August 1, 2025 • 22 mins
Caroline Biesalski introduces the episode, welcoming guest Anne Kittredge and delving into her Broadway experiences. The conversation explores the impact of diverse educational environments on personal growth and how cabaret education can empower individuals. Anne shares insights on engaging audiences during performances and discusses the importance of creativity and personal interests. She highlights her upcoming projects and shares ways for listeners to connect with her online. The episode concludes with Caroline summarizing key takeaways and encouraging listeners to apply these insights in their own journeys.
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Episode Transcript
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(00:00):
So how my philosophy very much informs me as aperformer is, you know, I realized very deeply
that when I go on stage, it has nothing to dowith me.
It has everything to do with my audience.
How did they get there?
(00:21):
Was it a smooth trip?
Is anybody sick out there?
Welcome to Inspired Choice Today.
I'm your host, Caroline Biesalski, here tobring you authentic stories, surprising
lessons, and powerful takeaways to fuel yourjourney in business and life.
In each episode, I'll take you from oneinspiring guest to the next, blending their
(00:43):
experiences with my expertise to uncoverpractical strategies you can use right away.
Whether you're starting out or stepping up,stay tuned for insights and actionable tips
that make
a difference,
and stick around until the end for a specialfreebie just for our listeners.
(01:03):
Hello, and welcome, Inspired podcast community.
This is your new episode.
My name is Caroline, and my today's guest isAnne Kittredge, and I hope I pronounced your
name.
That's right.
You're right on.
Oh, thank you so much for being my guest today.
How are you doing?
Oh, I'm doing okay.
(01:23):
How are you doing?
I'm fantastic because I get to interview you,and I'm so excited you won't believe.
Yes.
I'm really excited too.
I would like to introduce you to the audience,of course, and you are a celebrated performing
artist whose career spans Broadway,off-Broadway, and major stages nationwide.
(01:48):
Offstage, you serve on advisory boards for theAmerican Songbook Association and the Capital
Cabaret Organization, advocating for cabareteducation in underserved schools while also
enjoying life in New York City with yourfamily.
Welcome to the Inspired podcast, wow, AnneKittredge.
(02:10):
Okay.
Thank you.
Whoo.
I'm so excited.
And my first question to you is, how has yourextensive experience on Broadway and beyond
shaped your perspective on performing artseducation for underserved communities?
So, really, when I had my children, I learnedso much about myself as a human being.
(02:40):
And one of the things I realized is that asmuch as, Caroline, I have found that I can't
stop creating.
It's like it's a compulsion.
I just have to keep doing it.
No matter what the circumstances of my lifeare, I have to keep doing it.
And even though that is true, what I found outis the love of your children can be surpassed
(03:06):
by nothing.
And what was really important to me in raisingmy children was for them to have a very
realistic environment of the diversity of theworld and diversity in so many categories.
(03:27):
And so when they were in school, I ended upbecoming a very, very active child education
advocate.
And so one of the things that was reallyimportant to me was to realize how messed up
(03:48):
funding is for education and that, even though,like so I'm gonna talk about New York City,
right, because that's what I was very involvedin.
So even though there were certainly somefederal programs and state programs to
supplement areas in our city that were poorer,there was this big section in between that
(04:15):
neither had the financial resources that couldbe provided by parents involved in a PTA, nor
were poor enough to be able to get federal orstate or city funding.
And they were the that's where the dearth ofcreative influence existed.
(04:35):
And so when I started to get involved withthese organizations, I, you know, I was very
clear to them.
I said, we are not targeting the poorest areas.
We are going to target the areas that actuallyneed the funding.
Because if you're in a poor area, you'regetting literally hundreds of thousands of
dollars more.
(04:57):
You can afford to bring in creative, you know,seminars and things like that for kids.
But there's this other group that was justbeing lost in the cracks, and that was the area
that I really focused on.
And when my kids were young, I brought themalong with me.
(05:17):
I mean, you know, it was, I mean, you know, tome, I just wanted them to be exposed to all of
this, and that was really my driving force.
It gave me an opportunity to include mycreative compulsion.
Right?
But the real drive was my children.
Wow.
What a great answer.
Thank you so much.
(05:38):
And as a mother myself, I can totally relate tothat, also what you said.
Yeah.
To create the environment for the kids wherethey get prepared, right, for the world,
however the world is.
Then with diversity and also the educationsystem you talked about, and this is so true.
(06:00):
We always focus on the poorest areas, but, infact, it is this little I don't know if you
call it gray zone or something.
Like
Right.
Like a yeah.
Like a gray area.
Mhmm.
Yeah.
Area which is not served so much.
Yes.
This is so true.
Thank you for doing this.
And, of course, I have another question foryou.
What role does cabaret education play inempowering students, and how have you seen it
(06:26):
impact young lives?
Oh my goodness.
You know, one of the things that, okay, I wannasound a little bit like an old lady here.
But one of the things that has stunned me whenI have done workshops and, like, after-school
programs with youth is their total and utterlack of historical information.
(06:51):
Like, you know, I would bring up BarbraStreisand, and they'd be like, who's that?
And I'm like, oh, okay.
Like, where do we have to begin with thesepeople?
Right?
They have no access to the wealth of musicalrichness that preceded their birth.
(07:13):
You know?
And so, that you know, what I find withcabaret, because cabaret, the music spans,
there is no limit.
Right?
You can go all the way back to the 1800s and besinging music from that.
(07:36):
And all the way, some of my shows have hadsongs from 2016, 2017.
I mean, there's no limit.
So what I think cabaret offers students is thatopportunity to see how you can experience all
these different styles and genres and timeperiods of music and how they can still relate.
(07:58):
I have a particular recording that I did acouple of years ago of a song called "A Sweet
Mystery of Life." It's from the opera "NaughtyMarietta" that was written in 1910, and we
perform it as a folk song for today's audience.
(08:20):
And so what we have found, it is always a crowdpleaser in a very gentle way because it's a
soft thing, but it kinda blows people away thatthey're hearing a song written in a—you know,
we had to refine a couple of lyrics, butgenerally, it's the same song that came from a
(08:43):
totally different time period and yet it isutterly relatable today.
And that's the desire for youth is to exposethem to all different kinds of stuff, to let
them know it exists, you know, to let them knowthat Barbra Streisand was actually a pretty
iconic musical presence,
you
know, in the world at one point, and FrankSinatra and Mario Lanza.
(09:05):
Yeah.
I mean, all of these people.
Right?
Like, Mario Lanza.
All of these people.
And so when it now it depends on what yourapproach is.
I know that the approach for one of theorganizations that I'm involved with is—and I
really think this is the more effectiveapproach—is a lot of times people bring in
(09:30):
programs to schools and they're trying to findnew talent.
And say, oh my gosh, you could do this.
Or I want to encourage you to study this, andyou have potential and all this different
stuff.
But there is something really incredibly moresignificant to me when you bring in a program
(09:52):
that has nothing to do with talent.
It has to do with exposure and developing alove.
Because if we don't have people who actuallyappreciate and love all different genres of
music, where's our audience gonna come from inthe end?
Where are they gonna come from?
Right?
But if they're not exposed to it and they don'tknow it's there, you know, my niece who is 25
(10:17):
or 26.
She's 26.
I think she's 26.
She came to my show recently.
I think it's the first show she has seen me do.
And at the end of the show, she was so blownaway.
She was like, oh my gosh.
I loved all of this music.
And I'm like, really?
Are you just saying that because you're myniece?
You know what I mean?
She's no.
No.
No.
(10:38):
She said, I'm telling you.
She says, oh my gosh.
I'm such a fan.
I had no idea.
That is really possible with today's youth.
They just have to be exposed to it.
Yes.
I totally agree.
I heard someone saying that when you are onstage, right, I heard someone said that the
person creates their audience themselves.
(11:00):
So in their mind, first, you know, the peopleyou want to attract or to.
Right.
I can inspire or you know?
Yep.
Yeah.
Oh, I like that.
That's really interesting.
Yeah.
It was inspiring.
Yes.
It is inspiring.
And the other side of it too is, of course, youwant your material to be accessible.
You want people you you you know, we exist asperformers to entertain.
(11:24):
We exist to enrich people's creative orcultural perspective.
Right?
There are all these different things.
There's also an element to being true toyourself.
Right?
And and and and not just trying to accommodateothers.
But to your point, we do have some control overthe audience because of what we're envisioning
(11:50):
with what we're doing with the music.
It's not as much to please as it is to fulfilland enrich.
And hopefully, in the end, that is pleasing.
Right?
That that, you know, it because sometimes ifyou try to please people, you totally miss the
air you totally miss the spot.
You know?
Because it's you you can't read other people'sminds.
(12:11):
Right?
The message to transport, and you will reachthe right people.
Because, yeah, I heard because when you whenyou start speaking on stage also, you are
afraid.
Yeah.
Do they really want to see me or to to listento me also?
But they can also leave the room or the the thetheater.
(12:31):
That's right.
Good point.
I was thinking about that a lot.
And what I loved and what I did not say yet ishow you talked about compulsion.
You you with creativity, I would have chosenthe word passion.
Why why is it because you cannot stop.
(12:53):
Right?
Yes.
Because of passion.
Yeah.
Or obsession.
It would be Yeah.
You might think but my kids might agree withthat.
Yeah.
Of course,
I have another question.
Let's see.
Can you share how your personal interests likegolf or philosophy influence your creative
process as a performer?
(13:14):
So
I don't know about golf.
I mean, the, the, the, I can tell you what Ilove about golf is golf exists as a relevant
sport specifically due to the personalintegrity of the player.
Golf is pretty easy to cheat.
You know?
And I, and I, I think, you know, I thinkthere's a lot of cheating out there in the
(13:36):
lower levels, but to become a premier golfer,you have to have such personal integrity.
And your competition is with the course.
It's not with the other people.
Right?
And so I just love all of the imagery of thatand all of the messaging of that, you know.
And what was the other thing?
(13:57):
The, oh, the philosophy.
So how my philosophy very much informs me as aperformer is, you know, I realized very deeply
that when I go on stage, it has nothing to dowith me.
It has everything to do with my audience.
(14:19):
How did they get there?
Was it a smooth trip?
Is anybody sick out there?
Does somebody is really struggling and theyneed some, you know, emotional release or or an
escape and all these different things?
And I am there to serve them.
I am there to serve each and every one of themwho are in there.
If there's someone who, you know, is cacklingor has a particularly distinctive obnoxious
(14:45):
laugh, which believe me happens, and you justgo, oh gosh.
You know, you gotta realize that whether itseems distracting to people, that person is
really enjoying it.
They're enjoying it in their way.
Right?
So you've gotta, in my opinion, my philosophyjust always reminds me that I am serving
(15:08):
others, and I am lucky enough to use my passionfor music and performing to do it.
Yes.
I totally understand.
Also, you express yourself, and by doing this,you lose yourself.
(15:28):
You forget yourself in order to serve theothers.
So I get the message and what you said earlierabout when you do this in the education field,
you do workshops also, then it is moreimportant that everyone contributes instead of
searching for talent.
(15:48):
I would say the audience is part of the play,of course.
Oh my gosh.
Yes.
Oh my gosh.
Yes.
Yeah.
That means you were talking about someone islaughing or whatever.
It is integrated into what's happening in thepresence.
Right?
In the moment.
Right.
(16:08):
Yeah.
Mhmm.
Yeah.
I love it.
Yeah.
We create, and I did not know this before.
You know?
You don't know my story, but I was notspeaking.
Not in German, not in English.
I was so I I I had my intuition, said do thepodcast, and I started, and I cannot stop.
So this is my compulsion.
(16:29):
So thank you for the word.
And, yeah, I cannot stop anymore, and itdoesn't matter what other people think or
because I'm serving too.
We are serving now, talking about education,cabaret, and what you are doing next.
So tell me about your goals, or do you setintentions, and what is one of your next
(16:54):
projects?
Well, my next project is I'm actually in themiddle of working on a Christmas album.
Believe it or not, yes.
You do the Christmas album so that it's done byJune so they can release it in November.
So I'm deeply in the throes of that.
That'll be my third album.
And, yes, I'm very excited about it.
(17:14):
And my last album just won, it was chosen asone of the top 10 vocal albums by the Broadway
radio show.
The name of that album is Romantic Notions.
So please, audience, check it out.
It's all over the place.
You can download it, or you can stream it.
It's everywhere.
(17:35):
And I just got back from Puerto Vallarta.
I'm doing my live performance of RomanticNotions, and I just strongly recommend anyone
who hasn't been there to go there.
It's really fabulous.
My goals in the future are we're working on anew show.
My team and I are working on a new show.
We're gonna premiere it here in New York Cityin May, May 8 to be exact.
(18:01):
And, you know, that's my goal.
My goal is to just keep making music andbuilding my audience, and hopefully creating
value through that.
Oh, thank you so much for sharing.
Of course, there are plenty of people or tonsof people more now following you after
(18:26):
listening to this episode, of course.
I am one of them.
I'm the biggest I did not tell you.
So the idea of the podcast is that we don'tmeet before.
Right?
And so I don't know much about you.
I don't read so much because it has to beauthentic.
And when I put you on a pedestal also becauseyou are the star, then it's not helpful for us.
(18:53):
So I will check out, of course, your album,your music.
I did not do this before.
Thank you so much for our interview, and I amthe biggest musical fan since the age of 13 by
the age of 30.
And I was living in the city, with the musicalin Germany called Starlight Express.
(19:16):
Oh, yes.
Oh, I love, and before we got on, we talkedabout how we both have Slavic in us because I'm
half Polish, and my husband is half German.
And, yeah.
So, it's nice to share that too.
Thank you so much.
We are connected, of course.
I think maybe you can share, that's my lastquestion about, yeah, where we can find you.
(19:41):
Yeah.
Yeah.
So you can, everything can be found.
I'm all over social media.
You can find me on Instagram, Facebook.
Follow me.
That would be fabulous.
And, also, I have a website, annekittredge.com,and that's Anne Kittredge
(20:04):
I love it.
I'll check it out, of course.
I'll put it in the show notes as well.
Thank you so much for our interview, and nowit's time for your final thoughts to the
audience, please.
Oh, my final thoughts.
So, it's lovely to be able to share this stuffwith you.
(20:25):
I thought Caroline's questions were wonderful,and it's always nice to be asked, you know,
interesting questions that, you know, I hopeyou've enjoyed.
And, what I would have to say is for anyone whois watching this, I don't care what your
creative bent is.
We all have one.
We all have one.
(20:46):
Whether it's in technology or painting or musicor writing or teaching or there I mean, we all
have that creative energy.
And, I just want to say that I am very honoredto be a part of this world creative community
(21:14):
that does not get caught up in the genres thatwe specialize in.
And so I wish you all great creative flow thisyear.
Wow.
What a great message.
I'm highly inspired now.
Thank you so much.
Oh my goodness.
(21:34):
Yes.
And see you in the next.
Thank you for listening to Inspired ChoiceToday.
I'm thrilled to have you on this journey ofgrowth and transformation.
Don't forget to hit follow or subscribe to stayconnected and never miss an episode.
And here's something special (21:51):
Grab your free 20-minute breakthrough session with me.
It's designed to help you kick-start or levelup your business.
Just check out the show notes for more.
Until next time, keep making those inspiredchoices.
See you in the next episode.
So how my philosophy very much informs me as aperformer is, you know, I realized very deeply
that when I go on stage, it has nothing to dowith me.
It has everything to do with my audience.
How did they get there?
(00:21):
Was it a smooth trip?
Is anybody sick out there?
Welcome to Inspired Choice Today.
I'm your host, Caroline Biesalski, here tobring you authentic stories, surprising
lessons, and powerful takeaways to fuel yourjourney in business and life.
In each episode, I'll take you from oneinspiring guest to the next, blending their
(00:43):
experiences with my expertise to uncoverpractical strategies you can use right away.
Whether you're starting out or stepping up,stay tuned for insights and actionable tips
that make
a difference,
and stick around until the end for a specialfreebie just for our listeners.
(01:03):
Hello, and welcome, Inspired podcast community.
This is your new episode.
My name is Caroline, and my today's guest isAnne Kittredge, and I hope I pronounced your
name.
That's right.
You're right on.
Oh, thank you so much for being my guest today.
How are you doing?
Oh, I'm doing okay.
(01:23):
How are you doing?
I'm fantastic because I get to interview you,and I'm so excited you won't believe.
Yes.
I'm really excited too.
I would like to introduce you to the audience,of course, and you are a celebrated performing
artist whose career spans Broadway,off-Broadway, and major stages nationwide.
(01:48):
Offstage, you serve on advisory boards for theAmerican Songbook Association and the Capital
Cabaret Organization, advocating for cabareteducation in underserved schools while also
enjoying life in New York City with yourfamily.
Welcome to the Inspired podcast, wow, AnneKittredge.
(02:10):
Okay.
Thank you.
Whoo.
I'm so excited.
And my first question to you is, how has yourextensive experience on Broadway and beyond
shaped your perspective on performing artseducation for underserved communities?
So, really, when I had my children, I learnedso much about myself as a human being.
(02:40):
And one of the things I realized is that asmuch as, Caroline, I have found that I can't
stop creating.
It's like it's a compulsion.
I just have to keep doing it.
No matter what the circumstances of my lifeare, I have to keep doing it.
And even though that is true, what I found outis the love of your children can be surpassed
(03:06):
by nothing.
And what was really important to me in raisingmy children was for them to have a very
realistic environment of the diversity of theworld and diversity in so many categories.
(03:27):
And so when they were in school, I ended upbecoming a very, very active child education
advocate.
And so one of the things that was reallyimportant to me was to realize how messed up
(03:48):
funding is for education and that, even though,like so I'm gonna talk about New York City,
right, because that's what I was very involvedin.
So even though there were certainly somefederal programs and state programs to
supplement areas in our city that were poorer,there was this big section in between that
(04:15):
neither had the financial resources that couldbe provided by parents involved in a PTA, nor
were poor enough to be able to get federal orstate or city funding.
And they were the that's where the dearth ofcreative influence existed.
(04:35):
And so when I started to get involved withthese organizations, I, you know, I was very
clear to them.
I said, we are not targeting the poorest areas.
We are going to target the areas that actuallyneed the funding.
Because if you're in a poor area, you'regetting literally hundreds of thousands of
dollars more.
(04:57):
You can afford to bring in creative, you know,seminars and things like that for kids.
But there's this other group that was justbeing lost in the cracks, and that was the area
that I really focused on.
And when my kids were young, I brought themalong with me.
(05:17):
I mean, you know, it was, I mean, you know, tome, I just wanted them to be exposed to all of
this, and that was really my driving force.
It gave me an opportunity to include mycreative compulsion.
Right?
But the real drive was my children.
Wow.
What a great answer.
Thank you so much.
(05:38):
And as a mother myself, I can totally relate tothat, also what you said.
Yeah.
To create the environment for the kids wherethey get prepared, right, for the world,
however the world is.
Then with diversity and also the educationsystem you talked about, and this is so true.
(06:00):
We always focus on the poorest areas, but, infact, it is this little I don't know if you
call it gray zone or something.
Like
Right.
Like a yeah.
Like a gray area.
Mhmm.
Yeah.
Area which is not served so much.
Yes.
This is so true.
Thank you for doing this.
And, of course, I have another question foryou.
What role does cabaret education play inempowering students, and how have you seen it
(06:26):
impact young lives?
Oh my goodness.
You know, one of the things that, okay, I wannasound a little bit like an old lady here.
But one of the things that has stunned me whenI have done workshops and, like, after-school
programs with youth is their total and utterlack of historical information.
(06:51):
Like, you know, I would bring up BarbraStreisand, and they'd be like, who's that?
And I'm like, oh, okay.
Like, where do we have to begin with thesepeople?
Right?
They have no access to the wealth of musicalrichness that preceded their birth.
(07:13):
You know?
And so, that you know, what I find withcabaret, because cabaret, the music spans,
there is no limit.
Right?
You can go all the way back to the 1800s and besinging music from that.
(07:36):
And all the way, some of my shows have hadsongs from 2016, 2017.
I mean, there's no limit.
So what I think cabaret offers students is thatopportunity to see how you can experience all
these different styles and genres and timeperiods of music and how they can still relate.
(07:58):
I have a particular recording that I did acouple of years ago of a song called "A Sweet
Mystery of Life." It's from the opera "NaughtyMarietta" that was written in 1910, and we
perform it as a folk song for today's audience.
(08:20):
And so what we have found, it is always a crowdpleaser in a very gentle way because it's a
soft thing, but it kinda blows people away thatthey're hearing a song written in a—you know,
we had to refine a couple of lyrics, butgenerally, it's the same song that came from a
(08:43):
totally different time period and yet it isutterly relatable today.
And that's the desire for youth is to exposethem to all different kinds of stuff, to let
them know it exists, you know, to let them knowthat Barbra Streisand was actually a pretty
iconic musical presence,
you
know, in the world at one point, and FrankSinatra and Mario Lanza.
(09:05):
Yeah.
I mean, all of these people.
Right?
Like, Mario Lanza.
All of these people.
And so when it now it depends on what yourapproach is.
I know that the approach for one of theorganizations that I'm involved with is—and I
really think this is the more effectiveapproach—is a lot of times people bring in
(09:30):
programs to schools and they're trying to findnew talent.
And say, oh my gosh, you could do this.
Or I want to encourage you to study this, andyou have potential and all this different
stuff.
But there is something really incredibly moresignificant to me when you bring in a program
(09:52):
that has nothing to do with talent.
It has to do with exposure and developing alove.
Because if we don't have people who actuallyappreciate and love all different genres of
music, where's our audience gonna come from inthe end?
Where are they gonna come from?
Right?
But if they're not exposed to it and they don'tknow it's there, you know, my niece who is 25
(10:17):
or 26.
She's 26.
I think she's 26.
She came to my show recently.
I think it's the first show she has seen me do.
And at the end of the show, she was so blownaway.
She was like, oh my gosh.
I loved all of this music.
And I'm like, really?
Are you just saying that because you're myniece?
You know what I mean?
She's no.
No.
No.
(10:38):
She said, I'm telling you.
She says, oh my gosh.
I'm such a fan.
I had no idea.
That is really possible with today's youth.
They just have to be exposed to it.
Yes.
I totally agree.
I heard someone saying that when you are onstage, right, I heard someone said that the
person creates their audience themselves.
(11:00):
So in their mind, first, you know, the peopleyou want to attract or to.
Right.
I can inspire or you know?
Yep.
Yeah.
Oh, I like that.
That's really interesting.
Yeah.
It was inspiring.
Yes.
It is inspiring.
And the other side of it too is, of course, youwant your material to be accessible.
You want people you you you know, we exist asperformers to entertain.
(11:24):
We exist to enrich people's creative orcultural perspective.
Right?
There are all these different things.
There's also an element to being true toyourself.
Right?
And and and and not just trying to accommodateothers.
But to your point, we do have some control overthe audience because of what we're envisioning
(11:50):
with what we're doing with the music.
It's not as much to please as it is to fulfilland enrich.
And hopefully, in the end, that is pleasing.
Right?
That that, you know, it because sometimes ifyou try to please people, you totally miss the
air you totally miss the spot.
You know?
Because it's you you can't read other people'sminds.
(12:11):
Right?
The message to transport, and you will reachthe right people.
Because, yeah, I heard because when you whenyou start speaking on stage also, you are
afraid.
Yeah.
Do they really want to see me or to to listento me also?
But they can also leave the room or the the thetheater.
(12:31):
That's right.
Good point.
I was thinking about that a lot.
And what I loved and what I did not say yet ishow you talked about compulsion.
You you with creativity, I would have chosenthe word passion.
Why why is it because you cannot stop.
(12:53):
Right?
Yes.
Because of passion.
Yeah.
Or obsession.
It would be Yeah.
You might think but my kids might agree withthat.
Yeah.
Of course,
I have another question.
Let's see.
Can you share how your personal interests likegolf or philosophy influence your creative
process as a performer?
(13:14):
So
I don't know about golf.
I mean, the, the, the, I can tell you what Ilove about golf is golf exists as a relevant
sport specifically due to the personalintegrity of the player.
Golf is pretty easy to cheat.
You know?
And I, and I, I think, you know, I thinkthere's a lot of cheating out there in the
(13:36):
lower levels, but to become a premier golfer,you have to have such personal integrity.
And your competition is with the course.
It's not with the other people.
Right?
And so I just love all of the imagery of thatand all of the messaging of that, you know.
And what was the other thing?
(13:57):
The, oh, the philosophy.
So how my philosophy very much informs me as aperformer is, you know, I realized very deeply
that when I go on stage, it has nothing to dowith me.
It has everything to do with my audience.
(14:19):
How did they get there?
Was it a smooth trip?
Is anybody sick out there?
Does somebody is really struggling and theyneed some, you know, emotional release or or an
escape and all these different things?
And I am there to serve them.
I am there to serve each and every one of themwho are in there.
If there's someone who, you know, is cacklingor has a particularly distinctive obnoxious
(14:45):
laugh, which believe me happens, and you justgo, oh gosh.
You know, you gotta realize that whether itseems distracting to people, that person is
really enjoying it.
They're enjoying it in their way.
Right?
So you've gotta, in my opinion, my philosophyjust always reminds me that I am serving
(15:08):
others, and I am lucky enough to use my passionfor music and performing to do it.
Yes.
I totally understand.
Also, you express yourself, and by doing this,you lose yourself.
(15:28):
You forget yourself in order to serve theothers.
So I get the message and what you said earlierabout when you do this in the education field,
you do workshops also, then it is moreimportant that everyone contributes instead of
searching for talent.
(15:48):
I would say the audience is part of the play,of course.
Oh my gosh.
Yes.
Oh my gosh.
Yes.
Yeah.
That means you were talking about someone islaughing or whatever.
It is integrated into what's happening in thepresence.
Right?
In the moment.
Right.
(16:08):
Yeah.
Mhmm.
Yeah.
I love it.
Yeah.
We create, and I did not know this before.
You know?
You don't know my story, but I was notspeaking.
Not in German, not in English.
I was so I I I had my intuition, said do thepodcast, and I started, and I cannot stop.
So this is my compulsion.
(16:29):
So thank you for the word.
And, yeah, I cannot stop anymore, and itdoesn't matter what other people think or
because I'm serving too.
We are serving now, talking about education,cabaret, and what you are doing next.
So tell me about your goals, or do you setintentions, and what is one of your next
(16:54):
projects?
Well, my next project is I'm actually in themiddle of working on a Christmas album.
Believe it or not, yes.
You do the Christmas album so that it's done byJune so they can release it in November.
So I'm deeply in the throes of that.
That'll be my third album.
And, yes, I'm very excited about it.
(17:14):
And my last album just won, it was chosen asone of the top 10 vocal albums by the Broadway
radio show.
The name of that album is Romantic Notions.
So please, audience, check it out.
It's all over the place.
You can download it, or you can stream it.
It's everywhere.
(17:35):
And I just got back from Puerto Vallarta.
I'm doing my live performance of RomanticNotions, and I just strongly recommend anyone
who hasn't been there to go there.
It's really fabulous.
My goals in the future are we're working on anew show.
My team and I are working on a new show.
We're gonna premiere it here in New York Cityin May, May 8 to be exact.
(18:01):
And, you know, that's my goal.
My goal is to just keep making music andbuilding my audience, and hopefully creating
value through that.
Oh, thank you so much for sharing.
Of course, there are plenty of people or tonsof people more now following you after
(18:26):
listening to this episode, of course.
I am one of them.
I'm the biggest I did not tell you.
So the idea of the podcast is that we don'tmeet before.
Right?
And so I don't know much about you.
I don't read so much because it has to beauthentic.
And when I put you on a pedestal also becauseyou are the star, then it's not helpful for us.
(18:53):
So I will check out, of course, your album,your music.
I did not do this before.
Thank you so much for our interview, and I amthe biggest musical fan since the age of 13 by
the age of 30.
And I was living in the city, with the musicalin Germany called Starlight Express.
(19:16):
Oh, yes.
Oh, I love, and before we got on, we talkedabout how we both have Slavic in us because I'm
half Polish, and my husband is half German.
And, yeah.
So, it's nice to share that too.
Thank you so much.
We are connected, of course.
I think maybe you can share, that's my lastquestion about, yeah, where we can find you.
(19:41):
Yeah.
Yeah.
So you can, everything can be found.
I'm all over social media.
You can find me on Instagram, Facebook.
Follow me.
That would be fabulous.
And, also, I have a website, annekittredge.com,and that's Anne Kittredge
(20:04):
I love it.
I'll check it out, of course.
I'll put it in the show notes as well.
Thank you so much for our interview, and nowit's time for your final thoughts to the
audience, please.
Oh, my final thoughts.
So, it's lovely to be able to share this stuffwith you.
(20:25):
I thought Caroline's questions were wonderful,and it's always nice to be asked, you know,
interesting questions that, you know, I hopeyou've enjoyed.
And, what I would have to say is for anyone whois watching this, I don't care what your
creative bent is.
We all have one.
We all have one.
(20:46):
Whether it's in technology or painting or musicor writing or teaching or there I mean, we all
have that creative energy.
And, I just want to say that I am very honoredto be a part of this world creative community
(21:14):
that does not get caught up in the genres thatwe specialize in.
And so I wish you all great creative flow thisyear.
Wow.
What a great message.
I'm highly inspired now.
Thank you so much.
Oh my goodness.
(21:34):
Yes.
And see you in the next.
Thank you for listening to Inspired ChoiceToday.
I'm thrilled to have you on this journey ofgrowth and transformation.
Don't forget to hit follow or subscribe to stayconnected and never miss an episode.
And here's something special (21:51):
Grab your free 20-minute breakthrough session with me.
It's designed to help you kick-start or levelup your business.
Just check out the show notes for more.
Until next time, keep making those inspiredchoices.
See you in the next episode.
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