Inside the Creation Process with Alexis Bernatchez: What It Really Takes to Build a Brand-New Show

What is it actually like to be part of the creation of a brand-new Cirque du Soleil production?

In this episode of The Artist Behind the Art, host Jennifer Pierce sits down with Alexis Bernatchez to unpack the realities of show creation from the performer’s perspective. From AXEL to Canadian contemporary circus companies, Alexis shares how characters are discovered, how ideas are born (sometimes from “failed” moments), and why honesty and adaptability are essential skills in any creation room.

Together, they explore what directors actually look for in artists during creation, how performers can stay open when work is cut or reimagined, and why being yourself isn’t just encouraged — it’s required.

In this episode, we cover:

• What’s planned vs. discovered in a brand-new show creation
• How performers contribute creatively beyond their discipline
• Why mistakes and “messy” moments are part of the process
• Adapting from rehearsal spaces to massive arena stages
• Managing pressure, checkpoints, and high-stakes feedback
• The role of authenticity, clown work, and stage presence
• What truly makes a performer valuable in a creation environment

Key takeaway:
Creation isn’t about proving perfection — it’s about showing up honestly, staying flexible, and allowing your true strengths to shape the work.

Thanks so much for listening to The Artist Behind the Art.
This podcast exists to support performers in building sustainable, aligned, and castable careers — beyond just the skills.

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If you feel like you have the talent—but when it comes to act creation, something just isn’t fully clicking—this is for you.

Most of the time, it’s not a complete overhaul.
 It’s a few missing tools and a few shifts in how you’re approaching the process.

That’s what takes you from second-guessing your work
 to becoming the artist who is ready to go for the opportunities you actually want.

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Remember — you already have what it takes.
 The question is: are you ready to prove it to yourself?

Until next time — show up big and own the stage.

Transcript

Speaker 5 0:01

Welcome to the Artist Behind the Art, the podcast that lists the curtain on what it takes to thrive as a professional performer. I'm your host, Jennifer Pierce, artist coach, creative strategist, and lifelong advocate for performers who are ready to go from unsure to unforgettable. This is where the gatekeeping ends and your journey to thriving in the industry begins. Let's dive in.

Speaker 2 0:29

Welcome back to the Artist Behind the Art. Today's conversation is a special one. I'm joined by Alexi Burnishes, a circus artist who is part of the original creation process of Cirque Soleil's Axle, and who brings a rare perspective on what it truly means to build a show from the inside out. In this episode, we're talking about creation, not as a polished end result, but as a living, evolving process. The trial and error, the trust. The moments that fail and the ones that unexpectedly make it onto stage. Alexi shares what it takes to stay grounded when ideas are cut. Expectations shift and pressure is high. And why? Authenticity, adaptability, and courage matter just as much as technical skill. If you've ever wondered how new shows are actually made, or what makes a performer invaluable in the creation environment, this conversation is for you.

Jennifer 1:24

Hi Alexis. Thank you so much for being on the podcast.

Alexis 1:27

Uh, I thank you for having me.

Jennifer 1:29

Amazing. Yeah. Alright, let's get started. Of course. So. You were part of the original creation process with Axel, with Cirque Du Soleil.

Speaker 3 1:38

Yes.

Jennifer 1:38

And what other productions have you been involved in that foundational character development process?

Alexis 1:46

Uh, at Cirque I was pretty, pretty fun. I was fortunate enough to know the artistic directors before the creation, so they knew me. Before, so they actually reached out to me, uh, because they thought that the characters that were thinking for that show, uh, I would fit the characters pretty well. And when I accepted, they actually, uh, modified a little bit the characters. So it would be actually, it would be me. So that was, uh, I was really fortunate for that. So the characters, the character was based on my skillset. More than, uh, my skillset fit the character. It's not always like that, but I was fortunate enough to know the people that was creating the show and, uh, fortunate enough to have this opportunity. Yeah.

Jennifer 2:37

That's awesome. And so what is your, uh, the skill sets they were primarily interested in for Axel?

Alexis 2:43

So basically, uh, when Cirque create a new show, if I'm not mistaken, they tried to get new discipline all the time. They always tried to get something new. And on Crystal they had juggling, uh, bouncing balls on the, on ice. So they wanted another juggler that wa that was doing something different. So they thought of me because I was doing diablo on skates. And I was able to adapt on Rollerblade or or on on ice skates. So, uh, wait, what, what, what was the question again? Yes.

Jennifer 3:12

No, that's amazing. No.'cause we, we kind of went down the path more on the creation process for Axle. Yes. I, I think that's great. So the, uh, the question was the, um, what were the disciplines that they were most interested in you integrating into Axle?

Alexis 3:25

Oh, yeah. So, uh, having Diablo on, on ice, uh, it's pretty unique. I don't know much people doing it. I don't want to say that I'm the only one, but I'm the only one that I know. So, and I guess I was the only one that they, know. So they reached out to me directly and it was pretty unique. It was a discipline that was mixing, uh, skating and, uh, circus. Uh, a lot. So they liked it and yeah.

Jennifer 3:55

That's fantastic. And what other companies have you been part of the initial, that show creation process?

Alexis 4:01

Uh, so I did the school in Quebec, e Quebec, uh, between 2013 and 2016. So I've been part of some, uh, creation. Of Canadian companies. I work with the Machine de Cirque de that is based in Quebec City. I work with Cirque Eloise, that is based in Montreal. I did one creation with Eloise, uh, sorry, two creations with Eloise. A small one in a, in a bigger one and one with Machine de Cirque de. Those creations are pretty fun because, uh, it's the type of show that we're not as, we're like small amount of artists, but everyone's always on stage. And the show is basically based out of, uh, the Acrobat skills. So instead of creating a show and trying to find acrobats that fits the show, it's, we are finding acrobats and we're creating a show around those acrobat skills. So, uh, it's a different process, but, uh, as fun.

Jennifer 5:01

That's amazing. I love hearing just about how every creation process really is different, but I think there are some foundational skills that you probably had from your education that helped you be able to contribute, uh, strongly in that process. What would you say in your education, um, surprised you that was a skill that you used or something that you felt that, that you were really thankful to have learned while you were part of? Uh, just the process of, um, your. Circus education.

Alexis 5:31

Uh, I would say my, my, my stage presence, it's when, when you're on stage for at least, like let, let's say in between an hour, an hour and a half, two hours all the time because you're like a small C and everyone is like part of groups act, uh, of group acts. And sometimes there's solos right in there, but you most of the time on stage, uh, the stage presence. It's clearly like the best skills that you can have just to be comfy on stage to know how to, to be in a, in a group act, not to take too much space, not to like be in a corner. Just like find that finding that balance is really the, the best skills that personally I could, I can have on stage.

Jennifer 6:16

I think that is a fantastic, um, answer. Just being able to hold the proper amount of space is, um, yeah, I think that's a, definitely a skill.

Alexis 6:25

Yeah, I also think that you might have the best trick. You might have the hardest trick, but if you don't know how to, how to present it. If you don't know how to like, yeah, to do the trick properly on stage to make the crowd understand that it's hard or like it's impressive or this or that, it doesn't really matter. So that's why sometimes I see acts that light. The level is super low, but they're so good on stage. The pre, the presence, the charisma is so high that we don't care that the tricks are low. But if you can have both, if you can have like high tricks and high stage presence even better.

Jennifer 7:02

Yes, no, definitely. We, we want both. I think that's the, the best to be able to, you know, strive for. Yeah. So in the show creation processes that you have been involved in. When you stepped into that show creation, how much already existed within what the directors had already made within the concept and how much was discovered in real time?

Alexis 7:26

Um, when it comes to smaller shows, usually. The stage directors, uh, already know your skillset and who you are a little bit, so they're gonna try to create a, a track that suits you the best. But one thing that I, I love about, uh, creation with Canadian companies is that everything you do during the creation process might end up on stage. Whatever, it's your time and you're working with the director or someone, or you're just on the side goofing around. Sometimes the show is, you're missing like some, uh, light moment or like, it's too dark. It's too deep, and then you're doing something a bit, I don't wanna say stupid, but just like. A bit dumb on the side, just it's playful. And then the stage, uh, a director see that and then that just brings him an idea. Then just like bumps into another idea. And at the end, that thing that you did on the side just for fun is in the show. Yeah. So, uh, there's a lot of adaptation. There's a lot of, also they trust the artist a lot. And they try to make the show as fluid and as natural as possible. So they're going to, the creation team will try to size every artist and take their, like, their qualities and try to bring them on stage.

Jennifer 8:56

I love that. I think, um, that's where I think it's important for you to be genuine, your, your authentic self, because then if you're able to do that, they see the spark of something that's possible, even if it's in a silly moment. But they, they see that and then they're able to pull more out of you opposed to being an artist that is really just following direction. Yeah, exactly. Getting out there and doing your skills. So, yeah. What, what would you say is, um, the key to really becoming more comfortable with yourself as an artist, to be able to be part of that creation process and help that director pull that something special out of you?

Alexis 9:34

I think you need to be honest with yourself as a, as an acrobat, as an artist, and for me as a clown, because this is where you're gonna shine the most when you know who you are. And you know your qualities, you know your, you know your skills, you know what you're good at. And, uh, for me personally, I learned that in my clown classes, it was really hard at first because you're searching who you are as a person, but also as a clown. And if you want to be a good clown, you need to be true to yourself. And this is the hardest part. And I realized that it was not just good for clown, but it was good in general as an artist. And to be also just as, as a human, to know who you are and what you like. And so being true to yourself. I think it's the, is the best thing you can do, like on stage.'cause you will just be honest and it reads, the people in the crowd sees that and like most of the time they can relate and they like that a lot.

Jennifer 10:33

I love that. That's a fantastic answer. So. In the show creation processes that I've been involved in in the past, there's kind of this cycle of, you go in maybe, uh, choreographers know what they want. The director, they have an overall concept, and you go in, you learn, you know the transitions, you learn choreography, and then you walk in the next day you think you're gonna move forward and. Choreographer goes, forget everything you did yesterday. We're we're, we're starting from, you know, scratch. That's, that's not the direction we wanna go.

Speaker 3 11:05

Yep.

Jennifer 11:05

Um, and I, I think as an artist it can be very frustrating'cause you may have gone home, you're thinking through the day, making sure you're gonna show up and know your choreography, and then to have that thrown out. Have you had that experience? Yep. In the show creation process? Yeah. Yeah, of

Alexis 11:18

course.

Jennifer 11:19

Um, yeah. So tell me a little about some experiences that you had and, and, uh, how you handled that.

Alexis 11:25

Uh. It happens. For example, at at Cirque, uh, the stage director had an, a vision for an act and the vision, he talked about the vision. Everyone thought it was great. And then there was a storyboard, uh, on, in front of us. And like he showed us pictures, he showed us like IDs and everything, and everyone thought it was great. It was like, okay, wow. This is gonna be amazing. Gonna be amazing. And after two weeks of like trying with the lights and with like. Everything. We just realized that, okay, that act might need a bit more love, you know? And uh, yeah. At the end the act just got scratched out. Like they just, there was just no, there was like, actually that doesn't work. So they just like cut the act. Wow. So. Yeah, sometimes it happens on smaller creation, on smaller, uh, shows, you can always adapt. You can always find solution on bigger productions. When it involves it, it, um, involves a lot of people. Sometimes it just don't have time. So you've been working on something for like 2, 3, 4, 5 days and at the end they go, actually that act is out when it's a solo. When it's a solo act, it's sometimes it's emotionally harder for the, for the soloist. Yes. Sadly, it happens sometimes when it's a group act. When it's like a transitional act, that's fine. You know, sometimes, sometimes it just happens. Like, I remember I was doing a, a show where I. What was I, I was part of one of those ACT that, uh, has been cut and I had a lot of fun in that act. So I was like, okay. And I brought a lot of ideas and sometimes the idea that I bring the stage director goes like, no, no, no, no. And the mistake that artists can do sometimes is to stop talking. To stop bringing stuff on the table. Yeah. Because it happens so much that I said something that I thought was dumb. Yeah. And then that made someone laugh and then that made someone else think of how dumb, what I said was, but the stage director heard it and he didn't take my idea like for what it was, but that made him think of something else that actually ended up in the show. So then I realized like, oh, everything I say as dumb or not might make someone else think of something. Smart or like, see, see the whole thing in the vision that they were Yes. That they, that they couldn't see. So yeah, every time I'm in the creation process, if I have to say something, I'm gonna say it. And if at some point someone, if that what I said, if what I, I'm saying makes someone else think something else and it just like comes out and at the end it brings something great on stage that I'm happy. So, uh. This, I would say that companies in Canada are like influenced by their, their artists a lot. And that's why that now with like my clown background, I always say like, everything that comes in my mind concerning shows. Concerning shows, yeah, yeah, yeah, yeah, yeah.

Jennifer 14:37

No, definitely. Well, and it's, um, funny, you know, we have our foundation of learning skills or learning our discipline and, and mastering that. But really what makes a show magic is making sure the humanity of who that person is. Really shines through the character and also through those relationships of all of the cast members as well.

Speaker 3 14:57

Yeah.

Jennifer 14:58

So, yeah, I, I think those moments are, are gold if you can recognize that what that person is doing is lightening the mood or that they are seeing something that can potentially really grow into a moment in the show that is, is, could be special.

Alexis 15:14

Yeah. So maybe sometimes I don't have the skillset to have that final amazing idea. But I might have the skillset to say something dumb enough that makes the person that has the skillset to think about that Id, you know?

Jennifer 15:27

Yes. I love that. So when we think back to your character creation process Yes. How did your character evolve from early rehearsals to opening night?

Alexis 15:39

So, uh. Rehearsal time was in a warehouse, so I'm performing for five or six people that sits in front of me, in front of me, like with tables and everything, with like a console for lights and music and everything. And the ice show was in an arena show, so I had to play 20 times bigger. Mm-hmm. Like all of the sudden. And that was a good challenge because even if I know how to play bigger. When you have to like, adapt on the spot or you like, you have maybe like we had, um, an install that was maybe two weeks and I didn't have the, the set for myself, you know, like it's a big show. Like there's all a group acts and most of the time the juggler, he does his stuff. So I didn't have a lot of time, so I had to adapt pretty fast to like, okay, now there's. A thousand people instead of six or seven people in front of me. So that was a good, uh, difference in between day one in the warehouse for rehearsal. Yes. Compared to like the first show,

Jennifer 16:48

definitely. There's always just a, a different energy when you go from the rehearsal space to actually the space that you are gonna perform in. Yeah. And when you step into your costume. I, I think those final moments of transformation are always the most magical.

Alexis 17:04

Yeah. One note that I had is that the first two row, they need to feel that you're too much.

Speaker 3 17:12

Okay. Yeah.

Alexis 17:13

Because the people that are in the back needs to like connect with you also, and you need to manage to connect with the people in the back. And I thought. I am, I think this is the, the hardest thing that I had to do, but it was, it was a fun process to like play bigger without playing bigger. Without doing too much. Yes. Like finding that balance. Yeah. At first was not like always easy, but uh, when I got it, I was really happy about it.

Jennifer 17:43

That's amazing. Yeah. I think that's fantastic advice because. To really go to that place, I think you have to honestly be a little uncomfortable at first, you know, to play bigger, to make those expressions larger, to really think of your gestures. How are they going to read all the way at the back, but then not be beyond what the character's identity is in front of you.

Alexis 18:04

I mean, you need to, you need to be okay with the fact that you're gonna fail. You need to be okay with making mistakes and trying things. You need to be okay with, okay, I'm gonna try that. And if it doesn't work, it's okay. I'm just gonna try something else. But if you don't try and you don't fail, you won't. You won't know. And a lot of people, I feel, are scared to make mistake during the rehearsal period when it's actually, this is when you need to make mistakes. Yes, yes. This, if you have to make mess. This is it. You might think that like, oh, people are working and you're like, they're supposed to do this and do that, and because you make it, because you, you're making a mess. They won't be able to work or they won't No, it's, it's that time.

Speaker 3 18:49

Yeah.

Alexis 18:50

As a clown es especially, I. If you, you need to find things that works or, or things that don't work. It's during that time that you need to do it. Well, sometime it's hard because like you're working on a big, on a big show. There's a lot of like important people looking at you and it's, it's, yeah. You need to try. Yeah. You need to try stuff.

Jennifer 19:12

Yeah. Directors would rather reshape and redirect than have to beg to pull things outta you. Yeah.

Alexis 19:19

I, I almost broke props, trying things. Yeah. Like more than once.

Jennifer 19:26

That's awesome. Yeah. So was there ever any feedback that you got from directors that you said, like, ouch, that hurt?

Alexis 19:35

Oh yeah. Oh my God, yes. Yeah. I tried one thing at, at Cirque one time that, uh, I can talk about it and, uh. I, um, I was on ice and we had like a big, big, big ball and uh, we had like those platform to make the ball stand on the platform so we can slide the ball because if the ice was bumpy and everything and if there's like, there's an itch or something, the ball cannot, can actually break.'cause it was a, uh, inflatable and I just. As a clown, I just decided to take the ball to jump on it and just like roll on the side, but it pushed the ball away and made the ball roll on the ice where it was bumpy.'cause de Zamboni like haven't passed on the ice yet, and the assistant director comes from theater. And he's used to work with small budget. He's used to like not having a lot of money to make his shows and it's, he's really passionate. So when he saw me do that, he thought I was just not caring. And I was like, we have a lot of money. So it's, it's funny if we break stuff. And he came at me in front of everyone, you're

Speaker 4 20:47

dis. Frac full of the material. That means you're dis, you're like not respecting us, babababababa. And

Alexis 20:54

I was like, oh my God. I was just trying. And he, he, that, I think that guy was not, uh, used to clowns.

Jennifer 21:01

Right, right. Different breed.

Alexis 21:03

Yeah. But it was, it was all good like. The next day we had a talk and I was like, I'm sorry. I was not trying to like disrespect anyone or anything when I was not trying to break props. It's just I had an idea and I tried it and obviously it was not a good one. Yeah. But, uh, it happens and it was like, no, it's okay. It's okay. I went, I was just like a bit on the edge that day and when I saw you do that, I was like,

Speaker 4 21:27

how

Jennifer 21:27

can what?

Alexis 21:30

Okay.

Jennifer 21:31

Yeah. That must have been an experience in the moment.

Alexis 21:35

Uh, on the moment. Yes. Yeah. The day after I realized. Oh, like, like then the stage director was like, yeah, he was a bit on the edge. So like, it happens. But like, even him was like, it was maybe not your best idea. And I was like, okay, cool. Okay, cool. Thank you. Yeah. Uh, so, you know, like I learned that day that like, okay, jumping on props might not be the best thing to do, especially when you have ice skates on.

Jennifer 22:01

That's amazing. So creating a show is both physically and mentally demanding. How did you take care of yourself during that period?

Alexis 22:13

Um, Cirque is great enough that they build a training plan for us that are like, uh, all different. Like for me, like I was mainly a skater, so they built me, I was, I had the same, uh. Workout program as the, the pro skaters, how aerial have a different programs and everything. So we just had to follow that and we just had to be on the, on the top of that. And they were good enough to have a spaces in, in our schedule for us to be like, oh, I can do it there. I can do it there, I can do it there. We were not on our own, but we needed to be like on the top of our things. So physically was, it was fine. Mentally, I, I felt okay, but I was, I, I wanna say that I was privileged a bit because, uh, I knew the stage director before the show, he called me directly to do that part. So I had my own act and because I'm the only one that was doing that discipline. I had a lot of freedom. Mm-hmm. Which I feel is not the case in any production. That was pretty, pretty good. But I knew I had this, this chance, so I was trying like, to be, um, humble about it. Yeah. And I was trying like, okay, I'm gonna try this, trying to try that. But, uh, it was not too hard for me. The one time that it got hard, um, emotional, not emotionally, but like, uh. Psychologically, how do you say that? Yeah, psychologically. Yeah. Uh, when we had checkpoint, so basically when, when you're doing a big show, at some point during the creation, there's checkpoints where like the show needs to be this done. On that date. When a checkpoint comes, you see the creation team a bit more on the edge because it means that the, that the big guys are gonna come and gonna look at how everything goes. And they say that like, it's not like the artists don't need to be stressed, but you know, you wanna do a good job. Yes. Yeah. So that was a bit stressful. I realized, uh, one of the checkpoint, they were presenting my act. Uh, they were not supposed to present any act for the first checkpoint, but then the, the big guy came and they were like, would like to see an act. So they came to me and they were like, you know that checkpoint on Friday? Yeah. It was supposed to be a light and a sound and design checkpoint. Okay, now they want to see an act and you're the only act that is. Kind of ready, so I would like you to do your act like, okay. Okay. Fridays in two days. Okay. Okay. Cool. Cool, cool, cool, cool. So I did what I could and then, uh, I missed the final trick. Twice. And I was like, okay, we're gonna do it a third time. And then there was tension. It was a, it was a checkpoint and there was a lot of tension. Their creation team was in, in a corner looking at me like, don't fuck it up. And on the other corner there was all the big guys were like, okay, that, that's a cool act. That's fun. But everyone had a lot attention. And then the third try, I got the last trick and. I felt like I felt like a superhero. Like yes. Yes. So that was stressful, but I, it was good stress. That's awesome. But, uh, yeah, during creation process, I think that was the most stressed I ever been.

Jennifer 25:46

So in that moment, just because I know there are, um, for certain acts. Let's say trapeze, you know, they're trying to nail apart. There is a part musically where they rerun that music. For you to be able to get that Yes. That skill. Was that a case where that you and sound were working together to Yes. Ensure that could be Exactly. Yeah. Okay. Amazing. Yeah,

Alexis 26:05

yeah, yeah. Cirque is to be, I mean not not just Cirque, but like any show that you have live music. It's, for me it's, it's, it's insane. It's, it's amazing. Uh, sometimes the band follows you, sometimes you follow the band, but it's like a duo. It's like, it's kind of a group act. Even if you're, you're doing a solo, you're doing a duo. The band is always with you. Like, it's just the energy is so different. Yes. It's just, it's so fun. It's so fun. It's there. Yeah. It's my favorite to have, like live music.

Jennifer 26:38

Yeah. It, it, it creates a different energy.

Alexis 26:40

It does.

Jennifer 26:41

So you had talked about the personalized plan that Cirque put together for you during that process. Yeah. Other than the exercise, specific things to help your body be in physically good shape, what were some other things that were maybe part of that plan that gave you direction and, um, just helped you overall, body and mind wise, be strong?

Alexis 27:06

Um, we had like our plans, but we're also like pro artists and everyone is like, uh, professional in, in their field. So we were not on, on our own, but everyone had their own like a ritual or like own type of a workout. So. We had a lot of freedom also. Like they, they asked us to do that workout, but if you wanted to do something else, as long as you were also doing that workout, you were like a little bit on your, on your own. So for me, I, I found time to like juggle because I feel that I needed to juggle a lot. So I found a corner and it would just, like, at some point when, when we got on tour, I asked to put like. Maybe like 30 minutes of like training every week on, on ice on the top of like everything else I was doing off ice. But, um, yeah, they, I mean, back in the days, in 2019, they, they trusted their. Artist. I dunno how it is now, but

Jennifer 28:12

yeah.

Alexis 28:13

At, at that time.

Jennifer 28:14

So did you find that that extra 30 minutes kind of built in some mental grounding for you?

Alexis 28:19

For me, yes. That's what I needed. I, I knew that like, if I had that 30 minute on ice also just to try new things. Yeah. And, uh, new sequences, it felt good. I, I'm not the biggest fan of running my act before going on stage. Because if I keep dropping something before going on stage, I get in my head yes. So I like to warm up with tricks that I don't do in my act just to get comfy. And then I go on on stage and I'm like, I'm in a good head space. That's amazing. And run my act.

Jennifer 28:52

I love that. So what do you wish more artists understood about being part of a creation process?

Alexis 28:59

Um. Be honest yourself, and you are going to, you're going to, don't be afraid to show who you are because they're going to, they're gonna use that in the creation process. And if you're also, anything you might do in the creation process might end up on stage. So do things that you like, show skills that you're good at and that you like to perform and be yourself because you're gonna do that show. A lot. Yeah. And if you're trying to do tricks or you're trying to do the same thing as that other person or this and that, like yeah, just have your, just have your true colors.

Jennifer 29:42

That's great advice. So last question. Yeah. In your experience, what truly makes a performer valuable in a brand new show environment?

Alexis 29:54

I mean, the skillset is, is actually, is, is always a, a. What people are gonna see on stage. On a smaller scale on the show, like you're maybe 5, 6, 7, 8 artists. I would say your authenticity mm-hmm. Is who you are. And how you, how you are on stage, how you move, what you do, what you say, how you react. And uh, on the bigger, on the bigger stage. On the bigger scale is how your, uh, capacity to adapt. Because there's a lot of things you won't control. So you always try to bring. The best on the table, but sometimes like it takes a turn and you were not expecting that. So I would say your your ability to, to adapt and deliver even when things can go, uh, can go. Uh, yeah. Wrong.

Jennifer 30:53

That's awesome. Thank you so much for sharing. Of course. All of your experience today with everyone.

Alexis 30:59

Thank you.

Speaker 31:00

Thank you so much for listening to the Artists Behind the Art. These conversations exist because artists keep asking for more clarity, more honesty, and more support, and I'm really grateful you're here. As part of that, by popular request, I'll be opening another round of castable, my free three day mentorship, focusing on transforming your submission materials and helping you show up with clarity. And confidence dates are coming soon. So stay tuned and keep an eye out on the podcast Instagram and at Arete Act development for details. And if today's episode resonated with you, share it with another artist who needs to hear it. This community grows when we show up for each other. And remember, you already have what it takes. The question is, are you ready to use it with intention? Until next time, show up big and own the stage.