February 3, 2025 • 51 mins
In this episode of The Leadership Vision Podcast, we sit down with Tricia Brouk, a celebrated director, producer, public speaking coach, author, and founder of the Big Talk Academy. Tricia shares her incredible journey from a professional dancer on some of the world’s most iconic stages to becoming a thought leader dedicated to helping others amplify their voices and create meaningful impact.
We explore her approach to breaking through limiting beliefs, the importance of commanding a room with humility and confidence, and how creating safe environments allows people to take risks and find their true voice. Tricia’s wisdom is a powerful reminder that leadership isn’t about ego—it’s about service, connection, and leaving a lasting legacy.
What You’ll Learn in This Episode:
- How Tricia’s career as a dancer shaped her philosophy on discipline, intuition, and creating impactful moments.
- The surprising role active listening plays in uncovering the true “big idea” for speakers and leaders.
- Why overcoming fear starts with recognizing it’s not about you but about the people who need your message.
- Practical tips for commanding any room with confidence and authenticity.
- How creating a safe environment for others can unlock their potential and allow them to take meaningful risks.
Key Quotes:
- "Your team wants you to win. They’re championing you, they respect you, and they want to hear your voice."
- "When you allow limiting beliefs to stand in the way of your powerful voice, you're preventing someone from hearing your very important message."
- "Receive the gift of your audience before you give them yours."
Resources Mentioned:
- The Influential Voice: Saying What You Mean for Lasting Legacy – Tricia’s book about communication, leadership, and legacy.
- Command Any Room – Free on-demand masterclass by Tricia Brouk.
- The Big Talk Academy – Tricia’s speaker development program.
Connect with Tricia Brouk:
- Website: TriciaBrouk.com
- Book: The Influential Voice: Saying What You Mean for Lasting Legacy
- Instagram: @Tricia_Brouk
- Command Any Room – Free masterclass to help you lead with confidence.
Don’t Miss Out: Subscribe to The Leadership Vision Podcast to hear more incredible stories and insights about leadership, communication, and creating positive team culture.
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Read the full blog post here!
CONTACT US
- email: connect@leadershipvisionconsulting.com
- Leadership Vision Online
ABOUT
The Leadership Vision Podcast is a weekly show sharing our expertise in discovering, practicing, and implementing a Strengths-based approach to people, teams, and culture. Contact us to talk to us about helping your team understand the power of Strengths.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Give yourself the opportunity to accept the gift
from your audience before yougive them yours.
Receive their time andattention.
Before you deliver your speech,your presentation, whatever it
is, whether it's in theboardroom, whether it's across
(00:24):
from students in a classroom,take that in.
See them, receive theirbeautiful faces shining up at
you and remember that they arelooking to you to be their
leader.
Your team wants you to win.
They're there championing you.
They don't want you to lose.
They want you to succeed.
They want to hear from you.
(00:44):
They respect you.
They're excited to hear whatyou have to say.
Speaker 3 (00:49):
You are listening to the Leadership Vision Podcast,
our show helping you buildpositive team culture.
Our consulting firm has beendoing this work for the past 25
years so that leaders arementally engaged and emotionally
healthy.
To learn more about us, you canvisit us on the web at
leadershipvisionconsultingcom.
Hello everyone, my name isNathan Freeberg and today on the
show, we are thrilled to shareour inspiring conversation with
(01:13):
Tricia Brooke, a director,producer and public speaking
coach who has made it hermission to help leaders,
entrepreneurs and changemakersof all kind find and amplify
their voices.
Trisha is the founder of the BigTalk Academy, a speaker
development program, and hasdirected TEDx stages and other
high-profile events, helpingspeakers deliver authentic and
(01:36):
impactful messages.
In this episode, trisha takes uson a journey through her
amazing career, from her veryearly days as a professional
dancer, gracing world-renownedstages like the Paris Opera and
Lincoln Center, to becoming achoreographer, a director and
(01:57):
now a champion for publicspeaking.
She shares how her dancebackground taught her discipline
, intuition and the power offlow, all of which she now
implements to help speakerscraft and deliver transformative
messages.
Linda and I discuss with Trishaher approach to overcoming
limiting beliefs, creating safeenvironments for people to take
risks, and why truly listeningis the key to uncovering
powerful ideas, actionable tipsfor commanding any room with
(02:26):
confidence, humility and alsoreminding us that coexisting
with fear is part of how we helpmake our voices heard.
Make sure you listen to thewhole episode, as she has a
great free gift for everyone atthe end of it, and we just think
you're going to love thisepisode, as you'll be inspired
as we explore the profoundimpact of speaking with dignity,
respect and purpose, whetheryou're a leader, a speaker,
(02:47):
professional speaker or justsimply someone with a message to
share which, let's be honest,that's probably all of us.
We think this episode is justpacked with some practical
wisdom and heart.
Let's get into it.
I want to read this littleblurb about you and then I have
kind of a directed way I wantyou to introduce yourself, if
(03:08):
that's okay.
Speaker 1 (03:09):
Yeah, I'm in your hands.
Speaker 3 (03:10):
Okay, so Tricia Brooke is a director, producer
and public speaking coach knownfor her work in guiding leaders,
entrepreneurs and changemakersto become impactful public
speakers.
She founded the Big TalkAcademy, a speaker development
(03:49):
program, and has directed youhad such a variety of different
ways that your voice has beenable to come about on different
stages.
How, and maybe who, did yourvoice come about and then what
was it in that process?
That said, I want to help otherpeople get on their proverbial
stages.
Like talk us through thatjourney a little bit about where
(04:10):
did all that come from?
Because if you look at yourwebsite like, you've worked with
some really interesting, reallyfun, well-known people and just
also a lot of I don't want tocall them random people, but all
the testimonies or just otherfolks that just want to get
their voice out there.
So where did all that come from?
Talk us through that process.
Speaker 1 (04:28):
Well, I'm really excited to be here.
Linda and Nathan, Thank you forhaving me.
I am from Arnold, Missourioriginally, which is a small
town 20 miles south of St Louis,and I knew that I was going to
move to New York City to pursuea career in dance.
I had posters of Baryshnikovand Gelsie Kirkland on my wall,
like all of the young girls, andI watched PBS and emulated all
(04:52):
of the ballerinas doing theNutcracker Swan.
Speaker 2 (04:55):
Lake.
Speaker 1 (04:56):
Giselle Don Quixote all of the dancers and I went to
school for dance in Columbia,missouri.
I went to a liberal artswomen's college.
I got my BFA in dance and movedto New York City at the age of
20.
Risk averse and I had a lot ofgrit, I was not going to take no
(05:27):
for an answer, and that'sexactly what I did.
And I started dancing incompanies and touring the world.
I performed with LucindaChild's Dance Company, the Big
Dance Theater, robert Wilson.
Wilson, Ben Munisteri, DavidGordon and in 2019,.
(06:00):
No, in 2000, I performed withBaryshnikov, so I manifested
that for myself from a wonderfulperformance career I mean, I
was on stages at the Paris Opera, the Vienna Opera House, the
Brooklyn Academy of Music,Lincoln Center, Palermo, Lisbon.
I am very grateful and had anincredibly privileged dance
career.
I was one of those dancers thatactually got paid to dance I'm
(06:23):
not talking about a lot, but Idid get paid to dance and I
realized that I wanted to retirein a way that was on my own
terms and I had been given allthese solos throughout my dance
career.
So I decided to do a one-womanshow with all of the solo dances
that other choreographers hadmade on me in my career and then
(06:46):
create my own solos and Icalled the show Dining Alone and
it was a 90-minute one-womanshow of me kind of creating the
culmination of my dance careerso that I could go out on my own
terms, while I was still at theheight of my career, and I talk
about it like a Zen sandsculpture, like the mandalas
that the Buddhist monks create.
(07:08):
They take a really long time tocreate these gorgeous mandalas
that are made of sand.
It's very intentional, it'svery methodical, they're
incredibly beautiful and whenthey're done, they wipe them
away, and that's exactly what Idid.
I was very methodical.
I spent nine months giving birthto my final show and then
(07:29):
decided to move into being onthe other side of the table
other side of the camera, if youwill as a choreographer and a
director, had a very successfultransition move into being a
choreographer in film,television and theater.
The first feature film that Ichoreographed was john
turturro's romance andcigarettes okay, a dream cast.
(07:53):
This cast included kate winslet, susan sarandon, uh, bobby
cannavale, james gandolfini, whoI became very good friends with
, eddie izzard, steve busBuscemi, christopher Walken,
susan Sarandon it was a dreamcome true, that's like yeah.
(08:13):
And then just moved andtransitioned into more film and
television as a choreographerand then realized that I could
direct because I was superorganized and really when you're
a director it means you'reorganized and you cast well, and
those two things I knew how todo, and so I started directing
(08:34):
shows and then realized thatthere was a deficit in female
writers so I started writing myown work and producing my own
work.
And that kind of risk taking andthat kind of discipline and
determination was completelybirthed and born out of me being
(08:55):
a dancer.
If there wasn't a door for meto walk through, I would build
my own.
And so I was doing my own thingin the world of showbiz in New
York City and, out of the blue,a friend of mine said I just
landed at 10 stage, will you?
(09:17):
direct me and I said, sure, I'lldirect you like a one woman
show.
And we worked on choreographyand blocking, we worked on
script analysis and performanceand I worked with her just like
I work with actors and sheplanted this seed.
And this woman's name is PetraColbert.
She's a dear friend of mine andshe's an incredible,
influential voice and what Irealized during this process was
(09:41):
if I can help give a voice tosomeone like her, who's a
thought leader, who has theripple effect of creating change
in the world, I can actuallyleave a lasting legacy that is
beyond me.
Being in a theater and limitedto the number of people in the
audience and the length of thetime I'm on stage right
(10:04):
and then I just gave over to itand I'm still working in film,
television and theater.
But now I just call in all ofthese incredible professionals
who want to use their voice forimpact and I had all of these
speakers coming to me wanting meto direct them like an actor,
because that was unique.
Like an actor, because that wasunique and for a producer, the
(10:27):
best stage you can produce forspeakers is a TEDx stage.
So I became the executiveproducer of TEDx Lincoln Square,
produced it for two years inNew York City, went on to
produce Speakers who Dare,founded the Big Talk Academy,
and now what I realize is it'sfar beyond that.
It is speakers who are talkingabout AI ethics at the World
Economic Forum.
It is speakers who are speakingin the White House during
(10:50):
impeachment trials and hearings.
It is people who are runningfor the mayor of New York City.
So you mentioned briefly, nathan, the number of people on my
website.
Yes, I have worked with someamazing public officials, a lot
of celebrities and people whoreally want to use their voice
(11:12):
to impact, and part of ourvision at the Big Talk is to
unite humanity through speech,and that is where my voice comes
into this.
As a dancer, I used my body toexpress and to communicate, and
now I can direct other people touse their voices, and I can
also inspire people tounderstand that when you speak
(11:35):
with dignity, curiosity,humility, respect and love, we
can, you might unite humanitythrough speech.
Speaker 3 (11:41):
Yeah, what I, what I love about that is that you went
from the person with all theeyes on like as the dancer, the
principal, to the person behindthe scene that nobody will know
who that is, and that's, I think, hard for people to do, because
you're used to that spotlight,you're used to being out that
(12:02):
front.
So I guess good for you forbeing able to do that and
realizing you're moreinfluential in the back, so to
speak.
I'm curious, who gave you thatgrit and drive that you
mentioned?
Was that a parental thing?
Was that a mentor?
Was that a teacher?
Where did that come from atsuch a young age?
Speaker 1 (12:20):
I think it came from being naive.
I didn't know what I didn'tknow I didn't know that I
couldn't do anything, becausenobody told me I couldn't do
anything.
My dance teacher, SharonMcGuire, was definitely
influential.
She's still very present in mylife.
She just turned 75 and she wasmy first dance teacher and she
(12:41):
comes to New York for all thethings that's so cool so she was
definitely an influence interms of believing in me.
It really comes down to I neverthought I couldn't.
Hmm, yeah.
Speaker 3 (12:56):
That's yeah.
I'm thinking about that both asthe like as a parent and also,
as you know, as a.
You know, when you'reinfluencing other, like as a
leader, how do you influence thepeople you're leading, how do
you give them Cause?
In some ways, that's the samemessage of you know, as long as
it's like, it's not immoral orillegal.
(13:18):
Like, how do you encouragepeople to take risks, to keep
trying until there's some sortof I don't know barrier that
they run up against?
So that's a powerful message.
Speaker 2 (13:35):
Trisha, is there a sweet spot for you, in
particular as far as some ofyour clients, or is there
something that really amplifiesyour excitement?
When someone else's voice isamplified or they're able to
really dial in their message,like, what is it that brings you
the most most life in your workright now?
Speaker 1 (13:56):
There's a lot that brings me life in my work right
now and being able to supportpeople in this way and knowing
that I'm leaving a lastinglegacy.
You talked about being a parent.
I am, yeah, to impact the world.
The sweet spot for me is whensomeone identifies a limiting
belief and can release it, sothat they can let go of the
(14:32):
story that they're tellingthemselves that they can't, that
their voice doesn't matter,that what they have to say has
been said by someone else.
And so when somebody's ahamoment happens and the light
bulb goes off and they embodytheir worth and they start
walking in the world in more ofan embodied way, that, for me,
(14:54):
is everything.
Speaker 3 (14:55):
Yeah, how do you do that, joanne, like it's funny I
wrote.
One of the quotes I wrote downfrom your book is, when you
allow limiting beliefs to standin the way of your powerful
voice, you're preventing someonefrom hearing your very
important message.
So, whether that's in aboardroom, on a performance
stage, how do you help peopleleaders, performers, you know
(15:16):
get out from under that limitingbelief of I can't do this, I'm
not good enough, I'm notwhatever, like?
Do you have a quick tip andtrick that we can just cure
everyone of their limitingbeliefs?
Just real quick, because I'msure it's easy.
Speaker 1 (15:29):
It's yeah, super easy .
That's why we can all solve theproblem, yeah.
In the next 30 seconds.
Most of your listeners probablyall of your listeners would
never silence someone else.
They would never judge someoneelse's opinion.
(15:51):
I think we can all coexist,whether we have the same
opinions or not, and that'ssomething that is a really
important piece to thisidentifying your limiting belief
.
And that means, if you're notjudging other people for how
they think, if you are notsilencing someone else's voice
(16:12):
and you do it to yourself, thatmeans you're violating your own
principles.
So why would you violate yourown principles of keeping quiet
or not using your voice when youbelieve that all voices matter
and that you believe all voicesshould be heard?
The second part of this, theleadership part, is my job as a
director in a rehearsal studiois to make the environment so
(16:37):
safe that my actors can takerisks and be honest with each
other, and that means sittingback and listening and allowing
them to take the risks andstepping in when I need to, but
not before I need to, guidingthem when they need it.
But the reality is they knowmore about the character than I
(16:57):
do, and if I get in their wayand I impose my thoughts onto
them, I am preventing them fromhaving the truth of the
experience.
And it's the exact same thingwhen it comes to my team.
It's my job to create a safespace so they can all be in
their zone of genius and theycan communicate and have a scene
(17:19):
with one another and get to thetruth of the scene.
Speaker 2 (17:25):
Give us an example.
I mean erase the names butpaint a picture of what that
looks like, or when you saw thatspecific person.
You know take risks becausethey felt safe.
Speaker 1 (17:43):
I worked on a television show for ABC.
I was the choreographer and Iwas the what they call it the
intimacy coordinator.
Now it was really at the timeit was the sex coordinator.
It was a little little lessappropriate.
I like that.
That's funny.
And what that means is for me Iwould choreograph the scenes
(18:19):
based on what the character wasgoing through emotionally.
Okay, I would do thechoreography with the dancer on
location in fully clothed,nothing inappropriate, yeah, so
that the actors could see whatwe were doing, and it eliminated
(18:43):
any fear, any discomfort,because they had to do the
choreography and because I wasalways available and present and
putting myself out there first,I put them in a place of
comfort and safety because theysaw me doing it and it wasn't
hard or uncomfortable or awkwardor sexual.
It's a job.
Awkward or sexual, it's a job.
(19:03):
It's a job and, as an actor,that's what you need to do and
that was a show that I worked on, the movies that I've worked on
, and when it comes to actorswhether you're an A-list
celebrity or a day player, thesecond there's a choreographer
(19:24):
on the set and you're supposedto dance everyone gets scared
out of their minds.
Speaker 2 (19:29):
Yeah, of course.
Speaker 1 (19:31):
And so my job is to make everyone feel safe, which
means I make myself silly,awkward, uncomfortable,
immediately, in order to createan environment where I'm not the
choreographer.
I am your colleague.
We're working together on thisscene.
We're going to make it the bestthing possible.
(19:52):
I'm here to support you.
It's the same thing with myspeakers.
It is not about me, it is aboutthem, it's about their message
and mission, and so, as a leader, it's my job to remove any and
all ego Right and show up inservice of my, my speaker and my
actor.
Speaker 2 (20:12):
I love those examples , Tricia, because it's it's
similar to how we conduct ourengagements or work with teams,
or whether it's a board oftrustees or a C-suite or a fully
clothed.
No, but the our adage isleaders, go first, Leaders go
first.
And we say that by way of notout in front, you know, leading
(20:36):
the parade and getting all theaccolades, but modeling it first
.
So if you want safety in yourorganization, on your team, you
have to see what that looks like.
And so a lot of times whenBrian and I introduce ourselves
to our clients, it is, you know,I will tell the story of what
happened to me and how Isurvived breast cancer and how
(20:59):
it was a pivot point in my lifeand that allows other people to
access their own humanity, theirown suffering, their own
flourishing as a result ofpaying attention to their lives
and letting it teach themsomething.
And so when we do that, all ofa sudden people kind of look
around and, yes, they're takingthe same kind of risks, they're
(21:22):
responding in similar ways.
Obviously, we're notchoreographing anything other
than team dynamics, hopefully,but um, yeah, that's the.
Thing those are.
Those are powerful examples.
Speaker 3 (21:33):
Thank you yeah, how does that work?
That same idea work in failure,because I we were talking
interviewing another author acouple weeks ago that was
talking about, like a lot oftimes, teams.
I mean in life, we learn themost, I think, through failure.
We learn when us.
You know, in this example, likea scene doesn't work and why,
(21:54):
when a decision didn't work andwhy, and then we can go back the
next time.
You know you pick any sportsmetaphor that you know baseball
players fail seven out of 10times at the plate or you know
whatever it is, there's so muchfailure.
So how do you apply that sameidea of safety in?
You know you've made a creativedecision that is like that is
(22:14):
not right for the characterYou've got.
You know all of your colleagues, your fellow performers around
you to create an environmentwhere it's like, yeah, that was
a really bad idea, and theydon't feel defeated, they don't
feel embarrassed, they don'tfeel like shrinking back into
that shell, like talk a littlebit about that, because I have a
hunch that if the stage is likereal life, like most ideas
(22:34):
don't work, at least the firsttime around, right Is that?
Am I off on that?
Speaker 1 (22:39):
Yes, and you have to try all the ideas to determine
collectively what the best ideais.
Right.
And I often start with can wetry the worst idea ever?
Can?
Speaker 2 (22:50):
we try my worst idea ever.
Can we try my worst idea?
Speaker 1 (22:51):
ever.
And then I acknowledge thattruly was the worst idea.
Thank you for humoring me.
Speaker 3 (22:58):
Get it out of the way .
Speaker 1 (22:59):
Yes, and or letting my team know that it's
ultimately my fault myresponsibility Sure.
And when something doesn't gowell or I make a very quick
decision to hire the wrongperson, it happens and then
(23:29):
there's total chaos in the teambecause, the wrong person wants
to blow everything up and dotheir own thing and I've created
massive stress for everyone andanxiety and uncertainty.
I have done that and I have hadto go in and say I will not do
that again.
That was completely on me.
Everything that was promisedwas my responsibility.
(23:50):
Even though it was someone elsemaking the promises, I take
full responsibility for hiringthat person.
Speaker 2 (23:59):
Yeah, so even with like, because I hear that like
you're owning it, and I likedwhen you said I'm a director
with you, know your cast ofcharacters, your speakers as
well as your team.
You know your cast ofcharacters, your speakers as
well as your team.
My question was going to bearound then what are some of the
secrets of casting?
Speaker 3 (24:16):
Well is, is it learning?
Speaker 2 (24:20):
the learning from some of the mistakes, hiring
Well and and really finding,really finding the talent that
he's either ready, or ready atthis time in history or ready
for a role that that you have aneed for, Like what does that
look like?
Speaker 1 (24:36):
Such a great question , linda.
And casting and hiring arereally the same for me.
I've made the mistake ofcasting someone I liked, someone
(24:57):
I liked and they couldn't sing.
I've made the mistake ofcasting, of hiring someone I
liked and they couldn't do theirjob.
It was exactly the same thing.
So, yes, I want to like theperson because we're going to
spend, hopefully, years togetherin collaboration, but it really
has to start with their ability, slash their talent, and when I
understand that they'rebringing a talent to the role,
(25:20):
then we can create arelationship which is mutually
respectful, liking each other,all the things.
And it's the same thing whenhiring a team.
If I hire somebody because Ilike them and they're not
working out, it becomes it's aproblem for the entire team and
then it takes forever to letthem go, because you like them
(25:41):
and you don't want to fire them,and even though it's holding up
, the forward momentum of theteam and the forward progression
of the company and all of that.
So I think, making sure thatyou're hiring for talent, making
sure you're hiring forlongevity, and then you want to
also like the person and youwant to have a little bit of
(26:02):
insight into what they dooutside of the work, outside of
the job, but it really thebiggest mistakes I have made in
hiring and casting is decidingon someone because I like them.
Speaker 2 (26:16):
Yeah, yeah, which feels like it is.
It feels like it really isimportant.
Um, a mentor of mine would sayyou know, she, she could
maximize the talent of anyindividual, but she was a
terrible hiring agent.
(26:37):
Like she could not hire theright people.
And I asked her, like well, whyare you completely out of this
process?
And she said because I put allof my good qualities on a person
that I happen to like and thenthey immediately disappoint me
because not only can they not dowhat I just think is normal,
(26:58):
but then they can't do the job.
I'm asking them as well she said, but my expertise comes in when
they're hired and then I canstart moving them around and
find like that perfect, thatperfect place for them, moving
them around and find like thatperfect, that perfect place for
them.
So even just knowing, knowingwho you are as a, as a casting
or directing agent, right,that's, that's important, yeah.
Speaker 1 (27:20):
Yeah, and I have a director of operations who leads
the hiring process.
Now Perfect.
And then I decide between two.
Yeah, okay, it's a littledifferent when you're directing
a show, because the talent isreally apparent.
And so the right talent isgoing to be the right fit, but
when you're working with a teamfor a long period of time and
(27:42):
several years, it's reallyimportant that they can do their
job.
Speaker 2 (27:47):
Yeah, can do their job.
So when you, when you'reworking with people, uh, one of
the things that stood out to mein another podcast was the, the
active listening sessions Am Icalling it right?
Is we find in our work it's onething to be a good uh speaker
(28:08):
and it's another thing to reallylisten to the song beneath the
words, the heart of what'sreally being said, that voice
that's maybe under just a crustor something that just needs to
be knocked loose.
Can you talk to us and ourlisteners about what listening,
(28:29):
active listening sessions, looklike and what you've maybe
learned from?
Speaker 1 (28:35):
them.
Absolutely.
The active listening sessionfor me is how I get to the heart
of the big idea.
When a thought leader or aprofessional comes to me and
they want to speak aboutsomething, 99% of the time they
come to me and they have apreconceived idea of what it is
they want to talk about.
(28:55):
And after our conversation theyrealize, oh, I did not know,
this was what I wanted to talkabout.
And through that process ofactive listening, it is one of
my gifts is that I can readbetween the lines and allow
myself to hear what they mightnot be saying.
(29:17):
And here is an example KristenSmedley came to me and said I
want to do a TED Talk.
I want.
This was before I was a TEDxproducer.
She said I've founded afoundation around rare eye
disease.
I have three children and twowere born blind, and I want to
talk about rare eye disease.
And after our active listeningsession, which is about two
(29:39):
hours, I said kristin, I thinkyour talk is actually not about
rare eye disease.
I think your talk is about howyou learned to see through the
eyes of your children.
Wow.
Right, yeah, that's part ofactive listening Another speaker
of mine, marie Elizabeth Mollie.
She came to me and said I wantto do a talk about relationships
(30:00):
.
And I said I don't think youshould do a talk about
relationships, let's just waitand let's have some sessions.
And you know, I think there'smore there and over a period of
months I would just keeplistening and I would just keep
listening.
And on one of our sessions shecame back and she said I just
got back from Cabo.
(30:21):
It was such an amazing trip.
She's an underwaterphotographer and scuba diver and
she shared that she was takingthese incredible pictures of
these seahorses and the femaleseahorses would give the male
seahorses the eggs and the maleseahorses would hold the eggs
until they would birth newseahorses.
And this sea life would do thissea life.
(30:44):
And it was all very fluid andshe was telling me about this
and I got the hit what sea lifecan teach us about gender
fluidity.
And that became her TED talk,her signature, and not be afraid
(31:26):
to open up a conversation whenthey are having an experience of
gender fluidity or pronouns orwhomever.
Whatever they're experiencing.
They now have a catalyst for aloving conversation because of
marie elizabeth molly's anamazing talk about how sea life
(31:48):
can teach us about genderfluidity and its nature.
Yeah, it's real.
It's seahorses.
Speaker 2 (31:56):
And stories are compelling, they're memorable.
That's why, when we used toolsor psychometrics assessments,
they kind of fade into thebackground, because what we
really want to unearth is thestory, the image, the voice of
of an individual, so that theyknow how to be a better team
(32:18):
member or contributorcontributor in society.
Um, when you so.
So I'm listening to you as I'mactive listening to you just in
a few minutes.
Um, it seems like you just havethis intuitive way of knowing.
Is what does that come from?
Dance?
Um, meaning the way that youhear people, see people, almost
(32:40):
feel them.
Um, anticipate.
I don't know if it's a Jeditrick or I don't know what I'm
listening for, but do you knowwhat I'm asking?
Is there something, even fromthe way that you moved through
space as a dancer, that gave youthat kind of knowing?
Speaker 1 (33:02):
I have not thought about this in this way, linda,
and I want to thank you becauseyou're identifying something for
me for the first time, which isthe word anticipate.
When I was on stage for thosemany decades, it was my job to
not only anticipate my next movebut my partner's next move
(33:26):
because we were not speakingmove because we were not
speaking.
So the intuitive anticipation,energetically of knowing what
was coming next, it is thatprofound flow and when I am
working with a speaker or anactor in a scene, I allow myself
to move into that flow and Ithink I really did flex the
(33:53):
muscle of anticipation which hasserved me now yeah.
Speaker 3 (33:58):
Yeah, that's so cool.
Speaker 2 (34:00):
And you're teaching other people to do it as well.
Once again, brian's not here,but if he was, you would see
kind of what our clients see inthe, in the synergy that happens
when the two of us are kind ofplaying off each other and we
are similar in the way that wecan command a room.
We almost intuitively know whenthe other person's voice needs
(34:26):
to be heard and then when toback up.
That's a dance, how right?
Yeah, and so the dance, and sopeople enjoy and find growth in
the dance that we have.
And and so when people havesaid, like, what is it about you
, the both of you, like we'recrying, we're trying to create a
great big space for you to playin that as well.
(34:48):
But I, I like the intuitiveanticipation with energy, like
you're also giving me some somevery good words.
So I appreciate that.
Speaker 3 (34:59):
Yeah, I have a.
One of the chapters from yourbook that really stuck out to me
was the chapter about fear, andI think it's fear and how it's
getting in your way.
I think was the title of it andthere's a quote fear is not
about you, it's about the peoplewho need to hear your message.
As I thought about fear, Ithought about like I've done a
(35:22):
lot of stuff on stages all theway not to brag, but I was Danny
Zuko in my high school musicalproduction of Grease.
There's that type of fear oflike am I going to remember my
lines?
Am I going to sing off key?
There's a fear of being in aroom with other leaders, of am I
going to be smart enough tocontribute?
There's a fear of being up.
There's all these differenttypes of fear we have and I'm
(35:45):
just I'm curious if you can sortof maybe share with our
listeners what this chapter isabout, because, whether it's
imposter syndrome, whether it'sjust your rational fear of
whatever, like, all of us havesome sort of fear that's just
getting in our way, and I likehow you said that.
So I'm wondering if you canjust talk a little bit about
this chapter and how you shareor how you help people get over
(36:08):
their fear of whatever.
It is.
Um, cause, it's one thing to belike I'm afraid to get up in
front of people and talk, versuslike I'm afraid I'm not good
enough to do what I need to dohere.
Does that make sense?
It's sort of a wide open canvasto like help us not be afraid
of ourselves anymore.
Speaker 1 (36:23):
I think the, the commonality and the through line
of all of the experiences youjust shared, nathan, is that
that particular fear is aboutyourself.
Yeah, I might forget my lines,I might not do a good job, I
might not show up in the waythat is going to be impactful.
(36:44):
I might do this.
What if I fail?
What if they think I'm terrible?
What if I?
It's all ego driven.
Yeah, yeah.
And as soon as you can rememberthat it's not about you and that
you can give your fear abackseat and you, you may, you
move into serving, being ofservice to the audience, service
(37:04):
to the room of service, to theperson who is meant to meet you
at the event that you reallydon't want to go to because
you're an introvert and it'scold out and you have to get
dressed.
That's when you can let go ofthe fear.
The other thing that is reallyimportant and it's a tool is
your body is going tophysiologically betray you, no
(37:27):
matter how many stages you havebeen on.
Speaker 4 (37:29):
I have been on thousands of stages betray you,
no matter how many stages youhave been on.
Speaker 1 (37:32):
I have been on thousands of stages.
I still have weak knees,butterflies, dry mouth, sweaty
palms.
Your body will alwaysphysiologically betray you if
you care about what you're doing.
So how do you coexist with thatphysiological betrayal?
You put yourself in a positionof creating a
confidence-competence loop.
You rehearse under mildpressure in front of your family
(37:55):
and you put yourself in thatphysiological response and you
know you can get through thepresentation a little bit more.
Speaker 2 (38:11):
Invite a bunch of people over, give the
presentation and then you canprove to yourself that, while
I'm feeling sick and I havestress, dry mouth and palms that
are sweaty.
Speaker 1 (38:17):
I can still deliver this, even though my hand is
shaking uncontrollably.
I didn't let it stop me and Icouldn't stop my shaking, but I
didn't let it stop me and Ididn't call attention to it, and
that's how you make it.
That's how you coexist with thefear.
Speaker 2 (38:30):
I like the example because I've had people say you
know, how do you just make it sonatural in front of people?
It's like you don't see myheart.
That's that when I look down Ican see the I can see the fabric
of your exactly the movement ofthat and and so you know that
that confidence loop for me is Iput my shoulders back.
(38:51):
Yeah, and just even the act ofrolling my shoulders there's a
sense of okay, I hear you heart,I hear you beating chest.
I know that this is important,I got it.
I got it and I have somethingto say, and so let's go, yeah.
Speaker 1 (39:11):
Thank you beating heart for letting me know that I
care yeah.
Speaker 2 (39:15):
A lot about, about what that is, and and sometimes
sharing those pieces with people.
It's like oh no, I you didn'tsee my, my knees shaking
underneath my parachute pants,so um she still wears parachute
pants.
Yeah, Anyway they're comingback in, I guess.
I don't know.
Speaker 3 (39:35):
That's kind of what I was going to ask, or maybe just
ties in of.
You know, you have anotherchapter to talk about, rehearsal
and you can rehearse a speech.
You can do that with, get allkinds of feedback.
But when it's like an in themoment thing, what are some very
practical tips, like what Lindawas kind of saying of like no,
I got this.
You know, put your shouldersback, Like are there other
things like that that you canhelp people, leaders with that?
(39:56):
In that moment of people arelooking at me to do a thing.
You know, for me, I always, youknow, it's like a couple of
deep breaths before I'm, youknow, going up in front of
people or just like whateverthose tips and tricks, what are
some things like that that aremaybe super practical but people
just don't know about becausethey're not in that you know
quintessential stage in a 5,000seat auditorium.
(40:17):
They're just in front of theirteam of five or 10 people and
they still need some sort of youknow, help me practice this so
I don't fall on my face.
Speaker 1 (40:27):
Deep breaths is great .
It's also remembering that yourteam wants you to win.
They're there championing you.
They don't want you to lose.
They want you to succeed.
They want to hear from you.
They respect you.
They're excited to hear whatyou have to say.
The other thing is and that'syour responsibility- I like that
(40:47):
.
Speaker 3 (40:47):
They want you to win, they want you to do well.
It's not an adversarialrelationship, it's a yeah,
you're doing it together don'tjust stop at you know expressing
(41:24):
what's so beautiful about you.
Speaker 2 (41:25):
Take it a step further to yes, see the audience
receive their gift.
I like, I love the language ofbeing life-giving, of being
generative, of um, the giftsthat go both ways.
That, for me, is is superpowerful.
Speaker 1 (41:38):
That's the scene you're in.
Yeah, even if they're notspeaking back in a in a in a
dialogue even if it's amonologue, it's your scene.
If they're your scene partnerand they deserve to have that
connection with you yeah, I lovethat.
Speaker 2 (41:56):
Yeah, trisha that, yeah, I have to ask because
we'll we'll pause every once ina while and do this with the
people that we work with, theleaders, um, because we want to
pause and just ask you what'scapturing your attention or
imagination right now.
I'm knowing that you have beenon many stages, that you um have
(42:18):
been with some reallyincredible people.
What have you found yourselfsaying to yourself, as, as
you've been sharing your wisdomwith us, as you've been
interacting with us, what aresome of the things that are
standing out to you from thistime together?
Speaker 1 (42:37):
Right now, what's top of mind is how to support as
many people as possible tocommunicate with dignity and
respect.
I love that.
That is something that is achallenge right now.
I live in the United States andI am not a fan of hate and
(43:03):
separation.
I truly believe that all voicesmatter and we can come together
, no matter what our politicalbeliefs.
So what's really top of mindfor me right now is how to be a
voice for all opinions, and I amextremely liberal.
(43:23):
Everybody knows that.
You read my book, you know how.
I feel, and I also think thathate speech is toxic and
separates us and we are morelike than we are not.
So what I'm speaking aboutright now is how do we create a
movement where we come togetherand we start communicating and
(43:46):
hearing one another and reallyrespecting each other's points
of view, so that we can cometogether and stop being
separated?
Yeah, I love that.
Speaker 2 (43:58):
And I the that you're this intuitive anticipation of
goodness and not anticipatingautomatic hate or retribution
assuming positive intent yeah,the the anticipation of goodness
, that's yeah I'll sign up forthat movement.
I'm'm with you, I'm glad.
Speaker 1 (44:19):
I truly believe that we're in a place of conscious
awakening right now.
Yeah, and my middle name isDawn, and that was after the
dawning of the age of Aquarius,which we're moving into
astrologically.
Speaker 2 (44:32):
And so the timing could not be more perfect, wow
so really trusting that goodwill prevail and love wins over
evil.
Speaker 1 (44:45):
And I'm not trying to sound like a Hallmark movie
although Hallmark movies arelovely.
I'm simply saying that becauseof these conversations like the
one we're having, Linda andNathan, because we're giving
people an opportunity to hearwhat's possible and to
understand that their voicematters, how they show up
(45:06):
matters, how they vote matter,how they respect and hear other
people's voices.
That's how we create acollective consciousness for
good.
Absolutely.
Speaker 2 (45:16):
Well, I think people need to know the postures even
Right, absolutely Well, and Ithink people need to know the
postures even right, so it's notjust even words, because what's
capturing my imagination iseven what you do when you say
blocking, and you know themovement.
How do we have that posture ofgoodness to even receive before
(45:38):
we speak?
Thank you for all the work thatyou're doing.
This is yeah, it's veryinspiring.
Speaker 3 (45:45):
So Tricia Linda mentioned like how she and Brian
command a room, and command ismaybe a little bit of a strong
word, but I like it because it'sit kind of sets the stage,
whether that's a boardroom, aclassroom, a stage stage,
whatever it is.
I know that you do some workaround this and I'm just curious
if you have any resources thatyou might be able to share with
our audience where they could golearn more about this idea.
Speaker 1 (46:07):
For sure.
I want to start by sayingcommanding a room doesn't mean
that you have to be full ofyourself.
You can command a room andstill have humility.
That's right and that's what Iteach in the on-demand
masterclass.
Command Any Room and if you goto trishabrookcom forward slash
command, you can register forthis free on-demand masterclass
(46:30):
and start putting into practicecommanding any room that you are
in so that you have the kind ofimpact and can leave the
lasting legacy that you desire.
Speaker 3 (46:39):
I love it.
It's time to stop being awkwardand uncomfortable and command
any room.
I just pulled it up right now.
I love this.
I'm going to absolutely do this.
Speaker 2 (46:47):
She meant later, not while we're recording, but I was
like I'll forget.
Speaker 3 (46:51):
This is so.
I haven't, I don't sign it up.
This is so wonderful, Trisha.
I have kind of, I guess, afinal question.
So kind of I guess, a finalquestion.
So your book came out a coupleof years ago.
It has overwhelmingly positivereviews on Amazon and the book
is the Influential Voice Sayingwhat you Mean for Lasting Legacy
.
I guess I have kind of twoquestions.
(47:12):
What has been something thatthe feedback that you've
received from it, from peoplewho have read it and gone
through it, that surprised youLike, oh, I was anticipating
that.
And then what is something thatmaybe you wish you would have
said differently?
Or if you could go back andrewrite it today because I know
writing a book is super easy,you would include this or update
this, or so I guess kind of twoquestions in one there.
Speaker 1 (47:34):
The surprise for the book was I designed the book to
be a book about how tocommunicate effectively,
disguised by a book about beinga good human being.
Speaker 3 (47:46):
I got that.
I like yeah, good, good trickthere.
Speaker 1 (47:49):
And the adjustment that I would make, and when I do
a republish, would be toinclude more gender neutral
pronouns.
Speaker 3 (47:57):
Yeah, that's probably not.
Wasn't top of mind back then.
But yeah, what about thesurprising part?
Speaker 1 (48:02):
I think the surprising part was how
interested people were in mypersonal story as a dancer and
where I grew up and how I havebecome the influential voice
that I've become.
From where I grew up, I thinkthat's been a surprise for
people yeah.
Speaker 2 (48:20):
Because of assumptions that you think
they've made about you, or maybeeven judgments of oh well, she
did this and worked with thesepeople, so I assume that, or is
it just a?
Yeah, how does a?
Speaker 1 (48:31):
dancer.
How does a dancer create asuccessful business around
teaching thought leaders to haveimpact?
How does that happen?
Speaker 3 (48:39):
It's not exactly a straight line, but I can
definitely see how you would getthere from having that much
experience in front of people sowell.
Tricia, thank you so much.
We've taken up almost everyminute of our time here, really
appreciate it.
Speaker 2 (48:51):
Oh, I have chills.
I am beyond grateful.
Thank you for being generouswith your story and your time.
Speaker 3 (48:57):
Told you this was going to be fun.
Speaker 1 (48:58):
Ooh, Thank you for being generous with your story
and your time.
My pleasure.
I appreciate this connectionand future collaboration Really
really meaningful.
Speaker 3 (49:06):
Thank, you, tricia.
Thank you so much for takingthe time to chat with us.
We all have a voice, we allhave something we want to say,
whether that's from a giantstage or a much smaller stage, a
digital stage, a physical stage, whatever it is.
And how we communicate matters.
(49:31):
How we learn to command a roomto command not in an egotistical
way or in a self-aggrandizingway, but how do we get our
message out, and if it'ssomething that we really believe
in, we need to communicate that.
I love what Trisha shares thereand I also want to make sure
that you are aware of hermasterclass, which is free.
She's giving it away to ourlisteners.
If you go to Trisha Brookethat's T-R-I-C-I-A-B-R-O-U-K dot
(49:56):
com slash command you can getfree access to that masterclass.
There's links to all of this inthe show notes.
But, tricia, just again, thankyou for taking the time for
sharing your message with us.
We really appreciate it and,listeners, we hope that you find
value in this and that youshare it with someone else.
We just really appreciate youlistening to the Leadership
(50:17):
Vision Podcast and hope that youcan share our message of what
we do empowering others to kindof find and understand the
beauty and brilliance withinthemselves so that they can lead
not only themselves but a teamand organization and just really
build positive team culturethroughout our society.
So thank you for listening tothe Leadership Vision Podcast.
(50:40):
As I mentioned, you can learnmore about us on the web Click
the show notes or go toleadershipvisionconsultingcom.
You can find us on all thesocials and join our free email
newsletter and, again, sharethis with someone that you think
could find value from this.
My name is Nathan Freeberg and,on behalf of our entire team,
thanks for listening.
Give yourself the opportunity to accept the gift
from your audience before yougive them yours.
Receive their time andattention.
Before you deliver your speech,your presentation, whatever it
is, whether it's in theboardroom, whether it's across
(00:24):
from students in a classroom,take that in.
See them, receive theirbeautiful faces shining up at
you and remember that they arelooking to you to be their
leader.
Your team wants you to win.
They're there championing you.
They don't want you to lose.
They want you to succeed.
They want to hear from you.
(00:44):
They respect you.
They're excited to hear whatyou have to say.
Speaker 3 (00:49):
You are listening to the Leadership Vision Podcast,
our show helping you buildpositive team culture.
Our consulting firm has beendoing this work for the past 25
years so that leaders arementally engaged and emotionally
healthy.
To learn more about us, you canvisit us on the web at
leadershipvisionconsultingcom.
Hello everyone, my name isNathan Freeberg and today on the
show, we are thrilled to shareour inspiring conversation with
(01:13):
Tricia Brooke, a director,producer and public speaking
coach who has made it hermission to help leaders,
entrepreneurs and changemakersof all kind find and amplify
their voices.
Trisha is the founder of the BigTalk Academy, a speaker
development program, and hasdirected TEDx stages and other
high-profile events, helpingspeakers deliver authentic and
(01:36):
impactful messages.
In this episode, trisha takes uson a journey through her
amazing career, from her veryearly days as a professional
dancer, gracing world-renownedstages like the Paris Opera and
Lincoln Center, to becoming achoreographer, a director and
(01:57):
now a champion for publicspeaking.
She shares how her dancebackground taught her discipline
, intuition and the power offlow, all of which she now
implements to help speakerscraft and deliver transformative
messages.
Linda and I discuss with Trishaher approach to overcoming
limiting beliefs, creating safeenvironments for people to take
risks, and why truly listeningis the key to uncovering
powerful ideas, actionable tipsfor commanding any room with
(02:26):
confidence, humility and alsoreminding us that coexisting
with fear is part of how we helpmake our voices heard.
Make sure you listen to thewhole episode, as she has a
great free gift for everyone atthe end of it, and we just think
you're going to love thisepisode, as you'll be inspired
as we explore the profoundimpact of speaking with dignity,
respect and purpose, whetheryou're a leader, a speaker,
(02:47):
professional speaker or justsimply someone with a message to
share which, let's be honest,that's probably all of us.
We think this episode is justpacked with some practical
wisdom and heart.
Let's get into it.
I want to read this littleblurb about you and then I have
kind of a directed way I wantyou to introduce yourself, if
(03:08):
that's okay.
Speaker 1 (03:09):
Yeah, I'm in your hands.
Speaker 3 (03:10):
Okay, so Tricia Brooke is a director, producer
and public speaking coach knownfor her work in guiding leaders,
entrepreneurs and changemakersto become impactful public
speakers.
She founded the Big TalkAcademy, a speaker development
(03:49):
program, and has directed youhad such a variety of different
ways that your voice has beenable to come about on different
stages.
How, and maybe who, did yourvoice come about and then what
was it in that process?
That said, I want to help otherpeople get on their proverbial
stages.
Like talk us through thatjourney a little bit about where
(04:10):
did all that come from?
Because if you look at yourwebsite like, you've worked with
some really interesting, reallyfun, well-known people and just
also a lot of I don't want tocall them random people, but all
the testimonies or just otherfolks that just want to get
their voice out there.
So where did all that come from?
Talk us through that process.
Speaker 1 (04:28):
Well, I'm really excited to be here.
Linda and Nathan, Thank you forhaving me.
I am from Arnold, Missourioriginally, which is a small
town 20 miles south of St Louis,and I knew that I was going to
move to New York City to pursuea career in dance.
I had posters of Baryshnikovand Gelsie Kirkland on my wall,
like all of the young girls, andI watched PBS and emulated all
(04:52):
of the ballerinas doing theNutcracker Swan.
Speaker 2 (04:55):
Lake.
Speaker 1 (04:56):
Giselle Don Quixote all of the dancers and I went to
school for dance in Columbia,missouri.
I went to a liberal artswomen's college.
I got my BFA in dance and movedto New York City at the age of
20.
Risk averse and I had a lot ofgrit, I was not going to take no
(05:27):
for an answer, and that'sexactly what I did.
And I started dancing incompanies and touring the world.
I performed with LucindaChild's Dance Company, the Big
Dance Theater, robert Wilson.
Wilson, Ben Munisteri, DavidGordon and in 2019,.
(06:00):
No, in 2000, I performed withBaryshnikov, so I manifested
that for myself from a wonderfulperformance career I mean, I
was on stages at the Paris Opera, the Vienna Opera House, the
Brooklyn Academy of Music,Lincoln Center, Palermo, Lisbon.
I am very grateful and had anincredibly privileged dance
career.
I was one of those dancers thatactually got paid to dance I'm
(06:23):
not talking about a lot, but Idid get paid to dance and I
realized that I wanted to retirein a way that was on my own
terms and I had been given allthese solos throughout my dance
career.
So I decided to do a one-womanshow with all of the solo dances
that other choreographers hadmade on me in my career and then
(06:46):
create my own solos and Icalled the show Dining Alone and
it was a 90-minute one-womanshow of me kind of creating the
culmination of my dance careerso that I could go out on my own
terms, while I was still at theheight of my career, and I talk
about it like a Zen sandsculpture, like the mandalas
that the Buddhist monks create.
(07:08):
They take a really long time tocreate these gorgeous mandalas
that are made of sand.
It's very intentional, it'svery methodical, they're
incredibly beautiful and whenthey're done, they wipe them
away, and that's exactly what Idid.
I was very methodical.
I spent nine months giving birthto my final show and then
(07:29):
decided to move into being onthe other side of the table
other side of the camera, if youwill as a choreographer and a
director, had a very successfultransition move into being a
choreographer in film,television and theater.
The first feature film that Ichoreographed was john
turturro's romance andcigarettes okay, a dream cast.
(07:53):
This cast included kate winslet, susan sarandon, uh, bobby
cannavale, james gandolfini, whoI became very good friends with
, eddie izzard, steve busBuscemi, christopher Walken,
susan Sarandon it was a dreamcome true, that's like yeah.
(08:13):
And then just moved andtransitioned into more film and
television as a choreographerand then realized that I could
direct because I was superorganized and really when you're
a director it means you'reorganized and you cast well, and
those two things I knew how todo, and so I started directing
(08:34):
shows and then realized thatthere was a deficit in female
writers so I started writing myown work and producing my own
work.
And that kind of risk taking andthat kind of discipline and
determination was completelybirthed and born out of me being
(08:55):
a dancer.
If there wasn't a door for meto walk through, I would build
my own.
And so I was doing my own thingin the world of showbiz in New
York City and, out of the blue,a friend of mine said I just
landed at 10 stage, will you?
(09:17):
direct me and I said, sure, I'lldirect you like a one woman
show.
And we worked on choreographyand blocking, we worked on
script analysis and performanceand I worked with her just like
I work with actors and sheplanted this seed.
And this woman's name is PetraColbert.
She's a dear friend of mine andshe's an incredible,
influential voice and what Irealized during this process was
(09:41):
if I can help give a voice tosomeone like her, who's a
thought leader, who has theripple effect of creating change
in the world, I can actuallyleave a lasting legacy that is
beyond me.
Being in a theater and limitedto the number of people in the
audience and the length of thetime I'm on stage right
(10:04):
and then I just gave over to itand I'm still working in film,
television and theater.
But now I just call in all ofthese incredible professionals
who want to use their voice forimpact and I had all of these
speakers coming to me wanting meto direct them like an actor,
because that was unique.
Like an actor, because that wasunique and for a producer, the
(10:27):
best stage you can produce forspeakers is a TEDx stage.
So I became the executiveproducer of TEDx Lincoln Square,
produced it for two years inNew York City, went on to
produce Speakers who Dare,founded the Big Talk Academy,
and now what I realize is it'sfar beyond that.
It is speakers who are talkingabout AI ethics at the World
Economic Forum.
It is speakers who are speakingin the White House during
(10:50):
impeachment trials and hearings.
It is people who are runningfor the mayor of New York City.
So you mentioned briefly, nathan, the number of people on my
website.
Yes, I have worked with someamazing public officials, a lot
of celebrities and people whoreally want to use their voice
(11:12):
to impact, and part of ourvision at the Big Talk is to
unite humanity through speech,and that is where my voice comes
into this.
As a dancer, I used my body toexpress and to communicate, and
now I can direct other people touse their voices, and I can
also inspire people tounderstand that when you speak
(11:35):
with dignity, curiosity,humility, respect and love, we
can, you might unite humanitythrough speech.
Speaker 3 (11:41):
Yeah, what I, what I love about that is that you went
from the person with all theeyes on like as the dancer, the
principal, to the person behindthe scene that nobody will know
who that is, and that's, I think, hard for people to do, because
you're used to that spotlight,you're used to being out that
(12:02):
front.
So I guess good for you forbeing able to do that and
realizing you're moreinfluential in the back, so to
speak.
I'm curious, who gave you thatgrit and drive that you
mentioned?
Was that a parental thing?
Was that a mentor?
Was that a teacher?
Where did that come from atsuch a young age?
Speaker 1 (12:20):
I think it came from being naive.
I didn't know what I didn'tknow I didn't know that I
couldn't do anything, becausenobody told me I couldn't do
anything.
My dance teacher, SharonMcGuire, was definitely
influential.
She's still very present in mylife.
She just turned 75 and she wasmy first dance teacher and she
(12:41):
comes to New York for all thethings that's so cool so she was
definitely an influence interms of believing in me.
It really comes down to I neverthought I couldn't.
Hmm, yeah.
Speaker 3 (12:56):
That's yeah.
I'm thinking about that both asthe like as a parent and also,
as you know, as a.
You know, when you'reinfluencing other, like as a
leader, how do you influence thepeople you're leading, how do
you give them Cause?
In some ways, that's the samemessage of you know, as long as
it's like, it's not immoral orillegal.
(13:18):
Like, how do you encouragepeople to take risks, to keep
trying until there's some sortof I don't know barrier that
they run up against?
So that's a powerful message.
Speaker 2 (13:35):
Trisha, is there a sweet spot for you, in
particular as far as some ofyour clients, or is there
something that really amplifiesyour excitement?
When someone else's voice isamplified or they're able to
really dial in their message,like, what is it that brings you
the most most life in your workright now?
Speaker 1 (13:56):
There's a lot that brings me life in my work right
now and being able to supportpeople in this way and knowing
that I'm leaving a lastinglegacy.
You talked about being a parent.
I am, yeah, to impact the world.
The sweet spot for me is whensomeone identifies a limiting
belief and can release it, sothat they can let go of the
(14:32):
story that they're tellingthemselves that they can't, that
their voice doesn't matter,that what they have to say has
been said by someone else.
And so when somebody's ahamoment happens and the light
bulb goes off and they embodytheir worth and they start
walking in the world in more ofan embodied way, that, for me,
(14:54):
is everything.
Speaker 3 (14:55):
Yeah, how do you do that, joanne, like it's funny I
wrote.
One of the quotes I wrote downfrom your book is, when you
allow limiting beliefs to standin the way of your powerful
voice, you're preventing someonefrom hearing your very
important message.
So, whether that's in aboardroom, on a performance
stage, how do you help peopleleaders, performers, you know
(15:16):
get out from under that limitingbelief of I can't do this, I'm
not good enough, I'm notwhatever, like?
Do you have a quick tip andtrick that we can just cure
everyone of their limitingbeliefs?
Just real quick, because I'msure it's easy.
Speaker 1 (15:29):
It's yeah, super easy .
That's why we can all solve theproblem, yeah.
In the next 30 seconds.
Most of your listeners probablyall of your listeners would
never silence someone else.
They would never judge someoneelse's opinion.
(15:51):
I think we can all coexist,whether we have the same
opinions or not, and that'ssomething that is a really
important piece to thisidentifying your limiting belief
.
And that means, if you're notjudging other people for how
they think, if you are notsilencing someone else's voice
(16:12):
and you do it to yourself, thatmeans you're violating your own
principles.
So why would you violate yourown principles of keeping quiet
or not using your voice when youbelieve that all voices matter
and that you believe all voicesshould be heard?
The second part of this, theleadership part, is my job as a
director in a rehearsal studiois to make the environment so
(16:37):
safe that my actors can takerisks and be honest with each
other, and that means sittingback and listening and allowing
them to take the risks andstepping in when I need to, but
not before I need to, guidingthem when they need it.
But the reality is they knowmore about the character than I
(16:57):
do, and if I get in their wayand I impose my thoughts onto
them, I am preventing them fromhaving the truth of the
experience.
And it's the exact same thingwhen it comes to my team.
It's my job to create a safespace so they can all be in
their zone of genius and theycan communicate and have a scene
(17:19):
with one another and get to thetruth of the scene.
Speaker 2 (17:25):
Give us an example.
I mean erase the names butpaint a picture of what that
looks like, or when you saw thatspecific person.
You know take risks becausethey felt safe.
Speaker 1 (17:43):
I worked on a television show for ABC.
I was the choreographer and Iwas the what they call it the
intimacy coordinator.
Now it was really at the timeit was the sex coordinator.
It was a little little lessappropriate.
I like that.
That's funny.
And what that means is for me Iwould choreograph the scenes
(18:19):
based on what the character wasgoing through emotionally.
Okay, I would do thechoreography with the dancer on
location in fully clothed,nothing inappropriate, yeah, so
that the actors could see whatwe were doing, and it eliminated
(18:43):
any fear, any discomfort,because they had to do the
choreography and because I wasalways available and present and
putting myself out there first,I put them in a place of
comfort and safety because theysaw me doing it and it wasn't
hard or uncomfortable or awkwardor sexual.
It's a job.
Awkward or sexual, it's a job.
(19:03):
It's a job and, as an actor,that's what you need to do and
that was a show that I worked on, the movies that I've worked on
, and when it comes to actorswhether you're an A-list
celebrity or a day player, thesecond there's a choreographer
(19:24):
on the set and you're supposedto dance everyone gets scared
out of their minds.
Speaker 2 (19:29):
Yeah, of course.
Speaker 1 (19:31):
And so my job is to make everyone feel safe, which
means I make myself silly,awkward, uncomfortable,
immediately, in order to createan environment where I'm not the
choreographer.
I am your colleague.
We're working together on thisscene.
We're going to make it the bestthing possible.
(19:52):
I'm here to support you.
It's the same thing with myspeakers.
It is not about me, it is aboutthem, it's about their message
and mission, and so, as a leader, it's my job to remove any and
all ego Right and show up inservice of my, my speaker and my
actor.
Speaker 2 (20:12):
I love those examples , Tricia, because it's it's
similar to how we conduct ourengagements or work with teams,
or whether it's a board oftrustees or a C-suite or a fully
clothed.
No, but the our adage isleaders, go first, Leaders go
first.
And we say that by way of notout in front, you know, leading
(20:36):
the parade and getting all theaccolades, but modeling it first
.
So if you want safety in yourorganization, on your team, you
have to see what that looks like.
And so a lot of times whenBrian and I introduce ourselves
to our clients, it is, you know,I will tell the story of what
happened to me and how Isurvived breast cancer and how
(20:59):
it was a pivot point in my lifeand that allows other people to
access their own humanity, theirown suffering, their own
flourishing as a result ofpaying attention to their lives
and letting it teach themsomething.
And so when we do that, all ofa sudden people kind of look
around and, yes, they're takingthe same kind of risks, they're
(21:22):
responding in similar ways.
Obviously, we're notchoreographing anything other
than team dynamics, hopefully,but um, yeah, that's the.
Thing those are.
Those are powerful examples.
Speaker 3 (21:33):
Thank you yeah, how does that work?
That same idea work in failure,because I we were talking
interviewing another author acouple weeks ago that was
talking about, like a lot oftimes, teams.
I mean in life, we learn themost, I think, through failure.
We learn when us.
You know, in this example, likea scene doesn't work and why,
(21:54):
when a decision didn't work andwhy, and then we can go back the
next time.
You know you pick any sportsmetaphor that you know baseball
players fail seven out of 10times at the plate or you know
whatever it is, there's so muchfailure.
So how do you apply that sameidea of safety in?
You know you've made a creativedecision that is like that is
(22:14):
not right for the characterYou've got.
You know all of your colleagues, your fellow performers around
you to create an environmentwhere it's like, yeah, that was
a really bad idea, and theydon't feel defeated, they don't
feel embarrassed, they don'tfeel like shrinking back into
that shell, like talk a littlebit about that, because I have a
hunch that if the stage is likereal life, like most ideas
(22:34):
don't work, at least the firsttime around, right Is that?
Am I off on that?
Speaker 1 (22:39):
Yes, and you have to try all the ideas to determine
collectively what the best ideais.
Right.
And I often start with can wetry the worst idea ever?
Can?
Speaker 2 (22:50):
we try my worst idea ever.
Can we try my worst idea?
Speaker 1 (22:51):
ever.
And then I acknowledge thattruly was the worst idea.
Thank you for humoring me.
Speaker 3 (22:58):
Get it out of the way .
Speaker 1 (22:59):
Yes, and or letting my team know that it's
ultimately my fault myresponsibility Sure.
And when something doesn't gowell or I make a very quick
decision to hire the wrongperson, it happens and then
(23:29):
there's total chaos in the teambecause, the wrong person wants
to blow everything up and dotheir own thing and I've created
massive stress for everyone andanxiety and uncertainty.
I have done that and I have hadto go in and say I will not do
that again.
That was completely on me.
Everything that was promisedwas my responsibility.
(23:50):
Even though it was someone elsemaking the promises, I take
full responsibility for hiringthat person.
Speaker 2 (23:59):
Yeah, so even with like, because I hear that like
you're owning it, and I likedwhen you said I'm a director
with you, know your cast ofcharacters, your speakers as
well as your team.
You know your cast ofcharacters, your speakers as
well as your team.
My question was going to bearound then what are some of the
secrets of casting?
Speaker 3 (24:16):
Well is, is it learning?
Speaker 2 (24:20):
the learning from some of the mistakes, hiring
Well and and really finding,really finding the talent that
he's either ready, or ready atthis time in history or ready
for a role that that you have aneed for, Like what does that
look like?
Speaker 1 (24:36):
Such a great question , linda.
And casting and hiring arereally the same for me.
I've made the mistake ofcasting someone I liked, someone
(24:57):
I liked and they couldn't sing.
I've made the mistake ofcasting, of hiring someone I
liked and they couldn't do theirjob.
It was exactly the same thing.
So, yes, I want to like theperson because we're going to
spend, hopefully, years togetherin collaboration, but it really
has to start with their ability, slash their talent, and when I
understand that they'rebringing a talent to the role,
(25:20):
then we can create arelationship which is mutually
respectful, liking each other,all the things.
And it's the same thing whenhiring a team.
If I hire somebody because Ilike them and they're not
working out, it becomes it's aproblem for the entire team and
then it takes forever to letthem go, because you like them
(25:41):
and you don't want to fire them,and even though it's holding up
, the forward momentum of theteam and the forward progression
of the company and all of that.
So I think, making sure thatyou're hiring for talent, making
sure you're hiring forlongevity, and then you want to
also like the person and youwant to have a little bit of
(26:02):
insight into what they dooutside of the work, outside of
the job, but it really thebiggest mistakes I have made in
hiring and casting is decidingon someone because I like them.
Speaker 2 (26:16):
Yeah, yeah, which feels like it is.
It feels like it really isimportant.
Um, a mentor of mine would sayyou know, she, she could
maximize the talent of anyindividual, but she was a
terrible hiring agent.
(26:37):
Like she could not hire theright people.
And I asked her, like well, whyare you completely out of this
process?
And she said because I put allof my good qualities on a person
that I happen to like and thenthey immediately disappoint me
because not only can they not dowhat I just think is normal,
(26:58):
but then they can't do the job.
I'm asking them as well she said, but my expertise comes in when
they're hired and then I canstart moving them around and
find like that perfect, thatperfect place for them, moving
them around and find like thatperfect, that perfect place for
them.
So even just knowing, knowingwho you are as a, as a casting
or directing agent, right,that's, that's important, yeah.
Speaker 1 (27:20):
Yeah, and I have a director of operations who leads
the hiring process.
Now Perfect.
And then I decide between two.
Yeah, okay, it's a littledifferent when you're directing
a show, because the talent isreally apparent.
And so the right talent isgoing to be the right fit, but
when you're working with a teamfor a long period of time and
(27:42):
several years, it's reallyimportant that they can do their
job.
Speaker 2 (27:47):
Yeah, can do their job.
So when you, when you'reworking with people, uh, one of
the things that stood out to mein another podcast was the, the
active listening sessions Am Icalling it right?
Is we find in our work it's onething to be a good uh speaker
(28:08):
and it's another thing to reallylisten to the song beneath the
words, the heart of what'sreally being said, that voice
that's maybe under just a crustor something that just needs to
be knocked loose.
Can you talk to us and ourlisteners about what listening,
(28:29):
active listening sessions, looklike and what you've maybe
learned from?
Speaker 1 (28:35):
them.
Absolutely.
The active listening sessionfor me is how I get to the heart
of the big idea.
When a thought leader or aprofessional comes to me and
they want to speak aboutsomething, 99% of the time they
come to me and they have apreconceived idea of what it is
they want to talk about.
(28:55):
And after our conversation theyrealize, oh, I did not know,
this was what I wanted to talkabout.
And through that process ofactive listening, it is one of
my gifts is that I can readbetween the lines and allow
myself to hear what they mightnot be saying.
(29:17):
And here is an example KristenSmedley came to me and said I
want to do a TED Talk.
I want.
This was before I was a TEDxproducer.
She said I've founded afoundation around rare eye
disease.
I have three children and twowere born blind, and I want to
talk about rare eye disease.
And after our active listeningsession, which is about two
(29:39):
hours, I said kristin, I thinkyour talk is actually not about
rare eye disease.
I think your talk is about howyou learned to see through the
eyes of your children.
Wow.
Right, yeah, that's part ofactive listening Another speaker
of mine, marie Elizabeth Mollie.
She came to me and said I wantto do a talk about relationships
(30:00):
.
And I said I don't think youshould do a talk about
relationships, let's just waitand let's have some sessions.
And you know, I think there'smore there and over a period of
months I would just keeplistening and I would just keep
listening.
And on one of our sessions shecame back and she said I just
got back from Cabo.
(30:21):
It was such an amazing trip.
She's an underwaterphotographer and scuba diver and
she shared that she was takingthese incredible pictures of
these seahorses and the femaleseahorses would give the male
seahorses the eggs and the maleseahorses would hold the eggs
until they would birth newseahorses.
And this sea life would do thissea life.
(30:44):
And it was all very fluid andshe was telling me about this
and I got the hit what sea lifecan teach us about gender
fluidity.
And that became her TED talk,her signature, and not be afraid
(31:26):
to open up a conversation whenthey are having an experience of
gender fluidity or pronouns orwhomever.
Whatever they're experiencing.
They now have a catalyst for aloving conversation because of
marie elizabeth molly's anamazing talk about how sea life
(31:48):
can teach us about genderfluidity and its nature.
Yeah, it's real.
It's seahorses.
Speaker 2 (31:56):
And stories are compelling, they're memorable.
That's why, when we used toolsor psychometrics assessments,
they kind of fade into thebackground, because what we
really want to unearth is thestory, the image, the voice of
of an individual, so that theyknow how to be a better team
(32:18):
member or contributorcontributor in society.
Um, when you so.
So I'm listening to you as I'mactive listening to you just in
a few minutes.
Um, it seems like you just havethis intuitive way of knowing.
Is what does that come from?
Dance?
Um, meaning the way that youhear people, see people, almost
(32:40):
feel them.
Um, anticipate.
I don't know if it's a Jeditrick or I don't know what I'm
listening for, but do you knowwhat I'm asking?
Is there something, even fromthe way that you moved through
space as a dancer, that gave youthat kind of knowing?
Speaker 1 (33:02):
I have not thought about this in this way, linda,
and I want to thank you becauseyou're identifying something for
me for the first time, which isthe word anticipate.
When I was on stage for thosemany decades, it was my job to
not only anticipate my next movebut my partner's next move
(33:26):
because we were not speakingmove because we were not
speaking.
So the intuitive anticipation,energetically of knowing what
was coming next, it is thatprofound flow and when I am
working with a speaker or anactor in a scene, I allow myself
to move into that flow and Ithink I really did flex the
(33:53):
muscle of anticipation which hasserved me now yeah.
Speaker 3 (33:58):
Yeah, that's so cool.
Speaker 2 (34:00):
And you're teaching other people to do it as well.
Once again, brian's not here,but if he was, you would see
kind of what our clients see inthe, in the synergy that happens
when the two of us are kind ofplaying off each other and we
are similar in the way that wecan command a room.
We almost intuitively know whenthe other person's voice needs
(34:26):
to be heard and then when toback up.
That's a dance, how right?
Yeah, and so the dance, and sopeople enjoy and find growth in
the dance that we have.
And and so when people havesaid, like, what is it about you
, the both of you, like we'recrying, we're trying to create a
great big space for you to playin that as well.
(34:48):
But I, I like the intuitiveanticipation with energy, like
you're also giving me some somevery good words.
So I appreciate that.
Speaker 3 (34:59):
Yeah, I have a.
One of the chapters from yourbook that really stuck out to me
was the chapter about fear, andI think it's fear and how it's
getting in your way.
I think was the title of it andthere's a quote fear is not
about you, it's about the peoplewho need to hear your message.
As I thought about fear, Ithought about like I've done a
(35:22):
lot of stuff on stages all theway not to brag, but I was Danny
Zuko in my high school musicalproduction of Grease.
There's that type of fear oflike am I going to remember my
lines?
Am I going to sing off key?
There's a fear of being in aroom with other leaders, of am I
going to be smart enough tocontribute?
There's a fear of being up.
There's all these differenttypes of fear we have and I'm
(35:45):
just I'm curious if you can sortof maybe share with our
listeners what this chapter isabout, because, whether it's
imposter syndrome, whether it'sjust your rational fear of
whatever, like, all of us havesome sort of fear that's just
getting in our way, and I likehow you said that.
So I'm wondering if you canjust talk a little bit about
this chapter and how you shareor how you help people get over
(36:08):
their fear of whatever.
It is.
Um, cause, it's one thing to belike I'm afraid to get up in
front of people and talk, versuslike I'm afraid I'm not good
enough to do what I need to dohere.
Does that make sense?
It's sort of a wide open canvasto like help us not be afraid
of ourselves anymore.
Speaker 1 (36:23):
I think the, the commonality and the through line
of all of the experiences youjust shared, nathan, is that
that particular fear is aboutyourself.
Yeah, I might forget my lines,I might not do a good job, I
might not show up in the waythat is going to be impactful.
(36:44):
I might do this.
What if I fail?
What if they think I'm terrible?
What if I?
It's all ego driven.
Yeah, yeah.
And as soon as you can rememberthat it's not about you and that
you can give your fear abackseat and you, you may, you
move into serving, being ofservice to the audience, service
(37:04):
to the room of service, to theperson who is meant to meet you
at the event that you reallydon't want to go to because
you're an introvert and it'scold out and you have to get
dressed.
That's when you can let go ofthe fear.
The other thing that is reallyimportant and it's a tool is
your body is going tophysiologically betray you, no
(37:27):
matter how many stages you havebeen on.
Speaker 4 (37:29):
I have been on thousands of stages betray you,
no matter how many stages youhave been on.
Speaker 1 (37:32):
I have been on thousands of stages.
I still have weak knees,butterflies, dry mouth, sweaty
palms.
Your body will alwaysphysiologically betray you if
you care about what you're doing.
So how do you coexist with thatphysiological betrayal?
You put yourself in a positionof creating a
confidence-competence loop.
You rehearse under mildpressure in front of your family
(37:55):
and you put yourself in thatphysiological response and you
know you can get through thepresentation a little bit more.
Speaker 2 (38:11):
Invite a bunch of people over, give the
presentation and then you canprove to yourself that, while
I'm feeling sick and I havestress, dry mouth and palms that
are sweaty.
Speaker 1 (38:17):
I can still deliver this, even though my hand is
shaking uncontrollably.
I didn't let it stop me and Icouldn't stop my shaking, but I
didn't let it stop me and Ididn't call attention to it, and
that's how you make it.
That's how you coexist with thefear.
Speaker 2 (38:30):
I like the example because I've had people say you
know, how do you just make it sonatural in front of people?
It's like you don't see myheart.
That's that when I look down Ican see the I can see the fabric
of your exactly the movement ofthat and and so you know that
that confidence loop for me is Iput my shoulders back.
(38:51):
Yeah, and just even the act ofrolling my shoulders there's a
sense of okay, I hear you heart,I hear you beating chest.
I know that this is important,I got it.
I got it and I have somethingto say, and so let's go, yeah.
Speaker 1 (39:11):
Thank you beating heart for letting me know that I
care yeah.
Speaker 2 (39:15):
A lot about, about what that is, and and sometimes
sharing those pieces with people.
It's like oh no, I you didn'tsee my, my knees shaking
underneath my parachute pants,so um she still wears parachute
pants.
Yeah, Anyway they're comingback in, I guess.
I don't know.
Speaker 3 (39:35):
That's kind of what I was going to ask, or maybe just
ties in of.
You know, you have anotherchapter to talk about, rehearsal
and you can rehearse a speech.
You can do that with, get allkinds of feedback.
But when it's like an in themoment thing, what are some very
practical tips, like what Lindawas kind of saying of like no,
I got this.
You know, put your shouldersback, Like are there other
things like that that you canhelp people, leaders with that?
(39:56):
In that moment of people arelooking at me to do a thing.
You know, for me, I always, youknow, it's like a couple of
deep breaths before I'm, youknow, going up in front of
people or just like whateverthose tips and tricks, what are
some things like that that aremaybe super practical but people
just don't know about becausethey're not in that you know
quintessential stage in a 5,000seat auditorium.
(40:17):
They're just in front of theirteam of five or 10 people and
they still need some sort of youknow, help me practice this so
I don't fall on my face.
Speaker 1 (40:27):
Deep breaths is great .
It's also remembering that yourteam wants you to win.
They're there championing you.
They don't want you to lose.
They want you to succeed.
They want to hear from you.
They respect you.
They're excited to hear whatyou have to say.
The other thing is and that'syour responsibility- I like that
(40:47):
.
Speaker 3 (40:47):
They want you to win, they want you to do well.
It's not an adversarialrelationship, it's a yeah,
you're doing it together don'tjust stop at you know expressing
(41:24):
what's so beautiful about you.
Speaker 2 (41:25):
Take it a step further to yes, see the audience
receive their gift.
I like, I love the language ofbeing life-giving, of being
generative, of um, the giftsthat go both ways.
That, for me, is is superpowerful.
Speaker 1 (41:38):
That's the scene you're in.
Yeah, even if they're notspeaking back in a in a in a
dialogue even if it's amonologue, it's your scene.
If they're your scene partnerand they deserve to have that
connection with you yeah, I lovethat.
Speaker 2 (41:56):
Yeah, trisha that, yeah, I have to ask because
we'll we'll pause every once ina while and do this with the
people that we work with, theleaders, um, because we want to
pause and just ask you what'scapturing your attention or
imagination right now.
I'm knowing that you have beenon many stages, that you um have
(42:18):
been with some reallyincredible people.
What have you found yourselfsaying to yourself, as, as
you've been sharing your wisdomwith us, as you've been
interacting with us, what aresome of the things that are
standing out to you from thistime together?
Speaker 1 (42:37):
Right now, what's top of mind is how to support as
many people as possible tocommunicate with dignity and
respect.
I love that.
That is something that is achallenge right now.
I live in the United States andI am not a fan of hate and
(43:03):
separation.
I truly believe that all voicesmatter and we can come together
, no matter what our politicalbeliefs.
So what's really top of mindfor me right now is how to be a
voice for all opinions, and I amextremely liberal.
(43:23):
Everybody knows that.
You read my book, you know how.
I feel, and I also think thathate speech is toxic and
separates us and we are morelike than we are not.
So what I'm speaking aboutright now is how do we create a
movement where we come togetherand we start communicating and
(43:46):
hearing one another and reallyrespecting each other's points
of view, so that we can cometogether and stop being
separated?
Yeah, I love that.
Speaker 2 (43:58):
And I the that you're this intuitive anticipation of
goodness and not anticipatingautomatic hate or retribution
assuming positive intent yeah,the the anticipation of goodness
, that's yeah I'll sign up forthat movement.
I'm'm with you, I'm glad.
Speaker 1 (44:19):
I truly believe that we're in a place of conscious
awakening right now.
Yeah, and my middle name isDawn, and that was after the
dawning of the age of Aquarius,which we're moving into
astrologically.
Speaker 2 (44:32):
And so the timing could not be more perfect, wow
so really trusting that goodwill prevail and love wins over
evil.
Speaker 1 (44:45):
And I'm not trying to sound like a Hallmark movie
although Hallmark movies arelovely.
I'm simply saying that becauseof these conversations like the
one we're having, Linda andNathan, because we're giving
people an opportunity to hearwhat's possible and to
understand that their voicematters, how they show up
(45:06):
matters, how they vote matter,how they respect and hear other
people's voices.
That's how we create acollective consciousness for
good.
Absolutely.
Speaker 2 (45:16):
Well, I think people need to know the postures even
Right, absolutely Well, and Ithink people need to know the
postures even right, so it's notjust even words, because what's
capturing my imagination iseven what you do when you say
blocking, and you know themovement.
How do we have that posture ofgoodness to even receive before
(45:38):
we speak?
Thank you for all the work thatyou're doing.
This is yeah, it's veryinspiring.
Speaker 3 (45:45):
So Tricia Linda mentioned like how she and Brian
command a room, and command ismaybe a little bit of a strong
word, but I like it because it'sit kind of sets the stage,
whether that's a boardroom, aclassroom, a stage stage,
whatever it is.
I know that you do some workaround this and I'm just curious
if you have any resources thatyou might be able to share with
our audience where they could golearn more about this idea.
Speaker 1 (46:07):
For sure.
I want to start by sayingcommanding a room doesn't mean
that you have to be full ofyourself.
You can command a room andstill have humility.
That's right and that's what Iteach in the on-demand
masterclass.
Command Any Room and if you goto trishabrookcom forward slash
command, you can register forthis free on-demand masterclass
(46:30):
and start putting into practicecommanding any room that you are
in so that you have the kind ofimpact and can leave the
lasting legacy that you desire.
Speaker 3 (46:39):
I love it.
It's time to stop being awkwardand uncomfortable and command
any room.
I just pulled it up right now.
I love this.
I'm going to absolutely do this.
Speaker 2 (46:47):
She meant later, not while we're recording, but I was
like I'll forget.
Speaker 3 (46:51):
This is so.
I haven't, I don't sign it up.
This is so wonderful, Trisha.
I have kind of, I guess, afinal question.
So kind of I guess, a finalquestion.
So your book came out a coupleof years ago.
It has overwhelmingly positivereviews on Amazon and the book
is the Influential Voice Sayingwhat you Mean for Lasting Legacy
.
I guess I have kind of twoquestions.
(47:12):
What has been something thatthe feedback that you've
received from it, from peoplewho have read it and gone
through it, that surprised youLike, oh, I was anticipating
that.
And then what is something thatmaybe you wish you would have
said differently?
Or if you could go back andrewrite it today because I know
writing a book is super easy,you would include this or update
this, or so I guess kind of twoquestions in one there.
Speaker 1 (47:34):
The surprise for the book was I designed the book to
be a book about how tocommunicate effectively,
disguised by a book about beinga good human being.
Speaker 3 (47:46):
I got that.
I like yeah, good, good trickthere.
Speaker 1 (47:49):
And the adjustment that I would make, and when I do
a republish, would be toinclude more gender neutral
pronouns.
Speaker 3 (47:57):
Yeah, that's probably not.
Wasn't top of mind back then.
But yeah, what about thesurprising part?
Speaker 1 (48:02):
I think the surprising part was how
interested people were in mypersonal story as a dancer and
where I grew up and how I havebecome the influential voice
that I've become.
From where I grew up, I thinkthat's been a surprise for
people yeah.
Speaker 2 (48:20):
Because of assumptions that you think
they've made about you, or maybeeven judgments of oh well, she
did this and worked with thesepeople, so I assume that, or is
it just a?
Yeah, how does a?
Speaker 1 (48:31):
dancer.
How does a dancer create asuccessful business around
teaching thought leaders to haveimpact?
How does that happen?
Speaker 3 (48:39):
It's not exactly a straight line, but I can
definitely see how you would getthere from having that much
experience in front of people sowell.
Tricia, thank you so much.
We've taken up almost everyminute of our time here, really
appreciate it.
Speaker 2 (48:51):
Oh, I have chills.
I am beyond grateful.
Thank you for being generouswith your story and your time.
Speaker 3 (48:57):
Told you this was going to be fun.
Speaker 1 (48:58):
Ooh, Thank you for being generous with your story
and your time.
My pleasure.
I appreciate this connectionand future collaboration Really
really meaningful.
Speaker 3 (49:06):
Thank, you, tricia.
Thank you so much for takingthe time to chat with us.
We all have a voice, we allhave something we want to say,
whether that's from a giantstage or a much smaller stage, a
digital stage, a physical stage, whatever it is.
And how we communicate matters.
(49:31):
How we learn to command a roomto command not in an egotistical
way or in a self-aggrandizingway, but how do we get our
message out, and if it'ssomething that we really believe
in, we need to communicate that.
I love what Trisha shares thereand I also want to make sure
that you are aware of hermasterclass, which is free.
She's giving it away to ourlisteners.
If you go to Trisha Brookethat's T-R-I-C-I-A-B-R-O-U-K dot
(49:56):
com slash command you can getfree access to that masterclass.
There's links to all of this inthe show notes.
But, tricia, just again, thankyou for taking the time for
sharing your message with us.
We really appreciate it and,listeners, we hope that you find
value in this and that youshare it with someone else.
We just really appreciate youlistening to the Leadership
(50:17):
Vision Podcast and hope that youcan share our message of what
we do empowering others to kindof find and understand the
beauty and brilliance withinthemselves so that they can lead
not only themselves but a teamand organization and just really
build positive team culturethroughout our society.
So thank you for listening tothe Leadership Vision Podcast.
(50:40):
As I mentioned, you can learnmore about us on the web Click
the show notes or go toleadershipvisionconsultingcom.
You can find us on all thesocials and join our free email
newsletter and, again, sharethis with someone that you think
could find value from this.
My name is Nathan Freeberg and,on behalf of our entire team,
thanks for listening.
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