Rooms of Possibility: Career Lessons from Cheryl Ann Sanders

Your Reputation Enters the Room Before You Do

with Cheryl Ann

What happens when you say yes to something completely outside your comfort zone?

In this episode of The Artist Behind the Art, Jennifer sits down with performer Cheryl Ann, whose career journey took an unexpected turn from musical theatre into the world of Cirque du Soleil.

What began as a recommendation from a friend turned into a seven-hour audition, stepping far outside of her comfort zone—and ultimately landing a role in La Nouba that would shape the next chapter of her career.

Cheryl Ann shares the real behind-the-scenes lessons artists rarely talk about: what casting is actually looking for, why versatility matters, and how your reputation can open doors long before you enter the room.

In this episode, we discuss:

• Cheryl Ann’s unexpected transition from musical theatre to circus
 • What really happens in a Cirque du Soleil audition room
 • Why confidence matters more than trying to show everything you can do
 • The power of versatility and acquiring multiple skills
 • Why saying yes to opportunities outside your comfort zone can change your career
 • The truth about submissions and audition preparation today
 • The most important career advice for performers: your reputation enters the room before you do

If you’re an artist navigating auditions, submissions, or trying to build a sustainable performing career, this episode is full of insight and encouragement.

Because sometimes the biggest opportunities come from simply saying yes.

Join the conversation

What opportunity have you said yes to that changed your path?

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Transcript

Speaker 2 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.

Jennifer Pierce 0:29

Cheryl Ann, welcome to the podcast.

Cheryl Ann 0:31

Hello. Thank you so much for having me. What an honor to be here.

Jennifer Pierce 0:36

Thank you. We are so excited. And you have, I know, an interesting story to share with us about how you transitioned from musical theater to circus, and I would love for you to share that.

Cheryl Ann 0:49

Well, uh, you know, as much as I do that the world of entertainment is very, very small, uh, live entertainment is that, that it's, it's a small world after all. Um, and, uh, my story is not, uh, my journey was definitely not the straight line. Uh, it was definitely not, uh, the typical, whatever normal, typical is in, in this industry, um, but was more based on connection. Um, was based off of, um, making a friend. It was based off my reputation and, uh, and just being in the right place at the right time. Uh, I was doing, uh, some summer stock theater in Illinois and, uh, made a very good friend there on the technical side of things. Uh, she went away and joined, uh, circ on tour. Uh, backstage and called me up one day out of the blue and said, Hey, I think you should come join us on tour. I, I dropped your name and sent your stuff to our show director, our artistic director, and, uh, you wanna come on tour with us?

Jennifer Pierce 1:58

That's amazing.

Cheryl Ann 1:59

Um, and then they called like a couple weeks later. They were like, Hey. Yeah. Um, how about, how about joining us on tour? And, uh, and I actually, I turned it down. Yeah, I know. Wow. Okay. Insert gas. Insert gas here. Done. Done. Yeah. Um, I actually turned it down. It was my first day of rehearsal, uh, for a dream show and a dream role, um, working with, uh, someone who was part of the original Broadway company. Um, and I, it was. In my mind, I was like, that's funny. That's cute. I have nothing to offer the circus. I am a musical theater girl. And, um, and so I just, yeah, it wasn't the right time or the right place. And with Cirque Soleil at the time, once they had you on file, they would just. Keep pulling you for things that they thought that maybe you would fit when they needed it. Um, so they ended up calling me for several different things. They called me for, oh gosh, the, the creation of Veeva Elvis. And I was like, I don't think I'm the right fit, but I'll send you what you want. Um, and then, uh, they called me for KA in Las Vegas. And that one I was actually really interested in because I was, I, I thought, oh, this is, I could do some wire work, which would be really cool. Um, and then it was just bad timing. I had, I had torn up my knee and had just was going in for knee surgery like two weeks later. Um, and then finally it boiled down to them reaching out and saying, Hey. We just wanna meet you and see you in person. Um, can you come to Chicago? Uh, we're gonna be in Chicago with like some invited, uh, acts that are coming in of like a callback, uh, just come on up. So I said, well, there's no harm in this. I'm gonna make a weekend of it and visit some friends and go up there and. It turned into a seven, almost a seven hour audition, an all day affair. Um, stepping so far outside of my comfort zone doing things that, that I had never done and waiting to be cut. Like thinking, thinking that this is not me, this is not what I do. I am bombing this. And, uh, and then they, we came back after a, a lunch break and they said, great, we're gonna go into your two minute prepared pieces. And I had a, I had a mild panic attack. Um. I said, I, you didn't tell me to prepare anything. And meanwhile, I'm dinging through my, my bag of tricks and I'm like, well, I got my tap shoes. I got my musical theater songbook here. What do you want? And they're like, no, no. We have something specific for you that we want you to do. Uh, a specific prompt and, um. I said, oh, good, great. And that ended up being, uh, a prompt for the cleaning lady in, uh, uba. And so that's exactly what they had in mind. Uh, and then from that, they sent me to Florida. I did it on stage here and, uh, at what used to be downtown Disney then. And, uh, that was, let's see, that was. December or January, I believe. I think that was, I think that was in between Christmas and New Year's, uh, of t of 2009, 2010. And then I was here in Florida, uh, getting ready to go in the show by April of 2010.

Jennifer Pierce 5:20

That's an amazing story. Now I have all the questions after you sharing all of those with me, and I think, oh gosh, where do I start? I think the one that I wanna know about most is the audition. You had said you kept waiting for them to cut you, and I think a lot of us have been there where we're like, we either feel like we're killing it and then we get cut. And you're like, what, what, what, where, what memo did I miss along the way? Yes. Or you're like, I'm not the right fit. And then you stay. So can you share what are some of the experiences, um, for the audition that you went through? Because I know for larger companies, Cirque sole, it, it is a very arduous, um. Process where, you know, you are tested physically, mentally, emotionally, everything. So what were the, the oddball things that you experienced?

Cheryl Ann 6:07

Uh, well at this time and, and at this point in my career, remember I still very much thought of myself as. Singer, dancer, actress, and probably in that order of, of, of strength, I would say. Um, so for me to be in this room with people who were much more familiar with, with Cirque de Sole than, than what I was, um. For them to, to put us through multiple exercises involving, um, uh, impromptu storytelling, telling a story with your body without words, um, walk across the room and lead with your elbow, like mm-hmm.

Jennifer Pierce 6:51

All a physical theater.

Cheryl Ann 6:53

Right? Right. And, uh, you know, a lot of improv, um, a lot of, okay, you're a human mime out a task that you do every single day. And I was like, oh my, okay, well I'm putting, I'm gonna put in my contacts. Okay, here I go, I'm putting in my contacts. And um, and then they were like, great, now you are. Now pick an animal and now you're 10% human. You know, 90% of this animal. It just varying degrees of the animal, of this animal that you chose. And human hybrid. And I was like, what have I gotten into? And then I was, because. I don't why I picked a penguin. And then I'm like, I'm putting in my contacts. It's like my flipper smacks myself in the eye. Like this is, it's stuff that I was like, I, this is, this is ridiculous. And I looked dumb. I, I'm laughing at myself, you know, and everyone around me is taking it so seriously and I was like, oh my God, I am so uncomfortable.

Jennifer Pierce 7:53

But that, that's so good that you could just laugh at yourself because I think when you can show your humanity and you can show that you're trying Yeah, that's when they see the opportunity to be able to pull more out of you. So I, I think you definitely demonstrated something there. And they saw that spark.

Cheryl Ann 8:09

It was, it, it was just, it was one of those moments where at that moment in time I was such a theater kid, I was. I rehearse and I, I study my script and I know my lines. And then the scariest thing that you could have asked me to do was improv work, um, which flashed forward to now, and that's what I live for, is, you know, interactive improvisational character stuff. But at that, at that time, it was so foreign of a concept and so outside of my comfort zone,

Jennifer Pierce 8:43

yeah,

Cheryl Ann 8:43

I could not have been more terrified.

Jennifer Pierce 8:46

Yes.

Cheryl Ann 8:46

And I, and they just, and after every exercise, they would cut people. They would let people go. And I was like, waiting for my name, waiting for my name, and why am I here?

Jennifer Pierce 8:58

I love that. But now you know why you were there. Just because look at, you know, now where, where you are. So it's,

Cheryl Ann 9:04

yeah. Yeah, every, you know, everything happens for, I'm a firm believer and everything happens for a reason.

Jennifer Pierce 9:10

Yes.

Cheryl Ann 9:10

And they thank God that they saw something in me, and even when they asked me to do the prompt for the cleaning lady, the first time I did it. It, it was terrible. I was so in my head and I was like, overthinking and like trying to pre choreograph my movements, you know, to tell this story. And, uh, and they were so incredibly kind. They, they, they pulled me, they pulled me aside and they were like, okay, um, you are a singer, right? You're musical theater. And I was like, I think. So at this point, not even knowing what I was good at anymore. Um, and they were like, great, can you sing us something? Do you have a track on your phone? Can you just sing us something? And I was like, yes. And, um, I took, yeah, right, wipe this, wipe the brow. Um, I took a second. I sang, you know, a verse and a chorus from something, an audition cut that I had on my phone ready to go. And, uh, and they said, great. Now do the, do the prompt again. And that was the, the kindest, smartest thing, uh, that they could have ever done for me. Um, because suddenly I was grounded. Suddenly my, my breath was connected. I was dropped in and I was in the moment, I had a little bit of my confidence back doing something that I knew what I was doing. And. And that was the moment that, that was the click. And then they were like, there, there it is. That's great.

Jennifer Pierce 10:42

Yeah.

Cheryl Ann 10:43

So it's, it's, it's taking, it's taking that journey, um, yeah. And going with it and, and trusting the people on the other side of that table that there's a reason why you're in the room. You know, they wanted to see something. They knew that they could get it out of me before I did. Yeah.

Jennifer Pierce 11:02

So,

Cheryl Ann 11:03

yeah.

Jennifer Pierce 11:05

That's amazing. I love that so much. Now, you had mentioned also about sending in submissions for Cirque Soleil that they had asked, and I always encourage artists that you have to know who you are. You have to be able to demonstrate the best of who you are. So whether you're recording an act that you can submit, but then mm-hmm you have your submissions that are specific. After you send in those ones where they, they see the spark, but now they want to see the specificity.

Cheryl Ann 11:32

Yes.

Jennifer Pierce 11:32

So what has been your experience with doing those, um, submissions that have specificity behind them? And what would you recommend to artists that that really, um, causes them to pause or, or just what would be your tips and tricks for those?

Cheryl Ann 11:48

Um, so as, as someone who works for both Cirque de Soleil and Disney Entertainment, um, submissions are not going away. Yeah. That's, it's become part of, of the culture now and, um, it has, it has good and, and bad things attached to it. Um, but what I will say is. Don't get too wrapped up in what the specifics of, of what they want to see, because the second that you start doing your work for someone else's approval, it becomes really hard to, to commit and, and be truthful and be honest and be in the moment of, of what you're bringing to, to that moment. Right. Um. And so I, I coach a lot of students on, on auditions and, you know, they say, oh, we need, you know, 32 bars of an uptempo or, or, uh, 90, 90 seconds of a comedic monologue. Great. What do you know? What skills do you have that make you feel good? What is your favorite thing to sing that. Fits that specificity of what they're asking for and do that. Yeah. Don't show them what, what, don't show them what you don't have. Show them what you do have and what you do bring to the table, which is always going to be what you are most confident in.

Jennifer Pierce 13:16

Yeah.

Cheryl Ann 13:16

Those skills. Um, it's, it's, it's that old adage of don't show me a triple pirouette if you're falling on your face. Yeah, show me a cl, show me a clean single, you know, or a, or a tight double at the most, but don't show me what you don't have on a daily basis. Or you get the people, they're like, oh my gosh, I can't record today. I'm, I'm feeling under the weather. Well, if you're doing a show 10 shows a week, you're not gonna be a hundred percent every single day. Have something that you can pull out that you know is amazing when you're not at a hundred percent like Right. What can you do? Any day drop of a hat. Like, you know, Jennifer, right now, if you're like, audition for me with eight bars, what song am I gonna pull out, you know, to sing for you right now? So it's, what can I do on any given day, any given circumstance? That's what you wanna show them.

Jennifer Pierce 14:12

Right. Yeah. And with that specif specificity that through line what is close enough to what they're looking for, but you're still good at not trying to fit so much into Yes. Their box that, that they don't see that possibility.

Cheryl Ann 14:25

Yes. At the same time, if, if you're too specific with this is what I, I'd never sing anything from the show unless they specifically are like, oh yes, here's the song we want you to sing, or here's the movement that we wanna see. Show them something that is in the vein of, of the character. Show them something that is, that has that underlying tone. Um, that's the essence of what they're asking for because sometimes if you're too specific and too set in the choices, they're gonna be like, oh, well that's not what we had pictured at all.

Jennifer Pierce 14:57

Yeah.

Cheryl Ann 14:57

Um, and you know, what if we can't get that out of them next, you know, so I always like to say, go in with the right intention and the confidence. That's more important. And as somebody who's been on the other side of the table as well, um, directing and casting and choreographing, I, I want, I want you to be good. Casting wants us to be good because we make their, we make their jobs easier if we're good. And as the director, we want you to be good. We want you to come to the table having multiple skills, having confidence, having, uh, um. A malleability, right, of being able to change and take different direction and try new things, um, until the show, until the show is set. So it's all of those things wrapped up in, in one, in one shiny package. But I think that the baseline of it all is come in confident knowing what you have to offer.

Jennifer Pierce 15:54

Yeah. I love that. I love that. And we had talked before coming on the podcast and you had said that more skills you acquire, the more marketable that you become. Tell me more about your perspective on that.

Cheryl Ann 16:12

Oh yeah. I, it's, it's, uh, it's a sad fact, but it's, it's, it's true of the times. People want more for less now.

Jennifer Pierce 16:25

Yeah.

Cheryl Ann 16:26

Uh, and, and that goes at the end of the day, this is show business baby, right? So, um, it's a business. It's a business. Um, so it, it, it does boil down to what can they, what can they get from you, um, that they can't get from anybody else. So if you, if you show up and you say. I'm a singer, I'm an actress. I can move a little bit. I've had, you know, multiple years of dance training. Oh, by the way, I was also a gymnast. You know, I can do some basic tumbling. Um, hey, I've also acquired some aerial skill. Like all of these things are suddenly going. In their brain. Oh my gosh. We can, we can find a place for that. Give them a, give them a reason to not use you. You know what I mean? Like yeah. If they can look at you and see, look at your resume and see your reels and go, oh my gosh, this, this person can do it. We could literally put her anywhere.

Jennifer Pierce 17:25

Right. Yes.

Cheryl Ann 17:26

Right. It's, it's getting the foot in the door. Um, now whether that leads to other things outside of the theater Absolutely. On the other side of, of the stage, um, going in with, with the knowledge of stage management, of lighting, design of, you know, makeup, artistry, anything that keeps you connected to the theater, that gets you a foot in the door.

Jennifer Pierce 17:50

Yes.

Cheryl Ann 17:51

It ain't a bad thing.

Jennifer Pierce 17:53

No, definitely. And I think there's that relatable factor when they know that you are going to be a good contributor to the cast and to the crew, because it really does become a big family when you are part of productions. And I, I know the, the human aspect is so important. So having that, just that through line of all those skills and, and them seeing you more as a human, they, they then know more about you too.

Cheryl Ann 18:20

Live, enter live entertainment takes a village. We know this. We, we do become a family. Um, especially with companies like Cirque de Soleil because your lives are literally in each other's hands. There's a level of trust, um, that needs to be there, and there's a level of respect that needs to be there to keep the show functioning. So even if you have all of these multiple skills, you may not be using them in the theater all at once, but you have more respect for the other people that are doing those skills. Yes. Um, you know, what it takes to put on this entire program, and it just makes for a, a kinder, a gentler, a friendlier environment to work in, right? We, we wanna be professional, we wanna be respectful. Um, this is what we, this is what you wanna be known for, right? Is being easy to work with, bringing a lot to the table, um, but ego not being one of them.

Jennifer Pierce 19:14

Yeah. Yes. Most certainly. Ooh, big, bad ego all. So talk to me about defying expectations and saying yes to the unexpected.

Cheryl Ann 19:28

Oh my goodness. I, so I have been on stage for over 40 years in some capacity. Um, you know, I started dance when I was like two years old, and that was my in, uh, to, to the, to the arts, to the fine arts to, to performing. And for as long as I can remember, it was like almost tunnel vision of this was what I wanted. Um. Yeah. And it is just not that simple, is it? Yeah. Like it's never, it's never a straight line and the kind of adventures and the kind of journeys that we take in our career. You know, I ran, I literally ran away and joined the circus. My family loves telling that story. Um, it's, it's saying yes to possibilities that may be outside of your comfort zone, right? But we don't grow in comfort.

Jennifer Pierce 20:27

Yeah.

Cheryl Ann 20:27

You don't grow in comfort. You don't, uh, acquiring new skills, learning that you're never done learning. If you think you're done learning, then, then you're done in that career, you're done in that profession. You're never finished learning. Especially in performing arts. There's, there's people to learn from. There's shows, there's themes, there's, you know, all kinds of stuff to, to take in and grow from. And saying yes to something new may take you in a fabulous new direction with more opportunities and more possibilities. Than you could have ever imagined. Right. And defying expectations of not only other people, but of yourself too. Yeah, because I think so many times, you know, you hear, you hear professional performers and actors say, oh, I don't wanna be pigeonholed. I don't wanna be stuck in this one type of character, in this one type of job. Well, who's, who's keeping you there?

Jennifer Pierce 21:21

Right.

Cheryl Ann 21:22

Is it other people or is it you? Is that how you're marketing yourself? Is that how you're selling yourself? Have you bought into it? Yes. And now you're stuck there? Or can you defy everyone's expectations and your own and do something so completely out of the box? That it sets you on an entirely new path. And I think those are the moments that mean the most when you say yes, you know? Yeah. Finding, finding a, a gig, saying yes to joining the circus when I knew nothing about, you know, CDU sole really. And, and it, it moved me here and my life is here now and oh my gosh. The things that I've been able to do and the, the connections that I've made and, and the people that I know around the world. That wouldn't have happened if I, if I would've said no. I'm just a musical theater. Girly.

Jennifer Pierce 22:12

Yes.

Cheryl Ann 22:13

You know, um, you take a chance. It's, it's, it's always easy. It's always easier to say why not, right. Than why.

Jennifer Pierce 22:23

Yeah.

Cheryl Ann 22:24

And, and so if you, sure. If you say yes to something and it kind of sucks, I mean, great. You still learn something from it. Right. You don't have to do it again, but you've learned something from it. You've learned something. I guarantee you've learned something about yourself and a different type of, of person and a different type of show, or a different type of offering. Um, and you grew. You still grew. And those experiences make us who we are.

Jennifer Pierce 22:55

Yeah,

Cheryl Ann 22:55

and you can regret a lot of things, but I think the worst things to regret are the things that, that you don't say yes to.

Jennifer Pierce 23:02

Definitely. What do you say to somebody that they look at an opportunity and there's apprehension or discomfort around that? What, what would you say to someone that there's three opportunities and, and one is gonna have more growth, but there's discomfort there?

Cheryl Ann 23:21

Uh, if it's not scary, is it really worth doing?

Jennifer Pierce 23:25

Yeah,

Cheryl Ann 23:26

I love that. I mean, honestly, if it doesn't scare you a little, do you like going on rollercoasters? Why? Because it's a little bit scary. It's that thrill, right? Um, it, but they're worth it, right? So the, the joy and, and the journey are connected. And I think if you don't love the process. Mm,

Jennifer Pierce 23:49

you're

Cheryl Ann 23:49

not going to love the product. And so it's, it literally turns into just trying it. What is the harm?

Jennifer Pierce 24:02

Yeah.

Cheryl Ann 24:03

What's the worst thing that could happen? You don't, okay. You don't have a good time. You don't like it. Maybe you're not vibing with the crew, but it's. You're learning something from it and you never know in those moments who is seeing you, who is watching you go through that again, entertainment is a very m, very small world. You know, your reputation of how you handle those situations is just as important as the way you handle a show that you've been in for seven years. You know, like doing the same show I did Luba for 10 shows a week for this last seven years of that show's life. The same skills are needed when you do a popup gig in another city, in another state. As you do in a, in a established show, a routine show like that, you still need professionalism. You still need, um, to trust the process of putting it together. Yes. And, and, and that professionalism of, of keeping it together, of holding it, showing your best self. Um, but there's growth in, in both things. But why not I. Love that. Honestly, I love that. Honestly. Why not? If it's not scary, it may not be worth it. Not a little de it's not a little scary, right? If it's not just a little scary, then, then why? Then why bother?

Jennifer Pierce 25:28

I love

Cheryl Ann 25:28

that. Then you fall into complacency. Then you fall into, um, not giving it your all because your whole heart and your whole passion is not there. You become comfortable and nothing is worse than seeing. Going to see something, seeing a show, seeing an offering, seeing something where they've all become complacent and it becomes hashtag good enough. You know? And it's,

Jennifer Pierce 25:51

yeah,

Cheryl Ann 25:52

no, no, yeah. Don't do that.

Jennifer Pierce 25:54

Yeah. Don't do. And one, you also, you don't want to wish at the end that you had put yourself in those places, in, in those rooms, and to, you know, what, what could you have done?

Cheryl Ann 26:05

Right. And honestly, if somebody is dropping your name in that room of possibilities, it goes back to that whole casting thing. Somebody sees something in you and says, they would be great at this, or they would have a really good time doing this. They, you know, these two people need to meet and work together. That there's something there. The universe and your friends and, and the world work in mysterious ways. You just have to say yes and just try it.

Jennifer Pierce 26:37

Yeah. Well, and you only get the that invitation by putting yourself in those spaces. Correct. 'cause your network is where ultimately your reputation comes from. So you have to, you have to diversify and put yourself in places that there is discomfort. But on the other side of discomfort is opportunity.

Cheryl Ann 26:56

Correct. Oh my gosh, yes. That's, I mean, that's it. That's it. You've hit the nail on the head. You like to have those opportunities. You want, you want it. It's, it's like auditioning. The audition is not to get the job. The audition is to get the callback. The callback is to get the job. You know what I mean? Like, it's all, it's, it's take it one step at a time. So why not start with a room of possibilities?

Jennifer Pierce 27:21

Yes.

Cheryl Ann 27:22

And just go for it.

Jennifer Pierce 27:24

I love it. All right, so last question. What do you want more than anything else artists to know?

Cheryl Ann 27:34

Oh, gosh. Here's, here's a little something that I have learned, uh, in my, in my older age here. Uh, your reputation precedes you. And your reputation will enter the audition room before you do. Um, and so going back to circling back to being professional, having a good work ethic, I. The boundaries to keep things professional and polite and respectful. All of that, all of that will enter the room before you do because somebody there is gonna know somebody else that knows somebody else that has worked with you and in, in some other city in some other show, and they're gonna go, oh yeah, I've heard of her, I heard that she, woman, you know, it's, it's part of life and. It can hurt you or it can help you, and I think it's really important to set yourself up for help for the helpful banter of people saying your name in a good light and, and recommending you. And like I said, dropping your name in those rooms of possibility because that you don't have those connections yet. So if you can establish yourself as a hard worker, as a dedicated performer, as somebody who is a, is a good collaborator, who, you know, takes good direction, who gives good ideas, but doesn't overstep, uh, this is all of these things, you know, go into, to making that, to making that recipe of someone that is, that is trustworthy and that is somebody who, who, somebody who may not know you, will take a chance on. Your reputation will always precede you. So make it good.

Jennifer Pierce 29:30

Yes. Oh my gosh. Thank you so much for sharing your history and your wisdom with everyone. It, it was fantastic.

Cheryl Ann 29:40

Oh, thank you so, so much. This has been awesome. And just, and to get to see you again and talk with you again is always a joy.

Jennifer Pierce 29:47

Oh, yay. Thank you, Cheryl Ann.

Cheryl Ann 29:49

Thank you. Bye.

Speaker 3 29:52

thank you so much for listening. If you're an artist who knows, there's more inside you than you've unlocked on your own. If you feel strong in your skills, but unsure how to shape them into something undeniable, you don't have to figure that out. Alone. I had mentors who believed in me, and I truly believe every artist deserves to have someone that sees and helps them find that magic inside them. Inside own the stage. Act, creation. Mentorship. We demystify act creation through a flexible structure, personalized feedback, and a practical strategy. So every moment of your act is masterful, connected. Crafted and intentional. From entrance to bow, the mentorship. Begins March 23rd and the founding members round will be intimate and focused. If you're ready to build an act that makes an audience lean in and feel time stand still, I would love to invite you to apply and see if it's a right fit for you. DM me at. Act development on Instagram or send me an email. The address is in the show notes and I'll send you the application. I would truly love to see what we can build together. Until next time, show up big and own the stage.

31:08

I.