Jersey Arts Podcast

'Christmas Carolmania' Ends Their World Premiere Tour at the Count Basie Center this Christmas

• ArtPride New Jersey

Share episode

Today we are talking about a new musical concert experience celebrating the holiday spirit like never before! This holiday season, Koolist Entertainment is proud to launch a world premiere tour from the creators of Koolulam – The Mass Global Singing Sensation that swept the hearts of millions to sing together worldwide.

Producers Kathi and Alan Glist of Glist Entertainment are on the podcast today to explain what makes this show so unique and moving.

Married for 53 years, the duo make ideal partners both in entertainment and in life. They began their theatrical producing career with “Fiddler on the Roof,” “Oliver,” “The King & I” and “The Rothschilds” following that with their Off-Broadway sensation “I Love You, You’re Perfect, Now Change.”

The multiple Tony Award winners are also responsible for having discovered the off-Broadway sensation, "Menopause the Musical," which has since run for over nineteen years in Las Vegas and is now the longest running musical in Vegas history!

Their company, Glist Entertainment, has donated over one million dollars to Women’s Charities and most recently have raised and donated $75,000 to The Leukemia and Lymphoma Society.

Stay tuned to learn more about the new sensation that is "Christmas Carolmania!"

Thanks for listening!

  • Subscribe to The Jersey Arts Podcast in your favorite podcast player.

The Jersey Arts Podcast is one medium of Feature Stories on Discover Jersey Arts (jerseyarts.com), where articles and videos also cover New Jersey’s vibrant arts and entertainment scene.

Discover Jersey Arts is presented by ArtPride New Jersey. The program was co-founded by, and is currently supported by funds from, the New Jersey State Council on the Arts. Additional support for JerseyArts.com content is provided by the National Endowment for the Arts.

  • Subscribe to the Discover Jersey Arts' weekly e-newsletter to have stories delivered to your inbox.
  • Follow and contact us @jerseyarts on Facebook, Instagram and Twitter.
Gina Marie Rodriguez:

This is Gina Marie Rodriguez, and you're listening to the Jersey Arts podcast. Today, we're talking about a new musical concert experience. Celebrating the holiday spirit like never before. This holiday season, Koolist Entertainment is proud to launch a world premiere tour from the creators of Koolulam, the mass global singing sensation that swept the hearts of millions to sing together worldwide. Producers Kathi and Alan Glist of Clist Entertainment are on the podcast today to explain what makes this show so unique and moving. Married for 53 years, this duo makes ideal partners both in entertainment and in life. They are truthfully what I aspire to be one day. They began their theatrical producing career with Fiddler on the Roof, Oliver, The King and I, and The Rothschild. Following that, with their off-Broadway sensation, I Love You, You're Perfect, No Change. The multiple Tony Award winners are also responsible for having discovered the off-Broadway sensation Menopause the Musical, which has since run over 19 years in Las Vegas and is now the longest-running musical in Vegas history. Their company, Gliss Entertainment, has donated over $1 million to women's charities and most recently has raised and donated $75,000 to the Leukemia and Lymphoma Society. If that isn't enough to get you excited about these folks, I'm not sure what is. Stay tuned to learn more about the new musical sensation, Christmas Carol Mania. I just want to start by saying I'm so excited to talk to a paracouple like you guys. I know that you just mentioned you're celebrating what 53, you said 53 years of marriage? Summer will be 53 years.

Alan Glist:

I don't usually admit it, but we got married when we were 12, so it's okay.

Gina Marie Rodriguez:

Exactly. I mean, that's I think that's a really healthy relationship. So congratulations to you guys. I'm you are what I aspire to be, uh, you know, one half of a power couple. So fingers crossed. Maybe some of your luck will like rub off on me during this conversation. Okay, so what was I just about to ask you? Oh, your your history here, right? Like, how did you end up becoming the power couple, the producers that you are?

Alan Glist:

Well, we um I was born and raised in South Florida. Kathi moved down when her parents, uh, when she was three years old, her parents moved to South Florida from New York. But we spent a lot of time in New York over the years. We had an apartment there for 40 years because I was in the apparel business for the first 30 years of my life. I started my company when I was 21. So I used to go to New York like every month uh for the apparel business, because that's where, you know, kind of the action was, so to speak. And then we started producing in the early 90s. We've been producing for over 30 years now, and there was need, obviously, to be in New York for Broadway shows that we were doing, off-Broadway shows, regional shows, and so on. But we always kept an office, our main office was always in South Florida.

Kathi Glist:

And I kind of dragged him into the business. I was a theater kid. He had never been to the theater. In fact, funny story when we were in college together, and I was in uh Marat Sad, lovely little upbeat musical. And uh it was the first show Alan had ever seen. And I said, come see me in my show. And the pre-show experience, which takes place in an insane asylum. I was kind of in a cage in the aisles, and he comes up to me and starts talking to me and couldn't imagine why I was being so unfriendly and not responding to him, not realizing I was in character at the time. So that led to uh me dragging him into this business that I always loved.

Gina Marie Rodriguez:

I think that's amazing because I was gonna ask, how do you go from apparel to theater? But there it is. There's the connection I was looking for.

Alan Glist:

Well, it was really quite simple. We were at Kathy used to make me these big wonderful surprise parties every year. And we were asked for charity purposes if we would produce a show based on how amazing these big parties were with entertainment and so on. So we agreed to do it as long as they let us do it like real theater. Even though we were novices, we wanted to hire a real director, a real choreographer, a real music director, and do it in a real theater, not a high school gym or a high school theater, you know. So we did, and we were really good at it. It was community theater the first three years, but we raised close to a half a million dollars for charity. And there was a Broadway producer in the audience one night with his mother, who lived in South Florida, and he said, I'd like to meet the producers. This is amazing. And uh we met him and we got involved with one of his productions at the time. We realized he didn't know what he was doing, and we kind of broke out on our own. And then we uh we started producing from there and had a fun career for the past 30 years.

Gina Marie Rodriguez:

I love that so much. Well, I guess it's important that we talk about the world premiere. That's that's what we're promoting here. So talk to me about the birth of this new project. Where did it come from? How did you end up collaborating with? And help me pronounce this.

Kathi Glist:

Is it Kululam or Yeah? So people came to us, actually, the founders and creators of Kululam, we were recommended to them when they said they would like to break into the United States with this project. And they had Vegas in mind, and we're based in Las Vegas now. So we've had Metapa Musical there for almost 21 years, longest running musical in Las Vegas history. We're very proud of that. And so one at a time, uh, one of the partners flew over to the US to Las Vegas to meet with us. We heard about it, we saw their videos, and you know, I don't want to say we're the end of our career, but we've been producing for 35 years and said, maybe it's time to just slow down a little bit and spend more time with the grandkids and not retire, but kick back a little bit. And then this project came our way, and Gina, it just simply spoke to us and really to our hearts and soul, because we're at a time, not just in the United States, I think in the world and in the universe, where people are focusing on what divides us rather than what brings us together. And Kululam originally started as a social initiative in a land where any people are anything but together. It started in Israel, and one of their first events was a thousand Christians, a thousand Muslims, and a thousand Jews.

Gina Marie Rodriguez:

Oh my god, that's amazing.

Kathi Glist:

Amazing, all singing together in three-part harmony, first in their own language, then everybody in English. And by the time the event was over, they were standing not only next to an uh stranger, but actually to someone who would have been perceived as an enemy. And by the end, they were focusing on their harmony that they had just created together through song, through music. And we looked at each other and we said, We owe it to the world. We we have to do this, and so here we are.

Gina Marie Rodriguez:

That's such a beautiful story. I love that.

Kathi Glist:

Thank you, thank you. And um it wasn't a big decision, you know, whereas in the past, sometimes I had to convince Alan, it was something that we both really, you know, dug deep and we said, we will do the work for this because just maybe we can help change the world one kululam at a time. And so we've done some healings and we've done some corporate, we've done interfaith where we're bringing people from different faiths instead of misunderstanding each other. They are in when singing together and working together to create this harmony, it totally brings them together. And then we said to our partners, might not know much about Christmas, but it's very big in the United States. Let's do a Christmas show. And that's how Carol Mania was born, or Christmas Carol Mania.

Alan Glist:

If I may, I just want to read you something that I saw on the internet today that blew my mind in light of what we're doing. Ours is all about singing in harmony, singing in melody, just singing together and raising the vibration in the room. So I found this thing on the internet today. It said, Why singing? A few science-backed benefits. Number one, singing increases oxytocin, reducing stress and supporting connection. Number two, group singing synchronizes breathing and heart rhythms, creating collective calm. Number three, singing stimulates the bogus nerve, supporting nervous system regulation. And number four, regular singing can boost immunity and positively impact mood and anxiety. In short, singing is healing. So we've used the expression singing is believing, but now I found this today. I sent it to my whole team telling them that singing is healing. And I read, you know, I sent them this. I was blown away when I read it. I know we're so on the right track with what we're doing.

Gina Marie Rodriguez:

I'm I'm impressed. I mean, I think what you're doing and what you're telling me is so moving about the mission behind this, but also that I mean, it feels like it could be a mass therapy session almost. Like we're going, we're we're healing together. But I want to ask you for people who are maybe not so musically inclined, like myself, how how are you teaching people to sing in three-part harmonies or in two-part harmonies, or however um each show works?

Alan Glist:

How here's the beauty of it. And and we had to be convinced. I wasn't so sure it could work either. So we wanted to see a couple of Kululums before we produced it or bought the rights for North America. When you put 400, 600, 1,000, 2,000 people together, I don't care how good or bad their voices are. For some reason, it sounds amazing. And what we do, it's a very high-tech show. There's a lot of video content in it, which is amazing. Plus, we put lyrics up on the screen, almost like the old bouncing ball, like follow the bouncing ball. And we support them with their own voices. Like we'll record some things, and then we have eight surround speakers that go around the room and we'll play it back with them than we when we do it a second or a third time. So you're hearing yourself and your own voice, but hundreds of people around you, and it sounds amazing. And we do it either as melody only or two-part harmony, or as Kathy said, some songs we do in three-part harmony, and people are amazed, like they're really proud of themselves. They cheer like, wow, what an accomplishment. We sound great.

Kathi Glist:

I mean, I am not a singer, Gina. And I sing at the top of my lungs, suddenly believing that I am a singer, you know? And singing is believing, like Alan said, the more you sing, the more you feel it, and you feel it deep in your soul, and people are singing next to you, and there's a camaraderie. There's actually something called collective effervescence. And the University of Buffalo, through the Templeton Foundation, got a grant and brought in Kululam to do two events, and they studied how people felt before they walked in the door, during the concert, when they left, and they studied them for a year after the event. And the results are profound. Uh it's mind-boggling to see how it does raise the vibration and all the things that Alan read you from that uh email that he read. It is truly healing and and it raises the vibration in the room, similar to what you might feel when you're praying in a synagogue or a church, or at a sporting event, or coming together with a group of friends and cheering for something in common together. It's this collective vibe that just truly raises the vibration and the sound and the feeling in the room. It's a little bit of a miracle, I would say.

Alan Glist:

But on a more simple level, just think about this. No matter who you ask, everybody either sings in the shower or they sing in their car when they're alone, or maybe even with their kids. And they think they sound great because they're singing with the radio, or in the shower they're not. But imagine when you're sitting with 500 or 1,000 or 2,000 people and all the voices are raised. And don't forget, we have a live band on stage. We have a six-piece band with horns and violins and keyboard and drums. So you're supported by this great live music. It can't do anything but sound great.

Gina Marie Rodriguez:

This sounds like such a stunning experience. And we always say that theater is communal, right? But this feels like communal to the nth degree. And I'm sad that I'm going to be missing it because it sounds amazing next year.

Alan Glist:

We are too. But you know, the other thing, Gina, what's so unique about it is we chose to do Christmas because everybody knows Christmas carols. So what we did is we picked like eight or nine of the most famous Christmas carols, and we teach them in two and three-part harmony, and we all sing together. And then we have a character in the show that we call the Comic Relief. So he plays Santa, Mrs. Claus, Rudolph the Red-Nosed Reindeer, Frosty the Snowman, and the Elf. He opens the show as the Elf, like from the movie The Elf.

Kathi Glist:

Will Farrell.

Alan Glist:

And he he comes on and off as these five characters throughout the show. Then we bring the audience up on stage by participation and very immersive with the ugly sweater contest. So we get 20, 30 people on stage. We give gifts to everybody, but the audience votes on the ugly sweater, you know, the ugliest sweater in the sweater contest. And then we do a name that tune of Christmas carols and Hanukkah songs. So it's fun for everybody. We've had kids from four years old up to people 85, 90 years old. And I I watched the videos back. We did a four-camera shoot in Fort Lauderdale for the first show. And people are going crazy. It's like a rock concert. They're on their feet most of the time. They're dancing, they're singing. Kids are on people's on their parents' shoulders. It's really fun and exciting.

Gina Marie Rodriguez:

It sounds like it. I mean, it sounds like, oh, I don't even know how to explain what I'm envisioning in my head right now. I want to say the word circus, but that feels wrong. Just that kind of pomp and circumstance of like, oh my gosh, this is the coolest thing I've ever experienced. And I'm trying to picture it from like the a child's eye, you know, how cool that must be to be part of something that is so much bigger than oneself.

Kathi Glist:

And what I love about it is that it is truly a family show. You know, sometimes parents or grandparents take the kids to a show that they have to suffer through or smile seeing it through the eyes of the children. But our writer, Ivan Manchell, who wrote for The Nanny and many other, he's he's a comic writer, and he said, there's gonna be some comedy here where you might think is like not quite right for the kids, but it's gonna go above their heads, and the parents are gonna get it, and grandparents are gonna laugh at the jokes, and so it's going to bring them in too. And I do love what I'm seeing is three to in some cases, four generations all having the best time and like communicating together and experiencing it together. Somehow we don't have enough of that anymore. So I I love that.

Gina Marie Rodriguez:

I think we need more multi-generational experiences. We definitely don't have enough of it. And like you were saying before, I think the world is kind of at a point where we're focusing on division and not togetherness, but that extends to just our families, right? The generations among one family can feel so distant from one another. So experiences like this are so important. And the holidays are a really great excuse to get people together for a multi-generational event.

Kathi Glist:

And better than around the dinner table. You're singing together, you're playing games together, you're we do some interactive like body percussion and movement, and the whole audience is on their feet and just watching back, actually, because we usually sit in the back of the room like proud parents, but watching the videos head-on and watching the expression on the parents or grandparents' faces as they were experiencing this with the younger generations, I it it really can warm and melt the heart.

Gina Marie Rodriguez:

Sounds like a beautiful experience, and I would love to see that too. I I do want to circle back for a second because you you brought up your writer before, and I wanted to talk about your director, Jeff Calhoun as well, who's you know very experienced himself. But can you talk to me a little bit about the experience of what it was like bringing this to life with your writer and your director and and the whole team?

Alan Glist:

Yeah, it was fabulous. We got together with our partners, we brought them over uh to Las Vegas, we got them a home there, they're living there, and we've been working on this for over a year with them. And then we brought Jeff and Mike, uh sorry, Jeff and Ivan into the picture. And uh it's been a joy. Really, it's so interesting because they come from a theatrical Broadway background, as do we, and we're very open. So when we found this originally, we fell in love with the concept. It was new and different, and something we really wanted to sink our teeth into because we felt the world needed it. And Jeff and Ivan bought right in. But what I loved is Jeff wasn't sure. Like he kept saying, you know, coming from the theater world and my Broadway background, I'm not sure people are gonna stand during the show, and I'm not sure people are gonna really sing out together and so on. And it was really cute. I loved it. We were sitting with Jeff in the back of the house at the very first show, and you really don't know, no matter how much you rehearse, and no matter how much you bring in friends and family for a dress rehearsal to get a feeling. The star of the show is really the audience because they're the ones that you want to give it back. We want to hear them singing. So the star of the audience didn't show up until opening night. And we sat in the back with Jeff and he looked over and he said, This is unbelievable. He said, Not only does it work, you're right, it's working. I love this, but he said, this could be a standard, and I believe it will in every theater in America over the next four or five years, where just like the Nutcracker, it'll be back every single year, refreshed and maybe a little updated and so on. But this is something that the world needs, and I see this becoming a Christmas classic.

Gina Marie Rodriguez:

I look forward to that. I hope that does happen. Absolutely. It sounds beyond amazing. I this is I'm I'm venturing off a little bit because I want to ask you about producing as a whole. When you are producing, can you tell me what is the most rewarding aspect of being a producer?

Kathi Glist:

You know, for me, it's similar to what Alan just described. When you see something on a page, or you somebody gives you a concept, or someone has an idea, or someone has written something. It's just an idea and it's on a page. And then helping to be almost like the parents guiding the way and bringing the team together to bring it to life. So page to stage can be scary, frustrating. Sometimes it's an unknown world. I think entertainment is tough as a whole right now in this economy, et cetera. The discretionary dollar is tighter. So you don't know how you're going to do as far as the piece coming to light. That's the first thing creatively. And then can you sell tickets to it? And frankly, we laugh amongst ourselves and say, this started with smoke and mirrors and relationships. We didn't really have a show when Alan started talking to the Basie Theater. You know, a lot of these venues around the country know us because of Menopause Musical playing over the last 20 years.

Alan Glist:

Yeah, we've played the Basie many times, so we have a good relationship there.

Kathi Glist:

Exactly. So they were going on trust and we're just getting gathering our marketing materials as we go. We didn't have a cast. We we couldn't do a photo shoot or have B-roll or materials. Now we do, and we're very uh grateful and satisfied to say we feel we have proof of concept now because we've seen the audience reaction. To me, a sign is when they're not rushing out the door at the last number to be the first of their car or valet, and they stick around in the lobby because they want to talk about it and they don't want the feeling to end. So we're getting that with this, and we really love it.

Alan Glist:

For me, the thrill of being a producer is very simple. It's everything Kathy said, obviously, from a business standpoint, but it's the thrill of walking into the theater, watching the people pile in, sitting down, having a full house, not knowing how they're going to react the very first time you produce it, and then seeing them on their feet dancing and singing and hugging each other, the family. And then when we throw big inflatable Christmas balls decorations out in the audience and they're bouncing around and they're throwing them and singing at the top of their lungs and laughing. That to me is the thrill of producing, is when all of your hard work, months and months and months of creation and work, and 50 people, 100 people in and on the team, and you can sit there proudly watching the audience get what you put together. That to me is the ultimate thrill of a producer.

Gina Marie Rodriguez:

Absolutely.

Alan Glist:

Or for a producer.

Gina Marie Rodriguez:

I was hoping you guys would say that because I think there's there's a lot to be said for being a helper. And I'm stealing from Mr. Rogers right now because I think he was the one who said, always look for the helpers. And I think that I mean, maybe there's an idea that producers are capitalists or like, you know, they're business people, right? But really at the heart of it, what you're doing is giving life to someone else's idea or to your idea. You're bringing new life into the world, whether that's artistic life or not. I think that's really important. And also, like you were saying, Ellen, that you get to see the reaction of the people who are now experiencing that. You've given something to the world, something that will last. And I I adore that. I think that producing is it's underrated because people don't always understand what goes into it. They just see the final product and don't realize that people had to make this happen. There were people behind the scenes making this happen. So I wanted to highlight what you do, and I'm grateful that you're doing it and that you're bringing something that appears, you know, without having seen it, it it just appears to be so joyous having seen just your promo reels and listening to you talk about it and how excited you are. I I love this, and I want to say thank you for doing all that you're doing and all that you've been doing for many years.

Alan Glist:

It's our pleasure. And I just want to say one other thing about producing. I love that you brought it up, and I'm so happy you did because there's not a month that goes by where somebody doesn't say, what does a producer do? You know? And I remember when I was a kid, and I didn't know the difference between a director or a producer, you know. And I said, a producer does everything. It's like starting a business from scratch. You hire all the right people, hopefully, and then you put this creative idea together. But Kathy and I are such hands-on producers that opening night I was blowing up because the compressor broke, I was blowing up these gigantic inflatable balls. Kathy was handing out Santa hats to all the kids as they walked in. You know, we love what we do. We're not chasing the dollar. If we're successful and the show is successful and we make money, we're thrilled. But it's particularly now with this Carolania and the whole Kululum concept. We truly believe we can change the world one show at a time.

Kathi Glist:

It sounds like you're doing just that.

Alan Glist:

Thank you.

Kathi Glist:

Thank you. I love when the audience, well, not I don't love when they walk in with the weight of the world on their shoulders, but you can almost see it and feel it. There's almost like a film and a they they walk in carrying, you know, their burdens. And if we can help them feel better in that 90 minutes or whatever it is, and they they wait, walk out feeling better than when they walked in, that's the greatest satisfaction for me personally, and I think for us.

Gina Marie Rodriguez:

Absolutely. I mean, to to see that relief in real time must be it must be really moving. It is.

Alan Glist:

It is truly.

Gina Marie Rodriguez:

You're doing important work. So thank you. Thank you. So we shouldn't retire yet. No, not yet. Plus, I'm just, you know, breaking into producing theater, so I'm gonna have to ask you guys questions. So anytime.

Alan Glist:

We're always available. Call us anytime, you know, email, whatever. We're around.

Gina Marie Rodriguez:

I appreciate that. I've been I produce film largely, that's where I work. Um, but I I have some friends who are more theatrical performers than they are film performers. So I I started with a one-man show and I'm working with a couple of friends putting that together. So yeah, it's exciting. It's fun, but it is like you were saying, you do everything, right? It's a little bit of everything, and half the time you don't really know what you're going to need to do until the moment arises and you go, Oh, all right, I guess I'm stepping in.

Alan Glist:

Exactly right. That's exactly what happens. I remember one of our off-Broadway shows, I don't even remember what it was, but we had partners on the show. And the night before we noticed that parts of the set hadn't been painted and we couldn't get the painters back. And I remember at midnight, the night before the show opened, our partners and us were on the stage painting the set. You know, it you do what you gotta do if you want something successful, and you never know. So you put your heart and soul into it and hope for the best.

Kathi Glist:

And roll up your sleeves. Exactly. If you want something done right, you got to do it yourself.

Alan Glist:

Absolutely. Sadly true.

Kathi Glist:

And truthfully, there's no people like theater people. And I think that the lifelong relationships that we have formed over the years, you know, you you you can't put um you can't put a price tag on something like that or a paycheck on something like that. And and we are still in touch with many of the people that we worked with in our very first Broadway show. And over the years, uh, we've met many a menopausal woman, we've had many casts, and we we become family. And uh, you know, that's the most rewarding as well, the relationships you form.

Alan Glist:

And as you know, since you're producing, there's something about, like people say, the magic of live theater, live entertainment. It's like, I don't think I've ever gone to what I would call a great, great dress rehearsal. There's always something not right. And I remember we did a show years ago, and I went to the final dress, and I said to Kathy, I'm not coming tomorrow night. She said, What does that mean? I said, This show is a disaster. It's just not coming together. We're not ready. I said, I'm not coming tomorrow night. Anyway, to make a long story short, I came and it was the magic of theater. The show was spectacular. Everybody hit their cues, the band sounded great, the audience went crazy, huge standing ovation. So to me, you know, when I was much younger and we were starting out, I used to be a nervous wreck all the time. I'm not nervous anymore. I don't worry about it. I just trust it. And we've been very lucky that every show has come together opening night, no matter what the final dress looks like. It's what I call the magic of live theater. It's it's thrilling. It could, it could take your guts out sometimes, but it's thrilling and so exciting.

Gina Marie Rodriguez:

It's been a while since I've actually done theater myself, but I had this theory when I was in high school and I was doing theater there that the worse the dress, the better the show. I have not tested it in a long time, but I feel like it was true for a while. It is true.

Alan Glist:

It seems to be true, sadly. You know, I wish it wasn't that way because you know horrifying when you see the horrifying dress.

Gina Marie Rodriguez:

Yeah.

Alan Glist:

Absolutely horrifying, but luckily it seems to come together, and that's the magic.

Gina Marie Rodriguez:

I love that so much. And I love you guys. You're such a great couple, and I love all that you're doing.

Alan Glist:

Thank you.

Kathi Glist:

We will meet you in the near future, I hope.

Alan Glist:

Happy holidays, all the best.

Gina Marie Rodriguez:

It will be a happy holiday indeed if you check out Christmas Carol Mania, which ends its world premiere tour at the Count Basie in Redbank on December 23rd at 7.30 p.m. For tickets and more information, be sure to visit TheBasie.org. If you liked this episode, be sure to review, subscribe, and tell your friends. A transcript of this podcast, links relevant to the story, and more about the arts in New Jersey can be found at jerseyarts.com. The Jersey Arts Podcast is presented by Art Pride New Jersey, advancing a state of creativity since 1986. The show was co-founded by and currently supported by funds from the New Jersey State Council on the Arts. This episode was hosted, edited, and produced by me, Gina Marie Rodriguez. Executive producers are Jim Atkinson and Isaac Serna-Diez. And my thanks, of course, to my favorite power couple, Kathi and Alan Glist, for speaking with me today. I'm Gina Marie Rodriguez for the Jersey Arts Podcast. Thanks for listening and happy holidays.

Head Shot

Gina Marie Rodriguez

Host
Head Shot

Maddie Orton

Host