David:  Hi and welcome to the backlot. I’m David Nelson creative director of The Backlot. And today we have for you a special or unique episode you could probably tell because here I am. And you don’t typically hear me but recently I had the opportunity to sit down with the lead actor as well as the director of one of our student directed plays, Ugly Lies The Bone. They were kind enough to come into the studio today and sit down with us and talk a little bit about their experience with the student directed play as well as meeting the writer herself Lindsey Ferrentino. I had a lot of fun in the studio with them and I think you’re going to enjoy it.

David: I am here with a former student. She was here in our one year program has just graduated and done a student directed play.

Coco: Hello. I’m Coco de Bruycker, and I directed Ugly Lies The Bone at New York Film Academy.

David: Coco is also one of our social media correspondents and has been very tied to the school it’s been really fantastic and we have the lead actress in the play.

Isabelle: Hi I’m Isabelle Germain I’m a BFA Acting student and I played Jessica Knox in Ugly Lies The Bone.

David: So Coco Where are you from. How did you find us. How did

Coco: So I’m from Germany and it was funny because I first went to London and in London I auditioned for NYFA New York. And after a year I came to L.A. for my MFA degree here.

David: You had an interesting story and how you got here. If I remember right. What is that.

Coco: So I come from nothing. Like when I got the acceptance to New York Film Academy New York I was like, Oh my God I don’t know how to do this! Because in Germany like colleges are basically free. And everyone’s like you’re nuts that’s why are you going abroad. Like why do you go to the U.S. So I ended up crowdfunding my tuition. I mean it somehow all comes together because this crowdfunding campaign basically taught me how to edit. But I think you got to start somewhere. And that basically made it possible for me to study at NYFA. And I always say I’m acting change because I want to change people’s perspectives on differences and also I’m an actor with a cerebral palsy that’s also a thing why I went abroad originally because acting schools in Germany see disability as an obstacle in the way and not an opportunity. That’s why I came here.

David: That’s wow that’s fascinating. And it’s something we’re going to talk about a little bit later. But before we do we have another guest here with us Isabelle Germain who is the lead in the play. Isabelle why don’t you tell us a little about yourself.

Isabelle: So I am from Atlanta Georgia and I went to this conference where they were doing auditions for colleges and I just did a general audition and this guy came up to me from the New York campus in little potunk Georgia and he’s like I need you to come to this school please come to this school for me. And I ended up doing it and he’s the sweetest little thing. And I went to the New York campus first because I told my mom said this is a perfect opportunity because I had multiple places to go. She said New York Film Academy will give you New York and L.A. and you can get a degree in less than four years so I think that you should do it. So I went off to New York. Did the year conservatory came to L.A. and here we are.

David: Did you guys have some favorite teachers in New York?

Isabelle: There was Amy Van Horne.

Coco: Yeah.

Isabelle: Number one. Oh my God I’m blanking.

Coco: Victor Verhaeghe.

Isabelle: Rob Roy he’s not in with NYFA anymore but he was amazing. Michael Laibson.

Coco: Michael Laibson. Drew Hirschfield I don’t know if he’s still there.

Isabelle: Anika we must say Anika. Amazing. Yeah.

David: I taught with Michael in Abu Dhabi.

Isabelle: Michael Laibson.

David: Yeah sweetest man.

Isabelle: He’s like an adopted grandfather slash uncle slash amazing man. I love teachers that care about you teachers that can identify people who try and people who don’t because that’s if you don’t get a group of great kids who all love it. Some people will and some people won’t. I love teachers that can not only inspire the group that love to act and want to do it but at the same time care about them actually as people you know going to New York and starting off like that having such hard but understanding teachers was so great.

Coco: Yeah also they all know what they’re talking about because they’re all actors themselves.

Isabelle: One thing that I always say is that if I find someone who doesn’t like a teacher because they’re too hard I don’t believe that every teacher that’s treating you harshly sees potential and wants you to rise to that potential yeah 100 percent. Nobody’s coming to this school and pushing you just because they want to be annoying in New York especially we had teachers who just push and go above and beyond and outside of class will be like How are you doing. Invite me to shows let me know what you need help with. That’s what this should be about connecting teachers actors you know all that kind of stuff.

Coco:I would say I learned the most from instructors who pushed you the most like instructors who knew that you could do better.

Isabelle: My favorite thing that directors say is after you do a scene and after you work they go what did you think what could you do better. And they don’t say anything because a lot of times kids in these classes will just regurgitate what the teachers are saying and they won’t listen. Asking kids what do you think went well is setting them up for success because in the real world you’re not going to go on set and they’re not going to be like Well I think you did this really well and your objective is this. They’re not.

Coco: No nobody cares.

Isabelle: Nobody cares.

Coco: One student here said it’s all about the result in the end they don’t care how you got there. The fact that you get there that’s the main thing. I was afraid of this experience. But in the end you’re not alone. And there are always people wanting to help.

David: For maybe people who are listening who don’t know the play what has happened to Jess describe that for us.

Isabelle: So basically what happened was Jess was a schoolteacher and her mother got so ill that they had to put her into a home and they needed money. So Jess went into the army. She gets brutally injured on the job and she’s completely burned and she can’t walk she can’t move her leg got broken really badly. She was in the hospital for 14 months and then gets flown back to Florida where she’s from. And so she has to deal with not only being burned you know going through that trauma coming back to this world that she thought that she hated but she loves because it’s her home. And then also to people that aren’t the same. You know she hasn’t seen her mom in forever. Her sisters are caretakers so she’s different. And then you know Stevie her love interest is now married. Thinking about having kids. It sets you up for a emotional rollercoaster. It’s why I’m so happy that the beginning is funny because if the beginning wasn’t funny. It’d just be so sad.

Coco: Yeah. That’s why my mentor for the production David Robinette and also Kathy.

Isabelle: Love them. Sorry. Shout out.

Coco: They both said you have to really crush the first part of a play like there’s so much comedy going on. It’s like really like comic relief. And if that’s not there then the audience can really be set up for the dramatic part.

Isabelle: Yeah. Cause you’re given just this you know immediately you see her with the burns and everything. And as an audience you’re thinking oh my goodness this is going to be sad. This is going to be sad sad sad. She comes into this world with her sister who’s so cute she wants everything to be perfect and nice and neat and everything’s happy and Jess is this cynical dry funny character that gets thrown into this mess and it’s just so fun to see her navigating these people who are kind of like I don’t know how to deal with you know Cause you’re burned.

Play: Looks like you and Kelvin really hit it off.

Play: Is that really his name.

Play: What do you mean as a name. I’ve been talking to you about Kelvin for the last year.

Play: Yeah. On the phone I thought you were saying Kevin.

Play: We met on one of those free website.

Play: Maybe the L was a typo.

Play: Very funny.

David: So let’s let’s talk about how did you find the play and what maybe made you decide this is a play you wanted to tackle.

Coco: It’s kind of romantic because we were. We met each other at the New York Conservatory in New York.

Isabelle: Yeah me and Coco have known each other for the longest time that I’ve known anybody at NYFA because we came from New York and we were in the same class starting off and in our first semester we read this play.

Coco: And it was such a challenging role also like both mentally physically like it was great that we started off like that like our instructor really challenged us with her. But it was a great experience.

Isabelle: Yeah. It was a little snippet. We got every one of us got a scene. And so starting from that small space you think maybe I can do this like I don’t know. Maybe probably. And then getting cast as Jessica it was kind of like I have to. There’s no maybe probably could be. It’s I have to and I have to do it 100 percent. And if anything you know mental physical it’s emotional.

Coco: It’s so emotional. Just emotionally draining every night just going through that rollercoaster of you know feelings and emotions and playing it truthfully.

Coco: And it’s all tied together like. That’s the beauty about this play is that the scenes all bleed into one another both emotionally but also like scene-wise set-wise.

Isabelle: Yeah my my friend came to the show and she said one of my favorite parts about this show you had blackouts in between scenes but you could definitely see Jess’s emotional like overflow. I went from one scene and I was that way in the next scene. Cause it’s life.

Coco: And it’s so organically incorporated into one another it’s a whole it’s a little bit like a clock like it’s really sophisticated.

David: When you started working on it way back in New York was the thought then we’re gonna do this together. No.

Coco: That was a surprise.

Isabelle: I had no idea she was even directing the show. One of my teachers came up to me in NYFA and goes Isabelle I think you should audition for Ugly Lies The Bone and I said oh my gosh. I know that show. I love that show. I look at the poster for auditions and it was your name and I was like No way. This all ties perfectly together and I don’t know I think it was meant to be because we had to have gone through all of that to work together so well.

David: So what about the show because it’s very interesting content. I feel like there’s a lot to talk about and we will. I kind of want to like break down what you were thinking with it but what drew you to this play in the first place that you felt connected enough to direct it.

Coco: So back when we first started working on the play like both Isabelle and me we both played Jess. We practiced on Jess and she succeeded. I felt desperate like. And I remember that one night I was riding my instructor because I said I felt so stuck with Jess. I don’t know what to do because my instructor back in New York gave me the rooftop scene the love scene.

Play: Jess look Jess it’s hard for me.

Play: I know what I look like.

Play: No. No it’s not that. Just that your eyes look exactly the same.

Coco: And it was just so hard. But yeah that’s how it all started off for me. I don’t know how you felt about Jess at first. Like when we did it.

Isabelle: Well I didn’t have as tough a scene when we first got introduced to it. I had one of the scenes at the very beginning where you’re meeting you know Jess’s love interest from back when you know her ex fiancé I think.

Coco: Yeah in the gas station.

Play: Welcome to space coast convenience.

Play: I don’t know anybody who would. It’s kind of weird investment. I don’t know anybody who would.

Play: Stevie Jesus Christ it’s me.

Play: What.

Play: I’m Jess.

Play: Holy s**t. Oh God. Wow. Okay. Oh you must. I’m sorry. You must think I’m an idiot.

Isabelle: You know you see that he’s engaged now and this and this and that. But it’s not physically challenging it wasn’t very emotionally challenging but I think doing that it kind of it made me underestimate Jess. I went into it and I was like I guess I can play pretend truthfully in this role like sure or fine whatever living in that. No. And then I had to. So it was a challenge. A nice challenge.

David: So, Coco as someone with cerebral palsy. Do you feel that tied into your choice of the script.

Coco: Yeah I could really much identify with Jess in a way because I want to be seen as a human being. I don’t want to be seen as oh we have a disability role so oh let’s cast Coco. And also because of my cerebral palsy I mean I spend a lot of time in hospitals when I was younger and that’s why I could identify with the story and that’s why I also wanted to tell the story because I think we are all battling our little and big battles every day.

David: Now I’m curious because it’s a you know she’s a vet she’s obviously got this physical trauma the play hints at post-traumatic stress you know we have a large veteran community here. Were you able to take advantage of that. Or vets in any way to get a deeper look at it or was that more kind of typical research. I’m just kind of curious. How did you connect with that.

Isabelle: Well I somehow stumbled upon this guy. He went through this terrible experience hearing him talk about it. It was kind of like a wakeup call because I’d never experienced that and someone who had gone through that who was taking it on the chin and who was positive. Even still seeing you know how it affected them and their lives and what they did every day. I don’t know it just. It was really intense. So when I came into this show I had him in the back of my mind. The last thing you want to do is offend someone who has you know laid their life on the line. So there is an episode in the show like Jess has this PTSD episode where she flashes back. That was really tough.

Play: What what what is that. What is that what is that. Get off of me get inside get inside move. Don’t leave two men walking by themselves. Get inside get inside move. Get inside all of you.

Isabelle: It was really really tough.

Coco: It was a lot of work. Yeah.

Isabelle: Probably the hardest I’ve ever worked and people came up to me and said a veteran after the show it like oh my gosh. He came up to me and he was like it was real like I believed everything and he said that attack that you had. I you know it was moving and it just made everything worth it. Cause if somebody can go to the show and can watch it and can see that happen and go through it and believe that but then watch them come out of it that’s all I can hope for.

Coco: It blew my mind. How how many people like. I think it was the Monday and the Saturday performance that were like the most responsive audience. Like we had so many people really leaving with tears in their eyes and I thought wow that’s so powerful.

David: What does it mean to you as a play. What’s the meaning of the play. What do you think drew you to that play the most. What strikes a chord with you thematically.

Coco: I think it’s the fact that we are all warriors in a way. Like before I proposed the play and I reread it I had another take on the whole thing and the role of the mother like in the final scene Jess’s sister brings home her mother even though Jess doesn’t want to because she knows that she’s not ever going to recognize her because she has dementia and this very last moment in the play that the mom says basically she takes her in her arms and says you’re my child.

Play: Mom Mom Mom. No no Mom do you know this is.

Play: What is wrong with you you think I don’t know my own daughter.

Coco: When I reread this play and I took another look at it I could really see my mom in a way because she fought a lot for me and especially when I was younger and I couldn’t do it by myself. Like there are always people who look at you differently once you have like physical differences or disabilities. And I think that especially mothers of children with a disability have to fight even harder. And when I reread this play I could see my mom in Jess’s mom and the longer we rehearsed on that the more parallels I could find for example and there is this technique it’s called biofeedback. And I had this therapy when I was 10 to 15 and Jess’s VR world I could see so many parallels.

David: The virtual reality thing I find really interesting so there’s this virtual reality element to her therapy and it keeps coming to those scenes.

Play: Open your eyes.

Play: Oh my God.

Play: Turn your head to the right.

Play: Is that a pond over there.

Play: Pond that’s a lake. Can you see beyond the lake is a mountain. The ice is slippery but you need to cross to the other side and climb up. The game is very simple.

Play: Cross and then climb.

Play: Exactly.

David: I’m curious. How does that relate to the story. What. What do you think is important about this virtual world. She’s creating what’s important about that therapy. How does that tie into the piece for you.

Isabelle: It’s everything she’s ever wanted. She’s created this world where she can fully move like she used to be able to. And nobody looks at her differently because that’s what Jess is constantly running from is the reason why she doesn’t want to hear mom is not only because she has dementia but she has dementia on top of the fact that Jess doesn’t look like she used to. So it’s so many layers and Jess is like I can’t handle this one last person because their father isn’t in their life. So she only has her mom. And so for her you know not to be able to recognize her but that I think with the virtual reality she doesn’t have to deal with people and mentally too being free. She’s so caged in all the time caged by a walker by her burns by her mind by her you know PTSD.

Coco: And also there’s one moment when she screams to her therapist. Yeah but this at least is real and this virtual reality world it’s not real. So why are we doing this. When am I going to be fixed.

Play: But this isn’t real. This at least is real. When is it done. When am I fixed.

Isabelle: Her response to that is so beautiful when she says in order to you know live life we have to let go of what was in order to enjoy what is.

Play: In order to get rid of pain we let go and we do that we see the world not for what it was but for what it is.

Isabelle: So many people nowadays are living in the past living in the future living not now. And they’re living in these fake realities that they’ve created these fake personas on social media. On this on that and for Jess it’s just an escape from all that.

David: You end the play Jess is looking out into the audience what is Jess thinking what is Jess looking at.

Isabelle: Overall it’s hard to take this play and not mesh it with your life. It’s so emotionally connected. And I do have parallels of my life with Jess that. You know it’s hard. So when I’m standing there and I’m looking out into the audience you know it’s supposed to be this kind of. I’m home. I’ve needed to create this home. And I definitely got flashes of that for my own reality. You know blending together towards that last moment because you’re thinking to yourself God the show’s done. This is it. But you’re still in it and you’re living in that. And it’s a moment that you have of not only self reflection of Jess reflecting in herself and who she truly is but it was partially you know it was Isabelle it was me up there and I was thinking to myself. Wow. You know I’m home. I’m happy and I’m performing and I. It’s all good. Everything’s great.

David: It’s almost as if the virtual reality has become reality reality.

Isabelle: That’s completely true I think that like we were talking about virtual reality earlier it’s not just the virtual reality being that I can see different things. It’s that virtual escape of the mind where you don’t really have to worry about you know normal day stuff. And that’s kind of Jess at the end. It’s kind of like her whole life. She just wants to be seen as who she is. But she’s married to that old image of herself. Now she has become wedded to her new self and life it’s beautiful.

David: You know what the audience doesn’t know is that on your final performance the playwright Lindsey Ferrentino actually came. How did that happen. Did you reach out to her.

Coco: That was funny. I posted a teaser on Instagram about the show and she commented that she was about to be in LA and if it’s possible to see the show and I’m like oh my god like I remember the night that I texted my group and I said Can you hear me screaming. Look who’s commenting under our teaser. And so we managed to add on her fourth show for her which.

Isabelle: It was pretty surreal.

Coco: Yeah it’s so surreal. Never say never like. It’s insane what you can do.

David: Were you nervous before the show more nervous. Was it.

Isabelle: I think. Who topped the cake was Luke because Mylo bless him the stage manager. Comes up to Luke before the show and says Oh yeah the guy who originated Stevie your role. He’s Lindsey’s fiance. So he’ll be here too.

Coco: He played Stevie at the National Theatre in London.

Isabelle: Yep.

Coco: No pressure.

Isabelle: And Luke was like oh my before the show he was so nervous I was like Oh poor thing. But he did a great job.

Coco: He pulled it off and Mylo was the one who who asked the actor Ralf Little. How do you feel about seeing your role interpreted by another person.

Isabelle: Yeah. He was kind of like. So how did it feel watching somebody else do Stevie. And we were like no.

David: What did he answer. What was his.

Isabelle: It was great.

Q&A: How was it like watching our version of Stevie on stage.

Q&A: Yeah I found Luke pretty annoying actually. But mainly because I kept on seeing things he did and went oh s**t I wish I’d done that. That was much better. Especially when it’s the lines that you’re so familiar with. Coming up you kind of have this rhythm in your head once you’ve performed it so many times that you know how the lines are going to go. So to see somebody with different cadences different choices and especially lines where you think this one’s a killer I’m going to get you know this is one that I always absolutely nailed and then like he’ll do it and get a bigger laugh. I’m like motherf**ker. That happened a few times actually. I thought he nailed it. Annoyingly it made me feel slightly jealous that I wanted to do it again. So yeah thanks man. It was great.

Coco: It was a great energy.

Isabelle: They were so sweet. Surprisingly like so sweet and inspirational and honest. He was really great. Ralf he just got a BBC One show. And he’s coming over here to watch our like. That’s fantastic. That shows you know how great he is.

Coco: And it was also just a great atmosphere we had that night and both were so humble. It was just fun to talk with them.

David: What were some things you pulled out of that for yourself for the project as a whole like how did that affect you as the director of the project.

Coco: I was really impressed. How much time she spends on research and that she’s so committed to truth.

Q&A: You can’t worry about it. You just have to write the truth and I think the best way to do that is research and writing about as much about your own experience in some sort of abstracted way and there’s different tools to help you write truthfully. But that’s the goal. Do you know what I mean I think you avoid cliché by just trying to write truthfully. So for this play I’m not a veteran. I don’t have veterans in my family but my best friend worked at a V.A. center I volunteered at a V.A. center I got to know some veterans I you know transcribed documentaries transcribed interviews with veterans I talked to the people about the VR system which is a real thing but then I set the play in my hometown. You know and wrote really about my experience coming back to my hometown in a side angle away and wrote about people that I know indirectly. So I always try to do a combination of both.

Coco: She knows what she’s writing about and this is so important to find this truth that she’s talking about. I am always having such a hard time with my writing because I’m so afraid of cliché and the key is truth and everyday life.

Isabelle: There was a quote Ralf brought up I can’t remember where it was from it was from a book it was saying something like every 20 years. Everyone gets the same opportunities whether it be at the beginning of those 20 years or the end of those 20 years. He was like acting it is so much not in your control and you just have to keep doing it.

Q&A: I’ve been doing this for 20 years and in England sort of relatively well known but I’m an absolute nobody here so it’s great fun. And but you get taught all sorts of things that are much more useful than anything I can say about technique and how to act and how to break down scripts and all that kind of thing. But what I’ve found over the years that’s the most difficult thing is managing your own. Psychology. David Mamet said over a 20 year period everyone has the same opportunities it might come in the first week after you leave drama school or it might come 20 years later. But it’s about being ready to take it and mostly managing the kind of crushing worry and anxiety of being in between jobs not getting jobs. Watching somebody who you are absolutely sure you’re better than getting the job that you should have got. You know and I’ve worked relatively constantly and it happened I guarantee somewhere out there right now. Johnny Depp’s going I wasn’t in a Marvel movie that’s bulls**t guaranteed. You know that’s it doesn’t matter. It never. There’s no level you get to where that’s not the case. So it’s a hard game it’s a hard hustle. You know you all are going into it and I wish you all luck because it is hard when you’re working it’s the best thing in the world. And when you’re not you have to have some idea of controlling the worry and going it’s OK. And finding some other creative outlet and something that makes you happy and makes you what’s the Kelvin line. Go to work go home put something funny on TV go to bed hopefully next to somebody.

Play: This is all I’ve ever wanted. OK to come to work go home put something funny on TV go to bed. Hopefully next to someone. Most people just want to be happy.

Q&A: I would love it if if that was my life. But you know most of you are here because you’ve got creative ambitions and it’s not quite that simple for most of us who want to do this for a living because that’s not the gig. That’s not the game.

Isabelle: And he was talking about the fact that if we had asked him the question last week about what he was doing next it very well could have been nothing. It’s just about timing. And if you keep that creative outlet it’ll work you gotta trust that.

Coco: In the end it all comes down to stamina. And I think that’s also what this play stands for. Like there is one line in the play that she says your body is not built to endure it’s built to recover. And that’s really about this going keep going. Go through it.

David: I was curious to meet you Isabelle just because I’d only seen you with the skull cap and the.

Isabelle: You know what you know what’s funny after the show okay. I’m like OK god. I can go and I can drink some. All I wanted was water cause I’m so hot under all that stuff because you know I’ve got ace wraps on my body I’ve got latex on my body then I’ve got the clothes then I’ve got the dress the shirt the bald cap the scarf. And I’m starting to walk backstage and Anne was like no no no don’t leave we’ve got to do the Q&A. I was like can I please take the bald cap off and she was like yeah yeah. So I turn around and I just rip the bald cap off and Ralf comes up to me after it was like I have to be honest getting used to you being bald for that long of time and then watching you rip it off. Was disturbing. It was not something that I was comfortable with. I was like oh wow it’s pretty cool. We created the illusion if anything.

Coco: Mission accomplished.

Isabelle: First time ever wearing a bald cap.

Coco: Oh yeah.

David: Oh wow.

Isabelle: Ever ever. This was definitely a show that got better and better. I think that’s why I was so comfortable when she came. Because we had had a day Saturday. It was kind of I know all of our mentalities were like we’ve been doing this. We’ve been doing this. It’s so emotionally heavy. We got to do it one more time and then having Sunday off and then going on Monday was like we get to do this. It’s not we have to we get to. And so I know I was buzzing. I was like yes.

Coco: Yeah definitely.

Isabelle: One more time. I just wanted to say that not a lot of people do play productions at NYFA because for whatever reason the thing is that everyone should be taking advantage of this. If you haven’t been involved in a play production you should be involved in one you should act and one and you should try to direct one. If anything pitch something don’t wait until it’s too late to be like maybe you should have taken that offer.

Coco: This is the space at NYFA that you can experiment.

Isabelle: NYFA is truly a playground and a lot of times people don’t use every aspect of that playground. They think I’m going to go and I’m going to do the swings go do acting. I’m going to stick to that and I’m going to get in and get out. But if you just sit and you explore those opportunities you can find so many amazing connections people opportunities.

David: I know you just made Anne’s day. I will tell you that this was just a phenomenal advertisement for the student directed plays. She’s really really happy.

Isabelle: They’re they’re good. I mean one of the things that I hate to hear from people is this school isn’t doing enough for me or it’s what you put in. If you put in a lot you’ll get out a lot.

Coco: Yeah. No one’s going to bring you something you have to do it in the end it all comes down to you.

David: Well guys congratulations because it was an amazing show. I think that everyone responded really well I think the fact that you could get Lindsey here was.

Coco: Oh my God it’s crazy.

David: It’s just you know you talk about the universe kind of providing there you put something out on Instagram they come back. It was really and honestly it was a very emotional very powerful show. I think that whether you know you were connected to it or not or you found the connection we as an audience definitely felt that connection.

Coco: That’s the main thing.

David:  Well Coco Isabelle thank you very much for coming in.

Isabelle: Thank you.

Coco: Thank you so much for having us David. Thank you.

Isabelle: Thank you.

Coco: Thank you Kristian.

David: So that was Coco and Isabel students in our acting for film program. This is the backlot at New York Film Academy and thank you for listening.

David: This episode of the backlot has been brought to you by the New York Film Academy as always. It is mixed and edited by Kristian Hayden produced by Kristian Hayden and myself. David Nelson executive produced by Dan Mackler and Jean Sherlock Special thanks to the acting for film department who puts on these student directed plays its Chair Linda Goodfriend Associate Chair Anne Moore and all of the students who took part as cast or crew in the production of this play. And a very very special thanks to our guests Coco de Bruycker and Isabelle Germain. If you are interested in learning more about our programs please go to our website at NYFA.edu. Don’t forget to rate review and subscribe to our podcast on Apple podcasts for wherever you listen. This is David Nelson. We’ll see you next time.

David: Now I know I’m supposed to wrap up the show but I’m having a little bit of trouble doing that. It’s this is a new time for me. This is this is exciting being behind the mic. You know I was thinking when I was a kid growing up outside Newark you know a young man little confused…