S3E1: Kait Kerrigan
In this episode, Hayley and Amy speak with book-writer/lyricist/playwright Kait Kerrigan about her extraordinarily fruitful year in 2023, the power of musical theatre to create empathy, and the keys to long and successful collaborations. Scroll down for episode notes and transcript!
Episode Notes
Guest: Kait Kerrigan
Hosts: Hayley Goldenberg and Amy Andrews
Music: Chloe Geller
Episode Resources:
Justice: A New Musical at Marin Theatre Company
Indigo at The Human Race Theatre Company
Ernxst - commissioned by Concord Theatricals
The Great Gatsby - opening on Broadway April 25, 2024
Guest Bio
Kait Kerrigan (she/her) is best known for her musical (book and lyrics) with Bree Lowdermilk THE MAD ONES, which includes cult-hit songs “Run Away with Me” and “Go Tonight”. She wrote the book for Broadway-aimed THE GREAT GATSBY, which opened at the Papermill Playhouse in October 2023 and just announced a Broadway opening in 2024. She also wrote additional lyrics for THE TIME TRAVELLER’S WIFE, which opened on the West End in October 2023. Other musicals include INDIGO, JUSTICE, the pop-up immersive house party THE BAD YEARS, and children’s shows - HENRY & MUDGE, EARTHRISE, and ROSIE REVERE, ENGINEER & FRIENDS. Her plays include FATHER/DAUGHTER and IMAGINARY LOVE.
Find Kait Online:
Instagram: @kaitkerrigan
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Episode Transcript
(Music)
Hayley: Hello, beautiful people, and welcome to the Women & Theatre Podcast! We're your hosts, Hayley Goldenberg…
Amy: …and Amy Andrews. Grab a cup of coffee and join us as we talk to people in the theatre industry about their experiences with womanhood.
Hayley: On the pod, we interview people with different gender identities, from different backgrounds, with varying levels of industry experience and professional roles.
Amy: Our goal is to build community and pool our collective wisdom to break down the barriers we continue to face.
(Music)
Amy: On today’s episode, we speak with book writer, lyricist, and playwright Kait Kerrigan. Kait is best known for her musical THE MAD ONES, written with Bree Lowdermilk, which includes cult-hit songs “Run Away with Me” and “Go Tonight”. She wrote the book for THE GREAT GATSBY, which opened at the Papermill Playhouse in October 2023 and just announced a Broadway opening in 2024. She also wrote additional lyrics for THE TIME TRAVELLER’S WIFE, which opened on the West End in October 2023. Kait’s other musicals include INDIGO, JUSTICE, the pop-up immersive house party THE BAD YEARS, and children’s shows - HENRY & MUDGE, EARTHRISE, and ROSIE REVERE, ENGINEER & FRIENDS. Her plays include FATHER/DAUGHTER and IMAGINARY LOVE.
This interview was recorded in mid-2023 and captures Kait’s thoughts in the middle of an exciting time in her career.
Hayley: Hello, listeners. I am so excited to introduce Kait Kerrigan. Kait, would you please introduce yourself, share your pronouns, and tell us a little bit about the different hats you wear in theatre?
Kait: My name is Kait Kerrigan, my pronouns are she/her, and I write book, lyrics, and plays.
Amy: Can you tell us a little bit about how you got started in your creative work?
Kait: Yeah, I started writing plays when I was in college. I actually fell into it a little bit backwards. I was doing a lot of theatre, and I decided to try to direct something. I was at Barnard, which is a women's college. I was directing a show that was supposed to be an all-women’s piece. And we couldn't get the rights because we were in New York City, and the original writer of the piece had got a bad review in New York and then wouldn't let their pieces be done there again.
So I didn't know what to do. And a friend of mine suggested that I hire a bunch of actors and write something with them. Sort of without knowing what I was doing, I created this audition process and created this piece with seven women, and we made a devised play. I had so much fun and I loved it so much.
I think if I'd realized that devising was a thing, I probably would have gone in that direction because I loved collaborating so much, but I didn't. And so that summer I started writing a play. And a friend of mine from childhood, where I'd done musicals outside of Philadelphia with this theatre company called the Young People's Theatre Workshop and this friend of mine, Bree Lowdermilk, came to me and said, “Hey, I hear you're writing plays. Do you want to write a musical?” And I was 20, and I said, “Yeah, of course.”
Then like, two weeks later, we're writing musicals. I started as a book writer because I didn't know the first thing about songwriting and Bree was a great songwriter. We started writing a show called The Woman Upstairs. And two years later, we did a workshop production of that in the first New York Musical Theatre Festival. That was an incredible experience. We learned a lot of things, among which was that I don't want to direct musicals. And also that I loved writing book, and Bree started teaching me how to write lyrics during that process and then encouraged me to go do the BMI Musical Theatre Writing Workshop. So I learned all the basics of writing songs, and I didn't really know what to do with those basics but I learned enough to hang.
And then, I continued to build that skill set. I can now structure out a song and put together all the information that I had as a musician. As a kid, I was a violinist, I played from like 3 to 18, and that felt very remote and unconnected to what I was doing in theatre until suddenly it didn't, and I was like, “Oh, I understand a lot about music. I understand a lot about words.” I took a lot of poetry writing workshops at Barnard, I took a lot of fiction- writing workshops. And even though I didn't actually study to become a theatre writer beyond the work that I did at BMI, it was as if I had created a coursework for myself that led to me doing this.
And I found out that I could talk to everybody who I need to talk to in this job. I can talk to directors really well, I understand what their job is. I can talk to composers, I understand what their job is. I really enjoy putting on different hats and collaborating. That was really exciting to discover.
Bree and I worked together for a really long time, and for the most part, in our collaboration, I was book writer and lyricist. And we spent a lot of time in that space in between composing and lyrics, and we got up in each other's business a lot in a really good way. But later, it occurred to me that actually what I love to do is one. I like to write book or I like to write lyrics. I really like to pass it back to somebody. I like to be able to send what I'm doing to somebody else and have them return it having done some work.
So I've been really enjoying this second phase of my career. I have one project right now that I very much hope will see the light of day, you never know, but that project is something where - start to finish, all the words are written by me. It feels really important to me. But I really enjoy doing one thing and then having other people that I'm bouncing ideas off of.
Hayley: Kait, it's been such an amazing year for you, career-wise. Do you mind just talking a little bit about your different creative projects and where they're at in the process?
Kait: Yeah. I've never had a year like the year that I'm having. Publicly, there's a lot of stuff happening and then there's all this stuff that's happening behind the scenes.
Hayley: It's important to say it, because I think - obviously, social media is a highlight reel, and we can see these big years in a lot of people's career. And it's like, “Oh wow, is that how it's supposed to work?”
Kait: Yeah, it doesn't work this way. I've never had a year like this. And I don't know if I ever will again. You know, you just kind of try to enjoy it while you're in the middle of it.
But yeah, my year started out with - January, I did a second production of a musical called Justice with Bree Lowdermilk and Lauren Gunderson, who I've also worked with a ton, and she's incredible. That show was the second half of a world premiere, so we opened that show in January with Marin Theater Company, which was really fun and really exciting. And I'm hopeful that that show will continue to grow and expand from here. It's just a three-person musical about Sonia Sotomayor, Ruth Bader Ginsburg, and Sandra Day O'Connor.
Amy: Oh my god, that sounds incredible.
Hayley: When I saw that you were doing this, Kait, I was like fangirling. I was like, this is amazing. I'm so excited to see what comes of this. Those women are just such powerhouses…
Amy: Absolutely!
Hayley: And your team as well.
Kait: The funniest thing about it was that, when the idea first hit Lauren... It started from a commission idea about writing something about Sandra Day O'Connor from the Arizona Theatre Company. They wanted to do that during the pandemic, they wanted to do something as small as possible, and she was this powerhouse politician in Arizona, huge in Arizona politics. And then also retired there and lived there for most of her life. But they wanted to start with that.
And then Lauren was like, “That sounds great. I would love to do it. I would like it to be a musical and I would like it to have Ruth Bader Ginsburg.” And then she called us and was like, “Hi, so we're writing this musical.”
Hayley: I imagine that you're looking at this mountain. Exciting but so daunting, like, it's massive.
Kait: Yeah, excited and scared.
Hayley: Yeah, exactly.
Kait: But you know, I have a very deeply held philosophy, which is that you never say no to Lauren Gunderson. It's served me very well so far, and I will continue it for as long as she'll have me. But she was right. It's a great idea. And the real surprise of the show for me is how cool Sandra Day O'Connor was and how important she is as a linchpin to how our democracy can work and should work.
And that felt like the thing that I learned, and then also that the show hopefully brings to other people - the ability of these women to have a conversation with each other in spite of disagreeing. Reach across the aisle and find ways that you connect even when you don't connect on everything. What a concept. We don’t do that anymore. And that is so valuable and so important right now. And it felt really exciting to try to explain, like - when did that start to fall apart? And it happened in the Supreme Court, and watching what's happening in the Supreme Court right now, it's even more relevant to talk about that kind of stuff.
So it felt very exciting. And it was really gratifying to work with the actresses in the show. They were really excited to be in it. That's also really cool, to see women who are not ingenues on stage. Like, all of the women in the story are not ingenues. And you feel it in the room. Like when you're watching this show, there's just this power and knowledge and wisdom that these women are bringing as actresses to the table. So that was really, really fun to do, and I'm really excited about whatever comes next for that show.
Then the next thing I did was a show called Indigo, which I actually started working on only in 2022. I did a couple readings before this production, but I was brought in to rework the book. It's Scott Evan Davis, who's just an incredible human being. And the producers are Sing Out Louise. And we did it at the Human Race Theatre Company, which is such a beautiful, wonderful theatre company with such incredible people.
Both at Marin Theatre Company and at Human Race Theatre Company, they're run primarily by women. And they had these amazing community agreements and the way that everybody handled the work environment was really exciting to watch and really new. It felt very, very much like it had been informed by the pandemic.
There's a lot of turnover happening right now in theatre, and it is really scary. But there's also a lot of growth and change that's happening, and it was really exciting to be on the ground at these regional theatres and watching them navigate this. It's a hard time, but they're finding these really interesting ways to solve the problem. And that was really nice to see.
Hayley: I imagine that was so heartening, the work's actually being done on the ground in these places.
Kait: Yeah, and the gratitude that these audiences had for being back at the theatre. I think the challenge of regional theater - one of the reasons that we're still having a hard time coming back is that subscription models are gonna have to change in some way. Things are changing, and it's hard to change.
And the way that the regional model normally works is that these runs are so short. So, in both cases, both shows developed this real word of mouth, and the final weekends were really big. But getting to that and getting people out and wanting to come to see theatre early enough, and having time to market, it is really challenging on the timeline that they're on. So I'm really curious to see how that shifts over the coming years or if that stays the same.
And then, I've done a bunch of readings - I'm probably not supposed to talk about those too much yet, but it's been really nice to have there be little things in between and sort of see the seeds of things starting to crop up in smaller ways.
And then I have another show that's called Ernxst that I am doing a final reading of, and then there's going to be a production. Ernxst was commissioned by Concord Theatricals as a show to be written for high school and college students - in part because the majority of stuff that's happening on Broadway or that's happening regionally is financially constrained by Broadway and regional theatre. There aren't a lot of big casts being created, and a lot of them are jukebox musicals. So like, new exciting musicals where there's a lot of juicy songs for kids to really sink their teeth into are not being created with high schools and colleges in mind.
So they asked us to write a musical, and we decided to write a gender-affirming and gender-fluid version of The Importance of Being Earnest, which we're calling Ernxst - with an X - and it's Ernxst or The Importance of Being. It's very much a lampoon of gender roles. It's been really fun to build that with Bree Lowdermilk, who is trans, and Justin Elizabeth Sayre, who I went to elementary school with. Justin is nonbinary, and it's been really cool to be in that space and hang with the two of them and learn a lot myself and play with these gender roles and play with all of the stereotypes. And also try to take the story of Oscar Wilde a little bit and put that into the story too. There's this really interesting dichotomy there. So we're doing a final reading of that, which is going to lead to a fall production. And then from there it'll be licensed.
And then, after that, I have The Great Gatsby with my husband Nathan Tyson as the lyricist, and Jason Howland is the composer, and Marc Bruni is directing it, and we're doing it at the Paper Mill Playhouse, and Jeremy Jordan and Eva Noblezada are joining us…
Hayley: Oh my gosh.
Kait: …as Gatsby and Daisy. It's a really good group of people.
And at the exact same time, literally the first day of rehearsal for The Great Gatsby, I also have - I am writing additional lyrics on The Time Traveller's Wife, which is opening in the West End. The score is by Dave Stewart and Joss Stone, and the book is by Lauren Gunderson, and Bill Buckhurst is the director, and Nick Finlow is the music supervisor. It's a pretty magical piece. The direction is really stunning and cool. And there's like, magic in it.
(Musical transition)
Hayley: You have so many different balls in the air. Is there a creative mission that guides you forward and ties them all together?
Kait: I really like human beings and relationships. I don't really believe in the idea of villains. Which is something I think has been fundamental for me from the jump and anything I've written. Took me a while to name that that was something that I was working with, but I really enjoy stories that find as much depth and humanity as possible.
And I think musicals in particular, they can be used for good. I think musicals have this bizarre ability to create space for people to empathize and understand more deeply. It's manipulative, but music…it sort of opens you up in a different way. Some people get really angry that they're being opened up in a different way. And I understand that actually - it's a big ask for you to leap into those big feelings, but I think it has an incredible amount of power. There's scientific evidence that music opens you up in a way that allows you to be more open to change. And so, a huge part of what I want to do in theatre is make you connect to people you didn't expect to connect to.
I vividly remember sitting in the audience for Fun Home at the Public Theatre. And that moment where Sidney Lucas sang Ring of Keys, I had this real awakening where I realized that nobody had ever asked me to empathize with that character before. And I have been capable of empathizing with that character my entire life. And I hadn't done it. And I'd never seen an audience get on board with that kind of person before. And that that was sort of fringe before that became a musical. It existed, it was in a book. But it's different in a book than it is on a stage. You're immersed in this darkened theatre, and there's something that changes in you.
So I'm really interested in that, and I think it's really exciting for that to happen. It also reminds us what theatre is and how rare and special and simple it is. You can't replicate it, you can't make it something else. You can't do something with it tomorrow. It's just happening right in front of you. And there's something about that - I feel very lucky that I somehow am in this. There's something just so specific and irreplicable about it.
I think that's why it will continue to have longevity. It'll have to keep transforming, it'll have to keep changing. But I do think that the thing that we make on Broadway and leading to Broadway and globally, it's very special and strange. And I'm endlessly compelled by how you do it in a way that feels authentic instead of stupid.
Amy: I love that. There's a mission statement right there. Authentic instead of stupid.
Hayley: Hey, it's frank. It's out there. It's just saying what it is. I love it.
Amy: Yeah.
(Musical transition)
Amy: I would love to hear a bit about how womanhood fits into your identity. And also if there are other aspects of your identity that intersect with womanhood in ways that feel meaningful to you.
Kait: I started writing about womanhood when I was in high school. I went to a bunch of different high schools, and I landed in a small town. And the school that I graduated from, they only read one book by a woman on the entire syllabus in the entire four years that they were there.
Hayley: Disappointed, not surprised.
Kait: Yeah. You know, this was 19 - I graduated in 1999. And so like, this was not novel, but I was really pissed. And I went to one of the teachers who was a woman who I really respected. Her name is Mrs. Wisniewski. She was amazing. And I was like, “Hey, this is what's happening in your curriculum. This is a problem.” And she was like, “Well, the state board says that if somebody tells us they need something and we're not providing it, then they must provide it. So if you want an independent study, you can make it happen.”
And so I did. And then once they told me I was allowed to do an independent study on whatever I wanted basically, I just started going down many rabbit holes. But the big one that I did was I wrote a bunch of papers in high school about women writers. I created my own syllabus, and it was intersectional and there were lots of BIPOC writers on it, which we also didn't read a lot of. We read poems - we read Emily Dickinson, we read Langston Hughes. But like, we didn't read Ralph Ellison, we didn't read Alice Walker, we didn't read Zora Neale Hurston.
At a different school, I'd read Their Eyes Were Watching God, and it changed me. It was so good. And it was something I had never seen before, and I was so moved by it. And so like, I had this window into like, “The world should not be the way the world is right here.”
And so that led me to go to Barnard. I went to a class and I watched these women talking to each other, and I felt like everybody had done the reading and nobody had come in with an answer. And it was the coolest thing I'd ever seen. And the teacher also felt like they had done all the work, but also didn't have the answer. And nobody was saying anything to prove anything to anyone.
Amy: You did the reading, and you don't have the answers, and that's okay.
Kait: Yeah, exactly. It was a really fascinating place to be, and I got an extraordinary education.
Anyway, so womanhood is, I think, a very complicated idea. And there's the womanhood that is connected to motherhood, which - it's a complicated idea too, but it's actually much less complicated because it's about something very concrete. And womanhood is…craggy. It's messy. And it's not a monolith in the same way that, if you talk about any identity, it's just not a monolith.
I had a lot of discoveries about it and a lot of complicated feelings about it by the time I was 22 years old. That didn't change the fact that through all of it, I was a feminist, and I remain one. I think there's a lot of importance in talking about women, but there's also a lot of importance about talking about poverty, and there's a lot of importance in talking about the lack of intersection in talking about womanhood that took place in the entire 20th century. It's a huge, huge topic.
And it's something that - you know, thinking about the things that I'm writing right now, The Great Gatsby… when Jason asked me if I wanted to write the book for The Great Gatsby, I was like, “Yes.” And my immediate agenda was that I didn't like Daisy and I didn't like Jordan, and I didn't think that that was their fault. And so I was really excited about pulling back the layer of Nick being our ultimate narrator and having Nick not see certain scenes and go places that Nick wasn't allowed to go.
And specifically, I had this vision for this scene between Daisy and Jordan - there's that one reference in the book to the fact that Daisy talks to Jordan after she finds out that Gatsby is there across the water. And I got really excited about setting that scene with them lobbing golf balls into the water. What if we do get to see these people doing this thing that, at that time, was completely masculine? It was also a little homage to my aunt who is the secondary member at her golf club, even though her husband has died and that's just the rules. And so she's not allowed to golf until 9:00 AM, and she's out in the Hamptons doing this and she gets so mad. And it's wild.
Hayley: That's still the rule?
Kait: It's fascinating. And I was really excited to build these characters out. What if we care about Daisy? What if we care about Jordan? What if these people are people that are as real to us as Nick and Gatsby? That's what my agenda about womanhood is - that it's like, these rounded characters. We're fallible, we're all a mess, but none of us, we're none of us villains.
Amy: Yeah. Kait, I want to talk with you about your experiences of parenthood and how that intersects with you as a theatre maker. What does that look like for you? What are the joys, what are the challenges?
Kait: The joys are many. There's a lot of things that actually interact really well together, being a parent and being a creative artist. Both of them are completely consuming if you let them be, and so there's something really great about knowing that you're not allowed to let your job consume you, and you have to have reserves. And actually, they sort of feed each other pretty well. You have to take a break, and the break ends up being, “Okay, go play. Go make a thing with a kid.”
And I actually think I'm more productive as a parent than I ever was as a non-parent. I get more writing done on a day-to-day basis, because I have defined times when I can do it and then defined times where I definitely cannot. And so you just become really efficient. You have a job and you're going to do it and you're going to get it done. I work better that way. I don't know that that's for everybody, but for me, it's really great.
My husband and I both talk to each other about this, and neither of us were definitely going to have kids. And it wasn't until we met each other and we were like, “Oh, well, but I could do this with you,” that we entered into this. It was always something I was interested in, but there was no threat for me if I didn't have kids.
But meeting my husband, I was like, “Oh, you would be an actual partner and we could actually figure this out.” If I said, “I'm taking too much of the load,” you would immediately respond with taking more of the load. That partnership and that co-parenting that we are able to do is the only reason that this works as well as it does.
And I still have guilt. I still have a sense of, “Are you doing enough? And should you be doing more?” But I also, I watched my mom go to college and graduate school, and that taught me a lot. And I liked watching her do that. I felt really proud of her. I also saw her make a lot of sacrifices that she had to make and it was the only way to do it. But I don't have to make some of those sacrifices.
And I have some incredible mentors who are mothers. I like to call Georgia Stitt sometimes and be like, “What do we do?” I took Lauren Gunderson out to dinner once before I had a second child and was like, “How does it work?” And she was really, really frank and really helpful.
The biggest challenge is time, and it's about the hours that theatre requires of you. As a writer, it's actually much easier than to be a director or a designer. I genuinely don't know how designers do it. But as a writer, I have a lot of time where actually, my schedule is very, very flexible and I can be there in the afternoons, I can make dinner for my kids. I can take a break, I can go back to work if I have to in the evening, take my Zoom calls after they go to bed. There's so many ways to make it work.
But it's really hard when you're in rehearsal and tech. For example, I've spent a portion of my morning today trying to find a babysitter who can literally just be me and my husband between 2pm and 8pm for six weeks. Because I have no idea how we're going to get through The Great Gatsby because we're both in rehearsal. We also normally try to like, stagger it so one of us doesn't have to be there, but this is not that. And we did this on purpose and creatively, it's been one of the most exciting and beautiful experiences of my life.
And my kids are so excited about it. There's so much about being a parent in theatre that is really cool. I mean, I get to talk to my kid about art and theatre and storytelling, and both my kids are really good at rhyming and have these amazing imaginations. My older daughter, she's created a book series that she's conceiving and it's really cool. And she's just starting to write things down, but she's got so many ideas, and I'm really excited for what's to come for her in the next couple of years. And the little one loves music so much and has this innate understanding of how it works that's really beautiful.
I feel mostly very lucky, and then occasionally logistically confounded. And I should mention that the most important part of all of this is that Nathan's parents live below us in our house. We have a two-family home and they live downstairs. We're looking for childcare for this entire period of time - it is also with the caveat that if there is a day where they're sick or many days where they're sick, we have an entire backup network of people that we literally would not be able to do what we're doing without.
Amy: That’s incredible. I read somewhere that the only true parenting hack is having family live nearby. And it feels very, very true.
Kait: It is so true. I've talked to several people in theatre now who - that's their solution. And it's a good one. I'm so unbelievably grateful to them. And it's also incredible to watch that relationship be so full and just know that that exists for them. So yeah, that is the actual hack of my life is that Nathan's parents live downstairs.
Amy: That's wonderful.
(Musical transition)
Hayley: I do want to ask you about collaboration because I know how important it is to you. What do you think is the key to a successful and long collaboration?
Kait: I think that it's similar to any relationship in that you have to be able to allow people to change, and you have to spend a lot of time listening. I've always been a little obsessed with how people talk to each other and the space between what's said and what is meant. That attention to how we communicate, how we talk to each other is really important.
I think you can't believe you have the right answer. You can't be so confident in your idea that the other person's idea doesn't exist. You have to, first of all, respect them so much and think they're so good at what they do that you want to hear everything they're saying. And honestly, even if you don't, you can fake that. But you have to treat that relationship with that level of respect, and you have to believe that the other person is saying something of value.
And then you have to hear the thing they said - really hear it and not insert your own stuff in it. And then once you've done that, you can keep the thing that you had in your brain and you can assume that that is also valuable. And then you find where it all fits.
And the truth is that for the most part, everyone's right and everyone's wrong. It's neither the thing that you thought it was, nor is it the thing that they thought it was, but it's something else. And the things that you all thought it was can become that other thing, but you have to be vulnerable enough and brave enough and not precious enough that you're willing to find the other thing and willing to throw out everything for whatever that next thing is.
One of the scariest things for younger writers is to start over or drop the idea that they had that they think is the thing that made it anything. It's a funny thing to be afraid of because it's not going away. You wrote it down. There it is, right there. It's on the page. Cool. Now, what if it's not that?
You do end up sometimes going back to another draft, but also that's not bad either because it's like, “Well, okay, we tried all the other things and that didn't work.” And so now maybe we're back here, but we did learn all these other things while doing that other process. That sense of play and possibility and trusting that people's truths are real and finding a way to acknowledge and accept that something is important to somebody else is really important.
And then I think the other part of it is that when it's not working, if you're fighting with somebody all the time, and it's miserable - if you're miserable, you should take a break. That break might be the rest of your life or that break might be today. Or maybe it's just that you need to go get a coffee and go for a walk, change locations and come back. There's a lot of different versions of what that break might need to be, and you have to kind of soul-search a little bit about that and figure out what does and doesn't work for you.
We make theatre. There's no final draft. There's just opening night. That's true of every part of that relationship, I think. You never know where something's going to go or how that relationship is going to play out in the long term. But you're just trying to find - How do you get to the next step? How do you keep talking? How do you not get stuck? Those feel like the keys to long-term collaboration.
Amy: Beautiful. It's great to hear more about you and your process and your project and all of it. It's amazing. You're doing amazing work and you inspire both of us. So yay! We can't wait to see what's next for you.
Kait: I really appreciate it. I'm so glad that you're doing this podcast. It's such an important topic and it's not talked about enough.
Hayley: Thank you so much for your time, Kait.
Kait: Thank you so much.
(Music)
Hayley: Thank you for listening to the Women & Theatre Podcast. We’re your hosts, Hayley Goldenberg…
Amy: And Amy Andrews. If you like what you heard, subscribe and give us a 5-star review wherever you listen.
Hayley: You can also follow us on social @womenandtheatreproject to make sure you never miss an episode.
Amy: The music for this show is written by talented Women & Theatre community member Chloe Geller.
Hayley: Thanks for listening, everyone. See you next time!
Amy: Bye!
