Ep. 52: Close Up With Anthony Marciona, Live Audio Describer And Actor

Alex and Lee chat with Anthony Marciona, a live audio describer and actor who has been in show business for over 50 years. In our discussion, Anthony discusses the nuanced similarities and differences between being an audio describer and an actor.

Check out Anthony’s website at: https://www.anthonymarciona.com/

If you would like to request live audio description for an upcoming performance you will be attending, please contact the venue directly, and they will get in touch with Audio Description Los Angeles.

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Transcript

Lee Pugsley
What's up, everyone, and welcome back to another episode of The Dark Room, where two blind cinephiles illuminate the sighted. I'm Lee Pugsley.

Alex Howard
I'm Alex Howard.

Lee Pugsley
And this is a podcast hosted by two legally blind guys for film lovers of all abilities. And today, we are going to take a slight departure, once again, from talking about film stuff. And we are going to be talking about Live Audio Description. A few episodes ago, we had JC O'Connell on, who is a live audio describer, and we are now very pleased to introduce Anthony Marciona, who is an actor. He's been in show business since he was five and has had extensive experience on stage and screen. He is now part of the live audio description world. We are so excited to have him here today to discuss his journey and different aspects of live audio description. Anthony, welcome to the show.

Anthony Marciona
Hi, Hey, thank you. Very excited to be here.

Lee Pugsley
Yeah, we're so glad to have you. To kick it off, let's just go ahead and dive right in. Maybe just tell us a little bit about your journey in showbiz and just how your experience as an actor led you to find Live Audio Description and to get into this line of work.

Anthony Marciona
Sure, absolutely. Probably my path to audio description was probably not a normal path. I started performing professionally at five years old in a movie with Kirk Douglas. And my first Broadway show was Zorba the Greek when I was six with Herson Bernardi and worked with Harold Prince and Kander and Ebb. So my training and pedigree was always top-notch. Being familiar with the stage and all its surroundings have helped, too. It's been celebrating my 57th year in the business. And more recently, as well as performing, I've been producing and writing as well, but I've become more involved behind the scenes on shows and also at SAG After, I'm a board member. I also happen to chair the Dance Committee, which is where I met my dear friend Joanne DeVito. She'd been working with Deborah Lewis from Audio Description LA and J. C. O'cano for a long time. Joanne thought audio description was something I might be interested. I was always aware, growing up in the theater of ASL, when they do accessibility productions, but I was never aware that they had an opportunity of audio description, which seemed more relatively new for the blind to come to theater.

It just excited me, partly just to be able to get back. I was immediately interested. It took over a year and a half of training and learning all the processes and how best to describe. That's how my journey went. I'm still involved in performing and producing, but this is a big exciting part of my the hyphens, I guess, as you do as a performer.

Lee Pugsley
Definitely. It's always, once again, this is why we love asking this question, because there's always so many different pathways that people come to in terms of getting into audio description. We would be curious to know, too, what was your first experience with audio description, whether that was watching a film or a TV show with AD turned on, or have you experienced a live theater performance with it turned on? And what about doing audio description seemed appealing to you?

Anthony Marciona
Okay. Well, my first experience is kind of funny. I watch a lot of foreign films, and I speak Italian and a little bit of Japanese, and occasionally I'll play with the captions on it. Well, one day I hit the audio description, and I wasn't aware. I mean, this is a while ago, but I wasn't aware that was an option. And all of a sudden, it was like a Marvel movie, a Superman versus something. And all of a sudden, in between the dialog and the sound effects, someone was describing the action. I was like, "Oh, this is a cool concept of watching this movie." And I wasn't really aware of what it was. And so I explored more and found it on a couple of other shows. And I was like, "Oh, what a great way to..." As an actor, it turned me on in terms of, "Oh, how cool to describe what you see" as opposed to analyzing it and stuff and letting the listener come up with their own visuals as you describe them. And that's what gave me a little spark about it. And then my first time actually working was, as I was training, going to live shows with Joanne and Deborah and JC and seeing how it physically worked. I think the performance training helped a lot because as an actor, a visual is a big stimulus, so you're aware of things you see. And so the hard part was not analyzing what you see, just stating the visual. So that was an adjustment, sort of, I made over time, so you can make your own decisions about the story and things like that. But that was my first experience, just accidentally on the streaming service finding it.

Alex Howard
How long have you been doing audio description?

Anthony Marciona
I would say I'm doing it about two years. Like I said, about a year of training, and then I do split shows, and then after my last show, then I'm doing it on my own. But there's two parts to it. You do notes, like the pre-show notes, which was really interesting to transcribe what you see before and explain before the show of what's going on, and then the action, finding the most important different action going on in a scene. So it's about a year now that I've been officially doing it as a member of ADLA.

Lee Pugsley
I would be curious to know, we didn't really get into this with JC, but with the training process, you know, that seems like it's a pretty extensive amount of time. What was that training process like?

Anthony Marciona
It was pretty interesting. We started with, instead of live shows, we did through Broadway HD, watching shows and describing it there where we can stop and start the action and then analyze what I would see and describe versus what Deborah, who was training me, would see, and learning about what is important. There's a lot of visuals going on on a set. And so is it more important to know if all the action takes place around this couch in the center where they're jumping up and down and someone's being killed, is it important to know that way in the back there's a window with a little bird in it? So you start realizing that that's why you preview a show first and then you learn what are the most important things? Because you have a limited amount of time to speak in between the dialog and even less time during a musical. Like in Hamilton, for instance, there's no stopping. So you have these seconds, milliseconds of time to describe what's going on, as opposed to we were talking about Annie, which is a more classic show that there's not a lot going on in many of the song numbers, aside from walking back and forth. And so you have more time to discuss what's visual. And that's the challenge. I feel like each show is almost like a performance on our end as well, because it's live theater, you never know what's going to happen. Someone drops something and that becomes or someone forgets a line, or the show stops, or the applause is going on for five minutes. And so you want to share that as well in the description. You really learn what becomes important to convey to your audience.

Lee Pugsley
Yeah, that all makes sense. And on that note, once again, just tying in your acting background to audio description. As far as the training or instincts that you have as a performer, how does that influence the way that you do live audio description? And do you view it ever as a performance in its own right?

Anthony Marciona
Yes, I do feel it is a performance, even though I'm not live on stage. Because I'm performing the visual aspects, in essence, for you. So even though we're not physically on the stage, we are your eyes for the performance. So I do feel like it's a partial performance. Certainly after we do a show a couple of times, if there's more, it becomes a little more rote. But generally, as I mentioned, the pre-show notes are usually written down, but the performance part of it during the show is all free wheeling adlibs. If you go to a show a second time, we may notice something different and you may have an opportunity to revisualize certain aspects of a show. Yeah, definitely, I consider it a performance as well.

Alex Howard
What's your favorite show that you've described so far?

Anthony Marciona
Oh, gosh. I think it's the show where I think I met Lee, La Cage aux Folles, only because there's so many visuals and colors and textures. It was a lot going on, and it was fun. The challenge was you're not there to judge or make comments on the show. So as an actor, you're always analyzing things. So it was a challenge as well because it was like, "Okay, I have to stick to just giving the visuals." But a lot of times the way you present the visuals, too, gives you context, let's say. That's been one of my favorite shows so far.

Lee Pugsley
On that note, you touched on something that I'd be curious to hear more about, the idea that you're focusing on describing the visual elements of the show. But I can imagine, at least for me, my temptation as a performer when I'm describing certain things would be to emote or comment verbally just because I will get caught up in the emotion or the excitement of a scene or the dramatic weight of some scene. So for you, were there any habits from acting that you had to adjust or rethink shifting from performing on stage or screen to being a describer and sitting on the sidelines outside the performance itself?

Anthony Marciona
Sure. Yeah, definitely. Rethinking and adjusting was a big part of it. Part of it, I feel, too, is since I mentioned it is a performance, if I'm describing to you something and I go, (flatly) "He stabs her," or I go, (urgently) "He stabs her!" -- I'm describing... It's the same words, and I'm describing the same action. However, I think you're going to respond differently to the way I said it. Does that make sense? So certainly, we don't want to be doing Shakespeare as we're describing it, but there are, and I think a lot of the describers agree with me, that there's a certain amount of inflection in things that, from being an actor, that do help convey the visual and the tone as well, which is important because if he's sneakily, he's sneaking by her and he lifts up his hand behind the couch and sticks the needle in her neck. It's surreptitious, say, or you're just reading it very deadpan. I think it changes how you... Because as a live medium, the big transfer from the stage to the audience is that feeling. So as a describer, we want to convey the context as much as possible as well. Yeah, I think it's important, and it's an adjustment to know you don't want to be overacting the visuals per se, but also I think you want to give them a little inflection in terms of the mood or tone that something is being visually exposed?

Lee Pugsley
Yeah. I mean, it's something that we talk about a lot here on this podcast is just like, I know both for me and Alex, we don't like it when audio description is too expressive, and there are examples of that in film that we can come across, and we're just like, "They're commentating way too much." But it's also like, you don't want just a robotic voice that's just like, he walks across the room. That's like, that tricky balance of adding to the environment without taking the attention away from the moment, too. I think that that's a very tricky balance. But to your point, I think that acting does serve that well because if you're a good actor, you know that it's about giving to your scene partners and not necessarily making it about you, but putting the attention on them and doing that in subtle and nuanced ways. Then another thing that it reminded me of is, we had Roy Samuelson on the podcast a few months ago, and he's very involved in audio description performance. He considers himself an audio description performer. It's his title in the film and TV world, and he's done extensive amounts of work within that in the field.

Anthony Marciona
Yes, I know him.

Lee Pugsley
Oh, okay, great. And he has a book out that came out recently, and he talks in that book about as an audio description performer, it's all about intention as well. I think that that ties very directly into anyone who's had experience with acting. It's just what is the intention behind what you're saying in that moment?

Anthony Marciona
Right. That's very true, Lee. You mentioned intention and nuances, and it's all about that. It's a very fine line. Like you said, you don't want to be an additional performer in the piece and take away. But at the same time, it's that fine line and nuance of expressing that visual in the term. And I agree. I've done a handful of video or film TV, and it's a completely different process because you can retake and go over and get it right, really go over. "Oh, no, that was too much." Or "You took too long and you cut off his first two words." Or, "Oh, why are you giving it so much excitement? I think you need to tone it down." So you do tend to have a little direction and you have the opportunity to fix it. Whereas in the live theater, it's a one shot. Like the performers on stage, it's one shot until you go to the next performance. That is a big difference between describing for film and TV and live theater. But it's all I agree, all about the nuance, the nuances, and getting that right.

Alex Howard
Is there any show that you have particularly struggled with or that you would say is the hardest one you've done because of those choices?

Anthony Marciona
Probably, I did partial of Hamilton, and generally with ADLA, we split it because it's a lot going on. It brings up another question. I always feel like to get feedback from you, the audience, what you prefer, and I know different people prefer different things. In one of the shows of Hamilton, I remember one audience member said, "I just want to know who's talking. I don't really want to know anything else because so many are talking at once, and who, and voices may sound a little familiar." And so it was like "Hamilton," "Burr," "this, that," jumping, as opposed to "They were spinning around," which was probably less important in the context of the scene. But that was a tough show, especially since you have such a limited space to put it in and you don't want to distract because there's so much to absorb in that show.

And I think-- I haven't done an opera yet, although I've sat in on them with some of our other describers. And that's a challenge I'd like to take on because there's a lot of visual, but at the same time, you have language and supertitles to deal with as well that you're reading. Then there's a lot of repetitiveness in the music. Sometimes the challenge is saying too much. A lot of times they say, "Oh," a lot of block Blocking. You know directors say, "Blocking is more for the seeing people" because they don't want them to get bored. So they may do a song and just walk back and forth and back and forth. But for you, it might take away some of... You would rather listen to the song instead of me interjecting, "Oh, they walked to the left, they walked to the right, they walked to the left." It's not the important moments, say.

Lee Pugsley
Yeah, I can relate to a lot of things that you're saying. And on that note, too, about it's so interesting because every person within the blind and low vision community is going to have a different preference. For me, if there's music playing and there's a dance break, it's nice I have to have the choreography described, but I don't necessarily need that. I'd rather just take in the score. When I'm watching a musical movie or something, sometimes I'll watch it without audio description because I just want to take in the full beauty of the score. For example, West Side Story or something, because the music is so rich and everything, and I don't want a voice being like, "Oh, they're doing this," even though that can be very helpful as well. Sometimes I'll turn it on and everything as well. But yeah, it just depends. But I know that Alex, I believe you would rather have details during musical interludes described, correct?

Alex Howard
It's interesting. I think it depends because if it's a show I've never seen before and there's heavy plot points during the music, I want to know, I think. But then in Wicked, I know they were climbing up a staircase or something during. So yeah, there are points where you need to describe during the music.

Anthony Marciona
I think I remember, Lee, it may have been La Cage where we were playing with the idea, because we were trying to incorporate in our audio description also ballet and dance pieces. So the whole group was talking about "How much description do we put in the dance in the musical?" I think you mentioned what you said, "I'm not so much... I'd rather hear the music and not have to know, like "Tour Jeté, spin around," you know, the dance terms so much. But there are different times, like I remember there was a young girl, an audience member, and she wanted to know all about color and not just blue and red. She wanted to know it was a sky blue that had an aqua tint. Like... She just, something hit her and she wanted to know details about colors. Like you said, like any audience member, we all have either an expectation or what we want to get out of the show. And so I think every audience member does expect a certain amount. And there should be a way. I feel there should be a way where we can gear it to more what you individually would like. And that would be a nice process where you come in and maybe fill out a form and say, "Okay, this is what I like to hear. And when there's music, I don't need to hear the details of the dance. I'd rather engage with the music." But if there's a motion that leads to a running away or something that you'd like to... So maybe there's a progression or evolution in audio description, possibly, that we can more individualize it to the end user, to the audience member.

Lee Pugsley
Yeah, I think that's a really good idea. When you guys do audio description, it does seem like you and JC and Deborah and the live AD team from LA, you guys like to get feedback from the patrons after you describe a show. Do you feel like you're able to really connect with those patrons that are at those shows that you're doing audio description for, to get that feedback?

Anthony Marciona
Yeah, it's always, uh, never enough time. I would like to spend a little more time, and I'm glad that we're able to see each other again, to spend a little more time. But it's like people are leaving, and so it's always at the end of the show. I almost think it might be better to maybe come in a little early and meet with the patrons beforehand, which would affect the live portion of the thing. But we certainly do get feedback, and I think that's important. Because ultimately we're doing it for you. But there are certain guidelines. There has to be... Like in any language, there are certain guidelines that you... There has to be some standards that you would know as an audience member.

Lee Pugsley
Yeah, no, I agree. There has to be standards. As with everything, I always say that you have to know the rules so you know where you can take liberties with them. But first of all, you have to know how to play the game, and then you can find where there's room for that flexibility.

Anthony Marciona
It's like knowing the rules. You know the rules, and then you can break the rules, but you have to know them to start with, in essence, right?

Lee Pugsley
Exactly. Like, I remember-- I do theatrical directing, and you know, the first rules you always learn are "straight lines are boring" and "never have your backs to the audience." But as a director, there are certain times where I will break those rules because there's a point to it. But ultimately, it was good that I knew those rules to begin with as well.

Anthony Marciona
Absolutely.

Alex Howard
So then, do you work at all the same locations that JC does all through LA County and some in Orange County as well?

Anthony Marciona
Yeah, let's see. We do the Pantages, the Dolby, the Music Center, downtown, all those theaters, the Segerstrom. Those are all the ones I've worked at. I'm not sure if we're doing the Kirk Douglas because now it's gone into children's performances. But most of... You know, we're trying to expand. Someone requested a wrestling, the worldwide wrestling in Vegas once. So we're trying to expand into other areas, concerts and parades. We did the Rose Parade on January first.

Lee Pugsley
Out of curiosity, too, when you work in any of these events, whether it's a theatrical show or something else, anything can happen at any time, like you were saying, and you just have to be ready on the fly. Has there ever been a moment where you... something caught you off guard while you were describing a show, something that you weren't prepared for, and you just had to make a very split decision on what to do and how to salvage that moment to make sure that the audience was able to get that description?

Anthony Marciona
I wouldn't say I would... I mean, caught off guard, maybe, but I think part of being in this business so long as you know how to react and adlib and quickly. But I would say, and that comes from just being involved in the theater so long or in film. And what comes to mind quickly was Sutton Foster in Once Upon a Mattress, which we did. And it's a lot of visual slapstick. And a lot of times it's quick. And I think we previewed it once and then did the show twice. I've described it twice. And there were so many different ways she did some of the physical comedy that she just kind of adlibs. So off guard in a sense, but almost expecting, like I was gearing up, "Okay, get ready because this is going to be quick." And you don't want to kill the joke by pre-saying it because you can hear when the laughter is coming, it's like you don't want to give it away. Those are moments, especially in visual slapstick comedy, because that's all about timing, and you don't want to kill it on the punchline or be describing where you would miss it. So that's always challenge. But I think we handled some of it very good. But that, I would say, was one of the moments where I was a little caught off guard and not knowing what to expect, but expecting something.

Alex Howard
That's really interesting because we touch on that with movies, too, whether it be horror with jump scares or comedy with slapstick humor like you were talking about. Sometimes it comes beforehand. Then we're-- I've found even some movies from this year, I'm laughing before the audience laughing, which I guess is not as big of a deal in a movie theater. But in live theater, you really don't want that to happen because it could- 

Anthony Marciona
You don't want that to happen, right. It's true. I guess when you said in the film, music plays a large part of it, too, in a suspense or something. Sometimes it's so loud, it's like a screaming. Then you can't really talk over that because you wouldn't hear it. But at the same time, you want to convey the visual while it's happening. So that is always a challenge, too, and not giving it away and keeping the suspense or the comedy or whatever is coming up.

Lee Pugsley
On that note, when you approach do you approach different genres in theater, or I guess we'll just say performance in general, whether-- You know, do you approach describing a comedy different than describing a drama, than describing a musical, then describe a suspense thriller, because I'm sure that Each one of those genres and performance, and live performance, specifically, has its own criteria, and they each have a different tone, a different rhythm and everything. I'd assume that there's different considerations in what you have to plan for, right?

Anthony Marciona
Yes, very true. I think you nailed it. It's all about the tone. I think that's the key thing that we want to match the tone of the piece. Whether it's a wild slapstick comedy farce or it's a soft love story. We always want to match the tone and rhythm of the piece in our description. So it's like if it's a slow drama and it's a sad thing and we're like, (perkily) "Oh, and this happens and this happens," it's going to throw you off as a listener. So we have to definitely match the tone. There is a different approach to each genre of music, and then musical and nonmusical also, because we have the added thing of not wanting to take away you enjoying the music. Music, even if there's no lyrics, there's a composer that's done some beautiful work. It's always, "Where can I speak during this long instrumental section if there's a a lot of visuals going on?" But also, if it's a slow ballad, you don't want to be (rapidly) talking like this and going, "Oh, and this and that." You want to match even the tone of the music, I believe. I think that helps.

Lee Pugsley
Yeah, I would agree with that as well. And then for anyone out there that is an actor, specifically, or a performer, we'll say, that's looking to get into live audio description or audio description in general, based on your experience and what you've done so far in this field, what advice would you have for them?

Anthony Marciona
Sure. Well, having been in the business so long, I always feel it's good to give back. So any opportunity that anyone comes across, I would say jump at that because any opportunity to give back to community and spread the importance of live theater or the creative arts in any aspect, film, and especially now where the administration is cutting away the borders and taking away creative input on things. It's so important. In terms of training, you can do stuff on your own, especially for film and TV. Sometimes I'll watch a show and then turn off the sound and then just start describing just to practice on a film, and sometimes I'll record it and play it back. Anyone can do that cost-free. It's always good to get professional trainers, but they're few and far between. Thankful that Deborah has taken the time with me, and we formed a good group with ADLA. But again, to me, what's more important, you know, now we get paid as wellut, but for me, I feel like I'm giving back to a community that does not always have access. I have a deaf cousin, and I used to take her to the theater all the time, and I had learned ASL. I'm not as good now because if you don't use it, you lose it. But I used to help her understand the shows with ASL. Also, she didn't learn it as a young age, so we had another way of communicating. I chose this business, and the more I can open it to more audiences, the better I feel. I think anyone starting out would feel the same way.

Lee Pugsley
Beautifully said. I love what you said about it's a way to give back. I'm very big, both me and Alex are very big on that idea of being able to give back to the communities, whether it's a community we're a part of or other communities that may not be as 'seen' as various groups of people. I think that giving back is so important, especially in the current time that we're in. I think that really goes goes a long way. But obviously, any time, giving back can go a long way as well.

Anthony Marciona
Absolutely. I just noticed, I didn't get the memo, but we're all wearing purple today. I thought that was cool. It made me think about it.

Alex Howard
Oh, nice. That's true. That's funny.

Lee Pugsley
Andwhen it comes to deciding who's going to describe what show, like you know, between you, JC, Deborah, Joanne, and now Roman, how do you guys do that? Is it kind of like people just pick the show that sticks out to them where it's like, "Oh, I really love this show, so I want to describe it," or is there a bidding process? Yeah, I'd be curious to know how that works.

Anthony Marciona
Well, with ADLA, ultimately, Deborah has the final say as she runs the ADLA. But they profess it to be fairly democratic. When we get a list of the seasons, we certainly share, "Oh, that's a piece I would like to have a connection to that," or "I know that show so well, I think I would be very good at it." We certainly share our opinions on pieces, and then it goes in a pool. Right now, I think the three ladies decide who gets what. Then some shows that are more complicated, like Hamilton, for instance, generally, that was a two-person show just because it's a lot. It's a little overwhelming in the booth. But it's fairly democratic. I think there's certain shows-- certainly, if it's another show like we've done Annie twice already, and if another production plays again, we'll probably use the same people since they've already done it and are familiar with it. But when new shows come out, I like to think it's a fairly democratic option, and we just put out our likes and dislikes, and then they decide from there.

Lee Pugsley
It does sound very democratic, and I think you guys have a really good set up, and just everyone in the ADLA community is so kind and just such wonderful individuals. And yeah, just once again, for anyone out there who is listening to this, who is in the Los Angeles or Southern California area, and would like to get live audio description for any upcoming performance; we just want to make it known that it is available to you free of charge. All you have to do is contact the box office of the venue that you're going to, and then they will get a hold of Anthony and the other people at ADLA. If you're unsure whether or not a performance or a venue offers live audio description, it never hurts to ask because that's how the ball gets rolling's, is that people realize there's a demand for this and there's a need for it, and then they can get in touch with the people within ADLA.

Anthony Marciona
Absolutely. Always remember, accessibility is a right. So, to start where, whatever the venue is, to start with them. Then generally, most of the venues here in LA have our contact information or some contact information. But you always have the right to go and take advantage of that. Don't feel like, "Oh, I don't know if they'll have this accessibility or something." We've fought long and hard with the ADA to make that a right. So if there's something you want to see, contact the box office and let them know.

Alex Howard
I really like how you said the accessibility is a right. One last question before we wrap up. I want to go back to, I didn't know that the Rose Bowl was described by you guys. That's really cool. Do they give you a note of what flowers are on what float so you can go into detail like that or do it?

Anthony Marciona
For the Rose Parade, what they did was-

Alex Howard
Sorry, the Rose Parade.

Anthony Marciona
The Rose Parade, yeah. Because the Rose Bowl would be a great game to do at the Bowl. Now you opened up my mind, they also on Sunday, they have a great flea market. That would be fun to go and describe what's there with someone if that's something you'd want to do. But for the parade, what we do is since, you know, they're already starting next year, so a lot of the floats are just in sketch form, so generally color and theme. But the actual floats aren't made yet until probably a week before, or they start a few weeks before, but they're not done till a day or two before. So we'll get a sketch and do our general description, and then there'll be notes on the horses for the equestrian section. Some of the groups will have standard horses that they use every year, or they'll have... Sometimes if they repeat, they'll say they're doing the same as last year. So we'll get a group of links from the Rose Parade ahead of time. Then once we fill all those notes out, the day or two days before the parade, we'll actually go to see the floats and make sure that it's what they describe. Like, say, "Oh, it's a red dragon breathing fire." And then we go and it's like a bowl of soup from Trader Joe's. So we want to make sure that the initial description they gave us is accurate. We don't get as detailed in terms of the flowers. It's more about color and because the flowers are acting as a texture more than... But if there's something that's just made of roses or something, we'll bring in the type of flower. But it's more about what the whole float looks like and the colors and any important elements of that, and obviously who the float is sponsored by. But it's fun. It's almost a two-month process for us, maybe a little longer by the time we start. Parades are really fun. I'm hoping we can get to do some of the pride parades and other parades around town. It'll be really cool.

Lee Pugsley
Yeah, I think it would be cool. I've never actually been to a parade that's been audio-described, so I think that'd be really fun. Yeah. Well, thank you so much, Anthony, for being here today. And if listeners want to find you, where is the best place to connect with you online?

Anthony Marciona
Oh, okay. Probably my website. It's www.AnthonyMarciona.com. I have a link to contact me. I have upcoming events. A lot of my performance pieces or production pieces, but I also have a link for any audio description events coming up as well.

Alex Howard
Do they reach out to you if any of our listeners want a certain event described? Can they reach out to you? Or do they reach out to ADLA?

Anthony Marciona
Like I mentioned, too, I would start at the venue first if it's a venue we do. But ADLA, they can always reach out to me as well, and I will pass that on. It's a big network, so we'll make sure what you want to see will be described by someone.

Lee Pugsley
Sounds good. And then also for the listeners out there, if you want to get an event audio described and you're not sure where to go, you can always reach out to me and Alex at DarkRoomFilmCast@gmail.com. Once again, that's DarkRoomFilmCast@gmail.com. Or if you have any other questions or comments about anything that we've discussed today, feel free to reach out to us for that reason as well. And you can also follow us @DarkRoomFilmCast on Instagram and YouTube.

Alex Howard
Yes. Thank you so much for listening. And we'd like to thank you for being on the show. We'd also like to thank Matt Lauterbach from All Senses Go for providing transcripts for this episode, as well as BlindCAN for helping out with editing.

Lee Pugsley
You so much, you guys. We'll see you here next time on The Dark Room.

Anthony Marciona
Thank you.