Whisper in the Wings Episode 1863

0:00This is Steve Kovino from Kovino and Rich. Quick trivia, fellas. Every guy listening is contestant. Answer honestly to yourself. You got a belly in a little chest, gassed by the afternoon, no drive left in the tank. You lack that confidence and mental edge. Those are classic signs that your testosterone's been sliding. And nothing drags it down faster than extra weight. So why not take matters into your own hands? Shrip off the weight that tanks your testosterone with Bioma, GLP1 booster. Every serving is packed with science-packed ingredients that crank up your natural GLP1 production. Visit bioma.health slash GLP1 and use code CR Show for 15% off your first order. A colossal monster, a city and ruins, no way out. Except inside of the all electric Toyota CHR, John Show stars in Escape. Test drive Toyota's new all-electric family today. Toyota, let's go places. Hello, everyone and welcome back into a fantastic new whisper

1:18in the wings from stage whisper. We are thrilled to be bringing you coverage of the United Solo Festival's Fall 2026 edition. That's running October 19th through November 22nd at Theater Row. And you can get your tickets and more information by visiting unitedsello.org. Now on our show, we've got some familiar voices, a new voice to join us and all and all just some wonderful insight that we're going to be sharing with you. We'll be speaking with the Vice Artistic Director Wendy Lang Bailey. And then the show, The Pryory, a one man mass by Frank Paliero. And for Culpa Del 14G by Lucia Silva. So with all of that in mind, please join me and welcome you on our guest, Wendy, Frank, Lucia, welcome into a whisper in the wings from stage whisper. Thank you so much. It is so great having you all here. And I'm so excited. I feel like it was just yesterday when we were talking about the United Solo Festival Spring edition. Now we're rolling into the fall, which is so exciting.

2:18This is such a great event. So Wendy, I want to start first with you. Why don't you tell us a little bit about what the United Solo Festival is? Well, our founder and artistic director, Omar Sangare, cut his teeth. He's from Poland originally. And as he was educated in the Polish Academy, and he really learned his craft by going around Europe and doing theater festivals and specifically solo theater festivals. And so 21 seasons ago, he dreamed up this wonderful festival where individuals had a voice. And where solo theater was put on a par with everything else that was going on in New York theater, where in an off-broadway house, we are in right in the middle of the theater district. And solo theater has been, since theater began, a wonderful way for people to express themselves

3:19and to bring out individual voices. And we need that now more than ever. So Omar has been the guiding light in getting this festival up and running and keeping it running for these 21 seasons because of a vision of having a place where solo people, the name people are like, well, you're not in solo. That's because you think solo, you work as solo artist, and yet we are a community, and we act you not in it. And also, it takes a team of people to bring one solo show to the stage. So what you see on the stage is just a little bit of what brings that to the stage. Mm-hmm. That is so wonderful. Well, Wendy, tell us a little bit about how you all went about selecting this year's participants. Well, you know, every year we accept submissions from all over the world.

4:19I mean, as you can see, and people submit to us, we have a regular submission process, and they can apply, we started doing a new thing a couple of seasons ago. They can apply either for a single season and do, for example, fall season or spring season. Or they can do what we call a bundled season and apply for both seasons, which gives them a little presence in New York. They can say, yes, I did my show this fall, but I'll be back at this time in the spring. And what we look for in those applications is we look for a voice. You know, of course we look at experience. We look at the resumes. We look at the teams resumes, and we want to see people who are taking their art seriously. But the one thing we're looking for most of all is a voice, a voice that has something to say that speaks to us in a very unique and individual way. And that's the beauty of solo theater, is you can bring whoever and whatever you are to the stage. If you're a tap dancing, tuba-playing,

5:22Misha-Experian actor, and you want to put that one show, and you can tell a great story, and that brings out your voice, do it. You know, it's never about people ask me a lot about the subject, better, what subjects? It's never the subject that we're looking for. It is the artist, and what they have to say, and what they bring to the table. That is fabulous. What speaking of artists from around the world, we do have two fabulous artists joining us. And I'd love for you two to tell us a little bit about what your shows are all about. So let's start with you, Frank, in your piece of priory, a one man mass. Yeah, so I started working on this piece back in October. I had actually tried to turn this story. I've been telling a lot into a solo show a few years before because I was telling the story at a friend's wedding. And an old friend who is actually the artistic director

6:25of the community theater that I grew up at, she said, you should turn this into a one man show, just watching you talk about it. It's like you're so animated. I can see this whole world you're creating. It's such a soap opera. And so I started writing it then, and then I realized, I have no idea what I'm doing, and this feels weird, and I don't know what the heck this is. And so I just kind of put it to the side. And it wasn't until I saw some really fantastic solo performances at Edinburgh, at the French festival there, and actually also some really bad solo performances that made me feel like, oh, I actually, I can do this. Like I know enough to put this story together. And so the story I have been telling for all these years is about my experience of boarding school. I, after I graduated from Williams College, where I actually met Omar Sangare and had him as a professor and a director.

7:26My first job after college was at my boarding school as a faculty member and a house parent. And while at the end of my first year, former teacher of mine who had then kind of become a mentor to me as a young faculty member, resigned over allegations of sexual abuse of a former student. And those allegations were later substantiated. And it was obviously an extremely emotionally taxing situation. I ended up leaving the faculty. And some years later, the victim filed a legal complaint against the school and her abuser. And that complaint alleged a sort of extended scheme to preclude her from taking advantage of her legal rights in this situation. So I got really angry. And I got together with some other alums and we wrote a letter to the board of the school

8:30demanding accountability and transparency. And I also was interviewed by the Boston Globe about this situation. I started a website where I was collecting all these signatures. I kind of became an activist. And so one of the log lines I'm using for the show is from student to teacher to trader. Because I did lose a lot of friends. A lot of people were very angry at me for behaving in the way that I did. And throughout the writing process, what I've learned is that my experience of boarding school and this whole situation is the occasion for the play. But really, it's about me and my search for a home. Why, besides the obvious reasons, why this situation became so important and so enraging to me, what I was looking for, what had been broken in my relationship with this place. And so without wanting to give away too much, it's kind of there's a parade of surrogate father figures,

9:33a teacher, a priest, the headmaster of the school. And it kind of the piece sort of builds towards a confrontation with my own father and my own daddy issues. And really, I don't think I come to any resolution other than that I have the ability now as an adult to kind of to create my own home, to create my own belonging. And that's what I hope to what I hope audiences leave the room feeling as well. We all have these communities that we are a part of for better or for worse. Whether it's family or a religion or a nationality or some category of person, where even if we renounce it, we still feel connected to it. And when something happens in that community, it affects us. Like I don't really go to church all the time anymore. But when something happens in the Catholic church, I still take it as a point for or against me in a way.

10:34And that's something I think that resonates, that can resonate with anyone. I think we've all felt that sense of being a drift and looking for home and being disappointed by communities that we thought were our home. And then the question is like, how do we rebuild? How do we create new community from the kind of broken pieces of the ones that we've lost? Wow, wow, there's just so much there. It was amazing. Thanks, I yeah. I'm sorry that you got to go through it. Wow, no, that's incredible. Lucy, tell us a bit about you. This is Steve Covino from Covino and Rich. All right, quick round of trivia before we get back into the show. But we're doing it differently this time. Every guy listening right now, you're contestant. No buzzers, no calling in. Just answer honestly to yourself. Here we go. You got a belly and a little chest. That won't go away no matter what you try. Gast by the middle of the afternoon, no drive left in the tank. And lastly, you lack that confidence in mental edge.

11:36Fellowes, here's the thing. Those are classic signs that your testosterone's been sliding. And nothing drags it down faster than extra weight. The good news? Emerging research suggests that getting rid of it may actually be more effective than TRT. So why not take matters into your own hands? Strip off the weight that tanks your testosterone with Bioma GLP1 booster. Every serving is packed with science back and third party tested ingredients that crank up your natural GLP1 production. So you can enjoy a leaner physique, surging energy, and increased drive. Visit bioma.health slash GLP1 and use code CRShow to get 15% off your first order. That's bioma.health slash GLP1. Code CRShow for 15% off. Orpise for Copa Bell 14G. First of all, thank you for having me here. I'm from Argentina. I'm right now. I am in Argentina. And so it's not only a dream come true to take my voice,

12:38things to Wendy. And now that I've heard Frank also to understand what you mean by saying a voice, the opportunity to take my voice as an Argentinian at United Solo and being able to be here in this podcast is really something that I value very, very much. So first of all, thank you. Por culpa del Godor seje, if you were to translate it, is blame 14G. And it's a show that it's a cabaret style show with tango, lots of tango, Argentinian tango, and music in the musical theater style, and storytelling, and humor. The thing is, after I had my son, Simon, that is now nine years old, he had this allergy, and I would never sleep. And so I told my husband, I need an hour a day to go to a gas station.

13:39I always say, people imagine writers writing in Paris. No, I went to a gas station. And I wrote about these crazy women that were all me. And I felt a little bit like Frank, thinking, oh, this is horrible. Nobody will like it. I'm just going to do it because I need to. It's like expressing what I was going through in a very humorous way, having fun with it, and not being afraid, or trying not to be afraid of being by myself on stage with a live piano that just with the music. And so I went to speak to this piece of paper to the person that had this theater. I wanted to do it in, and he said, yes, I trust you. And it was amazing. We had run for four years. We won, but Emier Thresha de Mata, which is one of the most important awards in Argentina for musical, or not for musical, for theater.

14:41And then pandemic hit when we were going to take it to Buenos Aires, which is our capital. Buenos Aires is where tango comes from. And so when the pandemic hit, it closed down. And so I couldn't do it anymore. You can't imagine. And then last October, I knew about United Solo. I was in New York to visit a friend, and in the application, and in the application, it said, open mic on Sunday. And there she was, Wendy. I will never forget that day. I went on stage. I talked about the show. I talked about Argentina and the images of our country and our culture. And I sang Balada Barão Local, which is Balada Barão Local is valid for a crazy person. And it's one of our hymns in Argentina, like the tango hymns, that gives you all the images of Buenos Aires, but also of their gentennial culture, because it talks about one person

15:44going down the street in Buenos Aires and meeting a crazy person and just sharing life through crazy, not meaning like bad crazy, but good crazy. Like in a different way, like in a creative way, like in I would believe way. And that's what I sang in United Solo. And in the open mic, and that's how my journey in United Solo started. We as our gentini, I really think that we I'll be representing my country in a very humble way, in this case, because you won't imagine, and this makes me cry, how many our gentinians know about this and how big it is for us to bring our culture there. The show, it talks about human essence and relationships. And the way through humor we laugh about ourselves, our drama, our music really is about everybody. And about myself and about anybody

16:46that could be sitting at the seat. Because what I love and talking about my voice, like my core philosophy is that really never mind where you're coming from, we're all the same. So I really find like the differences in the world, like something very like, I don't know if it's naive or I mean, I don't really understand it, because I think that we, we're all human beings going through the same things here in the world. So as coming from another culture, you know, and lots of people, then lots of immigration also in New York and I know a lot will be very interested in other ways of living. I think I am very honored to be the person to talk about that. Well, Wendy, I want to come back to you because, you know, you mentioned, you've touched a little bit about the acts that where they're coming from and whatnot. But what exactly can audiences expect from this year's lineup? Oh gosh. How much time do we have?

17:47We have such a great breadth and depth and that's one of the other things that we, we are very proud of and we try every year. Often when people hear the word solo theater, they have a very specific image in mind. It might be spuld in gray, sitting at a table, reading, you know, reading from his journals. It might be John Lake, Wuzama, when all his wonderful characters are, will be Goldberg or, you know, so it's generally a thing. And what we like to show is that there is no one solo theater idea. There are, as many ways as there are artists, there are the infinite ways of telling these stories. So we have, we have some amazing shows coming in from out of the country in addition to Lucia coming from Argentina. We have a show coming from Austria. It's an adaptation of Faust. It's a modern adaptation. It's very conceptual.

18:49We have it. I'm really excited. It's our matinee on Halloween and we just, I think that's perfect placement. We have a lot of issue shows. We have several shows that speak directly to the LGBT community. We have, we have a show about their good Marshall. We have comedy shows. We have music. Just about anything you can think of. I mean, if you tell me something you're interested in, I've got Shakespeare show. I've got a show called Sermonds on Miranda Lambert. So, you know, if you can, if you tell me something that you love to see on stage, chances are we have it. We have 50 shows so far this season. And there's something for everyone. Love to hear that. Frank, I mean, I feel like the answer to this is kind of obvious. But is there a particular message or thought that you're hoping audiences are going to take away from your work? Yeah. I started to kind of talk about it a little earlier

19:51when I was sort of giving the, giving the general spiel of the show. But again, I think it's, I think it is deeply human to yearn for belonging, to desire community, to desire togetherness. And so, so very many of us lack that in the West, in New York. I mean, we all live in these tiny little boxes right on top of each other. And yet, we never interact. Like, truly, I live in a building of almost 50 people and I know maybe six of them. And that's just kind of considered normal in our culture. And so, you know, again, my play is about belonging. It's about the search for, you know, for the truth, the good and the beautiful, which is another way of naming the search for the infinite, which is another way of naming the search for God,

20:51which is another way of naming the search for home. And we're starved of that home, of that community in our culture. And then, even sometimes when we get it, like I did with my boarding school, it gets ripped away, you know, because we are all only human. We disappoint one another. We disappoint ourselves. We disappoint each other as a rule. And it's so painful given what a desolate landscape it is with regard to community. When you find one, and you think it's, you think you've solved all your problems. And then it's, the rug kind of gets pulled out from under you. And you say, okay, well, geez, was that never, was that ever even real? Did I ever deserve it? How do I rebuild that sense of belonging, that safety and security of knowing that I am loved, that I am held, and that this crazy life has some kind of meaning?

21:55So that's my goal with this show, as it is with any show that I do, whether it's like a weird experimental thing, or Shakespeare, or any performance for me is always about giving audience members that reminder, you know, reminder is maybe too light of a word, that clarion call, that sort of like that beam of light in the darkness to, to, to show them their own worth, to show them that they are deserving of that community, that they are deserving of that love, that, and that the stories that they, that they are telling about, trying to find it are. This is Steve Kovino from Kovino and Rich. All right, quick round of trivia before we get back into the show, but we're doing it differently this time. Every guy listening right now, you're contestant, no buzzers, no calling in, just answer honestly to yourself. Here we go. You got a belly and a little chest that won't go away no matter what you try. Gast by the middle of the afternoon, no drive left in the tank,

22:59and lastly, you lack that confidence in mental edge. Fellowes, here's the thing. Those are classic signs that your testosterone's been sliding, and nothing drags it down faster than extra weight. The good news, emerging research suggests that getting rid of it may actually be more effective than TRT, so why not take matters into your own hands? Strip off the weight that tanks your testosterone with Bioma GLP1 booster. Every serving is packed with science back and third party tested ingredients that crank up your natural GLP1 production. So you can enjoy a leaner physique, surging energy, and increased drive. Visit bioma.health slash GLP1 and use code CR Show to get 15% off your first order. That's bioma.health slash GLP1 code CR Show for 15% off. Our sacred, our worthwhile. And that they have value in this culture that tells a lot of us that we don't have any. So yeah, if I can get people leaving feeling like they can find their own way home,

24:03I will have done my job. Brilliant, Lee. That is wonderful. Lucia, what about for you? Is there a message or thought you're hoping audiences take away? Yes, first of all, we are all one. As I said before, never mind where you're coming from, never mind where you're going through. We're all the same in the human essence. That would be like my strong message. Never mind where you are. Never mind where you're going as long as you're going with the right kind of people, with your people, you know, as he said, the community. And our dintignans for us, the most important things are friends and family. We live through bonding. It's not as much as material things, but people. And that is the way we communicate. We express we do art. So my hope is that people will leave feeling fulfilled in their hearts and not feeling alone, feeling the sense of, you know, being one world in community

25:07and just celebrating who we are and being loved as we are. Not needing to do anything special to be loved. So, yeah, that's, I think that being as being an Argentinian, that could be, as we are a little dramatic in a, I think in a good way. When we do humor and when we express, it really will emphasize that. As, you know, the public as a whole family together that night, feeling the same feelings. Wonderful answer there. Wonderful. Wendy, coming back to you, I would love to know who you hope you have access to this falls festival. Honestly, anyone who has an interest in story, from an audience standpoint, anyone who has an interest in storytelling, we are in a time right now when, and we've touched on this a little bit where we are feeling isolated for various reasons.

26:08COVID certainly has done a number on us and then our current political difficulties. So, and all the facts and figures in the world are not going to change minds or hearts, but stories will. So, we work hard to make sure that everyone who comes to the festival feels welcome. We train our staff and the first thing we say is we want everyone to feel whether they're on stage, whether they're part of a tech crew, whether they're house staff, whether they're audience, that we are all at the most marvelous party. Because we do get a lot of people who don't go to the theater regularly or even at all, because we get friends, we get family, they come because they know the person. And so, we want everyone who is, see something and thinks, wow, that's a really interesting story to come and see and take part. We are not, we do not get keep at United Solo.

27:10This is for everyone. So, Lou, stay that again for the people. We do not get keep at United Solo theater is for everyone and our stories will save us. Amen. Amen. Well, now we've learned my favorite question to ask and that of course is what is your favorite theater memory? I have it. I played, I don't know if you heard about Master Class, the Maria Calas from Terence McNally. Well, I played the Argentinian version. I was a Sophie de Balma. The play is about Maria Calas, the opera singer and it talks about the classes she did in Julia and really her through that her life. So, it's like a, that's why it's called Master Class.

28:10It's an open class, Maria Calas, open class, singing class. And so, in Argentina, it was the main role of Maria Calas was Norma Alejandro. Norma Alejandro is our male street. She's our Oscar winner, well, that kind of actress. So when I was going to audition while I was on the subway, I knew that Norma was going to be in the audition and I would have to audition with her. I didn't expect that. So when I get there, I was close to throwing up, so nervous, so nervous. And so I go on stage for the role of Sophie de Balma with her and there was a mistake on the script and she said in Spanish, it's a querida me escucha. That means can you hear me? Dapese los soydos. Cover your ears. Can you hear me? And in the script, it said no.

29:11And if you don't hear, you won't say no. So querida me escucha, no. And so she said no, no, but I am asking if that you don't hear, you can't cover your ear. Oh, yes, it's just your favorite. Again, querida me escucha, can you hear me? No. No, what I want to tell you is I do that. So she kept laughing and laughing because I was doing that mistake over and over because it was so nervous. And really Sophie de Balma was a character that was very naive, very like me. And I was like doing at that time. And so she said that's her, that's the person we need. Just the raw, I don't think they got me because of my talent because they got me because I was too naive. They're raw thing, they're real thing. And so we toured for two years and a half. We did Teatro Colón in Argentina, which is like the metropolitan in New York, one of

30:13the most important theaters in the world. I was doing with her. I would, I mean, it changed my life, really. I learned so much. And we toured Europe and our Argentina. And in the end, when we finished, we were talking at a cafe and she said, well, now I'm going to put a pin in you that says that you're an actress and you will be a good actress because you are. This is my pin for you. And when she pinned me, I said, I have to do something with this because if she trusted me, I have to trust myself. And that is why Por culpa del gatorseje was bored. That's why I had the courage to write something and do it by myself. And now I do feel that the next step is here, Wendy. And you know, it's all in my life. Well, and we can't wait to have you. We are so excited about your show and Frank show and all the shows that are coming. There's such great things coming this fall that I wish I could just list them all.

31:14Let's see. Me too. Thank you. I love that. That's an incredible memory there. And see you. Thank you for that. Thank you. Well, I guess I'll do it with nobody. Frank, do you have something? I do. Yeah, I can share. It's much more prosaic than then, then Lucia's. It's really I just, it's a college memory. I played Gaeff in the cherry orchard. And in addition to it, I mean, it was the first time I had done check off and I didn't understand it intellectually, but something in my body responded to it. But what was so what was so what makes me refer to that memory was that, you know, I think my in my guts, I knew I wanted to be an actor from the time I was a child, but I think a lot of the conditions about which I spoke earlier. The number one being the grinding machine of capitalism, like how am I going to make

32:19money? And so when I was in college, I didn't formally study theater, but I was always in the theater. And so I was, it was our, the spring of our my senior year and we were doing the cherry orchard, which is of course this play about leaving home. And I felt art imitating life or life imitating art or whatever at that point, like I was like, oh, I'm this, I'm playing this, this guy who has to leave his childhood home and he feels really scared and and and you know, his community is is is you know slipping away. And I felt that way in my own personal life. And so when we got to that final scene where Gaya and and and his sister embrace in like the childhood nursery, you know, one last time before they leave, like it felt like a very least, frostburg kind of moment. Like I might have looked like I was crying about what was happening there in this given

33:23circumstances, but really like it was about, it was for myself, it was for my own life. And like, what am I going to do? And and now I have to grow up, I have to be an adult, I have to be a professional. And there's no room for the theater in that life. And sorry, that's getting me kind of, that's getting me kind of emotional. And so then something in my body knew like, well, I'll die. If I don't, if I don't have this. And so I tried to outrun the vocation for a little while longer. Got a job at my boarding school, which now I've written the show about. But that was the first time that I, I really intellectually the thought crept up from my guts into my brain that like, this is what you're here to do. And it was just like, you know, my silly college production, but it, it, it set me on a, on a trajectory that I did not understand at the time, but I think I could draw a direct line from that moment to, to this of, you know, having the great privilege of, of, of putting up this show with United Solo and meeting

34:26great people like Luccia and, and Wendy, who has been just like unbelievably helpful. I've had thousands of questions for her like every day, I have a new question. And every, every day she's just like, she's so kind, she's so like quick. And oh, she always says have a lovely day. So like, it's just, it's been such a, it's been such a gift. And, and I feel again, like, it's been in the works for, you know, 15 years. That is amazing, amazing. Thank you for sharing that, Frank. Wendy, it comes to you now. What's another of your favorites? This is a hard one because, you know, I've been doing this a long time as, you know, if you look at my bio, I think I, you know, when people say, what do you do? I say, well, I'm an actor, a singer, a producer, a writer, you know, ballroom dancer, whatever gets me the check. So I've worked in a lot of aspects of the theater and I have so many memories and,

35:27and so many memories of being in an audience and being changed by something I saw on stage. But I think my favorite moments are the moments of real connection that I have made with people. And one of my favorites, and this is one of my more personal ones is years ago, I was doing a program at the O'Neill Theater Center. And there were a bunch of us participating. It was a performance-based program. I didn't really know anybody. And at the end of the day, everyone would go to this little building that was on the O'Neill kind of campus. If you don't know the O'Neill Theater Center, it's way out in the wilds of Connecticut. And it's like being on a little farm for a week every, you know, all these little outbuildings. And there was this little barn-like place where everybody gathered at the end of the day and they'd hang out, and they'd talk, and maybe somebody would get up and sing with the piano or something. And that first night there, I was terrified. I didn't know anybody. The instructors were all people who were well-known in their fields.

36:29And, you know, I was at the time living in DC and I was just like, oh God, I don't know. And so I kind of walked in and I saw a quarter in the back, this little table, and there was nobody. And I thought, okay, I'm just going to sit here and observe. And within a couple of minutes, somebody came and sat down. Was Julie Wilson, who was a very well-known singer actor. She was a Tony nominee for Legs Diamond on Broadway. And then within like a couple of minutes, she was joined by Carol Hall, who wrote the best little horals in Texas, and also wrote songs for Big Bird. And then Sally Mays, who was a Tony nominated actress, and in fact debuted her show Off Broadway with us, Her Solo Show, Just This Past Spring, Tony nominated actress, just a powerhouse performer. And I kind of am sitting there going, did I sit somewhere?

37:30My first thought is, did I sit somewhere I'm not supposed to be? I'm nobody, you know. And then they started talking to me. And it wasn't about, well, what's your resume? Or, you know, who do you know? We were talking about our homes, our husbands, our kids. We had this wonderful discussion about things that were not stage-related. And two of those three ladies are gone now. But they were in my life until they were no longer on this earth. And Sally is a dear friend and a colleague, and we worked together on and off. And it was such a wonderful experience. They saw someone that they thought, well, she looks interesting, but she also looks like she doesn't know anybody. So we're going to just go over and take some time. And those are the moments I value the most. They're just those moments of connecting with people.

38:30And sometimes it's your heroes. And sometimes you're the one doing the connecting. You're the one reaching out. And you never know how much it's going to mean to somebody. To them, that was just a moment in a day. But to me, it was everything at that time. And that is what I love about the community of artists that I have been fortunate enough to be a part of. Oh, that is a beautiful memory right there. Thank you for sharing that with us. As we wrap things up, I would love to know if our listeners would like more information about the United Solo Fest. What about any of you? Maybe they'd like to reach out to you? How can they do so? So Wendy, starting with you and the festival in general. Yes, if you are interested in the festival, the best place to go as our website, which is united solo.org. That is as an audience member, you can go to our calendar, you can see what shows are coming up and when.

39:36If you are an artist and are interested in applying, you can apply now for our spring 2027 and fall 2027. We also do kind of save a few slots for Lake Comber. So if you think you might be interested in even applying for this fall, do you know, we've got an email info at united solo.org. You know, shoot me an email and we'll, you know, we can tell you if there are any of those slots left. And all performances take place at theater row at 410 West 42nd Street. And we would love to have you at our website. Oh, and also we also love volunteers. So if you find you have some time on your hands and you want to come down and volunteer as an usher for a night, go to our website, send us an email. We'd love to have you. Outstanding. What about the primary of one man mass in Frank, Paul, yeah? Yeah. So for more information on the show and to kind of keep up with developments in the production

40:40process, you can follow our Instagram account that's at the primary solo show. I will be performing on Wednesday, October 21st at 830 pm, though that show is almost sold out if not totally sold. Might be as of this morning. I think you might be totally sold out for that. Fantastic. Love it. So I have another show happening on Saturday, November 7th at 7 pm. So please come to that one. Hopefully I sell well enough to do it some more times, but I would love to have as many people see it as many times as I can do it. Fabulous. And then Lucie Silva and for Copa Del Fortune G. Well, my Instagram account, well, you find all the information and the link for the tickets is Lucie Silva, Lucie Silva dot artist. And my show is Saturday, November 14th at 7 pm.

41:48Fabulous. Well, Wendy Frank, Lucie, I thank you all so much for taking the time to speak with me and sharing your wonderful shows. It's wonderful festival. This has been a lovely conversation. So thank you very much for your time today. Thank you so much for having us. Yeah, thank you, Andrew. It's been great. My guests today have been wonderful, wonderful artists who are all part of this year's United Solo Festival fall 2026. The Vice Artistic Director at United Solo, Wendy Lane Bailey. And then the creator Frank Paulieiro of the priori, a one man mass and Lucie Silva for Copa Del Fortune G. Now, the festival is running October 19th through November 22nd at theater row and tickets and more information are available at UnitedSolo.org. 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 post. But again, don't miss out on all the amazing acts that are part of the year's festival, especially the ones that you heard about today, the priori, a one man mass

42:52and for Copa Del Fortune G. 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. And 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. at gmail.com. And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise, tours, tickets and more. Simply visit stagewhisperpod.com. Our theme song is maniac by jazzar. Other music on this episode provided by jazzar and billy Murray. You can also become a patron of our show by logging on to patreon.com slash stage whisper

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