Whisper in the Wings Episode 1525

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Hello, everyone, and welcome back into a fantastic new Whisper in the wings from State

Whisper.

We continue our coverage of the 2026 New York City Fringe Festival on our show today.

The festival is happening in April 1st through the 19th at Understate Marks, the wild

project, the chain theater, and the rat NYC.

If you'd like to take some more information, head on over to frigid.nyc.

On our program today, we have three fabulous show and four artists behind them.

Today we'll be speaking with in-between the moon and the sun co-written by Elian Wiggiser.

One preparation of war, choreographed and directed by Vicky Virgin and exo-exo love letters,

choreographed and directed by Andrea Palische and created and performed by Melissa Burriak.

These wonderful women are joining us today, so let's not waste any more time, let us

spoke on the moon.

Everyone, good morning and welcome to Whisper in the wings from State Whisper.

Good morning.

Hello.

Good morning.

Good morning.

It is so great to have you all on today and I'm so excited about these great shows,

truly.

Let us begin first by having you all tell our listeners a bit about what these shows

are about, starting with Elian and in-between the moon and the sun.

Hi, yes, thank you so much for having me.

In-between the moon and the sun is the show about two immigrant Latina artists who meet

in New York City while studying acting and then one of the two girls' visas get approved

and the other ones get rejected, so they have to navigate a long-distance friendship while

still pursuing their careers and their dreams and facing all of the personal struggles that

come in life and in the acting world.

Yeah.

Wow, what a timely show there.

I think you can tell us a bit about your piece in preparation of war.

Well, it's about violence and it's kind of set in like a place where workers fight

live and eat.

Like, do you think like it could be a sumo stable or ballet studio or, you know, Army

barracks?

So it's a kind of a consecrated place and there are two young fighters in it, there's

a drill sergeant and then there's kind of a ghostly figure from war's past, so she's

kind of died and come back to revisit her spot.

So kind of think Greek chorus on her.

So it's about how violence, I want people to look at their relationship between violence

and just how it's performed and repressed within us.

I think that's an interesting topic.

I didn't mean for this topic to be happening right during a war.

I've been working on the piece for three years, so it's a little bit odd, but it's not

about this war.

It could be about any war.

It could be about a war in the future.

So it's about how it's also about how violence is professionalized, especially this is what's

influenced me in this piece is drill rap, so gang warfare is totally culturally sanctioned

as far as I'm concerned, football, boxing, ballet and all these are really violent things

and they're, they're culturally sanctioned, they're professionalized, so I'm really

interested in that.

I'm also interested in how it, this piece, it's like violence, like once violence gets

out of the bottle, you can't put it back in again and that's when things get really

scary, and so that's what happens in my piece, like violence run amongst, darkly, comic.

I don't want to be funny, but it is ridiculous to what people go through and how they just

get back up again and just do it again.

That is fascinating.

Another truly, another timely piece there, Melissa, I want to come to you and ask that

same question.

Tell us a little bit about XOXO love letters.

Yeah, absolutely, thank you so much.

XOXO love letters from New York City is a show business.

Should I stay or should I go story?

It's also GPC entertainment's love letter to New York City and it's about, if you've

ever been asked to give up something that you were passionate for, or if you were ever

put in a position where you had to choose between two very difficult things, that sort

of passion, that sort of conflict, finding your way when you're lost, how do you process

change, how do you lean on your community, how do you figure out what's next?

Incredible.

Oh my God.

Again, I feel like that's very relatable to any artist who's here in New York, you know

what I mean?

So listeners, as you can hear, we've got four fabulous shows to dive more into and I want

to go and kick that off and stick with you, Melissa, because I'd love to know what inspired

you to want to create this work.

Absolutely.

We have been working on this piece for a little bit over a year and it's inspired by our

company and GPC entertainment, which has been producing work here in New York City for

over 12 years.

We had a singer, a songwriter, duo, Sturkey and Studebaker come to us with essentially

a catalog of songs that they wanted to turn into a musical.

And we are a primarily a dance company, but a production company that has singers and

dancers and all of that and we said, let's take all of their songs and all of our dances

and let's create a story and let's use GPC lore, everything that has happened to us over

the past 12 years of producing work here in New York City, internationally touring and

let's find something that resonates to us in this moment and hopefully resonates to

a larger audience.

So it was really just a gorgeous combination of circumstances that led to this collaboration

and another thing that really inspired it for us is we've been working mostly with licensed

music.

So for a singer, songwriter duo to approach us and say, hey, we have original music and

we're inspired by what you're creating and we want to create something completely new

together with you.

That's really what inspired this piece.

That is so wonderful.

Elian, what about you?

What inspired you to want to create this work?

Well both my co-writer, Martina and I were both Latina, a immigrant artist, she's from

Argentina and I'm from Mexico.

And well, we've both been through or currently going through immigration and visa processes

as well as long-distance friendships, long-distance relationships.

And it has without a doubt impacted our lives so much.

It has become the main topic of our lives and the people that surround us for these past

couple of years.

We know we're not the only ones who are going through it and so we thought that this would

be a very relatable topic and also kind of work as a bit of a catharsis in therapy for

us to be able to tell this story and show all of the hardships that we have gone through

and that we've seen our people gone through.

And also something that really inspired us to make this piece was that as recently graduated

actors.

We have to make our own work.

We have to create our own spaces to perform and to get our names and our selves out there.

So that really moved us to start just writing and creating and finding spaces to exist

and to show our art.

The fact that you're all creating work and doing it on your own, that's a testament to

that.

So hats off to you at the end.

Yeah.

Thank you.

Andrea, how did you come upon this show, exo, exo?

Well, to piggyback off what Melissa was saying, it was really a manifestation of Sturkey

and Sudabaker music coming together with guilty pleasure's cabaret rep and experiences

that we've had over the last 12 years of producing work in New York City.

So we like to say that we brought together the Avengers of the modern cabaret scene in

New York City by bringing in Jackson Sturkey and his composing partner, well, Sudabaker,

and then also singers from other cabaret groups like the family liquid dinner.

And then of course, guilty pleasure's cabaret.

So a creative collaboration between Jackson, Will, Melissa and myself when it came to create

in the story because it's really a collaboration of all of our stories.

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Praise, and that's where the love letters comes in.

I've always felt like our cabaret shows felt like an album of poetry, right?

And each piece is another poem that tells a little bit of a story.

But this time, we've put all of those letters and all those poems together into a book,

yes, with characters and storylines and conflict instead of just these individual vignettes.

So it's one big narrative.

And that's different for us, and it's really exciting to share with the world.

That is so wonderful.

I want to stick with you for a little bit longer, Andrea, and I'd love to know what has

it been like developing this piece so far?

It has been a lot of fun, and I think the fun is part about it is getting to take these

moments from our real life and insert it into the narrative.

So for example, at the top of the show, our on Janu is in a pickle, right?

She's not sure what to do.

So her best friend is trying to give her a little bit of clarity, and she was like, we

went from rehearsing in your living room, and now we're on off-roadway stages.

And that is our real trajectory, right?

We used to rehearse in our living rooms before we had access to studio space.

So that part has been really fun.

And it's really fun to insert inspirations from our real life friends who are just big

characters in real life and put that on the stage.

And not working with licensed music is also really different, too, because sometimes the

dance, the choreography can inform the music.

And Martha Graham is a creator that I've always been inspired by since I've started my

dance journey.

I loved hearing her process of creating the dance and then having the composer compose

original music inspired by the dance.

And we have done that in some cases with XOXO as well.

So it's been so collaborative and so fun.

And that's been the...

Thank you.

Vicki, what about you?

What has it been like for you developing this piece?

Oh, that's a terrible question.

It's been really, really awful.

Okay, let me back up.

It's been hard.

I've been really, really, really hard.

I mean, I have a day where I'm like, that was a great rehearsal and I have a day where

I just have to come and take care of my bruises, literally.

So I think what's made it difficult is that I normally come into a space and have a very

clear concept and idea of what I want.

This space has just been way too, and this piece has been way too unwieldy, way too many

elements.

Honestly, I didn't know what I knew.

I had ideas, but nothing that well formed.

And fortunately, and unfortunately, I chose dancers.

I've worked with before there and they're very mature and they're very smart.

And they don't have any trouble at all, like saying, Vicki, that just doesn't work.

Like can you imagine?

And so, but I have opened, I do want there to be the coming and the going.

And I do want it to be collaborative.

Like I want need their help.

I don't want to be a choreographer for the stands up here and says, do this.

So it's my first time working in that space.

I've learned a lot.

I've gotten a lot from them.

I love them dearly.

They're deeply committed to the process.

We had a big run through last night with somebody coming in to observe.

And yeah, they're going to be great.

And I feel much, much better about it, but it's been a real roller coaster ride.

I have to be honest.

I can only imagine, but that process sounds intense, but I think the payoff is going to be

well worth it.

I hope.

Well, Vicki, sticking with you to kick off this next question, I would love to know, is

there a particular message or thought you're hoping audiences will take away from this

piece?

Well, yeah, I mean, I want it to be a moment where people can explore their relationship

with violence.

And what it means, I mean, people are so quick to be abhorred by it and turn really fast

like, I can't do that as too violent, right?

So I don't know.

I don't want to be the badass, but I just feel like violence is our reality.

It's not some subset that we get to like look away from.

And I do feel there's an element where people that do that are so abhorred, so appalled

by violence, I really do believe that there's might be some violence repressed in them.

Like they're not dealing with it properly.

That's what made me start the piece because I started the piece because I couldn't stand

to look at violence.

And I grew up in a family with six girls, no boys.

And I had a boy and the boys are violent.

I mean, like I was like, so my kid and my husband have like, Vicki, come on, get a grip.

Like they're just, they're just not each other out.

They get back up again and they do it again kind of.

So I, okay, I went off an attention.

Sorry about that.

So that's one thing.

The another thing, the absurdity of violence, how ridiculous it is, how people actually

train their rules of war in my piece, like a rule of war, like no fighting on holidays.

That's really a rule of war.

And just the absurdity of what goes into getting people to kill each other.

I'm just, I'm fascinated by and I just kind of want to put it out there for people to

see.

I said, the absurdity of it, of violence, the repetition of it that it never, ever ends.

It's never going to end well.

It's always going to end badly.

And I don't know.

It is kind of dark.

I'm trying to have some light moments in it for some places to laugh.

But did that answer your question?

Absolutely.

No, you nailed that question.

Elian, what about you?

What's in a situation that you're hoping audiences take away?

Well, I think a big, important, yeah, more than a message, like something that we really

want to achieve is that people feel a little bit less alone, that they can see this story

and be like, yeah, that was me, or that was my friend, or that was my partner, that is

currently, you know, like something that is very actively happening.

And yeah, you know, I think art sometimes has that beautiful effect of making you feel

less alone and what you're going through.

And I think that is one of our big objectives.

And yeah, I mean, I think one of the most important messages, at least for me, like while

creating this piece that I have like really, really kept and like got into myself is that

we all have different paths and that it's okay if those dreams and those paths change.

Like we really don't know what like the universe, I guess, has in store for us.

And there are so many different possibilities in our lives.

And so I don't think it's about letting it just go and be like, yeah, the universe will

figure it out for me because I don't think that's realistic in any way, but I think it

is about like the choices that we make with what comes in store for us.

And so I feel like so many people, especially immigrants, you know, come to New York with

this like, oh, big dream and big idea.

And it's like, this is what I want.

And then things change.

And then immigration policies get more difficult.

And then your quality of life isn't what you expected.

And then you miss home and then you like, you know, or then you get cast immediately,

like so many things can happen.

And so I think one of the biggest messages is to like being open that things can change.

And that all of our paths look different and that they all end differently.

And that is like the most normal thing about being an artist and to like embrace that.

Amen.

Say that again for the people in the back.

Absolutely.

Absolutely.

Melissa, bring us home on this question.

What is the message that you're hoping audiences take away from your piece?

Absolutely.

First and foremost, we want them to have fun.

We want them to be entertained.

Guilty Poshers Cabaret is big and it's comedic and it's glamorous.

And we have sequins and feathers and tap dancing and all of the crazy things.

So we want them to leave the theater saying that was fun.

I really enjoyed that.

Furthermore, we want them to, we want anyone to feel inspired.

It's funny because really on we have a lot of similar overlapping themes here of be open

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No matter what happens, you know what's best for you and you can one, rely on the people

around you to help you figure out what's next for you and also don't give up on yourself.

So wherever, however you need to tap into whatever it is that motivates you to be the best

version of yourself, we want them to be inspired to be able to find that.

What a beautiful idea right there.

Andrea, I'm going to take my final question for the first part off of the unit.

I'd love to know who you have, hoping to have access to your show.

I hope that we can reach other artists.

I hope that we can access people who love Broadway style entertainment but might not necessarily

have the means or the access to go see Broadway entertainment.

This story is told from a very female and queer POV.

So we hope, again, the same way that Ilyans says, you know, we hope that you don't feel

alone.

Same thing.

It's like we, we hope that people don't feel alone and feel seen and heard.

And like Melissa said, we just want people to have a good time.

So anyone who wants to have a good time, they should come see this.

A.K.

Everyone.

Ilyan, what about you?

It's, it's for very much for like artists and, and navigating, you know, young artists

who are navigating these processes and building lives far from home.

But I think it's also for, you know, everybody who feels kind of in these in between chapters

and their lives and who have gone through these like discovery moments of not knowing where

life is leading you.

And I think one of the most important is for people who have friends or people who they

know who are going through these immigration and visa processes and, and people who I feel

like it's going to, it can really help understand what your immigrant friends are going through.

You know, like seeing this play, I hope can make, can, can cause that in these people who,

you know, you know, have all of these friends from school who turn out that are from all

of these different countries in the world.

And so yeah, for artists, for immigrant communities, for people who are in this in between

and for friends and like the people who know and who share lives, the people who are going

through all these processes.

That is a wonderful, wonderful answer to that.

Yeah, I jumped into it.

Can I jump into what you just said, Ellie, on, I, it would, I think it would be great

if you could get immigrant advocates, people that advocate for immigrants to, to come

to your show because there's a disconnect between usually people that are working on

the ground helping immigrants and arts and what arts can do in that space.

So I think it'd be great if you could try to get some immigrant advocates.

Yeah, it's a great idea.

Thank you.

I think that would, awesome.

Yeah.

Yeah.

Absolutely.

Absolutely.

Vicki, I want to close that.

Take that.

We're off with you and I'd love to know who are you hoping have access to your work?

Well, I guess like everybody, everybody, I mean, I, I do have to put disclaimers on about

the violent part.

But in a different context like my piece is really weird in that it's, I've done, I

usually, I'm a dancer, a choreographer, but I always tend to theater.

I love text.

I love all that.

So I always go in that direction, but this is really like more theater than dance.

I'd say 70, 30.

So it straddles a really strange world.

And I did fringe a long time ago and I had a piece that was also a dance theater.

He kind of thing in a theater critic came to review it and they, they honestly did not

understand it.

They even said they didn't, which was not really a great thing to say, but you get my

point.

I would love people that, that are, that are interested in that crossover art, you

know, dancers and actors and people in the art world that are interested in that, in

that crossover.

I love to get that mix because oftentimes in the dance world, it's such a small community

and it's the same people in the same audiences and all that.

So I would like to open it up to, to all performing artists to see the show and let me know what

they think, you know, because I do think it's, it's not, I can't even describe what it

is actually.

On the second part of our interviews, we love giving out listeners a chance to get to

know our guests a bit better and with the full house this morning, we're going to skip

right on down on my favorite question to ask us, which is what is your favorite theater

memory?

My favorite theater memory was actually the first time I ever went to Broadway.

I was 12 and my grandma brought me to New York as a birthday gift and it was when La

Cajuffa was on Broadway at the time with the original cast and everything and my grandma

had already gone to New York and seen it and you know, I was 12 but she was like, I think

this is a really good show.

Like, I think you have to see it and she even wore me, she was like, but like two men

in case at some point is that okay?

I was just like, grandma, of course, you know, my very young liberal self being like,

what do you mean?

You know, gay rights.

And so she, she was like, okay, great.

And she really wanted me to like it.

So she got a table, they had like little, like, cabaret tables for like, right in front

of the stage.

And so it was my first time ever on Broadway, ever on a theater of that size.

I was right in front of the stage and I had drag queen's dancing in the table that I

was on.

I was just like astounded.

I could not believe what I was seeing and I just like impacted me so much.

It was a five day trip.

And then by the last day, my grandma was like, we have two options.

We can either go see Chinatown or literally, or we can go see La Cache of Fog and obviously

want to see La Cache of Fog again.

So I saw it twice.

I stayed and met all of the actors.

It was literally what I think just sparked an obsession with performance and seeing these

amazing, incredible artists on stage and just being in awe of their talent and their presence

and their uniqueness.

And I think that's literally what drew me in to want to do musical theater from the start.

So that is 100% my most memorable theater memory and showing it with my grandma.

And just yeah, the whole experience was fantastic.

Love what a wonderful show and what a wonderful memory attached to it.

Thank you so much for that, Elianne.

I'll jump in.

One of my favorite theater moments has to be the memories I made when I first knew to

New York around city centers fall for dance festival.

It was kind of in its infancy stages at the time and so you would literally have to

wait online like that wrapped around several blocks around city center waiting for these

like coveted $20 tickets and we would stand in line with our friends and just make it

a whole day thing.

And to this day every year I still go see fall for dance with my dance friends and to

me it's just all about how it can bring people together.

I really felt that right after the pandemic, the first fall for dance that I saw after

COVID as the lights dimmed the audience gave a standing ovation right before the show even

started like people were just so amped to be back in the theater together holding a program.

Like we were on our masks, but like it just gave me chills and I honestly I cried because

it was like everyone in that theater knew how significant it was to be in that same

time and place because it had been taken away from us for so long and you start to take

that for granted and I think COVID really shined a light on that and so it's just it's

always been a tent pole event in my life every year and I love the way that it brings

my community.

I love that memory.

Oh, I never want to go through COVID ever again, but to your credit that when we first started

going back, the energy and the electricity and everything in the room, I mean it was

this incredible.

It's so incredible.

So thank you for that.

Okay, mine's kind of a little odd and you've all heard it before, but it was a night

I went to the metropolitan operas and it was the cunning little vixen and it was actually

kind of cool like the the vixen was actually a little animal and for it looked like it.

It really did look like a little wolf or whatever vixen is fox and and the thought and it

gets killed.

It gets shot.

So let me back up a bit.

So the the audience at the met, especially in the orchestra section is super put together

right like very well dressed and there's no talking and very well.

What's the word they they know the rules.

They know the rules right.

So they they sit up very, very straight and they clap when they're supposed to and they

you know do all that sort of stuff.

They all play.

But when this little vixen gets shot, it's a real gunshot.

I mean, it was shocking.

It really was and I jumped and my husband jumped, but what was most hilarious of all was

the guy two rose down in front of us and older man shouted out.

Just like out of I mean, it was just like that was even more shocking than the gunshot.

Like who does that in the middle of an opera in the audience and I my husband and I started

to laugh and we got the giggle laughs where we couldn't stop each other like one was we're

tall.

Almost to the point where we had to get up and get out or we were going to get kicked out.

But that was the funniest thing, but that just showed the element of what theater can do.

You know, like it was so it was really shocking.

I mean, it really just woke everybody up and it was horrible.

It was a horrible moment like when the vixen got shot.

So it was very significant theater.

It worked.

It was effective.

Very effective.

Wow.

What a memory.

I would have joined that older gentleman.

Anytime there's a shot or a loud thing, I'm the guy that's just like, oh god, that is

a great memory, the Vicki.

Thank you for that.

Yeah.

Melissa, bring us home.

What is yours?

Yes.

You all have inspired me when I can't remember how old I was, but my dance studio got the

opportunity to come into New York and do a class with the original cast of hair spray

and learn some choreography from the show.

And then we got to go see the show afterwards.

And it was the first time that I remember being like, oh, those are people, those artists

are people like me up on that stage.

And that is, I remember we learned choreography to, you can't stop the beat and nicest kids

in town.

And at both parts of the show, I was obviously sitting with my whole dance studio and I

would look down the aisle and everyone was just doing the choreography in their seats.

And it was just this moment, now I was like 12, so I could not articulate this at the

time.

Dance and theater are community.

And it was so inspiring to just be like, oh, we can, we can make this.

We can do this.

And what's funny about that is my first job in the city with a one Miss Andrea Palais,

who I now do this show with.

We facilitated master classes with Broadway artists for kids.

So for the circle moment, we got to give that opportunity for other people.

That is such a great memory to wrap this up on.

Thank you for that Melissa.

Thank you all so much for those fabulous, fabulous memories there.

As we wrap things up, I would love to know if our listeners have like more information

about any of your shows or about you, perhaps if I could reach out to you, how can they

do so?

I can jump in for XOXO.

If you want more information about Guilty Pleasure's Cabaret or XOXO, you can check out

our website at gpc-entertainment.com or we're on Instagram at gp Cabaret.

And we're also on Facebook, TikTok, and YouTube as Guilty Pleasure's Cabaret.

And our show XOXO will be playing at Wild Project on April 3rd, April 6th, April 10th,

and April 11th.

Fabulous.

What about Elianne and in between the Moon and the Sun?

Yes, so far in between the Moon and the Sun, we have our Instagram page, which is, it

is the initial level play.

So it is at i-b-t-m-a-t-s, underscore play.

So there you can find everything about the play.

And we have my and my co-writer's personal Instagram's mine is at Elianne Wee.

So it's e-l-i-a-n-w-i, and my co-writer's Martinez is at t-t-d-m-i-o, so it's t-i-t-i-d-e-m-a-i-o.

And our shows are at the chain studio theater.

We have April 2nd at 615, April 12th at 355, April 16th at 9.25pm, and April 18th at 10.35pm.

So if you want to go get some drinks, have a nice Saturday night, and then join us in

theater and have some extra laughs with some drinks on you, it is the show for you.

Have a few less, and Vicki, bring us home.

What about your piece in preparation of war?

Answers.org.

I'm late a little late to the game on the Instagram Facebook thing, but I am on Instagram, and it's

VM Virgin, and that's the same name for Facebook.

I will be at the wild project on the dates, April 8th, 12th, 15th, and 19th, and the wild

project is 195 East Third Street.

There's a very cool book store club that serves all kinds of wine and coffee, great place

to hang before and after the show, and I think, do I need, is that it?

I think that's it.

Fabulous.

Well, Elian, Vicki, Melissa, and Andrea, thank you all so, so much for taking the time

to speak with me this morning, and for sharing your amazing works truly, you should be

very proud of what you are creating, and I'm so excited that these are part of this year's

Fringe Festival, so thank you very much for your time.

Thank you so much, Andrea.

Thank you.

Thank you.

Thank you.

My guests today have been for absolutely incredible artists, for amazing, amazing women,

who all have works coming to this year's 2026 New York City Fringe Festival.

The festival is happening April 1st through the 19th at Undersea Marks, the wild project,

free chain theater, and the RET NYC, and you can get your tickets and more information

by visiting Frigia.NYC.

We also have some contact information as well as performance dates for our guests, which

will be posted in our episode description, as well as on our social media posts, but

get yourself to Frigia.NYC right now, check out all 75 of this year's shows and get

your tickets for all of them, especially the ones you've heard about today, in between

the moon and the sun, in preparation of war, and exo, exo, love letters from New York

City.

So until next time, I'm Andrew Cortez reminding you to turn off your cell phones, unwrap

your candies, and keep talking about the theater in a stage whisper.

Thank you.

If you like what you hear, please leave a five star review, like and subscribe.

You can also find us on Facebook and Instagram at StageWhisperPod.

And feel free to reach out to us with your comments and personal stories at StageWhisperPod

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Simply visit stagewhisperpod.com.

Our theme song is Maniac by JazzR.

Other music on this episode provided by JazzR and Billy Murray.

You can also become a patron of our show by logging on to patreon.com slash stagewhisperpod.

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