Hello, everyone, and welcome back into a fantastic new Whisper in the Wings from Stage Whisper.Have we got a fun show for you.Oh, my gosh.Especially anyone who grew up in the tri-state area in the 90s or 2000s, you're going to love this, I promise.
Joining us today, we have two amazing actors, Eric William Morris and Noah Weisberg, who are here to talk to us about their hit show, Celino v. Barnes.
Tickets are currently on sale now through December 1st, and the show is happening at the Asylum NYC.Head over to AsylumTix.com to get your tickets and more information.
I am absolutely thrilled to be having these two artists on our show, and I cannot wait to dive more into their work and share it with you.So let's not waste any more time.Let's go ahead and welcome on our guests.
Eric, Noah, welcome into Whisper in the Wings from Sage Whisper.
Thank you.Thanks for having us, Andrew.
I'm so happy the two of you are here and the show you have, I mean, oh my God, like the minute I saw this pop up as we were putting our, you know, we promote shows on our website, we go through and we see, you know, what's playing, that popped up and I was like, no, that can't be.
I can't be the same Selena on Barnes.I remember, and I immediately asked my wife, I was like, you remember the ads for Selena on Barnes, right?She's like, what are you talking about?I'm like, when we first came to New York.
And I had to pull up the YouTube.She's like, oh yeah, these guys.And I was like, well, there's a show apparently, we have to see it.So I love, I love the premise already.So
As I'm doing this terrible job of explaining who these people are and your show, Eric, why don't we start with you?You are the actor that plays Selino.Can you tell us a little bit about what Selino v. Barnes is about?
Yes, it is fun, absurd, 80-minute comedy about the formation and the, I was gonna say defamation, but that's not the word, and the collapse of the Salino and Barnes law firm.
And I have to say, when I got the script written by these two hilarious writers, might be Breen and David Rafalides, I got sent the script and I said, Salino v. Barnes, Wait, really?Are you kidding?I said the same thing you said when I saw it.
I was like, oh, they made a play about this, because I grew up in Jersey, like in the New York suburban metropolitan area.And then I started reading it, and it is one of the funniest things I've ever read.And I just got completely hooked onto it.
So it lives in a world of complete Comedy, it feels like it has its roots in sketch comedy, but then we dive deeper into the characters.And it's just been a blast so far, yeah.
That is wonderful, wonderful.Noah, you are the actor that plays, of course, the infamous Barnes.Tell me, how did you come upon this piece?
Well, I would like to say it was my training at NYU.I would like to say it's my extensive Broadway and television resume.I'm friends with the directors, and they invited me to do the play, which was great.They were very nice.
They said, we've been auditioning a lot of really great, funny people, and any of them could be great in the role, but we kept turning to each other, being like, I feel like that, like Noah, like that Noah comedy that like just that.
And so then they called like, why don't we just see if Noah can do it?And just, I mean, it feels like I'm saying what I'm about to say, because I'm in this play.
And that's the nice thing you should say when you're doing a podcast about the play that you're doing.It's the most fun I've ever had on stage. I look forward to the show every day, and any fellow actors can probably relate to this.
We're so grateful to have a job, to be doing a play, but it's still very physical.So sometimes you're like, I don't feel like doing it today.I've never had that feeling. And a huge part is the script and our directors.
But, and again, I'm not just saying this because Eric is here with us.It's because of Eric.It's like being with your brother on stage, a soldier that you trust your life with.It's just... a very funny soldier.It's just the best time.
And not to mention our incredible stage managers, Allison and Emily.It's just a little ragtag family and we just have the best time every night.
I loved hearing that.And of course, before we started, we were talking about the latest viral video of yours that is at least all over my social media streams of you two impersonating, of course, the Sunset Boulevard opening.
And it made the fabulous account, What is New York's post the other day about, you know, if you want to see the finished product of videos being shot around New York.And there you two were with your team parading down the street, singing it out.
And I was like, this is amazing.So I love that synergy and that community, if you will, that family that is existing there.That's so wonderful.
Yeah, and that is the ragtag team in the, what is New York?You see our production stage manager, Alison Holman, is the one who is holding the camera operator's shoulder, who's Emily Catherine, who's our ASM.
So the four people who are there running the show every day are like, that's what you're seeing when you see them, which is neat, yeah.
And even the people that comedically get shoved out of the way, as we see in the real Sunset Boulevard, that's our staff at our theater.Everyone jumped in.
And a lot of these ideas, we've got a great marketing team, but a lot of the ideas too are just us saying, what can we do to keep our show in people's, you know, in front of their minds?And so we're coming up with bits and it's,
The whole thing has been clever to be collaborative, even in rehearsals.I mean, we, like Eric said, they wrote the funniest script that I've ever read.I've seen other funny shows.Oh, hello.And I mean, and I put it in that world.
I don't know if it's, you know, but Alex and Wes, our directors, created a room where they were the bosses and they should be there, the directors, but the best idea won.
If Eric had a great improv and there's one that's become somewhat central to the plot that he just improv'd one day, it's in the show.I've never seen a show like that.I've never been in a show like that, where there's that trust and it's like,
we're just going to create whatever the best version of the show is.And it doesn't matter where the idea comes from.That's really a great way to work.
Love that.Well, I want to jump, keep going on that thought.
I want to jump off of that and Noah, I want to start with you and ask, what has it been like developing this piece and putting it up on its feet and continue it now for, it's been open for at least what a month, two months now?
Uh, I think even more, we started in the summer.We're probably at about a show 110 or somewhere around there.Here's what I've realized.Eric and I have both done long runs of shows, maybe on Broadway, whatever.
But when it's just you and one other person, it could feel like a burden in a way to keep it fresh and keep it funny and keep it truthful.But what I've realized is it's the best free acting class.
It's organically become this thing where I'm like, every night I'm trying to pursue, this sounds so cheesy, but I'm trying to pursue a more truthful version of the show.I'm trying to really engage with Eric.
I'm trying to find just the comedy, the timing, the mathematical scientific timing of how to get the laugh out of a line that I thought was funny or used to have the laugh, now it's gone.So that to me is the best way to get through a long run.
when you strip away the fun and that we're getting paid to do it.Well, he's getting paid, I'm getting college credit, but it is to each time get out there and go, all right, how do I re-engage in trying to just live this moment to moment thing?
And I hope, I think we've gotten better.Like we loved our opening night.The response was incredible.We were packed, but I wish everyone could come back now a couple months in and see, I think a much better version of the show even.
I love, yes, that's wonderful.Eric, how about you?What has it been like developing the show on your end?
Yeah, I agree 100% with everything Noah is saying.And also, Bob's Burgers, I think I started watching in season six. And I was like, all right, I'll just start watching this thing.And then I was like, what?This is brilliant.
And I'm talking about Bob's Burgers again, because it has delved so deeply into what all these characters are in such a real way.And you catch up with it after years of them working on it, and you start to be like,
wow, Gene really is a showman at heart.You know what I mean?And like all the comedy comes from him wanting to be seen as like a P.T.Barnum character.And that has a lot to do with what we're doing on stage.
I mean, I just last night, I think it was like Noah said, it was like the 111th performance or whatever.And I walked out on stage determined to not know what was going to happen.And it felt really good.
I had this gesture right before I walked out on stage where I get myself ready to go because the stakes are very high for our play.And what I did last night was I literally just went. I did this gesture you can't see, which is like, I don't know.
I don't know.Let's see what happens.And I walked out on stage and it was a lovely surprise.Like Noah said, yeah, I mean, there's little peaks and there's little valleys of doing something that's been running for, you know, over 100 performances and
And also knowing that you have to keep it fresh every time.The audience is always gonna be different.
You really have to get yourself into this beginner's mindset of, this is not going to be the same, because it is literally impossible to capture the same moment in a new moment.It's always fresh and you have to listen.
It is an acting class, like Noah said.And yeah, it does become lights on, two people on stage, 80 minutes later, lights off.And it's like, that's the show.
And you're sort of like, it can become like a like, oh gosh, it's my responsibility to keep this moving, to keep it snapping, to keep it whatever.And then I start pushing and then I start to reevaluate.
And it always comes back to the Bob's Burgers effect of like, what does this guy want?And if I just go after whatever this guy wants, which is like to come up with the world's greatest idea and impress his dad, comedy just like flows from that.
And that's what it's been like.Like getting re-in touch with that is really nice.
Oh, I love to hear that.That's wonderful.Now, with such a hilarious piece, I mean, we cannot understate how hilarious the show is.That's the biggest thing I keep hearing from people.
What a great and fun time they have with this hilarious comedic genius.Is there a particular message or thought, though, that you hope audiences will take away from your performance?And Eric, let's start first with you on that, if we may.
Yeah, absolutely. I think people get sideswiped by the end of the show.There's a moment that almost every night gets like a, aw, out of the audience.
That is lovely because it means we've done our job of, you sit here, you're watching us essentially be two buffoons, like two clowns on stage in business suits trying to accomplish this goal.
You're laughing, but by the end you realize that there's like a real relationship in form between these two guys that are, They're both sort of outcasts when you think about like what our world is.
They're both like trying to make something happen that has not happened for them.They're both like really trying to make it.And more than anything, like the laughter feels like therapy at this time in our lives.
And you could really say that at any time, but like, you know, specifically it is a wonderful thing to walk into a theater to laugh for like, you know, almost an hour and a half if we're doing our jobs.And then by the end be like, hey,
Those two guys, I think they really appreciated each other, didn't they?So that's sort of, yeah.
That's fabulous.Noah, how about you?Is there a message or thought you hope audiences take away?
Yeah.I think in the writing and our really smart direction, and then hopefully in our performances, What comes across even more, you don't realize it when you're in there, you're just watching vaudeville, SNL, UCB type humor.
You realize that these guys really cared about each other. And, and so when things end, you know, at the end of the show, it is really touching.And I've had a few people, one just recently, a friend of a friend, I didn't know this person.
She was saying, she's like, I was just, I'm just so surprised.She was almost emotional saying it.She's like, I'm so surprised at how moved I was by this. It's such a fun, silly show, which is what I wanted it to be.
And oddly, the thing that's lingering with me right now is that I was really moved by this.
And I also think a lot of that is, and this I hear all the time, it's the connection between Eric and myself that's just genuinely formed as two people who really like each other and respect each other and are there for each other.I mean,
The other day I was like, I don't know, my stomach hurts, whatever before the show.And he was like, I'm there for you, buddy.Just know that.And there's been a moment where he's had a little pain in his back.
And I was like, I'm there if we need to modify.We just have really become brothers and it just serves the play so well.And so, so many people have been like, how long have you guys been a duo?What other plays have you done?
And we actually, the truth is we met doing this play. We had known of each other's work and sort of run in some similar circles, but we met on FaceTime a little before we started rehearsal.
So the theater gods and Alex and Wes cast with fortune smiling on them because we, they're two human beings who really like each other.And I think that shows on stage.
Absolutely, man.Yeah.I really, really appreciate you.You're getting me emotional over here.Just wanted to add that I feel that way too.Yeah.
I love those answers.Those are so wonderful.And all of this, all of this leads to my final question for this first part, which is, who are you hoping have access to Celino V. Barnes?And Will, I'm going to start first with you, if I may.
You know, that's a great question.Here's what's coming to mind.Everybody.And when I say that, I'm reflecting what I'm seeing in the audience.I'm seeing a diverse audience in many ways.
One, well, in all ways, and that includes, it's not all theater people coming.We get a lot of just New Yorkers of all backgrounds coming to our show.
We have younger people, older people, date nights, lawyers, of course, finance bros, just comedy fans.I've just seen such a cross section of New York at our show, and I don't know I mean, the thing about our theaters is it's very intimate.
So we really see the audience.And so maybe that's happening at other theaters or other productions and there's 1,500 seats and you can't see it.We can see it.And it's just so heartwarming to see.And like Eric was saying, every night is so different.
So to make, I don't know, to sort of, the audience sort of is our third character because we rely on their laughter or their response or their awes or their,
you know, if we sense that maybe they're not as into it one night, then we kind of pick the pacing up, but we're there with them.
And to see that happening in not just the traditional stereotypical, these are the people that come to theater and pay the high price at high price.Like we have an affordable array of tickets from our 35 under 35 program.
So if you're under 35 years old, tickets are 35 bucks.I don't know.I that's been really, touching to me to see just so many people, to see, I saw some religious, you know, yarmulkes out there.I was like, oh no, we swear a lot.
Is that going to be, and they were cracking up.I've just seen such a great cross section and it makes me happy.And I want more of that in more theaters.
Amen.Say that again for the people in the back.
Eric, how about you?Who are you hoping have access to this piece?
Everything Noah has said, yes.And also what's been nice is younger audience members who may not have any awareness of these two people. who maybe just moved to New York or aren't from New York or people who are coming here.
It's been fun to hear them sort of catch on to what this deal is between these two guys.Like we had a father and a son in the front row.
And when I say the front row, like their feet are on stage with us if you're in the front row, which is sometimes hard for them to be like, how loud can I laugh?
Like, am I allowed to like, you know, it takes about it takes a few minutes for people in the front row to be like, OK, cool.And it was really cool the other day.And I'm going to say that the child was, what do you think, like 12, 13?
And the dad was, you know, 40s or 50s. And they were in the front row and they kept giggling and looking at each other at what made each other laugh.And by the end, I think the son had his head on the dad's shoulder.
It was really cool to see two people who I don't know whether they are avid theater goers.I don't know whether they just happened upon us.I don't know whether the dad was like, oh, I remember these commercials.I wanna take my son.
This could be like a goofy time.But it was really cool to see people connect on it.
And I think that that's something that I love about the show too, is people can walk in there with no backstory at all, don't know the jingle, and they walk out of there with the jingle stuck in their heads forever, and also being like, man, that was a good time.
You get the dynamic, whether or not you'd understand these two guys.
I wanna jump in really fast to say there's a moment in the show that is set the audience doesn't hear it.It's after sort of this, you know, fun, energetic section.We take a moment before we go into the next section of the play.
And what is set by our directors is that we sort of straighten each other's ties and make sure our hair is okay.Cause we're about to go into another section of the play.What it's become for Eric and myself is a moment to check in as human beings.
The audience sees us as characters there, but really we're taking a moment.If let's say my mom's in the audience, Eric might be like, Oh my God, we're doing this for your mom.This is so fun.
or, wow, what a great crowd for, you know, a Sunday afternoon, or do you see that dad in the sun?I know it is.It's a great human moment for us and a great moment to just check in.
And a lot of times it's a celebratory, like this feels great today or, ah, love you, buddy.It's just, I, again, I am just having the most fun and such a high percentage of that fun is being out there with Eric.There you go.
Well, on the second part of our interviews, we love giving our listeners a chance to get to know our guests a bit better.Pick your brains, if you will.And I want to start with our regular first question, which is, what or who inspires you?
What playwrights, composers, or shows have inspired you in the past or are just some of your favorites?And Eric, let's start first with you, if we may.
Absolutely.I got to this acting life a little later in life than... a lot of people.I didn't go to college for it, but when I was at college, I just ended up doing everything.
And then I moved to New York and did a couple more years of actual training.But there were little plops of inspiration leading up to my choice to do this with my life.
And I have a very real memory of going with a friend's family, because I grew up in New Jersey, to see Les Mis in like 1990, must've been seven. And for some reason, we had like 11th row center orchestra seats.
And I remember being like, oh, I like to sing.I like music.I think I like theater.And I remember, I must have been like 15 years old, that I was a puddle.I was like a puddle by the end of that show.And I remember being like, I might have to do this.
I might have to get more serious about this.And so I did. I love new musicals.I've spent a lot of time developing new musicals and being a part of it.I work with Joe Iconis a lot, who's a musical theater writer and one of my best friends.
So being a part of his crew of people has been a major inspiration for me.And I also love doing new plays.Doing this play has been so cool.I've been inspired by
by so many things that like on the other end of the spectrum, when I was at college, I saw a production of Fences in Baltimore with Charles S. Dutton playing the lead.And I remember being like, this is remarkable.
So those little things that like plop into your head and you end up being like, this feeling that I'm getting being in this audience is something that I wanna like, I wanna be a part of forever.I wanna find a way to do this.
So those are just little things that entered my head.Yeah.
I love that answer.That's wonderful. Noah, how about you?Who inspires you?
It's probably a long list, but I'm just going to say what pops into my head.I've been inspired by, first, my teachers as a kid.And even though NYU was amazing and
you know, maybe one of my favorite teachers, Larry Singer, and this amazing woman, Alex Corey, Wendy Waterman, like great teachers that their training is still in my head.
And even when I'm not thinking about it now, because I've been doing it long enough that a lot of it sort of just comes naturally, those mentors are with me.
But the people that I started with, like Dr. Denhardt, who ran my children's theater where I grew up, And our high school directors Murphy and driven those and Mo who this is Mo who was our choir director and musical director for musicals.
Those people taught me what it's like to be professional to be on time and just instilled this joy of theater.And I also wouldn't, of course, have that without my parents, who brought me to all the tours that came through town.
And I remember, for some reason, I remember watching the guy who played Richie in a chorus line.I don't know what, if it was a tour or a local, I don't remember.
And I just remember, this is weird, after his big number, he was breathing heavily, but like properly, you know, from the diaphragm, whatever.And I was like, I don't know why that just thrilled me.
I was like, oh, because I'd heard about breathing through diaphragm, and it's like, oh, I want to be trained.That moment really sticks with me.I was a little kid.And then performer-wise, I just, I can't.
So much of what I do is, now I don't even realize, is just John Ritter.And I just thought that he was amazing and I love watching his sons.I haven't seen everything they've done, but they have a lot of that charm and silliness as well.
And so his physical comedy and his heart were and are huge things.And then there are just people, by the way, that like, that changed the landscape of how we talk comedically.
Like in Friends, I mean, you know, the fact that we're also going, could you be any later?Like this is 30 years later and he literally, we didn't talk like that before.And Seinfeld, I don't think my close friends and I say a sentence that isn't like,
Oh, she's late.You know, like everything is literally like a Seinfeld line.And we don't.So there are these people that then become a part of my performance that I don't know that people know.And I don't even know.
But I'm giving line readings in life and on stage that are John Ritter and Seinfeld and Matthew Perry and all these people combined and Chevy Chase and these people.Anyway, there you go.
I love that. We have now arrived at my favorite question to ask guests, and I'm so excited to learn yours.And that, of course, is what is your favorite theater memory?
I'm going to do this because we've been talking about teachers and I'm so inspired by mine as well.In high school, the drama teacher's name was Oki Chenoweth and he was such an inspiration and a force.And like I said, I caught on later.
So I didn't really start taking classes there until like junior and senior year.But after every performance we would do before, like, like we would finish a run of like A Midsummer Night's Dream.
And then all of the students would stay in the theater after everybody left.
And we'd have Oki, our teacher, come out and he would do a monologue from Harvey by Mary Chase about like, he would become this character and we'd like watch it happen on stage.
And at that point in my life, he was like in his maybe early seventies and he just became this thing, this character, doing this monologue.And I remember thinking like, this is magical.This is what it's about.
Communicating this to young people as I was at the time where I just felt like, I just felt like there was a space for everybody in the theater at that moment.
Like there were kids who played football, who were like in the chorus, who would do the play.And there were kids who like painted the sets, who would stay after.
And there we all were after watching this man do this monologue that none of us had any awareness of this play or what it was about.But it was so magical to feel like we all, like you said, like learned a language together.
And that was like pretty formative for me.That was a magical being in a theater after Everybody's left, which by the way, my first job in New York was a porter at Circle in the Square Theater.
So I would clean up the theater after 25th Annual Putnam County Spelling Bee was running on Broadway.I would be the one who went and picked up the trash and literally locked the doors and put the ghost light out.
And there's something magical about being in a space like that when nobody else is there.Like that resonates with me big time because there's so much energy to get shared on stage. that like remains.And I feel like theaters are temples.
They are magical places where energy gets passed along.And having that memory of my teacher, my first teacher, sharing with us something that he had worked on as a younger person was like really magical.
Oh, what a fabulous memory there.That is wonderful.Thank you so much.Of course.What is yours?
I don't want to go now.That was so good.
My answer was essentially just like when nobody else is in the theater, I like being there.
Well, I do.You know, I think about that, too.That's such a privilege we get because I feel the same way about them being temples, which is also why I have multiple coffee books and am sad about all of the ones that were knocked down.
that can never be replaced.
And even when there's, and I don't understand the finances of everything, obviously, but when there's space on, what is it, 45th, 47th, whatever it is over there, where there's like space owned by our big theater owners, and they're not going to build new theaters.
Obviously that tells us you know, they need to make money and whatever.And I don't understand why the city doesn't jump in and be like, build your hundred story hotel and make the billions.Like, God bless.
We want you to, but through a theater in there, like you did where the Marriott was, where they knocked down four or five theaters.
And we'll give you a tax break for those three stories for the next 50 years on those, you know, like, ah, it's always feels very short-sighted, um, that we don't build more theaters because we had so many.
Anywho, again, I don't understand the finances, so I'm sure there's a reason behind it.But once that new hotel or new apartment building goes up, that's it.
Then there's nowhere for theaters and why not have it next to the Imperial where it would just make sense.Anyway, I'll say two things.
One is, and there's probably a hundred of them, but one is I got to see the final dress or final preview or something.I don't remember what it was of the original. the last five years.
My friend, Patrick Mellon, who I need to call because we haven't talked in a long time.He said, I've got, you know, got invited to this thing.And so I didn't know the conceit of the show.None of us obviously knew the lyrics.
And I just remember it was like watching an action movie in a sense that we were all on the edges of our seats the entire time.And I remember when Norbert sang, have I mention today how lucky I am to be in love with you.The whole audience went, ah.
These words were being sung for the first time to an audience.And that was one of the most thrilling things.
And I just want to say, I don't remember exactly what my high school director Murphy would do, but I do remember that on closing night of our show, because remember in high school, you rehearse for four and a half years, and then you have three performances.
Yep, yep.So it was a big buildup. And the actors didn't build the set, but we were all required and we loved it to stay for strike and take the set down.
And we were all eager to get to our little cast party in someone's basement, but we would all stay.
And our director Murphy would then, once the stage was cleared and swept and cleaned, he would sit on the edge of the stage with his legs dangling off and we'd sit in the house and he'd look back at the
empty stage and go, well, you know, just two hours ago there was a life and a play and a thing that we created as a group and that's done and it's blank again and we're It's a blank canvas ready for the next thing.
And all those memories and all of that energy and all of that life and the audience that was sitting where you are, that's all now part of us and we now prepare for whatever the next show's gonna be.
And it was such a special, a special thing to realize the magic of the building and being in that space.
And most people never get to, and I think of this when we're in tech for a Broadway show or something and we're getting notes, like we're sitting in a theater. You don't get to just walk into a theater if you're just a normal person.
You do, and the lights are on, and the audience, the music's playing when you're coming in to see a show, but we get to be in this special space.We're just the luckiest people to get to do this thing.We could be richer.
We might have a more steady job, one that's a little easier on our bodies, but there's no better life than a life in the theater.
Absolutely, absolutely.Thank you for those wonderful thoughts and memories.Thank you both so much.Those were incredible, incredible.
Well, as we wrap things up, I would love to know if our listeners would like more information about Siminovi Barnes or about either of you.Perhaps they'd like to reach out to you.How can they do so?
Uh, the Selina V Barnes website is selinavbarnes.com I believe.Um, and do a great job there on Instagram, updating every day.And as are we, I'd love to hear from you.I'd love to come to the show.We like take pictures with people all the time.
Two people came dressed as Selina and Barnes last night, and they got to stay after and take a picture with us.Yes.I'm the Eric W. Morris on Instagram.Please message me, say hi, everything like that.And Noah, you're.
I'm Noah at Noah Weisberg on Instagram.
So yeah. Yeah, come on.Oh, and our theater.I want to just quickly say about the theater because I never heard of it before.It's called Asylum NYC.It's on 24th between Park and Lex, the beating heart of the theater district.
Yeah, but it's I've fallen in love with the neighborhood.It's right off the NR train at 23rd, the 6 train on 23rd and So it's easy to get to a bunch of restaurants and we have a really, it's a beautifully renovated space.
There's a gorgeous bar that kind of looks like the set of The Great Gatsby.So it's a fun place to hang out and the show's quick, so easy to grab dinner afterwards at one of the great restaurants.
Well, wonderful.Well, Eric, Noah, thank you so, so much for your time today.This has been such a joy.I am in love with this piece, cannot wait to see it.I'm literally, I'll be there with bells ringing as soon as I can.
And I'm just so happy, just my heart is full with all the insight and stories you shared.So thank you both so much today for your time. Thank you, Andrew.It's been a blast.
Thank you, Andrew.Congrats on the growing family.Yes.
Thank you.My guests today have been two amazing, amazing actors.You will never want to miss them on the stage, especially in the production that they joined us to talk about.
Eric William Morris and Noah Weisberg, who are playing the titular roles of Celino and Barnes in Celino v. Barnes.
The show currently has tickets on sale now through December 1st at the Asylum NYC, and you can get your tickets and more information by visiting AsylumTix.com.
We also have some contact information for our guests, which we'll be posting in our episode description, as well as on our social media posts.But run, don't walk, get your tickets now, before they're gone.
Go to AsylumTix.com, get them for Celino V. Barnes.Play now through December 1st.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 Stage Whisper Pod.
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 pod.
There you will find all the information about our backstage pass as well as our tip jar.Thank you so much for your generosity.We could not do this show without you.
New York town, take me there.
Sign in
