Accessibility On Stage: Accommodations, Autism, and Theatre Superstitions with Leta

Join Amanda and Leta as they explore accessibility, accommodations, and the quirky superstitions of theatre life—from ghost lights to stage manager lore. Discover what it’s like to perform as a neurodivergent dancer and how tradition shapes the stage.

🌐 Learn more: https://www.letatapstyles.com
💃 Leta’s Dance Studio: https://www.autisticwingsdancecompany.org
🎙️ Want to be a guest? Send Amanda Trisdale a message on PodMatch:
https://www.podmatch.com/hostdetailpreview/letastapstylesguest

Transcript

0:09

Hi Leta. Welcome to Tap Tuesday. It's been an amazing week. It's been a a great week, hasn't it? Hasn't it been like the best week ever? Yep, I am. Okay, so obviously it has not been the best week ever. things have been really stressful around here. We've got, Colorado gives. Starts November 1st. We're trying to rev up for that for your dance studio. Colorado gives, for everyone who doesn't know, is a major fundraiser here in Colorado where all the nonprofits definitely do not compete against each other for a $1 million prize purse and $10,000 to the top winner. Plus, there's power hours where you can run $2,000 more. Plus if you get new. Monthly donors in the first week or so, there's $250,000 where they will match the first monthly donation. crazy. Bill for 39 days and the weeks leading up to it months as everyone's getting ready. we've got Party for Autistic Wings coming up is the first big fundraiser for Autistic Wings Dance Studio. You, synergy Dance Academy of Dance here in the Springs reached out and asked, Hey, can we hold a benefit concert for you? And hey, can Lita come to it? We said, yes. We gotta get ready for that. And on top of all else, we can't expand the studio without expanding into a new space. It's $5,000 a month for the new space, and the studio is literally crumbling apart, the walls are literally falling apart. Am I correct in that Lita? Yep. But on top of all that, your microphone broke for podcasting. So I'm using the studio's lapel microphone that we use for the tiktoks for the studio. You have my fancy schmancy microphone. It's probably gonna be January before we get a new one.'cause your daddy works for the, military and daddy's not getting paycheck at the moment. Correct. Yep. So we sat there and did something interesting. We went to the old AI machine what should we talk about this week? Because you and I spent what, 30 minutes? An hour trying to figure out what we were talking about this week. Correct. Definitely correct. And the old AI machine went well. Why don't you talk about how Lita feels. When she performs on stage seemed like a good idea since you were doing your first ever guest solo for someone else's thingy. And they also were like asking about accommodations and I'm like, Hmm, that sounds interesting. And you said it sounded interesting. So we are going to discuss your, how would you put your relationship with the stage Lita? It. I hate it. LI love it. I hate it at the same time. That's it. So when Synergy reached out about this, they asked about accommodations and their first question was, is it okay if people yell and scream and clap during her performance? And my thought was, Elita has got. Is weird. She's autistic. Let's just say, the autistic neurodivergent mind is a little on the crazy side, and, you are okay with people yelling and screaming and clapping extremely loudly and stomping during your performances, aren't you? What do you mean? Nobody does that? When I do stuff, it is like radio silence. Every time I do something like for everybody else, radio silence. When I do something, radio silence. All evidence to the contrary, I'm gonna put in 30 seconds or less of clips of people responding to you dancing at. Hollywood Tap Fest or DC Tap Fest or both? Maybe we could do a montage real quick of the response of what happens when you're on stage Child Mind. So, yeah, people yell and scream while you're on stage. You just can't hear them. The moment the music stops, the moment your tap shoe stop, the moment that you are not taking chunks of floor out of whatever dance floor you are on, and you are smirking because you do that every single place we've been. Those people in the audience suddenly clapping and cheering go from, oh my God, I can't hear them. To OMG. It's about to be sensory overload here, don't they? I don't think anybody wants to hear that high pitch of laugh on microphone. Dang it. You are laughing because it's true. You are laughing because the moment you stop dancing, the moment there are no longer chunks of wood flying. The moment your feet stand still is the moment you're like, oh, there's a world again. And I can't handle loud noises. I'm think I'll have a meltdown because there was so much clapping. Okay. Now my fault. You had to, okay. Okay. Okay. Not my fault. Last DC was the thing. Not my fault. Last was the thing. Also, DCS ago. No, You didn't go to the last one. Oh, I meant last year. One I found went last. She has one. Yeah. You went 2024, not 2025. 24, but last year wasn't last year, 2024. yeah, last one was the 20 25 1 in September. Let's get back to this. You absolutely positively did have a full fledge melt dam because there was so much loud noise in clapping in a small enclosed space, which is hysterically funny, you know, to most people because you're a tap dancer. But. And you're not a little beautiful lyrical Fred Astaire. You are a hard hitting. Yeah. Quiet compared to everybody else. Are we talking lyrical? now? We're talking. We talk. What's now we're talking. Wait, wait, wait. Chloe, I'm quite to that. What it. What I'm saying though is we are going somewhere that does cute little innocent, lyrical. Gonna break the floor. We're bringing your own floor. No, but, because I got one place banned from church means nothing. and the, competition, you got banned from a professional theater. They told me I was banned from. You are not. The competition is different. Discussion. Back to this discussion right now, it probably seems weird to a lot of people, but you do have a minor sensory issue when it comes to clapping and screaming after you're done performing. Okay. In my defense, if you wanted to torture me, you could just say so. They could just say, if they want to torture me, they could just say it. Just say it. Just say it. But that's what I'm saying is that's, but you can't hear it during your performance, Lord forbid you hear it during the performance. I'll show you a performance afterwards, and you're like, where'd that come from? my mind just went on where I'm going with this. I am curious because that was one of the first things Synergy said, and my thought is, and my head was like, well, no, she's fine with clapping and screaming during, just don't do it afterwards. That sounds weird. You are laughing, but it's true. But I have other questions for you because this year at Hollywood you performed during a meltdown, and I don't know if Ms. Chloe and Ms. Maude realized you were melting down because they blew the speakers before your solo. I don't know how that. But it's true, you actually managed were in the middle of a meltdown, but, and I think that's why you, missed a step and hurt yourself in the middle of the performance, correct. Okay. I admit to nothing. But my statement here is it's really weird what sets off your sound sensory issues because as previously stated, tap shoes. blow out the speakers right before your, performance, and you're like, I could get through this I can meltdown on stage. Not, I don't think anyone else, but me knew you were I didn't cry. That's, I didn't cry pain and my head ing but I really think nobody else knew you were melting down. I think that's one thing that people don't understand. Also, with you being an autistic dancer, you can be in the middle of a meltdown and still perform at a high level. I'm not sure if that's good or bad. Would you like to take a pick on whether that's good or bad? Uh. Just put on the old Western now, put on the scene of somebody getting shot in the side and just roam on with life. And then the afterwards, because they decided they needed a drink, not the doctor. so. There were some other things that I was mentioning to, one of your friends slash coworkers who works at the dance studio is like, no one asked about your dyslexia though.'cause you have severe dyslexia, so you can't read a call sheet. So when it comes to accommodations, you need someone to tell you like, Hey, you are on two songs after this. Right? Yes, and I have just learned the ghost be ghosting and this we little ghost will just ghostly find its way to stage. Because you've had that problem before. let's be honest, if you have never been backstage and we have not been to Synergy, I'm just gonna assume they work the way some of our performance friends do. What songs are called Backstage is not what they really are sometimes, isn't it, li Never, never like this Hollywood. But each perform, each performance group has their own. Nicknames for all the songs.'cause if you're backstage and you're talking at like pick one of the performance groups. You've been part of Alabama Dance Theater and you're talking Good King Winslow loss versus, oh good King is next. I mean, 'cause you're shortening 'em. Or the dance of the sugar plum fairy ferry. It looks great. Sounds great when you're backstage calling, what's next? Sugar plum is what everyone calls it. Usually backstage I think a lot of people who haven't been backstage. backstage is a world in and of itself. The adult usually backstage. a good stage manager usually has a secondary and third in a production deal where you are being told, hey, hey, hey, this is where you're at. Or costuming knows exactly where everyone's at, or a stage mom knows exactly where everyone's at. a good stage manager is definitely worth three times our weight and goal, don't you think? Yeah, so they just pick one of the babies and they use the babies as a tiny, weird little messenger, and then you go. Please, please, please don't forget what I said fully. Please, please, please, please remember every single little word I said. Please, please, please, please. I probably should said I shoulda said. No, but When you went in back to studios that were more competition based, they were expecting you to read a, the last two studios you were in. Autistic wings not being one of them. They were both competition based and it's like, okay, here's the call sheet. And those call sheets don't look anything like the performance call sheets to begin with, but once more. You cannot freaking read because of your dyslexia. Never shall I ever go back to the competition studio day or should. There's a difference in, mentality, I think. It's not that they're bad, it's just they're so used to don't, they're used to the competition. Lifestyle and not having the call sheets, the costuming department, the props department, the large prop department, the small prop department that you grew up in, coming up most of your youth through production, and you are used to it. Having that you are used to the production side and moving between the two is hard. Well, I like didn't like move between the two. I more like what I could get. Well, yeah, but I mean there is a distinct difference between, and I will say this a hundred percent again, competitions are, studios are so focused on those competitions that when it comes to having a concert. Or having a performance, they're not as set up as a performance studio where that's what they live and breathe. and so when they're doing call sheets, it's usually every single word in that song title. And it's not like, usually sometimes even has the singer and you're like, that, that, that, that's just, that's a lot of words there. And I'm sorry, there is too much English for one sentence. I'm sorry. Can you just I, I, I don't know, pretend, I dunno English for five seconds and pretend I'm not the Grew up in America, spoke English my whole life, speaker. Five seconds. The holiness of my brain dying. I think there's a lot to be said between every production. Studio. Every production group has their own shorthand for the songs, and you figure them out really quick. Like Jingle Bells tends to get JB or jingle or jingle bells. Name Bell, I don't mean, and I mean the Bell Not and Beast Walk away. We get to Mary Kalinka. Oh, because we're going into the holiday seasons, Mary Kalinka. That's just called. I have been in studios where it was just called Mary, and then you're like, if you come in, you're like, well, is that Mary? Did you know? Is that MaryLee? Kki, Maka? you're like, hi. Just go. Michael Waka. Michael Waka. It Michael Waka from Health for here now Michael Waka. I, I like say Ma Waka. This is funny to say. Mic Waka Waka, Michael Waka. Oh no. I actually had something on this one for the accommodations. That's when someone found out that I have a pH phonological issue with my auto processing. they're like, there's no R and Melly maa. And I'm like, yeah, but if you say Melly and Mary near me sometimes I can't tell the difference. You are giving me a look there are some, you know, there are some words that you have, you absolutely positively agree with me. there are some words that if they're doing it fast, that you're like, what word did you just say? Aren't you okay? Oh, that one song where's like, bring me home. And I am like, okay. I, I know you bring so close. Yes, yes, yes, yes, yes, yes. That's one of those accommodations that I don't think people understand is the call sheet needs to, if you can accommodate my call sheet does not have to be everyone's call sheet. My call sheet. Can you accommodate it to my needs? Whether that be. Because you know, you can read a lot better if it's comic sands or any of the, Which I'm gonna call it dyslexic ones, but because you can only read in those dyslexic fonts, you are still considered, illiterate. But I mean, you are laughing hysterically we've gotten off topic on that one. but no, even the phonological, could you pick words that aren't the same when you're talking to me? And I know they didn't sound the same to you, but tell, trust me, in a middle of a very, very noisy backstage Heaven, help me backstage is noisy. I didn't mention this, but you probably need your headphones on backstage, don't you? Yes. Why do you think there's none? My fitment suddenly going, okay, find the person if she doesn't have the cowboy boots on and doesn't have to, has a skirt over the shirt. You find the person with the headphones. And No, but I mean. I don't think people understand how noisy backstage can get, especially at some of these older theaters where it is tombs and those tombs like echo. I just go music. I just go to playlists. I just go, I'm living and hopefully I don't accidentally miss the call, but even if I do, it's that because of the headphones, it's because of bus. You people don't shut up backstage when the door, you can't shut up. Backstage because all you are trying to figure out what change you're doing, you be quiet. Well be, can you please not backstage? Okay. But it's not just the people around you who are getting changed. If you are in a performance studio, which I think this is where competition studios don't quite understand Performance Studio, you've got, they're piping in the songs from on stage so you can hear where you are. Also, also plus the cell. What I do in the cell in the touch, just that minute because all that. Because something, it never fails. The costuming department We some, costumes just got more blood than the others. And, and it's just because, yeah. This ballerina that's only ran into a wall. The stitching decided to come out, you know? Yeah. Now you having to stitch this, was ballerina still wearing it, or the jazz person or the tap person or the hip hop person? Yeah. No, no, no. No, that's why you have a great costuming department. That is why you have a great costuming department.'cause the costuming department can sew you into a costume without doing anything. But I have seen costumes hanging up on a rack and suddenly. something is unstitched right beforehand. you've got the, because it never fails in a costuming department, backstage of production studio, you have three or four hand sewers and you have three or four sewers that are using a sewing machine, and then you've got the, ser going at the same time. It is noisy as heck. Plus you have. stage manager is sent usually on the mic telling you what's going on. So that, I mean, it's chaos backstage and they're, as long as you're backstage, you can run like el a herd of elephants in your point, shoes, you know what I'm talking about. And when all the ballerinas are running, like actually running, not ballet, running. I feel like this is a different story for different day, for different time for. Christmas. This is for Christmas. It's for Christmases. Happy We, the Christmas production. But it's happened to you without doing a Christmas production. It's happened to any spring production you've ever done. Okay. spring productions are less, crazy, less. So my opinion is because the spring productions cycle and your holiday production is the holiday production that has been done at Performance Studios for 20, 30, 40 years, and Oh yeah, the spring productions usually have new dance. Well, the Christmas production is usually the same dance everybody knows. It is like, okay, we all know this. And where's the sky? You usually can give the little kids some Well, usually don't wind up in the hole. They usually like, okay, just throw down the. Literally, depending on where the orchestra pit is on stage. seriously, when you're talking the spring performances, it could be Cinderella, it could be Sleeping Beauty, it could be the Swan Lake, it could be Gisele, it could be Something new that the studio's put together. when you're talking Christmas performance, you're either talking Nutcracker or whatever the studio has decided as a Christmas performance. Like when you were at Alabama Dance Studio. Some of those, pieces of choreo were laid 40 years ago. And I got lot of giant. But because, think it through though, but because this has been being done so very, very, very, very, very long, not only are there people in the audience who originated those parts, now looking at you, there are the older kids. Remember being the angels who. In your case got lost under the fabric, but when you got back, you were dealing with the middle schoolers were the ones working the fabric and early high schoolers, and they're terrified that the high schoolers who previously had that part are going to yell at them and go, how'd you lose the kids on their fabric? And the high schoolers are like. Yep. Been there, done that. But because of that, there's talkie talkie back there. It's like, Hey, I just messed up on a part. can you help me? before tomorrow where I mess up on it again. Let's say at least they found me under a giant piece of fabric after I, I traveled to another land. But you've been in, Competition studios and because they're not so focused on that performance backstage is different at a competition studio performance. Part of my problem when it comes to accommodations, especially since Synergy is a competition studio at heart, as a lot of them are going. I only know I've really focused 'cause most of your career's been in Performance Studio aside from two years where you went over to competition 'cause that's what was available to you. All the accommodations I know are for you at a performance studio like, Hey, Lita may need you to actually tell her you're up in two. which because you grew up in a, in performance, you know, you're up in two doesn't necessarily mean two minutes. but you also need, at least I have assumed you've needed, you need that countdown to curtains rising, don't you? yeah. The difference between the studio on that one and. Performance Studio on that one is the comp kids don't know that you'd shut up when they announced that stuff. The performance kids know you shut up, you don't ski, you don't you just. Don't talk and you don't get the talk and you do nothing very much. I accidentally up on side. But. Way different call to stage. Like if you were in a performance one, you're there like, you know, two hours ahead, you warm up, then you all run downstairs and you get the whole, okay, one hour, 15 minutes to call, one hour to call. 45 minutes to call, 30 to call, 15 to call, 10 to call, five to call you better. Well be in position by the time I call five to call. but you also, like you said, you shut up and you go, thanks miss whoever the, manager is. And you don't get scolding because you, you don't get on the bad side. You just do it. You just do it. You don't, you hear girl stories about the bad side and you go, I know. I'm not those girls stories But as someone who's come up through that, not just 'cause I think there is a thing where competition studios, I've seen kids try to go into performance studios and they're like, why do we need to say thank you, miss or Mr. And use their name? because you don't want be part. You want one better? I will tell you that my friends who do professional, like Broadway and touring, they may not see the stage manager come down.'cause the stage manager doesn't come down like they did with Alabama dance.'cause going to everyone's to say, Hey, 15. 30, 10, 15, all that fun jazz. Yeah, that ain't happening. They will still stop what they're doing in the middle of the dressing room. Stop it. Listen to the call to stage time and then go, thank you miss so and so. Thank you Mr. So and so. Thank you Mrs. So and so. I am not being part of. But I think you've grown up in performance so much that when you go to anything that's not performance, when you go to something competition based, that's kind of an sorry. I think for you, that becomes an accommodation. You need when you go perform at a competition studio. Hey, Lita needs to know how long.'cause someone was like, oh, well we can't tell her what her call to stage is. And I'm like, but that. Hour, forty five, thirty fifteen, ten five. You better damn well have your butt up there if you're in that first Number. lights, I think this, this sounds like we've gone down a rabbit hole, but I think this is more into the accommodations because you are a performance kid. There are things that you have been taught that. You have been taught this must be done to satisfy the theater. God, this must be done to satisfy the theater gremlins. This must be done because the theater fairies will make your life miserable. You are walking away. No, no, no. Come back here. But I think that's an accommodation you need because you have grown. with the autism especially, you've grown up within the performance community. You have grown up the carnations. No, no, no, no. Carnation do not do carnations. You. I, oh, okay. I'm sorry. I'm not being part of a I'm ghost now. I died stupidly For people who do not know carnations are a death flower and like you shouldn't get fresh flowers. Good. cursed. They are cursed. They are cursed. They were at point. So therefore cursed. You should not give flowers before performance. You should not give carnations and flowers should always be at least a day old that you to your dancers. Also, apparently the whole carnations are cursed is because originally they were used for funeral roll flowers, and I don't think anybody wants, don't a. The whole reason they're day, the whole reason they're day old flowers is you stole them from graves. But carnations were what? The mourners were on their bhut Innes. Uh, and I. But I think sometimes when you're neurodivergent, you take these stories and you hold them a little bit more. Go ahead. Yes, and if. I am just gonna go. No fun. Am I so. I think that's one of the things going from a competition studio to a, performance studio. I'm back 'cause like you are never going to, give up your opinion, nor am I on carnations and flowers because you got fresh flowers for a performance before the performance and it had carnations in it. And what happens that performance leader. Uh, I'm not the one who went to the hospital. That was unfortunate also, same time I Wait, was that the year we figured that I was allergic to lipstick? No, that mm-hmm. That was the one. The one that you were, we figured out you were allergic to lipstick. There were just carnations in the vicinity because the music department had left carnations. The one I'm talking about is your last recital with Alabama Dance Theater. And the look on your face.'cause that was the one where, like everything that could go wrong went wrong with that deal of flowers. It's said good luck instead of, things I can't say Also, apparently if you say good luck to everyone, it cancel out the curse. So if you make the mistake you say to everyone, it cancels out the curse, not the curse of the carnations But that was the one where the fire alarm got pulled and kids got left in the building because adults followed. am confused on No on me from saying good luck to everyone. No. I mentioned to, one of the adults what had gone down and they were like, Lita knows to say good luck to everyone. Right? One of the adults knew what went down because I was like, Hey, Lita got told good luck. And they're like, she knows. She needs to now go tell good luck to everyone, right. Told me that. But in comp saying good luck is okay in comp a minute. So I went into high school, was the high schooler that told me that. Afterwards, Le ran to me and said, I'm sorry, I'm sorry, I'm sorry. I'm sorry. I'm. Okay. Yes. Because they had not been told by an adult and when the adult told them what was going on, the high schooler felt bad.'cause they're like, oh my gosh, the 9-year-old is trying to fix our luck because you were like nine when all that went down. but. I just thought it was a polite thing to do. I did mistakes Well, you're also not supposed to say go break, because you're also not supposed to say, break a leg to a ballerina. You can say, break a leg to a musical theater person, but break a leg to a ballerina. And we have, but all of this goes back to. Accommodations because you really, truly do believe in this. I do too. I'm not knocking it. Every production person, you know, truly does believe in this. Thou shalt not do this, and you go into a comp studio and I'm like, hi. You don't understand. She has performance tendencies on top of her autistic tendencies, and you take performance tendencies and mesh'em with autism tendencies and you're going to think they're weird because you grew, because most of these comp, studios, they did not grow up in the per me major performances you grew up in. I mean, you grew up in five nights a week when you do the show. Okay. Okay. But I think there's where the weirdness and accommodations that are needed for a neurodivergent dancer versus a neurotypical dancer. Though when I find a fully neurotypical performance dance, I. Find more neurotypical dancers in competition than I do in performance. And I think it's because performance is set up. While it's still taught very neurotypical. I don't think anyone involved in performance is neurotypical. I am most assuredly not disagreeing at all. What I am, stating is that, when looking for accommodations for an autistic dancer like you, I think there's a lot to be said that you have to understand that a performance autistic dancer is coming in with that performance autistic background and what you may think of as weird is them going, yeah, I. It's more than just the sensory issues. It is the, I'm sorry, I saw carnations. I am not stepping on that stage. But back to the statement, You and I, it is so ingrained in you from being performance that switching over to competition where none of this is normal. They don't do things like, how they. Say good luck to ballerinas, which is not an appropriate word in French. And people look at me weird. I'm like, but that's how you say good luck.'cause you're a ballerina. And I don't want your leg breaking. Because if you say break a leg to a ballerina, they might actually break a leg. But on the other hand, there's, a whole deal with musical theater. So you have to know how to say good luck to people. And in competitions they do just. So I think sometimes the accommodations need to be more than just, let's work on the fabric and whether or not they're sensitive to the fabric. Let's think about the lights. Let's think about the, Noise level. I think accommodations with things like autism need to include. If you are performance trained, then they need to understand you're coming in with the performance background, and it's not just, But it is in some ways is so weird because you need to say thank you to your stage manager 700 gazillion times in a performance which competition never says thank you to their stage manager. 700 times in performance, I've been to competitions, I've been backstage where they never once say thank you to I'm But, and I think we need to, I am now really thinking we need to do an entire episode just on how some of these came to be because we, finish this up. You yeah, that's what I'm saying. But I think the competition studios, when they're, do think the competition studios when they're like, oh, what accommodations does she need? And I'm like, well, if there's not a ghost light lie and say there's a ghost light. When she says, Hey, ferry's just tugged on my, still. What? No, why would I say it? I'm running outta the exit. Or the Gremlin deals where something goes missing. It is definitely the theater gremlins. It is not anyone misplaced it.'cause we all know it's the theater Gremlins and then that one time when I was seven. Yeah, one time. One time. It was not the theater gremlins. oh, but the theater gremlins came out and forced the next night. Oh yeah. The next day. It was definitely the theater grandmas the first night. Oh. But it was not the theater gremlins because it was also your apology note. need an entire episode on just theater just one episode explaining oh, I forgot to add the life, almost life. There it is. just one minor epi episode or like three or four On with life. Um, but I think sometimes trying to explain some of your accommodations, like no, she does believe in theater gremlins. She does believe in theater fairies. She believes in theater goes, guess what? So do a lot of people who are currently working on Broadway,'cause I've had comp comp coaches. Comp teachers go, no one else believes in theater guests. Yeah, we are doing an entire episode on the autistic brain and theater. Mythology, mythology here being just as big as any other religious mythology. you're laughing, but no, I do think that it does help sometimes. it sounds crazy, but the accommodations of that for especially neurodivergent dancers who do truly believe in it. And I'm not saying anything because you've heard me sit there and go, okay, need to bring in a peace offering for the theater that fairies tomorrow.'cause I have done something and I'm not sure what I have done. But I am sorry and I will bring you your cute little peace offering. I am not upsetting a fairy. I'm not trying to make a peace offering ever with a fairy. I dunno what it is. With fairies, they don't take peace offerings well.'cause they are picky. They, they are picky, picky, picky little fairies. They are picky fairies. Fairies are picky. At least the ones I knew were picky. At least the ones that did theater. I, it was picky. At least the ones that did two performance theater. Theater I went to were picky. They were picky. They were picky. Picky fairies. They were very picky fairies. They were very much picky fairies. What I'm though. Is that sometimes accommodations come in different forms. They come in accommodating the belief system as well and understanding that you are going to say thank you to The voice of the stage manager.'cause the stage manager is God, you are going to go quiet when the stage manager is talking.'cause we all know the stage manager can tell anyone what I God, this both the stage manager is a girl. Godde this. Yes. But I think, I do think that there are a lot of people who don't understand that. I think there are a lot of people who think it's a weird thing. I think we need to wrap this up. I think, next week's needs to be just a whole thing on, theater mythology, because this is very important, and the autistic brain. Quit looking at me. Weird. I will be editing a bit of this. And for those of you who've stick stuck around through this insanity, thank you for listening. Like, comment, share, subscribe. we are part of the POD Match podcasting network. If you are interested in coming on to Friends Friday to talk about autism Neurodiverse. Neurodiversity, A DHD, all that fun jazz. Hit us up over on Pod Match. Let us know and we'd love to connect. If you are a dancer who would like to come on and talk on Tap Tuesday, please, please, please. Also, if you want my friends randomly running into this one, I'm probably embarrassing myself in front of you. You, you, you. If any of my friends are watching this because you're all colors of me, please come on. We are of course, as always accepting donations for L's dance Studio. We're going to spend the first two weeks in November talking about it and talking about her new tap video that's coming out to sport it. If you live in the Colorado area, and you hear this before October 31st, come party with us for autistic Wings Dance company at Topgolf, you do not have to play golf. There is Angry Birds. There is NFL touchdown. You can play any of those. Tune in in the next few weeks as we discuss theater mythology from the autistic mindset. See everyone on Friday. We have Daniella, who is a dyslexic coach. coming on to talk about dyslexia. Talk to everyone on Friday. Have a good rest of your week. Okay, well thank you for watching the podcast and please subscribe and also look at the Adorable, don't You watch, subscribe Forward and also please like, and don't pick it if you'll to us, if you'll miss any of our new podcast. And also you see the Adorable, don't you like it?