November 14, 2025 • 29 mins
Join us on Takin’ a Walk with renowned vocal coach Eric Vetro, one of Hollywood’s most sought-after voice teachers who has worked with some of the biggest names in music and entertainment. In this episode, Eric shares his expert insights on singing technique, vocal health, and what it takes to develop a powerful, sustainable voice.
Eric Vetro has built a legendary career coaching A-list celebrities, Broadway performers, and aspiring singers through his unique approach to vocal training. During our conversation, we discuss:
• The fundamentals of proper singing technique and breath control
• How to protect and maintain vocal health for longevity
• What separates good singers from great performers
• Eric’s philosophy on voice coaching and finding your authentic sound
• Stories from his years working with top artists in the music industry
• Advice for singers at every level, from beginners to professionals
• The mental and emotional aspects of performance
• How technology has changed vocal training and the music business
Whether you’re a professional vocalist, aspiring singer, voice teacher, or simply fascinated by the art of singing, this episode offers invaluable wisdom from one of the industry’s most respected vocal coaches. Eric Vetro’s decades of experience and passion for helping artists find their voice shine through in this inspiring and educational conversation.
Topics: vocal coaching, singing lessons, voice training, vocal technique, breath support, vocal health, music industry, celebrity vocal coach, performance tips, singing tips
Support the show: https://takinawalk.com/
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Taking a walk.
Speaker 2 (00:01):
It was thrilling to me to get to play the
piano for them, and also to work with the singers,
all the kids that got cast in it. I would
teach them the songs, I would rehearse the songs, and
that to me was my favorite time of the year.
That was just so exciting to me.
Speaker 3 (00:15):
I'm buzznight and on this episode had taken a walk.
We're joined by the extraordinary Eric Vitro, the vocal coach
behind some of the biggest names in music and film today.
From Ariana Grande to Sean Mendez, Timothy Chalome to Broadway legends.
Eric has shaped the voices and careers of countless stars.
(00:37):
No not only for his unmatched vocal expertise, but his
empathetic and motivating approach. Eric brings a rare blend of teacher, therapist,
and friend to his work. We're going to dive into
his journey from a small New York factory town to
becoming Hollywood's most sought after voice specialist. So whether you're
(00:57):
a singer, an actor, or you just love great stories
of dedication and passion, this conversation with Eric Vitro will
inspire you to take your own walk with confidence. It's
coming up next after these words Taking a Walk. Eric Vitro,
thanks for being on the Taking a Walk podcast.
Speaker 2 (01:20):
Thanks so much. I'm thrilled to be here.
Speaker 3 (01:23):
So since we call this taking a walk, I do
have to put you under the heat lamp and ask
you our opening question, okay, which is Eric, if you
could take a walk with somebody, living or dead, who
would you take a walk with and where would you
take that walk with him?
Speaker 2 (01:41):
Oh gosh, there are so many people that come to
mind instantly, I think, and he's living. I think it
would be Deepak Showbra because he's one of my favorite
writers and I love so many of the things he's
had to say. His books have had a big impact
on me, and so I have met him briefly. But
(02:05):
I think to take a walk with him, I think
would be fascinating and I think it would be life changing,
even more so than the books.
Speaker 3 (02:14):
I think it'd be amazing. I think that would require
you possibly to not be too far from where I am,
because isn't he out in Western mass or something?
Speaker 2 (02:23):
You know? I don't know, but I met him out here.
He was in a restaurant one time. Well, I met
him several times. Actually he wouldn't remember me, probably because
it wasn't really a formal introduction. One time it was
one of his talks. He gave a talk and one
of my students had sung an operatic aria before the
talk started, so she did introduce me to him, and
(02:45):
that was just hello, nice to meet you, with a
great lecture. Then I saw him at a restaurant and
I was with a friend of mine and I said,
you know, I was listening to his book, one of
his books, on the Way here. I think I'm going
to go tell him. And she kind of looked to
me like, I don't know if you should bother him,
and I said, you know what, I'm just going to
do it because my instinct is telling me to do it.
And he could not have been warmer and more friendly,
(03:08):
and he actually hugged me, and she was like I
could see the shocked look on her face because I
was staring at her when I was having this encounter
with him, and I said to him, I was listening
to your book on the way, and I love it
when you read the books because there's something about his
voice that I really really like. I find it very
soothing and it's intriguing to me and seems very sincere,
(03:29):
and so I had a really great encounter with him.
So that's why I know that a'll walk with him
would be great.
Speaker 3 (03:36):
Wouldn't it be such a terrible story that somebody's so
chill and so inspirational if you went up to him
in a restaurant that he gave you the proverbial hairy eyeball.
Speaker 2 (03:50):
I know, I know, and you know you hear those
things that happen all the time. But I always give
people the benefit of the doubt because I think that
if you I know myself, I've been out with some
of the people I work with who are quite famous,
and it is really intrusive. When you're having a conversation,
You're right in the middle of something, you know, like
I might be about to tell punchline. All of a
(04:12):
sudden someone comes up and goes, oh my god, oh
I got I cant believe it. You, you know, all
of a sudden, everything has to stop for that moment.
And so I get it. I get why sometimes people
get a little irritated and say, please, I'm with my
family or with my friends or whatever. The person who
I see, though, handle it so graciously. It's amazing, I
(04:33):
think because he's had to do it, probably almost his
entire life is John Stamos, and I've been places with him.
One at the place we were in a movie premiere
was Timothy Shalla Mays Wonka and John was there. And
he'll spot someone. He can look at you, but out
of the corner of his side, he'll see someone coming
towards him. He knows what they want. They got their
phone out because they want to picture a selfie. So
(04:56):
he'll keep talking. He'll acknowledge them. He'll to a quick
smile and a nod. He takes the phone, he poses
with them for a second, takes the picture, nods and
they're happy. They thrilled, and he somehow handles it so graciously.
It's amazing.
Speaker 3 (05:12):
That is masterful.
Speaker 1 (05:14):
Wow.
Speaker 3 (05:14):
Yeah, So what initially inspired you to become a vocal coach.
How did your early career develop before you were working
with Hollywood stars.
Speaker 2 (05:25):
It started when I was really just a kid. I
was always fascinated. I would see things on television. I'm
old enough to have watched the Ed Sullivan Show, where
you'd gather around the TV on Sunday nights, and they
had all kinds of you know, live acts, everything from
Elvis Presley, the Beatles, all of it. And it was
so exciting to me to see those people. And I'm
(05:48):
not quite sure what it was inside of me. Well,
actually I can say I do know now that I
think about it. So I learned to play the piano
very young. I was like around five years old and
I started playing the piano, and so people would sing along.
I would play the piano songs. Sometimes I played from
a book called Italian Songs and Dances, and my grandmother
would sing along and she loved it. One of my grandmothers.
(06:11):
My neighbor had a really beautiful voice. The neighbor who
lived next door to me, she came over and she
would sing. And then I started playing for my classmates
to sing. You know. I started playing the patriotic songs
in the morning and class I started teaching some of
my classmates at school songs. So I think somehow that
im planet it in my head. Oh you know, I've
(06:32):
got this gift or I've got this thing that makes
me a little special or a little bit different. And
then I started fantasizing, well, what would be like the
people I say on TV? Like Elvis Presley. What would
Elvis be like to play the piano and Elvis sing
Love Me Tender?
Speaker 1 (06:47):
You know?
Speaker 2 (06:47):
I just saw, Oh he had that beautiful voice, and
even Judy Garland, all sorts of people I would listen to,
and I think, I wonder what that would be like.
And I started fantasizing about working with these people, coaching them,
giving them tips. I think you should be a little louder,
I think you should be a little softer. It just
happened very naturally, so technically, because I started playing the
(07:09):
piano and did it in class when I was in
great School. I'd basically been doing it my entire life.
It's all I've ever done.
Speaker 3 (07:18):
So was Ed Sullivan a pivotal situation for you in
terms of impacting you and your love of music.
Speaker 2 (07:30):
It was Ed Sullivan combined with I had. One of
my grandmothers used to take me and my cousin Melissa
to see movies at the one movie theater in the
small little city that we lived in at the time.
It had one movie theater and it was a big, beautiful,
though old movie theater. It's still beautiful, it's still there,
and we would go and see the sound of music,
West Side Story, I think Babes and Toyland. And then
(07:54):
on the way home, we would walk back to my
grandmother's house and me and my cousin Melissa would sing
every song that we could read in the movie, you know,
probably just the choruses, but we would sing along. We'd
sing it on the way home. And so I think
it was the combination of that, then watching at Sullivan,
watching the people live, and then me playing the piano
(08:15):
for my classmates, and I would get very excited when
they would sing, and I would start like coaching them, Oh,
try it like this. My cousin Debbie still left. She
always says, you remember I was your first student. She
reminds me of that all the time. She says, I
started it all off. I kicked off the whole thing,
and she and she doesn't remember as much as I
remember that. She was singing a Christmas carol one year
(08:39):
and I kept telling her she was singing it wrong
and I was correcting her, and she said, I got
really irritated, like, no, no, it's not like that, you're
saying it wrong. And so for some reason that was
just my thing. And then I think when you're a child.
If you get attention for doing something that makes you
feel kind of special, you really lean into it because
(09:01):
it makes you feel like you have something unique to offer.
So it just went from there and that even when
I went to NYU and I also took course as
at Juilliard, I spent more time working with my schoolmates
on their music than I did online. You know, I
just was always trying to help them sound better.
Speaker 3 (09:22):
And since the moment you started, it's pretty interesting. I
was thinking about this before you came on for the interview.
I mean, in general, the concept of coaching, you know,
business coaching, leadership coaching, you know, is really sprouted so
many tentacles. It's become kind of this you know, popular,
(09:45):
you know, way of employment for people. And when you started,
I'm sure there were vocal coaches, but were there many
of them?
Speaker 2 (09:54):
No, well, certainly not. In my little city where I
grew up. There were two people, but they were just
singing teachers. One talk piano and voice. One was a
school teacher in my school, and then on the side
he had a little side business that he would coach people.
But you know, from what my mother would see of them,
(10:15):
they weren't what you would call big successes. They didn't
make a lot of money, they didn't have a big house,
and that's all she cared about. She was very into finances,
and so she when I would talk about wanting to
do this, she would get really upset because she thought, oh,
then you're just never going to have much of a life.
How And you know, looking back, I go, well, how
(10:37):
could she? How could she think I was going to
be doing what I get to do with the people
I get to do it with. You know, it probably
did seem like a pipe dream. My father would actually
get angry at it. He would get really annoyed when
I say I'm going to go to Hollywood and I'm
going to work with big movie stars, and he'd be
so irritated me, like, what the hell is wrong with you?
(10:57):
What makes you think that this possibly can happen? And so,
you know, I was sort of fighting against that. But
it's not like some people go, oh, okay, that's what
gave you your fuel to continue, and I go, not, really,
it was just my desire to do it. I just
wanted to do it. And every once in a while,
you would see, especially in those old tide movie musicals,
there'd be someone banging away at the piano, and the
(11:19):
singer would be singing, or they'd be rehearsing. They'd be
doing a rehearsal, and it looked like so much fun.
It just looked like they were having a great time.
Of course, they had rehearsed that rehearsal scene a million times,
and that's why it flowed so easily to them. But
you know, you would watch those movies Singing in the Rain,
all of them. I just loved those movie musicals and
(11:39):
I wanted to be a part of it.
Speaker 3 (11:41):
What was the town you grew up in?
Speaker 2 (11:43):
It was called Gloversville, New York, upstate New York, near
a very beautiful city called Saratoga Springs and a kind
of a classic storybook city named Johnstown, New York. But
glover Is what was a factory town. They made gloves
and they had leather tanneries. So it wasn't really a
place that would encourage the kind of behavior or the
(12:05):
kind of career that I was looking for, although the
truth is that they did put on quite elaborate high
school musicals, and I played the piano for those musicals,
and they always rented this gorgeous grand piano that Liberaci
had played on and he had signed it. And you know,
when he would travel around, he would travel around and
(12:25):
his with a glass top to a certain make Baldwin piano.
He had this glass top made so whenever he was performing,
he would have this piano on stage when he was
on tour, and he would say to the audience, do
you like my piano. It's the only one like it
in the world with the glass top. But it was
just the glass top that was traveling with him, it
wasn't the piano. And so anyway, they would rent that
(12:47):
piano and for months we would rehearse those musicals and
it was thrilling to me to get to play the
piano for them, and also to work with the singers,
all the kids that got cast in it. I would
teach them the songs. I would rehearse songs, and that
to me, was my favorite time of the year. That
was just so exciting to me, and I felt like
I was already in the big time. And I look
(13:08):
back and go, I was kind of doing the same
thing I'm doing now. It's just a little bit different
level now and it's a little bit higher stakes. You know,
at the Grammys or the Oscars, but it's the same thing.
Speaker 1 (13:20):
We'll be right back with more of the Taking a
Walk podcast. Welcome back to the Taking a Walk Podcast.
Speaker 3 (13:32):
So you've coached this incredible range of artists, from Ariana
Grande to Sean Mendez, Timothy chalomea Emma Stone. How do
you adapt your coaching approach to such diverse talents and needs?
And most importantly, could you make a no talent such
(13:54):
as me sound good after working with me?
Speaker 2 (13:58):
Well, here's the thing, I'm not sure I would know
after a couple lessons. You know, this is what I
always say because when people say can anybody learn to saying,
I go, no, they really can't. That's bullshit. But oh
I'm sorry, I don't know. If I'm silling, that's okay,
they can't. But what I always do say is I
(14:19):
can make anyone sound better. I'm very, very confident because
I've done it enough times that I can make anyone
improve and sound better. Can I get them to sound great? No?
That I mean, I don't know. I don't know. I
like to think I can, but sometimes people just don't
have the capacity. That's like someone you know, four foot
nine wanting to be a pro basketball player, it's probably
(14:42):
not going to happen because they don't have the equipment.
So if you don't have the vocal cords or the ear,
it's probably not gonna happen that you'll be great, but
you can definitely get better. So that's how I answer
that question.
Speaker 3 (14:56):
Very diplomatic. I my wife before I told her I
was going to be speaking with you, and she looked
at me and she said, please don't ask him that question.
So of course I was emboldened and I had to so.
Speaker 2 (15:13):
Sure, of course, And I don't blame you to it.
And like I said, who knows, if we did a lesson,
I might go, hey, I think there's something here. I
think you really, I think you have some potential. I'm
going to take to Eric.
Speaker 3 (15:25):
I'm taking that part out. I'm going to take that
out of the interview. He said I had potential.
Speaker 2 (15:30):
Yeah, I edit it just the right way. I I said,
you know, you would ask me about all the different people,
a wide range of people, and some of the people
you know, I've worked with since they were so young.
Ariana Grande was I think around thirteen or fourteen. Sabrina
Carpenter was around twelve or thirteen. I knew right away
(15:50):
in those cases they had such a strong work ethic,
so much talent, they had such a desire and passion
for it. And a lot of the other younger ones
I worked with, like Shawn Mendez or Camilla Cabello Rosalia,
a lot of them. You know, I just had a
feeling they were going to do well because they had
a passion for what they were doing. They had a
really strong work ethic, and they had a lot of
(16:12):
natural talent. But you know, you have to just sort
of diagnose what's in front of you and make a
decision of like, how am I going to proceed? How
best can I help this person. That's why when I
hear a teacher say, oh I teach the blank blank method,
I kind of turn off to that because I think, well,
that method will work on some people, maybe a thirtain people,
(16:33):
but it's not going to work on everybody because everybody
is so different. Everyone's history and experience of singing is
so different. You have to be flexible. You can't just
give everyone the same exercises and accept, you know, the
same result, expect the same result. You just can't. It's impossible.
So I try to tailor everything I do to whatever
(16:54):
I'm hearing right in front of me that moment that day.
You know, Angelina Jolie, when we were working on moving
Maria that she did. They came out last year. She
didn't even sing Happy Birthday at birthday parties because someone
had sent to her, you can't sing, don't do it,
don't even sing Happy Birthday. So she had a mental
block about it. So part of the excitement about working
(17:14):
with her was to get her over that so that
she actually could sing and sing opera with, you know,
with one of the greatest divas who ever lived, Maria Callas.
So everybody is so different where they coming from, what
their attitude is, what their talent is. I just try
to be I try to be like a doctor, you know,
good Dike to Dike, what do you call it, Dike
(17:35):
to missions. Oh my god, could you cut that part out? Please? Diagnostician.
I think that's the lead. Let's say it please. I
did that. So anyway, I think that that's what I
try to do. I try to figure out what each
person needs and go from there.
Speaker 3 (17:52):
So that leads me to the direction I was going
with the next question. Because many artists they credit you,
you know, not just with vocal training, but emotional support.
And how important is the psychological and emotional aspect of
the work that you do with your clients.
Speaker 2 (18:12):
I think it's huge. You know, there's so many studies
on how our mind affects our body, you know, the
mind body connection. There's books written about it, there's articles
written about it, there's documentaries about it. And so I
always think to myself, I have to keep that in mind.
Their mental state is going to make a huge difference
on how well they do, so I try to concentrate
(18:35):
on both things. I am always honest. I never lie
to anybody. I'm very, very honest. I learned long, long,
long ago that there's nothing that's good or positive that's
going to come out of telling someone they're great if
they're not, because they're either going to make a fool
of themselves, or they're going to get angry at you
that you told them we were great and then it
didn't work out, or they did make a fool of themselves.
(18:57):
So I'm always very honest, but I do it in
a way that I say, Okay, this is what you
need to work on. For example, someone might be singing
a little flat. So I wouldn't just say you're flat,
you're flat, you're under pitch. I might say your tone
quality is improving, that's getting really good, but let's work
more on your pitch, because I think that's one of
your weaknesses that we need to make stronger. So that's
(19:19):
how I approach it. I try to do it in
a way, and then when they do improve, I make
a big deal out of it so that they feel
good about that. And when someone feels good about their progress,
they keep wanting to work at it more. You know,
if you're just too hard on someone, they kind of
I wouldn't say they give up, but there is a
part of them that is spirals inside, and then they
(19:42):
can't possibly do their best. So I try to figure
that out. And you know, you can suss out pretty
quickly the people who really want the tough love and
want you to just go at them, and then there's
other people that just need more of a gentle approach.
Speaker 3 (19:55):
So I was a program director of radio stations. I
started on the radio and then grew into the role
as the program director. And one of the things I
was responsible for was coaching the on air talent, and
we used to talk about this concept with talent that
(20:16):
most talent hated first of all being coached. They didn't
really want it. And then secondly this notion of the
ratio of filling up the bucket with good vibe things
versus those tough love things, and that ratio in radio
terms was about eighty percent bucket filling twenty percent of
(20:40):
tough love. What kind of ratio for a coach like you.
Speaker 2 (20:45):
It really depends on the person I'm working with. You know,
some people would need I don't know if I've ever
gone eighty percent, but let's say seventy percent. I probably
gone seventy percent. It just depends on the person.
Speaker 1 (20:58):
You know.
Speaker 2 (20:58):
They're also different, and I don't want you know. I
also learned many many years ago. I said to an
actress who was auditioning for a Broadway show. I said
to her, here's the deal. I was really clear. I said,
your chest voice, your lower range is really good. You
have a great natural lower voice. The part you're auditioning
(21:19):
for is a high soprano. That is not where you're
at your best. As a matter of fact, that's probably
your weakest area. I think you should instead of putting
so much time and energy into this audition for a
part that's really not meant for your voice. I think
you should find a musical that is meant for your voice,
that is going to suit you, and then we can
(21:41):
work on that. And I made it really clear. And
a couple months later I ran into another actress, or
not ran into. She came in for voice lessons to
work on a movie, and she said, well, I was
really nervous about coming here. And I said why and
she said, well, because so and so told me you
could be so cruel, she said, Eric Vitro told me
I couldn't sing. Eric Vittel said, don't even bother audition
(22:04):
for this show. And I was like, what is she
talking about? Was she high? Was she on crack? What
was going on in her head? That's not what I
said at all. And I was so careful not to
give her that impression. I kept saying, your lower voice
is great, Your belt voices where you really should focus.
That's where you're meant to be. And it also went
(22:24):
with her personality and her look. You know, there's a
certain look to certain characters and musicals, you know, the Belter,
the hei soprano, Angenoux, all of that, so she just
wasn't meant for the character that she was auditioning for,
and I couldn't believe she so got it wrong or
that's what she walked away with. So after that I
(22:44):
was even more careful than ever. But still the ratio
just depends on the person in front of me. And
I think that one of the things I'm pretty good
at is reading the room. I think I'm pretty good
at knowing what someone needs and also what they want.
Now I'm in a lucky position as opposed to what
you were at the radio station, whereas most of the
(23:06):
people are coming to me for help. They want help,
they're asking for it, sometimes begging for it. You know,
I get calls please please to fit me in. I
really need to work on this. I can't believe I
said yes to this project and now I've got to
do it. So most of the time they really want
to come here. There have been several people along the
way that were usually older, usually in rock bands, and
(23:28):
the producer, the music producer who was doing their album
encourage them or in some cases insisted they take voice
lessons to improve and those people I had to win over.
You know, I could see it in their eyes. I
walked into a situation once in the lead singer of
the band said, before he said hello, before he said
anything else, he said, don't try to get me to
(23:50):
quit drinking, don't get me to try to stop smoking,
and whatever you do, don't try to get me to
sound like an opera singer. And I said, well, I'm
a voice teacher, not a miracle worker. No, no one's
gonna make use helmet and opper serious. They don't worry
about it. So but I'm pretty good at knowing who
I can talk to like that and who I can have.
Speaker 3 (24:11):
You ever had to coach a comedian and was it
possible to coach them to be able to be a vocalist.
Speaker 2 (24:21):
Yeah, well, there's been several cases where I worked with
comedians or actors who did comedy.
Speaker 1 (24:28):
You know.
Speaker 2 (24:29):
The first prison who comes to mind, and oh my god,
I'm forgetting his name. Isn't that awful? I can see
him in front of me. He died fairly young. Oh gosh.
He ended up doing the tour of Hairspray. You know,
there's the role of the mother and Tracy's mother and
the turnblat who was always played by a man that's
(24:51):
how it's always been right. John Travolta played him in
the movie and played her in the movie. And this comedian,
I'm John Blake on his name John anyway, So he
was a comedian and so I worked with him, and
I thought he did a very good job Bouce Flance,
which I don't know if he considers himself a comedian,
but he certainly is a hilarious comedy writer and you know,
(25:13):
very funny public figure. I worked with him on Hairspray,
Billy Crystal, I work with on one of the Oscars
when he's sang the opening medley, which was a very
comedic medley. So there's been a number of those people. Yes,
and Ben Stiller, Chris ben Stiller can do anything comedy
or drama. But I worked on a movie with him
(25:33):
where he's saying and they were all great working experiences,
all of them. It was really, really fabulous. The only
hard part about working with ben Stiller was that every
once in a while he would have an expression on
his face that I remembered being in one of his movies.
And so, and I loved ben Stiller and his movies.
I just love them, all of them. And sometimes he
(25:57):
would just kind of react to something. And I would
see a zule interface and I couldn't stop laughing, and
you know, and I would say to him, I'm sorry,
I'm sorry, but that reminded me of Zuolander. That reminded
me of, you know, another movie. And so but he
got it, he understood it. He said, Oh, I know,
I'm used to that. People tell me that all the time.
So he was so great to be around.
Speaker 3 (26:17):
So, Eric, looking ahead, what exciting projects or new directions
are you most passionate about in your in your work
as a vocal coach.
Speaker 2 (26:26):
Oh gosh, there's so many, you know. I Well, I'm
working on three movies right now that unfortunately I can't
really talk about because they haven't been announced. Uh. Well,
one has been announced. It's It's going to be about
Sammy Davis Junior, and Colin Domingo is directing it, and
David Johnson is starring in it as Sammy Davis and
(26:48):
Cindy Sweeney is in it. And I'm very excited about that.
I'm such a huge fan of Coleman Domingo anyway, and
and I had a great meeting with him, and so
I'm it's rilled about getting to be a part of that.
I have a movie that I worked on with Jeremy
Allen White about Bruce Springsteen, Deliver Me, Deliver Me from Nowhere.
(27:09):
I believe it's the title. I got so much swimming
around in my head at this moment, and Jeremy was
he's going to astound people with his portrayal of Bruce Springsteen.
He really did such a great job vocally. I can't
I can't even tell you. It was really amazing. And
that's not an easy person to sing like, because Bruce has,
you know, sings with such intensity, high notes, intense notes,
(27:32):
rasp by notes. I mean, it really puts you through
the ringer and Jeremy did a great job. I think
that movie is going to be great. And I work
with a lot of young pop stars. Several of them
are going to be singing on the VMAs soon. Sab
being a carpenter is going to be on there. Alex Warren.
Alex Warren had a huge song this past year called Ordinary.
I think it surpassed Elvis for weeks on the charts
(27:54):
in the UK, and he's broke a lot of records.
I'm so proud of him. And so there's a lot
of things. Wicked Part two, Wicked for Good, is coming out,
which I work on with Ariana Grande and Jonathan Bailey.
I'm so excited to see it. I have not seen it,
and I'm really thrilled. I mean, that became a whole
(28:15):
world unto itself, the world of Wicked, really, you know,
and so I could not have been more honored to
be a part of that. And there you go. So
there's a bunch of stuff. That's great.
Speaker 3 (28:28):
What an honor to talk to you. Thank you for
sharing all the behind the scenes and some of the
secret sauce, and it's just great having some laughs and
hearing the stories behind your work. Eric.
Speaker 2 (28:42):
Well, it's my pleasure. I'm so happy to meet you.
Thank you so much for having me. I have such
a great podcast, so I'm honored to be hon it.
Speaker 1 (28:50):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
Taking a walk.
Speaker 2 (00:01):
It was thrilling to me to get to play the
piano for them, and also to work with the singers,
all the kids that got cast in it. I would
teach them the songs, I would rehearse the songs, and
that to me was my favorite time of the year.
That was just so exciting to me.
Speaker 3 (00:15):
I'm buzznight and on this episode had taken a walk.
We're joined by the extraordinary Eric Vitro, the vocal coach
behind some of the biggest names in music and film today.
From Ariana Grande to Sean Mendez, Timothy Chalome to Broadway legends.
Eric has shaped the voices and careers of countless stars.
(00:37):
No not only for his unmatched vocal expertise, but his
empathetic and motivating approach. Eric brings a rare blend of teacher, therapist,
and friend to his work. We're going to dive into
his journey from a small New York factory town to
becoming Hollywood's most sought after voice specialist. So whether you're
(00:57):
a singer, an actor, or you just love great stories
of dedication and passion, this conversation with Eric Vitro will
inspire you to take your own walk with confidence. It's
coming up next after these words Taking a Walk. Eric Vitro,
thanks for being on the Taking a Walk podcast.
Speaker 2 (01:20):
Thanks so much. I'm thrilled to be here.
Speaker 3 (01:23):
So since we call this taking a walk, I do
have to put you under the heat lamp and ask
you our opening question, okay, which is Eric, if you
could take a walk with somebody, living or dead, who
would you take a walk with and where would you
take that walk with him?
Speaker 2 (01:41):
Oh gosh, there are so many people that come to
mind instantly, I think, and he's living. I think it
would be Deepak Showbra because he's one of my favorite
writers and I love so many of the things he's
had to say. His books have had a big impact
on me, and so I have met him briefly. But
(02:05):
I think to take a walk with him, I think
would be fascinating and I think it would be life changing,
even more so than the books.
Speaker 3 (02:14):
I think it'd be amazing. I think that would require
you possibly to not be too far from where I am,
because isn't he out in Western mass or something?
Speaker 2 (02:23):
You know? I don't know, but I met him out here.
He was in a restaurant one time. Well, I met
him several times. Actually he wouldn't remember me, probably because
it wasn't really a formal introduction. One time it was
one of his talks. He gave a talk and one
of my students had sung an operatic aria before the
talk started, so she did introduce me to him, and
(02:45):
that was just hello, nice to meet you, with a
great lecture. Then I saw him at a restaurant and
I was with a friend of mine and I said,
you know, I was listening to his book, one of
his books, on the Way here. I think I'm going
to go tell him. And she kind of looked to
me like, I don't know if you should bother him,
and I said, you know what, I'm just going to
do it because my instinct is telling me to do it.
And he could not have been warmer and more friendly,
(03:08):
and he actually hugged me, and she was like I
could see the shocked look on her face because I
was staring at her when I was having this encounter
with him, and I said to him, I was listening
to your book on the way, and I love it
when you read the books because there's something about his
voice that I really really like. I find it very
soothing and it's intriguing to me and seems very sincere,
(03:29):
and so I had a really great encounter with him.
So that's why I know that a'll walk with him
would be great.
Speaker 3 (03:36):
Wouldn't it be such a terrible story that somebody's so
chill and so inspirational if you went up to him
in a restaurant that he gave you the proverbial hairy eyeball.
Speaker 2 (03:50):
I know, I know, and you know you hear those
things that happen all the time. But I always give
people the benefit of the doubt because I think that
if you I know myself, I've been out with some
of the people I work with who are quite famous,
and it is really intrusive. When you're having a conversation,
You're right in the middle of something, you know, like
I might be about to tell punchline. All of a
(04:12):
sudden someone comes up and goes, oh my god, oh
I got I cant believe it. You, you know, all
of a sudden, everything has to stop for that moment.
And so I get it. I get why sometimes people
get a little irritated and say, please, I'm with my
family or with my friends or whatever. The person who
I see, though, handle it so graciously. It's amazing, I
(04:33):
think because he's had to do it, probably almost his
entire life is John Stamos, and I've been places with him.
One at the place we were in a movie premiere
was Timothy Shalla Mays Wonka and John was there. And
he'll spot someone. He can look at you, but out
of the corner of his side, he'll see someone coming
towards him. He knows what they want. They got their
phone out because they want to picture a selfie. So
(04:56):
he'll keep talking. He'll acknowledge them. He'll to a quick
smile and a nod. He takes the phone, he poses
with them for a second, takes the picture, nods and
they're happy. They thrilled, and he somehow handles it so graciously.
It's amazing.
Speaker 3 (05:12):
That is masterful.
Speaker 1 (05:14):
Wow.
Speaker 3 (05:14):
Yeah, So what initially inspired you to become a vocal coach.
How did your early career develop before you were working
with Hollywood stars.
Speaker 2 (05:25):
It started when I was really just a kid. I
was always fascinated. I would see things on television. I'm
old enough to have watched the Ed Sullivan Show, where
you'd gather around the TV on Sunday nights, and they
had all kinds of you know, live acts, everything from
Elvis Presley, the Beatles, all of it. And it was
so exciting to me to see those people. And I'm
(05:48):
not quite sure what it was inside of me. Well,
actually I can say I do know now that I
think about it. So I learned to play the piano
very young. I was like around five years old and
I started playing the piano, and so people would sing along.
I would play the piano songs. Sometimes I played from
a book called Italian Songs and Dances, and my grandmother
would sing along and she loved it. One of my grandmothers.
(06:11):
My neighbor had a really beautiful voice. The neighbor who
lived next door to me, she came over and she
would sing. And then I started playing for my classmates
to sing. You know. I started playing the patriotic songs
in the morning and class I started teaching some of
my classmates at school songs. So I think somehow that
im planet it in my head. Oh you know, I've
(06:32):
got this gift or I've got this thing that makes
me a little special or a little bit different. And
then I started fantasizing, well, what would be like the
people I say on TV? Like Elvis Presley. What would
Elvis be like to play the piano and Elvis sing
Love Me Tender?
Speaker 1 (06:47):
You know?
Speaker 2 (06:47):
I just saw, Oh he had that beautiful voice, and
even Judy Garland, all sorts of people I would listen to,
and I think, I wonder what that would be like.
And I started fantasizing about working with these people, coaching them,
giving them tips. I think you should be a little louder,
I think you should be a little softer. It just
happened very naturally, so technically, because I started playing the
(07:09):
piano and did it in class when I was in
great School. I'd basically been doing it my entire life.
It's all I've ever done.
Speaker 3 (07:18):
So was Ed Sullivan a pivotal situation for you in
terms of impacting you and your love of music.
Speaker 2 (07:30):
It was Ed Sullivan combined with I had. One of
my grandmothers used to take me and my cousin Melissa
to see movies at the one movie theater in the
small little city that we lived in at the time.
It had one movie theater and it was a big, beautiful,
though old movie theater. It's still beautiful, it's still there,
and we would go and see the sound of music,
West Side Story, I think Babes and Toyland. And then
(07:54):
on the way home, we would walk back to my
grandmother's house and me and my cousin Melissa would sing
every song that we could read in the movie, you know,
probably just the choruses, but we would sing along. We'd
sing it on the way home. And so I think
it was the combination of that, then watching at Sullivan,
watching the people live, and then me playing the piano
(08:15):
for my classmates, and I would get very excited when
they would sing, and I would start like coaching them, Oh,
try it like this. My cousin Debbie still left. She
always says, you remember I was your first student. She
reminds me of that all the time. She says, I
started it all off. I kicked off the whole thing,
and she and she doesn't remember as much as I
remember that. She was singing a Christmas carol one year
(08:39):
and I kept telling her she was singing it wrong
and I was correcting her, and she said, I got
really irritated, like, no, no, it's not like that, you're
saying it wrong. And so for some reason that was
just my thing. And then I think when you're a child.
If you get attention for doing something that makes you
feel kind of special, you really lean into it because
(09:01):
it makes you feel like you have something unique to offer.
So it just went from there and that even when
I went to NYU and I also took course as
at Juilliard, I spent more time working with my schoolmates
on their music than I did online. You know, I
just was always trying to help them sound better.
Speaker 3 (09:22):
And since the moment you started, it's pretty interesting. I
was thinking about this before you came on for the interview.
I mean, in general, the concept of coaching, you know,
business coaching, leadership coaching, you know, is really sprouted so
many tentacles. It's become kind of this you know, popular,
(09:45):
you know, way of employment for people. And when you started,
I'm sure there were vocal coaches, but were there many
of them?
Speaker 2 (09:54):
No, well, certainly not. In my little city where I
grew up. There were two people, but they were just
singing teachers. One talk piano and voice. One was a
school teacher in my school, and then on the side
he had a little side business that he would coach people.
But you know, from what my mother would see of them,
(10:15):
they weren't what you would call big successes. They didn't
make a lot of money, they didn't have a big house,
and that's all she cared about. She was very into finances,
and so she when I would talk about wanting to
do this, she would get really upset because she thought, oh,
then you're just never going to have much of a life.
How And you know, looking back, I go, well, how
(10:37):
could she? How could she think I was going to
be doing what I get to do with the people
I get to do it with. You know, it probably
did seem like a pipe dream. My father would actually
get angry at it. He would get really annoyed when
I say I'm going to go to Hollywood and I'm
going to work with big movie stars, and he'd be
so irritated me, like, what the hell is wrong with you?
(10:57):
What makes you think that this possibly can happen? And so,
you know, I was sort of fighting against that. But
it's not like some people go, oh, okay, that's what
gave you your fuel to continue, and I go, not, really,
it was just my desire to do it. I just
wanted to do it. And every once in a while,
you would see, especially in those old tide movie musicals,
there'd be someone banging away at the piano, and the
(11:19):
singer would be singing, or they'd be rehearsing. They'd be
doing a rehearsal, and it looked like so much fun.
It just looked like they were having a great time.
Of course, they had rehearsed that rehearsal scene a million times,
and that's why it flowed so easily to them. But
you know, you would watch those movies Singing in the Rain,
all of them. I just loved those movie musicals and
(11:39):
I wanted to be a part of it.
Speaker 3 (11:41):
What was the town you grew up in?
Speaker 2 (11:43):
It was called Gloversville, New York, upstate New York, near
a very beautiful city called Saratoga Springs and a kind
of a classic storybook city named Johnstown, New York. But
glover Is what was a factory town. They made gloves
and they had leather tanneries. So it wasn't really a
place that would encourage the kind of behavior or the
(12:05):
kind of career that I was looking for, although the
truth is that they did put on quite elaborate high
school musicals, and I played the piano for those musicals,
and they always rented this gorgeous grand piano that Liberaci
had played on and he had signed it. And you know,
when he would travel around, he would travel around and
(12:25):
his with a glass top to a certain make Baldwin piano.
He had this glass top made so whenever he was performing,
he would have this piano on stage when he was
on tour, and he would say to the audience, do
you like my piano. It's the only one like it
in the world with the glass top. But it was
just the glass top that was traveling with him, it
wasn't the piano. And so anyway, they would rent that
(12:47):
piano and for months we would rehearse those musicals and
it was thrilling to me to get to play the
piano for them, and also to work with the singers,
all the kids that got cast in it. I would
teach them the songs. I would rehearse songs, and that
to me, was my favorite time of the year. That
was just so exciting to me, and I felt like
I was already in the big time. And I look
(13:08):
back and go, I was kind of doing the same
thing I'm doing now. It's just a little bit different
level now and it's a little bit higher stakes. You know,
at the Grammys or the Oscars, but it's the same thing.
Speaker 1 (13:20):
We'll be right back with more of the Taking a
Walk podcast. Welcome back to the Taking a Walk Podcast.
Speaker 3 (13:32):
So you've coached this incredible range of artists, from Ariana
Grande to Sean Mendez, Timothy chalomea Emma Stone. How do
you adapt your coaching approach to such diverse talents and needs?
And most importantly, could you make a no talent such
(13:54):
as me sound good after working with me?
Speaker 2 (13:58):
Well, here's the thing, I'm not sure I would know
after a couple lessons. You know, this is what I
always say because when people say can anybody learn to saying,
I go, no, they really can't. That's bullshit. But oh
I'm sorry, I don't know. If I'm silling, that's okay,
they can't. But what I always do say is I
(14:19):
can make anyone sound better. I'm very, very confident because
I've done it enough times that I can make anyone
improve and sound better. Can I get them to sound great? No?
That I mean, I don't know. I don't know. I
like to think I can, but sometimes people just don't
have the capacity. That's like someone you know, four foot
nine wanting to be a pro basketball player, it's probably
(14:42):
not going to happen because they don't have the equipment.
So if you don't have the vocal cords or the ear,
it's probably not gonna happen that you'll be great, but
you can definitely get better. So that's how I answer
that question.
Speaker 3 (14:56):
Very diplomatic. I my wife before I told her I
was going to be speaking with you, and she looked
at me and she said, please don't ask him that question.
So of course I was emboldened and I had to so.
Speaker 2 (15:13):
Sure, of course, And I don't blame you to it.
And like I said, who knows, if we did a lesson,
I might go, hey, I think there's something here. I
think you really, I think you have some potential. I'm
going to take to Eric.
Speaker 3 (15:25):
I'm taking that part out. I'm going to take that
out of the interview. He said I had potential.
Speaker 2 (15:30):
Yeah, I edit it just the right way. I I said,
you know, you would ask me about all the different people,
a wide range of people, and some of the people
you know, I've worked with since they were so young.
Ariana Grande was I think around thirteen or fourteen. Sabrina
Carpenter was around twelve or thirteen. I knew right away
(15:50):
in those cases they had such a strong work ethic,
so much talent, they had such a desire and passion
for it. And a lot of the other younger ones
I worked with, like Shawn Mendez or Camilla Cabello Rosalia,
a lot of them. You know, I just had a
feeling they were going to do well because they had
a passion for what they were doing. They had a
really strong work ethic, and they had a lot of
(16:12):
natural talent. But you know, you have to just sort
of diagnose what's in front of you and make a
decision of like, how am I going to proceed? How
best can I help this person. That's why when I
hear a teacher say, oh I teach the blank blank method,
I kind of turn off to that because I think, well,
that method will work on some people, maybe a thirtain people,
(16:33):
but it's not going to work on everybody because everybody
is so different. Everyone's history and experience of singing is
so different. You have to be flexible. You can't just
give everyone the same exercises and accept, you know, the
same result, expect the same result. You just can't. It's impossible.
So I try to tailor everything I do to whatever
(16:54):
I'm hearing right in front of me that moment that day.
You know, Angelina Jolie, when we were working on moving
Maria that she did. They came out last year. She
didn't even sing Happy Birthday at birthday parties because someone
had sent to her, you can't sing, don't do it,
don't even sing Happy Birthday. So she had a mental
block about it. So part of the excitement about working
(17:14):
with her was to get her over that so that
she actually could sing and sing opera with, you know,
with one of the greatest divas who ever lived, Maria Callas.
So everybody is so different where they coming from, what
their attitude is, what their talent is. I just try
to be I try to be like a doctor, you know,
good Dike to Dike, what do you call it, Dike
(17:35):
to missions. Oh my god, could you cut that part out? Please? Diagnostician.
I think that's the lead. Let's say it please. I
did that. So anyway, I think that that's what I
try to do. I try to figure out what each
person needs and go from there.
Speaker 3 (17:52):
So that leads me to the direction I was going
with the next question. Because many artists they credit you,
you know, not just with vocal training, but emotional support.
And how important is the psychological and emotional aspect of
the work that you do with your clients.
Speaker 2 (18:12):
I think it's huge. You know, there's so many studies
on how our mind affects our body, you know, the
mind body connection. There's books written about it, there's articles
written about it, there's documentaries about it. And so I
always think to myself, I have to keep that in mind.
Their mental state is going to make a huge difference
on how well they do, so I try to concentrate
(18:35):
on both things. I am always honest. I never lie
to anybody. I'm very, very honest. I learned long, long,
long ago that there's nothing that's good or positive that's
going to come out of telling someone they're great if
they're not, because they're either going to make a fool
of themselves, or they're going to get angry at you
that you told them we were great and then it
didn't work out, or they did make a fool of themselves.
(18:57):
So I'm always very honest, but I do it in
a way that I say, Okay, this is what you
need to work on. For example, someone might be singing
a little flat. So I wouldn't just say you're flat,
you're flat, you're under pitch. I might say your tone
quality is improving, that's getting really good, but let's work
more on your pitch, because I think that's one of
your weaknesses that we need to make stronger. So that's
(19:19):
how I approach it. I try to do it in
a way, and then when they do improve, I make
a big deal out of it so that they feel
good about that. And when someone feels good about their progress,
they keep wanting to work at it more. You know,
if you're just too hard on someone, they kind of
I wouldn't say they give up, but there is a
part of them that is spirals inside, and then they
(19:42):
can't possibly do their best. So I try to figure
that out. And you know, you can suss out pretty
quickly the people who really want the tough love and
want you to just go at them, and then there's
other people that just need more of a gentle approach.
Speaker 3 (19:55):
So I was a program director of radio stations. I
started on the radio and then grew into the role
as the program director. And one of the things I
was responsible for was coaching the on air talent, and
we used to talk about this concept with talent that
(20:16):
most talent hated first of all being coached. They didn't
really want it. And then secondly this notion of the
ratio of filling up the bucket with good vibe things
versus those tough love things, and that ratio in radio
terms was about eighty percent bucket filling twenty percent of
(20:40):
tough love. What kind of ratio for a coach like you.
Speaker 2 (20:45):
It really depends on the person I'm working with. You know,
some people would need I don't know if I've ever
gone eighty percent, but let's say seventy percent. I probably
gone seventy percent. It just depends on the person.
Speaker 1 (20:58):
You know.
Speaker 2 (20:58):
They're also different, and I don't want you know. I
also learned many many years ago. I said to an
actress who was auditioning for a Broadway show. I said
to her, here's the deal. I was really clear. I said,
your chest voice, your lower range is really good. You
have a great natural lower voice. The part you're auditioning
(21:19):
for is a high soprano. That is not where you're
at your best. As a matter of fact, that's probably
your weakest area. I think you should instead of putting
so much time and energy into this audition for a
part that's really not meant for your voice. I think
you should find a musical that is meant for your voice,
that is going to suit you, and then we can
(21:41):
work on that. And I made it really clear. And
a couple months later I ran into another actress, or
not ran into. She came in for voice lessons to
work on a movie, and she said, well, I was
really nervous about coming here. And I said why and
she said, well, because so and so told me you
could be so cruel, she said, Eric Vitro told me
I couldn't sing. Eric Vittel said, don't even bother audition
(22:04):
for this show. And I was like, what is she
talking about? Was she high? Was she on crack? What
was going on in her head? That's not what I
said at all. And I was so careful not to
give her that impression. I kept saying, your lower voice
is great, Your belt voices where you really should focus.
That's where you're meant to be. And it also went
(22:24):
with her personality and her look. You know, there's a
certain look to certain characters and musicals, you know, the Belter,
the hei soprano, Angenoux, all of that, so she just
wasn't meant for the character that she was auditioning for,
and I couldn't believe she so got it wrong or
that's what she walked away with. So after that I
(22:44):
was even more careful than ever. But still the ratio
just depends on the person in front of me. And
I think that one of the things I'm pretty good
at is reading the room. I think I'm pretty good
at knowing what someone needs and also what they want.
Now I'm in a lucky position as opposed to what
you were at the radio station, whereas most of the
(23:06):
people are coming to me for help. They want help,
they're asking for it, sometimes begging for it. You know,
I get calls please please to fit me in. I
really need to work on this. I can't believe I
said yes to this project and now I've got to
do it. So most of the time they really want
to come here. There have been several people along the
way that were usually older, usually in rock bands, and
(23:28):
the producer, the music producer who was doing their album
encourage them or in some cases insisted they take voice
lessons to improve and those people I had to win over.
You know, I could see it in their eyes. I
walked into a situation once in the lead singer of
the band said, before he said hello, before he said
anything else, he said, don't try to get me to
(23:50):
quit drinking, don't get me to try to stop smoking,
and whatever you do, don't try to get me to
sound like an opera singer. And I said, well, I'm
a voice teacher, not a miracle worker. No, no one's
gonna make use helmet and opper serious. They don't worry
about it. So but I'm pretty good at knowing who
I can talk to like that and who I can have.
Speaker 3 (24:11):
You ever had to coach a comedian and was it
possible to coach them to be able to be a vocalist.
Speaker 2 (24:21):
Yeah, well, there's been several cases where I worked with
comedians or actors who did comedy.
Speaker 1 (24:28):
You know.
Speaker 2 (24:29):
The first prison who comes to mind, and oh my god,
I'm forgetting his name. Isn't that awful? I can see
him in front of me. He died fairly young. Oh gosh.
He ended up doing the tour of Hairspray. You know,
there's the role of the mother and Tracy's mother and
the turnblat who was always played by a man that's
(24:51):
how it's always been right. John Travolta played him in
the movie and played her in the movie. And this comedian,
I'm John Blake on his name John anyway, So he
was a comedian and so I worked with him, and
I thought he did a very good job Bouce Flance,
which I don't know if he considers himself a comedian,
but he certainly is a hilarious comedy writer and you know,
(25:13):
very funny public figure. I worked with him on Hairspray,
Billy Crystal, I work with on one of the Oscars
when he's sang the opening medley, which was a very
comedic medley. So there's been a number of those people. Yes,
and Ben Stiller, Chris ben Stiller can do anything comedy
or drama. But I worked on a movie with him
(25:33):
where he's saying and they were all great working experiences,
all of them. It was really, really fabulous. The only
hard part about working with ben Stiller was that every
once in a while he would have an expression on
his face that I remembered being in one of his movies.
And so, and I loved ben Stiller and his movies.
I just love them, all of them. And sometimes he
(25:57):
would just kind of react to something. And I would
see a zule interface and I couldn't stop laughing, and
you know, and I would say to him, I'm sorry,
I'm sorry, but that reminded me of Zuolander. That reminded
me of, you know, another movie. And so but he
got it, he understood it. He said, Oh, I know,
I'm used to that. People tell me that all the time.
So he was so great to be around.
Speaker 3 (26:17):
So, Eric, looking ahead, what exciting projects or new directions
are you most passionate about in your in your work
as a vocal coach.
Speaker 2 (26:26):
Oh gosh, there's so many, you know. I Well, I'm
working on three movies right now that unfortunately I can't
really talk about because they haven't been announced. Uh. Well,
one has been announced. It's It's going to be about
Sammy Davis Junior, and Colin Domingo is directing it, and
David Johnson is starring in it as Sammy Davis and
(26:48):
Cindy Sweeney is in it. And I'm very excited about that.
I'm such a huge fan of Coleman Domingo anyway, and
and I had a great meeting with him, and so
I'm it's rilled about getting to be a part of that.
I have a movie that I worked on with Jeremy
Allen White about Bruce Springsteen, Deliver Me, Deliver Me from Nowhere.
(27:09):
I believe it's the title. I got so much swimming
around in my head at this moment, and Jeremy was
he's going to astound people with his portrayal of Bruce Springsteen.
He really did such a great job vocally. I can't
I can't even tell you. It was really amazing. And
that's not an easy person to sing like, because Bruce has,
you know, sings with such intensity, high notes, intense notes,
(27:32):
rasp by notes. I mean, it really puts you through
the ringer and Jeremy did a great job. I think
that movie is going to be great. And I work
with a lot of young pop stars. Several of them
are going to be singing on the VMAs soon. Sab
being a carpenter is going to be on there. Alex Warren.
Alex Warren had a huge song this past year called Ordinary.
I think it surpassed Elvis for weeks on the charts
(27:54):
in the UK, and he's broke a lot of records.
I'm so proud of him. And so there's a lot
of things. Wicked Part two, Wicked for Good, is coming out,
which I work on with Ariana Grande and Jonathan Bailey.
I'm so excited to see it. I have not seen it,
and I'm really thrilled. I mean, that became a whole
(28:15):
world unto itself, the world of Wicked, really, you know,
and so I could not have been more honored to
be a part of that. And there you go. So
there's a bunch of stuff. That's great.
Speaker 3 (28:28):
What an honor to talk to you. Thank you for
sharing all the behind the scenes and some of the
secret sauce, and it's just great having some laughs and
hearing the stories behind your work. Eric.
Speaker 2 (28:42):
Well, it's my pleasure. I'm so happy to meet you.
Thank you so much for having me. I have such
a great podcast, so I'm honored to be hon it.
Speaker 1 (28:50):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
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