Improv for a Life You Love: Healing Through Play

What if confidence comes from play, not perfection? Therapist, storyteller, and improv coach Jude Treder-Wolff shares how creativity can rebuild courage, calm anxiety, and spark transformation at any age.

What if the fastest way to feel confident isn’t control, but creativity? In this episode, therapist, storyteller, and improv coach Jude Treder-Wolff reveals how improv therapy, expressive arts therapy and playful daily habits help people break free from perfectionism, quiet fear, and navigate major life transitions with resilience.

Jude takes us from discovering the magic of New York as a kid to her early work in psychiatric hospitals, where she saw how small, consistent creatve actions create real emotional healing. We explore the origins of improv in Chicago settlement houses with Viola Spolin, and how those same structures still teach presence, trust, and courage today.

She shares powerful tools you can use right now: playful storytelling exercises, curiosity-based choices that calm the nervous system, and creativity practices that restore energy during grief, illness, or reinvention in midlife. Jude’s stories, including her “miracle on 57th Street,” show how creativity rewires self-belief and opens new possibilities.

This episode is a guide to aging with purpose and passion: use structure to feel safe, play to feel alive, and small creative steps to create change that lasts.

If this conversation inspires you, follow the show, share it with a friend who needs a creative reset, and leave a review with the smallest “yes” you’ll try this week. Your next scene starts the moment you choose it. 

Resources  

For a similar stories on aging and creativity, check episode  127 and 154 and The "Women in the Middle®" hosted by life coach Suzy Rosenstein and focuses on helping women in midlife, navigate life changes, set goals, and find happiness. 

Jude Treder-Wolff – Therapist, Storyteller & Improv Coach
📧 judetrederwolff@gmail.com
🌐 https://www.lifestage.me
| https://www.judetrederwolff.com
📘 https://www.facebook.com/jude.trederwolff.9
📸 @lifestage_inc
💼 https://www.linkedin.com/in/jude-treder-wolff-294436221/
🎙️ Improv In Real Life (Apple, Spotify, all platforms)

Beverley Glazer – Transformation Coach & Host
📧 Bev@reinventImpossible.com
🌐 https://reinventImpossible.com
💼 https://www.linkedin.com/in/beverleyglazer
📘 https://www.facebook.com/reinventImpossible
👥 Women Over 50 Rock: https://www.facebook.com/groups/womenover50rock
📸 https://www.instagram.com/beverleyglazer_reinvention/

🎁 BONUS: Take your first step to clarity, courage and momentum. Your free checklist: → From Stuck to Unstoppable – is here.
https://reinvent-impossible.aweb.page/from-stuck-to-unstoppable

Have feedback or a powerful story that's worth telling? Contact us at info@Reinventimpossible.com

Chapters

• 0:07 Opening And Guest Introduction
• 1:50 Falling In Love With New York
• 5:14 Miracle On 57th Street Story
• 9:07 Mental Health Work On The Front Lines
• 12:16 Building A Creative Arts Therapy Career
• 15:22 Creativity As The Engine Of Change
• 19:35 Discovering Improv And Letting Go
• 24:27 The Social Roots Of Improv
• 27:59 Improv For Growth After 50
• 31:45 Resilience, Grief, And Creative Focus

Transcript

Announcer: 0:07

Welcome to Aging with Purpose and Passion, the podcast designed to inspire your greatness and thrive through life. Get ready to conquer your fears. Here's your host, psychotherapist, coach, and empowerment expert, Beverley Glazer.

Beverley Glazer: 0:33

What if the key to rediscovering yourself was found in a story. Welcome to Aging with Purpose and Passion. I'm Beverley Glazer, a transition coach and catalyst for women who are ready to raise the bar in their own lives. And you can find me on reInventimpossible.com. Jude Treder Wolf turns messy lives into being a kid. She's a therapist, a storyteller, and an improv coach who helps people rediscover confidence and creativity at any stage of life. Jude is a mock story swan winner and host of the hit show Mostly True Things. She performed on DBS, Stories for the Stage, Risk, and the Story Collider. And through her company Life Stage, she blends psychology, humor, and storytelling to turn life's challenges into growth, connection, and purpose. Welcome, Jude. Welcome.

Jude Treder-Wolff: 1:36

Thank you so much. What a delight to be here.

Beverley Glazer: 1:40

It's wonderful having you. And this is can be an improv, right?

Jude Treder-Wolff: 1:44

Every conversation is an improv when you think about it. It really is.

Beverley Glazer: 1:49

It sure is. Jude, you grew up in Wisconsin, but always dreamed of the big city New York. Why New York?

Jude Treder-Wolff: 2:00

I loved cities when I was, I grew up on a farm. And my brothers, I have brothers that are 10, 12, 14 years older than me from a very long, you know, one of these very large farm families that are basically a generation. And my older brothers went to college in Milwaukee, which was the New York City of Wisconsin, when you live on a farm. And it was very exciting to drop them off at school. And then I watched on Thanksgiving Day, every Thanksgiving Day, we would watch Miracle on 34th Street. It came on at like 2 p.m. And our Thanksgiving dinner was at noon. We went to Mass in the morning. We would have Thanksgiving dinner at noon. And then we would watch movies for the rest of the day. And a lot of those movies were holiday movies that took place in New York City, primarily Miracle on 34th Street. And that movie made me fall in love with New York City because of the parade. There was a woman, you know, played by um, oh my gosh. Oh my gosh, I'm blanking on her name that she's the most amazing actress, but she was a woman who worked at Macy's and she was a high-end performer, you know, administrative manager at a Macy's department store in New York City. So she was a powerful woman that was a great role model in that sense. She was a really strong personality and she worked and she was a single mom. So I thought the city was the most enchanting place. That wasn't the only movie, but that was the one that really inspired me to want to be in the hollow, be in New York City at the holidays, but also not just to visit New York City at the holidays, to be part of the New York City culture. And I read every book you can think of. J.D. Salinger's uh books are all take place in on the Upper West Side. And I was so I was just inspired by New York City. Little Women was one of my the books that shaped my entire personality, shaped my thinking, shaped my sense of the world and what women could be. And Jo March goes to New York City when she is seeking to be a novelist and meet people and experience things beyond her world of her home. So I was always inspired to go to New York City. And oddly enough, it was so scary to my family that I kept talking about New York City, and my mother would always say, in her thick Wisconsin accent, she would say, Oh no, you can't go to Wisconsin. If you go to New York, you'll be robbed and you'll be shot and you'll be lying in a ditch. And who's gonna come get you? It's too far. We can't, so you can't go to New York City. She was so when I got to New York City, and it was the um early 1980s, it wasn't the safest version of New York City. No, and so it was like liars and thieves and murderers. Oh my! I was like Dorothy in Oz, but I absolutely loved New York City. And can I tell you a quick I want I want to tell can I tell you a quick um New York City story that relates to Miracle on 34th Street, or is that gonna take too much time?

Beverley Glazer: 5:12

Well, we're already in it, so go.

Jude Treder-Wolff: 5:14

Well, I because when I landed here on the East Coast, um, it was to do an internship at a big uh psychiatric hospital in New Jersey as a music therapist. So you have to do a six-month internship that was unpaid. And I was used to being poor, I was used to working check to check until I would get my degree. And I my best friend lived on West 73rd Street in Manhattan. She was a struggling actress. She had HBO and she had a television, and I lived in a condemned building on the grounds of the psychiatric hospital because they didn't pay us anything, but they gave us a place to live. And I had a job that gave me a little bit of a paycheck. It was a nighttime job, a night and evening uh weekend job, so that I would actually have money for shampoo and toothpaste and things over this course of this six months. And halfway through, about, and it was right around the holidays, it was about the first week in December. My best friend calls me up and she's sobbing and she says, her boyfriend broke up with her. She is needs me to come for the weekend. And I need to work that weekend. I need to work that weekend to have any money at all for the week. But she's my best friend. We were roommates in Wisconsin. I I call in sick to my my job at the pharmacy and I go and spend the night with my friend. She's sobbing, she's crying. I'm like, we're women together, we can do it. You don't need him. I she and it's like having a newborn baby. You know, I sleep when she sleeps, I feed her when she wakes up, I get her to take a shower. And by the end of Saturday night, I say, Lori, can I I need to go back, I need to go to work tomorrow. I need to work. And she says, You can't leave me, you can't leave me. Please, I you stay one more day. I can't, and and I feel like I just can't abandon her. So she has a job as a co-check, like all actors do, at a place called Charlie O's on 57th Street. And it everybody goes there for Sunday brunch. That's what they do in New York City. So she said, just come with me to Charlie O's. And I said, I call in the next day. I'm still like, I don't know what I'm gonna do for money, but I'm gonna stay here for my friend. We'll figure it out. I go to Charlie O's, she's doing coat checking, she's on the phone trying to get acting jobs. I'm sitting at the bar journaling about my resentment that I'm here, that I gave in. And the the maider D or the hostess comes over to me and she says, Could you take this tray of drinks over to that table over there? And I go, I don't work here. She says, I know, I know, but two people called in and I'm low, I'm short of people, and these people are waiting for their drinks, and there's more people coming in. And I say, Okay, I'll do it. I take the drinks over to these people and they say, Can we just place our order? And I I say, Well, I don't work here, and I go get a notebook and I say, Should I take their order? And she goes, Take their order. So I take their order and I go and hang it up uh on this clothespin that's between the bar and the kitchen, you know, and then I start taking other orders and taking other drinks out to people. And when I bring them their their bill, they complain about the service, and I say, I know, I understand, I don't work here. And they say, You don't work here. I go, No, I don't. I just was here with my friend, and they said, You just gave us the most fun story of the day. And they gave me a $20 tip. Really nice. The next table, when I gave them the bill, they said, There was a terrible draft for you know, here. And I go, I know. It's I'm sorry about that. You know what's really I don't work here. And they said, You don't work here, and I go, no, not only that, I'm a music therapist struggling for uh doing an unpaid internship, living in a condemned building in a psychiatric hospital. And they give me a $30 tip. And at the end of the day, I go home with $200 in tips in cash because I stayed there with my friend. So I had my own little miracle on 57th Street. People say good things don't happen in New York, but they do. And you stayed. Yes, I stayed. I stayed, and I got a job right out of my internship in a psychiatric hospital in downtown Newark, New Jersey, that I was hired to be on a team of therapists. And I was very excited. It was a great opportunity because creative arts therapy is this, I feel, cutting edge kind of um mental health treatment. It still is cutting edge because it's always been marginalized. It's never really mainstreamed, you know. Um, and I get to this job and I feel like Maria in the Sound of Music, just on my way to use music to change people's lives, walking through the streets of Newark, swinging my guitar, so excited. And I get there and they and I say, Oh, I'm hired, you know, I'm part of the team starting today. And they said, Well, as of yesterday, you are the team. And so I discover that with in the early 1980s, there were some very savage cuts to social services in the United States. And among those was things in anything that related to mental health, anything that related to people, especially marginalized mental health, uh, uh people with severe mental illness, these people that that were treated on this unit. Really, this unit had really had everybody. It had college students that had survived a suicide attempt, or people with ongoing psychiatric illness that would filter in and out because they had an episode. But lots of the patients were dramatically ill, you know, chronically ill, mentally ill patients that cycled in and out. And really, it was a very, it was hard. And they, the only reason my job was spared was because it was the lowest paying job. So I spent the most time with the patients, and I had the least amount of experience. It was a little bit like being in the Peace Corps, and I loved the patients, but I really did, I didn't do a lot of music therapy. I did some every day. We would sing Here Comes the Sun, and we would start our day and end our day with music, but we also went to Goodwill to get them clothing, um, took them to church events, things that were free. Anyway, it was a it was a job that taught me on the ground about the tough side of working in mental health. And I loved the work, but I was very glad a few years later to land really my dream job in New York City. So I made it. It wasn't on 34th Street, it was on the Upper East Side, but that was okay. Oh, yes. Yeah. And I was actually not only on a team of creative arts therapists, but a department, all creative arts, music, art, drama, dance. We were the heart of the therapy on uh on this in this hospital. And I loved that job so much. Um, it was a life-changing experience, and it was an eight-year project to get to that job. And I and I at that point met someone and ended up staying here for the rest of my life.

Beverley Glazer: 12:09

And how do you blend creativity into your professional work?

Jude Treder-Wolff: 12:16

I think of creativity as the energy of change. So when you think about you just even using the arts as an example, the notes in a song, or the paints that a painter uses, or the words that a writer uses, these tools, these reasons we use these tools and we mix them up to create something original, to create something novel, something that is unique. And along the way, we're gonna do some other version of it. And I think the same is true for when we seek to change ourselves and we want to change habits, we want to change the way we think, we want to grow, expand. Creativity is about managing uncertainty. It's about taking what we have and going to the growing edge of what we know and experimenting and exploring using the tools that we have, but to be in that state of uncertainty and exploration and feel okay with it. So, as a creative arts therapist, I feel like the secret sauce of good therapy, any good therapy, you don't have to be trained as a creative arts therapist, but a good psychotherapist, is engaging with that sense of uncertainty and staying grounded at the same time. So there's kind of a Goldilux amount of uncertainty. There's enough that we know we're in the unknown, that we're experimenting with versions of ourselves we haven't tried before. We're talking about things we haven't maybe unearthed before. And in so doing, expanding into parts or expressions of ourselves that are new and different, uncomfortable, unfamiliar. And creativity is shaping that. It's saying it's okay. It's okay for it to feel weird and uncomfortable. It's not only okay, it's really what we want. And then it doesn't have to be right or wrong. It's an expression of something that we can then shape for the world we want to, well, how we want to shape our own reality, which we can do to some extent. I don't, I'm not one of those people that says all of our reality is our own creation. Of course, we're co-creating a world with everyone we know intimately and also a social a social world that we're a part of and impacted by. But creativity is that energy within us that is capable of seeing things in new ways, trying things. And as a therapist, I try to help people to be okay with the fact that we're not gonna get it right every time we're going to try things and we're gonna forget. And because old defenses will come up. Old defenses that are part of who we used to be or what we needed for survival. Those are gonna come up when we're frightened. But I really want to help people to experiment with the idea of who can I be? What can I become? And then grow into it. And it's really growing inch by inch. I think of it as like the ki those, you know, the little metal teeth on a zipper. They have to click, they have to connect firmly so that when you put pressure on that zipper, it will hold. And I think of real change as that kind of click, click, click of small shifts. And we think of things in a creative way that even a small creative shift can feel transformative and feel like, oh, I'm on to something without having to take a big leap. So that when we put pressure on that change that we're trying to make, it holds. I think a lot of times people think of creativity maybe as wild and undisciplined, and it's pretty much the opposite. It's a wild mind with a disciplined eye or the disciplined practice. It's it's the beginning, you know, it's it's it's knowing that we can be more than what we maybe have scripted for ourselves or the world has scripted for us, and that we can do that in a step-by-step way that's building skills toward the new.

Beverley Glazer: 16:14

Yes. And we also think of improv as being the scariest thing because you have to stand up there and let's talk about that because you're an improv coach, and improv can help people just be who they are and become spontaneous, and that is scary stuff. So tell us about that. What does improv do for you? How did you find improv in the first place?

Jude Treder-Wolff: 16:40

Well, thank you so much for asking because it is my very favorite topic. Um, well, I discovered improv by watching it, which I think is often how we discover things we want in life, is we see them just like I saw a miracle on 34th Street and said, I want New York City. Um, in New York City, if you are poor, as I was for a very long time, you know, just living on the low end, you go to things that are inexpensive. And the inexpensive shows, the $12 shows, are improv shows because there's no set, there's no script, there's people who are often not being paid, they're doing it for love, for their own growth. And a lot of those people might go on to be on Saturday Night Live at some point. However, a lot of years they spent in front of real people in a small black box theater. And so when I was broke and living in New York City, I would go to improv shows because I could afford them. I really didn't even know what it was. And there's a kind of magic about seeing people get on stage, create something together without a script, without a set, without costumes, and begin to find the they're finding it with you, but when they're good at it, there's an absolute magic. It looks like they that they planned it, but of course they didn't. And I had to know how that happens. I had to. I I thought I need to understand how they do that. Uh, because it was very compelling and it would always leave me with this feeling of energy and dynamism. Like I love theater in general, and I and that generally happens with music and theater for me. I think for most people, there was something about improv that was extra special, and it had to do with that spontaneity that the the players were bringing to the room. And of course, they could bomb, but it was always okay. Like we all knew that it was people trying. They were trying. So when I began to take, that's how I discovered it as a art form and as a way to find renewal, but I also saw as creative magic. And I'm telling you, as a music therapist, when you're trained, and I was a musician all my life, there's something about music training that really turns you into a bit of a radical perfectionist that is not good. That part is not good. I couldn't, I was never could, and it was partly in my upbringing as well, but this radical perfectionism shut me down whenever it was a constant editing, just constant editing of myself, and especially when it came to trying to create music or create something. So to see people not doing that, doing the opposite of that, of course, like you said, it's scary, but I knew that it could happen if they could do it. I wanted to see how it works. So when I went into classes, the thing, the beauty of improv is that from the very beginning, the classes are designed for someone who has never done this before, to be able to connect to another human being that they don't know with a game. Now, the roots of improv the way we know it come from a woman named Viola Spolin who worked in settlement houses, which was so there's the roots of social work and improv that are intertwined in Chicago. So when these immigrants would come to the United States in the early 1900s, late 1800s, early 1900s, and they didn't speak the language, they didn't know the culture, they were lonely, they were, they didn't have resources. Viola Spolin was an acting teacher who worked with social workers that were trying to help these people have resources, and they created these settlement houses. And in the settlement houses would be all kinds of, there'd be child care, there'd be clothes, there would be, but they did theater. And because there was a language barrier, they created games that overcame these language barriers, but would teach people social skills for the world they were in, but mainly to connect with each other. Well, that's what the improv games that I began to do in classes were all grounded. That's where Second City came from, which exactly has roots in those settlement houses in Chicago. But so does the improv that we learn. If somebody takes an improv class today, it goes back to that work of strangers coming together and creating something so that they could then go out in the world and be more effective and not as stressed out and more um adaptive and agile in a high-tension environment where everything was new and different. Well, improv, if you think about our just going into a class, yeah, it's a little electrifying to not know what's going to happen, but the stakes are actually low. There's really not, your life is not at stake. Your well-being is not at stake. You are it's it's designed to um bring us into the moment, connect with another person in a very fun way. So all exercises in improv are designed that way to make them have maximum fun, stretch us a little bit so we know we don't quite know where it's gonna go, but we know we're okay because the other people are gonna support us. Um, and so that was why I was able to do it from the very beginning. I realized, oh, something's very different about this creative training than when I was training to be a musician, which where everything has to be perfect, and everybody notices every mistake you make in music. They do. I mean, I was a performer from a very young age, and it made me very self-conscious, not only as a musician, but just as a person. And improv began to replace those defenses and that constant censoring with an expansion that actually made me more agile on stage and in life, more adaptive and better at music.

Beverley Glazer: 22:21

So it frees you, it liberates you. It's a liber, yes. Yes, yes. And how can what could you say to people who are over 50, have all the troubles of the world at that period of time? Uh life could be treating them pretty rough. And they feel stuck. And here you're talking about the joy in the community of letting go. What could you say to these people?

Jude Treder-Wolff: 22:49

Well, first I have to say I do teach improv in person and online, and just about everybody in my classes is over 50 and well over 50 because partly because I I started doing a lot of this during the pandemic online. Um, and people were looking for something that would be a kind of connector, not knowing that they would actually kind of fall in love with it. And the thing is, we are capable over the course of our lives of doing new things. We just have to do them. And the thing about improv is it's active, it's very experiential, it's engaging. We've never we're not there to watch, we're there to play. So just like if you're in a baseball game, the ball isn't constantly coming at you, right? But you're part of an uh an unpredictable but structured experience. You know what you're if you're playing outfield or if you're hitting, or if you're on a base or if you're hitting or whatever, you know what you're supposed to be doing, but you don't know when you're gonna have to use the skills that you've learned. You don't exactly know which exactly skills you will be called for in any given moment. You're watching the play, and it's very exciting. Well, that's the exact same thing that we're learning in improv, except it's about not about a game, a baseball game, but it's about a game of that involves dynamics and relationships, dynamics among in an environment. And it calls on you to use your imagination and at the same time engage with other people in real time. So those two things, they're a little bit, you know, unusual for people to be in their imagination. Maybe they're think their life is very scripted, and maybe it has been. And maybe that's a very uncomfortable place to be, and yet just that little bit of a stretch of stretching of that, okay, now you're uh uh let's let's hear you, let's hear you talk about your day, but in the style of a preacher or something. That's a that's an exercise I might do in the style of uh a cheerleader, um um, in the style of a spy who's not supposed to be talking about this, in the style of a gossip. That's a that's an exercise we might just talk about your day, but we're gonna give you a style. And it's surprising how people can go, oh yeah, I can I can do that. That's and have a lot of fun doing it. And I'll say, see, you just improvised. You just you are an improviser. And then from that, we begin to realize, oh, we have all these reserves of energy, we have these parts of ourselves that have maybe never really been given a good stretch. And here you have an opportunity to do that and to be more than you were before, and you can take it or leave it, what you want to do with it in life. But I do find even people in deep grief, I've had people that were in deep grief, people going through um healing from traumas, that when they would come to an improv class, you would think they would not be able to focus. But in fact, it's the opposite. The way we use our brain and the relationship focus of improv for that period of time takes us out of the suffering. It's not that the suffering is gone, it takes us to it shifts us out of it into the creative mind. So we're not protecting against the pain, nor are we in the pain. We're in this other set of um psychological skills and energies, I guess the best way to put it. It sounds a little new agey, but it's a it's a it's a psychological space where we're focused on uh the other people that we're with and using ourselves in a way that is so unusual that you that it just puts that other thing to the side. I remember when my my uh in 2014, my husband had a life-threatening illness, had to go through a very big surgery. It was scary, and we were told a lot of things to be prepared for. So going into it, I was didn't know if my life was going to change in a major way uh and become much more stressful, and I was gonna lose something that I'd had for a long time. I didn't know. We didn't know how he was gonna come through it. And I was in a three-hour improv class from one to four on Mondays. And I would remember the first time I went to that class after we got this diagnosis, and I felt so guilty and so dumb. Why am I doing this? What like this is not where I should be. I should be, I don't, I didn't know what I should, I just didn't think it didn't feel right. During that three hours, I forgot all about my troubles. After the three hours, of course I remembered my troubles. And I had more energy for them. I had more to bring to it, I had more resilience. And I think of it this way that your life is gonna be filled with troubles and struggles. And you say, as we get older, of course, there are more because we know more people, there are more losses, illnesses start to happen, things like this. And think of your your life as a room and the troubles, the room is filling up with water. And comedy or improv doesn't have to be comedy, but improv can often become comedy. But creative improvisational experiences are like a bubble where you're riding that rise of water. You're not denying it, you're just not drowning in it, you know.

Beverley Glazer: 28:31

So you're giving yourself a break, just a little bit of break, a break of creativity. One last thing, what message would you give to help women just find their joy?

Jude Treder-Wolff: 28:45

For women to find their joy, first friendships, connections, make time for your friends. I think for my life, because I've been very poor in my life, I've been alone at times, you know, when where I really was on my own, like in, you know, on my own without family support or without, and it was always a network of friends, sort of a cosmic net, whether they were nearby or I had to connect them by phone. Friendships are the infrastructure of our emotional safety net. So to find joy, talk about yourself with other people, with but with other women who get you. Find people who get you and protect that relationship if you if you can find them. Try new things. I think joy comes from discovery. I mean, you we know what makes us happy, and of course, we have to do the things we should do the things that we know reliably will uplift. For me, it's music, theater, comedy. I love that stuff, and it reliably will give me the energy that I need to cope. Um, for For some people, it's painting, nature, oh love, you know, love going into nature. Um, and so my particular prescription, just being me, because everybody has to find their their own path, is I say tap into something new in yourself and find a lot of support for it. And that can bring joy, even in the darkest of times. And joy gives us resilience for the hard things. Yes.

Beverley Glazer: 30:28

Thank you. Thank you, Jude. Jude Trader Wolf is a therapist, a storyteller, and an improv coach who helps people rediscover confidence and creativity at any stage of life. She is a moth story slam winner and host of the hit show Mostly True Things. She's performed on PBS stories for the stage, Risk, and the Story Collider. And through her company life stage, she blends psychology, humor, and storytelling into life's challenging moments. And she can challenge anyone into growth, connection, and purpose. And here are a few takeaways from this episode. Life doesn't follow a script. Stop trying to control it. Creativity connects you to your dreams and taking chances. And when you share your own story, you help someone believe in their story too. If you've been relating to this episode, here are a few actions that you can take for yourself right now. Do something spontaneous. Sing, doodle, laugh, or for no reason at all, just act a little crazy. Share a story from your life, tell a friend, write a journal, and notice how it changes your perspective. And say yes to something that you never do and be curious instead of trying to control it. For similar episodes on the power of creativity, check out episodes 120 and 126 of Aging with Purpose and Passion. And you might also enjoy Wellness Wednesdays, which is hosted by gerontologist Sally Duplantier. These webinars that feature topics about healthy aging, visit MyZingLife.com to learn more. And so, Jude, where can people find you and where can you share your links so they can find you after the show?

Jude Treder-Wolff: 32:31

I'll show that in one second. I just want to say your summation is genius. It was absolutely beautiful to hear your summation. Thank you so much for that. Those takeaways were so great. I have a podcast called Improv in Real Life. And on that podcast, there's lots of in-depth conversations about applications of improv to real life. And there's exercises we do together, the guest and myself, that people can just do with their friends or their kids or their spouse, and you can just practice in your real life tapping into the spontaneity. So I hope you'll take a listen to improv in real life. Um, I'm on Instagram as lifestage underscore inc, Facebook, Jude Wolf, LinkedIn, JudeWolf. That's about it. And my website. Well, my websites are lifestage.me and judeTreadderwolf.com.

Beverley Glazer: 33:22

Perfect. And all Jude's links and all this information, they're going to be in the show notes. And they're also going to be on my site too. That's reinventimpossible.com. And so, my friends, what's next for you? Are you just going through the motions or are you living a life that you truly love? Get my free guide to go from stuck to unstoppable. And where do you think they are? Yep, they're in the show notes. You can connect with me, Beverley Glazer, on all social media platforms and in my positive group of women on Facebook. That's Women Over50 Rock. And thank you for listening. Have you enjoyed this conversation? Please subscribe and help us spread the word by dropping a review and sending it to a friend. And remember, you only have one life. So live it with purpose and passion.

Announcer: 34:22

Thank you for joining us. You can connect with Bev on her website, reinventimpossible.com. And while you're there, join our newsletter. Subscribe so you don't miss an episode. Until next time, keep aging with purpose and passion. And celebrate life.