This transcript was automatically generated and might contain errors.

[0:00] Eli Tokash: Hello everyone and welcome to episode 184 of Take A Bow. I'm your host Eli Tokash and this week we have a very exciting episode with one of my cast members from Finding Neverland which I'm so excited about. We have the first ever understudy for Idina Menzel in the original Broadway cast of Wicked. We have Kristy Cates on the podcast today. Just an absolute blast to talk to an old Finding Neverland cast member and when we have Finding Neverland cast members on here we all usually go pretty long in the episode so I'll keep this short. I want to start off and say happy Thanksgiving to everyone. Hopefully everyone who is traveling for the holidays traveled safely and on time with no delays because traveling was crazy this year as always during this time of year but yeah hopefully everyone's having a great Thanksgiving.

It's Thanksgiving Day. Hopefully everyone is either going to watch or is watching the parade and see all the fabulous Broadway shows that are performing and on the parade this year and supporting you know our peeps. Let's talk about some Broadway news. I want to start out and say happy opening to Spamalot. Spamalot opened this week. I was unable to attend the red carpet because I was traveling myself so hopefully we'll do some fun Spamalot you know content coming soon but happy opening to them. Wild success. So excited for that entire cast. Loved the show when I saw it in D.C. so I can't wait to see it now here in New York on Broadway. Obviously I want to say on top of a happy opening, speaking of happy openings, happy opening to Jordan Fisher for taking his first bow in Hadestown and happy trails to Reeve Carney who took his final bow in Hadestown.

So now he was the last principal cast member to leave and now Jordan Fisher is taking over the role. I can't wait to go see the show with the new principal cast members. I've yet to see Lillias White even so I'll be I'm excited to see Lillias, Talia, Phillip and now Jordan. I think that it's going to be great and the cast is still amazing. And actually speaking of bringing in new people to Hadestown, they're bringing in Grammy winner Annie DeFranco who's going to be making her Broadway debut in Hadestown. So that's super exciting. I believe Betty Hu is leaving and Annie will be taking over for her. We love Broadway debuts so yeah something to keep your eye on. And speaking of closings and happy trails, we have a very special happy trails to Robin Herter who set you apart from A Beautiful Noise which I'm so sad about because I literally loved her performance in A Beautiful Noise.

She was the highlight of the show really. She crushed this performance and I have had the pleasure of meeting her and all the things so hopefully we can get her on Take A Bow here soon and talk to her about her journey through it all. I mean that's kind of it for the Broadway news. There wasn't too much going on but I do want to say that shout out to Ann Juliette, Back to the Future, How to Dance in Ohio, Shucked and Spamalot who are all performing on the Macy's Thanksgiving Day Parade this year. I can't wait to watch all of their performances. I have seen all of these musicals except Back to the Future so I guess I'm excited to see what Back to the Future does because I most likely have seen like what the other shows are doing.

Obviously How to Dance in Ohio is in preview so who knows if they are changing things or doing whatever but I can't wait to see what each show, what number each show does and you know just more Broadway on a mainstream you know television and more acceptable for everyone. So very exciting and I hope everyone's tuning in to the Macy's Thanksgiving Day Parade. And speaking of the Macy's Thanksgiving Day Parade, currently there is a petition going around set by anti-LGBTQ groups lashing out against the parade pertaining to non-binary performers Alex Newell and Justin David Sullivan as they call it, their involvement in their parade, liberal nonsense. It is extremely disheartening to hear this as they are some of the best performers in our theater community.

I mean Alex literally just won a Tony for the best performer. So I just want to say I mean I've been fortunate enough to be in this community that is so diverse in many ways, been lucky enough to meet these performers and get to know them on a personal level and I just cannot wait to celebrate and support them tomorrow watching the parade and watching them perform and represent our incredible community. And speaking of the Macy's Thanksgiving Day Parade, I guess I'll turn it over to our wonderful chat with Kristy Cates as she and I reminisce about our Thanksgiving in 2015 where we had the pleasure and honor to perform at both the Macy's Thanksgiving Day Parade and at Broadway at the White House which is what they did for that one year where it was Something Rotten and Fun at Home.

Stephen Schwartz came by, Andrew Lloyd Webber came by, like all of these legends. Kristen Chenoweth hosted it and it was just a wonderful time and it's fun to chat about that and on Thanksgiving Day here at Take A Bow as the Thanksgiving Day episode. So here it is and without further ado, Kristy Cates, curtain up.

[6:03] Kristy Cates: This week's guest has done it all. I mean from Broadway to Off-Broadway to singing on TV shows, teaching at a university, I mean you name it. She may have even been your first ever Elphaba that you saw or you may have seen her over at the Lunt-Fontaine Theater in either Finding Neverland or Charlie and the Chocolate Factory. So it's my pleasure to welcome to Take A Bow this week Kristy Cates. Hi.

[6:24] Eli Tokash: Hi. Hi Kristy. Hi everyone. Oh my gosh, this is crazy. We were just chatting and it's been like way too long since we've seen each other. Definitely pre-pandemic, so definitely over four or five years ago, but maybe I'm an audition. Craziness. And you're like a whole grown adult now. Like it's wild.

[6:47] Kristy Cates: I know, I know. It's crazy to me. I still think I can sing Adele all the time and I'm just like, you can.

[6:55] Eli Tokash: The voice has changed. You're way past that.

[7:02] Kristy Cates: I know, craziness. On to bigger and better. On to bigger and better, I guess. I don't know, we'll find out. Well, either way, this has been crazy to see you again, but I want to get into your career and start this off the way I usually like to and just starting at the beginning, like what inspired you to fall in love with musical theater, you know, telling stories, I don't know, educating others now as like a musical theater educator, I guess. Talk to me about all of it.

[7:36] Kristy Cates: Oh boy. I think the first overall thing that I want to say is that it's so important to say yes, because my life has not always gone in the directions that I anticipated, which I think is normal. I mean, we have control over a certain amount of things, but we have to just be open to experiences and opportunities. So I'm the youngest of six children. I grew up in Northern California and my parents saw in me an ability to sing at a young age, which is so cool because now I have a daughter whose voice is better than mine.

[8:24] Eli Tokash: Stop it.

[8:25] Kristy Cates: And, you know, they were, they were so super supportive. I did a lot of theater in my hometown of Pinole, California. And, and I had a wonderful voice teacher who fun fact happened to be the same voice teacher as Billy Joe Armstrong from Green Day. We grew up in the same hometown and had the same voice teacher. Yeah, totally. That's so cool. We're slightly different singers, but...

[8:50] Eli Tokash: Yeah, just a little bit.

[8:53] Kristy Cates: So, you know, when it was time for me to go to high school, my family, we decided to look at a school in Napa, California, which was about 30 miles from where I grew up. And I always thought that I would go to the local high school, but they were cutting at that time, a lot of the arts funding and things like that. So we were a little bit worried about what that would mean for my high school career, of course, just overall. And so we found a school in a private school in Napa and I ended up going there and it's crazy because there are at least five of us from the time that I was in those four years in Napa that made it to Broadway or Broadway National Tours, right? This tiny little private Catholic school in Napa.

But it was a place that really attracted talented and serious young musical theatre performers. So that sort of launched everything for me when I was a junior. Yeah, I must have been a junior in high school. I got cast as the witch in Into the Woods, in a regional production, right? Yeah. But I looked 30. I was 17. No. Oh, seriously, I looked 30. And so I got cast in this show and I made $500. But what the cool thing was, was that the director of the show is a man named Jim Coleman. And if you know the Sweeney Todd video with Angela Lansbury, he's the conductor on that. So he's also from Northern California. And so he, you know, he has all this clout and he's has all this, you know, he has a great reputation and a great resume.

And he said to me, you know, you know what? I think that if you want to do this as a profession, you can make it. You just have to go to a really good school. And the school that he suggested that I look into was the Cincinnati Conservatory, which after auditioning a bunch of places and making my final decision, it's ultimately where I did choose to go. So it just sort of is like, you know, having and you know, this having parents that support you is such a, such an important thing. I mean, it's not like you can't make it if they if they don't necessarily support you. It just makes things a whole lot easier. So yeah, so I ended up at the at the Cincinnati Conservatory in like one of the most kick ass classes that the school had ever seen.

I mean, Shoshana, Leslie Kritzer, Sarah Gettelfinger. I mean, yeah, Justin Patterson. Yeah. And, and so, you know, after that, I moved to New York and sort of, I'm happy to go into more specific details, but that's sort of like, yeah, it was, I thought I was going to be, I thought I was going to be a lawyer and swim on the college team. And then all of a sudden I got in a show and, and someone said, I think you can do this as a profession. And I thought, really, that's what is it? You know, I didn't, I didn't really know anything about it. And that sort of just changed my trajectory a little bit.

[12:08] Eli Tokash: Yeah. Yeah. And I love that it happened at like 17. I mean, like that, that's very young, but like, at the same time, we have a lot of people that come on here and it's like, when I was five years old, I saw my first show and it changed my life and I wanted to do it. Like, I love that. No, it was like late high school to, you know, it totally changed my route into college right before applications. And like, you know, it could happen at any time. It could even happen post-college. It's awesome. But I love that, that it kind of came to you. It found you. You didn't really find it almost. Right. It was an interesting, it was an interesting.

[12:47] Kristy Cates: Because I was so set, right? I thought I'm going to, you know, I mean, I grew up right near UC Berkeley, my older brother, right? And I was like, okay, well, great school, great swim team, like, yeah. Honestly, you know, this, this, this is 1994, 1995. There's no internet, there's no internet, right? So like, every bit of information we're getting is through the mail or through a catalog. So I guess they're in a way, I didn't really understand that it was like, a full time job.

[13:28] Eli Tokash: Right? Yeah. Well, that's what I'm curious to ask you, like, you know, like you say, in the 90s, whatever, like, it's not, I still think today, like in 2023, that Broadway is not very accessible for like, people that don't live in New York. And even the people that do, it's ridiculously expensive. But like, living in California, like, how much of musical theatre are you exposed to?

[13:50] Kristy Cates: Well, luckily, a lot of the big shows came through San Francisco. So, so I made the first show that my parents took me to see was 42nd Street. Yeah, which was awesome. And I think I was like, eight, nine, 10, somewhere in there. But I saw amazing things. I mean, I saw, I saw Ralph Macchio in How to Succeed in Business. I saw, yeah, I saw the Who's Tommy, I saw the national tour of Once on this Island. I saw Miss Saigon, I saw Will Rogers' Follies. I mean, my, I saw, my mom took me to Les Mis and Phantom. So like, every time something came through, oh, and I think the show that for me really was like, oh my god is, is I saw The World Goes Round. And Maren Maisy was in it. And, and I just, I think seeing, seeing Maren, I mean, like all of the other shows, right?

It's like, a whole lot of beautiful, tall, leggy dancer types is what I saw a lot of those shows. And I thought, okay, well, that's, that's not me. And then all of a sudden, here's Maren Maisy, right? This woman who curvy and belty, but also headway, I mean, blonde. And I just, I looked at her and I was like, oh my god, I, I want to be that, that. And it, that moment shifted something in me.

[15:19] Eli Tokash: Wow. I love that. I'm glad that like, you, you had that kind of exposure. And that, that's like another testament of like, you know, parents who support you. Like, it's not like you lived in San Fran. They were able to drive you to the theater and go see a show. Makes things easier.

[15:35] Kristy Cates: That's right. God bless parents, and especially theater parents. Well, crazy. So you mentioned earlier, you know, you went to CCM, and then you moved to New York. And then you ended up making your Broadway debut in this tiny show that maybe not a lot of people heard about, called Wicked, which is just wild to me. Because that had to be such a crazy experience, especially for your first Broadway show. Like, it's just so ginormous. And you're working with legends. Like, I don't know if like, this is a silly question or not. But like, did you know when you were opening that in 2003, or whatever, that it was just gonna be what it was, like a global, like a musical theater, like phenom?

[16:24] Kristy Cates: You know, Eli, the truth of the matter is, I was, I was so, I don't want to say, it was such a crazy thing to be in a show understudying Idina Menzel. I think first of all, that, that was the thing that like, took me a while to process. Because it wasn't, it wasn't just that I was in this amazing show. It was that I was covering Idina Menzel. So that, that, it was like, it was compounded. And the stress, not the stress, but like, the anxiety around knowing that that was like, part of the experience, I guess, it made it, it made it that much more amazing. But it also was, I don't even know, nerve wracking, but also surreal. Totally surreal. Because it, because it was, yes, it's a big, amazing show. I mean, the costumes, the sets, the universal pictures being our, you know, one of our producers, like, it was, it wasn't, it was from zero to six. That's where, at the time I was in an off Broadway show that was playing at the Triad Theatre.

[17:49] Eli Tokash: Oh, we love the Triad.

[17:51] Kristy Cates: Called Boobs the Musical. Yes. And, and, and so it was like, you know, it was just, it was, CCM prepared, I think big schools, you know, like CCM, they, you know, where it's like this in the middle of Ohio and it's these big theatres because there's these huge endowments and there's not a ton of theatre around. So everybody comes to these shows, you know, it felt, it was a good preparation for what I would experience when I stepped onto that large stage. It really, really was because it didn't feel totally foreign. But, you know, going back to your initial question, sorry, whenever anyone asked me about the original cast of Wicked, yeah, it's 20 years ago. And so I do have to back into the depths of my memory.

But it's like, I was floating through a cloud, you know, for so much of that time on Broadway. Did we, did, did I know, I mean, I remember Carol Shelley, who, who was the original Madame Morrible, who just is, I miss her so much. But she was saying to me as the only new ensemble member, right, because they opened the show in San Francisco, which I was not a part of. I joined the New York cast when Stephanie Block got Boy From Oz right before rehearsals began for the Broadway production. So Carol said to me, I remember she's like, you, you have no idea. It's like a rock concert. Every night she said, she said, just wait till we open. This was during the rehearsal process. She said, you just wait till we open because the rehearsal process was a lot.

And it was like that, that first preview came and she was not lying. Like it was jumping to their feet, screaming. I mean, the end of act one, the, the, it was like, we were at a rock concert. Adina flew. She sang all those notes. You know, we're looking up at her and the battle happens and the lights go out. I mean, I'll never forget that.

[20:00] Eli Tokash: Yeah. So did I know, I mean, I guess I didn't really have a frame of reference, you know, I, I, I mean, I knew it was a really great show. I knew that, um, we all really cared so much about it being good and meaningful to our audience, but I, there's no way we could know that it was going to be that. No.

[20:26] Eli Tokash: Yeah. I mean, like it is like, if not the staple, one of the staples of musical theaters and definitely like one of my first introductions, just that soundtrack and, and Adina singing Defying Gravity, you know, um, wild that, that, that was kind of like your experience and nothing to base off of it. That's pretty cool to like hear that perspective. Cause I was so curious and it's so interesting. Like I say, like working with those legends in that original question too, but like at the time, like that's kind of what put like Alex Lacamoire and Joe Montello and all those guys like on the map almost, you know? So, so interesting.

[21:03] Kristy Cates: Alex conducted my very first performance as Elphaba.

[21:09] Eli Tokash: No way.

[21:09] Kristy Cates: Yeah. Yeah. It was awesome.

[21:16] Eli Tokash: Oh my God. So freaking cool. I'm a huge fan of his. Oh my God. That's awesome. Your first, okay. So talk to me about your first, like, you, you say the battle cry when Adina happened on your first show. What about your first show? Like, what was, what was that moment? Like, were you, what was going through your head? Like just being an understudy in general is very challenging on a performer and like to be Adina Menzel's understudy, I'm sure just took another like level of confidence, but also like mental, like strength and ability.

[21:47] Kristy Cates: Well, you know, so, so I didn't go on for the first, I mean, Adina didn't miss a show. Remember for nine months? Oh my God. No. I mean, she did not miss me before. How? I don't, I don't know. That is insane. I don't know. But you know at the time, so when we very, at the very beginning, it was just me. And then of course they hired Eden as the standby and then Shoshana after her. So I didn't go on until a year, almost a year into our run. And so that, you know, the pent, the pent up energy of going to understudy rehearsal every week and never actually getting to do it was like major. Right. So I didn't, I mean the, the night before my, I knew ahead of time, I had like a week or two notice that I was going on.

Adina was filming something. And, and so I had around 40 people in the audience that day. No way. Yeah. So like a whole, my family, my friends from my hometown flew out, a bunch of my New York friends, my mom, my sister. And so, and so, and my dad and step-mom, and it was like, you know, my dad had never seen the show. So like he didn't even knew like what was about to happen. And I remember not sleeping the night before. I remember laying in bed and going, going through every line in the script like a hundred times. And I remember standing behind the doors that open and running down and just the audience, it's going crazy. Right. Cause it's my friends and it's my family. But I think there were also a bunch of people there because there was advanced notice.

They're like, Oh, who's the, who's this? Check it out. Yeah, exactly. So, so, so I mean, going on that first time, I have to say, although people say that, you know, it's a, it's a bad thing to have bootlegs. I am so, if that person who filmed that is out there listening, thank you. Because to have, you know, to have that, like, I'm getting, I'm feeling teary eyed, like, like to have, to have video evidence of the moment that every dream I've ever had came true. And, and meanwhile, the Fiero at the time was Joey McIntyre, who was the youngest of new kids on the block. I was obsessed and in love with up until that point. And now I'm going on stage playing opposite Joey. Like it was with all of the friends and family in the audience.

I mean, it, and it was my mom's birthday. Like, and then to have it all documented at a time when, you know, now we whip out our phones. I mean, like, I don't even think we were texting in 2004. You know what I mean? Like flip phones, not even like a switch or anything or whatever. So, so to have, to have that, I mean, it's just beyond. It's beyond. And it's good to find it.

[25:15] Eli Tokash: Yeah, right. Now everyone's going to be looking this up after this.

[25:22] Kristy Cates: That's so cool. And shout out to the person filming it. They're listening. That's crazy. Oh my gosh. What a cool experience though. And that's so cool that it happened on your mom's birthday. Like what a birthday present that is. Yeah.

[25:34] Eli Tokash: That's so cool. Oh my god. So, so then, I mean, like, Wicked was a part of your life for four years. I mean, you were a part of the show for four years, you did it on Broadway, you did the tour, and you did it in Chicago. Now, post Wicked, right? How many times have you seen the show? Like do you go back often to visit the show?

[25:52] Kristy Cates: Um, you know, I hadn't seen it for quite a long time until the original cast, you know, they're really so sweet to the original cast. You know, we were invited to the 10 year anniversary. Yeah. And I got to see Lindsay Mendez, who was awesome. And then I oops, sorry, I did something to my headphone. And now then my it tried to play music. No. And then I didn't, I saw it, then I saw Lindsay Pierce, because I wanted to go back on the anniversary of the first time that I went on as Elphaba. And I don't even remember, I want to say it was like 18 years or something. But I decided to go because Gracie, my daughter was old enough to go. Oh, yeah, I took her and I saw Lindsay. And then I went back shortly after that, because I'm friends with Talia, and I wanted to see Talia's first night. And then of course, that the 20 year anniversary. So since I left in whatever that was late 2006, early 2007, I've seen the show four times. That's it.

[27:06] Eli Tokash: Wow. Yeah, so not a whole lot. That's crazy. Is it weird to be an audience member, like seeing the show like since you probably know it inside and out?

[27:14] Kristy Cates: There have been changes that have been made. So those are, you know, those are always interesting to watch and catch. You know, I have to say that I think the biggest impact was actually watching this past, past couple of weeks watching with my original cast. Yeah, because because the role of Elphaba, I mean, yeah, I'm watching it. And I'm like, Oh, I wish I'd done it that way. Or Oh, I think maybe I did that riff or whatever, whatever it is. But watching, watching the ensemble with my ensemble was fascinating. I mean, I've never sat there and felt the pride that I felt on on what was it October 30th. I mean, like, I was just down from Christy Candler, who was the original, which is mother, LJ Jellison.

I mean, we were everyone, we almost everyone was there. And so to sit and have that energy just swirling around me, looking and going, Oh, my God, remember it in rehearsal when this changed six times or whatever, right? You know, I mean, that's, and of course, you know, my solo line in the opening number, which, you know, you know this, right? Yeah, no one cries, they won't. I'm always waiting for that mandatory growl now. And just to know that, like, that was, that was me. Right? I don't know. It's a really anyone who's able to go back and 20 years later and see a show that they were a part of originally. It's it's just, it's such a gift. It's such a gift.

[29:11] Eli Tokash: Absolutely. I mean, it's an amazing, the show's an amazing shape. Also, like, it looks good. Sounds great. Like, I mean, wow.

[29:18] Kristy Cates: Totally. I mean, that 20th anniversary celebration, I had someone on the podcast, who's a swing, who was like on that night, she was like, the audience felt like it was opening night, like, it was like crazy, because it is like a bunch of performers in the audience. Like, I don't even think that performance is like open to the public. It may have been like in the balcony or whatever. But like, literally, like, Dina, Kristen, like, everyone was there, it seems, just to celebrate that. And even if it wasn't like, it was like, folks who like are in Broadway shows, because wasn't it on a Monday night?

[29:46] Kristy Cates: Yeah, yes. Yeah. So it was like everyone in the theater, like industry could like go and enjoy Wicked for the 20th anniversary celebration. And that just had to be so cool to be a part of. I know it like that you've seen the show, and you've been back and whatever. But like, that night that it had to feel a little more magical.

[30:16] Kristy Cates: Yeah, it was, you know, it, I feel like, you know, it's an interesting thing in this industry, because, you know, like, one minute you're up, and the next minute you're down. It's very, it's very up and up and down. And so to walk in and feel, I don't, there's not a better word than pride. And like, people, people recognizing the contribution you made to the creation of something that is lasted so long. I mean, it just it, like Lin-Manuel was like, yeah, he didn't hit his seat wasn't even as good as mine. It was, it was just it was. Yeah, it was it was magical. It was magical to to go back into that theater. It's, it's one thing to go back into the theater, where you had so many memories and, and spent so much of your life and grew up really grew up. Yeah. And then it's completely different to walk in 20 years later with the people that you walked in with.

[31:22] Eli Tokash: Yeah, 20 years ago.

[31:23] Kristy Cates: Yeah. That was the thing that, you know, the ensemble, we decided to meet ahead of time over at the Palm, have a drink, have a quick catch up. And then we all walked over. That's how we were all like on the red carpet together, because we had, we gathered beforehand to, to reconnect. And it was, yeah, it was really great.

[31:49] Eli Tokash: I love that so much. I mean, I could literally, I could talk to you about Wicked forever. But I'm gonna, I want to do one last question on Wicked, because I want to get to the rest of your fabulous career. I'm curious, you know, you were in the show, I mentioned four times, for four years. What is it about the show? Just to do it eight, eight shows a week can kind of get like stale for performers. You did it for four years. How, how did you keep it fresh? Or is it the show? Is it the story? Is it like, how were you able to just continue to do it, stay healthy vocally? And it was such a vocally demanding role, but also keep the story fresh all at the same time?

[32:33] Kristy Cates: That's a great question. I mean, you know, the first, the first year and a half of my journey was in the ensemble, right? And so I, I had a track that was sort of, which seems to happen, which is fine, where I'm like, sometimes I'm an alto, and sometimes I'm a soprano. But luckily, in, in, in the ensemble, I was belting like E's in the ensemble numbers, right? So, so my voice was not always ready to sing Elphaba, for sure, because it's a whole different beast. But at least I was consistently singing like Elphaba notes in the ensemble.

[33:02] Kristy Cates: So, so, you know, and, and in the ensemble, like, yes, it got a little stale, of course, doing the, you know, that, that same, that that same track, every night, which is very interesting, because that my track doesn't really exist anymore. It got combined, like, I have a full outfit that no, a full shiz uniform and shiz ballroom dress that no one ever wore again, which is so interesting to me. I know, the blonde-

[33:40] Eli Tokash: Can you take it home?

[33:41] Kristy Cates: I wish. Oh my god, the dress was so fabulous for Ozdust Ballroom. Oh my gosh.

[33:46] Kristy Cates: So, so that was very helpful in the ensemble. And again, like, we, we entertained each other a lot as ensembles. I mean, Wicked is, has a little bit more, is a little more stringent on like, well, it was then I don't, I don't know how it is now. But like, it was very specific what we could and couldn't do, like how far we could press the boundaries, specifically, excuse me, in our ensemble tracks. But, you know, it was a great, it was a great group of people. And so we had, we had a good time out there. And then, like, that's not really a role you can get bored.

[34:25] Eli Tokash: Yeah, no.

[34:27] Kristy Cates: And I think going from understudy to standby to role, I mean, in, you know, I think, you know, I, this is gonna sound ridiculous. So I was trained, like, mostly Meisner. And so the, the, the nice thing about that is that I, it really, going on with different people, right? So if there's an understudy Glinda, or a understudy Fiyero, or whoever, like, those sort of moments were so fascinating to me, because while my Elphaba had to stay consistent, there was a shift in me just because this person is delivering a line slightly different than this person is. So that, for me, was a huge component of keeping things fresh. And there was, you know, not a lot of turnover, but there's, there's, there's turnover, a swing is on, and even as Elphaba, right?

There's a different energy coming at me than I'm used to every night, which for a role like Elphaba, which plays so much on the defense so much of the time, that was really impactful on, on my performance, you know? So, so, I mean, those are sort of two different questions, but to keep myself engaged and keeping it fresh was, was not a challenge for me, was not a challenge at all. And, and I was, I was always trained that, you know, you bring into your show, like, you can't divorce who you are, and what you've been through, and, you know, that day from, from what you're doing on stage, you can't. So while, while my defined gravity might have always seemed the same to the audience, it was often fueled by different things, whether it was feeling on top of the world, or I'd gotten in a fight with, you know, my then boyfriend or whatever happened, right? Like, I really tried to allow myself to be a human as an actor.

[36:27] Eli Tokash: Right. You kind of have to, right?

[36:28] Kristy Cates: Yeah. Yeah. I'm sure, I'm sure, I'm sure almost everybody does that, but that was my first experience, like really allowing that and embracing it and understanding how it made me like Elphaba and, and not unlike her, you know?

[36:46] Eli Tokash: Ooh, that's real.

[36:47] Kristy Cates: Yeah. And then vocally, I mean, I just, you know, everybody says it, but I live like a nun during that.

[36:54] Eli Tokash: Yeah.

[36:55] Kristy Cates: There's no, there wasn't really-

[36:58] Eli Tokash: No talking.

[36:59] Kristy Cates: No, no. I mean, for the first six months, actually, I was completely fine. And then let this be, let this be a lesson to anyone out there. I decided, the producers were in town and I thought, okay, I'm, I, I can, you know, go on. There was a little bit of external pressure, but I was like, I can go on. And I sang a week through strep throat, which, you know, when your vocal cords are swollen, it doesn't matter if you can make sound. It's still, it's still using extra effort that is not good for your vocal cords. So if I had that to do again, I would not sing a week through strep throat because it did change what I, it did change my, I mean, I, I, the second half, no, from August, August to December, I mean, I was singing through pre-nodular vocal cords.

I don't mind saying that now because it's so many years later, but like, yeah, I mean, I had to really adjust some things vocally because, because I made the choice to sing through strep throat for a week, which just was a bad choice. So anyone out there, don't do that.

[38:00] Kristy Cates: Yeah. But, but it's okay. It, you know, it, it, we were talking earlier, like it did change sort of the trajectory of things for me because then I became obsessed with healthy singing.

[38:21] Kristy Cates: Because I didn't want that to happen again. I didn't want it to happen to anyone else.

[38:25] Eli Tokash: Yeah, I know. Because like when I was in Finding Neverland, I don't know why, and maybe you are, I don't know. I always thought you were like a vocal teacher, like a voice teacher. Yeah. And then I learned that you were at NYFA, New York Film Academy, and doing musical theater. And I was like, okay, so this makes sense. So maybe she does teach voice, you know. Because it always seemed like you were, you were always warming up, you know, you were always cautious about your voice, even in like put-ins or whatever, you are always telling the kids, you know, like, you know, you don't have to sing full out every put-in, you know, or like, whatever it is. And it's like, I didn't understand at the time. But now I'm like, Oh, okay. I'm like, yeah, I see. I see. So fun fact. Gotta save the gift. Gotta save the gift.

[39:13] Kristy Cates: Yeah. And who knew it was all from, you know, your week through strep throat that your obsession began. Who knew? I love it. Well, let's, let's chat about Finding Neverland, because that was your next show. And it was the one that introduced me to you. And the one that we got to enjoy together. You know, I mean, I don't even know where to begin. But I was dying already, because you said you had a week's notice to go on for Wicked. And I just was like, that would not happen in Finding Neverland. No matter what was going on. You probably went on with no put-in for something, you know, whatever it was. Craziness is always happening in Neverland. So I've got to ask, you know, I guess I'll start by saying, you know, this is the first time that you're coming into a Broadway show.

And actually happens to still be the only one that you you kind of came in to the show post opening. So I guess what was that experience like for you? And did you know, did you feel like your approach, you know, coming to rehearsal, whatever it was, kind of was different for coming into a role? Or did you feel like you still had that kind of creative liberty to find, you know, your own stuff in the role?

[40:36] Kristy Cates: Yeah. I mean, for me, it's only positive memories. I mean, there were some moments in Neverland throughout the run. But like, coming in, I mean, I replaced Jessica Bosk. And I think Jess was like, the second ensemble member to leave. The first or the second. And if you remember, you were too young, probably, I don't know if you attended. But when Jessica left, and I came in, and someone else was leaving, someone else was coming in, I feel like a jerk that I'm not remembering now exactly who all came in together, because it was such a whirlwind, right? Like, Jamie and Julius, like, shout out to them. They were patient with me. And I hadn't danced like that ever. Like ever. And it took me a while to catch on to everything.

But I remember Matthew threw us through like a goodbye welcome party at a bar restaurant and Matthew Morrison threw this party for us. And it was it was so lovely. I felt very welcome. I felt very, very welcome. Like there was there were some times, you know, not to not to talk badly, but like in Wicked where I would watch a new person come into the ensemble. And there were certain people that were not really always nice to the newcomers at Wicked. So I was really nervous, right? But I everyone embraced me with with open arms. And I had known Courtney Ballin for for quite a while. So all of a sudden, we're sharing a dressing room. And, you know, I don't it was just a really it was it was different. But everyone was so lovely and supportive. And in terms of freedom in creating the character, I mean, I think we had a little bit of license to to make our own. We played way too much.

[42:33] Eli Tokash: Yeah, yeah. So so so it didn't feel stifling. It didn't feel like anyone was like wanting me to fit into. Nobody said to me, you need to do exactly what Jessica did. Nobody said that to me at all. Mary Mitchell, Diane, nobody, Jamie, nobody said that. So it gave me it gave me a sense of ownership of of the role and the track. Yeah, right away, right away. And I felt like I was wanted there. So it was really it was really, really nice. Yeah. Yeah.

[43:06] Kristy Cates: Oh, stop it. I love that so much. Because no, I mean, the other thing is to like, you joined pretty early, like it was still early in the run, you know, maybe two months after opening. I was like one month after opening. And so like, it was it was a quick thing that I feel like, you know, people were still finding their own show while we were coming in. You know, right? Right. Right. And I think that that helps a lot. I yeah, I always forget that you weren't part of the original cast. I always forget that you came in a little bit later. But and we came in. Yeah, you're right. Like pretty close to one another. Yeah, I mean, by the time that you were in, I wasn't even playing Peter yet. Right.

So it was it was it was super early. I for sure. But you know, fun times nonetheless. And we got to share. I mean, there's so many memories from from Neverland. But we like from the rehearsals, whatever, like, I remember, like there was nothing better than getting out of school early to go to a Finding Neverland rehearsal, whether it's a put in or just like, whatever it was. And and I feel like correct me if I'm wrong, but I come on here and I'm like, rehearsals are the best put into the best blah, blah, blah. And there are performers that do not have that same experience. And I always feel like it was because like, it was like, we always seem to have like themed rehearsals, whether it's like onesies or whatever.

And I always felt like that was kind of like spearheaded by you. Is that like, is that like not correct? Or like, oh, because I know you would always have the best fit. So I was like, she's gotta be like the one who's doing it. You know, the onesie. I spearheaded all the football pools backstage.

[44:52] Kristy Cates: Oh, yeah. Well, that's it. That's for sure. And you even had your football onesie on, you know? Yeah, I did. I did. I don't you know, it was so that's another interesting time. Right. So between there was there was almost a decade between leaving Wicked and joining Finding Neverland where I did regional theater. I did a ton of voiceover work and I started my teaching career, got married, had a baby. Right. So if you remember, Gracie was like eight months, I think, when I joined the show. So I was still and she was still like not sleeping through the night. And so so during the days I would be at NYFA as creative director of the department, teaching, then teach voice lessons to like my private students, be a mom and then do the show.

So and I did that through Charlie and the Chocolate Factory, too. So like, I just it was almost like I was a machine. Like, I know that that there were times coming into rehearsals where it was like, oh, God, I can't be here right now. I have so many other things I need to be doing or taking a nap. Right. But but like, I think for I think for you guys, like, I mean, it's so fascinating to me that you were like a normal kid at school and then starring on Broadway at night.

[46:11] Eli Tokash: Oh my God. No. Yeah. I mean, I don't know. We never really went to school. Let's be real. Chris and I went to a performing arts school. We were like, they were like, you got rehearsal. Yeah, that's fine. We got an audition. Go away. You don't have to come in. We were like, okay. Oh my gosh. I still like never really completed seventh grade, but that's a whole other conversation. Oh, yeah. Nobody needs to know that. We don't need to know. Yeah. Yeah. So. So. So, yeah, I mean, I yeah, I think I think, you know, Neverland was a lot of great things. Right. I mean, performing at the White House. Yes. The parade. Parade all around Thanksgiving. That was 2015 Thanksgiving. Unforgettable. Was it really eight years ago?

Wow. It sounds bad. Yeah, there it was. And it was such a beautiful show. I mean, I was really proud to be part of that show. I think I think we didn't get a fair rap for a lot of reasons. For a lot of fair reasons, too. Yeah, exactly. But, you know, I also got to work with a lot of I mean, Carolee Carmelo was like an absolute idol of mine. And here I'm understudying her. Like what? Yeah. And wearing her costumes.

[47:30] Kristy Cates: Yeah, way too young. I was like, what are you doing? You are not my grandma. I know. You're like my aunt. I played a grandma back to back at the Lumpfontein. I know. I'm like, there's something about that theater. Right. Drawing wrinkles on your face and makeup. I'm like, it's like Matthew. Matthew Morrison, right? Like who? Who? Because because of Shoshana, I had met several times when they were doing Hairspray together. But, you know, Kelsey Kramer, like it was a really, a really cool like all the people they rotated in was like, wow, you know, so it was it was totally a company to be part of. And yeah, it was fun. Full of like, really great leaders. Like, I was like, not not to like not Pippin or anything.

But like, I remember like my time in Neverland, like just didn't compare to like, any other show. Like I actually like you said, like coming in, like felt like I belonged. And that had a lot to do with like, from the top, you know, like, Matthew, Laura, like they were just so welcoming. Julius, like, yeah, Julius literally would take his lunch breaks with me before his performance, after just rehearsing with me the entire day, to like, try to get me to understand the arms and believe because I just could not. I understand that or like the dinner party or like anything like I was like, I was like, I don't know how to do this. So he would like, do like private lessons of the show with me during his dinner break.

And I was like, you know, it just like everyone, it was a family, you know, like, it really felt like everyone loved each other. And everyone was, was there for a reason and chose to be there. It wasn't, Oh, I got to go into my job, you know, like it was, no, we're gonna go in and we're gonna have fun. And we're gonna tell a story. I say it all the time. I'm just so grateful for that company. But like you said, we're here the day before Thanksgiving, we got the honor of doing some fun stuff for 2015 Thanksgiving. And you mentioned the Thanksgiving Day Parade, the White House, like, that for me was like an unforgettable experience. I'll never forget like, living in West Virginia. That was the extent of theater we got, you know, seeing the Broadway shows perform on the Thanksgiving Day Parade.

[50:01] Kristy Cates: So wild stuff. Do you like, was that your first time performing on the parade? Or did you do it with Wicked? And what was like something that you like, either, like, learned at that time, like of doing at the parade or the White House? Or like, what was your most memorable story, I guess, of that time?

[50:14] Kristy Cates: Oh, wow. So I had done the parade with Wicked. And what was so great was that, you know, I, I was the original umbrella girl right in the Emerald City. So it was always a joke, because we also did the Tony Awards with Wicked. And so my mom could always find me because I, I'm the tallest thing, you know, because I've had an umbrella up in there, which was great. What I remember about doing it with Neverland is that it felt like it was, like, I felt with Wicked, like, it felt like we were there waiting a long time. With Neverland, do you remember? Like, it's like, we walked through Macy's, and then we walked outside, and then we're on.

[51:08] Kristy Cates: Do another show or go to school or whatever. And it's just like, but no matter what, we made it fun. Like that's great. I'll never forget. I mean, you already knew this, obviously, because of Wicked and everything. But I was shocked when we had to like go to a recording studio and we had to lip sync for the parade. When I found that out, I was like, my own childhood is ruined. You know, like I was like, I do this eight shows a week live. But then I was like, oh, waking up at 4:30. Yeah. Yeah. You know, like, like, I understood after being a part of it. Lip syncing is an underrated skill for sure.

[51:47] Eli Tokash: Oh my god. Yeah. I was like more nervous to lip sync than I would be to like sing it.

[51:55] Kristy Cates: You were so cute in it. You were so great.

[51:58] Eli Tokash: Oh my god. It was so silly. And to be able to do that at the White House too, like that was, that was an unbelievable time. My first time at the White House, you know, meeting Michelle Obama. Like, come on.

[52:11] Kristy Cates: Yeah. Just being in, just walking around and being like, there, this, I mean, the history, everything. It was just, it was, yeah, it was great. And of course, then Spamalot, no, not Spamalot. My God. Christian Borle. Something Rotten, right? Weren't they there too, performing?

[52:28] Eli Tokash: Oh yeah. Right after, which was really just, we were always, it always felt like we were in great company, you know, with each other or with whoever else we were around.

[52:40] Kristy Cates: Yeah. And, but that was like the other thing too. Like, it wasn't just like us there. Like, Diane ended up coming to the White House and Stephen Schwartz was at the White House too. He did Wicked, I did Wicked. Like, you know, like these people.

[52:54] Eli Tokash: Wasn't Andrew Lloyd Webber there? Am I making it up?

[52:57] Kristy Cates: Yes. Andrew Lloyd Webber was there. Fun Home was there. Like, it was like, there was so many amazing people that like, just, you know, we always just like were around great people, great leaders, you know, like all, it was just unforgettable experiences. Grateful for all of them. And then of course, you know, you saw your pal Christian Borle, who you ended up doing Charlie with, back at the Lunt, like you mentioned. I mean, I don't know if the overlap was like that close, but like, did you know?

[53:31] Eli Tokash: It was pretty close. It was pretty close. Because I left Neverland and did Wonderettes off-Broadway for like four or five months.

[53:39] Kristy Cates: Oh, so four or five months. So you didn't know that like at once Neverland closed, that you were going right back to the Lunt?

[53:52] Eli Tokash: No. Okay. Wow. So was it kind of like weird? I guess not, if you did a show in between that.

[54:00] Kristy Cates: Come on, Christy Cates, folks have been busy. I was going to ask if it was weird, like loading out and loading back in your stuff. Well, I ended up being a whole flight above, you know, how tall the theater is. So we were, for Charlie, we were the top, like, so I moved, yeah, I moved up one flight.

[54:21] Eli Tokash: Are those stairs not brutal?

[54:28] Kristy Cates: Listen, they were a great workout. I didn't have to go through that.

[54:35] Eli Tokash: Yeah, you did not. Thank God they were padded, because the legs and feet would be rough. But that was where the kids were on the top flight. So they luckily gave, they like gave us a whole other dressing room in like the hair department. Because it was like, in between the show, if we went back up and then back down, like, we needed somewhere to change. We were going to miss our cue. Wild.

[55:02] Eli Tokash: Cool. I mean, I saw Charlie and I loved it. And it was so cool to see. I mean, Christian Borle, insane. And then you with John Dossett, he was one of my Charlemagnes in Pippin, who you kind of were like, opposite.

[55:07] Kristy Cates: Oh yeah, Rubenstein. But both of them, John Dossett and Rubenstein, yeah, were. But I mean, so fun. Like being back at the Lunt-Fontaine. That was my first time back at the Lunt. And it was just to see you guys on a stage together. I mean, Charlie, that's like another fun show of like, you know, finding your inner child almost. Like to be in that at like a time where you were just having a kid, like, does that kind of like teach you anything as like, you know, seeing it through your kids' eyes or whatever it may be?

[55:48] Kristy Cates: I mean, I will tell you, I saw my very first Broadway show with my mom at age 18. Not 18. 21. Yeah. So I had not yet been to New York when I was a senior in college. Yeah, my mom, my mom was like, you know what, we're gonna go to New York, we're gonna see some shows because you can't just move to New York. What if you hate it? Like, we need to go check it out first. So my mom took me to New York, we saw like 15 Broadway shows in two weeks. It was crazy.

[56:21] Eli Tokash: And what?

[56:26] Kristy Cates: Yeah, we saw so many. We saw so many. How is that even possible? My grand, bless his heart, but my grandfather just passed away. And so we were like, we spent a ton of money on, maybe not 15, but she took me to a ton of Broadway shows. And the first one she took me to was Titanic at the Lunt-Fontaine.

[56:38] Eli Tokash: Oh! So I saw my first Broadway show with my mom at the Lunt. And then Gracie saw her first Broadway show with her mom on stage at the Lunt-Fontaine.

[56:47] Kristy Cates: Stop it. Yeah, I know. It's like so cute. It's like bleh. She doesn't remember. I mean, she was three, so she doesn't really remember much about it. But you know, I mean, that show was really fun. It was interesting because as the four grandparents, you know, we were on stage in that bed for all of Act One. We didn't leave the bed because it just rotated upstage and then rotated down. So that was a totally different experience, right? Because I just put on pajamas, crawled into a bed and sat in a bed for Act One.

[57:25] Eli Tokash: Yeah. Like what? Hey, we're not dancing. So, you know, in Act Two, I think I was on stage twice and singing like high notes. So it was, Charlie, it was a completely different experience because Neverland was so physical because of all the dancing. And so Charlie was like kind of the opposite end of the spectrum, but still both really great, great experiences. And I, you know, I love Johnny Rubinstein. What an honor to play his, you know, his elderly wife every night. And yeah, the story, you know, the story was, it just is so magical. And those three boys who played Charlie, you know, alternate as Charlie, have all gone on to do great things too. And they were so sweet. That is a huge role to carry as a 10, 11, 12 year old.

I mean, so it was a really great experience to be in these two shows back to back with a group of young people who, you know, when you're that young, you change quickly. And so to watch all, I mean, watch all, like, I guess, I don't know, 10 of you that I got to meet at the lunch to follow up and know that, you know, I mean, Jackson's studying aerospace engineering, right? Or something. I think that's Alex. That's Alex Geyer. Jackson's like this ultimate Frisbee star in California. Yeah. He's like killing it. I mean, and then one of the Ryans from Charlie, they were all named Ryan, starring in a movie with Nicole Kidman. And like, it's just, it's so, because I think because I was already a mom and because I was, you know, chair or creative director and now chair of a musical theater college program, like there's something maternal just in me.

I became good friends with all of your parents. Like, you know, like, so, so I just, it was a different perspective for me. And I felt, I don't know, I felt like a really, like a maternal or at least a very, like an auntie, you know, with all of you.

[59:45] Eli Tokash: Yeah. It was nice. We totally felt that too. We totally felt that motherly auntie, whatever feeling with you. We loved you for sure. I mean, yeah, I mean, we were very, very lucky. I mean, Ryan, Julius, like everyone who like in that show, there were a lot of like funkles, aunties. I don't even know if that's like a thing, but like, you know, like, but you guys are all our like honorary family. Like, you know, I was, we had a great time. You were our pride and joy. I mean, you guys, you were so special to us. No, seriously. I mean, we, I think we all felt very protective of you and, and in awe of all of you. And yeah, I mean, it was just a very healthy, healthy backstage experience.

[1:00:40] Kristy Cates: Absolutely. Absolutely. And, and the Broadway softball leagues, you know, like, I know you spearheaded that stuff for sure. Like that, that's what I'm saying though. Like you, you all let me, you know, like, I wasn't allowed to play, but like, you were like, you be the bad boy, you know, like you, y'all like included me and included all of us. And that's where, like, I say, like, we are beyond lucky, especially during that experience and just feeling wanted. And like, we were equals, you know, like we, we, we didn't feel like we were kids or you were talking down to us or whatever it may have been in other experiences, but that, that it was just, we, we were very special, very lucky. And it was a very special experience. And you were definitely the mother or the fun auntie or whatever you want to say.

[1:01:32] Eli Tokash: Yeah, no, we, we loved you. And my dad was so excited when I was like, Kristy Cates, I'm gonna be talking to Kristy Cates. And he was like, oh, good. I love her. I hope she's well, you know?

[1:01:41] Kristy Cates: Yeah, he was totally, I don't know, totally understand what you're saying, though, and getting close to the parents and everything. Well, I mean, I want to do two final questions. I mean, I could literally talk to you forever. And I didn't even talk about Off-Broadway and everything. But I want to talk one about, you know, just teaching at this musical theatre program at New York Film Academy, and now you're the chair, like, has educating and I guess, like helping the next generation of performers, like always something that you wanted to do, like, that's a really special thing. And being someone that you kind of, you know, taught more about, you know, life and not, not so much about like the technical things about like your craft or anything.

I mean, you did help with that for sure. But you know, just being around you, you taught me about life in the theatre and just about your career and how to, you know, hold yourself and be professional and all these things. So like, I'm, I kind of feel like your student, I just want to ask, like, you know, what that that means to you to be able to help the next generation of performers.

[1:02:51] Kristy Cates: You know, it is, it's a gift, it really is. And I think that this is one of those things, right, where I said yes, I said yes to an opportunity. And to start as the, like, original song interpretation teacher in this one-year conservatory program at a film school, right? So there has been a big, a big transformation because we, right now we have our first BFA class. So it's a simultaneous conservatory one or two-year program with now a four-year BFA. So, and that was something, that was like a, I don't want to say a labor of love, because obviously I have a salary, but like, getting to create with fellow, with colleagues that I respect a BFA program in New York City, like, what? I mean, and that's not even the question you asked me, but like, I think, I think I have the best of both worlds because I do.

[1:03:54] Kristy Cates: I think the most important thing about being an understudy is that you have to be ready at any moment. You have to be prepared to step into the role, and that means knowing every single detail of the character, the music, the choreography, and the staging. It can be a lot of pressure, but it’s also incredibly rewarding when you finally get to perform.

[1:04:24] Kristy Cates: I remember the first time I went on for Idina Menzel as Elphaba. It was such a whirlwind. I had to remind myself to breathe and just trust my training. The audience was so supportive, and I felt like I was part of something really special.

[1:04:54] Kristy Cates: Performing in Wicked was a dream come true for me. The energy in the theater was electric, and being part of the original cast was something I will always cherish. The show has such a powerful message about friendship and acceptance, and I loved being able to share that with audiences every night.

[1:05:04] Kristy Cates: The 20th anniversary of Wicked is coming up, and it’s amazing to see how the show has evolved over the years. I think it’s a testament to the incredible talent of everyone involved, from the writers to the performers. It’s still as relevant today as it was when it first opened.

[1:05:14] Kristy Cates: I also had the opportunity to be part of Finding Neverland, which was another incredible experience. The music was beautiful, and the story was so touching. I loved being able to bring that character to life and connect with the audience in a different way.

[1:05:24] Kristy Cates: Performing at the Macy's Thanksgiving Day Parade was surreal. I remember standing on that float, looking out at the sea of people, and just feeling so grateful for the opportunity. It was a moment I’ll never forget.

[1:05:34] Kristy Cates: And then performing at the White House was another highlight. It was such an honor to be able to share my art in such a prestigious setting. It really made me appreciate the power of performance and how it can bring people together.

[1:05:44] Kristy Cates: Mentorship is so important in this industry. I’ve had some incredible mentors who have guided me along the way, and I try to pay that forward by helping the next generation of performers. It’s all about lifting each other up and sharing knowledge.

[1:05:54] Kristy Cates: Working on Charlie and the Chocolate Factory was a blast. The creativity involved in bringing that story to life was so much fun, and the cast was amazing. It was a different kind of energy compared to Wicked, but equally rewarding.

[1:06:04] Kristy Cates: Now, as the Chair of the New York Film Academy, I’m passionate about educating young performers. I love sharing my experiences and helping them navigate the industry. It’s important to me that they feel supported and empowered to pursue their dreams.

[1:06:14] Kristy Cates: The daily life of a performer can be challenging, especially for kids in the industry. Balancing school and auditions can be tough, but it’s all about finding that balance and making sure you’re taking care of yourself.

[1:06:24] Kristy Cates: I think it’s crucial for young performers to have a strong support system. Whether it’s family, friends, or mentors, having people who believe in you can make all the difference. It’s a tough industry, but it can also be incredibly rewarding.

[1:06:34] Kristy Cates: I’ve learned so much from my experiences, and I hope to inspire others to keep pushing forward, even when things get tough. It’s all about perseverance and believing in yourself.

[1:06:44] Kristy Cates: I think one of the funniest mishaps I experienced was during a performance when I completely forgot my lines. I had to improvise and hope that the audience wouldn’t notice. It’s moments like that that remind you to stay on your toes and be adaptable.

[1:06:54] Kristy Cates: I also think it’s important to find joy in the process. Yes, it can be stressful, but remembering why you love performing in the first place can help you stay grounded.

[1:07:04] Kristy Cates: I’m excited to see where the industry goes in the future. There’s so much talent out there, and I think we’re going to see some amazing things. It’s an exciting time to be a part of the arts.

[1:07:14] Kristy Cates: I encourage anyone interested in pursuing a career in the arts to go for it. Don’t be afraid to take risks and put yourself out there. You never know what opportunities might come your way.

[1:07:24] Kristy Cates: Thank you for having me on the podcast. It’s been a pleasure sharing my journey and experiences with you. I hope to inspire others to follow their dreams in the entertainment industry.

[1:07:34] Kristy Cates: Remember, every performance is a chance to connect with the audience and share a piece of yourself. Embrace the journey, and don’t forget to enjoy the ride.