April 14, 2024 • 49 mins
Episode Overview
In this enlightening episode of Making It Happen, join host Leesa Csolak as she discusses the intricate world of the performing arts industry from the unique perspective of a parent. Speaking with guest Teresa Pfefferle, mother of a young performer, listeners will gain practical strategies and valuable insights for helping their child seamlessly break into this incredibly competitive field.
Episode HighlightsListeners will learn about the rigors of auditioning, rehearsing, and fulfilling professional commitments as a young artist. Teresa shares her personal experiences, comparing the dynamics of professional pursuits with that of school plays, and emphasizes the importance of maintaining open communication and balance with your blossoming talent. Hear firsthand accounts of the challenging and rewarding journey of fostering a child's artistic passion without compromising their academics or personal growth.
Additional InsightsTune in as we discuss the importance of decision-making and finding a balance that works specifically for your family. This episode provides a profound and invigorating peek into the world of showbiz parenting, filled with invaluable advice on managing roles, dealing with agents, preparing children for auditions, and more. We also address managing the pressure of schooling and personal development amidst pursuing passion, highlighting the benefits of distance learning programs.
Pave Your Way To BroadwayDig deeper into the world of Broadway in a special segment featuring the mother-daughter duo of Broadway hopeful Lila Pfefferle and her mom, Laura. Learn about their collaborative process, the challenges and shifts brought on by the Covid-19 pandemic, and their anticipation for Lila, soon to turn 18, stepping into the professional world of auditions.
Helpful ResourcesConnect with us on social media at ttrigas and follow Lila's journey on lila_pfefferle. For more information about online courses to aid your break into the performing arts industry, visit lbctalent.com.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
And maybe let's start getting her into competitive dance classes.
To be honest, most managers and agents will not sign children who are under the age of eight or nine.
You know, had a couple of voice lessons just to get her familiar with.
And she got up and sang her Ariel song.
Absorbed the information and kind of came home and said, well,
(00:20):
if she likes this and going to do this, I feel like we should make some choices now.
Like things like we got her passport.
Welcome to Making It Happen, a career in the performing arts where we discuss
how to break into the performing arts industry for yourself or your child, teen, or young adult.
(00:43):
Guests include professionals who are passionate and share my vision of helping
talented individuals land professional representation and have successful careers in the arts.
My name is Lisa Solek, and I am the CEO and founder of Making It Happen,
a career in the performing arts online courses having helped hundreds of clients
break into the performing arts business on stage in films television commercial work and more,
(01:06):
this podcast is supplemental to my groundbreaking online courses.
For more information, check out all the ways that you can benefit from my courses,
how-to videos, live seminars, my free weekly newsletter, and free guides, go to lbctalent.com.
My guest today is Teresa Pfefferle.
You watch them prepare the food for the shoot, which is not how you would think,
(01:29):
you know, how they prepare food for television and print is not how you actually prepare food.
You know what I mean? and the things that they put on the food and cook it on
with a butane fire or whatever to make it shiny and not real.
They put oil on things to make it look more appetizing, I guess.
(01:52):
But yeah, God forbid the child eats it when they're not supposed to eat that
piece of whatever they put. And there was one little boy.
He had to eat the steak so many times and they were putting honey on it for
him because he didn't like steak.
And they had like a little, I call it like a little barf bag,
like he would eat it and chew it.
And then, and then when the shot was over, he would lean over and spit in the bag.
(02:16):
Yeah, the whole world of it is interesting. If you've never,
you know, seen it or understood it, you don't have any other family members that are involved.
It is a very strange kind of dynamic. But you know, you know,
right away, I think, you know, if you have a young child, and you end up on
these sets with them, you'll know right away whether or not the child is meant
for this and whether they can handle themselves in that in that setting,
(02:37):
which is important to note, you know, if your child is not happy in that space,
then it definitely We definitely took your advice on that.
I think you had said you used to have a meeting with your kids every six months.
And so I just figured I'm just, you know, Tony Robbins says,
if you want to see someone who's successful, if you want to be successful at
(03:00):
something, emulate someone else who's already done it before you and mimic that behavior.
So I was like, all right. So I would sit down with her six years old,
you know, and we would go to lunch and it'd be like, so do you like what you're doing?
Do you want to keep doing it? You know, it's okay if you don't want to,
(03:21):
you know, like we would, I consistently have those periodic conversations with
her. because like you said, this is a business.
It's expensive business.
And for us, it's expensive.
It's a commitment. So it makes no sense to push them if they're not having fun.
(03:44):
They don't want to do something. It makes no sense to spend our money,
stress our kid out and put her manager and or agent in a situation where they're
sending a kid out because that's income to them who isn't into whatever,
you know, is happening. So we often did that.
She never, she always said, yes, I want to still do this, you know?
(04:06):
Yeah. We would do the same thing with like dancing. Like if you had to choose
between this and this, like it was always like she horse, she was horseback riding for a while.
And then we got to a point where the horseback riding made me nervous because
they were were wanting to move her up to jumping. And I did not want her to jump.
A little baby jumps I was okay with, but I didn't want her to be a jumper because
I was like, we're spending all of this time and effort and finances in dancing and competing.
(04:33):
This seems counterintuitive to me to get on a horse and jump over some jumps
where you could fall and injure yourself and then you'd be out.
And so we made her choose.
At one point we said, listen, we know you love your horse. We We know you love
to ride, but you have to pick one. I think it's the same with anything else too.
You know, if somebody is a great baseball player and they want to do that and
(04:54):
they start playing football, you start to say, maybe we should do some cross
training instead of deciding to play football if we're just a really great.
Baseball player, you know, you have to kind of start to focus and get a little
bit more, you know, laser focused on what it is that the kids want to do.
And so, you know, I was thinking about something I said, I was telling you guys
a story before about what it's like in the room and the different types of auditions.
(05:20):
And it reminded me there's a couple like little anecdotal things that I think
are worth mentioning with the auditions.
Like we We had one time in a snowstorm, it was a state of emergency,
gone in for an audition and that was Sound of Music.
And while we were in the city, I had said to my husband, I made him come with
(05:42):
us. He wanted to come with us.
I think, I don't remember if I made him or he wanted to because of the weather.
We were the only ones on the road, us and the ice tracks.
And this was going or coming home? It was going. We went in a state of emergency
and we got there. and she had the audition.
And afterwards I said, we should spend the night. And my husband said,
(06:03):
no, no, no, no. We have to go home. We have animals.
There's snow. We have to plow the driveway. We're about an hour, hour and a half.
Well, door to door, it was two hours, right? So it was really like hour and
15 minutes, no traffic, straight run.
Then the alarm went off and they were alarming everyone in the city that they
were closing the tunnel. And so he was like, That's it. We're leaving.
(06:24):
And so we left, drove home, got about a mile from our house,
got stuck in the snow because there was so much snow and had blown whatever.
And then we get a notification that they want us for a callback the next morning.
And I just don't think this is going to happen.
I don't think we'll be able to get out. We can't even get down our driveway.
(06:49):
And so the manager was like, it's all right. Don't worry about it.
There's nothing you could you do about it.
And of course, in hindsight, you look back, you know, she jokes with me about
that and says, that's the one that would have been the one that would have made all the difference,
mom, you know, but there's something to be said for like, you have to be okay
as a parent, making those decisions and being okay, knowing that there could
(07:13):
be consequences to those decisions.
Like I can't make it today or I can't make the callback. We never,
we never wanted to say no, No, but I know like the whole summer vacation conversation
comes up because you have to be okay saying if you're not prepared to get on
a plane and leave your vacation,
you have to be okay saying, I need this seven days. I need seven days.
(07:35):
I'm off. Just block me out.
Absolutely. And that's tricky because sometimes the managers and agents,
they know what's coming down the pike.
And if there's something perfect for your child that they know based on a relationship
they've had with your kid as their manager or agent, they know that they could book it.
They're looking at, you know, obviously they're making the funds that they're
making because they're getting that percentage.
(07:55):
But on the other side of it, too, they're looking at it like,
okay, if you're out for a week, the week before anything that's shooting that
week, so whatever's auditioning, even a month before that might be shooting
that week, you're out of.
And then anything that is auditioning that week for the future,
the next how many weeks you're out of.
So yeah, but sometimes as a family, you have to make that decision.
(08:17):
I had one client who they, kids involved in the industry, they were always going
to audition, same thing, same experiences, similar kind of things in the New York market.
They decided to go to, I believe it was, it might've been Ocean City,
Maryland, something like that.
And while they were on the vacation and they, and she owned a business as well,
Teresa, she had, you know, a business that was, took up a lot of her time and
(08:40):
they rarely went on vacation.
And for a big commercial was, I think it was Campbell's soup.
So it was like a big national commercial and the residuals on it would have
been like, you know, 50 to a hundred K for a year of it running,
you know, that kind of money.
And I remember like it was yesterday, she called me, she's what,
(09:02):
what should we do? We don't know what to do. You know, we haven't had this vacation.
He had a sister and I said, you know, it's a bet you're you're,
it's like, you're, you're betting on this.
You know, if you take one day, it's one day out of your vacation,
you can drive into the the city, do the callback.
What are the chances he's going to get it? You don't know. You don't know if
there's 50 kids in the callback. You don't know if there's 10 or 20,
whatever it is, you have to make that assessment.
(09:23):
Could it be, I remember saying this to her, could it be a daddy daughter day
on vacation and you drive your son or vice versa, you know, so that you can kind of make it work.
And I think you have to look at the glass half full in those, in those situations.
At least that was my perspective. I always try to make it work and make it fun
(09:44):
for the kids and never make it feel like there was this effort or this kind
of negative kind of vibe on the rest of the family.
Like we always tried to make it work that way, but it's tricky.
You have to figure out what works for you. And like, you're saying,
be okay with that. Be okay with your decision.
You know, even if your daughter as a teen.
Does she still bug you about it? No, no, no. She was very good.
(10:10):
Like everything rolled off of her back. Almost for me, way more than me.
And sometimes I would be frustrated because there almost seemed like there were no stakes for her.
And in fact, there wasn't any audition that we got a call back for that she
(10:31):
refused to warm up. So she, I don't know, had a hair up her butt or something
and just like a power thing.
And so I, we get to the audition, she signs in, I go, we're Ripley.
So it takes me, well, I had to go to the bathroom.
So I go to the bathroom, they take her while I'm in the bathroom.
I come out, she's in the room. We were there for five minutes and none of the
(10:55):
things that they told her to be prepared with, they did.
It was totally something else. and I was like, so that's it?
And she was like, yeah, that was it. And I was so like lustered.
Like I just lost it.
And I think that's the one time we had friction.
Her and I had friction because I was like, if you're not going to take this
(11:16):
seriously, I am not going to do this anymore.
I don't know if that was a good or a bad moment. Who knows? It was just a good moment.
Because it's a big commitment. There was one audition that she cried. Oh, really?
It was just one. Everything else she just rolled.
Old. I think the kids do have to have that kind of attitude,
(11:39):
even if they, you know, you want to put stakes on it, that you want them to do well in the room.
They, you know, they want to do their best work in the room and hopefully that's the case.
But I think the kids who go to the auditions
and then forget about them and just go on to the
next thing and they enjoy that moment of being in the room and sharing what
they love with people who also love that same thing is where the head has to
(12:02):
be because I think it could get crazy because I think there are a lot of kids
out there that possibly are being pushed into the industry by parents who know
they're talented enough, but maybe they're not ready.
Maybe they don't have, you know, they want everything. They want all of the,
they want to book everything. They don't understand.
A lot of that too comes from what happens in their small town.
(12:23):
They're a big fish in a small pond and then they go into getting rep and doing
this and they don't understand as a child.
Another reason to have have management meetings with your child, you know?
Well, I used to like for as much effort as you put in,
someone else is always going to have more time and more money and have put more
effort in and, and, or had the right look or the right sound or the right twinkle, um.
(12:50):
Or whatever it is like yeah you
have to love the process and you have to love i mean i don't
know how do you feel do you feel that you're closer to lila
as a parent oh yeah because of this like like
i feel that that it changes everything i don't remember if we talked about this
when you when you guys started or not but i feel like a lot of people they're
(13:11):
they're so hell-bent on getting their child signed with a manager an agent once
that happens they start actually going to these these things,
it puts into perspective everything else.
It puts into perspective the school play or the dance recital.
Remember, I think we did talk about that because people get so hyped up in small
towns about who got the lead in the play and who got the dance recital.
(13:35):
And as soon as you start doing professional work, it's literally,
I feel like that space space becomes this relaxed, how I could,
you know, she danced competitively kind of at the beginning of this,
but it's similar when you're committed to any sport at a high level,
you're not going to every birthday party.
(13:56):
You're not going to every family event, right?
Like there has been so many things that she did not participate in that we just
were like, Lila's busy, Lila's dancing, Lila's competing, Lila's in the city, Lila has an event.
And I think for her, that definitely shows up in her level of maturity with
(14:17):
her peers, her age, who are not doing the things that she's doing.
And she also has selectively selected a lot of those people out of her life,
peer-wise, because of that.
That like she has she just kind of like has no tolerance
for the drama that a normal teenage
drama like normal stuff that normal normal kids
(14:38):
which is nothing wrong with she has no place for that in
fact one of her best friends that she's been friends with for a very long time
since they were five is a competitive jumper horse jumper and they pulled her
out of school probably a year or two after Lila was pulled out and they travel
the Florida circuit in the winter so they bought got a second house down there and she's competing,
(15:00):
moving her way through the levels.
I don't know what it's called in the horse world, but moving her way to be pre-Olympic
and they get along fabulously and they don't see each other all the time and
they don't talk all the time. But when they see each other, they love hug and
kiss each other and laugh and giggle and.
All of those things, but they get it because they're both the same level of
(15:21):
intensity in what they're doing.
I totally agree with you. I think being in the industry with a child,
it brings you closer to the child, obviously, because you're trying to help them.
And if you can keep it, if you can keep yourself sane through the process,
because I think too, I want to mention, we end up being like middle management.
Do you know what I mean? Like we're dealing with the agents and managers and
(15:41):
the emails that we're getting from them as far as what our child is going to
be given an opportunity to audition for.
We want to say yes, like you said, we want to say yes to things because we know
this is important to the agent or manager because this is how they put food
on their table and a roof over their head.
And yet on the other side of it, we also are balancing the relationship with
(16:01):
the child, the training of the child and being able to make sure that they're
happy and doing their best work.
And we're the ones who have to hide the stress on both ends.
So it's definitely like middle management. If you've ever had a job in middle
management, this is what it is.
So you have to figure out how you're going to balance that. How you're going
to help them self-tape and not want to scream at them because they're giving you a little whatever.
(16:27):
Yeah, they're tired or they're hungry or whatever.
It's like the 15th time you've taped it because they can't get that one line right or whatever.
Yeah, yeah, yeah, yeah, yeah. And I think they have, sometimes I think the kids
are having fun with us. Yes.
Because they understand at a different level than generally than what,
(16:48):
you know, there's definitely a whole different level of stuff.
Yeah, I think so. Because they're kids and they don't need to see and understand
the other side of it to a full extent.
They don't need to see and understand the time, effort, money,
and the coordination that you have to do with their world, as well as the agent
(17:09):
manager world, they don't need to see that.
So you have to be a parent who is willing to be that.
Give them the vanilla version that they need to hear and deal with the other
stuff and just kind of let them know, calm, keep them as calm and safe as possible
in all of it, in the preparing,
in the auditioning, in the post auditioning, in the callbacks,
(17:31):
like all of this just really like.
When they're little, it might look like, oh, yay, this is fun.
When we're done, we get to go get a slice of pizza or some ice cream.
Or, oh, there's our favorite crepe place in this part of town where these auditions
are. So we get to go get crepes today.
We tied food treats to a lot of the locations because it was the same locations for different things.
(17:53):
And so every time you had to go in Chelsea, where Milk Studios is,
so we would always, she always, always, always wanted a strawberry Nutella crepe.
So that was always the treat.
Yeah. Well, part of it too, I think is the timing, right?
You're picking them up after school, you're driving in, it's taking you an hour
and a half, whatever you're getting to the audition, all those things are happening.
(18:13):
So in, at least in this market, I would believe it's the same if you are living
an hour and a half outside of LA or Vancouver or Atlanta, wherever.
LA might be worse with the traffic.
Yeah, true. Yeah. You got a point there.
You know, there might need to be there the day before. Yeah,
there you go. Oh gosh, I'm going to say that. But yeah, but they're hungry for dinner.
(18:35):
Yeah. Actually hungry. Like I remember.
Yes. And one time, so what we, I had to learn the timing.
So if the audition was at 530, there's no way I could leave the city.
Even if we had to be home, because if you try to leave at that time,
it is the worst rush hour and you're going out of the tunnel.
And especially if you're down in Chelsea, you need to go out of the Holland tunnel.
(18:57):
And so we were in line to get into the tunnel for an hour and a half.
In fact, that was one time where she was climbing around on the back floor of
the car looking for like peanuts and raisins that had spilled like on her way to a dance competition.
And I was like, all right, listen, there's a cart up the block.
Here is $10. Get out of the car, run up to the car and get a hot dog or a pretzel.
(19:24):
And I won't, I promise I won't leave you. Like just don't get something.
And this is while you're on the way into the tunnel. this is
on our way out because we had sat so long and
you're in the city and you're on your way out of the city oh
my god it took us like four hours to get home that night yeah that's crazy yeah
you learn quick that you learn and my and my husband was not the best carrier
(19:49):
of getting her in and out and so because his thinking is not the same as mine
and whereas he was more concerned concerned about,
highly concerned about safety in the city, made him nervous.
And they got in a port authority or a Penn station and she had to go to the
bathroom and he wouldn't let her go because he did not want to take her into
(20:10):
the men's room for fear of not knowing what was going to be in the men's room.
And he couldn't go into the women's room at the time. There was no laws that
allowed for multi-gender.
And so he's trekking up eighth Avenue with her.
And she's He's like, dad, I really have to go to the bathroom now.
I know that I know the places, right?
You know, the places that you're a couple blocks, couple blocks,
(20:32):
you know, here and there and wherever that you can sneak into and use the bathroom.
And in his mind, he said, I just have to get you there.
We will get just hold it and we will get to the bathroom when we get there.
Which it ended up turning into wherever this location was, there was construction.
So they get to the casting office and the girl at the table says,
(20:53):
oh, you have to go to this floor to go to the bathroom.
So they get into the elevator, they get to that floor and the construction crew
is there. They're like, no bathrooms.
You got to go to this other floor.
So by the time that had happened, she had peed her pants in the,
poor girl, peed her pants in the elevator.
So after that thank god she had a change of clothes with her and you know that
(21:16):
was of course little girl problems right she always would be like mom i don't really want down.
But another thing with a little kid you have to think about and learn and build
into your your dynamic of, okay, hydration, food, bath, extra clothes.
(21:38):
Yeah. Yeah. Yeah.
So, you know, this is great. Let's, let's jump with, if you still,
if you have time still, I really, really want you to talk about the thought
process to having her leave public school and do distance learning program?
Well, it started to become, I could tell, a little stressful for her leaving class.
(22:02):
So I want to say she was maybe in sixth grade.
I could tell there were times where when I would pick her up at lunch to take
her in, she would be irritated.
And I would try to talk to her about it. She would calm down eventually by the
time we got to the city, but she would be irritated that she missed whatever
they were going over in class.
Because she is the little A-type and didn't like to miss content.
(22:27):
And she felt like she didn't necessarily know what was happening when she got in the next day.
Although the teachers kept reassuring me, she was fabulous and great and had
no issues and there were no concerns with them.
For her, it was stressing her out. And so we had talked about it,
but I was kind of afraid to pull the trigger.
And then we had an incident where she was performing at 54 below and there was an after party.
(22:52):
We got home at one or two in the morning.
And so I took her into school an hour late the next day.
So was that maybe like 9, 9.30? I don't know. It's like by 10 a.m. She was in class.
And when I was signing her in, the secretary, well-meeting, without having any
context of anything, without knowing anything, the poor secretary said,
(23:16):
oh, Lila, just so you know, when you're tardy, that ruins your ability to have
perfect attendance. attendance.
And that was the moment for me that I decided enough was enough.
I got probably more irritated than I needed to.
And I had asked for the principal after she got signed into class,
(23:37):
and I pulled the principal aside.
And I said, under no certain circumstances is your staff to ever discuss my
daughter's attendance with her. Unacceptable.
She's however old she was. I said, she performed in the city last night at 54
Below for, you know, like you may or may not know what that is.
But that's a big deal. But that's a big deal.
And she's an hour late for school. I said, and I am pretty certain that her
(24:01):
one commercial she did last year, she made more money than the secretary.
And so this is unacceptable for me. And of course, the principal was very apologetic. I'm so sorry.
They didn't honor, they didn't know because it wasn't something that we necessarily
discussed or talked about with all of the staff.
It was just, you know, the principal was very empathetic.
(24:22):
For me, I just felt like I'm setting her up in a lose-lose situation.
If I keep her in this dynamic where she's getting pulled by two worlds,
either she's in or she's not. And let's just see.
Like, it was kind of like, let's just rip this band-aid off and see what happens.
And maybe this will give us more time where she could have, like,
piano lessons and more down time.
(24:44):
And so I'm so thrilled that we did.
It ended up being six months, eight months before. or it was like the September before COVID hit.
So by the time COVID got here, we already were distance learning.
It might've been the year before COVID maybe, but we had already been distance
learning. So it wasn't a thing for us. And we were just like, whatever.
(25:06):
She was able to add piano and guitar.
I noticed that her level of intensity with her dancing at the time,
she was way more zeroed in and focused because she had the time to. too.
And so they're not fired from a six hour day or seven hour day at school.
And many times in public schools, they're wasting about half of that time.
(25:27):
I was just going to say there's probably four hours of instruction in a given day.
And so what's amazing is now she's, well, she's in the collegiate,
she's in American Institute for Musical Theater or Institute for American Musical Theater, right?
It's in Manhattan. It's a performing arts school trade trade college.
And she was accepted and invited to participate haphazardly.
(25:52):
It was this kind of funny anecdotal story, but haphazardly at 14 was invited to participate.
So we had planned on transitioning her back into high school as a freshman.
But instead, at the last minute, we pivoted and moved her into Manhattan.
And she's been attending that full time as a level four dancer,
thanks to you. And that's their highest level.
(26:15):
She's in room with other kids who are dancing at her level or better, which was important.
And there was two other girls who are under the age of 18.
Both of them have been distance learning. One of them just got their GED.
The other one is actually doing an accredited online school and she's going
(26:35):
to be going to college, actually not for musical theater, but for like musical therapy.
It's kind of fun that she has other kids who have a similar experience like other people like her.
And it's not a bad thing. Like I definitely think there's, you know,
for the average student who doesn't know what they want to do with their world,
(26:57):
there's great public schools, right?
You build great relationships and you get to have all these normal experiences
and exchanges with kids your age, learning what you like along the way.
But she always knew, like if this was never, we always supported this.
As much as we have because she always seemed to know. She was the one that said,
(27:20):
I want to get up and do that.
And at eight years old, when she showed up to a dance competition with a fever
having thrown up before we got there and insisted that she wanted to perform
and was purple lips and shivering in the wings and then got up and performed
and then came down and went to sleep.
That for me was why I was like, we don't have a choice.
(27:43):
Which is wonderful that you guys have been supporting her the way you have,
because you know, like you telling that story, you're giving me chills because
seriously, that is the thing.
That's what makes me, that brings tears to me. Yeah.
Right. And then I could tell you probably a handful of times after that,
where she was was performing at the green
(28:04):
room and there's one of our teachers had hosted
an event there and there's you know 25 kids performing
and she had planned on had worked for like a month ahead of time on a specific
number and that day shows up and she's got 102 fever and a runny nose and she
goes in and performs and it might not have been her best performance you know
(28:28):
what i mean to have I have an eight-year-old,
10-year-old, 12-year-old with that sort of like drive.
I'm so grateful after, you know, she's the baby of five.
And I could definitely say she has the strongest work ethic innate in her.
And I think it's the performing.
You know what I mean? I think. Oh, yeah. You think it's all of that that has
(28:49):
built that into her. It's made her that person.
Yeah. And even though like even with.
Going back to what you said earlier, when she was younger, and you said,
Oh, I wish there were more stakes for her. But actually, there probably was it was there.
She wanted it, you know, maybe she wasn't showing it, or she was,
you know, just kind of trying to, you know, play a little bit with the control pieces of all of that.
(29:13):
She's going through the process, but it builds in them so that by the time they're
older teens, young adults, they're literally ready for the industry.
I mean, she is so far ahead, just to reiterate what you just said so that people understand,
you're looking at a young teen at 14 who is invited into a collegiate program,
(29:36):
a two-year intensified collegiate program that is amazing in New York City,
first classes that are with Broadway stars, stars, professional icons.
They're getting acting, singing, dancing, all of it. Oh, even more.
First of all, his level of love for the performing arts and for these kids is
(30:02):
so evident and special that I remember saying to myself,
I could never rob her.
When he said, said, I think your kid's pretty amazing and I would like to take
her in the program if she's willing and wants to come.
I could never rob her of that opportunity to be with people like that.
(30:24):
I felt like if I said no, I would be robbing her because there's so many people
jaded around the world and all kinds of different genres of life,
but especially to have something that's special.
And because of his finance background, his training in finance,
he's teaching them about about finance, about business, and it's teaching them
(30:45):
about being a safe place for each other and what a great, amazing, magical thing that is.
And a lot of the teachers, like you said, they're performers.
They're professionals, they're in theater, they're teaching at Broadway Dance
Center, they're teaching at TAPS.
So it's definitely the community, like building and crossover you want to be part of.
(31:12):
He's also offering the students an opportunity to meet casting directors,
agents, and managers. Is that correct?
Correct. He definitely brings them in.
They have Agent April every year where they bring in agents and kids have an
opportunity to workshop with them and get notes.
Which you heard me say before, you get zero feedback. feedback,
(31:35):
the fact that they come in and they're willing to meet the kids and give them
notes and some of them get signed as a result of it is an amazing thing.
And Lila got to participate in the Share Pre-Pro.
I probably cannot articulate as well as you what that means,
but my understanding is it's when the choreographer for the show,
(31:58):
for the tour, she handpicked a group of kids to work with,
to work out her choreography and to fine tune it before she met with the cast to run it on the cast.
Yes, that's correct. Yeah, pre-pro. and a lot of people don't have an opportunity
(32:18):
to do pre-pro until they're deep set into the Broadway community.
They've done a couple of Broadway shows or a Broadway show, and they seem to
be that type of performer who is going to be really great and collaborative
and grounded with who they are as a performer.
And then the choreographers or the directors are going to invite them in to
do pre-pro of sort, whatever that is.
(32:40):
And it's magical that she got to do that for the share tour. Yeah, absolutely.
Yeah. Yeah. Yeah. It's crazy. So now she is 16, correct? Yes.
And she is going to be graduating out of the collegiate program.
That's incredible. Yeah. Incredible.
(33:02):
So what, so do you have any idea what she's going to want to do and moving on?
Because she's not, I think this question would come up for the listeners.
She's not 18 yet. that can she audition for.
Professional work at this point? Like, what are your feelings?
Are you still working that out?
I'm still sort of working that out and trying to take the lead from her.
(33:23):
Like the last, you know, the last year and a half, we have not submitted for
anything outside of any submissions she might've done through the school.
And we did, you know, her, the management company during COVID finally closed after many, many years.
And her active manager at the time moved on and started his own agency,
(33:49):
but only took children who had active contracts.
And at the time, she did not have an active contract.
And then I had reached out. And at the same time, simultaneously,
she had a huge growth spurt.
12 years old, she was 5'7", 5'6", 5'7", way too tall to work on Broadway and then COVID.
(34:11):
And so she had been with innovative artists and Barbara Coleman,
who was wonderful and lovely to work with.
And, but Barbara was like, listen, you know, COVID and I just can't, I have nothing for her.
So I'm going to clean her off my roster. She's been amazing.
So, you know, I think had COVID not happened,
(34:33):
that might've have been different yeah and
which was our intention in getting her involved so
early have developed the relationship to
carry through that yes they're not working because there is that age gap yes
train and not work yes but that's okay because everything we've talked about
this before like you just don't know everything kind of happens magically for
(34:57):
a reason and you don't until later.
And so, and I lost my train of thought. Well, you know what?
Here's, yeah, you were, no, I love where you were going because.
You know, she here, let me explain one thing to everyone.
So we've talked about this before with other guests, but between the ages of,
for Lila, it was 12 and it'll be to 17.
(35:18):
For other people, it's maybe 14 to 17, 15 to 17. It just depends on when they
grow and develop and start to look like an adult.
When they start to look like an adult, a production company is going to be able
able to hire an adult, 18 plus, to play 15, 16, 17.
So there's this gap that happens. And some teens work through that time if they
(35:43):
look younger than their age.
Because if you're 15 to 17 and you look 12 or 13, they're going to hire you
because you're going to be just more mature and you're going to be able to work
more hours and all of those things based on the rules and the state that you're working in.
So for kids who are too tall or don't fit in that space, like Lila was tall
(36:04):
for her age, there's not going to be a lot there for them.
And you, as a parent, you want to find different things for them to do.
Cabarets they can perform at all that kind of stuff. You want to work on training and everything.
And for Lila, the best thing that happened was that because the training became
such an important part of it.
And you were smart to keep that going and and not just go, oh,
(36:25):
well, we're not going to a lot of auditions now other than our own submissions.
So we're not going to train. People do that, right?
So then what happens? And if you want to talk about how, didn't she go to a summer program?
She went to the summer program. So they have a month-long summer intensive.
(36:45):
It's I-A-M-T. Institute for American Musical Theater. Okay.
And I had, because we were still trying to figure out, so there were some changes
in her dance company that were coming at the time.
And we were kind of like, what are we going to, you know, her and I would talk
about what are we going to do and, you know, where do we want to be and, and all of that.
(37:11):
And so I had sent him an email and I had simply said, hey, would you consider
allowing her to participate in some of the classes in the fall?
And I was thinking that maybe we could come in, maybe we could keep her homeschooled
versus going back to high school and maybe we could come in two days a week.
And when he called and the conversation progressed and he offered her to participate
(37:38):
fully, he said, if your kid wants to come, I would take her.
She was a passenger seat in the car and heard
him say that we were driving to the school because
I stayed with a friend in Queens so I would drive her back and forth every day
for that because at the time at 14 I didn't want
to leave her in the dorms and so I would stay with her and would drive her back
and so she heard him say that and I turned to her and she shook her head so
(38:03):
that's why I was I couldn't say no I mean and of course that's a whole other
we could probably do an episode about like how to have the,
how to make those decisions and have those conversations with my husband and
with her and what all of that looked like.
Cause that was a lot of intense, two weeks, three weeks of making.
I remember. Yeah.
(38:25):
So, so like I said, that could be its own whole conversation.
Cause that's a lot of the decisions that you have to make as a parent and involving her,
you know, but there's two parents and
two parents have to be on the same page and the kid
has to be comfortable and you have to be comfortable and it's sort of
like a very collaborative dynamic and
(38:46):
so yeah so now that she's 16
and going to be graduating we have a year before
she probably most likely practically speaking is marketable and so then we have
to decide and we're still figuring that out are we gonna try to keep the apartment
(39:06):
in the city and and stay somewhat involved in this program in like a custom solution?
Are we going to pull her home and let her go to high school for a year?
Are we going to keep her homeschooled? Is she going to like just take the bus
to the city two, three days a week and take classes?
Like you don't really know all those answers yet. And probably in typical Pfefferly
(39:28):
form, it'll be sort of like a last minute.
This is what's gonna happen this is what we're gonna
do okay yeah this is what we're gonna do how has she
been keeping up with the with the homeschooling as far as
the academics how has that been going and is that an ongoing process
will she be graduating on time or early just i
think so i mean it's a self-paced she's in a
(39:50):
self-paced accredited program okay and
so she does definitely there are times where she
has some downtime and she just spends an entire day like she'll
bang out a semester worth of content
for one subject over the course of like three days which
tells you just how yeah that
how focused and also how little they cover in school oh true true yes right
(40:15):
yeah like they are they have to spread out all that time listen she's not getting
i understand there are certain things she's not getting the benefit of being
in a classroom and having conversations around the topic necessarily,
but I think what she wants to do in her life, like, you know,
it's just got to let her follow her compass and kind of either.
I think probably what will happen, like one of the options for next year is
(40:39):
to take the year and just bang it all out and finish it and complete it.
Yeah. Yeah. Yeah. But then, then the, then the challenge will be figuring out
how to get in enough training to keep her where she is.
Yeah. She's been doing it all day long, every day. Yeah. 8.30 to 4.30 and some
days she's in the studio till 9.30.
(41:01):
Yeah. Yeah. To keep all that up for sure.
So she has, you have some, and she has some big decisions to make and it looks
like it's quite going to be an interesting journey over Over the next couple
of years, a very exciting one. Yeah.
I'm sure. I'm excited to see where she lands at 18, you know,
(41:25):
and when she, cause she'll be able to start auditioning for Broadway,
all kinds of stages, regional auditions.
Touring all of that so it'll be next december that'll
be kind of a you know when she turns 17 that'll be
like ripping off the bandit i think she's leaning
towards not attending a university or musical theater because she said why would
(41:50):
i do what i already know how to do and have already been trained how to do she
said that's a waste of money and so that might not be what everybody wants to hear,
but you know, well, everybody, that's the whole point of the podcast, right?
Everybody's journey is different. I just interviewed Curtis Holland,
who has been in five Broadway shows, and he kept making mention of that,
(42:11):
you know, listeners out there, everybody's journey is different.
Everybody's going to land where they're supposed to land. But the point is,
give yourself the chance.
If you're that passionate, if you have the work ethic that Lila has,
if you have the passion for it, and the talent and ability, and you have a a
parent willing to support all of that, you, that journey is going to be different from someone who.
(42:32):
Maybe finds musical theater while they're in high school.
They're in a musical theater show as a sophomore in high school and find out
that they can sing and that they're really good at this and didn't know.
And now their journey is going to be different. They're going to do the collegiate path.
They're going to, you know, it's going to be a little bit different,
but you know, everybody gets there if they put in that work.
Yeah. So do you have, this has been great, great really great information that
(42:54):
you could do this because we've been talking about it for so long you know and
so I'm glad it all worked out for today but do you have any last minute thoughts
or advice for parents with a child similar to what you found with Lila,
I feel like my best advice would be to find someone like you and keep them as close as possible.
(43:21):
Doesn't matter what the cost, it's worth it.
Well, you know, it's, it's, it's definitely a journey that if you have a mentor
and you have somebody who's been
there and done that, like you were saying earlier and has been through it.
And certainly, I understand both sides of the industry, having had three children
(43:41):
in the industry myself and then being in the industry myself.
So I've got both sides of it. And so it is easier in that regard,
I think, if you're new and you don't know anything about it.
Yeah, no, I think definitely finding a mentor of some kind and don't be cheap
when it comes to having the right people.
(44:02):
Because part of it is finding the right team and people who will love and support
and come and like really be honest and give you the best of the best.
Maybe that looks like if your kid is in a musical theater, that's going to be
someone who's training them in dance, right?
Someone who's training them in voice, someone who can be a mentor,
(44:24):
who's trained people before who like, you know what I mean?
Like yourself. I heard one of the teachers, one of the voice teachers say once
to someone, if you had just seen me once a month, as opposed to paying someone who was half the price,
I could have kept you in a better place vocally.
(44:47):
And it's hard to see that. Like you don't see that when you're going through it.
It's very much a unguided journey, if you will. You know what I mean?
Like you're, you're like in a dark, like remember that movie,
Golden Child, Danny Murphy.
Yes. When he's got the glass of water and he's walking through this dark room
(45:09):
and he's like stepping on these stepping stones and he can't see anything and he's singing.
That's pretty much what it's like but like
you know yeah sometimes it's better to say
okay if this is our budget where can we get the best of this even if it's not
every week yes it's once a month you've made that mistake at times because you
(45:34):
just don't know what you don't know and if If you haven't been in that world before,
many of us have not, then you don't have the experience to know the difference.
Absolutely. I've said that to many new clients. You don't know what you don't know.
And that's okay. You have to seek out and find people who can connect you and make you understand.
(45:56):
And to your point in regard to the lessons, you could be taking once a week,
every Tuesday they had 415 with the lady down the street who,
who retired from being a music teacher at school,
or you can be taken once a month from someone who has been on Broadway is,
you know, a Juilliard, you know, or, you know, or, and it's going to cost you
(46:17):
more, but what they're going to learn in that space and the connections it's
going to give you are going to be life-changing.
And we did that like during COVID when I finally like felt like I could breathe. breathe.
Okay. Well, nothing's happening right now. So I'm going to like cheap out on
some voice lessons for a while just to have something that had no stakes,
you know, keep her singing. Yeah.
(46:37):
Yeah. Yeah. But then you're like, okay, now I know that at this time we have
to be game on, you know, so then you have to start saying, okay,
well, that means that we're going to have to really start doubling down. Yeah.
Yeah. You're back in for sure. So if, um, any of the listeners would like to
follow Lila's journey, get in touch with you in some way?
(47:00):
Can they, can you share social media?
Oh yeah. It's, I think her Instagram is at Lila Pfefferle.
Can you spell that for us? Oh, L I L A P F E F F E R L E.
And I do not believe currently her Her website is up, but her website will be
(47:23):
up probably in the next six months.
And that was laurabeffley.com.
Okay. And do you have any issue if someone wanted to get in touch with you via social media?
Not at all. Yeah. So what would that be? It's at ttrigas, T-T-R-I-G-A-S.
Okay. Beautiful. Yeah. And that's on Insta. Awesome. Thank you so much for this
(47:46):
today. It's been wonderful.
Yeah, it's been fun. Yeah. I love you guys so much. Yeah. Same.
I'm really excited for what's going to be in her future. I think I'm going to
be spending a lot of money on tickets.
The chef is in. That's what's going to happen. Well, there was a time where
you said, I'm going to eat my hat if this doesn't happen.
(48:10):
Yeah. Yeah. Oh yeah. I think she's getting there. So anyway,
thank you. You're welcome. Thank you.
If you'd like to connect with Teresa or Lila and continue to follow Lila's professional
journey, follow her on Instagram at Lila Pfefferle and join me Sundays at 8 PM Eastern.
Need more information visit lbctalent.com and follow me on socials at lisasolak underscore lbc talent,
(48:35):
by sharing our stories we can help other talented individuals land the career
of their dreams if you're enjoying this podcast please like and subscribe below
and hit the bell for notifications.
Music.
And maybe let's start getting her into competitive dance classes.
To be honest, most managers and agents will not sign children who are under the age of eight or nine.
You know, had a couple of voice lessons just to get her familiar with.
And she got up and sang her Ariel song.
Absorbed the information and kind of came home and said, well,
(00:20):
if she likes this and going to do this, I feel like we should make some choices now.
Like things like we got her passport.
Welcome to Making It Happen, a career in the performing arts where we discuss
how to break into the performing arts industry for yourself or your child, teen, or young adult.
(00:43):
Guests include professionals who are passionate and share my vision of helping
talented individuals land professional representation and have successful careers in the arts.
My name is Lisa Solek, and I am the CEO and founder of Making It Happen,
a career in the performing arts online courses having helped hundreds of clients
break into the performing arts business on stage in films television commercial work and more,
(01:06):
this podcast is supplemental to my groundbreaking online courses.
For more information, check out all the ways that you can benefit from my courses,
how-to videos, live seminars, my free weekly newsletter, and free guides, go to lbctalent.com.
My guest today is Teresa Pfefferle.
You watch them prepare the food for the shoot, which is not how you would think,
(01:29):
you know, how they prepare food for television and print is not how you actually prepare food.
You know what I mean? and the things that they put on the food and cook it on
with a butane fire or whatever to make it shiny and not real.
They put oil on things to make it look more appetizing, I guess.
(01:52):
But yeah, God forbid the child eats it when they're not supposed to eat that
piece of whatever they put. And there was one little boy.
He had to eat the steak so many times and they were putting honey on it for
him because he didn't like steak.
And they had like a little, I call it like a little barf bag,
like he would eat it and chew it.
And then, and then when the shot was over, he would lean over and spit in the bag.
(02:16):
Yeah, the whole world of it is interesting. If you've never,
you know, seen it or understood it, you don't have any other family members that are involved.
It is a very strange kind of dynamic. But you know, you know,
right away, I think, you know, if you have a young child, and you end up on
these sets with them, you'll know right away whether or not the child is meant
for this and whether they can handle themselves in that in that setting,
(02:37):
which is important to note, you know, if your child is not happy in that space,
then it definitely We definitely took your advice on that.
I think you had said you used to have a meeting with your kids every six months.
And so I just figured I'm just, you know, Tony Robbins says,
if you want to see someone who's successful, if you want to be successful at
(03:00):
something, emulate someone else who's already done it before you and mimic that behavior.
So I was like, all right. So I would sit down with her six years old,
you know, and we would go to lunch and it'd be like, so do you like what you're doing?
Do you want to keep doing it? You know, it's okay if you don't want to,
(03:21):
you know, like we would, I consistently have those periodic conversations with
her. because like you said, this is a business.
It's expensive business.
And for us, it's expensive.
It's a commitment. So it makes no sense to push them if they're not having fun.
(03:44):
They don't want to do something. It makes no sense to spend our money,
stress our kid out and put her manager and or agent in a situation where they're
sending a kid out because that's income to them who isn't into whatever,
you know, is happening. So we often did that.
She never, she always said, yes, I want to still do this, you know?
(04:06):
Yeah. We would do the same thing with like dancing. Like if you had to choose
between this and this, like it was always like she horse, she was horseback riding for a while.
And then we got to a point where the horseback riding made me nervous because
they were were wanting to move her up to jumping. And I did not want her to jump.
A little baby jumps I was okay with, but I didn't want her to be a jumper because
I was like, we're spending all of this time and effort and finances in dancing and competing.
(04:33):
This seems counterintuitive to me to get on a horse and jump over some jumps
where you could fall and injure yourself and then you'd be out.
And so we made her choose.
At one point we said, listen, we know you love your horse. We We know you love
to ride, but you have to pick one. I think it's the same with anything else too.
You know, if somebody is a great baseball player and they want to do that and
(04:54):
they start playing football, you start to say, maybe we should do some cross
training instead of deciding to play football if we're just a really great.
Baseball player, you know, you have to kind of start to focus and get a little
bit more, you know, laser focused on what it is that the kids want to do.
And so, you know, I was thinking about something I said, I was telling you guys
a story before about what it's like in the room and the different types of auditions.
(05:20):
And it reminded me there's a couple like little anecdotal things that I think
are worth mentioning with the auditions.
Like we We had one time in a snowstorm, it was a state of emergency,
gone in for an audition and that was Sound of Music.
And while we were in the city, I had said to my husband, I made him come with
(05:42):
us. He wanted to come with us.
I think, I don't remember if I made him or he wanted to because of the weather.
We were the only ones on the road, us and the ice tracks.
And this was going or coming home? It was going. We went in a state of emergency
and we got there. and she had the audition.
And afterwards I said, we should spend the night. And my husband said,
(06:03):
no, no, no, no. We have to go home. We have animals.
There's snow. We have to plow the driveway. We're about an hour, hour and a half.
Well, door to door, it was two hours, right? So it was really like hour and
15 minutes, no traffic, straight run.
Then the alarm went off and they were alarming everyone in the city that they
were closing the tunnel. And so he was like, That's it. We're leaving.
(06:24):
And so we left, drove home, got about a mile from our house,
got stuck in the snow because there was so much snow and had blown whatever.
And then we get a notification that they want us for a callback the next morning.
And I just don't think this is going to happen.
I don't think we'll be able to get out. We can't even get down our driveway.
(06:49):
And so the manager was like, it's all right. Don't worry about it.
There's nothing you could you do about it.
And of course, in hindsight, you look back, you know, she jokes with me about
that and says, that's the one that would have been the one that would have made all the difference,
mom, you know, but there's something to be said for like, you have to be okay
as a parent, making those decisions and being okay, knowing that there could
(07:13):
be consequences to those decisions.
Like I can't make it today or I can't make the callback. We never,
we never wanted to say no, No, but I know like the whole summer vacation conversation
comes up because you have to be okay saying if you're not prepared to get on
a plane and leave your vacation,
you have to be okay saying, I need this seven days. I need seven days.
(07:35):
I'm off. Just block me out.
Absolutely. And that's tricky because sometimes the managers and agents,
they know what's coming down the pike.
And if there's something perfect for your child that they know based on a relationship
they've had with your kid as their manager or agent, they know that they could book it.
They're looking at, you know, obviously they're making the funds that they're
making because they're getting that percentage.
(07:55):
But on the other side of it, too, they're looking at it like,
okay, if you're out for a week, the week before anything that's shooting that
week, so whatever's auditioning, even a month before that might be shooting
that week, you're out of.
And then anything that is auditioning that week for the future,
the next how many weeks you're out of.
So yeah, but sometimes as a family, you have to make that decision.
(08:17):
I had one client who they, kids involved in the industry, they were always going
to audition, same thing, same experiences, similar kind of things in the New York market.
They decided to go to, I believe it was, it might've been Ocean City,
Maryland, something like that.
And while they were on the vacation and they, and she owned a business as well,
Teresa, she had, you know, a business that was, took up a lot of her time and
(08:40):
they rarely went on vacation.
And for a big commercial was, I think it was Campbell's soup.
So it was like a big national commercial and the residuals on it would have
been like, you know, 50 to a hundred K for a year of it running,
you know, that kind of money.
And I remember like it was yesterday, she called me, she's what,
(09:02):
what should we do? We don't know what to do. You know, we haven't had this vacation.
He had a sister and I said, you know, it's a bet you're you're,
it's like, you're, you're betting on this.
You know, if you take one day, it's one day out of your vacation,
you can drive into the the city, do the callback.
What are the chances he's going to get it? You don't know. You don't know if
there's 50 kids in the callback. You don't know if there's 10 or 20,
whatever it is, you have to make that assessment.
(09:23):
Could it be, I remember saying this to her, could it be a daddy daughter day
on vacation and you drive your son or vice versa, you know, so that you can kind of make it work.
And I think you have to look at the glass half full in those, in those situations.
At least that was my perspective. I always try to make it work and make it fun
(09:44):
for the kids and never make it feel like there was this effort or this kind
of negative kind of vibe on the rest of the family.
Like we always tried to make it work that way, but it's tricky.
You have to figure out what works for you. And like, you're saying,
be okay with that. Be okay with your decision.
You know, even if your daughter as a teen.
Does she still bug you about it? No, no, no. She was very good.
(10:10):
Like everything rolled off of her back. Almost for me, way more than me.
And sometimes I would be frustrated because there almost seemed like there were no stakes for her.
And in fact, there wasn't any audition that we got a call back for that she
(10:31):
refused to warm up. So she, I don't know, had a hair up her butt or something
and just like a power thing.
And so I, we get to the audition, she signs in, I go, we're Ripley.
So it takes me, well, I had to go to the bathroom.
So I go to the bathroom, they take her while I'm in the bathroom.
I come out, she's in the room. We were there for five minutes and none of the
(10:55):
things that they told her to be prepared with, they did.
It was totally something else. and I was like, so that's it?
And she was like, yeah, that was it. And I was so like lustered.
Like I just lost it.
And I think that's the one time we had friction.
Her and I had friction because I was like, if you're not going to take this
(11:16):
seriously, I am not going to do this anymore.
I don't know if that was a good or a bad moment. Who knows? It was just a good moment.
Because it's a big commitment. There was one audition that she cried. Oh, really?
It was just one. Everything else she just rolled.
Old. I think the kids do have to have that kind of attitude,
(11:39):
even if they, you know, you want to put stakes on it, that you want them to do well in the room.
They, you know, they want to do their best work in the room and hopefully that's the case.
But I think the kids who go to the auditions
and then forget about them and just go on to the
next thing and they enjoy that moment of being in the room and sharing what
they love with people who also love that same thing is where the head has to
(12:02):
be because I think it could get crazy because I think there are a lot of kids
out there that possibly are being pushed into the industry by parents who know
they're talented enough, but maybe they're not ready.
Maybe they don't have, you know, they want everything. They want all of the,
they want to book everything. They don't understand.
A lot of that too comes from what happens in their small town.
(12:23):
They're a big fish in a small pond and then they go into getting rep and doing
this and they don't understand as a child.
Another reason to have have management meetings with your child, you know?
Well, I used to like for as much effort as you put in,
someone else is always going to have more time and more money and have put more
effort in and, and, or had the right look or the right sound or the right twinkle, um.
(12:50):
Or whatever it is like yeah you
have to love the process and you have to love i mean i don't
know how do you feel do you feel that you're closer to lila
as a parent oh yeah because of this like like
i feel that that it changes everything i don't remember if we talked about this
when you when you guys started or not but i feel like a lot of people they're
(13:11):
they're so hell-bent on getting their child signed with a manager an agent once
that happens they start actually going to these these things,
it puts into perspective everything else.
It puts into perspective the school play or the dance recital.
Remember, I think we did talk about that because people get so hyped up in small
towns about who got the lead in the play and who got the dance recital.
(13:35):
And as soon as you start doing professional work, it's literally,
I feel like that space space becomes this relaxed, how I could,
you know, she danced competitively kind of at the beginning of this,
but it's similar when you're committed to any sport at a high level,
you're not going to every birthday party.
(13:56):
You're not going to every family event, right?
Like there has been so many things that she did not participate in that we just
were like, Lila's busy, Lila's dancing, Lila's competing, Lila's in the city, Lila has an event.
And I think for her, that definitely shows up in her level of maturity with
(14:17):
her peers, her age, who are not doing the things that she's doing.
And she also has selectively selected a lot of those people out of her life,
peer-wise, because of that.
That like she has she just kind of like has no tolerance
for the drama that a normal teenage
drama like normal stuff that normal normal kids
(14:38):
which is nothing wrong with she has no place for that in
fact one of her best friends that she's been friends with for a very long time
since they were five is a competitive jumper horse jumper and they pulled her
out of school probably a year or two after Lila was pulled out and they travel
the Florida circuit in the winter so they bought got a second house down there and she's competing,
(15:00):
moving her way through the levels.
I don't know what it's called in the horse world, but moving her way to be pre-Olympic
and they get along fabulously and they don't see each other all the time and
they don't talk all the time. But when they see each other, they love hug and
kiss each other and laugh and giggle and.
All of those things, but they get it because they're both the same level of
(15:21):
intensity in what they're doing.
I totally agree with you. I think being in the industry with a child,
it brings you closer to the child, obviously, because you're trying to help them.
And if you can keep it, if you can keep yourself sane through the process,
because I think too, I want to mention, we end up being like middle management.
Do you know what I mean? Like we're dealing with the agents and managers and
(15:41):
the emails that we're getting from them as far as what our child is going to
be given an opportunity to audition for.
We want to say yes, like you said, we want to say yes to things because we know
this is important to the agent or manager because this is how they put food
on their table and a roof over their head.
And yet on the other side of it, we also are balancing the relationship with
(16:01):
the child, the training of the child and being able to make sure that they're
happy and doing their best work.
And we're the ones who have to hide the stress on both ends.
So it's definitely like middle management. If you've ever had a job in middle
management, this is what it is.
So you have to figure out how you're going to balance that. How you're going
to help them self-tape and not want to scream at them because they're giving you a little whatever.
(16:27):
Yeah, they're tired or they're hungry or whatever.
It's like the 15th time you've taped it because they can't get that one line right or whatever.
Yeah, yeah, yeah, yeah, yeah. And I think they have, sometimes I think the kids
are having fun with us. Yes.
Because they understand at a different level than generally than what,
(16:48):
you know, there's definitely a whole different level of stuff.
Yeah, I think so. Because they're kids and they don't need to see and understand
the other side of it to a full extent.
They don't need to see and understand the time, effort, money,
and the coordination that you have to do with their world, as well as the agent
(17:09):
manager world, they don't need to see that.
So you have to be a parent who is willing to be that.
Give them the vanilla version that they need to hear and deal with the other
stuff and just kind of let them know, calm, keep them as calm and safe as possible
in all of it, in the preparing,
in the auditioning, in the post auditioning, in the callbacks,
(17:31):
like all of this just really like.
When they're little, it might look like, oh, yay, this is fun.
When we're done, we get to go get a slice of pizza or some ice cream.
Or, oh, there's our favorite crepe place in this part of town where these auditions
are. So we get to go get crepes today.
We tied food treats to a lot of the locations because it was the same locations for different things.
(17:53):
And so every time you had to go in Chelsea, where Milk Studios is,
so we would always, she always, always, always wanted a strawberry Nutella crepe.
So that was always the treat.
Yeah. Well, part of it too, I think is the timing, right?
You're picking them up after school, you're driving in, it's taking you an hour
and a half, whatever you're getting to the audition, all those things are happening.
(18:13):
So in, at least in this market, I would believe it's the same if you are living
an hour and a half outside of LA or Vancouver or Atlanta, wherever.
LA might be worse with the traffic.
Yeah, true. Yeah. You got a point there.
You know, there might need to be there the day before. Yeah,
there you go. Oh gosh, I'm going to say that. But yeah, but they're hungry for dinner.
(18:35):
Yeah. Actually hungry. Like I remember.
Yes. And one time, so what we, I had to learn the timing.
So if the audition was at 530, there's no way I could leave the city.
Even if we had to be home, because if you try to leave at that time,
it is the worst rush hour and you're going out of the tunnel.
And especially if you're down in Chelsea, you need to go out of the Holland tunnel.
(18:57):
And so we were in line to get into the tunnel for an hour and a half.
In fact, that was one time where she was climbing around on the back floor of
the car looking for like peanuts and raisins that had spilled like on her way to a dance competition.
And I was like, all right, listen, there's a cart up the block.
Here is $10. Get out of the car, run up to the car and get a hot dog or a pretzel.
(19:24):
And I won't, I promise I won't leave you. Like just don't get something.
And this is while you're on the way into the tunnel. this is
on our way out because we had sat so long and
you're in the city and you're on your way out of the city oh
my god it took us like four hours to get home that night yeah that's crazy yeah
you learn quick that you learn and my and my husband was not the best carrier
(19:49):
of getting her in and out and so because his thinking is not the same as mine
and whereas he was more concerned concerned about,
highly concerned about safety in the city, made him nervous.
And they got in a port authority or a Penn station and she had to go to the
bathroom and he wouldn't let her go because he did not want to take her into
(20:10):
the men's room for fear of not knowing what was going to be in the men's room.
And he couldn't go into the women's room at the time. There was no laws that
allowed for multi-gender.
And so he's trekking up eighth Avenue with her.
And she's He's like, dad, I really have to go to the bathroom now.
I know that I know the places, right?
You know, the places that you're a couple blocks, couple blocks,
(20:32):
you know, here and there and wherever that you can sneak into and use the bathroom.
And in his mind, he said, I just have to get you there.
We will get just hold it and we will get to the bathroom when we get there.
Which it ended up turning into wherever this location was, there was construction.
So they get to the casting office and the girl at the table says,
(20:53):
oh, you have to go to this floor to go to the bathroom.
So they get into the elevator, they get to that floor and the construction crew
is there. They're like, no bathrooms.
You got to go to this other floor.
So by the time that had happened, she had peed her pants in the,
poor girl, peed her pants in the elevator.
So after that thank god she had a change of clothes with her and you know that
(21:16):
was of course little girl problems right she always would be like mom i don't really want down.
But another thing with a little kid you have to think about and learn and build
into your your dynamic of, okay, hydration, food, bath, extra clothes.
(21:38):
Yeah. Yeah. Yeah.
So, you know, this is great. Let's, let's jump with, if you still,
if you have time still, I really, really want you to talk about the thought
process to having her leave public school and do distance learning program?
Well, it started to become, I could tell, a little stressful for her leaving class.
(22:02):
So I want to say she was maybe in sixth grade.
I could tell there were times where when I would pick her up at lunch to take
her in, she would be irritated.
And I would try to talk to her about it. She would calm down eventually by the
time we got to the city, but she would be irritated that she missed whatever
they were going over in class.
Because she is the little A-type and didn't like to miss content.
(22:27):
And she felt like she didn't necessarily know what was happening when she got in the next day.
Although the teachers kept reassuring me, she was fabulous and great and had
no issues and there were no concerns with them.
For her, it was stressing her out. And so we had talked about it,
but I was kind of afraid to pull the trigger.
And then we had an incident where she was performing at 54 below and there was an after party.
(22:52):
We got home at one or two in the morning.
And so I took her into school an hour late the next day.
So was that maybe like 9, 9.30? I don't know. It's like by 10 a.m. She was in class.
And when I was signing her in, the secretary, well-meeting, without having any
context of anything, without knowing anything, the poor secretary said,
(23:16):
oh, Lila, just so you know, when you're tardy, that ruins your ability to have
perfect attendance. attendance.
And that was the moment for me that I decided enough was enough.
I got probably more irritated than I needed to.
And I had asked for the principal after she got signed into class,
(23:37):
and I pulled the principal aside.
And I said, under no certain circumstances is your staff to ever discuss my
daughter's attendance with her. Unacceptable.
She's however old she was. I said, she performed in the city last night at 54
Below for, you know, like you may or may not know what that is.
But that's a big deal. But that's a big deal.
And she's an hour late for school. I said, and I am pretty certain that her
(24:01):
one commercial she did last year, she made more money than the secretary.
And so this is unacceptable for me. And of course, the principal was very apologetic. I'm so sorry.
They didn't honor, they didn't know because it wasn't something that we necessarily
discussed or talked about with all of the staff.
It was just, you know, the principal was very empathetic.
(24:22):
For me, I just felt like I'm setting her up in a lose-lose situation.
If I keep her in this dynamic where she's getting pulled by two worlds,
either she's in or she's not. And let's just see.
Like, it was kind of like, let's just rip this band-aid off and see what happens.
And maybe this will give us more time where she could have, like,
piano lessons and more down time.
(24:44):
And so I'm so thrilled that we did.
It ended up being six months, eight months before. or it was like the September before COVID hit.
So by the time COVID got here, we already were distance learning.
It might've been the year before COVID maybe, but we had already been distance
learning. So it wasn't a thing for us. And we were just like, whatever.
(25:06):
She was able to add piano and guitar.
I noticed that her level of intensity with her dancing at the time,
she was way more zeroed in and focused because she had the time to. too.
And so they're not fired from a six hour day or seven hour day at school.
And many times in public schools, they're wasting about half of that time.
(25:27):
I was just going to say there's probably four hours of instruction in a given day.
And so what's amazing is now she's, well, she's in the collegiate,
she's in American Institute for Musical Theater or Institute for American Musical Theater, right?
It's in Manhattan. It's a performing arts school trade trade college.
And she was accepted and invited to participate haphazardly.
(25:52):
It was this kind of funny anecdotal story, but haphazardly at 14 was invited to participate.
So we had planned on transitioning her back into high school as a freshman.
But instead, at the last minute, we pivoted and moved her into Manhattan.
And she's been attending that full time as a level four dancer,
thanks to you. And that's their highest level.
(26:15):
She's in room with other kids who are dancing at her level or better, which was important.
And there was two other girls who are under the age of 18.
Both of them have been distance learning. One of them just got their GED.
The other one is actually doing an accredited online school and she's going
(26:35):
to be going to college, actually not for musical theater, but for like musical therapy.
It's kind of fun that she has other kids who have a similar experience like other people like her.
And it's not a bad thing. Like I definitely think there's, you know,
for the average student who doesn't know what they want to do with their world,
(26:57):
there's great public schools, right?
You build great relationships and you get to have all these normal experiences
and exchanges with kids your age, learning what you like along the way.
But she always knew, like if this was never, we always supported this.
As much as we have because she always seemed to know. She was the one that said,
(27:20):
I want to get up and do that.
And at eight years old, when she showed up to a dance competition with a fever
having thrown up before we got there and insisted that she wanted to perform
and was purple lips and shivering in the wings and then got up and performed
and then came down and went to sleep.
That for me was why I was like, we don't have a choice.
(27:43):
Which is wonderful that you guys have been supporting her the way you have,
because you know, like you telling that story, you're giving me chills because
seriously, that is the thing.
That's what makes me, that brings tears to me. Yeah.
Right. And then I could tell you probably a handful of times after that,
where she was was performing at the green
(28:04):
room and there's one of our teachers had hosted
an event there and there's you know 25 kids performing
and she had planned on had worked for like a month ahead of time on a specific
number and that day shows up and she's got 102 fever and a runny nose and she
goes in and performs and it might not have been her best performance you know
(28:28):
what i mean to have I have an eight-year-old,
10-year-old, 12-year-old with that sort of like drive.
I'm so grateful after, you know, she's the baby of five.
And I could definitely say she has the strongest work ethic innate in her.
And I think it's the performing.
You know what I mean? I think. Oh, yeah. You think it's all of that that has
(28:49):
built that into her. It's made her that person.
Yeah. And even though like even with.
Going back to what you said earlier, when she was younger, and you said,
Oh, I wish there were more stakes for her. But actually, there probably was it was there.
She wanted it, you know, maybe she wasn't showing it, or she was,
you know, just kind of trying to, you know, play a little bit with the control pieces of all of that.
(29:13):
She's going through the process, but it builds in them so that by the time they're
older teens, young adults, they're literally ready for the industry.
I mean, she is so far ahead, just to reiterate what you just said so that people understand,
you're looking at a young teen at 14 who is invited into a collegiate program,
(29:36):
a two-year intensified collegiate program that is amazing in New York City,
first classes that are with Broadway stars, stars, professional icons.
They're getting acting, singing, dancing, all of it. Oh, even more.
First of all, his level of love for the performing arts and for these kids is
(30:02):
so evident and special that I remember saying to myself,
I could never rob her.
When he said, said, I think your kid's pretty amazing and I would like to take
her in the program if she's willing and wants to come.
I could never rob her of that opportunity to be with people like that.
(30:24):
I felt like if I said no, I would be robbing her because there's so many people
jaded around the world and all kinds of different genres of life,
but especially to have something that's special.
And because of his finance background, his training in finance,
he's teaching them about about finance, about business, and it's teaching them
(30:45):
about being a safe place for each other and what a great, amazing, magical thing that is.
And a lot of the teachers, like you said, they're performers.
They're professionals, they're in theater, they're teaching at Broadway Dance
Center, they're teaching at TAPS.
So it's definitely the community, like building and crossover you want to be part of.
(31:12):
He's also offering the students an opportunity to meet casting directors,
agents, and managers. Is that correct?
Correct. He definitely brings them in.
They have Agent April every year where they bring in agents and kids have an
opportunity to workshop with them and get notes.
Which you heard me say before, you get zero feedback. feedback,
(31:35):
the fact that they come in and they're willing to meet the kids and give them
notes and some of them get signed as a result of it is an amazing thing.
And Lila got to participate in the Share Pre-Pro.
I probably cannot articulate as well as you what that means,
but my understanding is it's when the choreographer for the show,
(31:58):
for the tour, she handpicked a group of kids to work with,
to work out her choreography and to fine tune it before she met with the cast to run it on the cast.
Yes, that's correct. Yeah, pre-pro. and a lot of people don't have an opportunity
(32:18):
to do pre-pro until they're deep set into the Broadway community.
They've done a couple of Broadway shows or a Broadway show, and they seem to
be that type of performer who is going to be really great and collaborative
and grounded with who they are as a performer.
And then the choreographers or the directors are going to invite them in to
do pre-pro of sort, whatever that is.
(32:40):
And it's magical that she got to do that for the share tour. Yeah, absolutely.
Yeah. Yeah. Yeah. It's crazy. So now she is 16, correct? Yes.
And she is going to be graduating out of the collegiate program.
That's incredible. Yeah. Incredible.
(33:02):
So what, so do you have any idea what she's going to want to do and moving on?
Because she's not, I think this question would come up for the listeners.
She's not 18 yet. that can she audition for.
Professional work at this point? Like, what are your feelings?
Are you still working that out?
I'm still sort of working that out and trying to take the lead from her.
(33:23):
Like the last, you know, the last year and a half, we have not submitted for
anything outside of any submissions she might've done through the school.
And we did, you know, her, the management company during COVID finally closed after many, many years.
And her active manager at the time moved on and started his own agency,
(33:49):
but only took children who had active contracts.
And at the time, she did not have an active contract.
And then I had reached out. And at the same time, simultaneously,
she had a huge growth spurt.
12 years old, she was 5'7", 5'6", 5'7", way too tall to work on Broadway and then COVID.
(34:11):
And so she had been with innovative artists and Barbara Coleman,
who was wonderful and lovely to work with.
And, but Barbara was like, listen, you know, COVID and I just can't, I have nothing for her.
So I'm going to clean her off my roster. She's been amazing.
So, you know, I think had COVID not happened,
(34:33):
that might've have been different yeah and
which was our intention in getting her involved so
early have developed the relationship to
carry through that yes they're not working because there is that age gap yes
train and not work yes but that's okay because everything we've talked about
this before like you just don't know everything kind of happens magically for
(34:57):
a reason and you don't until later.
And so, and I lost my train of thought. Well, you know what?
Here's, yeah, you were, no, I love where you were going because.
You know, she here, let me explain one thing to everyone.
So we've talked about this before with other guests, but between the ages of,
for Lila, it was 12 and it'll be to 17.
(35:18):
For other people, it's maybe 14 to 17, 15 to 17. It just depends on when they
grow and develop and start to look like an adult.
When they start to look like an adult, a production company is going to be able
able to hire an adult, 18 plus, to play 15, 16, 17.
So there's this gap that happens. And some teens work through that time if they
(35:43):
look younger than their age.
Because if you're 15 to 17 and you look 12 or 13, they're going to hire you
because you're going to be just more mature and you're going to be able to work
more hours and all of those things based on the rules and the state that you're working in.
So for kids who are too tall or don't fit in that space, like Lila was tall
(36:04):
for her age, there's not going to be a lot there for them.
And you, as a parent, you want to find different things for them to do.
Cabarets they can perform at all that kind of stuff. You want to work on training and everything.
And for Lila, the best thing that happened was that because the training became
such an important part of it.
And you were smart to keep that going and and not just go, oh,
(36:25):
well, we're not going to a lot of auditions now other than our own submissions.
So we're not going to train. People do that, right?
So then what happens? And if you want to talk about how, didn't she go to a summer program?
She went to the summer program. So they have a month-long summer intensive.
(36:45):
It's I-A-M-T. Institute for American Musical Theater. Okay.
And I had, because we were still trying to figure out, so there were some changes
in her dance company that were coming at the time.
And we were kind of like, what are we going to, you know, her and I would talk
about what are we going to do and, you know, where do we want to be and, and all of that.
(37:11):
And so I had sent him an email and I had simply said, hey, would you consider
allowing her to participate in some of the classes in the fall?
And I was thinking that maybe we could come in, maybe we could keep her homeschooled
versus going back to high school and maybe we could come in two days a week.
And when he called and the conversation progressed and he offered her to participate
(37:38):
fully, he said, if your kid wants to come, I would take her.
She was a passenger seat in the car and heard
him say that we were driving to the school because
I stayed with a friend in Queens so I would drive her back and forth every day
for that because at the time at 14 I didn't want
to leave her in the dorms and so I would stay with her and would drive her back
and so she heard him say that and I turned to her and she shook her head so
(38:03):
that's why I was I couldn't say no I mean and of course that's a whole other
we could probably do an episode about like how to have the,
how to make those decisions and have those conversations with my husband and
with her and what all of that looked like.
Cause that was a lot of intense, two weeks, three weeks of making.
I remember. Yeah.
(38:25):
So, so like I said, that could be its own whole conversation.
Cause that's a lot of the decisions that you have to make as a parent and involving her,
you know, but there's two parents and
two parents have to be on the same page and the kid
has to be comfortable and you have to be comfortable and it's sort of
like a very collaborative dynamic and
(38:46):
so yeah so now that she's 16
and going to be graduating we have a year before
she probably most likely practically speaking is marketable and so then we have
to decide and we're still figuring that out are we gonna try to keep the apartment
(39:06):
in the city and and stay somewhat involved in this program in like a custom solution?
Are we going to pull her home and let her go to high school for a year?
Are we going to keep her homeschooled? Is she going to like just take the bus
to the city two, three days a week and take classes?
Like you don't really know all those answers yet. And probably in typical Pfefferly
(39:28):
form, it'll be sort of like a last minute.
This is what's gonna happen this is what we're gonna
do okay yeah this is what we're gonna do how has she
been keeping up with the with the homeschooling as far as
the academics how has that been going and is that an ongoing process
will she be graduating on time or early just i
think so i mean it's a self-paced she's in a
(39:50):
self-paced accredited program okay and
so she does definitely there are times where she
has some downtime and she just spends an entire day like she'll
bang out a semester worth of content
for one subject over the course of like three days which
tells you just how yeah that
how focused and also how little they cover in school oh true true yes right
(40:15):
yeah like they are they have to spread out all that time listen she's not getting
i understand there are certain things she's not getting the benefit of being
in a classroom and having conversations around the topic necessarily,
but I think what she wants to do in her life, like, you know,
it's just got to let her follow her compass and kind of either.
I think probably what will happen, like one of the options for next year is
(40:39):
to take the year and just bang it all out and finish it and complete it.
Yeah. Yeah. Yeah. But then, then the, then the challenge will be figuring out
how to get in enough training to keep her where she is.
Yeah. She's been doing it all day long, every day. Yeah. 8.30 to 4.30 and some
days she's in the studio till 9.30.
(41:01):
Yeah. Yeah. To keep all that up for sure.
So she has, you have some, and she has some big decisions to make and it looks
like it's quite going to be an interesting journey over Over the next couple
of years, a very exciting one. Yeah.
I'm sure. I'm excited to see where she lands at 18, you know,
(41:25):
and when she, cause she'll be able to start auditioning for Broadway,
all kinds of stages, regional auditions.
Touring all of that so it'll be next december that'll
be kind of a you know when she turns 17 that'll be
like ripping off the bandit i think she's leaning
towards not attending a university or musical theater because she said why would
(41:50):
i do what i already know how to do and have already been trained how to do she
said that's a waste of money and so that might not be what everybody wants to hear,
but you know, well, everybody, that's the whole point of the podcast, right?
Everybody's journey is different. I just interviewed Curtis Holland,
who has been in five Broadway shows, and he kept making mention of that,
(42:11):
you know, listeners out there, everybody's journey is different.
Everybody's going to land where they're supposed to land. But the point is,
give yourself the chance.
If you're that passionate, if you have the work ethic that Lila has,
if you have the passion for it, and the talent and ability, and you have a a
parent willing to support all of that, you, that journey is going to be different from someone who.
(42:32):
Maybe finds musical theater while they're in high school.
They're in a musical theater show as a sophomore in high school and find out
that they can sing and that they're really good at this and didn't know.
And now their journey is going to be different. They're going to do the collegiate path.
They're going to, you know, it's going to be a little bit different,
but you know, everybody gets there if they put in that work.
Yeah. So do you have, this has been great, great really great information that
(42:54):
you could do this because we've been talking about it for so long you know and
so I'm glad it all worked out for today but do you have any last minute thoughts
or advice for parents with a child similar to what you found with Lila,
I feel like my best advice would be to find someone like you and keep them as close as possible.
(43:21):
Doesn't matter what the cost, it's worth it.
Well, you know, it's, it's, it's definitely a journey that if you have a mentor
and you have somebody who's been
there and done that, like you were saying earlier and has been through it.
And certainly, I understand both sides of the industry, having had three children
(43:41):
in the industry myself and then being in the industry myself.
So I've got both sides of it. And so it is easier in that regard,
I think, if you're new and you don't know anything about it.
Yeah, no, I think definitely finding a mentor of some kind and don't be cheap
when it comes to having the right people.
(44:02):
Because part of it is finding the right team and people who will love and support
and come and like really be honest and give you the best of the best.
Maybe that looks like if your kid is in a musical theater, that's going to be
someone who's training them in dance, right?
Someone who's training them in voice, someone who can be a mentor,
(44:24):
who's trained people before who like, you know what I mean?
Like yourself. I heard one of the teachers, one of the voice teachers say once
to someone, if you had just seen me once a month, as opposed to paying someone who was half the price,
I could have kept you in a better place vocally.
(44:47):
And it's hard to see that. Like you don't see that when you're going through it.
It's very much a unguided journey, if you will. You know what I mean?
Like you're, you're like in a dark, like remember that movie,
Golden Child, Danny Murphy.
Yes. When he's got the glass of water and he's walking through this dark room
(45:09):
and he's like stepping on these stepping stones and he can't see anything and he's singing.
That's pretty much what it's like but like
you know yeah sometimes it's better to say
okay if this is our budget where can we get the best of this even if it's not
every week yes it's once a month you've made that mistake at times because you
(45:34):
just don't know what you don't know and if If you haven't been in that world before,
many of us have not, then you don't have the experience to know the difference.
Absolutely. I've said that to many new clients. You don't know what you don't know.
And that's okay. You have to seek out and find people who can connect you and make you understand.
(45:56):
And to your point in regard to the lessons, you could be taking once a week,
every Tuesday they had 415 with the lady down the street who,
who retired from being a music teacher at school,
or you can be taken once a month from someone who has been on Broadway is,
you know, a Juilliard, you know, or, you know, or, and it's going to cost you
(46:17):
more, but what they're going to learn in that space and the connections it's
going to give you are going to be life-changing.
And we did that like during COVID when I finally like felt like I could breathe. breathe.
Okay. Well, nothing's happening right now. So I'm going to like cheap out on
some voice lessons for a while just to have something that had no stakes,
you know, keep her singing. Yeah.
(46:37):
Yeah. Yeah. But then you're like, okay, now I know that at this time we have
to be game on, you know, so then you have to start saying, okay,
well, that means that we're going to have to really start doubling down. Yeah.
Yeah. You're back in for sure. So if, um, any of the listeners would like to
follow Lila's journey, get in touch with you in some way?
(47:00):
Can they, can you share social media?
Oh yeah. It's, I think her Instagram is at Lila Pfefferle.
Can you spell that for us? Oh, L I L A P F E F F E R L E.
And I do not believe currently her Her website is up, but her website will be
(47:23):
up probably in the next six months.
And that was laurabeffley.com.
Okay. And do you have any issue if someone wanted to get in touch with you via social media?
Not at all. Yeah. So what would that be? It's at ttrigas, T-T-R-I-G-A-S.
Okay. Beautiful. Yeah. And that's on Insta. Awesome. Thank you so much for this
(47:46):
today. It's been wonderful.
Yeah, it's been fun. Yeah. I love you guys so much. Yeah. Same.
I'm really excited for what's going to be in her future. I think I'm going to
be spending a lot of money on tickets.
The chef is in. That's what's going to happen. Well, there was a time where
you said, I'm going to eat my hat if this doesn't happen.
(48:10):
Yeah. Yeah. Oh yeah. I think she's getting there. So anyway,
thank you. You're welcome. Thank you.
If you'd like to connect with Teresa or Lila and continue to follow Lila's professional
journey, follow her on Instagram at Lila Pfefferle and join me Sundays at 8 PM Eastern.
Need more information visit lbctalent.com and follow me on socials at lisasolak underscore lbc talent,
(48:35):
by sharing our stories we can help other talented individuals land the career
of their dreams if you're enjoying this podcast please like and subscribe below
and hit the bell for notifications.
Music.
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Nikki Glaser Podcast
Every week comedian and infamous roaster Nikki Glaser provides a fun, fast-paced, and brutally honest look into current pop-culture and her own personal life.