Join us as we chat all things Carrie: The Musical Revival with CHRISTY ALTOMARE!
Christy portrayed the role of Sue Snell in the reimagined MCC Theater off-Broadway production of Carrie. She made her Broadway debut as Sophie in Mamma Mia!, and also starred as Wendla in the national tour of Spring Awakening.
Most recently, Christy originated the titular role in the Broadway premiere of Anastasia!
This post is a transcription from an episode of our Breaking The Curtain podcast, available on Anchor, Apple Podcasts, and Spotify.
Links:
Apple Podcasts: https://podcasts.apple.com/ca/podcast/breaking-the-curtain/id1534338089?i=1000511442531
C - CRISSY
J - JOCELYN
CA - CHRISTY ALTOMARE
C: Hello everyone!
J: Welcome back to another episode of Breaking The Curtain. I’m Jocelyn.
C: And I’m Crissy. We have such an exciting episode for you today!
J: Joining us in studio we have the wonderful, fabulous, sunshiney Christy Altomare!
C: Christy’s joining us to chat all things Carrie: The Musical in honour of the 9th Anniversary of the revival production, as well as take a little journey through her career.
J: Welcome Christy! We are so excited to have you in the studio today!
CA: Hi, I’m so happy to be here Jocelyn and Crissy! I love you guys so much!
C&J: We love you too!
J: We are so thrilled that you are here to join us today to talk about all things Carrie!
CA: Yes, one of the greatest musicals that never got to Broadway! Well, the revival anyways that is. The on Broadway version, how long did it last? One show or something?
C: It was something totally crazy, like not even a week.
J: Single digits.
CA: I know! It’s so sad when that happens. Anyone who’s in musical theatre knows what it’s like to put together a musical, let alone a musical that ends up going to Broadway. There’s so much invested, so much - I mean, I feel sorry for Nerds: The Musical. Did you guys ever hear of Nerds: The Musical? It was supposed to go to Broadway, they were all ready to load in and a producer like, pulled out his money and the show never got to happen. Stuff like that happens all the time. Rebecca: The Musical was like, the marquee was up there and it never got to happen. So it makes me so sad when things like that happen, especially for a Broadway show. So much heart and so much energy is put into shows, people don’t even realize I think.
C: Yeah, definitely.
CA: Anyways… Carrie the revival! The version that I did, which was back in 200- and what?
C&J: ‘12.
CA: Yeah! A really, really long time ago, but really exciting.
J: I was in high school listening to that album, like, on repeat. I was pretty obsessed.
CA: That is awesome! You were in high school, listening to a story about highschoolers!
J: Yes, all the teen angst.
CA: Yes, and all the bullying. Did you have any bullying in high school?
C: Oh, yeah.
J: More elementary school, high school was more just like cliquey and cattiness more than the outright kind of bullying, but yeah.
CA: That makes sense, I think that’s like, how it should be but it ends up being the other way around. It feels like it should be when you’re younger the bullying happens, then people get evolved and in high school it gets better, but for a lot of the time that’s not the case, right? It gets worse!
J: Honestly, I think I loved Carrie so much because I hated prom, it was awful for me. I mean, I didn’t get any pig’s blood dumped on me, so thank goodness for small mercies, but it wasn’t a fabulous evening. So, I was like, “I like this, prom isn’t that great.”
CA: “Let’s kill ‘em all!”... Not actually!
C: I can remember all of the posters outside the Lucille Lortel Theatre saying like, “Slay ‘Em All, Carrie”.
CA: Gosh, yeah. It’s a crazy story and at the same time even though it kind of had a cult following back when it was on Broadway, that people liked the sort of camp of it, the goal of this version - I mean, yes it is like American Horror Story, no not American Horror Story… What’s the other one, that Duncan Sheik musical?
C&J: American Psycho.
CA: American Psycho. It’s like how American Psycho goes to Broadway. There’s always that little laugh of, “Oh, haha this is a horror thing.’ But at the end of the day when you really watch the show, it’s kind of like, scary. There’s moments that are terrifying!
But this show itself, I remember the creative team saying… We all got together and Stafford Arima, the incredible director that directed this show - We all got together and he basically said like, “This show is not camp. This show is really about bullying and the effects of bullying.”
And yes, the supernatural element of it is kind of cool, but these characters are real. And there’s a lot of high schoolers who have been through the stress of “ I want to fit in, I want to be cool, I want to be liked.” And like you said, you were in highschool when you were listening to this, you felt connected to the fact that prom was a bad experience for you. I’m sure a lot of people have had a situation where prom was a bad experience for them as well and they just wish they could have been Carrie and just telepathically burnt the school down, right?
And I think that’s kind of the beauty of art in general, which is that we have this ability to kind of suspend reality and dive into the human psyche in a way that we could never do in real life, obviously. But the human condition is very universal and every single person on this planet - Every good work of art, everybody on this planet can look to and say “I get that” or “I’ve been there at that time in my life.”
That’s kind of what;s really cool about shows like Carrie because pretty much everyone’s… You don’t escape high school unless your parents were like, “You can be homeschooled.” You don’t really escape that experience.
C: That’s so true!
CA: We’ve all been there and we all know how hard it is growing up.
J: And I think what makes these shows that happen to be campy and are seen as camp, the reason that they are cult classics is because they do touch that human experience. What I love about shows like Carrie or Rocky Horror, shows that have that cult classic status, they have real people, and the camp is not even frosting, it’s like… Sprinkles on top.
CA: Yeah, the suspended disbelief of “Okay, we know that she’s not actually… Nobody actually has the power to do something like this.” But the reality of why she did what she did, and that she was so repressed, and that her mother was oppressing her and the school was oppressing her…
It’s such a good book too, did you guys ever read the Stephen King actual book? It’s so good.
C: Yeah, it’s excellent.
CA: It’s excellent. And I really think that they did a beautiful job adapting it for the stage. I think it just meant so much to so many, and then once we found out it wasn’t going to Broadway, it still became accessible and lived on through high school performances, even my college did it! Carrie is still done all over the place and it’s meant so much to so many and really helped those who have had to deal with bullying, and had to deal with teen drama.
I feel so honoured to be a part of such a beautiful production that really meant so much to so many.
J: Crissy and I were actually talking about… Cause we did a little episode on Carrie in October for like, our Halloween series. And we were talking about the fact that kind of around 2012, that was that shift where we started to see more musical theatre about teens and teen stories. Even now, we have the world of Dear Evan Hansen, the world of Heathers. These sorts of stories are really being told, and they are gaining that huge following. We were thinking that this kind of era, kinda, the 2010s and onward, this is the era to bring Carrie. She would be more accessible than she was back when she was on Broadway.
CA: Yeah, yeah. I think you’re totally right there! I mean, there’s Heathers and there’s… Even Next To Normal in a way with the whole Natalie arc, and Mean Girls and all of that… There’s always been a fascination with that time, that coming of age where you’re just figuring out who you are in the world and trying to accept how to exist with other people of your age because everyone’s figuring it out at the same time. You’re just thrown right into this pool, right?
I was just teaching a class a little bit ago and we were working on a song from Heathers that Lifeboat song. Do you know that song?
C: Yes!
CA: It’s so similar, just the teen angst of this girl just miserable and feeling like even though she’s like the Queen Bee at school, she’s still miserable. It just goes to show that when you’re that age, you could even be the most popular girl in school and hating your life. Nobody escapes it, nobody escapes the drama of being a teen, I really think that’s true.
Yeah, that’s so interesting you say that. Really, those 2010s really were the years of those - I mean, other than that, before that time, really all there was was Grease right?
C: Yeah!
CA: Grease and then much later Spring Awakening if you really really really think about it. And then I guess there was 13, kind of there’s that age. But really not much. It really started to explode during those years. Wow, really good observation!
C: So what was it like getting to recreate the role of Sue Snell in Carrie?
CA: I actually think, even though the show already had gone to Broadway, they made a lot of changes and they had a lot of, you know, they had a lot of different ideas and new songs and there was so much new that was coming to the plate. Even though I was recreating Sue, it felt almost like I was starting from scratch in a way.
They did this really cool thing where it was like a flashback where Sue would come in and she would be interrogated because she’s the - Spoiler Alert if you haven’t seen Carrie - Sue Snell, the character that I play is the only one that survives. So I’d be sitting in a chair at the beginning of the show, being interrogated because I’m the only survivor of this, of everyone at the school dying because Carrie. So I’m being interrogated and straight from there, we’re doing a flashback and all of a sudden I’m at school, then I’m going back to the interrogation.
So it was actually really really tricky. Especially at the age I was. I was much younger than I am now and trying to find that balance of two worlds was really hard. I remember being backstage at the Lucille Lortel, which is a very small off-Broadway theatre. It’s actually just, if you can imagine, if you’ve never been in the Lucille Lortel, which I think they still are open. I thought there was a time when they were going to be closed, but I think they’re still open. Basically, there’s the theatre, right? And the stage and the chairs, but then if you go to the back of the house, there’s these steps that lead upward, and then there’s this long hallway. Then down a couple steps there’s one little tiny private room, which is where Marin(Mazzie) and Molly(Ranson) who played Carrie and Margaret would stay. So they were in the star dressing room, and the rest of us were in this tiny little thin hallway with one like little sheet connecting us, so the guys were on one side and the girls were on the other. So, we were like sardines, crammed next to each other, which is totally cool. That’s the way you want to do theatre! I know Broadway, everyone gets their own rooms sometimes, but it’s very cool to be that connected to everyone in the cast. I honestly feel like you have your best shows when you connect with everyone before the show. There’s something about that, something about having that energy of camaraderie before a show really just makes the show so much better. So even though I’m talking about it as if it were the worst thing, it’s really actually the best!
We’re backstage, jammed together like sardines, and I would get up and walk into like, a corner, which there really wasn’t a corner, it was more like part of the walkway away from people, and I would just be doing these Laban Efforts trying to get into the state of trauma because I know in the first scene I’m going to have to be Sue Snell being interrogated. Then people would walk by and be like, “Haha, Christy” because everyone else just got to be teenagers the whole time! Sings a bit of “In” and I’m just going back and forth between insanity and everything is cool.
So that was very hard. Developing that aspect was very tricky and very hard and you know, in many ways I’ve said that playing Sue was one of the hardest roles I’ve ever had to, probably the hardest role I’ve ever had to play. I’ve played roles that are much, much larger than Sue, but sometimes I think that’s almost easier because you’re onstage the entire time, so you’re in that mode the entire show. But when you have a snippet and then you’re offstage for a couple of scenes, and then you have to come back on with that same energy - or a transformed, “Okay, we’re going back in time, now we’re forward in time, now we’re back in time.” It was very tricky and oftentimes when I see other productions like, sometimes I’ll do a Q&A with a production of a high school or something, I’ll find the Sue and be like, “Is it hard?” And she's always like. “Yes! It’s so hard!” I don’t know why, I literally don’t know why. It’s written so well, the songs are so beautiful. The show is just such a gem and so amazing, but I think it’s just tricky as an actor because of what you have to do. That switching back and forth can be very hard.
C: That’s really interesting, cause in the original film and the Broadway version, they didn’t have any of the interrogation scenes with Sue, inside the book they do. So I’m glad that was incorporated into the revival.
CA: Yes, yes and Larry who wrote the book would say to me that he almost thinks of the show being called “Carrie: As Told By Sue”
C: I love that.
J: I like that.
CA: The whole show is all through the lens of Sue. And they would say, they would actually say when we were… They really tried as they were developing it to make it look like a dream world. Everything that was happening wasn’t really happening or just a flashback, it was really a flashback in my mind. Like we’re all going into a flashback in Sue’s mind.
That was also really… It’s tricky, right? Because you want to honour both lenses. You want to honour the lens of the future Sue, which is her being interrogated and her life and what’s going on, and then you want to honour this dreamscape world where we’re reliving the story of what happened.
I loved working with that cast. They were all so fantastic and we’ve all kind of remained pretty close. It’s like, if I reach out to any of them it’s like time has never passed. It’s almost like when the show was being developed and we were all in high school, it was like we all went back to highschool in a way. In the same way that when you go to high school, you go to a high school reunion, you sort of feel that connection of that special time. And I think because we were all so young, and because a lot of us were single and had just started our careers professionally on Broadway. You know there’s the comfort of looking back to, “Oh, my first time really starting this.” Whereas now that cast, oh my gosh, they’ve all done multiple Broadway shows and multiple exciting things and like, that entire cast had so many just amazing, powerhouse people in it. No matter who they were, whether they were in the ensemble or had a role, they all just went on to become stars, it was just insane.
C: It’s so true. The Carrie revival cast is one of the first casts I really followed the careers of afterwards because you were all just so talented. And I’m really glad I had the opportunity to see a few of you do other things in New York City since 2012.
CA: Yeah! I mean you’ve got Jeanna(De Waal) who played Chris who just did, she just played Diana in Diana the Broadway musical. You have Carmen Cusack who played the teacher Mrs. Gardner, and she was the lead in Bright Star. And then, oh man I could just go on and on! F. Michael Haynie who played a huge role, he played one of the kids in Charlie And The Chocolate Factory and then he just went on tour as Olaf in Frozen. You have that, and then you have the great Andy Mientus who did SMASH and then he did Les Mis and then the Spring Awakening revival on Broadway. I could just go down the list. My friend Mackenzie(Bell) who’s just like, hopping from Broadway show to Broadway show was in it. It’s insane.
J: It was just an extremely well cast production and that’s why I love listening to it so much. There’s no track that you want to skip. A) The music is just brilliant, and B) The people who have worked on it and recorded it. It’s so powerful to listen to, even the ensemble stuff - It’s raw talent just pouring out and it’s brilliant.
CA: Yeah, you’re totally right that like every single person that worked on it was… It’s not only just the cast itself, but everyone who worked on it went on to do so many Broadway shows, I mean they were already doing Broadway shows but, you know we really got the creme de la creme to work on it even on a strictly creative level
We had the great Mary Mitchell Campbell. She was our music director and AnnMarie Milazzo did the arranging. So Mary Mitchell Campbell is incredible at teaching, especially teaching people who aren’t like super sight readers. She has a way of making learning music very easy, and then she had a way of working with us and making us feel comfortable with all the music. And then you’d have AnnMarie Milazzo who would come in and be like “I’m hearing this weird odd harmony, let’s try this” or this weird sound out of nowhere that she pulled from the heavens. For those of you who don’t know, AnnMarie Milazzo also did some of the music arrangements, the sound arrangements for Spring Awakening and for Next to Normal and tons of other things. If you like some of those crunch chords in Spring Awakening, that’s her, and the crunchiness in Carrie when you listen to In and you hear the like demonstrates backing vocal. I remember she’d be like, “Guys, do it more like this-” Demonstrates. She’d explain to us exactly the tonality of each note. She was so cool to work with.
It wasn’t your typical musical theatre situation, it was very like - That’s why you’re saying, there’s those songs that are kind of musical theatre-y and then the ones that are a little bit more, almost edging towards like a song you’d hear on the radio sort of.
J: It’s a good balance.
CA: Yeah! It’s a good balance, it’s a little bit of both. But yet when you listen to the whole thing, it’s not like a huge shift of “Oh, what’s this song going to be?” The songs all feel like they’re within the same world , but yet it’s like the high schoolers way of expressing themselves is different from the way the mothers experience expressing themselves, and the way the music is created for the way Carrie lives. It seems all very deliberate like, every single person lives in a different world and yet they’re all married together cause it’s all the same writer so it feels like the same. It’s so cool the way they did that, it’s really cool! It’s not generic, it’s very cool.
C: So cool. Since we have you here, we’re going to take a little journey into your career…
CA: A Journey To The Past?!
C: A Journey To The Past! Since we just mentioned Spring Awakening, what was that like? That was your first National Tour, right?
CA: Yes. So Spring Awakening was right out of college. Right out of college I booked Spring Awakening, and it was kind of like a fairytale story. I really didn’t expect in my wildest dreams to be working right out of college. I mean, most people, they hope that they ever get to work, as an actor. So I was very fortunate and very lucky and I worked really really hard, I think I went in five or six times for that role. I got to tour the country with this other pop-rock, angsty teen musical, but in a much different time period where everyone was even more restricted than Carrie! That was totally fun.
It definitely helped inform Carrie for me because I was very used to living in that world, of that like pop-rock indie-rock sort of sound and that angsty teen sort of vibe.
It feels like as I go through my career it has always felt like I’ve grown up sort of with my characters. I started with Wendla who’s like, a twelve year old, then I got to play Sue who’s an eighteen year old. Then I went on to do Mamma Mia and she’s like twenty-four years old I think. So it’s like as I have aged I’ve slowly got to play a little more mature each time.
C: Right? And that is where I first saw you in Mamma Mia, which is where you made your Broadway debut. What was that like, joining a crazy high energy show for your Broadway debut?
CA: Oh my gosh, that’s right! Crissy! That’s how we met one another! That was such a special time. Really good memories.
That show was such a magical show and I remember, I know I’ve told this story like a million times, but I’ll say it again. The thing about Mamma Mia is that it’s kind of like an antidepressant. It doesn’t matter what mood you are in. It could be the snowiest, grossest day in New York City, if you go into the island of… Wherever they are, that Grecian isle, to see Mamma Mia, you’re going to walk out so happy and forget it was ever a bad day ever.
So I would just be heading to work like a matinee or something and maybe I’m having a bad day, and I would talk to my dad on the phone and just be like “Ugh, I have to go to work and I’m tired and I’m having a bad day” and then I would finish the matinee and call my dad again like “Hi Dad!” He’d be like, “I thought you were having a bad day?”
But it’s just that megamix… You can’t dance the megamix, you can’t listen to the megamix without leaving happy. There’s no way, there’s just no way.
And that’s what I think is so beautiful about art in general and music in general, especially uplifting music, right? It totally can transform the heart, the mind, everything. It’s so powerful. Way more powerful than I think people give it credit for.
J: I say this all the time, but I think that every show should just have a megamix.
CA: Why? Why don’t they?!
J: Right? I love a megamix! I could make a playlist of just megamixes and I’d be the happiest human on the planet.
CA: That would be so great! … A megamix for Carrie. Wouldn’t that be so great?
It would be like… Guess what ever since the world began/Do me a favour/Because you’re IN! We just need a fun little Demonstrates a beat.
C: We need this! So then after Mamma Mia, you reunited with Derek Klena where you played in Anastasia together and got to be Broadway’s princess!
CA: Yes, it was so amazing to get to work with someone I’d already known and felt comfortable with. I think it’s a testament to Derek and his amazing professionalism that while we were doing Carrie, even though I feel like he was twenty years old, from what I recall I feel like he wasn’t even old enough to drink yet when we had done that show. He was such a professional then, a consummate professional, and we had such a great time working on it, that when I was going into the audition for Anastasia, he was there and they had told me that the two of us were going to get to go audition together! I went up to him and we were like “Yay! “ and it totally just took all the pressure off because it was like “Oh, I just get to act with one of my friends.” So regardless of whether I get this role or not, it’s going to be fun! We just had a blast in that audition room, and I feel like there must be something to energy because it translated and they saw all the connection between the two of us. I just, I honestly could not think of a better person to play Dimitry in my mind. To have gotten to go through that experience was so surreal, but to have gotten to go through it with someone I respect and just think so highly of was just the icing on the cake, you know?
C: Totally, and just getting to see you two be in Anastasia together was just… That was it for me because you are two of the kindest people I’ve ever met and I just sat there and I sobbed the whole show because it’s wonderful to see two really lovely people living out their dreams.
CA: And we got to live it out together, which was really cool. He had been on Broadway, and I had been on Broadway before, but to get to play these iconic characters was really something so different and so special. I mean, Sue and Tommy Ross are also other iconic characters in their own way, but Anastasia definitely, it takes you back to being a kid, we all remember that animated classic and the icon Liz Callaway is.
It was like on another level of gratitude. Not only just being able to play those roles, but every single person in the cast and the creative team was so fantastic and kind and working with them… It’s like every so often in your career you’ll get the perfect storm. Working on Anastasia was a perfect storm for me. It was getting to do a role I’d always wanted to play, getting to work with people who basically became lifelong friends, getting to work with a creative team that I respected on such a high level, and getting to essentially work on material that’s so fulfilling as an actor. There’s just so many elements, and then the added element, which was the element I didn’t expect to feel which is…
I knew people who saw the animated film were going to come and see the show, but I didn’t really, fully understand how much the character Anya affected people emotionally. There were a lot of young fans of the show that just would tell me you know, “I was adopted from Russia when I was younger” or “I used to watch this animated film every single night with my mother or grandmother” or “This story means so much to me because I feel such a tie to Russia”. Whatever it was, it had a very visceral attachment to so many, and I got to be the recipient at the stage door night after night, to hear these beautiful stories and to hear how this art really affected people. I used to tell Lynn(Ahrens) and Stephen(Flaherty) who wrote the music to Anastasia, I wish they could stand at the stage door line with me and get to hear the way the show means so much to people. I know they know what they have done for the Earth, but I almost wish they could see the gravity of what they’ve accomplished and how they’ve touched so many for the better.
C: Definitely. Both times that I went and I went to the stage door it was like, the craziest most loving stage door that I have ever seen at any Broadway show. It’s a testament to your performance, truly.
CA: Thank you so much. I just think when you’re lucky enough to be in a position where you’re playing a leading role, no matter what leading role it is, any leading role, to try to keep the energy up, to try to keep the love not only onstage, but off , and make everyone around you feel like they can be their best. That’s all I ever want, I want people all around me, all the time to feel comfortable enough that they can be their true selves, and be their best selves. It’s not always what you get, but if you strive for that then you’re at least acting from a place of purity and light and love.
So yeah, I got that back in return at the stage door night after night which was really cool.
C: Absolutely, that’s so beautiful. And I just have to share this story because… You are just the sweetest person ever and I think this is so funny and so genuine.
When we were backstage in your dressing room and we were both crying and hugging and reuniting, and you were like “And I even have a nice bathroom!”
It just made me giggle so much because I was like, “This is why I love Christy so much.” It was such a genuine reaction as well, and whenever I’ve done community theatre and there’s a nice bathroom with a shower inside I’m always like, “This is so cool!”
CA: It’s definitely a cool thing when you have a bathroom in your dressing room!
C: But really, you had such a cool dressing room during the Anastasia run at the Broadhurst theatre.
CA: I was very blessed during Anastasia to have that space to like, be in solitude a little bit. Even though I did end up opening up my dressing room to whoever needed it while I was onstage. It was really awesome that I was able to do that because my dressing room was right off the stage, so I was able to make that accessible to people and since I was onstage pretty much the whole show, there was a lot of time where that room wasn’t getting utilized. Everyone in the cast was able to come in and hang out and relax, and I sort of made it into a fun hangout area where I would have candy and treats and snacks and dip and all sorts of things.
C: So this is our last question…
CA: Okay! I’m ready!
C: We know you love Taco Bell…
CA: It’s my fave!!
C: So what is your favourite thing to order from the menu?
CA: Okay, I’m really embarrassed to admit this because it’s so basic, and the truth of the matter, the actual truth is that I love everything at Taco Bell and I have eaten everything at Taco Bell multiple times. But my go-to is the Chicken Cheese Quesadilla with a side of sour cream, and if they have fries, the Mexican fries… Have you ever had those? Oh my gosh. I don’t even know what that seasoning is but those fries are amazing. And obviously, for dessert, those little… They’re like Cinnabons, or what are they called?
C: Yes, the little cinnamon balls!
CA: Yes! And then I usually will have, they have all different kinds of drinks but I’ll usually just… I feel like they have a mango flavoured drink there that I used to get all the time… Anyways, yeah. Taco Bell’s the best and everything is… The Cheesy Gordita Crunch is great, the Crunch Wrap Supreme is great… I mean, you can’t go wrong with those. But I’m pretty basic unfortunately. My go-to is the quesadilla.
C: Oh yeah, you can’t go wrong with anything at Taco Bell, it’s just amazing.
CA: I definitely answered that question like it was a very serious question, I probably should’ve been like “I usually go for the quesadilla” but instead I gave you a full range. This is how obsessed I am, you can tell I love Taco Bell!
C: Here in Canada we don’t have many Taco Bells, well at least not in Montreal because of the whole language thing. Anyways, whenever I go to the States, I always go multiple times to Taco Bell and I always bring home the hot sauce packets because they’re just so cute. And where else are you going to go where a hot sauce packet is like “Will you marry me?” or “Hey, hot stuff!”?
CA: I love the hot sauces!
C: Christy, it has been such a pleasure. We are so so so grateful that you joined us today!
CA: I am so honoured! I love this podcast, I love you guys, I’m grateful to be here, and yay! Go Carrie!
C&J: Go Carrie!
CA: One of the best musicals of our time, and one way or another I do believe in the future, somebody is going to want to produce that show and it’s going to go to Broadway. I feel like it’s just a matter of time, people love it.
C: We just want to take this time to thank you for 1000 DOWNLOADS! What? That is so insane to us. Seriously, thank you so much.
J: It’s honestly amazing and humbling that so many of you have decided to listen to us and we hope to continue bringing you fun stagey content, we’ve got a lot of stuff planned coming up, as well as a special event to celebrate your generosity of 1000 downloads!
C: You can find all the information for our free live event on our new Instagram page @breakingthecurtain !
J: Again, that’s a huge thank you to everyone listening at home, and a huge special thank you to Christy for joining us today!
As always, I’m Jocelyn and you can find me at www.bothsidesofthecurtain.com .
C: And I’m Chrissy and you can find me at www.breakalegblog.com .
C&J: Bye!
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