This transcript was automatically generated and might contain errors.

[0:00] Joe Rosko: Hey, what's going on? Welcome to Built For The Stage Podcast. This is Joe Rosko, founder and host of Built For The Stage, Broadway's number one fitness platform with clients in over 20 Broadway shows, clients in the West End, collegiate theaters across the country, Australia, Tokyo, Disney. If they're out there as a performer, they're likely working with us or have at one point. So if you haven't tried working with me at Built For The Stage, go to BuiltForTheStage.com. We'll be on our way, working together on an interactive fitness app where we marry together your pursuit of a career in theater with a pursuit of bettering your fitness. Built For The Stage.com. All right, let's get on to our special guest as always.

It's been lovely to chat with our guests over the past, oh, couple weeks, maybe like a month now. They're in an exciting little skit in the West End of London called Evita. It's been done a few times. It'll be done a few more times here, like I think they have like a month left. So if you're in London, make sure you go see the show. If you're not in London, buy a plane ticket and go see the show. Please welcome one of the cast members from Evita, Dianté Lodge.

[1:23] Dianté Lodge: Hello, my friend. It's amazing. So good to have you on the show. And I can't wait to hear about all things Dianté and all things Evita. We're going to work backwards in the story. We're going to work to right now. And then we're going to go to like the beginning of Dianté's pursuit of like, I'm going to do this performance thing. So if you don't mind, let's jump into Evita right now. You're climbing steps every night. You are taking bows with one of your cast mates covered in paint. You have, you know, a star in front of you, Rachel, just like doing her thing. So like, what's it what's it been like? You worked with Jamie Lloyd, like you have an amazing cast. They just posted some warm up video on Instagram.

And there's just a million tricks happening. I thought I was watching, I don't know, like literally, so you think you could dance or something. So take me to just like, today, it's 4:45 in London, you have a show tonight. What's going on before the show? What do you usually do before the show? And then we'll jump into actually performing in Evita.

[2:35] Dianté Lodge: Okay, nice. So well, today's been like quite straightforward day for me. Like I went to the gym this morning, just there's lots of lifts in the show for me. So I've got to like kind of make sure I'm doing a bit of maintenance on like, my shoulders and things like you know, because it's so easy to do the show every day. I think you need to kind of strengthen around the muscles you're using too because otherwise, you know, RPS repetitive strain like, um, it just it just gets a bit techie. So I've been really trying to look after myself in the gym. Come on, get on that. Just start preaching everybody listening to this podcast. I need this from you. Keep it going. I need this. I love this built for the stage.

It definitely helped me out with that side of things. So I'm glad to hear I'm glad for the help. Um, I also took a class today, actually. I mean, I have probably about 5% left in the tank, but I decided to use it to go and take a class just because it's all well and good doing nature week, but you want to like just sometimes check in and remind yourself like, you know, there's like dance and there's there's things going on outside of outside of work, which are just simple.

[3:39] Joe Rosko: Yeah, you want to train above your show right beyond your show. I love it. Yeah. And for the mental too, you know, just to keep things fresh. Yeah, pick up rate is the first thing to go. So yeah, yeah. Okay. So, right. Exactly. You some people exit a show and then they hit their first audition. It's like they never performed or auditioned in their life. So that's an amazing point as well that you brought up.

[3:59] Dianté Lodge: Yeah, I think it's really important. I mean, especially like, you know, I'm a dancer first. So for me, like, pick up is like a huge skill that is that comes in handy. Like, it's like, you know, it's one of the most important in my opinion. So I'm just trying to keep that ticking over. Yeah, that's in the third steps. But yeah, I want to make sure the body's ready for what's next.

[4:24] Joe Rosko: Cool. Alright, so you already hit the gym. And then what happens after the gym? Do you go home and like take a nap? What's going on before today's show after the gym?

[4:30] Dianté Lodge: I never used to be a napper. But since starting Evita, it's a daily occurrence. At this point, I'm always trying to sneak in. I think I've mastered the 15 minute power nap. So that's good. Yeah. And that comes in shapes and sizes like dressing room floor, the tube, sometimes standing up. I'm squeezing in 40 winks.

[4:54] Joe Rosko: Do you guys have that same in the States? 40 winks?

[4:59] Dianté Lodge: No. How do you break that down? What does that actually mean?

[5:03] Dianté Lodge: So if I'm going for 40 winks, or if I've just had 40 winks, it means I've had like a little nap.

[5:09] Joe Rosko: Okay, okay. Yeah. I wonder the origin of it, though. 40 winks. So winking of the eye, I guess?

[5:17] Dianté Lodge: Yeah, 40 times. I'm going to send you over. Yeah, we'll have to do some deep diving. Well, that's cool that you all are also are you under your dressing room table taking your dressing room nap? Or where are you on when you do your nap?

[5:21] Dianté Lodge: Down here is my little safe haven. In fact, I have to say our company manager is fantastic. And she set up a quiet room for us in one of the unused dressing rooms. So it's got like, couple pull out like makeshift like pillow beds, couple duvets, couple pillows. So there'll be like six of us in there just like having a little between.

[5:44] Joe Rosko: Nice. You got to get the like massage. Like the nature music playing and some of the what's what's the scented mist that like out not aloe? What's what's I don't know. Yes, some type of incense or mint or whatever they do. That's, that's hilarious. Alright, so you take a nap daily now. Have you have you tried a nappuccino where you like drink a coffee and then immediately try to take your nap so that when you wake up, you've not only napped, but your caffeine starts to kick in as well. Have you heard of this?

[6:23] Dianté Lodge: Joe, you might have just put me on to the best thing I've heard about all week. So I have a coffee, put my head down, wake up and it's like double energizing.

[6:35] Joe Rosko: I don't know if this is legit or not. But it's something that I read about in the past. And yeah, give it a try. Let me know if it ruins your nap. I apologize. But if it makes it double the effectiveness, then, you know, I don't know, send me some, some protein powder for it.

[6:55] Dianté Lodge: Okay, so you're working out, you're taking class still and then you're taking your naps and you hit the stage in comparison. This isn't your first rodeo. You've been in MJ. What shows have you been in recently? You don't have to give me the whole resume, but like this isn't your first go around. I just want to compare it to like other things you've done and how physically different it is in Evita.

[7:18] Dianté Lodge: Yeah, I think what makes it different to any of the past productions I've done is the landscape of it. So our stage is like bleachers, you know, it's like a staircase essentially and not the 42nd Street kind, like the full stage is the staircase. So, you know, whereas MJ, which was equally as physically demanding, really super dance heavy, which I love. But, you know, we kind of we just had a flat stage and, you know, a slight rake, but a rake is nothing in comparison to the steps that Fabian and Eloise has got us dancing on here at Evita. So it's been challenging. You know, you've got you've got to kind of like clock alignment. You've got to like make sure knees are going over toes. You've got to strengthen the glutes, make sure like your hammies are warm. Like it's so important, the offstage side of this show. So, yeah, it's taught me a lot in terms of like how I need to like look after myself and what I need to do to do the best job I can on stage.

[8:35] Joe Rosko: What was the learning curve like? When did you start to realize like how best you need to warm up? What you need to prep for? Did you kind of already come in with a plan or was it maybe during rehearsal or even dress tech, et cetera, when you kind of got into a groove with what you needed to do to prep your body?

[8:53] Dianté Lodge: Yeah, so I think it was a moment for us when we kind of went into rehearsals and then we were learning material and we started running the material, you know, doing studio runs. And I think we all collectively kind of had a moment of. Oh, we need to we need to lock in. We need to lock in here seriously. And, you know, just start to prioritize things in other productions, you know, might not be as important for me. Look after my body is always important. Like I said, I'm a dancer first and this is like 100 percent my instrument. And I want to be able to set my body forward and into as many years as possible before burning out. So I'm trying to look after this as well as I can and keep it a well-oiled machine.

And I think our first kind of realization of, oh, okay, we all need to make sure we're really prioritizing recovery, rest, maintenance. I think that was after our first studio run because we hadn't rehearsed that day. We hadn't done the show. We hadn't done Buenos Aires six times. We just came into this into three meals where we were rehearsing. And, you know, we did our warm up and then it was like go time with running the show start to finish. And when we finished that first show, that first run, we kind of all looked at each other and said, this is no joke. This is serious stuff that we're doing here. So we need to treat it as such. And I think and the show's been fantastic. They provide us with amazing physios and nutritional information and, you know, things that, you know, we're so lucky to have access to.

But, yeah, it's no joke. I mean, I think if this was if this wasn't musical theater, if it's any other kind of dance production, it would be the kind of show where you have flute days and you have double cast. It's it's really, really. Yeah, it really is not messing around. And it's the same reason I love it. The same reason I love it is the same reason I sometimes could do the day off.

[10:28] Dianté Lodge: Osiris is up there, but I knew coming into that that I'd love it. I love that song and I have always loved it. But I think the one that took me by surprise was "Rolling and The Money Kept Rolling In." I mean, it's a tour de force for the leads that sing it. It's just an amazing number for them. And for us that get to dance it, it's just so intense. It's one of those ones where you're looking around each other and you're clocking each other for like, I call it side eyes to strength. Like you're clocking someone on the stage and you're like, you got me, I got you, okay, good. Let's do it. So yeah, "Rolling and The Money Kept Rolling In" is one.

[11:08] Joe Rosko: All right, we're diving into the dance. You mentioned Fabian. How was it working with Fabian? Was the creative process just kind of like Fabian came in and said, all right, XYZ, this is the way it is? Or did Fabian allow creative freedom for you all a bit? What was that process like with Fabian and your cast mates besides you?

[11:27] Dianté Lodge: Yeah, so the production has actually been done before at Regent's Park, which is this beautiful open-air theatre here in London, which if you haven't been, definitely go check out. And the production was done there just before lockdown, like COVID time. So it was quite a few years ago. So a lot of it's changed. A lot of the materials changed and things have been elevated and added. And Fabian was very vocal about this is what we did last time. Here's how I want to elevate it. This is what we did last time here. I want to change it. I want to go with a different approach, a different intention. But it has been super collaborative. We're very lucky. One thing that Jamie Lloyd said in the first week of rehearsals or second week of rehearsals, he said that we're all here because of us.

And because of how we dance, how we move, how we sing, how we hold command space on the stage, what we look like, how we interact with others. So it's really been nice to feel like there's a part of you that's been like put into the kind of like the manufacturing of this production. So yeah, it's been super collaborative. We're very lucky.

[12:36] Joe Rosko: Cool. Okay, so you just mentioned the second week of rehearsal. Let's rewind even more about how you dance, how you sing, how you hold space. How was that in the audition process? How many times did you have to show up? How did you hold space? How did you feel about the singing and dancing process? Walk us through booking "Evita."

[12:55] Dianté Lodge: Okay, so I mean, at the time I was on "MJ" here in London, and I was having the most amazing year ever. It was brilliant. And I remember getting the audition through a friend of mine, Amy Thornton, who's the associate. She's absolutely fantastic. She told me that it was happening, gave me the heads up and got me in the room. And, you know, sometimes you audition for shows, and it's the show that makes you want to do it. Sometimes you audition for shows, and it's the experience and the people that you met in the room and the interactions you had that make you want to do it. And for "Evita," the latter was definitely the case for me. I'd never been in a space where I felt so much like the creative team were rooting for everybody to do well.

If I let you stepped in, and they were just looking for reasons to book you opposed to looking for things that might prevent you from doing the job. And I kind of like felt that from the off, which just immediately made me relax. The audition routine was to a Bad Bunny song. So as a Bad Bunny fan, I was hooked from the jump. And the routine was super full out. You don't get to dance like that in musical theatre auditions. Really, you know, it was like grungy, it was down into the floor, there was like accent, the musicality was there, the song was amazing. Everybody in the room was sweating, like, definitely going on this journey together. So for me, I was like, already sold. The vibe is really important to me.

And I think that like "Evita" auditions had that. I'm a dancer before I'm a singer. And going into the singing course, I was, you know, like a little bit nervous, you know, "Evita" is like a very different wheelhouse to what I'm used to singing. And Alan Williams, the MD, he made me feel super comfortable. Although he did say to me at one point, could you please do this, like sat on the floor, not moving, no tits and no teeth. And I kind of looked at him a bit strangely. And I was like, right, and I did as he asked. And in doing so, I kind of unlocked so many things about the material that I hadn't found before. It gave me the opportunity to just chill out and just focus on what I was singing rather than, you know, all the fluffy bits that I was trying to add on top that I felt I needed.

So yeah, I was really grateful to Alan in that moment. He had a really nice way of like making me feel at ease. And then also getting out of me what he needed to get. So yeah, I love the audition process. And I'm very grateful to everyone that played a part in that.

[15:18] Joe Rosko: That's so cool. Rewinding to the Bad Bunny. Wait, which song was it? First off, which song?

[15:24] Dianté Lodge: It was "Ti ti mi pregunto."

[15:26] Joe Rosko: Yeah, yeah, yeah. I love that one.

[15:28] Dianté Lodge: The first move was like this big drag across the floor. And like, it was, it was like we were all balls just like revving up like in the corner. Yeah, I can kind of relate it to "Backstage Romance" and "Moulin Rouge," you know, that kind of across the floor section the boys do, you know, you're like in that corner, you're just your eyeballing the other side of the room. And it just felt like give it to me. Like, let's go.

[15:49] Joe Rosko: Was it a random test or now that you are dancing the choreography of "Evita"? Can you see how like, oh, there's a purpose why we did it?

[15:56] Dianté Lodge: Yeah, I think I think you know, he wanted there's there's such a party community feel. And I think the one how I feel with Latino music and Afro Latino music and Latino house music and reggaeton is like, it's all built around community and party and like, fiesta, you know, like it's like, it's that kind of experience that like shared experience, shared joy, and love and like, just like being in your body and like in the space and, you know, finding someone and connecting through moving. And so I think Fabian was very smart to pick, you know, to do something that wasn't in the show for the audition, because you got to see people's natural reactions, you know, and who and who they are and what they bring to a party scene.

[16:44] Joe Rosko: Yeah, yeah, I'm sure the room went wild in the audition process when they said that you'd be dancing to that. I'm sure you all went wild.

[16:54] Dianté Lodge: Listen, if I had the contract was on the table would have been signed there and then because I needed no more convincing after that.

[17:01] Joe Rosko: Okay, so the contract. So tell us when you get the call of like, hey, you booked it. I'm assuming you were still in "MJ" at the time. So like, what was that all? How did that all go down? And what were your feelings? Were you torn of like, oh, and but "MJ," you know, like, what was that like?

[17:17] Dianté Lodge: Yeah, it was amazing. I was fortunate enough to have been offered a second year on the show. And you know, I had a great time with "MJ." I love dancing that, that, that material. I mean, Christopher Wheldon, he just did an absolute number with that show. Like, I just think it's, you know, I feel so lucky to have been a part of that coming over to London. And so yeah, leaving was it was hard, actually. But knowing that it was this I'd be coming over to made it a lot easier. Like I said, I wasn't necessarily super familiar with "Evita" beforehand. I knew "Buenos Aires," but that was kind of it. I knew "Buenos Aires," a balcony and this.

[17:51] Joe Rosko: Right, right.

[17:52] Dianté Lodge: So you know, that kind of, that was kind of the extent of my knowledge. And so it really was that audition process. Like I said, you know, how the creative spoke to us and treat us in the room. The vibe of that dance call, that was 100% what sold me. So when the call came through for my agent, it was a no brainer. If I was going to leave to do anything, it was going to be this.

[18:11] Joe Rosko: So yeah. Awesome. Congrats. Okay, so continuing to rewind, when did you first arrive in London? Like, when did your pursuit of a career in London begin?

[18:24] Dianté Lodge: I mean, I'd like to be able to tell you, I was one of those tap dancing four-year-olds, but actually, it wasn't really the case for me. I started a little bit later. I was a late bloomer. I started around 16 going to classes.

[18:36] Joe Rosko: Wow.

[18:36] Dianté Lodge: My mum was the one that pushed me. Yeah, yeah. It was after my GCSE results, actually, she was like, what do you want to do? And I was like, I don't know. But I always had a passion for getting on stage, singing, dancing, making people laugh. So you know, she kind of was just like, why don't you give it a go? So she sent me to a dance school and, and I loved it. You know, it was a weekend before I was like, this is what I have to do in my life. And, and I think, I've always tried to remember that story in moments like this, like auditions and things, because I think leading with a passion for something is such an important thing to do. There's so many other things that we have to think about nowadays, you know, and, and when you're auditioning or when you're in rehearsals, but if you just remember that, like, you know, we're doing this because we want to do it and because it fills our heart and, you know, makes us feel good, makes other people feel good.

That's, that's a really good place, I think, to start anything from. So I tried to remember that. But yeah, that was kind of my introduction to dancing, really. She sent me off to dance school, I had the best time ever. My dance teacher was one of the most amazing women I've ever met in my life. And I'm still in touch with her now. And, and yeah, when I auditioned for Laine Theatre Arts, and then that was me off.

[19:42] Joe Rosko: When you started at 16, were you just a secret natural that you didn't realize? Or did you put in the double, triple overtime of hours to, quote, unquote, catch up? Like, how did that all?

[19:56] Dianté Lodge: Yeah, how did that happen? Were you just in the advanced class automatically? Did you have to? Yeah, how did that all start?

[20:04] Dianté Lodge: I had to meet my teacher, Miss Sophie and Miss Lindsay, and they made me earn my stripes. I mean, I had this like natural want and passion to be there, right, which I think like was visible from, you know, the warm up. But like, in terms of my technical ability, you know, it was nowhere near the rest of the kids that are my age. So I really had to put in the hours. I was doing my A levels at the time. And like, in my free periods at school, I'd like sneak away to the drama studio and just be like, okay, have a little stretch, you know, trying to do like a little ballet bar, but do some improv or recap a routine we did, I really had to like, you know, pay catch up. So at my dance school, they put me in every single class available to me. If there was a free class going on, and I was available, I was in the class I did. I did tap with the six-year-olds I was.

[20:57] Dianté Lodge: Yeah, Lindsay Aldridge, big shout out. Are you ever on the steps of Evita because you're a young performer that wasn't too long ago? Do you ever think like, wow, I was just with these little ballerinas just a second ago and here I am, like how far you've come in such a short time? Yeah, I mean, I'm very fortunate to be one of those people that looks out as they bow and like gets goosebumps. That feeling has not left and we're, you know, ten, nine weeks into the run and you know, that feeling is still very much there. But exactly that. I mean, I meet people from my old dance school and they say, you know, congratulations that you've done so well. And it's important, I think, because to hear that sometimes it's nice to hear that because you often get so caught up in what's next and what do I need to do to, you know, level up from here, you forget to take a minute and just like, look back and be like, oh, I've really done what I set out to do, you know, like, I think this past year has been like a real moment for me to appreciate that the hard work I put in.

Because it wasn't easy. You know, it wasn't I sacrificed a lot in those two years preparing for drama school auditions. You know, I had no social life. I just, you know, it was just me and the studio really against the world. So, you know, I'm really grateful now that I can look back on those moments and be like, it wasn't all for nothing.

[22:55] Dianté Lodge: Where did you get that work ethic from? Was it something before you started dance at 16? Or was it once you fell in love with it, the work ethic just naturally happened? What gave you that drive or discipline to show up as much as you did and make the sacrifices that you did? Well, I had a lot of people around me that definitely spurred me on like a lot of dancers I really look up to. And there was a lot of boys, which is quite rare. In my dance school when I first started, there were a lot of boys when I started at 16. And they were going into college or they've just gone off to college. So I had a lot of people around me to be like, Oh, okay, I want to be like that. I want to dance like that.

I want to look like that, you know. So I kind of had really, really great motivators around me. And also, you know, my mum sacrificed a lot for me to be able to go to these dance classes and things. And I think that's part of the reason it took me so long, really, is to start. So the fact that she I had her full support, and a lot of people rooting for me, like I mentioned, Lindsay, my dad, my first dance teacher, and Miss Sophie, also, I really had people that were really rooting for me and really in my corner, and they wanted me to do well. And they didn't care if that meant I made mistakes on the way, or they didn't care if that meant I, you know, like, wasn't getting it first time, they just always had my back.

And I really not didn't want to let them down. But I just felt so supported and uplifted by them that it actually became quite easy to put in the work. Because it wasn't just about me, it was about everyone that was like cheering me on. So yeah, I'm very lucky to have such a great support system.

[24:22] Dianté Lodge: You mentioned having the chills when you would take your bow every night. When you take your bow, are you either thinking about the show for you or the show for the audience? You mentioned like before Evita, all you knew was the balcony, the hands up, and Buenos Aires. So now that you know the show, and now that you're introducing it or reintroducing it to the audience, what's the messaging? Or what does the show mean to you? And what do you think the messaging or what the show can mean to the audience? If you think it's a different experience for them, as opposed to what you're experiencing as a cast member? I think as a theatre maker, it's really important now I think we all should have a bit take a bit of responsibility for making the art we're putting out there and the things we put on stage relatable and current.

I think theatre hits a bit different when there's a part of it that can teach us something about what's going on right now, or how we should be dealing with things right now. And I think one thing that I really took from Evita, particularly the character Ava Perón, is her ambition. It was so unwavering, she knew exactly what she needed to do. And the thing that kept her charging on, up until the point she fell ill and unfortunately passed away, was the people. And it was her, you know, being a descamisado, which means shirtless. So, you know, being a descamisado and making her way all the way to Buenos Aires to, you know, Señor Perón. Like, she had the backing of a million people behind her and she felt that really intensely.

And so, you know, I kind of just told a story about how my support system are the ones that really charge me on and the people around me. And I think that really applies to Ava Perón. You've got to remember who you're doing it for. And I think she knew that and kept that at the forefront of her mind the entire time. All the decisions she made, she kept who she's doing it for at the forefront of her mind. And it got her to wear to the balcony. So, you know, I'm just going to do the same. And I hope that anyone that watches the show, you know, just takes that little piece of advice. Remember why you're doing it, whatever it may be, you know, remember who you're doing it for. And that will be your beacon. That'll be your guiding light.

[26:41] Dianté Lodge: Yeah, I love that. OK, let's dive off of theater and performing in general and close up with just who Dianté is outside of the stage or off the stage. So I hope you are getting to play a little bit. You had said, you know, you made sacrifices in your work, work, work, and you went to the gym today and then you went to dance class. But I don't know what you binge a series. Do you build Legos? Do you collect stamps? Who's Dianté off the stage? Yeah, I'm glad you've asked this because today's this is an anomaly. Me going to the gym, taking a dance class and heading over to the theater for warm up. That is a rare occurrence. I'm putting out a false narrative here. Dianté is usually laying in bed until his body feels like it's ready to stand up and make himself some scrambled eggs.

Breakfast is not the most important time of the day for me. So my day always begins with like a nice, elaborate breakfast. And currently my bingeable TV series is Ted Lasso. I am obsessed with it. Okay. I feel like it's teaching me lessons, making me cry, making me laugh all in one. And Hannah Waddingham is leading the charge for us musical theater performers. You paved that way for us into film and TV, Hannah Waddingham. We are all behind you. We love you. You are our hero.

[28:00] Dianté Lodge: Love it. Okay, so what's on the breakfast menu? Scrambled eggs, you said an elaborate breakfast. So like, what are we doing here? We're talking. There's always a smoothie involved. I've just bought this new blender. So I'm like really feeling my oats, literally. Oats, peanut butter, yeah, coconut water, some berries. So there's always like a nice smoothie. We're still nailing the recipe. So you know, when that hits, I'll drop that below. And you know, I made that public knowledge. We're still fine-tuning it. But yeah, there's usually there's eggs, spinach, some sort of like bagel. I'm obsessed with the protein bagels, the Warburton's protein bagels. If you don't get them in the States, Joe, I will ship you some over because they are the best.

[29:46] Dianté Lodge: Okay, okay. All right. So it'll be an exchange. Well, I'll send you some smoothie recipes that involve coffee and espresso. I think we're on that same caffeine wavelength since you got so excited about the nappuccino. So we'll do an exchange there. Okay, but before you go, for everyone in the States, London can be tricky when going to the theater and looking for something to do after because London tech, it seems to close down very early. Tell us, help us theater goers, where's a spot that's a good spot to go after seeing a show and will still be open for a good time? Okay, okay. So if I were you, here's your night out detailed by Dianté. I would say finish your show, which should only be a part of your evening.

So you should be getting out by 10, 10:30 because it should be a part of your evening, not your whole evening. I would head over to Sophie's and get a chili martini, a cute little bar, which is open to one. If you fancy a dance, there's a basement underneath Sophie's Soho called Jack Solomon's and the DJ is on fire. I'm a piano, reggae house music, R&B is a great mix. Everyone is up on the dance floor. It's fantastic open to one and then I'd get yourself over to freedom on Waldorf Street, which I'm sure people are no stranger to. That's my night. And that's what keeps me going.

[30:43] Joe Rosko: Okay, love it. I lived in London almost two years and never been to Sophie's. So next time I come, which will be hopefully soon, but I'll have to hit it up.

[30:51] Dianté Lodge: Perfect. We'll go downstairs to the basement, the secret spot.

[30:54] Joe Rosko: Yeah, dance it up. Okay, cool. Dianté, thank you so much for being on the podcast. Everyone again, if you're in the area, if you're not in the area, go see Evita, Dianté, all of his cast mates there in the dressing room. They've been good sports. But yeah, we'll see you when we see you again. Excited for the content that we'll be posting on Instagram soon. Thanks so much for doing that. And yeah, thanks so much for being on the podcast.

[31:13] Dianté Lodge: Thanks a bit of pleasure. Bye. Bye, everyone. Hello. Hello. Later. All right. Dianté Lodge, Evita. Make sure you go see the cast. Give Dianté a follow on the gram. I'm pretty sure it's just his handle at Dianté Lodge, but I'm going to put it in the description of this episode. All right. I'm Joe Rosko. BuiltForTheStage.com. Actors are athletes. Train like one. Later.