Of course, I’m totally biased when I say that, but I don’t think you’ll find a lot of people that disagree with me.  There’s more comradery than competition.  Maybe it’s because opportunities for performers aren’t as limited by genetics or age.  Maybe because everything tends to happen faster and with less muss and fuss.  There are no costume changes, no makeup, no early morning or late night shoots and the pay is often great.  Maybe it just attracts a certain kind of person.  Whatever the reason, I love this about the VO business. … Plus, I’m a total geek and it gives me more electronic toys to play with ☺

… So, short story long I guess; no, it wasn’t always where I wanted to be.  Learning about it was a gift that I cherish though.

You have a reputation of being the kindest Casting Director in the business. What’s your tip for bringing your authentic human self into the audition room?

Thanks!  I’d love to think that’s true, but I don’t really know.  I think most of my colleagues would fit the “kindest CD” bill as much as, or more than me.  But I’m happy to take a compliment whenever it comes.  

I guess the best pointer that I have about bringing your authentic self is to cut yourself a break.  It’s not your job to “bring words to life,” it’s to bring your life to the words.  And your unique self lives in your instincts.  A script is an opportunity more than a requirement.  It’s a way of letting us know who you are as a person in a specific context.  That doesn’t come with studying yourself as you’re performing and gauging whether or not you’re adhering to every nuance and moment that you did somewhere else.  It comes with trusting that you did the work and that every organic change will be built on the foundation that you’ve already laid down.

Robert Burns wrote, “The best laid plans of mice and men often go awry.”  Sort of … he actually wrote “The best laid schemes o’ Mice an’ Men Gang aft agley” which makes pretty much no sense at all in 21st Century USA so I’m paraphrasing (sorry Bob) :-/ … Anyway, he’s still right.  But that’s not a bad thing.  Your audition will pretty much always go differently than you thought.  It’ll feel different than the one that was in your head, or that you worked on at home.  It may matter to you, but it won’t to us.  Whatever happens in the actual audition space will always be better than what you wish was happening (even if it doesn’t feel that way).  Accepting that things will almost always be different in the room, and that you can roll with it, is an artistically powerful place to be.  You don’t need to “keep it new,” you just need to let it be what it’s going to be.  Your brain is a lightning fast, improvisational adaptation machine and it will make instantaneous decisions to accommodate your new environment in the most appropriate way.  You may hear that echoing voice of regret whispering “that wasn’t what I wanted to do!  It was better the other way!”  But that’s okay.  First of all, that’s almost never true.  What you’re doing in front of us is the product of the moment that we’re sharing.  It’s a different moment with different needs.  Your brain will know what those needs are almost always and the direction you get from the casting director or director will take you the rest of the way.  Secondly, we don’t know what you did somewhere else so we’ll never know what you “did better before.”  And third, for all you know, we may not have even liked the original!   Remember, you’ve done the work.  Everything you do in the room will be built on that work.  It won’t always lead to a job, but it does let us know who you are and in this business it’s not who you know, it’s who knows you.

There’s never a guarantee that you’ll get the job.  But any audition that gets you more auditions is a good one.

VO was built for pandemics, which leaves even more actors wanting to get into the business. Do you have any advice to theatrical and tv/film actors looking to join the VO world?

Take a class.  Even if you think you don’t need it.  Classes come with connections, relationships, business insights, practice and a glimpse into the thinking of someone who could be offering you an opportunity.  

And you’ll need a decent home studio.  It doesn’t need to be super-expensive, but it does need to sound great.  Most jobs are recording from home these days so you’re not just auditioning your voice or your talent, you’re also auditioning your studio.

What’s the change in our business you hope to see coming out of this time of a racial reckoning and a global pandemic?

The change is already happening.  Creatives are already far more aware and sensitive to people’s individual-ness.  The creative comfort zone is growing by leaps and bounds, and that combined with a wealth of new outlets for content is giving rise to new voices and programming that would have had a harder time finding an audience a few years ago.  It seems like content is now focused on the world rather than the world having to focus on a limited amount of content.  Free is the new safe and acceptance is the new requirement.  I’d love to see this continue, and I think it will.

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

I love the Mountain analogy for so many reasons.  Mountains are always changing, literally.  Weather, earthquakes, rockslides, erosion, gravity, tourism and even time are constantly altering the landscape.  Everything is always moving, and everything is always changing.  It’s not the mountain, but it’s the ability to climb from ledge to ledge and dodge the falling rocks that gets someone to the top, and every mountain climbed makes the next one easier.  

My mountain has definitely changed in the years that I’ve been in the business.  There are new avenues for VO that didn’t exist before and that comes with new pay rates, limitations, requirements, talent specs etc.  Technology has sped up delivery time and made auditions sound and look better.  The job is to adapt to the environment while still delivering what my client wants.  I love that about my job.  If it was always the same mountain, I think climbing it would get boring.

As far a climb being on pause; sure, the pandemic has changed a lot of things.  I hit a quiet period for a bit.  It’s not the first time though and it won’t be the last.  No climb is non-stop or straight up.  Mountains have camps along the way.  Sometimes the stops are our choice so we can recharge and heal.  Sometimes they’re dictated by nature or too many other climbers on the mountain at the time.  Stopping and being patient is an essential part of any climb.  Use the time to plan your route, maybe you’ll find a better one or meet someone who knows the mountain better and can help you.  Maybe you’ll just find out that you’re on the right path and the break just gave you a chance to reconfirm that your choices were right.  Or maybe you’ll find out that doing something else in the climbing business is a better fit for you, and you’ll return to base camp more informed about what you want to do next.

At least that’s how I see things and it’s gotten me this far.  If I run into a problem, I’ll email you an amendment!

RAPID FIRE:

Favorite Quaran-TV: The Expanse, Peaky Blinders, Love, America Gods

Quaran-reads: Anything by Malcolm Gladwell

Exercise routine (if you are into that): Mountain climbing! … just kidding

Favorite food: Mexican Lasagna (vegetarian version) with black beans instead of refried … seriously, it’s awesome!

Thing you have missed most since March: Being able to look at someone who isn’t wearing a mask, and not think that they’re a total selfish ass.

Favorite hobby outside the biz: Studying and collecting rare and craft spirits, mostly whiskies.

Gin or Whiskey?:  Love them both.  Rum isn’t bad either.

Quick advice to actors auditioning for you: Be yourself, say the words, make the adjustments your asked for as you understand them without fear.  And don’t sweat it.  There’s no punishment for a read that’s not exactly what I want, there’s only direction. 

Favorite part of the job: The in person human connection.  I miss that.

Religious, Spiritual, or Nah: Something created dogs.  I believe in that.

Social Media Feelings: Social media is a useful tool that can be deceptively fun.

Advice to your younger self: Keep doing what you’re doing.  Keep trusting yourself.  Take the most emotionally rewarding path as often as you can and the most financially beneficial path as often as you have to.  The two will meet eventually.

Anything you’d like to promote?:  The documentary that I produced with a bunch of amazing people including Joaquin Phoenix, Jorja Fox, Mikko Alanne, Case Suchan, “The Animal People” documentary on Netflix, Amazon & iTunes

Picture 2: Andy at the screening of The Animal People, of which he is a Producer.

Picture 4: Andy and his dogs, Taco and Tequila

From Kat: Leah Shapiro couldn’t be a more perfect start to introducing more casting folks in 2021. Leah always stands out in my mind as one of the kindest people to communicate with. Some parts of our job, like rescheduling appointments or having trouble uploading tapes, can feel monotonous, frustrating, or impersonal. Leah seemingly goes out of her way to do her job joyfully, beautifully, and personally. Communicating with her has always made my day a little bit brighter and a whole lot easier.

So it’s no surprise that her feature is thought provoking, wise, and joyful. Leah walks us through her journey into casting and the ideas of how to make our industry more accessible, what it’s like to go from casting theatre to watching your first TV project on a global streaming service, and the mantra that reminds her to not get bogged down in the unknowns of the future.

If you’re having trouble finding the good people in our industry, Leah is the perfect reminder that they’re out there. They’re out there doing good work and rooting for you.

Leah! One of my favorite names to pop up in my inbox. Would you introduce yourself to our readers with some “human facts”?

Hello readers! I’m Leah Shapiro (first name pronounced ‘lay-uh’). I was born and raised in Baltimore, MD. I was a bit of a shy and anxious child, so my parents put me in theatre classes to help get me out of my shell and let’s just say the rest is history! I’m currently the Casting Assistant on Inventing Anna, a new Shonda Rhimes’ television miniseries for Netflix at Estrin/Bergstein Casting in NYC. 

You double majored in Theatre/Human Development Connecticut College. Did you always know you wanted to get into casting? Were there certain skills you possessed that lent themselves to the casting world?

I was one of those people that truly had no idea what I wanted to do until senior year of college. I majored in Human Development because I’ve always loved people and interacting with them and also, sadly, felt I needed a more “practical” major besides Theatre. I majored in Theatre because I knew it was likely my last chance to perform unless I wanted to make it my career and I knew I didn’t. I’ve loved performing my whole life and while it always brought me great joy, I never considered pursuing it as a career. I respect actors the most, especially now as I get to witness daily the hard work and perseverance acting requires. Yet, even when entering college, I knew the hustle needed to pursue an acting career would take away the joy of performing for me.

Still, I loved the world of theater and I loved the people and community it provided. I desperately wanted to find a way to stay in this community in my professional life and so senior year I started brainstorming what that could look like – a career in the arts that didn’t require performing. 

I actually can pinpoint the moment that I had the ‘aha’ moment about casting. During my senior year at Conn, I was sitting in the library with a friend and we were discussing different ideas, and she said, “what about casting?” In that moment something just shifted. I was like, “hmm, that’s a really interesting idea;” as I thought back to the different creative processes I’d been involved in during college, I realized I had always loved facilitating the audition process. Ultimately, combining my acting experience with my degree in Human Development (which is essentially understanding why people are the way they are) felt like the perfect way to realize my passions. 

You attended the Tepper Semester, a program through Syracuse University, where students spend their spring semester of the senior year working and training in NYC. How did this program help your launch into the professional world? Any other advice would you give to someone looking to start a career in casting? 

I firmly believe I wouldn’t have the career I have today without the Tepper Semester. I worked at my sleepaway camp every summer of college and didn’t do any internships, much to many people’s shock and dare I even say, disapproval. I have zero regrets about that choice. Yet, I did graduate without that crucial ‘foot in the door’ that most people accomplish through internships. Through Tepper, I was able to be a student again for a semester, and I was able to apply and get an internship at Telsey + Company. Ultimately, I needed an introduction to this industry and world and the Tepper Semester provided that for me. I made great connections and learned so much from the internship, the classes and professors, and being able to see two shows a week. The program seamlessly launched my career. In fact, I got hired for my first assistant position a month before the program ended by Stephanie Klapper, who also happened to be one of the Casting Directors we met through our coursework. I’m so thankful to Stephanie for giving me my start in this career; I learned so much in that office and it was the best first job I could have ever asked for. 

I also do not want to miss the opportunity to recognize the immense privilege I have. Being able to afford and complete an additional semester of school through the Tepper Semester to help me further my casting career aspirations was a privilege. While I believe it was 100% worthwhile, and it truly did pay off for me, in that I’ve been employed (pandemic hiatus aside) ever since I finished the program, I realize this route is not possible for many. My experience highlights the need to make the casting profession and frankly, the entire entertainment industry, more accessible.

You’ve worked at some wonderful casting offices including Telsey, Stephanie Klapper, Shayna Markowitz and have now landed at Estrin/Bergstein. What has been the most rewarding project to work on and why?

This is such a hard question for me as I really do value everything I’ve worked on. I believe every new project has taught me something new that I can then take to my next project. But…if I had to pick just one, it probably would be “Dash & Lily” because it was my first exposure to the world of TV/film casting. Up until then, I’d solely been working in the theatre world, and while I learnt so much in my first year and a half as a Casting Assistant for theatre, that’s always been a familiar universe for me. 

Getting hired on “Dash & Lily” threw me into an entirely different world, with a new schedule, pace and lingo. The Casting Director, Shayna Markowitz, and Associate, Betsy Fippinger were so wonderful to me. They gave me the space to learn and grow, while also pushing me to be better and learn every day on the job. In the end, through working on “Dash & Lily,” I discovered I really enjoyed casting for television and wanted to continue pursuing those types of jobs and projects. I’m so grateful to Shayna for taking a chance on me with no previous television casting experience, as I believe that job changed the trajectory of my career. Also, “Dash & Lily” is the first television show I’ve worked on to come out on a global streaming service, so that in itself was a very exciting, rewarding, and full-circle experience. 

What’s the change in our business you hope to see coming out of this time of a racial reckoning and a global pandemic?

I touched on this a bit above when discussing my own entrance into this industry, but I really hope to see more accessibility and representation in all aspects of the business. Naturally, those go hand-in-hand. We will see more representation when there is more accessibility and in order to see these changes, we need to act. It’s important to not just wait for the changes to happen but to hold ourselves accountable and be a part of those changes. In our office, we started having conversations this summer about how to make the possibility of a career in casting more visible to BIPOC youth. Further, we discussed creating a path to working in casting offices for high school and college students, and even young adults for whom it’s not feasible to take unpaid internships and/or opportunities. We’ve explored and discussed the possibility of free informational interviews, free mentorship, and paid training programs. I’m looking forward to seeing how these types of ideas and programs will be implemented across our industry. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

I tend to get extremely overwhelmed by the big picture and the future. Questions like: “where do you see yourself in 5 or 10 years?” have always really stressed me out. I heard the saying recently, ‘trust the timeline of your life’ and it really spoke to me. It’s helped me focus more on short term goals, which ultimately, I know will be the stepping stones to my more long-term goals, and prevented me from getting too bogged down by the unknowns of the distant future. 

In my opinion, this pandemic has been a perfect example of why we shouldn’t spend too much time focusing on the future – I don’t think any of us saw this pandemic coming and it shows we really cannot predict what’s going to happen in life whether it be on the personal or global level. That’s not to say we shouldn’t have goals and aspirations; we absolutely should as that’s what keeps so many of us driven. But if we’re talking in terms of a mountain metaphor, I now try to have goals of one summit at a time as opposed to looking towards the very top of the mountain. For me, this shift in mindset is leaving me more space and openness for pauses, changes, and shifts without ever feeling like I’ve failed to reach the ultimate goal. 

RAPID FIRE:

Favorite Quaran-TV: “Normal People” & “The Great” 

Quaran-reads: The Vanishing Half by Brit Bennett, Hidden Valley Road by Robert Kolker, and The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

Favorite Dash and Lily scene?: Ugh so hard to choose! I actually have several, but for the sake of conciseness, I’m actually obsessed with the montage in the last episode to Gracie Abrams’ ‘Stay’

Exercise routine (if you are into that): My quarantine fitness routine has been entirely Jabs by Gina!!! (www.jabsbygina.com). Obsessed. 

Favorite food: Ice Cream

Advice to someone walking into your audition room or, for a while, self-taping for you?: We want actors to succeed and do well. Actors succeeding helps us accomplish our job!! Also, to know that a “good” audition is so much more than booking the job. A good audition leads to us remembering actors and calling them back in. 

Thing you have missed most since March?: Live theater and eating out

Religious, Spiritual, or Nah: Yes, I would say 100% culturally Jewish! I’m not extremely observant in terms of the religious aspects, but I do connect to a lot of those aspects and celebrate all the holidays.   

Favorite spot in, your hometown, Baltimore: Harbor East in downtown Baltimore

I feel most at peace when _________: I’m in Maine on a lake in the summer. 

Social Media Feelings: Can’t live with it, can’t live without it! My sister actually said to me recently, “Comparison is the thief of joy.” That’s helped shift my relationship towards social media recently. I now strive to think of my social media as a place to hold my memories and experiences, for me, and no one else. It’s mostly been working!!

Casting for theatre or casting for TV?: I like both for different reasons but I think TV and (hopefully some film) for the foreseeable future ☺ 

Social Media Handles: IG @leahameliashapiro & Twitter @leahashapiro

Anything you’d like to promote?: It’s not for me, but my younger sister started a podcast during Quarantine and it’s really good. It’s called Listening for Love. In her words, it’s “A podcast where I set up my friends on virtual blind dates and we follow along as they listen - cameras off - for love.”

Photos:

#3: Leah and family

#4: Leah and sisters

From Kat: The most wonderful thing about being the new agent at DGRW is inheriting a roster of talented, kind, and enormously inspiring actors. Marcus Anderson Jr. is one of these new people in my life that keeps me smiling from ear to ear. 

Marcus was one of the first names I learned at DGRW, so it seemed appropriate he should be the first of my new friends to be featured on The Obvious Path. His recurring role as Lil’ Guap on Power Book II: Ghost was the first we had back on set as television shows braved the pandemic. Before working his deal, I watched his performance from last season. Then, a recurring role on Lucifer and his series regular in the ABC pilot, Presence. And down the rabbit hole I went. I was sold. Marcus is out-of-this-world good. And that’s just his acting. Every interaction I have with Marcus lifts my day. You won’t find a more joyful, grounded, or kind person.

And, like most of our features, throughout his huge success- it hasn’t always been a straight line. He was raised as a nomadic military dependent, studied theatre while walking on to (or, I should stay ‘sprinting’ on to) the track and field team in college, and building his career on both coasts. His lessons range from building a full life outside of the business, using the camera as a vessel, and all of the things that keep him motivated. There isn’t much we couldn’t learn from Marcus, so we’ll let him take it from here.

Marcus Anderson Jr. Kind. Incredibly talented. A fan of Texas, but not from Texas. The first ever DGRW client to be on The Obvious Path!! Can you tell I’m excited?!  Marcus, would you introduce yourself to our readers with some “human facts”?

I’m honored to be first from the DGRW roster to be on T.O.P! I wish this blog existed when I first started out, it’s really insightful. Love what you and Peter have going here. Alright—I’m an actor from Sunderland, MD and I pursued my dream of acting in film and television shortly after graduating college. 

You received your Bachelor's of Arts in Multidisciplinary Studies from the University of Oklahoma and moved to LA to pursue acting. What made you get into the industry? Have you found any difference between being a New York actor and an LA actor?

I’ve always wanted to act since I was a kid, around 10 years old. Growing up during the 90’s was dope.  It was a great time for all these great shows, music, and just pop culture in general.  I remember seeing B-roll footage of Even Stevens-- or something on the Disney Channel-- and I saw how movies were made for the first time.  I thought it was the dopest shit I’ve ever seen.  

I attended this open call/scouting event when I was in the sixth grade after begging my dad and that was my first time getting up on stage and delivering a performance.  I really sucked though.  It was cool because I was able to get my first taste of the business.  I ended up up getting a callback from this talent manager, but because we moved around a lot from being in the military, I wasn’t able to follow through with it.  In high school, I played sports and it was the same situation in college.  It was tough being a student-athlete and a theatre major at the same time because both extracurriculars had conflicting schedules.  So I knew that my time to give acting a real shot would be after college.    

You've had an incredible career thus far including a series reg for an ABC pilot called Presence, numerous guest stars, and currently recurring on Power Book II: Ghost. What’s your favorite part about acting on camera? Can you talk to us about shooting during a pandemic? 

My favorite part about acting on camera is being a vessel.  Time seems stands still when you’re shooting a scene.  The atmosphere in the room changes.  Everyone’s locked in focused, ready to go and at the top of their game.  It’s a blessing every time I get to be on set.  

Being out of state in Maryland was definitely tough logistically, having to self quarantine two weeks before my shoot dates.  Other than that, it wasn’t too bad at all.  When we were shooting GHOST we had to get tested at least twice a day on set.  The whole production is trying to run as efficiently as possible so I knew that I had to be on my A-game.  Having to put on your face mask immediately after each take definitely sucked, but it just felt like another day on set. 

Looking back when you first entered the business, how would you have defined success? Has that definition changed at all since?

A great question.  It’s crazy because success is relative and I had a very superficial idea of success when I first started out.  I admit that much of it was my young naivete.  I thought success was all about finally arriving to your destination.  A Will Smith, marquee name career—boom.  That’s how I used to define success.  Now I define success based on this mission to become the best version of myself—not just in acting, but in all aspects of life.  When I’m feeling good spiritually, mentally, and physically I position myself to be in perfect alignment so that when opportunities present themselves, and I’m prepared for them, I set myself up for success. 

The Great Kendrick Lamar once said, “You know careers take off, just gotta be patient.”  One of my favorite albums, by the way.  If you know, you know.  Learning that careers are built over was huge for me.  I just focus on the doing the best work I can and being patient.  Success will come and it’s always on time.

If you could give a piece of advice to students graduating in hopes of a career in acting, what would that be?

Live a full life.  Travel.  Date.  Discover other passions because it will keep you well rounded and not desperate.  If you think you need therapy, go for it.  Be constantly prepared to perform under duress.  Auditions come in unannounced so just be ready to rise to the occasion when they do. If you’re not a good saver, start now because this business is riddled with rainy days.  That’s my two cents and some change. 

What’s the change in our business you hope to see coming out of this time of a racial reckoning and a global pandemic?

I could say a lot here but I’ll try to keep this short.  I’m really looking forward to watching all the dystopian and utopian content that will be hitting the air waves.  I predict a wave of content about artificial intelligence.  

I want to see more Black heroical figures.  I also want to see content that explores aspects of Black history that haven’t been covered before.  I think this country has long way to go as far as true racial reconciliation, so studying our past I think would be pretty cool to explore. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

My mountain hasn’t changed, but I’ve had to adjust my route.  If I every find myself in a lull or “on pause” I recalibrate and focus on what I can control and do my best from there.  I used to worry about things I can’t control and that would just drive me crazy.  I’m also borderline psycho-competitive and I think that plays a big part of my ambition.  A lot of my motivation comes from my family, who support me constantly.  My mom, dad and brother are my rocks.  My faith is also my rock, I’m big believer in God.  Much love to God.  Success motivates me period.  I’m constantly trying to level up and secure the bag.

RAPID FIRE:

Favorite Quaran-TV: YouTube algorithm binge

Quaran-reads: Backstage.com articles.

Exercise routine (if you are into that):  I lift weights at least 4 times a week.  I go out for a run around the track at least once a week too.  I foam roll then stretch at night before my shower.

Favorite food: Carne asada lunch special at any Mexican spot.  Mmm

Favorite character you’ve portrayed: Lil’ Guap

First memory performing:  Second grade talent show. Guitar solo.  Terrifying but I killed it.

Thing you have missed most since March?:  Being able to socialize normally and movie theaters.  

Most meaningful “no” you’ve ever received: Lol I can’t even choose one!!  

Religious, Spiritual, or Nah:  HABBAKKUK 2:3

I feel most at peace when _________: on Friday evenings. Beer in hand.  Steak on the grill.  UFC

Social Media Feelings: Love/hate relationship. Damnit I love it

Social Media Handles: @marcusanderson 

Anything you’d like to promote?: Catch me on Power Book II: Ghost every Sunday at 9pm/EST on Starz get the app!!

From Peter: It’s Positive Creativity Podcast/The Obvious Path swap week!

Mid-pandemic, I found myself in a class taught by Elyssa Nicole Trust. Besides her *very* cool name, I found myself enamored with the multi-hyphenate artistic ability she brought with her to every class. One of those hyphens: Podcaster. And, thus, our obsession with Positive Creativity Podcast began.

Elyssa and her co-host, Lauren Schaffel, have become a part of our weekly inspiration ritual. As hosts, Lauren and Elyssa have a remarkable knack for having very human conversations with very incredible people. Their mission, to speak with creatives about what they're working on, what's inspiring them, and how they stay positive in the entertainment industry, has been an oasis for the desert that was 2020. Not to mention, it aligns perfectly with everything The Obvious Path believes.

It was a no-brainer to have them on the blog, but once we began prepping a joint feature, we just couldn’t do it. Lauren and Elyssa, though they work together seamlessly, come from opposite coasts and opposite starts. The lessons they’ve learned, the exciting alleyways they’ve found, and the dreams they have were inspiring to document as their own feature. We proudly present the two pieces of one of our favorite joint efforts: Elyssa Nicole Trust, Lauren Schaffel, and Positive Creativity Podcast.

And, if you want to understand why we write our blog, be sure to “Like, um, you know” check out Kat and I’s episode of Positive Creativity Podcast released today!

TV/film actor, VO artist, podcast host… The list could go on forever. Lauren, we’ll get into the business facts, would you introduce yourself to our readers with some “human facts”?

Hi Kat and Peter! I’m so thrilled to be here, thank you!

Hi everyone!  I’m an artist who loves to bring joy to others, particularly making people laugh.  I’m also an Educator/Costumed Interpreter, a wife, a dog-mom, a yogi, and Celiac, so by default a gluten free cook.

You began your career working on high-level Los Angeles sitcoms and animated series in your teen years. What’s the takeaway from enormous success at the onset of your career?

Wow, what a question. Thank you for asking this, this truly made me pause and think.  I’ve been performing since I was five years old, and I’ve been fortunate to work with several amazing producers, directors and performers.   As a kid working in a mostly adult world,  I learned the importance of professionalism in this business (For example, being punctual, memorizing lines, taking direction and adjustments swiftly and with grace).  These are skills I continue to bring to all of my projects, and I’ll admit that I have a certain amount of ease and confidence built up after doing this for over twenty years.  I’m so grateful to all of the professionals who have positively shaped the artist I am today, and to my parents and mentors who wholeheartedly believed in me and supported my career.

Although I am very grateful to have found success early on in my career, I’ve also learned that there is more to life than booking a prime time TV show or animation gig.  Booking work is an amazing accomplishment, but it’s easy to feel empty and unsupported without developing a life outside of the business.  Since living in NYC, I’ve found a community of friends that includes both artists and non-artists, and they feel like family.   Without the support of this core group, I don’t think I could continue my path as a performer.  Many of these friendships are from school, acting programs, my work at the Tenement Museum, and people I met through auditions and jobs.  Funny story, I met Elyssa at auditions for her play BT: Master of Return at Planet Connections.  We connected, and ever since we’ve been good friends and now co-host a podcast! 

So long story short, “enormous success” at any point in a career is wonderful, but without the support of a community you love and trust, it is not sustainable.  I encourage everyone to find those people who are your biggest fans, but also challenge you to keep growing.  (Shout out to you, Elyssa!) Burn out, struggle, frustrations in this business are real, and to quote veteran performer André De Shields, we need to surround ourselves with the people who light up when we walk into the room (or zoom these days :).

You studied Comparative Literature and Theatre at Columbia University. After growing up and working in Los Angeles, what brought you to NYC? What about NYC keeps you here?

Wow- another amazing and thought provoking question!  So I worked steadily as an actor in LA throughout middle school and high school.  Summer break of my junior year, I visited New York for the first time and took a Theatre course at Columbia University. I was immediately hooked- I loved everything about the program, the campus, and NY!  I was dazzled by the city’s pulse and the amount of accessible art through museums, theater, music, and restaurants.  By the end of the summer I knew I wanted to apply early to Columbia, a school where I could receive a well-rounded, liberal arts education and pursue my artistic training. 

And ahhh….the big question...NY vs. LA...This is a question to be honest I still think about a lot.  After college I faced this question in a big way: would I stay in NYC or move back to LA to pursue my career?  My family was still in LA, as well as several casting directors, directors, and producers I’d known growing up.  I decided to move back to LA for pilot season in 2010, but as soon as I was back, I knew something wasn’t right.  I struggled living at home with my parents after 4 years of independence, and driving to auditions in LA traffic stressed me out.  All of my close friends and mentors were across the country in a different time zone. So….flash forward I moved back to NY and felt like I’d come home.  I started collaborating on theater projects, booked film jobs, and took classes with friends. I met my husband Eric who has been my biggest supporter and source of inspiration.  I’ve watched him advance his career as a physician from medical school to fellowship and seen his hard work and resiliency pay off.  We’ve built our lives together in New York, through Covid and all.

Are there still moments of doubt whether I made the right decision?  Certainly.  But for now, what’s most important to me is being close to my husband and my community.

From multi-million dollar films opposite stars to regional theatre productions, you have had such a variety of experiences. Do you prefer one medium over another? What’s your tips for taking theatrical training on screen?

Thank you so much for these warm words!  Honestly, when I first moved to NYC my goal was to be on Broadway.  I mean, let’s be real...what performer doesn’t have that dream when they first move to NY?  I love theater and it’s something I enjoy doing very much, but over the past several years, I’ve learned that my real passion is acting for TV and Film.  Working on set and acting under the trained gaze of the camera feels like second nature to me, probably because I’ve been doing it for so long.  Also, nothing compares to the camaraderie of building a family on set, the often exhausting but rewarding shooting schedule, and the constant script rewrites- I thrive on that.

My biggest advice for taking theatrical training from stage to screen is to trust that bringing yourself, exactly as you are, is enough.  Nothing is more honest or unique than you saying the words in the script exactly as you would say them.  Not the way your coach told you to, or the way your favorite celebrity would, or the way you imagine the character should sound.  You.  Your unique self.  Bringing your own unique energy and truth to a role is always better than any idea you have about the character or the script.  

That being said, I’ve also learned that it’s important not to limit yourself in your preparation process for a TV or film role.  Don’t let anyone tell you that you are “too big” because you are a theater performer transitioning to film.  That is BS lol.  For me, it’s all about dials.  Dialing up or down your energy depending on the tone of the show or film.  Is it 30 Rock?  Allow yourself to play with dialing the energy up!  Is it NCIS?  Perhaps dial your energy down.  As long as you are bringing yourself to the role, while taking in the given circumstances of the scene and the tone of the project, you are golden.  

You co-host one of our favorite podcasts, Positive Creativity Podcast, with Elyssa Nicole Trust. You all interview creatives about what they’re working on, what’s inspiring them, and how to keep positive in the entertainment industry. How did the idea for this podcast come about? What’s the most valuable thing you’ve learned from creating and hosting?

Oh wow.  Thank you so much, the feeling is mutual because I’m a big fan of The Obvious Path!  You all ask similar questions on your blog and I love reading everyone’s unique story and perspective.

I need to credit Elyssa here big time for creating PCP.  Elyssa called me last winter and pitched the idea of a podcast.  The initial idea was to expand our network and to interview writers.   The conversation evolved into the possibility of chatting with many different creatives in the industry including producers, casting directors, agents, actors, and from there, the ideas kept flying!  We made a list of all the people we wanted to talk to, and soon we had compiled a list with enough guests for almost 2 seasons!

Our initial goal was to release Season 1 in May of 2020, but then (cue dramatic music) the Pandemic happened.  We realized that in the midst of the darkness and disorientation, we could find some comfort and a sense of purpose by chatting with guests remotely and releasing episodes sooner.  It would be a fulfilling and inspiring project not only for us, but also for our listeners.  We researched how to record with our guests virtually, found an amazing editor (shout out to Caleb Jones!), and began releasing episodes in March 2020.

I’d say the most important thing I’ve learned from creating and hosting PCP is the importance of amplifying diverse perspectives in our industry, specifically the voices of BIPOC artists.  In Season 2, our goal was to invite more BIPOC artists on the podcast and have conversations with all our guests about how we can build a stronger, more equitable industry coming out of a global pandemic and a national racial reckoning.  I’m learning to embrace my discomfort in these conversations, to more fully open my heart and ears, and more generously listen to perspectives different from my own.  I’ve learned so much from hearing these stories, especially of BIPOC artists, and it’s made me realize how much more still needs to change in our industry from the top-down in order to be more sustainable and equitable.

What’s the change in our business you hope to see coming out of this time of a racial reckoning and a global pandemic?

The big question.  I hope to see more BIPOC artists obtain roles in all levels of our industry, but especially in more positions of power (i.e. as artistic directors, showrunners, producers, directors, casting directors, etc).  In order to see more change and diversity in the stories being told on screen and stage, we need to have more BIPOC leadership shaping the decisions around programming and production. 

I also hope the industry is able to provide more work opportunities for creatives, especially performers.  I hope the idea that there is a “right” place to live in order to be an actor is banished forever! Ideally, coming out of these times, you should be able to send a tape or attend a zoom audition from anywhere in the country, heck, even the world!  And if you’re right for the role, production will do whatever it has to do to get you to set safely.   

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

This year has definitely brought a lot of loss and hardship, but it’s also been an unexpectedly exciting time for me artistically.  I would say my climb is continuing.  This pandemic has made me realize that telling stories is a vital part of my identity, and when our industry shut down and my job at the Museum was put on hold,  I needed to get real focused and clear on how to make art in a new way.  I started a weekly reading series on Zoom with my friends from the Barrow Group (we’ve now read over 40 plays since April with a company of over 45 people!), started reading books to kids with the COOP Theater Company, found a new acting class on Zoom, began learning guitar, and of course- continued to develop Positive Creativity Podcast.  The podcast has also helped me stay connected to other artists during this very challenging time, and it’s been so inspiring to hear how others are coping and finding ways to stay creative.  Ultimately, I’m a person who is constantly climbing.  To quote the amazing André De Shields again, “ The top of one mountain is the bottom of the next, so keep climbing.” 

I hope that more unexpected opportunities will come my way, perhaps encountering mountains I didn’t even know existed and finding new sources of joy and inspiration during the climb. 

RAPID FIRE:

Favorite Quaran-TV: so many!  Schitt’s Creek was a highlight

Quaran-reads: a friend just gave me the book Embrace Your Weird by Felicia Day, excited about it

Exercise routine (if you are into that): running in Central Park and yoga

Favorite food: Any mediterranean food or Taco nights

Best part of working at the Lower East Side Tenement Museum: so many dialects/making people laugh and cry

Most meaningful “no” you’ve ever received: so many “no’s” which makes the “yes’s” all the more meaningful

More star-struck by Tina Fey, Heather Graham, or Sean Hayes?: bahhh- Tina Fey

Favorite part of working with The Barrow Group: our Sunday night reading series on Zoom

Religious, Spiritual, or Nah: both

Social Media Feelings: love/hate and addicting

Advice to your younger self: you are enough exactly as you are

Social Media Handles: @laurenschaffel111 on IG, Facebook and Twitter @laurenschaffel 

Anything you’d like to promote?: Positive Creativity Podcast!

Photo credits:

Fourth photo: Lauren and Elyssa performing in Elyssa's play Observance at the NY Fringe Festival

Fifth photo: Elyssa and Adam's micro wedding (August 30, 2020) with Lauren and her husband Eric Braunstein

From Kat: Harold Lewter is the perfect remedy for a wild first week of 2021. Or, as he would call it, 2020.1: Not a new year, just the next version of 2020. 

I started admiring Harold, a manager and partner at CLA, during my time at HCKR. In every email you could sense his zest for the business, his creativity, his compassion, and a personality that never left you without a smile.

Getting to know Harold better throughout this interview, he’s even more than your industry dreams could hope for. From a rapped introduction, navigating a career he didn’t plan for, and dreaming of what the business could be tomorrow, Harold has us laughing, thinking, and ready to get to work. 

We think it takes a heart of gold to fill out our lengthy questionnaire, but Harold might have one of the best. Enjoy his wisdom, his heart, and his two life mottos that we all should adopt.

Harold! We’re thrilled and honored you’re taking the time to chat with us. We’ll get into the business facts; would you introduce yourself to our readers with some “human facts”?

Absolutely! (Begins to rap) My name is Harold and I’m here to say, “I’m from the Bronx and I’m here to stay! What’s to tell about the Bronx? It’s uptown and to the right!” (hehe) …Let’s see what else, I am the youngest of 5, my interest for musical theatre began at 8 years old, when my older brother took my mom and I to see Starlight Express on Broadway, which coincidentally he would end up booking the 1st National Tour as Electra later that year.

My mom has always had a love for theater, and so we would go see shows all the time. However, I did not fall in love with musical theater until I saw Vanessa Williams in Kiss of the Spider Woman (Kander & Ebb) in 1994 (P.S. She replaced Chita Rivera). There’s this fabulous moment in the show where she comes out in a cage in this Birds of Paradise inspired costume (UGH JUST THE BEST) and she sings “Gimme Love”, during the dance break there is this fantastic Trumpet solo (I played the Trumpet from 2nd grade through High School) …I WAS HOOKED FROM THAT MOMENT ON! Also, not to mention the choreography was just to die for! 

…I could go on, but I don’t think we have time for that (so I will save the rest for my memoir one day). 

You went to Wagner College for Musical Theatre and also went on to study acting at the University of Buffalo. You taught classes and performed in Costa Rica after receiving the Promising Artists of the 21st Century award in 2006. As such an accomplished actor, what made you want to get into the representation side of things? What were the first few steps you took in transitioning to agenting/managing?

Well first let me say this, I had 0 intentions of going into representation, this all happened by happenstance. I had been working off and on throughout college and continued to work as an actor after graduating from college, and then in late Fall of 2009 a good friend of mine Mike Cruz asked me if I would come intern for him at Independent Artists Agency, and I said sure because I didn’t have anything else to do. So, there I went, and as time went on, one thing led to another and another and before I knew it was July of 2010 and I went on vacation and while I was on vacation, I got an e-mail announcing that the agency was going to be closing in a few weeks. No clue of what to do next, I said to Cyd and Mike that whatever happens next, I want to continue to help out. So, there we all went and because Cyd had only sold the roster when she left the business in 2001 we reopened her management company Cyd LeVin & Associates. 

Now, I should rewind back to the beginning because the thing that really pushed me into representation was the realization that I was getting tired of seeing actors spin their wheels, and not get the feedback they needed to move their careers forward. Being at Independent I realized quickly that as rep you could do that. 

You joined CLA in August 2010 after crossing paths with Cyd LeVin at Independent Artists Agency in late 2009. What has been the most rewarding thing to come from that partnership? 

I have always been a hard worker, but working with Cyd has taught me how to not only work hard, but how to fight for the people you believe in. As for rewarding, there have been so many rewards that have come from this partnership…when I was first starting out, I had all of the passion, but none of the training, so the first reward was training. The second reward (or rewards) was the importance of honesty, integrity and the power of building relationships, for however large this business it, it really is so very small once you really get into it, and you will do business with the same people over and over and over again, so who you are at your core is really important, especially when it comes to your clients and their livelihoods. The third reward is a true mentor who will tell me when I’m wrong and when I’m right, and I feel very fortunate to have someone like that as a friend and a business partner. 

Part of your specialty has included transitioning Broadway actors to TV/Film. Any advice for readers who are theatrical trained and looking to make the switch?

Study, study, study, study!!! It baffles me how many times an actor will walk into the office for a meeting and say, “I want to be on TV, or I want to be a Film star” and which leads me to ask, “ok, so what are you watching? What the last film you saw? Have you watched every single movie on the AFI 100? Have you watched every single Oscar Award winning film?”  and of course, the answer is no, no, no and no. So, how can you want to do something and not have studied it. A doctor doesn’t just wake up one day and say, “I think I will go be a heart surgeon today” no, they study and study and study, and study. As an artist, you should be doing the same. You have to know the craft inside and out. As an actor and even as a rep, I am still a student of the craft. Everyone that knows me, knows that I keep my iPad open while I’m working so that I can watch television or films. 

At the end of the day, it boils down to understanding that when working in TV or Film you as the actor are responsible for telling the truth. On stage you play to the last row, so everything is heightened including your most grounded moments. On Television and on Film it is about real life and living in the truth of the moment. There is no hiding from the camera, and quite frankly why would you want too? It is the vainest medium out there.

It’s no secret that there is a severe underrepresentation of agents and managers of color. What walls need to come down to make a career in representation more accessible?

There are so many walls that need to come down, but the first is you have to go to the HBCU’s and the Colleges & Universities that have a heavy BIPOC enrollment, especially the inner city schools and recruit. Contradictory to that, I have realized that we place so much emphasis on higher education, but we forget that many of the agents and managers we admire did not go to college or for that matter finish High School. Until Talent Representation is taught at the University level, it remains an apprentice trade, which means we shouldn’t be afraid of scouting “talent” early on, no different than construction unions who source talent at the High School level.

What’s the change in our business you hope to see coming out of this time of a racial reckoning and a global pandemic?

Well, I think we are already beginning to see that there is now an expectation for Truth and Transparency in the Entertainment Industry as a whole. What I am hoping is that the playing field begins to level out now, and that it doesn’t feel like a never-ending uphill battle. Truth be told what I want most is for the word “diversity” to stop being such a hot button topic. When Cyd and I re-opened CLA in 2010, it was never about oh we need to get a black actor, a white actor, a Asian actor or LatinX actor, it was just we want talent, the color or race or gender didn’t matter, it still doesn’t matter to us, we want to represent the best (periodt). 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

My mountain has changed several times throughout the last 10 years, and I finally feel like I’m on the mountain that I want to be on and most of all I know what my purpose is. I have always had two life mottos, “innovate or die” and “never stop learning, never stop growing” and 2020 has really challenged me to reaffirm my commitment to those mottos and to also challenge and push myself. Pre-Pandemic I was feeling STUCK, in the midst of the pandemic in June I was feeling like the world was passing me by and that I needed to shift my focus and do something else. In July after a client, I had spent so much time developing and putting the building blocks of his career in place dropped me I started to put building blocks in place to build a company that was focused on Diversity and Training for positions outside of the performance realm, because I felt like I didn’t want to be in Talent Representation anymore and also because I felt like I didn’t know who I was without representing this person anymore. Low and behold in August, I took a trip to the beach and it brought me back to the center, my center. I realized I was listening to everyone else’s thoughts and opinions, and worrying about what everyone else was doing, my focus was on the wrong things. Now, I’m solely focused on myself and building CLA Partners into the global powerhouse I believe it can be. Can’t stop won’t stop! 

RAPID FIRE:

Favorite Quaran-TV: The Queen’s Gambit is the best thing I’ve seen all Quarantine. 

Quaran-reads: Currently reading Television Development by Bob Levy

Exercise routine (if you are into that): I was doing so good with taking my lunch time 3mile walk up until September when things started to come back online, and we got busy. I really need to get back to that. 

Favorite food: Obsessed with Greek Yogurt, Honey & All of the berries I can get my hands on!!

You can only choose one, tennis or golf: Tennis

Thing you have missed most since March: Being with people

Quick advice to actors looking for rep: Put yourself out there, don’t wait for permission. Also, DO NOT BE A SUITCASE ACTOR and follow some given list that someone has prescribed for you. If there’s an agency you really want to get a meeting with, be persistent, keep showing them more of your work. I guarantee you someone is always looking at submissions, especially if they’re doing their job right. 

Favorite part of the job: A clients first major booking…nothing better than making that call. 

Religious, Spiritual, or Nah: Definitely spiritual!

Social Media Feelings: Social media and I have a real love hate relationship. 

Advice to your younger self: FOCUS LEWTER!

Social Media Handles: @itsmrlewter (on insta) and @clapartners (on insta)

Anything you’d like to promote?: NOPE…except if you haven’t watched The Queen’s Gambit on Netflix, watch it.

From Kat and Peter: Priya Mahendra is someone that we’ve been hearing about for over a year now. If you’re familiar with the Jen Waldman Studio, you’ve likely seen Priya, taken a class from her, or heard the saying, “The proof is in the Priya.”

She’s already had an interesting path: studying business at Syracuse, beginning her career assisting a music agent, and now, pursuing performing in the equal and diverse theatrical world we all dream of. And, as JWSers are prone to do, she’s creating that world with a project of her own. The Princess Possibility Project is a video series of Disney princess “I want” songs created to “raise awareness of the way universally known and loved characters are usually portrayed in Entertainment, and the need to expand it in a consciously inclusive direction.”

We enjoyed getting to know Priya, her work, and her vision through this interview. As we all use “I want” songs to convey our ‘hopes, constraints, dreams, and desires’, we hope Priya adds a swell of inspiration to your “I want” song.

Priya! Thank you for taking the time to chat with us! Would you introduce yourself to our readers with some “human facts”?

Thank you so much for having me, Kat and Peter! I am thrilled to be a part of one of my favorite blogs. 

Hi, everyone! I’m Priya. I’m a heart follower, theater artist, taurus, and jersey girl. 

You studied Entertainment Business at Syracuse University and started your career as an assistant in the Music division of ICM. What made you want to transition to the performing side of the industry? 

I grew up learning and performing Indian dance and singing intensively, so I had a strong connection to the arts through the lens of my culture and heritage. I also did a few musicals in middle and high school. My need to stay close to the arts led me to the business side for college. Working at ICM (which is something I am super proud of) helped me realize which side of the industry I was yearning to be on. I left to develop my artistic skills and start the path to being a performer. 

What is your take on what's in store for the future of the industry coming out of this movement and pandemic? What do you think the industry has the chance to change?

When I was little, I saw no one who looked like me on the Broadway stage in the shows I knew and loved. I’m sad to say that many years later, it’s almost the same story. South Asians are not represented almost at all on the Broadway or National Tour stage. Being made to feel that you are not right for a show based on just what you look like and who you are is extraordinarily painful. It often happens before, or in many cases instead of having the chance to audition and have a fair shot. I want to be the person that I needed to see on stage so many years ago, for people now. As Eliza says in HAMILTON, “oh, let me be a part of the narrative” - everyone needs to know that their humanity, identity, and dream can also be a part of the story. Theater is something that is vital for us to express through, grieve through, celebrate through, and connect through. 

I think during this time of pause, the industry has the chance to prioritize equality, artistry, and empathy in the decisions that are made at every level and on every stage. I hope to see the conscious inclusion of more marginalized voices, and a more level playing field for everyone in commercial theater. Our Broadway stages do not currently reflect the diversity of people and identities in New York City or our country. 

When it is safe for it to return, I hope Theater will be much stronger at heart and lead with an ethos of equality.

We became familiar with your name from folks involved with the Jen Waldman Studio. You are getting started with the JWS Fellowship program. Can you tell us more about this? What is the best thing about the JWS community?

Jen Waldman Studio is the place I am proudest to call my artistic home, and the place I’ve met some of my closest friends. It is one of a kind. The best thing about the community would be the way people prioritize their development as humans just as much as their development as artists. I see how much they go hand in hand, and who we are off stage matters just as much as who we are on stage. 

By doing the Coaching fellowship and facilitating Color Conscious Character Creation (a class for BIPOC artists taught by the incredible Billy Bustamante), I’ve recognized that while everyone’s journey is unique, we all share the desire to be represented and understood. 

The fellowship has also given me a chance to merge my interests in mindset coaching and artistic coaching. Mindset work, goal setting, and process oriented growth are things I’m obsessed with, and have spent years reading about and putting into practice. What I’ve found is that the way we talk about our work and how we approach it makes a big difference for the work itself. 

You recently created The Princess Possibility Project which is a seven part video series where you explore “I Want” songs from different Princesses. What are you hoping viewers gain from watching? What gave you this idea? 

The reason that I chose the Princesses is because I resonate so strongly with what they believe in and stand for, and how they navigate through hardship. They have played a huge part in my life and in shaping who I am. Most importantly, they fight to belong while being themselves. I believe that their hope, determination, and compassion in the face of struggle is paralleled strongly in those who need to fight to belong in our industry and world.  Their desire for more than they are expected to be or allowed to do, and the need to be seen, heard, and known for who they are is something I resonate with on an innate level. 

I would love the viewers (whether they are actors, casting directors, creative team members, or audience members) to first acknowledge the reality of the systems in our industry, and the barriers and walls that exist for marginalized voices. And then, to look at the possibilities that exist for us as an industry to explore, embody, and implement. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

The way I look at it, everything is connected. A mountain you climb to the top of can bring you to a different or bigger mountain next. Sometimes on a climb, you need to pause and rest. And sometimes you just need to keep going even though you can’t see the path clearly or the top in sight.  

What is important is the pursuit. It’s all a process, with potential for progress, in pursuit of a dream. That’s what keeps me putting one foot in front of the other. And this Brené Brown quote: “Either you own the story or the story defines you. When you own the story, you create a brave, new ending.” 

RAPID FIRE:

Favorite Quaran-TV: Glow Up on Netflix

Quaran reads: The Sun and Her Flowers (Rupi Kaur’s poetry is my favorite in the world), The Autobiography of Martin Luther King Jr.,

Exercise routine (if you are into that): I’ve recently really gotten into hiking! The healing power of fresh air and nature is SO REAL. 

Favorite food: Ice Cream. 

Thing you have missed most since March: Wine nights with my friends. 

Network growing tip:  Be kind, be helpful, be yourself. 

People aren’t talking enough about _________: The Four Agreements by Don Miguel Ruiz. 

Religious, Spiritual, or Nah:  Spiritual 

Social Media Feelings: We need to use it much more responsibly and consider our impact on others and the world. 

Advice to your younger self: You’re not different, you’re unique; have the courage to be unique. 

Favorite princess you are portraying: Jasmine in ALADDIN (the words “I’m like a shooting star, I’ve come so far, I can’t go back to where I used to be” give me the chills every time). 

Social Media Handles: @priyamahendra 

Anything you’d like to promote?: The Princess Possibility Project (www.priyamahendra.com/tppp) 

From Kat: Chinyere Anyanwu, who goes by ChiChi, introduced herself to me in the way that I admire the most: She didn’t tell me who she was, she showed me. 

I was, as most of us were, idly searching for ways to fill my time during the beginning months of COVID. ChiChi sent me an email saying she had been laid off from the management office I knew her from, but was starting her own company. Badass, right? Then, she offered to set up a phone call so we could get to know each other. Me. The “me” that’s still an associate getting a meeting with a new business owner. After our lovely conversation, she had sent me another email inviting me to the Broadway Women’s Alliance so I could grow my own network.

From this exchange, and every exchange I’ve had with her since, ChiChi has proven to be generous, creative, ambitious, connecting, prompt, engaging, full of vision, and willing to put in the work to become great. Sounds like the manager we’d all dream of, right? And it’s not just that: It's becoming a manager when the industry has allowed an embarrassing lack of diversity on the side of representation.  It’s her willingness to look beyond who we are on the surface and connect to who we are as humans. It’s the bravery to take the leap of faith and get the L.L.C. We admire her a whole, whole lot and know you will too.

When you’d like to hear more from ChiChi, be sure to check out her interview on Variety's Stagecraft podcast on the Broadway Podcast Network.

ChiChi Anyanwu, Founder and Talent Manager of the recently opened CHI Talent Management, has quickly become one of my favorite people. In watching her open her own Management company and hearing her vision for the future, I can’t imagine a better pacesetter for the person and businessperson we all should be following. ChiChi, we’re so honored to have you on the blog. Before we talk about all your business accomplishments, are there any “human facts” you’d like to introduce to our readers? 

I am the daughter of Nigerian immigrants.  The “CHI” in my name means God in the Nigerian language Igbo, some interpret as the God in you. ChiChi is short for my full name Chinyere which means God’s gift. I tend to go above and beyond in my personal and professional relationships. I like taking care of people. I actively encourage and empower the people around me. All in all, I try to live by name.

You and I, along with so many members of our industry, were laid off as a result of COVID-19. Can you talk us through the brave and badass decision to open your own Management company? What’s the most challenging part of getting a new business off the ground? 

Even after losing my job, many of my clients wanted to continue working with me. Also, my friends and sister, Ngozi, have been telling me for years that I should have my own company.  The fact that so many people believed in me and supported my choice in starting my own company gave me the confidence and strength I needed.  This realization led me to take matters into my own hands and take a leap of faith.  Hence, CHI Talent Management, L.L.C. was born.

The main challenge right now is COVID-19. Since there are new production guidelines in television and film with the limited number of people on set, there is less work for my actor clients.  Casting directors are very selective about who they bring into auditions now as well.  For my clients that are more developmental, it may be harder to get them auditions now in TV and film. 

Also, with Broadway being shut down and no date set yet for reopening, most of the clients on my roster are unemployed.  I’m hoping that the industry will bounce back, and that my artists will be working again consistently.

You began your career in casting.  What are the elements of being a manager that made this side a better fit? How does your start in casting aid your work as a manager?

As a casting intern and assistant, I remember always enjoying talking with agents and their assistants over the phone.  I admired how agents pushed and advocated for their clients as well.    Although I was fond of casting, I realized my true calling was developing and nurturing acting talent.  I feel like my experience in casting gave me a better understanding and appreciation for what casting directors do.  I’m aware that roles don’t always go to the best actor, however I still encourage my clients to always present their strongest audition so that casting will recognize their talent and keep them in mind for future projects.

We listened to your amazing interview with Broadway Podcast Network. One section we loved, among many, is you telling your clients to ‘not lead with your race’. Can you talk to our readers, who are mostly actors, how you submit on breakdowns when race is mentioned? Do you have advice for an actor who feels pigeon-holed based on their name or the way they look?  

Do not limit yourself by only submitting for roles that are specific to your race.  Free your mind and look into roles that you connect with on a basic human level.  If you feel like you can play the role and do it justice, go for it.

It's no secret that there is a severe underrepresentation of BIPOC agents, managers, and casting directors. What’s your biggest dream for a more conscious industry moving forward? 

I am hoping the term “BIPOC” is no longer a thing and that there are more job opportunities for diverse representation.  Its no longer acceptable for me to be on a panel or workshop with other reps and casting directors and be the only person of color in the room.   We have to do better as an industry and actively hire people that reflect the melting pot of America.

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

I feel like I’m always constantly pushing myself to keep going. The COVID pandemic slowed me down a bit, but I’m choosing to be positive, proactive and to not stop moving froward.  My clients keep me motivated and always inspired by their talent and wanting to do right by them. My family and friends are also constantly encouraging me and I want to prove to myself that I can do this on my own.

RAPID FIRE:

Favorite Quaran-TV:  I May Destroy You on HBO

Quaran reads: More Than Enough by Elaine Welteroth 

Exercise routine (if you are into that):  30 second Jumping rope, 30 Jumping jacks, 15 squats, 15 lunges, 30 second high knees & butt kicks, 30 min stationary bike (4-5x a week).

Favorite food: Jollof Rice and beans 

Thing you have missed most since March: LIVE THEATER!

Favorite thing about being a Manager: Calling my clients when they booked a job.

Favorite part of being a producer:  Collaborating with up incoming writers and directors 

Network growing tip: Don’t be afraid to putting yourself out there and make the first move 

Religious, Spiritual, or Nah: Spiritual

One quality you look for in clients:  Strong work ethic

Social Media Handles: Instagram @chitalentmgmt twitter:  @chi_management

Anything you’d like to promote?:  Check out more info about my clients, who are all available for acting work asap, via my website www.chitalentmanagement.com

Photos by: Terria Clay

From Peter: There have been many moments over the past year where I’ve been extraordinarily grateful The Obvious Path exists. This moment is no exception. Some of you might know that Kat got an opportunity to become an agent at DGRW in a pandemic inspired tectonic shift at that agency. It’s her dream job. And, as we are a dream chasing blog, it seems appropriate to take a moment to celebrate, reflect, and express our gratitude.

If you haven’t, it might be fun to go back and read Kat’s first feature which was written in October of 2019 (and was put on our website January 2020.)

I’ll only say this: What I admire most about my wife is her ability to plant seeds. As I often remind her, she plants so many seeds she can’t keep track of all of them. I like to think my greatest gift to Kat is being her historian. I have a knack of remembering the goals she sets and the offhand comments she makes. But here’s the thing about Kat- even if she’s not neurotically watching the seeds, she’s dutifully tending to her garden, the big picture, every day. We’re as likely as any couple to get “lost in the weeds.” Especially in the age of COVID, we were unsure if our seeds would ever come to fruition or if New York would be possible. Thankfully, Kat has been dutifully planting seeds our three years back in NYC, we turned around and one of them had blossomed into a beautiful bouquet. I hope Kat inspires you the way she inspires me. Happy planting...

So… senior agent, huh? I guess dreams do come true.

Yes. They. Do. I’m as surprised and humbled as anyone would be to get a job (any job) during this time. To fulfill a lifelong goal and end up in a dream position… I’m just beyond.

As with many job opportunities, there were a million tiny things that happened to make it possible. 98% of them had absolutely nothing to do with me. In many ways, some of the things that had frustrated me about my own path came to play a pivotal part in this role. 

Namely, the fact I started as a voiceover assistant- something multiple people told me would be the end of my dreams of being a “legit” agent. But, you know, after a 3-month internship I needed a job quickly and that was my only opportunity. When the company I was working for graciously allowed me to get out of the voiceover industry, I wanted to go to the theatrical desk. That didn’t work out, so I was sent to work with the on-camera agent. That gave me enough contacts to interview for my job at HCKR, where my responsibilities were even heavier on the on-camera side. And, you’re sensing the theme here, but Matt Redmond (now owner of DGRW) has always been a theatrical rockstar and was wanting to partner with someone with who had more TV/Film experience. It’s one of those checkpoints where I have to stop and think: “My path is being guided.” I continue to show up, do the work, and try to do my best Anna (aka “The Next Right Thing”). But, in the end, this is all bigger than me.

I’m going to make you tell your other checkpoint as well…

I mean, you would. Especially since you had to point it out to me.

You all might remember in my first feature I had talked about how I knew it was time for me to move on from acting. In 2014, I told Peter that I only had two roles left that I really wanted to play: Natalie in Next to Normal, which I did in Cleveland during Peter’s first year of grad school and Ariel from The Little Mermaid, which I did in Hong Kong the following year. A beautiful closure that not many actors get.

These days, I spend most of my time meeting individually with DGRW’s lovely roster. Peter looked at my schedule one day and said, “Do you realize what clients you’re meeting with this afternoon?” It was Alice Ripley (who won the Tony for Next to Normal) and Jodi Benson (The original voice of Ariel in The Little Mermaid). It was a full circle inside of a full circle. Another checkpoint that the universe put in front of me that said: “Why do you ever doubt anything? I’ve got you.”

We’ve been prepping or writing this blog for just under a year. What has The Obvious Path done for you in that time?

Personally, it’s helped restore my trust in the composition of our industry. It’s not like I thought everyone was heartless, but the transactional part of our business can highlight the colder side in all of us. I’ve realized having a public document that states a desire for humanity, however, offers an invitation for humans to come find us. And they do. The amount of time every person puts into their interview, with no reward, is humbling. Peter and I have a lot of lovely people reach out or say a kind thing to us in passing. Not to mention, we’ve made new friends or solidified friendships with every person we’ve featured. It’s given us an excuse to reach out to someone new, learn more about people that fascinate us, and express what we admire about them in our introductions. 

Professionally, it did the thing we never dreamed it would. It grew my network to the point it really helped getting my job at DGRW. One of our connections, whom I had never met before our interview earlier this year, really advocated for me. My name not only ended up “in the hat” because of this person, but I believe they made me a frontrunner before I even interviewed. And, this is the cliche part that we always hear and never believe, but that person is one of our best friends now. 

Personally-Professionally, (is that a thing?) The Obvious Path exists in my brain as an evolving thesis. It constantly reminds or shapes me towards my why, our features all introduce new concepts that keep me thinking, and producing this content challenges me to keep living up to the dream of the industry we want to be a part of. I heard on a podcast earlier this year the Flannery O’Connor quote “I write because I don’t know what I think until I read what I say.” In our case, I feel like that’s true. It’s like a Google Doc that we get some brilliant people to contribute to. As we sit with those words or write our own words, we learn the articulation of our feelings. 

Above all, years ago, Peter and I got some marriage advice from a person we really respect. They said, “Figure out every way where you can do life together.” The Obvious Path is Peter and I’s way of making our parallel careers intersect. I find working, writing, brainstorming, listening, learning, and dreaming much more fulfilling when I get to do it with him.

What are your goals in your new position?

The pandemic, our industry shutdown, and our country’s reckoning with race are all frustrating and heartbreaking moments to live in. That said, I don’t know that there is a better time to start a position like the one I’m in. It’s a continual reminder that our industry has major flaws, I don’t know all the answers, and we’re going to need to work together for change.

I’ve always viewed the agent as, primarily, a position of service. We submit our actors, we fight for them to be seen, and we negotiate the deal... Then, I read a blog post by Olivia Hernandez on the Ensemblist. That article did a lot of things for me. 

One, it made me delineate the difference between an agent’s “power” and “responsibility”. When I was an actor, I viewed my agent as an authority. Therefore, I viewed them as “powerful”. The negative words they might use about my talent, a show they didn’t like, or how the business worked. Even if they were being encouraging, my lens of them as an authority figure was not helpful.

As an agent, I realize what I viewed as “power” when I was an actor are just my, or any agent’s, “responsibilities”. I have a responsibility to find actors that I really believe in. I have a responsibility to nourish relationships with my clients and Casting Directors. I have a responsibility to fight for equity, whether that is the amount of money a client is taking home or who I’m submitting for a role. But none of that should be confused as power. Agents and actors are a team: Equally powerful with different responsibilities.

Secondly, Olivia broke down the word we use to describe my job: Representation. And, for that matter; Agency. What I find inspiring, and particularly necessary in the time ahead, is growing our actor’s personal agency at their agency. In regards to relationships, we need to reinfuse that word, “representation” into how we work. It is imperative that we, as our client’s representation, represent them not only as artists, but as human beings. 

And that’s the thing I find most invigorating about the conversations we have at DGRW. Our team, with Matt at the helm and our colleague, Kaitlin, approaches everything with an attitude of adaptability. We’re reimagining ways the agency supports actors, the way we advocate for them, and morphing the actor/agent relationship for the better. 

Can we get an industry update?

So… The good news is that TV and film seem to be coming back in pieces. I’m writing this in the first week of September and we had two clients on set this week. I will say we’re getting more availability checks for our more established actors than normal. Part of keeping shows simple is using core casts and inviting actors back that have been on the show/have significant credits. That said, some casting offices seem to be operating with the intention of taking the extra time to see tapes from newer talent.

As we know, theatre is going to be tougher. I remember when Joseph Haj said The Guthrie wasn’t going to produce shows until March 2021. That, at the time, was a wake up call. Now, all these months later, that seems optimistic. The truth is we just don’t know. I know the days are slow, but the news can change fast. As is widely reported, there are SOME theatrical productions happening. I suspect there will continue to be creative ways to employ actors in the coming months. But it will likely be for the smaller percentage and those that have worked more.

As we’ve seen in corporations, the pandemic has made the rich get even richer. I think that is true for our industry too- the more credits you already have the better off you will be. And I know that isn’t great news. What I’m telling my clients is the same thing I’m telling my husband: You’ve got to take care of you. If that means staying in class and having an outlet, please do it. If that means getting away from the business and focusing on survival, family, or mental health, please do it. Through this pandemic, we’ve all been reminded how important it is to prioritize family, health, passions, and healthy mindsets. If there is a “new normal”, I hope it’s one where we reincorporate those practices with more intention.

Here it comes…  Where are you on your mountain?

I feel like it is important to acknowledge when I answered this question in the first feature, my next mountain was making the climb to an agent position. In that sense, I’ve reached a summit! It’s been enormously fulfilling to reach a goal I’ve been working towards and I take so much pride in where I ended up.

And then we move onto what we always know in asking this question: The summit of one mountain is the base of the next. 2020 has been a year of becoming more aware of the mountain range that we’re all on and how important it is to not become singularly focused on one goal. That’s when I really, really love being an agent. I feel like I get to find people on their own individual mountains and aid their ascent in any way we can. As we go on that journey, those clients will take me places I never would have seen otherwise. I’ve said this before, but it really is true: My dream is helping other people achieve their dreams.

RAPID FIRE:

Favorite Quaran-TV: The Great, Away, I May Destroy You, Unorthodox, Never Have I Ever… I’ve been watching SO much TV.

Quarn-reads: Peter and I have been guilty of what NPR’s Code Switch would call going to the “Gym on New Year’s: for Racism.” We’ve been a part of a discussion book club where we’ve read How to Be an Antiracist, I’m Still Here, White Fragility, The New Jim Crow, and The Fire Next Time essays by James Baldwin. We, obviously, have a lot more reading and learning to do. I realize I should’ve started this years ago, but now I’m doing my best to stay committed to education and subsequent actions as a result of these learnings. 

Exercise routine (if you’re into that): Currently, we’ve been doing Orangetheory at Home. I’m working out 5 days a week for the first time in my life and mama’s legs are sore!!

Favorite food: Cancelling out my workouts with homemade pizza, beef stroganoff, and Häagen-Dazs Caramel Cone since 2020.

Thing you miss most: The lights dimming in the theatre before a show… Can’t wait until we get to do it again.

Places you’ve spent this year: Peter and I vacationed in Italy to start 2020. That feels like a LIFETIME ago… We went to California to stay with my in-laws for 5 months, the majority of shelter-in-place. Quarantined in NYC for two weeks, an emergency trip to Texas for a week to care for a family member, and now back in quarantine in NYC. Home is people. Not a place. 

Hardest part of being an agent: Woof… Not being able to help everyone. It literally keeps me up at night. There are so many genuinely pure, genuinely talented people. I hate that I don’t have the horsepower to get everyone where they need to go. 

Tips for communication with potential rep during a pandemic: Here’s the keys to the Kingdom in my book, which I mostly attribute to the teachings of Jen Waldman. Act within your integrity. 

Don’t spend all your time trying to second guess what’s happening on our end. Control what you can on your end. If you have material you feel great about sending, if you write a pitch email that is well thought out and true to who you are: by all means, shoot the shot. You never know. 

I spend a lot of time curating emails for casting that never get responded to as well. I realize we all have a hypothetical understanding of the volume of emails some industry folks receive, though I imagine we all still underestimate how much traffic certain emails have. Regardless, not getting a response always stings a little bit. But I can assure you, I feel so much more at peace when I send an email within my integrity. That means it’s personal, it’s specific, and it’s human. I’m at peace hitting send no matter the outcome. 

Social media feelings: Facebook sucks, right? Why don’t I delete it?

Social media handles: We really gonna do this back to back? Lol. @kat_hargrave 

Anything you’d like to promote: If you have a wishlist or ideas that agents could better serve actors, could you email me at obviouspath@gmail.com? I would SO appreciate ideas to add to an ever evolving list.

From Peter: York Walker is one of those human beings you meet and are perpetually astounded by their depth. We were in A Christmas Carol at Actors Theatre of Louisville in 2018 where York was playing a phenomenal Bob Crachit. Four weeks into the run, we were invited to a reading of York’s play Summer of ‘63. We all knew York was a writer; he had mentioned working on his play throughout rehearsal. But, y’all… We didn’t know York was a writer. That afternoon play reading remains one of the most joyful, surprising, emotional, and ephemeral experiences of my life.

Since late 2018, York has been on a meteoric ascension. In many ways, his success right now feels like a fulfillment of his destiny. His story is perfect, however, for The Obvious Path. Multiple cross country moves, giving up a “death grip on acting”, and finding the stories that matter most to him. He’s beyond multi-faceted, deserving of everything good coming in his life, and one of the most genuinely wonderful people in our business. Enjoy the wisdom, humor, and vision York Walker has given us.

We’ll give you the latest facts on York Walker. He’s an accomplished actor with an MFA from A.C.T. He’s performed at the Mark Taper Forum, California Shakespeare Theatre, Actors Theatre of Louisville, Two River Theatre and more. As a playwright, he was listed in Playbill.com’s Volume II of ‘Queer Black Playwrights to know and support’, and is currently a member of Lena Waithe’s Hillman Grad Mentorship Program. Those things have come together as York was recently named the Inaugural Recipient of the Colman Domingo Award, an award bestowed annually to a Black male or male-identifying multi-faceted theatre artist to provide support for the creation of new work. York, we’re humbled and thankful for your time with us. Is there anything you’d like to introduce to our readers about your background, your life outside of theatre, or your work? 

I think that it is important to state that I am a Beyoncé enthusiast. If you haven’t seen Black Is King yet on Disney + I highly suggest you watch immediately to receive your blessing.

With a B.A. in acting from Illinois State University, you began your career as an acting apprentice at Actors Theatre of Louisville. A year later, you went to get your MFA in Acting from the American Conservatory Theatre. Can you talk about the benefits or drawbacks of apprentice programs and elite MFA programs? How do you feel the time out in the “real world” before going back to school impacted your experience?

I would not be the artist I am today without the Actors Theatre Of Louisville Apprenticeship and ACT. The apprenticeship was an important step in my journey because it was one of the first moments when I realized that I could actually do this. I spent all of my time in college trying to prove to myself that I could be an actor. The apprenticeship was extremely competitive and to have the opportunity to work there helped me to realize that I could make my dream a reality. It also pushed me in ways I didn’t know I needed to be pushed. We had to create a short solo show and that was the first time I ever had to write my own script. It went really well and it planted the seeds that I could be a writer.

After Louisville, I moved to New York City. It was then that I realized I needed more training. I wasn’t auditioning much because I was trying to survive, but when I did audition it was rough. I felt like I didn’t have the skills I needed to succeed. So I decided to apply to grad school and ended up going to the American Conservatory Theatre.

ACT was great because it was three years dedicated to studying the craft. I didn’t have to worry about survival jobs or distractions. I could just focus on becoming a better actor. Since I had been out of undergrad for two years, I knew exactly what skills I needed to cultivate to be successful when I came back to New York. ACT gave me the tangible tools and experience on stage that I needed to take me to the next level. But most importantly, it gave me a network of other actors who became my best friends and collaborators. 

I read in a separate blog (which you can read here) that you started writing your first year of graduate school. What has that done for your path as an artist? What are the challenges or benefits of being a trained actor learning to write plays?

Writing has completely changed my life as an artist. I never thought I would be a writer. I was in the process of coming out in my first year of grad school. I was spending my days training to play other people honestly and truthfully while simultaneously denying my own truth. My first play Summer Of ’63 came out of needing to express all of that internal struggle. The best thing about writing as an actor is that you don’t have to wait for someone to give you an opportunity. Writing empowers you. You are in complete control of what happens on that page. There are stories that I want to see on stage and now I just write them myself. Being an actor has helped me immensely as a writer because I’ve spent a large portion of my life reading and interpreting other people’s words. As an actor, you can tell when the writing is good and when it’s not. You can tell when something doesn’t feel natural in your mouth or when the rhythm between characters is off. All of those skills are invaluable to me as a writer.

I remember a social media post you made about a year ago called “Lessons from the barber shop…” where you talked about how Black men can easily articulate how difficult it is to bear the weight of white oppression. In the midst of that, however, how quickly they can “drop an anvil of hate on their Black LGBTQ brothers and sisters.” So, in full, to be a Queer Black person is to rarely feel safe or comfortable in any space. How does your work provide hope or outlets for this lived experience?

Right before I went to Louisville, I saw Marcus, Or The Secret Of Sweet at Steppenwolf Theatre in Chicago. I was sort of just starting to come to terms with the fact that I was gay and that I wasn’t going to be able to ignore it for much longer. As I watched that show, I saw a character that was dealing with the same issue. Tarell Alvin McCraney created a beautiful piece that ended up being one of the first times I saw myself on stage. It was a powerful moment because not only did that play let me know that I wasn’t alone, it gave me hope that when it was all said and done I would be ok. And that has sort of become one of my missions as a writer. Part of the issue is that often times Black and Black Queer people are footnotes in someone else’s story or left out of the narrative completely. I want to not only put us back into the narrative, but place us at the center of the story. We exist and our stories are just as valid, beautiful, complicated, and nuanced as anyone else’s. My hope is to tell these stories in a variety of genres so that Black and Black Queer people can see themselves and the truth of their experience reflected back to them. 

As the global pandemic forces a pause for theatrical spaces to hear the voices of BIPOC artists, see the continually murder of Black people, and acknowledge our complicity in structures of white supremacy, what is your greatest dream for the future of theatre?

My hope is that white theatre institutions take this opportunity to truly take a step back to assess whether or not they are anti-racist institutions. It’s not enough to have a Black play in February. It is not enough to have one person of color as an intern. It is not enough to just do what is socially acceptable and make a statement on social media while waiting for this to pass. This is the time for the American theatre to meet the moment and have some hard conversations. When theatre comes back it should be so different we hardly recognize it. That is the level of change that is necessary. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

I feel like my mountain just did a full 8 count of Beyoncé choreography haha. In 2017 I moved to Los Angeles because something in my spirit said I needed to be there. My manager at the time was based there, so in my head I thought I must be about to book my series regular role. LA was some of the hardest years of my life. I didn’t book anything, I struggled to make ends meet, and lost my manager and agents within ten days of each other. One day my best friend Kemi took me out to pizza and I couldn’t figure out why nothing was working for me. And she told me that I was ignoring all of the writing opportunities that had come my way because I had decided that I was supposed to make it as an actor. I didn’t realize that my identity was wrapped up in being an actor, but life was telling me to invest in writing. So I decided to move back to New York to focus on writing. As soon as I made that decision, things opened up for me. I got offered two writing jobs before I even got on the plane to come back to New York. In the last year I’ve received more writing work than ever before. Commissions, awards, and job opportunities have presented themselves to me in ways I would have never imagined. It is a complete 180 from where I was before and I believe it’s because I finally trusted life was telling me. I think that writing was probably my calling all along and I had too much of a death grip on acting to see it. And that’s not to say I’ll never act again, but right now I’m so excited about the characters and worlds I’m creating on the page. 

RAPID FIRE:

Favorite Broadway show: Fela!

First memory performing: Recreating Disney On Ice on roller skates in my basement.

TV favorites?: I May Destroy You, Watchmen, Ozark, Insecure

Podcasts you love: The Read, Death, Sex, and Money, 1619, Off Book, Screenwriter’s Rant Room

Religious, Spiritual, or nah?: Spiritual

NYC or LA?: Both! NYC for theatre and LA for film/tv writing

Most meaningful “no” that turned into something special: I applied to Juilliard’s Playwriting Program this year and didn’t get in, BUT if I had gotten it I wouldn’t be available for the projects I’m working on now.

Favorite memory in a theatre: Hearing an audience laugh at my writing for the first time.

In your shelter in place days… Out of pajamas before noon?: It is currently 12:34 PM and I am still in my pajamas. I’m at peace with this aspect of quarantine life.

Advice to your younger self: There is nothing wrong with you. You are and will be loved for exactly who you are.

Play you’re working on now: Covenant! It’s a period drama with horror elements based on the myth of Robert Johnson selling his soul to the devil to attain his musical genius. 

Social media handles: Instagram/Twitter @issayorkchop

Anything you’d like to promote?: Covenant is getting workshop and public reading in October! I’ll post info on my social media once the dates are set. :)

Photo Credits:

1. Headshot

2. As You Like It playing Silivius at Chautauqua Theatre Company

3. One Night In Miami at the Denver Center For Performing Arts

4. Mae Whitman & York Walker in The Mystery of Love & Sex at Mark Taper Forum

From Kat: Bernard swooped into our world at a really pivotal time and in a really pivotal way. He gave a master class for Peter’s grad class while he was seeing a client in a show. 6 months later, we ran into him at a showcase while I was doing my first internship. He, remarkably, remembered who Peter was, chatted with us freely, and became a guiding force for both of us as we found our way through the city.

In that paragraph alone, there’s so many reasons why Bernard became #goals. The ability to remember actors after brief interactions. The willingness to be human. The graciousness of his guiding hand. The desire to help. Anytime I’m faced with a career move I either ask Bernard or ask myself, “How would Bernard handle this?”

It’s been a long time coming to feature Bernard, but I’m glad we waited to this point. He has invaluable insight on becoming a manager, owning your own business, navigating the changes our industry needs, and advocating for the people you love working with. His wisdom pours out of this feature when we all might need a pickup: Do the thing you love in the way you love to do it. Do it for the causes or reasons you love to believe in. And, most importantly, do it with the people you love to work with. I’m thankful Bernard stumbled into my life and I’m beyond thankful to share his wisdom with you.

Bernard, you are from Cleveland, OH (In our opinion, our nation’s best city) and attended Ohio State University. Originally, your eyes were set on being a filmmaker. Can you talk us through finding your footing and figuring out what you wanted to focus on in your career? How has your film background aided what you do now?

I always loved films growing up. And I made a few digital films in college. In 2004, I moved to New York to become a filmmaker. While I was trying to figure out how to break into the business, I bumped into a filmmaker I admired (Tom Gilroy) and worked for about 6 months as his unpaid intern. One morning he called me, emailed me and texted me. Which was super unusual for Tom. I called him back and he told me about how his manager lost her assistant and thought I should apply for the job. I had never worked in an office let alone knew what a manager was. But I went because Tom had told his manager that she should meet me. I met her and she stopped the interview about 5 minutes in while I was in the middle of a story. I thought, “Well of course she stopped me. I’m unqualified for this job in every way.” But she said, “I work on instinct and I think you’re the guy. If you say yes, I’ll give you the keys to my office and you start tomorrow.” And I said yes. Because anyone who says something that brave you just jump on board. If I end up quitting the next day, at least it was worth it for the story. I ended up falling in love with management and realizing that I was meant to do that instead of making films. What I loved about being involved with filmmaking was being around actors. And management let me interact with them on a daily basis. I think every rep goes through a process of refining what kind of talent they are attracted to in their first job. And that was so true for me. At that company we repped a lot of great young actors that did really incredible work but hadn’t had that big thing hit yet. And to see so many of them go onto great things makes me really happy for them. That job really instilled in me the importance of trusting your gut in terms of what I thought was good acting. As far as my film background, I really loved reading scripts and imagining actors we were working with in the roles. 

You’ve had a storied career working for other businesses and being out on your own, most recently establishing Forte Artist Management with Aaron J. Sandler in 2019. Did you know you wanted to eventually own your own business? 

Before Forte, I had previously been an owner at two management companies: Intrepid Talent Management (which I co-owned) and Brownstone Entertainment Management (sole owner). Co-owning Forte with Aaron was a natural fit. He had worked under me at Brownstone and we worked beside each other at Sirensong Entertainment (under owner Donna DeStefano). I had met Aaron when he was working at Hartig Hilepo Agency and we became friends. Aaron is a rockstar. Super smart. Really loves being a manager. And we get along well. So creating Forte together was a natural fit. 

What 2 steps did you take in your first year that helped you to success?

Well I think I’ll speak to the 1st year of being a manager at my own company. I think figuring out what you care about is essential. I’ve been doing this long enough to know that many client relationships do not last the long run. Deciding what kind of clients you want to have really helps define the way the industry sees you and how you will see yourself on a day to day basis. Early in my career I would see someone in a show and if I loved their work I’d just go up to them and see if they had a manager and if not, see if they had any interest in meeting. I don’t do that anymore. Instead I do some research. I talk to people I know that have worked with them, maybe a casting director that cast them in something or even a teacher they might have had. To me getting a sense of their personality is important. Talent is everywhere but I’m no longer at a place in my life where I can only approach those who I think are talented. I have a wife and two kids. And I want to maintain a work life balance. For everyone’s sake.

This is obviously such a strange time we are in. On a personal or professional level, what’s been the most challenging part of this pandemic? 

This is such a great question. I think for everyone, feeling useful is necessary to mental health. So the biggest adjustment for me in regards to work is how hard it is to have so little to do. I’ve been touching base with all my clients and making sure they have everything ready for when things to get going again. Whenever that is. 

On a personal level, it’s been hard on my family. My wife’s work actually increased as a result of the pandemic. And with my kids, they both had their schools go to remote learning so I had to really take on the load of homeschooling. 

What do you think has an opportunity to change as a result of this time to reset? 

I think given the current political climate and the rise of the Black Lives Matter movement, I am super excited about what art is generated as a result of the pandemic. 

I think as things ramp up, we will see the rise of self-tape auditions. I love self-tape auditions…I know some actors don’t like them but they are the most efficient way for everyone in the process to see the most people.

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

I think for me the way I judge success has changed over my career. 

Where I’ve landed is this: I want to work with actors I love advocating for and enjoy working with.  Helping actors achieve success through smart decisions is what matters to me. Everything else is gravy.

RAPID FIRE:

Favorite Broadway show: August: Osage County (saw it 7 times with the original cast…flew to Chicago to see it at Steppenwolf)

Favorite Quarantine snack: Cool Ranch Doritos

TV show you binge: Two shows I would recommend to binge would be Unbelievable and Escape at Dannemora. Those were my favorite two limited series of 2019 and 2018.

Podcasts you love: The Lowe Post, Dunc’d On, How Did This Get Made?, No Dunks, The Rewatchables

Religious, Spiritual, or nah?: I’m Roman Catholic. I struggle with it because of my liberal political beliefs, but that’s where I land. Fun fact: There was a short time my senior year of high school that I considered becoming a priest.

Biggest tip for finding representation?: Unrepped actors should do their research on actors they admire. Someone whose career they can model theirs after. And then see who reps them. I’d start there and see what they discover.

2-5 words that describe what inspires you: An honest acting moment.

Most important quality of a good Manager: Ability to listen. (I also think that this is the most important quality of a good client.)

Favorite part about being a Manager: My clients. I really enjoy working with my clients.

Best part about being from Cleveland?: It’s home. I live in Cold Spring NY and love it but part of me will always feel like Cleveland is home.

Biggest beef with the business: Lack of diversity. Whenever I see a show cast someone who is a good Caucasian actor I always wonder, “Did the team really consider a person of color?” And more often than not the answer is no. I think that fundamentally needs to change. 

Social media handles?: 

Personal IG and Twitter @bernardfbunye 

Professional IG and Twitter @forteartistmgmt

Anything you’d like to promote?: 

My best friend Nick Peterka and I started a podcast called You Gotta Check This Out https://anchor.fm/you-gotta. It’s a project he and I came up with. Each podcast is only about 20 minutes long at the most.

My client Molly Camp created this incredible web series called Make America Bake Again. It’s not available yet but I want everyone to look out for it because it’s exceptionally made. 

Everyone should watch Mindhunter on Netflix. My client Joe Tuttle is on it and just does such a gorgeous job with his character’s arc.

Photos:

1. Bernard Bunye

2. Bernard and family

3. Running the Philly Half Marathon 2018

4. Bernard with clients: Nadia Gan and Molly Camp

5. Bernard with client, Gabby Beans at Anatomy of a Suicide Opening

6. Bernard with client, Marina Shay getting in a pre-show boxing workout in Florida

7. Bernard with his daughter at a CAVS game

From Kat: Carly and I’s relationship is as straightforward as a tightly wound spring. The perfect amount of connection, lost connection, and change of trajectory that personifies The Obvious Path. 

Carly blew me away at the first BFA showcase I attended when I was an intern at an agency. She was talented, kind, humble, and joyful. She was brought onboard as I transitioned into a full-time job at a different company. Through the years, Carly, unbeknownst to her, was my metaphor for the client I wanted to work with: Small school grit, motivated, creative. A person I wanted to fight to get in rooms. We hadn’t spoken since I had left my internship, but she was constantly on my mind.

And then she showed up in my Facebook Messenger. A friendly, informed, confident, and personalized message that congratulated me on a new job and invited me to coffee. Coffee turned into a reconnection of working together. More importantly, it turned into a new friendship. Then, Carly told me that her email wasn’t random. Reaching out, a book and philosophy inspired by Molly Beck, had become her new passion. Carly was taking control of her network by methodically reaching out to people on her outer circle, professional connections, and inspirations. It’s a practice that has stuck around, as of TODAY, for one year. This year, Carly has reached out to 261 different people. One of those RO’s, me, helped inspire The Obvious Path. Can you imagine the ripple that has spread to 260 others?

Connection as a passion led to a partnership with the author of Reach Out, Molly Beck, the creation of the company built for connection, Valence and Co., and Carly’s identification as a professional creative. No longer relying on others making decisions, Carly is braving the new world with decision making, inclusion, and creativity. If you’re interested in pivoting, following your passions, or taking control of your moment; here’s your leader.

This is a sentimental feature for us because Carly is a big reason for this blog coming into existence. Carly, can you please introduce yourself to our readers?

WOW. A strangely emotional start. I am writing this from a plane taking me far away from NYC for a while; a place that felt like home to me only after meeting the two of you. 

Hello readers! First let me say, I am grateful to you for reading this. There is a lot to consume out there right now and spending your time reading about my story is remarkable to me. Thank you. If any of this resonates with you, either now or in the future, please reach out. I would really love to hear from you. 

I’m Carly Valancy, I am an artist, the founder of Valence and Co, a company built on/for connection, and I like to identify myself as a professional creative.

SO many topics and questions we want to cover. WOW. You went to school at the University of Northern Colorado and received your BFA in Musical Theatre. You showcased in NY, and then started the NYC journey. How was your first year out of school after showcase? What did you learn during that first year?

I began my first year in NYC like MANY others. I realized I didn’t know anything, I cared way too much about what other people thought of me, I worked jobs I didn’t like, lived out of a suitcase for a bit, lost my monthly metro card RIGHT after I had refilled it, went through a crazy break up. I learned a lot of things VERY quickly: the most important being that NY Pizza Suprema near Penn Station has the best upside-down slice in the city. I learned that the quickness of the city, the industry, and my brain made me feel like I was sprinting in a hamster wheel, constantly burning out but going nowhere. I learned that what I wanted more than anything was balance and I didn’t know where or how to find it.  I learned that I wanted to stop living a life that was about waiting for my life to start. 

You are the Reach Out Queen. Can you talk to us about how you got connected to Molly Beck’s, “Reach Out’ and how reading that book has changed your life? We would love to hear about Valence & Co. as well!

HELL yes I can. So in January 2019, I was in a really unhealthy place mentally, struggling with debilitating anxiety. I found an incredible therapist who suggested that my long list of New Years Resolutions might perpetuate the vicious cycle of stress, worry, and shame I was feeling and asked me to literally rip it up in front of her. She asked me to choose one goal that was in my control and the first thing I thought of was “I want to be a full-time artist by 2020.” I wanted to quit my job as a barista and work in collaborative spaces with creative people. 

Fast forward to July. I had worked two quick regional contracts and gotten my equity card, but was nowhere close to my goal and half the year was already over.

Enter “Reach Out” by Molly Beck. In this book, I felt like Molly was speaking to me directly. As if she was saying, “Carly, you do not have to wait for others to give you opportunities. The things you want are right at the edge of your current network. Literally ALL you have to do is say yes to yourself.” I began reaching out every week day and within 3 months, I had quit my coffee shop job and I was a full time artist, teaching meditation, singing at weddings, and assisting an a woman I met on the SUBWAY at the performing arts library. All three of these jobs came from Reach Outs and I was amazed at how quickly things could happen when I was pursuing action every day. I kept going and going, and when I looked back at 100 days, my entire life looked different. My vicious cycle had turned into a vivacious cycle. As I kept going, I shared my practice with artists, friends, coworkers, literally anyone who would listen, and It began to take a new shape entirely. I became this “connection expert.” People started asking me questions and advice and for the first time in my life, I felt so strangely qualified, which I think is because it’s so EASY for me to talk about. That’s important, I’ve realized, when you’re trying to flesh out an idea… Logistics are always hard, but ideas should be easy. When you strike the right cord with yourself, it feels like melting butter or play-doh or something else that is just “so right.” Creating Valence and Co. came naturally because it gave me the ability to own my IP and have a home for the things I want to create. My obsession with collaboration comes from the theatre industry! All of my favorite scores and reconstructed revivals are built because unique collaborators came together to create something new and that is the most grand vision of success I can imagine. 

You have truly made a path for yourself, which of course we are obsessed with. What was the hardest obstacle you had to face while connecting all the dots? How did you deal with it?

Oof yes. Two things: Decision making and logistics. 

As an actor, I never had to make MAJOR decisions and always relied on the decisions of the casting director, agent, director, etc. I would prepare and do my best, but it was the “people behind the table” that decided whether I booked the job. When I didn’t get the job it was “out of my hands,” and when I did it was “thank god this director saw something in me.” Making decisions has been a huge practice and intense learning curve for me.

LOGISTICS. Beginning a business, creating content, showing up for others includes a lot of logistics that I had never had to think about before. This is true in all new ventures, but constantly leaning into the things I don’t know anything about requires resiliency like I cannot explain. It’s a LOT of asking for help, fucking up, continuing to show up especially on the days I don’t feel like it. Luckily, I have no shame when asking for help, and I have an awesome community of friends and mentors who continue to catch me over and over again. A piece of advice: find a mentor… it will change your life. 

How do you define success?

Showing up, continuously building on my obsessions, getting uncomfortable, and letting serendipity into the room 

We are obviously in a strange time in our world right now. What do you think our industry has the opportunity to change in this time? What do individuals need to be focusing on as they think about “pivoting”?

The opposite of a hierarchy is a network. There is so much possibility to invite all voices to the table. The industries blind spots seem to sit in the inability to take actions that impact the right people. In order for our industry to change, we ALL need to be thinking about what our individual voices sound like and most importantly, we need to be asking better questions. Pivoting is a juicy word because it allows to take responsibility for our own two feet. Whenever you can, focus on possibility. It is easy to get stuck in the enormity and the fear of the unknown, but a lot of the truth in our situations come from the stories we believe to be true. We are storytellers yet we have a lot of trouble telling our own stories… Pivoting feels like a great opportunity to switch that narrative. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

YESSSS. My mountain changes constantly. I actually get worried when it is not changing because that means I have some major blind spots. I often hear from clients that they are disappointed when their goals change because it feels like they’re giving up on dreams. In the practice of tracking my reach outs on an excel spreadsheet, I can literally see the way my goals have evolved on paper. This has been incredibly revealing because it has shown me that even constant changes and opposite ideas are still connected and that it is my ability to connect the dots that allows me to keep moving. 

RAPID FIRE:

Favorite Broadway show: Sunday in the Park with George

Favorite Quarantine snack: Twizzlers have been a constant from start to end. Currently into Peaches though

In 5 years, you will live where?: Denver? London? New York? 

TV show you binge: Schitt’s Creek

Podcasts you love: OH man too many to name… My favs can be found here: https://www.valenceandco.com/resources

Religious, Spiritual, or nah?: Big time spiritual

Biggest tip for a first reach out?: The person on the other side of the computer is a lot like you… you never know what the power of one small message can bring. 

2-5 words describing what inspires you: People in collaboration

Most meaningful “no” that turned into something special: A “no” from MFA programs allowed me to think about the impact I can make without waiting for a “yes.” I wrote a MOTH story about my experience and got to tell it live at a storyslam in NYC.

Favorite part about RO?: The community. It is eclectic, full of inspiring ideas, and humans who want to lift each other up. 

Yes or no… Out of pajamas before noon?: HELL yes. The RO Party starts at 9:27am EDT so I am up and out by 8am. I’m also a morning person.

Biggest beef with the business: The hierarchy, which will hopefully be dismantled and rebuilt from the ground up. I hope to be a part of that change. 

Social media handles?: 

https://www.instagram.com/carlyvalancy/ 

https://www.instagram.com/valenceandco/

People can reach me anytime at carly@valenceandco.com

Anything you’d like to promote?: Cohort 4 starts on Aug 23!!! Anyone who reads this awesome blog would be an incredible addition to our RO family. https://www.valenceandco.com/reachoutparty

From us: We’ve never met Aisha Jackson in person, we just admire her with all of our might. When we had a friend offer us her email address to see if she was interested in being on the blog, we couldn’t help ourselves. Since coming to NYC in 2013, she’s performed on Broadway, Off-Broadway, and regionally. Her Broadway credits include Beautiful: The Carole King Musical, Waitress, and being the first woman of color to perform Anna in Frozen on Broadway. That princess look suits her. She was in rehearsals playing Snow White in Britney Spears’ new Chicago and Broadway bound musical Once Upon a One More Time when COVID-19 shut down the industry. You can understand why we might not think Aisha had time for our little blog.

But, as we came to learn, that’s not who Aisha is. She is gracious with a capital “G”. Her written word is infectiously inspiring, her heart is pure gold, and talent to send you through the rafters. When we imagine what the rebuilt world of theatre looks like, you imagine someone like Aisha leading the way. And we have proof:

She recently participated in #TheaterInColor’s IG video thread revealing her reality as a POC in Theatre, particularly in reference to experience as a standby for Anna in Frozen. And we know the challenge must have been real, because we naively perpetuated that reality. In our original form we sent Aisha pre-Coronavirus, we asked, “what it felt like to play a role she wouldn’t ‘traditionally’ have had the opportunity to play.” 

Even though she had never met us, Aisha graciously omitted the question, answered every other question in breathtaking form, and wrote back explaining why that wording was offensive. That’s grace. In the “Moving Forward” section of her #TheaterInColor post, she challenged storytellers to cast BIPOC artists in the principal roles. Complicated, varied, and 3-Dimensional roles that they’re not only capable of, that they deserve. Above that, show the audience you know that they deserve them. Don’t give them the cover. Give them the role. 

We hope you enjoy Aisha’s wisdom for The Obvious Path- both from the normal of old and the world we’re hoping to reimagine. We’re thrilled you get to experience something that has been so meaningful for us. And, just for the record, if The Obvious Path was a musical: We’re casting Aisha as the lead.

Aisha Jackson. Wow, What an honor it is to have you featured on our blog. Can you please introduce yourself to our readers?

Hey there! Thanks for having me! I’ve lived in New York for six years now, but I am originally from College Park, Georgia. I grew up singing and dancing with my family in church, and I have always had a passion for the arts. After graduating college in 2013, I moved to New York to pursue my dream of performing on Broadway! I had no money, no place to live, and no job lined up. What I did have was about five bags and a lot of faith!! Since moving here in 2013, I’ve done three Broadway shows and have been blessed to have a myriad of opportunities to do what I love. Truly grateful!! 

You went to University of Northern Colorado. What brought you to school there? Positive or negative, how did UNC impact your career?

 When I was a junior in high school, I participated in the main stage production of Hairspray at the International Thespian Festival in Nebraska. Since UNC was the hosting school that year, we rehearsed for weekends at a time on campus. When making my decision for college, I remembered my time at UNC being joyful and welcoming. So, I gave Colorado a try, and I loved it! I never fell in love with the snow though. It’s pretty to look at, but those treks across campus in the snow were no joke! 

I think every college has positives and negatives. It’s definitely what you make it! I am grateful for the lessons I learned at UNC! I felt like I received a well balanced education, and I had my very first voice lesson. I grew tremendously during my years there, and I carry those lessons with me still today. I do believe all college curriculums could stand to be updated. There are countless career opportunities in this industry beyond the stage that aren’t offered as fields of study at most schools. I also believe we need more college professors of color and more teachers and/or guest artists that have worked in the industry. 

What was the most important thing you learned your first few years out of school? 

DO NOT COMPARE YOUR JOURNEY TO OTHERS! There are countless paths to achieving the dream of performing on Broadway. Comparing your path to someone else’s will not help you get there any quicker. We all have unique gifts that only we can bring to the table. I had to trust what I brought to the table and believe that my time to shine would come in due season. 

How do you handle the pressure and rejection this business inevitably brings you?

WOOF! There is a ton of rejection involved in this industry. I think it’s important to have a strong love and passion for performing. Otherwise, you’ll fizzle out during the times of rejection. My remedy is remembering that I want to inspire others by utilizing the gifts God has placed inside of me. I can’t give up if I desire to see that become a reality. I also realized that not booking a job doesn’t mean I suck. Maybe they wanted someone taller or maybe I just wasn’t right for it. Who knows? At the end of the day, I’m still a great performer and my blessing will come when it’s supposed to. What is for me will not pass me by. 

And now the question we ALL want to hear about. At the time of this interview, you are the stand by for Anna in Frozen on Broadway and are the first person of color to portray her. Can you talk us through this journey? Give us all the feelings!

That I am! Stepping into the role of Anna has been a whirlwind. As a standby, which is an offstage cover for a principal role, you don’t really rehearse on your feet until the week after the show officially opens. Swings and standbys report to rehearsal everyday but we are mostly on the sidelines taking copious notes. The main focus is on the cast that will be on every night. 

I was told I would be going on for Anna the day BEFORE the first understudy rehearsal. YEP! Day BEFORE! Thankfully, I had done my homework and was as prepared as I could be. (Plus, we’d already done a full production of Frozen in Denver. I’d rehearsed the Denver version, but the Broadway version was a bit different.) I said prayer, took a deep breath, and trusted my instincts. With help from the dance captain, the ensemble, our wonderful wardrobe team, our magnificent stage management team, and GOD, I stepped onstage and made it happen. On March 28, 2018, I took my very first bow as a principal on Broadway!! I also became the first woman of color to portray Anna on Broadway. (There were already women of color playing the role in the parks.)

Anna has been such a wonderful role to play! She is goofy, unique, quirky, loving, speaks her mind, and is unapologetically herself. Anna and I are alike in many ways, but she’s taught me how to embrace my weirdness more and more! Playing the role of Anna also made me realize how important it is for young men and women of color to see themselves represented onstage. It’s been a pleasure to step into this role and show them that they too can play princesses and princes. My fondest memory from the first week I went on was a woman telling me she overheard a young African American girl in the audience say, “Mommy, she looks like me!” Hearing those words reminded me that it wasn’t about me; it was, and still is, about what God wants to do through me. I’m grateful for the chance to show these beautiful chocolate drops that their possibilities are limitless!! 

How do you define success in this industry?

If I am doing what I love, I am succeeding. Whether it be on a Broadway stage, at an open mic night, or volunteering for career day, I am doing what I love. Success to me is being true to myself, showing up and doing the work, using my gifts to inspire and bring joy, standing up against inequality, and breaking down barriers! Success is what YOU make it! 

Where are you on your mountain?

In the middle somewhere! I never really want to be at the top of my mountain because I feel like there is always more to learn, more to do! I do know I’d like to start a mentorship program for women of color. I am also dreaming of someone writing a show/role just for me. Maybe I’ll do it myself! Who knows?! I do know one thing though! My next Broadway show is happening in a few months! SUPER EXCITED!! 

How has Coronavirus changed your perspective on the business and/or your life?  

This pandemic has actually gifted me with time to connect more with God, my family, and friends. I carve out time daily to pray, worship, meditate, read my bible, and FaceTime my friends and family. Being stuck at home has forced me to find peace and joy in new ways, and it's given me time to develop ideas that I’ve put off. I have wanted to start my own mentorship program for quite some time. So, I’m using this time to connect with young artists and answer their questions about the industry. Broadway is currently shut down, but when it returns I want them to be prepared. I’ve also challenged myself to find more ways to be active in the fight against racism and prejudice that is still very much so alive in our country. And I have been extending grace to myself and to others. We must remember to be kind to ourselves during this strange time. I challenge myself daily to focus on what I DO have and switch my perspective to gratitude. It’s not always an easy shift to make, but it is very beneficial for my mental, spiritual, and emotional health. 

RAPID FIRE:

Favorite Broadway show: It’s a tie between Aida and Memphis! 

TV show you binge: How to Get Away with Murder, Grace and Frankie, Queen Sugar, Handmaid’s Tale

On your commute, I’m listening to ________: Jonathan McReynolds, Emily King, John Legend, Gregory Porter, Lianna Le Havas, Tiana Major9

Religious, Spiritual, or nah?: I have a beautiful relationship with God! 

Former side hustles: Hosting at Jane Restaurant 

One tip for auditioning?: Think of auditioning as an opportunity to do what you love!! Also keep an audition log. Write down who was in the room, what you wore, how you felt about it, what went amazingly well, and how you can improve next time. 

Any bad audition stories?: Uh….I’ve had someone answer a phone call while I was singing for them…

Your first experience performing was _________ : Performing period? In church with my family. Performing in a musical? Once On This island in the sixth grade!

I get inspired when _________: I see young people get excited about the arts. It always reminds me that we have to pave the way for those coming up after us. 

Nobody is talking about _______, but it’s so important because ___________: Police brutality against people of color, but it’s important because it’s inhumane, unacceptable, and could happen to any of us. 

Job you didn’t expect to book: Standby for Anna because my first audition for Frozen was for Elsa! 

Biggest beef with the business: Lack of representation and inclusivity on and off stage 

Favorite thing about the business: Connecting with the audience after the show! The power that theatre has to change people and open their minds.  

Social media handles?: Instagram: @gifted2sing Twitter: @starringaisha (My siblings made my twitter page for me…I should change that name soon) 

Anything you’d like to promote?: Be on the lookout for my mentorship program. Challenging myself to start one this year for young women of color to connect with other women of color succeeding in their industry. I want to show them that they’re possibilities are limitless! 

Photo Credits: Photo 6 and 7: Janie Willison

From Peter: It’s possible that we’re riding high from the release of the Hamilfilm last Friday, but when it came to featuring Cherry Torres and Alexander Ferguson- there’s no way we would’ve “[Said] No to this”. We met them at separate moments on Disney Cruise Line years ago and, to our delight, they both worked their way onto the Hamilton Angelica Tour in 2018. They each had their work cut out for them, performing and covering all of the leads within the show. Yet, when you read what it took to get there, you’ll understand how they’re able to make the performing part look easy.

We never got to perform with either of them, but, luckily, talent and kindness stick with you. It’s been a joy to watch them achieve their dreams via social media. It’s even better when you realize they’ve started dating! When good people find good people, and do good things- it’s just all good.

Alex and Cherry filled out a feature for us in March right before Alex was scheduled to leave the tour. As the world shut down, we put their features on hold. They were generous enough to fill out a Corona Coping for us at the end of May and were able to share some early thoughts on the importance of continuing creating, addressing our flaws during quarantine, and racism. We HEAVILY encourage you to follow them on Instagram for a continuation of those thoughts, pictures of their time performing together, and opportunities to train with them. Cherry and Alex are the kind of people that excite us for the future of theatre, a feeling we don’t always have in spades. We hope they do the same for you.

Cherry, Our favorite Disney employee turned Peglizica (Are we cool? Did we even get that Hamilton term right??) and Alexander Ferguson, the most perfect name for a Hamilton company member! Would you please introduce yourselves to our readers? 

Cherry: Hahaha you nailed it. I love smushing words together so that was just my poor attempt at it. (insert crying laughing emoji) Hiii guys!  My name is Cherry Torres and I’m currently the Schuyler Sister and W5 cover with the Angelica tour of Hamilton the musical. I was born and raised in San Juan, Puerto Rico and moved to south Florida when I was around 12. Thanks to my mother being a background singer and my father being a sound engineer as well as growing up surrounded by musicians I developed a love for music very early on. Growing up my cousins and I would play West side story pretty non-stop until we could reenact full scenes from the movie. We would bring skirts, fight over who would get to play Maria and Anita, and learn the choreo for hours upon hours. About a year later I auditioned and began rehearsing for my middle school's 8th grade production of “South Pacific”. I remember my mother picked me up from school at around 10pm from a tech week rehearsal. I was exhausted, delirious, and had bruises on my legs and that was the moment I looked at my mom and told her that I knew I’d want to do theater for as long as I could. My mom laughed at me for saying it that night, mostly because I was half asleep, but here I am still doing it! Haha. 

Alexander: I am from Winter Park, Florida. I’m a martial arts and ballet kid who turned to musical theatre. I love movies and Batman. 

Cherry, You attended Berklee College of Music. Did you showcase out of school? How did you find your representation? 

Cherry: Actually I didn’t. It took me a few years to find representation. It wasn’t until my first Disney Cruise Line contract when I was around 25, that a friend referred me to their manager that I was represented for the first time. 

Alexander, What made you choose AMDA (the American Musical and Dramatic Academy)... Being in NYC, what the school gave you, or both? Ultimately, what was the most impactful thing AMDA did for you? 

Alexander: AMDA was great for getting an education in the field, without feeling tied down for four years. And certainly not bogged down by homework. The student atmosphere is sort of dog eat dog, so I enjoyed the comparison it has to auditioning in general. 

Cherry, You’ve had such a methodical rise in your career- starting on cruise ships, playing leads regionally and now touring in Hamilton. From an outside view, those seem like smooth transitions. Did it feel that way?

Cherry: Thank you so much! Actually I used to feel very much like a late bloomer, but I am so thankful for the way things have happened. I was able to travel the world doing ships when I was younger, have gotten to experience the New York audition hustle, and got to work with some insanely talented people doing some of my favorite shows. It’s made me so appreciative of all of those experiences and the lessons they’ve taught me. I would be lying, though, if I said that at the time it didn’t feel like starting over after every job. Hahaha. Because of the nature of our career it honestly did not feel very methodical. One job would end and I’d be crossing my fingers and praying for the next opportunity to present itself. I’m insanely thankful that the last time an opportunity presented itself it turned out to be my dream show, which I feel so insanely lucky to be a part of, but I’m certain when I find myself between shows again I’ll still be crossing my fingers and praying for the next opportunity. 

Was there ever a time where you thought about leaving the business? If so, how did you get through that time?

Cherry: Yes, after my last cruise ship when I moved back to New York. I decided to settle down and give the NYC hustle and auditioning a true chance. That transition was quite rough since I’d gone from being able to survive through singing for 4 years to  babysitting, serving, and doing any catering job I could squeeze in until about 2am to be able to pay my rent, student loans, and bills. On top of that I was waking up at 4 and 5am to attend open calls and trying to schedule my managers appointments while working. It was an insanely difficult time in my life but I’m so freaking grateful for it. Because it truly tested me and helped me learn the importance of perseverance and the value of hard work. I think one of the things that helped me through it  was doing my best to make auditioning and performing anyway I could a priority. Even if it was difficult financially sometimes, singing in an audition helped me feel inspired, and finding a show or cabaret I could afford would remind me why I’m doing what I’m doing in the first place. Another huge huge help for me was meditating and visualizing my goals every time I went to bed or felt down. It truly kept me sane and helped keep me focus on what I was working towards. 

Did you ever feel lost in the audition grind of NYC?

Alexander: I did at times, but this was mostly because I was sticking to gigs I knew. Companies that I had already worked for, and I would reach out in search of more work. May not be the dream, but it pays the bills and you have to keep the lights on. 

What’s something you wish you knew sooner?

Cherry: I wish I would’ve known that believing and loving yourself is crucial and that comparing yourself to peers and friends will do you no good in this industry. It’s a hard thing not to do in an industry where we essentially are our own “package”, but truly no one can be better at being yourself than you. If a gig is meant for you no one in that audition room will book it but you. 

Hamilton. Let’s talk about it. From the audition, to your first production tour, to your fellow company members, to the dancing, to all of the MANY parts you cover (Hamilton, Burr, Laurens/Philip, AND King George). What is the most memorable part of this experience? 

Alexander: It’s taught me that talent has many shapes and sizes. I have gone back and forth with confidence during my entire time here. The biggest thing I am learn-ING: believe in yourself, unapologetically. 

On your Instagram, you say you’re Puerto Rican De Corazón (From the heart). How does it impact who you are as an artist and person? 

Cherry: Oh it impacts everything I do. I come from a tiny island filled with some of the happiest, most hard working, resilient, uplifting, jovial, music loving people. Being Puerto Rican has given me the love of music and art that I carry so close to my heart. It gives me such fervent pride to carry that flag everywhere I go!  

What is something that you’d wish you had known or wish you had done earlier in your career? 

Alexander: Nothing. We are where we are meant to be and we learn along the way.

Where are you on your mountain?

Cherry: I’d say I’m still climbing, still moving onward. The work never quite stops in my eyes. It doesn’t feel like my peak, but it’s nice once in a while to look back and see growth. Especially in an industry where we’re continually starting over.

Alexander: I’m looking up, very determined. Fully aware of the summit ahead. 

RAPID FIRE:

Favorite Broadway show: 

C: In The Heights

A: Sweeney Todd

TV show you binge: 

C: “The Office” currently. “Naked and Afraid” and “Master Chef”

A: Lost

Podcasts?: 

C: Serial and Spooked

A: The Grandma’s Virginity Podcast 

Religious, Spiritual, or nah?: 

C: I grew up Christian and still uphold some of those values, but consider myself spiritual. 

A: Nature is cool. 

Favorite role you cover in Hamilton?: 

C: Eliza is definitely my favorite although I love singing “Say no to this”.

A: Aaron Burr

Former side hustles: 

C: Serving, babysitting, dog walking, catering...haha you name it! 

A: Vocal Coaching 

One tip for auditioning?: 

C: Prepare, perform and let it gooo haha 

A: Know your damn song/sides! 

Any bad audition stories?: 

C: I haven’t fallen on my butt yet *knock on wood* but when I walked into my first final call back with Hamilton and saw Alex Lacamoire and Tommy Kail I pretty much went on panic mode. I was shaking through my entire audition, visibly shaking haha. The only other time I’ve been that scared was my first NyC audition...thankfully they gave me one more chance! Haha  

A: Not really, but I hate pianists who ignore your tempo. 

First play/musical you ever did: 

C: South Pacific in 8th grade 

A: Tateh (Ragtime) 

Best part of dating, ex-mouse employee and fellow Hamilton company member, Alexander Ferguson:  

C: Oh there are far too many things haha! He has a huge heart, which I love.  He makes me laugh all the time and I can be my weirdest self around him. Also he is someone who is passionate about creating, and actually puts his ideas into motion. And I absolutely love that about him. He’s pretty wonderful.  

Best part of dating, ex-mouse employee and fellow Hamilton company member, Cherry Torres: 

A: She’s become the support system I didn’t know I could have. 

Cherry, Nobody is talking about gender inequality in Musical Theater, but it’s so important because there are so many insanely talented women who are either not getting compensated nearly enough or simply not getting their chance to shine. I’d love to see a world in which female actors, directors, writers, composers, musicians, producers, stage hands, and stage managers are equally as recognized and compensated as their male counterparts. It’s something that as women and especially women of color we don’t speak out about nearly enough and the more we unite and make it a conversation the more we can take steps to end it. 

Any good at impressions and/or have funny puns to tell us?: 

A: BOTH?!??? GAH 

Job you didn’t expect to book: 

A: Hamilton! 

Biggest beef with the business: 

C: gender inequality and beauty standards. 

A: Jukebox Musicals!

Favorite thing about the business: 

C: The fact that we get to go on stage with our friends and peers and sing, dance, and tell a story for 2-3 hours knowing that we’ll get to put a smile on at least one person's face is pretty awesome. 

A: Seeing new works 

Social media handles?: 

Insta: @cherrytorres

Twitter: @cherrytorres

FB: @cherrytorresmusic

IG: @fergusonbatman 

Anything you’d like to promote: 

A: @civilants @stringofconsciousness My animated series and film production studio. 

CORONA COPING

What were you looking forward to that you lost because of COVID-19?

Cherry: I think the biggest loss has been my job. I miss Hamilton, I miss being on stage, and getting to see my friends and coworkers every day. It sucks! We were also supposed to go on vacation about a week after quarantine started. It would've been our first planned vacation, sadly that didn’t happen haha. 

Alexander: This summer I had planned to make a new short film and had to pause, due to the unfortunate circumstances. 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through? 

Cherry: Honestly Alex has been a huge part for me getting through this time. He’s been a constant support on those days where anxiety feels unbearable. He’s  a pretty awesome quarantine buddy. His cooking skills don’t hurt too! Haha! Also, painting and some impromptu singing sessions have proven to be a super therapeutic hobby. 

Alexander: Right now? Solar Opposites on HULU.

What do you think has an opportunity to change as a result of this time to reset? 

Cherry: As difficult as this time has been it has been just that a reset and it’s opened so many doors for new skills and new hobbies to be developed, for art to be created, for much needed self reflection, and for healing among other things. It has also been pretty beautiful seeing the wonderful effects it’s had in nature all around the world. For me personally it’s pushed me to make time to practice and rehearse. It's been both therapeutic and fun to lock myself in a room and warm up my body and voice and just sing songs I’ve been working on or sing through Hamilton. 

Alexander: The way we better ourselves. During this quarantine, we are trapped with our flaws and our insecurities. This is the time to address those issues head on, because when we come out of this...the human collective will be better off for it.

Anything else you'd like our readers to know during this time?

Cherry: This has been a hard time for everyone, but the black and Latino communities as well as the elderly have been hit especially hard.  So know that it’s not just about you and me...practice kindness, be considerate, stay inside and don’t stop creating! Art is not done. I’m so proud to be part of a community that is so resilient and willing to adapt their art form to suit any circumstance. It’s been a joy to see people create youtube musicals, sing, dance, teach! We’re in this together! 

Alexander: I went two days with no shower and wanted to die. 

Quarantine Quickly:

Favorite snack: 

C:  I’m not a huge snacker, but Alex’s spaghetti carbonara is it! (insert laughing crying Emoji here)

A: Honeybuns

Home workout routine (you know, if you're into that): 

C: running and shout out to B2 PT who have given structure to my workouts, and their workouts come from a physical therapy perspective, which is awesome. (Haha shameless plug for them cuz they’ve been life savers haha) 

A: EEEEK

What are you watching: 

C: Welp, I finished my 3rd watch through of the office, so we’ve moved on to “Rick and Morty” and “Naked and afraid XL” haha

A: Shivering Truth, Rick & Morty, Cowboy Beebop, Iron Chef ReRuns

 What you are reading: 

C: online articles mostly and we’re starting to reread Harry Potter. Cuz, why not?

A: Articles on racism and Food recipes

Yes or no… Out of pajamas before noon?: 

C: Never haha! Pjs into workout clothes and back to pjs haha 

A: HARD NO

We’ve been quiet for a good while on our website and we appreciate you sticking with us. A lot of it was for very good reason. Some of it was just being overwhelmed with the emotional barrage 2020 has brought along with it. We remain convinced, however, that 2020 is a year for good. A purging of sorts. Namely, the imperative riddance of white supremacy in our society, business structures, and theatrical community.

Kat and I have been working on what this moment feels like as a white person. There are probably better ones out there, but this is what our tiny brains have been able to articulate:

We’re in a long line at the airport, waiting to go through security. The TSA agent, since we arrived in line, has been loudly and consistently calling their commands. 

“Any object larger than an iPhone out of your bag.”

“Shoes on the X-ray belt.”

“All jackets and large jewelry off and in a bin.”

We’ve been in line for a long time. We’ve been able to hear what the TSA agent has been saying with increasing clarity as we make our way through the line. We’re comforted, though, that they aren’t talking to us. They’re talking to clueless people directly in front of them. We don’t know what to do either, but we’re positive we’ll figure it out by the time our moment arrives.

2020 has shoved us right up to the front of the line and we’re massively unprepared. I’ve put my shoes in a bin, distractedly left my laptop in my backpack, and while I’m fumbling for my belt, I lock eyes with the TSA agent. Embarrassed by my unpreparedness, I look back and admit: 

“I haven’t been listening. I could hear you, but I wasn’t listening. Or I wasn’t taking the time to grasp what you were saying… I thought you were talking to someone else.” 

The TSA agent is exhausted, disappointed, and frustrated. But still has to help me through this moment. 

We spent the month of June showing our solidarity with the TSA agent. We vowed never to forget TSA security procedures again, posted “10 Ways to be a TSA ally” on social media, and now stand in disbelief that other people still don’t know the rules. 

But the TSA agent isn’t surprised. It’s always been like this. Despite this moment of change, they don’t have much hope. The TSA agent knows we lean on them only in the moments we need them. Then, we walk to the other side, forget what we learned, and go back to dealing with our own baggage.

---------------------------------

My [Peter’s] parents are both marriage therapists. They are quick to point out how easy it is to want your partner to change. They see people every day that want their partner to change. But when it’s you that needs changing? It’s not the magic secret people want. 

I’ll tell you the secret I’ve picked up from my years being the child of therapists: it’s always you that needs changing. There are many circumstances that make our lives harder, our relationships more difficult, and give us reasons for behaving recklessly. But we (us, yes “us”. Us liberal, well-meaning, semi-annual donating, but ‘quiet when it really matters’ white people) have to change in this process. 

Kat and I have actively been attending what Code Switch’s Shereen Marisol Meraji and Gene Demby would call “The gym at New Year’s: For Racism.” We’re doing our reading, watching our documentaries, and are using our podcast time much differently. And here are the early results: 

The fulcrum of Kat and I’s careers is white supremacy. We knew that somewhere deep down, but hadn’t fully reckoned with it’s power. 

Kat’s transition into agenting is pretty inspiring: A 28-year-old former actress getting a miracle internship that opened the doors to her new career. It doesn't happen if she’s Black. If by some miracle an internship happened, would she have had enough money saved up from her Disney princess days to not work for 3 months? Then, would the door open the 2 other times she’s been offered a job since? In every situation Kat has worked hard. In every situation, however, Kat has also had the advantage.

My involvement is more painful to root through. I grew up in segregated towns in Texas. I played parts outside my race once in my amateur performing days and once in college. I either didn’t understand it was a big deal or didn’t feel comfortable challenging the power dynamic of the decision maker. As if it were my feelings that mattered. I have, I feel, an appropriate amount of shame for those instances. What I haven’t had enough shame for is how I have accepted the elevation of white supremacy disguised as an elevation of my talent. In every situation, on stage and off, I’ve had the advantage.

After two weeks of Facebook fights with relatives, retweeting Trump’s insanity, and feeling better ordering unread books, we’ve come to accept that it’s us. We’re the problem. And our mentality has shifted dramatically in the weeks that we’ve come to accept that.

The good news is we believe The Obvious Path was built for this. We’re a blog about overcoming obstacles, obsolete business practices, and face-value judgments. We’re simultaneously aware that we will continue to mess this up. We remain committed, however, to letting authentic voices speak out on our website. Voices that will undoubtedly aid our education, continue to inspire many people across the country and, ultimately, make the blog a source for good. As always, we’re nothing without the people who contribute to this blog. We’re excited to get back to doing that.

We’re going to ask questions a little more plainly in our upcoming interviews. We’re going to be reaching outside our comfort zones to get the blog more voices that we don’t currently know. And, in the midst of this pandemic, we’re still going to ask regular questions about people’s paths. We believe that learning from our past helps us build a better future. We believe dreaming about our futures can keep us going today.

We’ve got a lot to learn and a lot to build. We’re excited to dream along with you.

From Kat: Tina is one of those people who, even if you just met, make you feel like an old friend. She is empathetic, hilarious, and talented to boot (Shameless plug for her Quaran-tunes with Tina on her IG). She's special. Every time I'm with her, I laugh, cry, and dream more. We were lucky enough to get to work alongside Tina at Disney Cruise Line where she became a permanent part of our story as she helped out with Peter's proposal. 

Since then, Tina has carved out a path for herself. Actor, Managing Director, Associate Producer, Stage Manager, Make-Up Artist... just to name a few of her business titles. Tina's life is one of hard work, but one we all dream of. She has managed to continue doing what she loves all while adding skill sets to become her badass multi-hyphenate artistic professional self. We are inspired and thrilled to introduce you to our dear friend, Tina. 

What were you looking forward to that you lost because of COVID-19?

Oh, man!  I was so looking forward to all of my new makeup clients I had lined up who were getting new headshots taken! But I think even more disappointing than that, I had been cast as a swing in Out of the Box Theatrics Off-Broadway revival of the musical “Baby” this spring.  My contract was supposed to start April 21st. :( 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

Daily snap chats with my mom and sister and the Joni Mitchell radio station on apple music.

What do you think has an opportunity to change as a result of this time to reset?

I think there is an opportunity to change our mindset when it comes to realizing how important the arts are in our society.  Right now, we are relying so heavily on music, television, painting, writing...as therapy to get through this time. Even the puzzles we do to pass the time - an artist created the picture you are putting together!  We are realizing how vital the arts are to sustain our mental health and I believe we will see a second Renaissance when we come out on the other side of this.

Anything else you'd like our readers to know during this time?

If your apple watch tells you to stand up or move more - that’s harassment.

Quarantine Quickly:

Favorite snack: bourbon

Home workout routine (you know, if you're into that): OrangeTheory Fitness at home (free on youtube!)

What are you watching: Little Fires Everywhere and Mrs. America

What you are reading: Toil and Trouble by Augusten Burroughs

Yes or no… Out of pajamas before noon?: absolutely not

Photo by: Michael Kushner

From Peter: Before you ask; no. As close as our last names are, there's no relation. When we met Caitlin at Texas Shakespeare Festival nearly five years ago, however, she was so wonderful in every way; she simply had to have been a long lost sister.

Since that time, Caitlin completed her Master's in the UK at the London Academy of Music and Dramatic Art and acted all over the world. Recently, she's completed her first year as a professor of theatre studies at Emory University in Atlanta where Coronavirus canceled her directorial debut. Yet, we have much to learn from this actor, writer, teacher, and yogi extraordinaire. Reconnect, reassess, and lead with gratitude. It's always nice to have the guidance of family. Enjoy our long lost sister!

What were you looking forward to that you lost because of COVID-19?

I was looking forward to my writing and directorial debut of a site-specific show I was developing for Theater Emory (the producing extension of Emory University’s Theater Studies program, where I’m a first year professor). It was a piece I had written specifically for the student cast of 7 women, from concept and beginning of design interpretations it was about a year in the making. The opening night would have been April 2nd. I was also looking forward to seeing the scene work my acting students were beginning to develop! I had a wonderful group of students this semester and their ensemble energy was so lovely, I’m a big fan of all my students- but this group was extra special. 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I’m lucky to have a lot of somethings… going on long walks with my husband and dog (with the occasional evening cocktail) daily has really been a treat. Atlanta in spring time is beyond amazing so working in my yard and spending time getting my hands dirty has given me a lot of peace (and projects). Reconnecting with fellow theater artists has been immensely helpful on the days where i’m in a funk... fresh out of college I was part of an artist collective that used to produce work monthly and share it online and we have recently reconnected (8 of us spanning from Hawaii to Austria) and are creating work on a weekly basis on www.morningtomorning.net. 

What do you think has an opportunity to change as a result of this time to reset? 

The Planet! I feel so much hope from learning about the environmental benefits of people staying in one place. I also hope people realize how much they have turned to the arts in these crazy times, and continue to show the support by showing up to theaters, concerts, and galleries when we’re able to again. Last but not least, I’m hopeful that we see/feel the benefits of slowing down… I am guilty of saying yes to most opportunities that come my way and it often results in an absolutely maddening schedule. This time has really allowed me to reassess my process and priorities. 

Anything else you'd like our readers to know during this time?

Just that now is an opportunity to show kindness, with each other and ourselves. As an actor there is this constant hustle voice in the back of my head and I have fully told it to shut up- that now is not a time to be perfecting my craft, or rock hard abs, or write that play- but instead I can turn up the volume on my voices of kindness, gratitude, and patience… which are so valuable and not often applauded in this industry. 

Quarantine Quickly:

Favorite snack: Apples and Peanut butter!

Home workout routine (you know, if you're into that): I used to be a yoga teacher, so it’s been fun reconnecting with friends and family teaching classes through zoom!

What are you watching: well, I got through tiger king at an alarming rate. So I’ve turned the corner and am watching The Watchmen on HBO.

What you are reading: The Overstory by Richard Powers

Yes or no… Out of pajamas before noon?: Out of pajamas and into yoga/gardening clothes!

From Peter: Cameron was one of my first “real life” industry friends. We met on Disney Cruise Line where, fun fact, Cameron took the lead on choreographing a cast-wide flash mob for me to propose to Kat. He holds a special place in our story.

Aside from that obvious bias, Cameron is that person in your cast that keeps you together. His spirit, humor, kindness, and talent provides the energy that keeps you focused on performing your best and having fun doing it. We knew he was destined for our industry's biggest things.

And that's what he and his equally wonderful boyfriend, Stephen, are doing. When you were both working on National Tours of the highest caliber, Stephen as Evan in Dear Evan Hansen and Cameron dancing on 0 in the ensemble of Aladdin, you're living the dreams of so many of us. But that comes along with extremely hard work, long distance communication, and a global pandemic to put it all in check. We talked to Stephen and Cameron while they were still on the road pre-Coronavirus, but they've graciously given us an update of what's going on now (Hint: it's a CUTE puppy). We're thankful for the wisdom from their incredible careers and even more thankful for their friendship.

Cameron and Stephen- Instagram’s most photogenic and talented couple! Can you introduce yourselves?

Cameron: I’m Cameron Hobbs. I’m originally from New Albany, IN and I was recently in the Ensemble/Babkak understudy on the National Tour of Aladdin 

Stephen: I’m Stephen Christopher Anthony, I’m from Miami, Florida. I play Evan in the Dear Evan Hansen National Tour.  

Stephen, you went to Florida State (so you’re a Seminole) and Cameron you went to Otterbein (so you’re an… otter?) Can you talk about how you found those schools and how they impacted your career? 

Cameron: Yes, I am a 2012 graduate of Otterbein University with a BFA in Musical Theatre with a Dance Minor! I found Otterbein, a small Liberal Arts college in Westerville, Ohio, through the help of my high school theater director, David Longest. His daughter, Claire, was three years older than me and attended Otterbein for Musical Theatre. I loved my time at the Bein! I don’t want to say I was untalented before I went to college, but let’s just say… I wasn’t great! They definitely helped shape me into the performer I am today. One of the many amazing things they offer for students, is their internship program. The second semester of your senior year, you are sent to New York City to work for a casting agency. As a casting intern, you get to sit in on auditions, dance calls, callbacks, production meetings, etc. It is not only a great tool to get acclimated to the do’s and don’ts of theater in New York City, but allows you to also familiarize yourself with the city of New York! Truly invaluable. 

Stephen: FSU’s MT program only admits about 10 students a year, so you’re getting a lot of individual attention, which is amazing. FSU also made me a forever-student. I’m almost two years into my work with Evan now and I will still (hopefully) surprise myself and learn something new onstage tonight. 

You both have these parallel interests that we now would call ‘special skills’. Cameron, you tumble and, Stephen, you play piano and guitar. What’s the balance of pursuing artistic interest and feeling pressure to fulfill ever-growing audition needs?

Cameron: I have been tumbling since a very young age, which I am grateful for. It is a special skill that has definitely helped my success. Because of that, I don’t think I felt the pressure to fulfill the ever-growing audition need, because tons of musicals love to have tumbling in them. BUT, check back with me in a few years when I’m too old to tumble and I have to find a new special skill. 

Stephen: It’s pretty wild, you can hardly go to an audition these days unless you’re an acrobat who plays five instruments. My advice: just do what makes you happy, and stay curious! If the thought of learning an instrument makes you absolutely miserable, then you don’t need that job. But it is important to find your own ways to feel stimulated and fulfilled outside of the theatre, that will only make your work better. 

Was there ever a moment where you felt like giving up? What did you do to get through that time?

Cameron: I think working in such a competitive field, I crave sustainability. So I’m not sure I ever thought about giving up, but I was once presented a job opportunity on the “other side of the table,” that I took. In 2015, I was offered a job as an office assistant for the producers of Beautiful: The Carole King Musical. At the time, I was between jobs and not sure of my next step, so I thought I would give it a year. I was extremely grateful for the job, but I missed the performing aspect of theatre. I have been fortunate to have been working pretty consistently as a performer since that time, but it was an eye-opening experience to see theatre from that angle and all that goes into producing a Broadway musical. 

Stephen: I had an injury during a show a few years ago that I was really scared to come back from. I actually started studying to go back to school! And of course that’s right around when my agents called with an audition for DEH. I think the lesson there was remembering I have value as a human that has nothing to do with singing a song or acting a scene. That freed me up to enjoy doing my work again. 

You’re both involved in iconic and long-running shows. Cameron, Coronavirus ended your time with Aladdin just shy of one year and, Stephen, you’ve been with DEH for nearly 2. What do you think you’ll remember most about being a part of your particular show?

Cameron: Being a Disney show, Aladdin already comes with an enormous amount of pride, but I think what I’ll remember most is being part of this giant family. After 6 years on Broadway and 5 companies world wide, Aladdin has employed hundreds and hundreds of people. Just like in theatre, everyone knows everyone in this family and it’s very cool to be a part of the legacy that is Aladdin. 

Stephen: I will never ever get over our audiences, our “fansens.” There is such a deep love and connection to this piece. It’s not often you get to be a part of something that feels so immediately impactful.

Other than 5 magical, or rather normal, weeks in Washington D.C., you've spent a good deal of your relationship long-distance. What’s the key to supporting your partner from afar?

Cameron: Being away from each other is not easy. Long distance is not easy. If your partner is sick or upset when you’re in the same city, you go grab them soup or lift their spirits with a date night. You can’t do that on the road. You got FaceTime. Haha! 

But, you have to listen with an open heart and communicate what it is you need in each exact moment. This is something that we have learned and are still learning everyday. TRANSPARENCY! At the end of the day, we want the same thing: to be happy and make the other one happy. 

Stephen: We understand that we’re both in the thick of a difficult thing— touring can be crazy and unpredictable at times. And when things get tough, we don’t have the benefit of sitting in the same room, which I think has actually helped us to grow. Since you can’t just give your partner a hug, all that you have is your words, and so our communication is stronger than ever. 

Where are you on your mountain?

Cameron: What a difficult question! I think my mountain is a cluster of mountains. Maybe 4 or 5 mountains all close together. And after I reach the top of one mountain, I start to set my sights on the next. Because, I don’t want to diminish the joy and pride I felt achieving the goals I had once set for myself, such as Disney Cruise Line and a 1st National Tour! But I achieved those and now I’m onto other peaks.  

Stephen: I’m just taking one day at a time and enjoying the hike!! 

How has corona changed your view of the business and/or your life?

Quarantine has made it super clear how badly we need and crave human interaction. In difficult times, I think art becomes more important than ever, both for its escapism and as a means for reflection. 

Personally, quarantine forced us to take care of ourselves  and our relationship without any outside distractions. Our relationship has changed drastically. We went from seeing each other for two days every couple months, to not being able to leave each other’s side for the foreseeable future.  It’s been a learning curve, but also a blessing. We also got a dog, August. He is perfect and difficult and a welcomed challenge. Our time has been filled with learning and teaching not only our dog, but ourselves.

Professionally, quarantine has also made us really appreciate our jobs and miss all of the stress and hard work that goes into the career and lives we have chosen. 

RAPID FIRE from Cameron:

Favorite Broadway show: Thoroughly Modern Millie 

Binge tv show: Law and Order: SVU and Golden Girls! 

First time on stage: 2nd grade as a “non-dancing” Lostboy in Peter Pan. 

On travel days, I pass the time by: EATING!

Religious, Spiritual, or nah?: Spiritual 

Who likes Domino’s more?: Cameron. Phillip. Hobbs. 

Former side hustles: Soulcycle and Photobooth operator. 

Any bad audition stories?: Do you have all day?!

What’s the thing you wish you would’ve learned earlier?: That you define your own success! 

Job you didn’t expect to book: Aladdin

Biggest beef with the business: Never knowing “what’s next?” 

Favorite thing about the business: The people! 

Anything you’d like to promote?: New puppy, August! 

Photo Credits:

Photo 3: Matthew Murphy

Photo 4: Deen van Meer 

From Peter: Scott held the dressing room station next to mine for nine beautiful and exhausting months on Disney Cruise Line. He has a smile to brighten the room, one of the best listening ears I’ve ever encountered, and a new angle to attack any problem. To this day, I am still impressed by Scott’s positivity, practicality, and ingenuity when it came to this career. 

In a world where most young artists convince themselves it’s “New York, LA, or Bust”, Scott has made his home in the Bay Area nearly all of his professional career. And it’s been an illustrious career at that. Whether getting his Equity card performing alongside James Monroe Iglehart in Big River, countless Silicon Valley industrials and commercials, or a twelve-year stint at San Francisco’s iconic Beach Blanket Babylon, Scott is daily proof you don’t have to be in the biggest markets to realize your dreams. 

We talked to Scott in the early part of this year before Coronavirus shut down the business. To aid the feature he had already completed, he graciously answered our Corona Coping questions as well. And, just as we expected, Scott is managing his business, attitude, and innovation way better than the average bear. If you’re interested in life outside of big markets, how to pursue goals outside of the theatre, or a good long breath of optimism and creativity: Scott’s your guy.

Scott- I met you as you played (were friends with?) the boy who never grew up. For our readers that never saw you fly (or wear tights!), can you introduce yourself?

My name is Scott Reardon, and I am born and raised in the San Francisco/Bay Area.  In the summer after 8th grade, a friend coeerced me into auditioning for a children’s production of Grease because they were in desparate need of boys.  I was always someone who enjoyed singing and was an extremely imaginative player, but I had never participated in any formal arts endeavor.  I ended up being cast as Teen Angel and Doody.  Needless to say, it was a blast and it was the beginning of my love/passion for all things entertainmnet.  My first job was actually for Nickelodeon/Paramount at their theme park, Great America.  I worked as a performer bringing the show “Slime Time” to a live audience and also bringing a Blue’s Clues experience/meet-and-greet to guests as Blue’s Friend Scott.  Along the road, I earned my Bachelor’s in Drama, Master’s in Education, Teaching Credential, and have performed across the country at regional theatres including: Tony Award Winning Utah Shakespeare Festival, Tony Award Winning TheatreWorks of Silicon Valley, Disney Cruise Line, Musical Theatre West, PCPA Theatrefest, Oregon Cabaret Theatre, Utah Festival Opera and Musical Theatre, San Francisco Symphony, and 12 years with Steve Silver’s Beach Blanket Babylon.  I have also appeared in spots for Visa, Samsung, Garmin, Dell, HP, LG, Logitech, United Airlines, LinkedIn, Oracle, etc.

What led you to UC Irvine? How did going to school there impact your career?

My college choice expreience was interesting.  I was a good student in High School with a 3.92 GPA and tons of extra-curriculars.  I shot for the moon when applying to about 12 different universities, knowing some were out of my reach be it financially or academically.  My acceptance/choice list narrowed down to three Univeristy of California schools, UC Berkely, UC Santa Barbara, UC Irvine.  Though UC Berkeley offered prestige, I knew I needed to move away from home (Bay Area) to have my own expriences and develop as an adult.  I visited UC Santa Barbara, and it just wasn’t a fit for me.  You had to participate in general classes for the first year and then audition for their Drama program in year 2.  Well, me being an extreme pragmatist, I didn’t want to hedge any bets.  What if I didn’t get in during year 2?  I would have just wasted so much time and energy.  Then I visited UC Irvine, and I kid you not, it was as if the heavens opened during my campus visit.  It was a campus that was beautiful, bustling, and there were so many offerings at the School of the Arts; you just had to take advantage.  I consistently says that attending UC Irvine was one of the best decisions of my life, and I believe it led me to where I am today.  UC Irvine required all drama majors to participate and take classes in every aspect of production.  You were not allowed to just “be a performer.”  I took lighting design, costume design, set design, shop construction, running crew (tech), and performed in my years there.  Their goal was to instill a love of theatre and a respect for everyone who has a hand in creating the finished product.  My education set me up for success around the country, where humble gratitude, understanding, and respect take you so much farther than platitudes of grandeur and ego.

You’ve worked in the LA market since graduating, but what led you to make your home base back in the Bay Area?

I moved to Los Angeles right after college.  I always had a feeling NYC wasn’t the right fit for me.  Don’t get me wrong, I love NYC, I just couldn’t live the hustle lifestyle day in and day out.  To this day I always say I will go to NYC if something takes me there.  Los Angeles was the mecca for entertainment.  I began extra work for TV Shows and Movies, and I used this as a crash course in understanding the Film/Television industry.  Though you can take classes/workshops, I truly feel there is no better education for on-camera work than actually being on-camera and in the environment.  I would always be aware of what was happening around me and the terms that were being used (two-shot, master, apple, martini, etc.).  I would study/examine Matthew Perry, Sarah Paulson, James Woods, and Kirsten Dunst, as I was standing feet from them while the cameras were rolling.  In the end, however, I was called away from Los Angeles for theatre opportunities time and time again.  I think out of the 9 years my belongings lived in Los Angeles, I was only physically present there for 2 years.  During my visit to family and friends in the Bay Area after a regional theatre contract, my UC Irvine pal told me they were having auditons while I was in town for a show she had been doing for several years and that I needed to go.  The show was Beach Blanket Babylon, a musical review that opened in 1974, and holds the world record for the longest running musical-review in the world.  I auditioned, got a swing/understudy contract, and decided to take it.  This led me to move back to the Bay Area for a beautiful, secure, and life-changing 12 year run with the show.

By the time this blog runs, you’ll have just closed Beach Blanket Babylon. Can you talk about the unique experience of being a part of such a historic and long running show?

I owe so much to my experience with Beach Blanket Babylon.  It opened in 1974 and we closed the show, after 45 years, on Decemeber 31, 2019.  My 12 years there were exciting, enfuriating, hilarious, exhausting, and I wouldn’t change a minute of it.  Though performers would come and go, many were there longer than I (some performers and technicians over 30 years).  The whole company was a family.  Through our 7-9 show weekly schedule, we witnessed births, deaths, marriages, divorces, and we were all there for each other.  Those personal relationships are the testament to my experience and joy we were able to bring over 6.5 million people.  In 90 minutes, our goal was to bring a smile and laughter to the 400 seat audience, offering them a zany and crazy escape from the world outside.  A beautiful thing about being a part of a long running show, especially how Beach Blanket Babylon operated, was it allowed me to have a life outside of the theatre.  I was not trapped inside a theatre all the time since we were a 90 minute show that performed only in the evenings.  I was able to pursue other passions, work, and understand myself outside of the theatre bubble.  The security of having a steady paycheck for 12 years as an actor also didn’t hurt.  I was able to take amazing trips and eventually buy a condo to truly set some roots.  We were also given some amazing opportunites: sing the national anthem at the SF Giants World Series Celebration, open for Jason Mraz and Bruno Mars at a private event, and provide a custom show for former Secretary of State George Schultz’s 90th birthdya party surrounded by hundreds of the nations most influential politicians and business leaders.  Beach Blanket Babylon was an institution, not just a show, and I am so sad the San Francisco landscape will now be without it.

Was there ever a moment where you felt like giving up on the career? If so, what did you do to get through that time?

I would love to know an actor who has not had those feelings of defeat and wanting to leave it all behind.  I have absolutely had those feelings, and I didn’t find them to stop even when I had security in performing.  There is always the thought of what is next, what do I have to do to keep working?  I found that when theatre encompassed my whole life, those feelings were stronger than ever.  When I stepped back and understood that I must be able to live life outside of the theatre, I was able to find the joy, passion, and love for performing I was losing.  This allowed my theatre to be so much more joyous and rewarding for me.  Another aspect that helped me get through these times is not caring.  I don’t mean this how it may sound.  Being involved in a lot of on-camera auditions, I began to go in with the acceptance of what I can bring to the audition/performance in that day and moment.  There are so many other decision makers behind the scenes.  You may do an absolutely incredible job, be the most talented, and yet you are 2 inches shorter than they need, or you remind the casting director of their ex-husband.  What I am trying to say is so much is out of our control as actors, and you have to learn to give that feeling/need of control up.  Trust that you are there because you have the talent, and if you don’t get this one, another one will come along.  Once I was able to have these feelings of acceptance, I actually found myself being more successful in bookings and opportunities.

What are the biggest benefits to an actor’s life in a small(er) market?

I love being a part of a market outside of NYC and LA.  I think it is extremely beneficial, and it is amazing to be in the hub of technology and witness the advancements that are occuring.  On a selfish note, it is easier to make yourself known and create relationships with casting directors, producers, directors, etc.  A smaller market also creates a smaller pool vying for jobs.  Don’t get me wrong, there are still 50 brown-hair, brown-eyed, all-american looking guys that are sent in to audition for the same spot, but there is a much different feel.  The SF market also forces you to have a life outside of performing because there can be extreme dry spells in the commercial/industrial offerings, or the regional theatres are only offering 2-3 Equity contracts per show, and you won’t be receiving one of them.  I, however, find that as a positive.  As I mentioned before, that sense brings more joy to the work when I do it, rather than feeling it is my only source of income/work.

What’s the most exciting work going on in the Bay Area?

Silicon Valley is by far the most exciting work in terms of on-camera.  Seeing where technology is going and creating commercials/industrials for new products and companies is incredible.  I recently did a shoot for early stages of Artificial Intelligence (AI) design to work in customer service related areas (Airport Check-In, Hotel Concierge).  These Silicon Valley companies, who are always moving the ball forward, are inventive and creative, and it is great to be a part of that community.  In terms of theatre, the Bay has been making a resurgance in its presence.  Several theatrical companies provide New Work Festivals in which they take a hands-on approach to fostering and developing new theatrical offerings.  The Tony Award Winning TheatreWorks of Silicon Valley produces a New Works Festival each year and chooses one work to receive a full-fledged production within their next season.  Several shows have had their world-premiere/pre-broadway tryouts in the Bay Area including Ain’t Too Proud, Memphis, and Wicked.  

Where are you on your mountain?

I am definitely not at the peak, and I don’t think I will ever reach that peak.  I think I will always look up to see that peak rising higher into the sky, pushing myself to reach and pursue more, not settle.  I am also one to walk through an open door that is providing me an opportunity for growth and success.  Walking through these open doors, or different trails up my mountain, has led me to my Mater’s in Education, working as an Educational Specialist for elementary students with disabilities, and again working behind the scenes as the production stage manager for several Bay Area Regional Theatres.  I am also performing several concert shows around the Bay in a cabaret style, focusing on music from movies, broadway, etc.  Though I anticipate returning to the stage in a book show sooner rather than later, I am taking some time to explore my other paths.

RAPID FIRE:

Favorite Broadway show: Gypsy – My favorite overture of all time!

TV show you binge: Everything (I’m addicted!!!)

Podcasts you love: Not huge into podcasts, but I want to get into them…I will take suggestions!

Religious, Spiritual, or nah?: Non-Practicing Catholic (Love, Respect, Empathy, and Understanding go a long way)

Former side hustles: Owned my own Dog Walking business, “Scottie’s Dogs.” Personal Assistant to Agent and Reality TV show Producers.

Show that gave you your Equity card:  Big River at TheatreWorks of Silicon Valley.  I was Tom Sawyer and James Monroe Iglehart was Jim.

Secret to auditioning for commercials: Walk in and be you.  Give what you can give that day and know that is enough.

Any bad audition stories?:  Tons…like the time I had to restart my audition song 3 times because I was singing off-key (though I don’t think it was being played in the written key).  I got frustrated and on try three, I just kept singing until the end.  Pretty horrific.

Skill you think more actors should have: Business management.  We are our own business.  Do not rely on an agent, manager, etc.  Understand what to do to make you a success!

Ever tempted to move somewhere else?:  All the time!  California is expensive!  I am not opposed either, but a job would have to take me away.

Favorite audition song: “Larger Than Life” from My Favorite Year

Job you didn’t expect to book:  Disney Cruise Line.  I always dreamt of working for Disney and palying Peter Pan, but I thought my time had passed.  I had grown up, but Disney thought “Nah!  He still looks young!”  Truly grateful for that dream come true! (Tip: Wash your face and moisturize)

Biggest beef with the business: The cruelty that some believe goes with power/position.  You can still be kind and supportive even when saying no.

Social media handles?: IG: ScottMReardon

Anything you’d like to promote?:  Just living life!  Keep an eye out, you never know if you may see me on your screen!

CORONA COPING:

What were you looking forward to that you lost because of COVID-19?

I was in the midst of rehearsals as the Production Stage Manager of 9 to 5 when we had to cease rehearsals when the Bay Area Counties banded together to order a shelter-in-place.  As the weeks have progressed, my summer contracts have been cancelled and so have my cabaret concerts that were scheduled for around the Bay Area.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I am extremely lucky that I am still employed through my school district, teaching my Resource students through Distance Learning is something that has truly helped me through this whole ordeal.  Though it has been an extreme uphill climb trying to acclimate to teaching in this new style that no one was prepared for, it has provided me a sense of purpose and duty.  I am able to get up each morning knowing I have a task in front of me, a child who needs help, and something to accomplish that, thankfully, still provides me a paycheck in these trying times.  Another aspect to Distance Learning that has allowed me to find joy is translating my passion and abilities of on-camera to the classroom.  I film lessons, provide Zoom meetings, use my green screen, and anything else to help entice, intrigue, and make this whole process a little more exciting for me and the students.  (I attached a picture of my “new normal” dining room setup)

What do you think has an opportunity to change as a result of this time to reset?

I think this time will be extremely valuable for reflection and a way for everyone to make sure they are where, and who, they want to be.  I hope we are all able to see how fortunate we have been with the options in our everyday life.  Now that we are out of our “norm,” I hope we can identify some of the simple things we have begun to take for granted, and when we are able to partake in those activities, no matter how trite, we relish in our ability to actually do them once more.  I also want everyone to understand the importance of the human connection.  It is extremely impressive, through our technological advancements, that we are able to see and hear people from thousands of miles away, but nothing can compare to the face-to-face interactions we have on an everyday basis.

Quarantine Quickly:

Favorite snack: Is Alcohol a snack?

Home workout routine (you know, if you're into that):  Oh yeah, I need to get on that!

What are you watching:  Where to start…Binging like a champ!

What you are reading:  “Hatchet” as I lead a Virtual Book Club for my students

Yes or no… Out of pajamas before noon?:  Business on Top, Pajamas on the Bottom!

Photo Credits:

Pic 1: Headshot by Allison Bluestein @ www.alyblueheadshots.com

Pic 2: King Louis in Beach Blanket Babylon - Photo Cred: Rick Markovich

Pic 3: Slime Time: The Live Show (my first job)

Pic 4: NYC Trip

Pic 5: Me and the Big Cheese

Pic 6: “New Normal” dining room setup!

Side Note From Kat: Brett's reputation, as an agent and a person, runs far ahead of him. As a performer, he worked consistently. As a student, he received his Master of Music Degree, with an advanced certificate in Vocal Pedagogy, from NYU Steinhardt. Now, he's worked at Carlton, Goddard, and Freer ("CGF Talent" on the resumé) for the past seven years, climbing his way to agent five years ago. 

Brett's thrown a lot at the wall and, somehow, found a way to make all of it stick. Naturally, he was a dream interview for what we stand for here at The Obvious Path. Pre-Coronavirus, we set up an in-person interview at his apartment and arranged to have it supervised by the Associate Director of Public Relations at the Public Theatre. (Okay... that's his wife, Laura. How COOL though, right??)

And... we left giddy. Every person who implored us to meet them couldn’t have done them justice. What was supposed to be a 20-30 minute interview turned into a three-hour lesson in life, attitude, marriage, the business, and laughs. He and Laura are authentically human, constantly striving to be better, and completely devoid of the arrogance that normally accompanies those of their immense success. 

Don't worry, we didn't transcribe all three hours. We did, however, go off script a lot. And it's worth every word. Brett generously navigates us through life decisions, pursuing happiness, actor/client communication, and how life has changed during this pandemic. 

We started this blog because we wanted to highlight those in our business that are sincerely good people. And we've gotten to meet a lot of wonderful folks. Brett? He's one of the best.

Brett, we’re really thrilled that you agreed to do this. You sandwiched a successful acting career between receiving your BFA in Musical Theatre Performance from Western Michigan University and a Master of Music Degree from New York University's Steinhardt School with an Advanced Certification in Vocal Pedagogy. What was your life before agenting? 

Sure! In high school I was really big into three things: hockey, choir, and musicals. Sadly, I was only good at two of the three of these. I’ll let you guess which two. Choir and musicals dominated my every thought, every spare moment I had, and any money I earned, borrowed, or found in the couch cushions. When the college conversation came along it was: “are you going to a music theatre program, a theatre program, or, you know, a regular job?” as we called it in my family.

Eventually, my Mom knew how much I loved singing and music so she offered to meet me in the middle and encouraged a degree in both education and music--that way I could teach choir or things in that realm. If I went that route, she would pay for it. So, I said sure! You know, I’m fortunate, because I’m terrible at math, but I’m a bit geeky when it comes to the voice and I was able to read and write music despite it being very mathematical. It’s just a different part of my brain so it seemed like a good fit. 

I went to Alma College which is super small -- it has like 1,400 people. You could literally run across the full campus in 2-3 minutes. (laughs) What I loved about it was that I made the most unbelievable friends and their choir was amazing. What I didn’t love about it was that there were no elements of musical theatre whatsoever, it was strictly choir. Two years in, I said to my mom that I was unhappy and just couldn’t do it any longer. I then applied to a few big schools: Boston Conservatory, University of Michigan, Michigan State, and Western Michigan University. I got into several of them, but wasn’t really good at the competitive element and these schools really required that. We’ll circle back to that later.

I chose to go to Western Michigan and get my BFA in Music Performance and I loved it. BUT I came out of Western Michigan and knew nothing about the business, moved to the city, you know, and got my teeth kicked in for about a year and a half. (laughs) 

Did you have representation?

I was lucky enough to get an agent out of my showcase and that was life changing. The person who signed me is still an agent today and I love them with my whole heart. All of my success as an actor started with that office and was because of them. I worked regionally a bunch, had some close calls on Broadway, and was introduced to the world of soap operas.  As a weird side note, I paid my way through Western Michigan as a basic paramedic. My brother worked for a company at the time as one and recommended that I get the basic certification to help financially. So I did, and it did!

I say that because I ended up going in for As The World Turns as a paramedic that said one line, “Okay let’s go.” They needed to have a “real” parametric say that line, I guess?  Regardless, I ended up landing the gig. (laughs) I then went over to their sister show, Guiding Light, and became a regular fixture there. This all started as a co-star, which I think was called a “u/5” at the time. It was always me as the paramedic and then an extra wheeling in the patient. It was super helpful, because I already knew the jargon. And I wouldn’t call myself a “advisor” on the show, but sometimes the writers would write vital signs that were just totally crazy. I would be like, “If we say these lines, it means the person is dead. Do we want that?” (laughs) Eventually, Guiding Light made that paramedic always be me. Recurring on Guiding Light was amazing. Someone is hurt every week, so I always had a lot of work to do. (laughs). I did that for just over 2 years.

This all took place around the time I met my future wife-to-be, Laura. Guiding Light was eventually canceled and then As the World Turns was right behind it. When that happened, I officially returned to the auditioning world but couldn’t shake this feeling of discontent.  I had the realization, with the help of Laura, that I needed a change. I just couldn’t get excited about working again and frankly, I didn’t feel ‘good at this’ anymore. Soap acting, to me, was not acting, it was indicating and I forgot how to tell a story, find honesty in my work, and be effective in the audition room. My auditions became worse and I started to really doubt myself. The theatrical world had become so unfamiliar to me. I had gone to a different place mentally and couldn't really get to the other side.

I decided to go and find it! I decided to officially go back to school and get my Masters. I applied to several schools (again) and chose NYU-Steinhardt. When registering for classes, they asked if I would like to get an advanced certificate studying Vocal Pedagogy (which is understanding and acknowledgement of how the voice works). I said yes immediately. It’s very science-y. I’m obsessed with Vocal Pedagogy. I love it. (laughs) When I’ve had too many drinks with my Vocal Pedagogy friends, this is all we want to talk about. No one wants to hang out with us. (laughs) That’s how much I love it. 

Fast forward two years, I finished up and came out of school and felt like I was ready to be an actor again. I signed with a different agent, got a job right away, and was immediately unhappy again. Laura, who mind you, has supported me through, like, ten jobs said in her loving and sweet way, “Babe, you’re not happy. Do something that makes you happy. ” She had just started her full-time job at The Public, we were engaged, things were moving, and I then decided I knew where the other side was. It was no longer on that side of the table.

Obviously, not the “obvious path” towards agenting. (laughs) What pushed you towards agenting? How was that transition?

I applied to tons of jobs and no one would give me an interview for a free position. I was the weird 30-year-old man competing with casting assistants who were like 10! It was tough! Then one day, I saw a very witty internship ad on Playbill and applied. It made me chuckle. Joel Carlton (Co-founder and Partner of CGF Talent) called me in and I immediately recognized him. He had actually tried to sign me as an actor when I showcased out of Western years before when he was with another office. It was one of those crazy small world moments. We chatted, laughed, and had a great report together. At the end of the interview, Joel told me he had just filled the position right before my meeting, but wanted to be respectful and still honor our time together. I thought that was really kind of him, but was cranky that I wasn’t going to get the job.  We shook hands, and I remember he held my hand for an extra beat and there was this kind of funny look on his face. I said thank you again and left to go and meet Laura in the park because we were going to a show or something. Fifteen minutes later, my phone rang and it was him. He said, “If we were to not offer this other person the job, would you start on Tuesday?” I talked to Laura, with him waiting for me on the phone, and said yes. I took the job as an unpaid intern and the rest is history. I’ve been there for nearly seven years now. I’ve been an agent for the past 5 -- first starting as an intern, then assistant, then junior agent, and now franchised agent.  

I think that is actually one of my fondest memories. Working with Joel, Michael, and Christopher has been one of the best things to ever happen to me. There isn’t a day that goes by that I’m not appreciative to them nor a day that goes by that I don’t appreciate what Joel did for me personally. He recently passed after a long and valiant fight with cancer. I miss him every day.

Did you know you were going to be happy agenting?

Not until it was an official thing. I knew I loved actors and their intense, emotional, brilliant, hilarious, elliequent, and frustrating energy. No matter what I did, it needed to involve them. So being their advocate made sense. Working with them as a partner made sense. I mean, nobody knows actors better than other actors. Nobody understands or has more empathy for the ridiculousness that’s asked of them every single day. It’s absurd! The amount of times I’ve had to call an actor at 4pm with an appointment time for the following morning that has 16 pages of sides is significant. But it’s those conversations and that kind of trust that makes a strong relationship. Truly, most days of the week I come home in awe of what they are able to accomplish and achieve in the business and audition room. Feeling like we are partners in it together has always been my approach. If everyone does their work, then it can be a really great relationship together. It’s really important to trust one another. That trust is and should exist throughout our industry. Personally, my relationship with casting directors is another thing I hold sacred. There just needs to be trust and collaboration there too. It’s the only way to navigate the audition process where all parties benefit and the right people get the job.  Honestly, casting directors jobs are unbelievably difficult. I don’t know how they do it and don’t think I could.

You beat us to our next question, which we didn’t plan, but you knew it wasn’t casting?

Oh I knew and know it’s not for me. In my opinion, they are the unsung heroes of the creative process. Their work is unbelievably hard. Casting houses serve two masters: the producers and teams who are casting the show, and the agent who wants it to be their clients who populate it. That is a gatekeeper role that I want nothing to do with. (laughs) I’m certain you can hear it in my tone, but I have nothing but respect and admiration for them. They do not get enough accolades for their work, but it’s definitely something I recognize when I’m seeing shows, watching TV or movies, and reading casting releases. I know that profession is not for me, but the exchanges I have with them everyday are really important and is where that trust I talked about before comes into play. At CGF we break up our accounts by casting houses and that has allowed me to build some strong relationships with those who I work with daily. Tara’s entire office; Stephen at Carnahan’s; Jordan, Heidi, and Kate at The Public; and Bonnie, Steven, and Zoe at Finnigan/Jacobs, to just name a few. I need to talk to these people every day about clients, projects, and logistical nonsense. Why not have that exchange be pleasant and beneficial to all parties? Casting needs to set up a session and I likely have people that fit what they’re looking for. Our communication and trust is how people get appointments and how casting gets a great group of actors in front of their team. There are times to push, there are times to listen, and there are times to get out of the way. The trust with your casting colleagues is how you navigate the process.

What do you think about sunk costs? Now, it’s obvious that your career now is so informed by what you studied and your life experience as an actor. But did you ever feel like you had leveraged your entire scholastic career pursuing something that isn’t exactly what you studied? 

Somewhat. It was hard getting a Masters in Music and a degree in vocal pedagogy and then going into a career that technically has nothing to do with either of those on face value. The job description does not list anything that I just spent a quarter of a million dollars on and that’s hard  (laughs). But what I ultimately see and what I take comfort in now is: it’s all related. 

But, to answer your question directly -- absolutely there were times. Why did I pay for this? Was this a waste of money and time? Those were things I thought about, but I’m teased in the office, because anytime a client has a vocal issue I will, like, perk up and everyone in the office just transfers me the call. (laughs) I love that. I can use that education to help our clients at CGF.  Another thing I’m so proud of is my relationship with voice teachers in NYC and how I’m able to connect our clients to the voice teachers that suit them based on my understanding of what they need. They really intersect beautifully. 

And that, I think, that’s the goal of most people. Finding a career and seeing if there is a way to intersect with whatever your passion or hobby they love doing. Even if it’s only occasionally. I mean, it’s called a job so no matter what it is there are gonna be days it really feels like one. Some of my closest friends and colleagues in the industry didn’t know what they wanted to do. They may have started out as actors, but have since become stage managers, or music directors, or company managers, or agents/managers. I think they trusted their gut and trusted what was given to them by the universe and continued to search from there. Who’s to say they are even done searching? 

Well, since we’ve wasted so much time on unscripted questions! Oh my god, we’re taking so much of your time! We’re getting back on track, I promise.

What’s been the biggest surprise of your career? 

Ironically, that I was good at this. It’s only been 5 years as a franchised agent. The first year was a lot of treading water. It was figuring it out, watching my bosses a lot, and learning contracts and rules. Then, you reach this level where that becomes easy and second nature to you. From there, it’s very important that you take that extra step. 

That extra step being, adding humanity, diligence, and humor. It’s realizing that what we do is ridiculous. We are brokering contracts and making agreements for people to go and play pretend. (laughs) I honestly wouldn’t change it for anything. There are days that I come home and say to Laura, “I feel like I agented today!” An example would be that an actor who I viewed was perfect for a job, wasn’t getting in. After reaching out to casting via a phone call, email, or four follow-ups: they agreed to see them and the actor gets the job! I love when this happens!  Sometimes I’ll get a follow-up email from casting saying, “I’m sorry I was annoyed with you. This person was perfect for the job!” (laughs) I then say, “I’m equally sorry for annoying you.” Those are good days and I think it’s when that extra step really holds true.

CGF has a reputation of developing great communication with exceptional talent. How do you describe a healthy and productive agent/client relationship?

It’s like I mentioned before, it’s a partnership. An actor is not in service of an agent and an agent is not in service of an actor. Everyone needs to pull their weight to have to be a successful relationship. There are a lot of offices out there and a lot of actors out there who don’t view it like that. Ultimately, I think those are usually the more unhappy relationships.

When you’re working with an agent or you’re working with a manager: it’s basically dating! You are choosing to be in this relationship, to confide in them, to trust in them, and to allow them to speak on your behalf professionally. It’s a very real relationship. Everyone needs to communicate and agree that they want the same things and see a way to get there. An agent is going to bring things to you and make decisions with you to build your career. If you don’t agree or have trouble communicating, that might not be the right fit. That’s why I think trusting your gut at your first meeting or initial introduction is so key. If we are going on a first “date” together and talking about you in the business, do you feel heard? Do you agree with what I’m saying? Do you think I see you the way you want to be seen? These are things to think about and ask yourself. First meetings are all about figuring each other out. Obviously it might take a minute to warm up to each other as we pick at our tuna tartare appetizer, but you should feel like you are collaborating with someone, not being dictated to or met with indifference. 

As an agent, I am not the one who has to make the decision, but I want to talk to you about ‘Column A’ and ‘Column B’ and why those things matter to you in making this decision. I realize that at the end of the day, you make the call. And no matter what I think personally, I will be your advocate. We talk about that a lot in our office. Our desire is for everyone in the partnership to be happy and feel heard. There are days we are successful and days that we are not, but that is something we really strive to do. 

Look, all agents are out there trying to find talented actors and get them jobs. We all offer different and unique experiences. There are times we lose clients or potential clients to much larger offices that make promises or incentivize them with opportunities. Whether they are telling the truth or not, some actors will go with them and that’s totally fine, it’s just the way it is. You can’t force someone to date you if they don’t want to. If there is one thing my middle school and high school dating life taught me it’s that. Ok, did I officially go too far on the dating analogy? (Laugh) Each agent and office are going to tell you different things and it’s up to you to decide what makes sense and is the right fit. I can tell you that one of my office's biggest strengths is the access to us. That’s something we can offer and something we really thrive on. You aren’t alone on your career path, and we are there to navigate and weather good times and bad with you.

At the onset of your career, how would you have defined success? Where you are now, has your definition changed?  

I think at the onset of my career and where I began, I viewed success the way a lot of people view it:  Am I known and important? Do people talk about me? Is it good things that they say? Can I brag about myself and my clients? Am I doing things that the industry thinks are impressive? Stuff like that. I think at the onset, you do that as a way to gauge this business and to measure the “agent” things you think you need to be successful at. I think those were traps I fell into. 

Recently, and by recently I mean a few years, I feel like I’ve been focusing on realizing that we are human beings and success should mean you are a well-rounded person, someone who can hear and listen to your needs, take the agent hat off, and be a person with the clients. 

And to think of who you’re choosing to surround yourself with. The best part of this city is there’s not a lack of people and not a lack of opportunities to care for yourself by making those choices. And that’s something Laura and I both strive for at all times is to be real people. There is no reason to be unapproachable, ever. There’s no reason to be false or fake. And you learn these things by failing,  by coming home and realizing, “I wasn’t a great person today” or “I lost my cool” and then saying, “I will strive to be better tomorrow.” And so, that is the new definition of success, but ultimately, when you have those goals in mind, the weight becomes more easily distributed and you do better at your job anyway.

Looking back, what’s one thing you would change?

So, if you’ve ever met me, you might agree that I’m weird with a dash of socially awkward. I have a stream of consciousness thinking process and sometimes that gets the better of me.  Looking back, I think I feared judgement on this and decided a very guarded approach was the “professional” way to go. It was not. I didn't allow myself to meet people who I should be interacting with--whether that was when I was an actor I was interested in working with or a business meal with an artistic director. I shied away from it. In our business, networking is a very important part of it. We’ve been very fortunate in our office that we’ve had very busy award seasons. But those come with a lot of these networking opportunities. They may be superficial and even pointless, but being seen and supporting your clients at these functions is a very important part of my job. I’ve gotten better at it, but it’s still something I need to watch and work on.  

Where are you on your mountain?

I’m just shy of half way, I think. It’s because there have been a lot of things to push me to where I am both upwards and downwards. Life lessons, losses, friendships, mentorships, all of that nonsense adds to the journey. Perspective is an amazing thing to think about because in the day to day, I don’t think about how far you’ve come. You just deal with the challenges and accomplishments as they come to you each day. Thinking about where I was a year ago, where I was two years ago, it was a very different place in all avenues of my life.  As far as using this mountain imagery, there’s a lot that I’ve accomplished and I know that there has been movement, but there’s a lot of movement to go and I don’t even know if I know where that will be. I know there is another phase or ‘thing’ that I have not quite grasped yet. That will be exciting to figure out.  I know I’ve come a long way and I have a long way to go.  And I'm certain someone or something will be throwing rocks at me while I climb.

How has Coronavirus changed your perspective on the business and/or your life? 

Ugh! It’s changed my perspective more than I ever could have possibly imagined. What our industry has gone through over the last 5-6 weeks is truly upsetting and very surprising. From a business standpoint, we are dealing with the immense challenge of not being able to gather together in an industry that requires that from all those who participate in it. Whether you’re seeing a Broadway show, watching a movie, shooting a TV series, or going to a concert, you are surrounded by dozens, hundreds, and thousands of actors, employees, and audience members who are also taking part in that experience. When you remove the ability to gather, you lose the industry on the whole immediately. 

Right now, everyone who celebrates and relies on this artform for income is doing all they can to breathe life back into it. This is a scary, but really inspiring thing. People are fighting for our business fiercely and in a multitude of ways. Casting is leading the charge by moving forward with some projects by way of self-tapes and virtual meetings with creative teams. Other full productions in development are having Zoom rehearsals and work sessions with the full casts to keep things moving forward. The voiceover world is still very much alive and they quickly adapted by sending equipment home with actors so they could continue to work professionally and safely in their own home. That is resilient and gives me hope. 

I personally think we should all embrace the new technology and use it as an opportunity to stay creative and improve while we work towards some semblance of our industry returning. I do think it’s important to mention that things will be different. I hear people throw around the term “normal” a lot and how when things go back to “normal.” It’s very important to realize that when we emerge on the other side of this, and we definitely will, it will be to a new normal with new ideas, protocols, and approaches, but that can still be a future to look forward to. 

RAPID FIRE:

Favorite Broadway show of all time: Take Me Out. Very excited about the revival! It was the first show I ever saw on Broadway.

TV show you binge: Tiger King, West World, The Great British Bake Off. To say we binge these shows is an understatement. 

On your commute, you’re listening to ________: More often than not, Laura! We get to ride the train together for a bit on our commute, so we talk on our way. On my walk to my office, I’m listening to Ben Rector.  He’s incredible  and basically sings about how all people in their mid-30’s are feeling about life on any given day.

Religious, Spiritual, or nah?: Religious, but I think spirituality goes with it. My faith is a part of who I am. My approach is and will always be an inclusive one--when I was younger that was very important to my mother, which greatly shaped my faith. People are people, they are unique and wonderful, they all get the same rights, and should be treated like people. We are all the same. As long as there is an inclusive approach to a faith or denomination, I’m open and in support of it.

Former side hustles: Bartender, catering, waiter, voice teacher, EMT, I even worked at a movie theatre. (Shout out: AMC Elmwood Plaza 8 in Lansing Michigan)

Having produced Steinhardt’s Musical Theatre showcase for several years...Your advice for someone heading into a showcase is _________: It is one audition. It is one showcase. It's an introduction that you are paying your school to give you. It will not matter after this. If it’s helpful, that’s great. If it’s not, that is fine also. If you crack/fall, no one will remember or care. Just treat it as an audition. I always try to focus on the person and find the song or piece that allows them to be them.  Don’t just focus on the newest material or how attractive you can look.  Nobody is better and being you, than you. Focus on that.

In a world where showcases don’t exist, what’s the best way to find an agent?: Referral through a Casting Director. Going back to that trust thing we talked about. If someone comes to me with a thought and I like and trust them, I will absolutely take the meeting.

Call or email?: Both, but it depends on what it’s for. If you email me, and I know you, you will get a response from me. That’s something I always strive to do. If you are calling, what are we talking about? Is it pressing? I mean, I’ll always take a phone call, it’s usually faster that way, but just be ready to chat about what’s on your mind.  If I don’t know you, don’t call...that would be weird. Send a submission to CGF’s submission email, we all check that when things come in.

Question you want to hear when meeting with an actor: I want them to ask, “where do you see me in this business?” We always ask that too, to see if we agree. We need to be on the same page. Another great question is “What about my work resonated with you and made you respond to me?”

Biggest beef with the business: Sometimes the most talented person does not get the job. Sometimes the right person does not get the job. That is frustrating. Things are not always fair.  That’s a hard realization. 

Social media handles?: @cgftalent is our instagram. I do not have a personal one, because I’m 100 years old and my life just isn't that interesting.

Anything you’d like to promote?: I teach a “Business of the Business” call through the Growing Studio a few times a year. I’m happy to recommend that. But honestly, my plug aside, I encourage every actor to be in class. Find a way to be creative. Seminars, accountability groups, coaching, teaching, whatever. I also always challenge those to take class in the areas they need the most improvement in. If you are an amazing singer, take an acting or dance class.  If you are Dame Judi Dench as an actor, maybe take some voice lessons, or movement classes.

Quick note from Kat: Imagine you're in a small cast with SJP and Matthew Broderick. It's the day before the first preview of your first Broadway show, and then... Broadway shuts down.

That's what's going on in the life of our friend, Eric. I've gotten to meet him a few times as the partner one of my clients and great friends. Every time, Eric has struck me as kind, humble, and presumably, extremely talented. In the face of something that would be devastating for most, Eric is remaining grateful and shifting his energy out to others. So get out of your PJ's and grab a slice of pie, Eric has a great perspective for coping with Coronavirus.

What were you looking forward to that you lost because of COVID-19?

I’m in the company of PLAZA SUITE at the Hudson Theatre, and we got news that Broadway was shutting down on the day before our first preview here in New York. The confusion leading up to and around the shutdown was wild, but I’m extraordinarily fortunate in that I got to perform with the show for a month in Boston, and everyone involved is trying to make sure that we do get the chance to perform here when it becomes possible again. I realize that so many people in our profession have lost similar opportunities due to COVID-19 and many productions have had to shut down completely, so I count myself extremely lucky.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I’m surrounded by really wonderful people in my apartment, which makes things a lot easier. We’re trying to make solid schedules to follow day to day, with things to look forward to like Pie Day Friday and Movie Night Saturday. We’ve also put in plenty of hours on Animal Crossing. Our island’s come a long way.

What do you think has an opportunity to change as a result of this time to reset?

I hope that some of the positives to come out of this are that we see what sort of collective action we’re capable of as a country and as a planet. When it comes to climate change or the already pervasive inequality that’s being exacerbated by the virus fallout, we need to think as big as we can.

On a person to person level, even though we’re self-isolating, I hope we end up feeling more connected to each other than ever, and more galvanized to lift each other up. I think it’s impossible to pretend that this time is anything less than terribly sad, but I hope that’s a reason for people to open up their hearts rather than close them off.

Anything else you’d like our readers to know during this time?

It’s a wildly tough time where we have to take care of ourselves, but if you have the means and capability it’s a great time for us to look out for groups to support, like Feeding America and the National Alliance to End Homelessness.

Otherwise I’ll say: Baking is no joke. It’s super fun and satisfying. I know all your friends on social media are baking, give in to the peer pressure, make a nice pie for yourself.

Quarantine Quickly:

Favorite snack: Increasingly, pie.

Home workout routine (you know, if you’re into that): I try and keep a consistent running schedule.

What are you watching: Sex Education on Netflix is the absolute best.

What you are reading: Mostly short stories! Right now Jhumpa Lahiri.

Yes or no… Out of pajamas before noon?: Yes, yes, yes!! Otherwise I will feel…not good.