We're putting a big neon spotlight on THE MOTHMAN COMETH at the ROCHESTER FRINGE FESTIVAL — it’s an immersive, interactive horror‑comedy where Richie Schiraldi plays the Mothman and guide you, yes you, through games, rituals, and spooky shenanigans in the dark.

Check out the episode on Just Can't Not wherever you get your podcasts or on Lunchador.org!

https://player.captivate.fm/episode/d97553f7-b5e6-4458-b565-3daa76d6c0ce/

The show runs at THE ROSE ROOM in the South Wedge on September 22nd at 8:30pm and Saturday the 26th at 9pm; tickets are $15 at rochesterfringe.com — don’t mothball ’em, grab ’em. For a quick rundown: Mothman lore goes back to a 1966 Point Pleasant sighting — big winged creature, glowing red eyes, bridge collapse, all the good ominous vibes — and in our show that history becomes playful, weird, and oddly cathartic. You’ll be in near‑darkness lit by Mothman's giant red LED goggles, l build a little army of minions together, and the audience participation is scaffolded so people feel safe, silly, and maybe a little healed by the end. The piece was developed in Chicago out of mask, movement, and circus backgrounds, so expect a mix of physical theatre, puppetry‑adjacent mask work, and laughable terror. Head over to ROCHESTERFRINGE.COM for tickets — come see how darkness, humor, and a 9‑foot wingspan of theatrical nonsense can actually help you find a little light.

Mentioned in this episode:

Joe Bean Roasters

Visit joebeanroasters.com to get fresh roasted specialty coffee either by the bag or with a Perpetual Joy subscription!

Well, that music means it's time for another episode of Just Can't Not.

This is part of our previews for the ESL Rochester Fringe Festival, happening from September 15th to the 26th in scenic downtown Rochester, New York.

Go to rochesterfriends.com to get your tickets for as many events as you can possibly go to.

And you definitely want to get out to a lot of events.

And I'm here with a guest.

Guest.

Why don't you introduce yourself?

Hello, my name is Richie Schiraldi.

I'm coming from Chicago with my show the Mothman Cometh.

I'm one of two members of Whisper Theater Collective.

Yeah.

And the show is happening on both September 22nd at 8:30 and Saturday the 26th at 9pm the venue's the Rose Room over in Southwidge.

Beautiful venue, great venue for a fascinating show.

So why don't you tell.

And tickets are $15 at rochesterfringe.com.

So, Richie, why don't you tell me a little bit about what is the Mothman Cometh?

This is a creative show.

Yeah.

This is, as some have been calling it lately.

It's a very unique theatrical experience that.

Can be a very pos story, like.

Oh, a very Southern thing, you know, God bless his heart.

Bless the heart.

Yeah, yeah, yeah, yeah.

No, I'd taken it definitely with.

Taking it definitely as a compliment.

It is basically, it's an interactive immersive horror comedy play where I play the Mothman, the.

A very famous cryptic creature.

It's set in the dark.

It's lit by Mothman's glowing red eyes.

You can see.

It's.

It's quite clear on the poster.

I have big red LED goggles on.

And the show is mostly in the dark, lit by these goggles.

There are some select moments of light throughout the show as it feels as it fits the theatrical element.

But.

But you basically join Mothman's army of minions, and Mothman guides everybody through a bunch of different games, rituals, and happenings to embrace the darkness, to try to escape the void and eventually find the light.

I mean, this is a lot in one show, right?

I mean, you've got an hour, and this is.

This is the kind of performance that Fringe is specifically made for in so many ways.

Right.

Where it's.

It's high concept, it involves participation.

You know, you've got audience, you know, things involved, you've got oddities.

When you were conceiving of this show, was this something that.

Was this something that was already like, were you already obsessed with these kind of things?

You Know, with Cryptids, with, you know, all these.

The lore and all these things.

Was that something that was already inside of you or creating?

This was part of that fascination,.

To be honest.

Found me.

Yeah, I wasn't into a lot of this before working on this show.

And, well, to be honest, I've been working on the character for almost five years out of lockdown, and I had really only performed at the local Fringe Festival just because of proximity.

But I didn't know much about fringe theater.

I didn't know much about the Mothman when it first gripped me.

I didn't, you know, I didn't really know horror theater was a thing and then just started working on this thing.

So Mothman was.

Was basically a character that I found because there were Mothman sightings in Chicago and I was working on a devised ensemble piece and was like, yeah, yeah, yeah.

There were sightings across the city.

So that, like, I was like, what is the Mothman?

What is happening?

Why?

Why are people obsessed with this?

Deep dive into what this was.

And.

And started expanding my knowledge on Cryptic Creatures and wasn't really obsessed with that beforehand either.

So that really opened a lot of doorways.

But I. I made a.

For this, like, devised ensemble piece where it was a reporter reporting on the sightings of the Mothman as if they were happening in real time.

So it just kept going from like, and now he's here.

And now he's here.

And every time there was a new sighting, I would change a piece of the costume from the reporter in what eventually became the Mothman.

And the final sighting was in this room.

Here he is.

I curse everybody.

I run away.

It's very.

Simpson Bronco Chase, where it's just like, everything's happening all the time.

It's like, I can't believe this is more.

Yeah, yeah, totally.

So I took this.

A friend was there who runs a Halloween party.

And in the middle of the Halloween party, it's like each room gets activated by an artist and you can go visit the rooms and see little short performances.

So they said, well, will you do.

Forget the reporter, that's fine, but will you do Mothman?

And so that was really the first investigation into creating this creature visually as we see it through the show.

So I did a three minute Halloween piece over and over and had a lot of fun and a lot of people were really into it, especially the idea of these goggles in the dark.

And I come from a background of mask work and Movement and circus.

So I was really treating these somewhere between a mask and like a puppet.

Were you more on the technical side of that world or were you more on the front end as a performer?

Both.

I've done mask making.

I spent a lot of time studying commedia dell' arte in college.

I did a lot of other types of European mask work in my grad program and so did a lot of investigation in what they were technically.

Made a few of them and did a lot of performance practice as them.

Yeah.

Then the character appeared in a cabaret.

It was part of a cabaret called Broken Planet show for a while.

Actually Mothman was there since its inception and it became a staple act of this weird, absurd cabaret style show where it's hosted by God.

God's a clown and he's brought these weird and wacky characters to try to restore wonder and faith and inner child play to humanity.

So I did that for about two and a half years.

We performed it monthly touring around Chicago.

And the character quite literally was developed in front of an audience.

Every night there would be more material.

I was interacting all the time and getting live feedback to help.

What's interesting, where is this character going?

What do people want out of it?

What's it trying to say through me?

Until eventually I had from three minutes I was at 15 and trying to reel it back.

Wow.

I mean, what an amazing opportunity to develop a character without all the rest of.

You know, when you're doing something whole cloth and you're sitting in a room by yourself and you're trying to come up with something that is engaging on every level and you haven't performed and then you go in front of an audience the first time, it's a very different experience.

Well, essentially you're getting to work it out every show and get to build on the lore in your head and try something.

Because it's like, oh, if this goes a little bit worse tonight because I stretched and I tried something different, it doesn't break the whole show.

Right.

It's part of that, like, oh, I get to really see what works and dive into this character and learn these little nuances that are so hard to do without that feedback.

Yeah, truly.

Truly was a gift.

Especially with a lot of my theatrical and creation training.

This is sort of how I was trained to create anyway.

Was I go to a room, I work by myself with other people and at some point I need an audience.

I need that feedback so I can go back and continue working on it.

So to be able to get that once a month was phenomenal.

Eventually I had so much material, after about two and a half years, I just organized it all and I had, without attempting to do it, I had an hour long show.

Oh, wow.

So that was really my, like, introduction to the world of fringe theaters.

Like, you know what, why not go to the biggest one first?

I'm going to say diving into the deep end.

Yeah, totally, totally.

So since then, for the last two years now, Mothman's been touring fringe festivals and continuously developing and tightening up and the characters coming more and more to life.

And yeah, this is, it's exciting to bring it to the Rochester Fringe to.

It's.

Apparently I've never been.

I hadn't heard about it until the beginning of the year when I applied.

And that's the beauty of the fringe festivals is you go to one and you hear about the next five that you should do.

So it's been really cool.

And like, for the size of city that Rochester is, we have one of the more, one of the more impressive, like, scale of fringe festivals that are around.

Like, we have so many people that just love going to shows and are really embracing, you know, the genuineness of what fringe is.

So what I kind of want to take a step back to is we've talked about, you know, your diving into the character.

Can you give, can you tell the audience a bit about, like, hey, from a, you know, from your research and everything else.

What, what is the lore behind.

Was the rough lore behind, you know, the, you know, the character or the cryptid, you know, creature of Mothman.

Yeah.

There was an incident where there was this massive, spooky, dark creature with, with a huge like 9 foot wingspan and glowing red eyes that kept appearing, was giving everybody ominous feelings.

Some people saw it in the streets and would.

It looked at them and it flapped its massive wings and disappeared into the sky.

Some people said it felt more like an eerie evil presence.

Whatever it was, something was here in this town.

And one night it was spotted on a bridge, the main bridge in Point Pleasant.

And the next day the bridge collapsed.

So it was a massive tragedy.

I think about 60 to 80 people died from this.

And since then, the creature was known as a harbinger of doom.

But people who are fans of the creature would say, well, maybe he's just trying to prophesize, maybe it wasn't.

Maybe he didn't cause it.

He Was trying to warn people.

And this has been a massive debate over decades.

But ultimately, fun side fact, there were so many phenomena happening around this event, and this creature in this town and in the local area with UFO sightings and two, this.

The government had to create a sector to investigate these findings, what was going on down there.

And it's essentially what we know as the Men in Black.

Oh, that's.

That's so cool.

Yeah.

Random.

Random origin lore there.

Yeah.

Yeah.

So since then, Mothman's been sighted across the globe.

Some people say they saw him during Chernobyl.

Some say they've seen something similar during, like, massive earthquakes.

And you could track all of the phone calls and watch a little flight pattern that goes across the map from the airport to the lake.

And he's still seen, apparently, around the airport a lot here.

Yeah, I mean.

I mean, think of all the delayed flights.

They have to be caused by something.

Yeah.

It can't be any other reason.

It has to.

It's the only thing.

It has to be him.

Yeah.

And I, you know, I. I think it's also such a, you know, it's weird.

It's weird to, you know, look at, you know, these, you know, these characters of lore that have these, you know, you know, tremendous histories and these engaging stories.

And, you know, there.

There's a time, I think, in a lot of people's lives where, you know, if you're of a certain age, there was a certain.

There was a quaintness and a engaging nature to all of these, you know, because, you know, characters live in that world of theories and conspiracy theories and things like that.

And for.

For many, many years, it was a very, you know, it's.

Oh, it's cool.

Hey, you might believe in this.

You might just enjoy the stories or, you know, myths and lore making and the whole, you know, community that's around that.

And then we've also had just this, you know, this whole experience of conspiracy theories becoming this insidious thing in society.

I have to imagine it's like to bring back some of that light, some of that fun and engaging storytelling around.

Hey, you know what's fun?

Talking about, talking about characters, talking about lore, talking about, you know, what was, you know, these delightful things to dive into.

I have to imagine bringing that to an audience gets to bring some of that mentality back.

Yeah, yeah, it's been, you know, it's very easy to get into the weeds sometimes, especially when it digs into the conspiracy realms.

But it's been such a joy to bring this show, especially because of how interactive it is.

Yeah.

To different audiences around the country and in Edinburgh, and it's.

It's been to Prague as well.

So to.

To really tap into a wide variety of audiences has shown how far this character in this work can reach.

And as you say, it's.

Right.

It's like, I'm interested in the fun behind it.

You are spending an hour with the Mothman.

It's not a show about the Mothman, but you are with the Mothman for an hour.

So.

So.

And I really try to use the power and the status of this character and the.

The literal power of, like, being in the dark with strangers to make approaching some quite scary and quite human things a bit more easy to approach.

Maybe through the play and through the silliness of it all, we can.

We can talk about some heavy things.

And it's not therapy, but maybe it's therapeutic.

And it does it to me too.

Right.

The more that I do this show and never mind just the material of the show working on me, but also doing this live with the audience, it's.

It's.

It's constantly therapeutic.

Really cathartic.

Yeah.

To have these moments and connections.

Well.

And I think engaging is something that is beneficial for so many.

For everybody in these kind of performances.

And I'll.

You know, for what I do.

Right.

When I'm interviewing people or producing for somebody else, those moments of engagement are what makes you feel like you're doing something that matters.

Right.

It's.

Yeah, of course, you know, if you just get the laugh, that's.

That's.

That's a beautiful thing and a great thing.

Right.

If you're just.

You know, it's not just.

It's not just.

But, hey, that's what you're doing.

But there's those moments of engagement that transcend certain aspects that when they happen, you can't force them because they have to be in the moment.

They have to be genuine.

They have to be, because, hey, you're.

You're really.

You're living this for those.

For that hour, and that the people are engaging with it.

And that story that they tell you after might be more impactful than you could ever have planned for.

Yeah.

But that's what genuineness brings to performance, is you can't determine what somebody's going to feel about something, but you can give it your damnedest to make this something that matters.

Yeah.

100%.

Yeah.

Yeah.

There's been some beautiful Moments where people have come up to me after the show and shared what this unlocked for them or what they were going through.

And then I talked about it specifically and I, you know, how could I know that's what they were going through?

But it was just a perfect moment for them to come see the show at that time.

Yeah, yeah.

It's really, it's.

It blows my mind sometimes how powerful it can be just to be in the room and engage with people and be earnest.

Right.

And you say like, yeah, laughter is really good medicine.

It's nice to just go out and laugh, but it's also a tool that we can use to.

To do something a bit deeper.

Yeah.

And that's, that's what I hope.

And I think, you know, something I've been reflecting on a lot about fringe in general is that it's that specific element that can be, especially with, you know, there's justifiable nihilism and justifiable, you know, fury at the world and, you know, this, you know, element of we can't.

We can't do anything, why bother, right?

You know, everything's falling apart.

That earnestness is one of those things that has fallen out of style in many ways, right?

That genuineness and like, hey, I care about this.

I'm gonna do it as best I can.

There's.

I don't know that it's those things that mean so much to you as a performer too, right?

There's this when you can really invest into something is special.

And also that process of engaging with the audience, which is really what I want to talk about is there's so much work that goes into being good at engaging with an audience and making it feel not like it's forced and making it feel like it's not.

It's not a put on.

And because those are the things that are so easy to read, even if somebody can't clock it mentally, they can feel it.

They feel when something's forced, they feel like when they're being.

This is a put on, this isn't.

This isn't honest, this isn't genuine.

Even if they don't actively think that, they react that way.

When you're prepping, you know, through your, obviously your training and then doing these shows, obviously your practice shows, and being involved in the troop and engaging with audiences, how do you describe that mentality of being ready to engage with an audience?

That's a great question.

How do I describe that?

Do you mean, like, what does it feel like?

Or how do I.

Like, how do I Literally prepare for this.

Either.

Either or.

So, like, I'll throw an example.

Like, for me, like, during Fringe, I'm doing multiple.

I'm doing multiple interviews in a night.

Right.

I'm doing five.

I'm doing five.

Back to.

Back to.

Back to back tonight, six tomorrow.

Oh, man.

Okay, so you don't have a lot of time to prep.

So what you're holding on to is.

I know what I can do is I can be present with somebody for a time period that I can hear.

I can hear something in your voice and pick on that and let's go.

Let's take that to the next level.

Right.

I know that my.

My practice in interviewing, my practice and engaging with people, I feel confident in that.

And I feel confident that I know that regardless of how the person is performing in that moment, that I'm going to work with them to make them as successful as they can be.

Right.

That's a conscious choice that I have made, but it's also a skill that I've built over time is.

Yes, it's a skill to engage with somebody, but it's a choice.

Okay.

I don't have time to prep.

I don't care.

Because I have confidence that I know how to do this.

Yeah.

Yeah.

I guess I relate quite well to this.

There's the building of the soft skill of being able to listen, being able to respond, and also calculate in the moment, which direction should we go?

Is this worth pursuing?

If it's not, then how do we gracefully walk away from it?

Or if it is worth pursuing, which direction do we try to walk in so that.

Yeah, it doesn't feel forced.

It's a soft skill that you can practice and.

And achieve.

However, the.

The beauty of it is also its vulnerability where you can't guarantee it.

No.

Right.

Every night, somebody's going to bring you different energy, going to bring different proposals to the space.

You might have to work a little bit harder to try to get in with them, or they might be so willing that you're like, oh, this is fantastic.

I have to be careful, otherwise this will run away from me.

Right.

Yeah.

The other thing.

Right.

Is like, keeping it.

You know, you have to get to the beats.

You know, you have to get to the story.

But everything needs to feel like it happened naturally through the show while still bringing it back to the.

To the path it needs to go on at some point.

Yeah.

And that's, to me, that little difference.

That's the finesse.

That's that difference between a show that feels complete, even though Many aspects of it couldn't happen without that moment.

Yeah, yeah.

And I, and I firmly believe that I have gotten quite good at this in the last two years because I've had so much practice with so many different audiences to figure out how to navigate this.

And I build the show in a way that hopefully scaffolds the audience participation, that helps open people up to these interactions as well, as well as making sure that, like, there's no shame attached to it.

It's non ridiculing, there's no judgment or shame.

And like it.

What you give me is the perfect thing you were supposed to give me.

Yeah.

And I, and I might, like, might rag on it in a way that feels fun, but I'm also quite sensitive to, oh, too far.

And I will call that out in the show too, just to be like, let's diffuse the awkward tension.

Okay.

Yeah, too far.

Too far.

Okay, Moving on.

And so it's also like, it's acquiring the, the, I guess the skill and the vocabulary as well to call out those situations and diffuse them if they do arise.

Then to me, if I was in the audience and that happened, it would feel like the.

Oh, the performer is aware.

And even though that was weird, I still feel taken care of.

Yeah.

And I think it's also like, how fast can you build equity with the audience where regardless of the direction that you go in, that they're going to buy in.

And yes, you'll have some people that, oh, this is a Mothman show.

I'm all in.

It doesn't matter.

I don't care what they do.

Right.

This is, this is me to a T. And I have lots of friends who would be very much that target audience for this one of the shows on the network.

And my, my co founders, one of the founding members of the Anomaly Film Festival, which is a genre movie festival in Rochester that is, you know, could be all of the genre movies, but, you know, they also love, they love Cryptids, they love all this stuff.

And we have people that create monsters, they create costumes for movies they create or just love doing the art of these kind of things.

And then there's the people that are like, I'm just showing up for a show.

I don't know what's going on tonight.

And that, that equity you're building in all of those things is you're dragging the person that is passionate about Mothman, and you're also dragging the person who's just showing up for a show and you're building that equity with all of Them as you're launching and as you go into the show that when the engagement happens, that they need to believe that this is all.

They're all being taken care of.

Yeah.

Yeah.

And the beautiful part of it, too, is that the energies in the room feed each other.

Yeah.

That also, again, the beauty and the vulnerability of it, if the audience isn't feeling it and that starts to leak into other people not feeling it, then it can be a hard room sometimes.

Yeah.

But I feel like over the years of developing the show, we're getting more and more into the success rate of, like, we're here and we're on board.

Please send your friends over because it's so.

The show is a totally different life when that energy is there from the beginning and it's so fun to play with.

But this is also the reason why I need to make my show 50 minutes and not an hour, so that when that energy is there, we have room to really let it breathe and play.

Yeah.

Yeah.

And then if it's not there, then the show is 10 minutes shorter than you expected, and you're free.

You can get your next show on time, which was the whole intent of the show.

Yeah.

So, yeah, I definitely recognize that the show.

This.

The style of show.

And also, like, what I'm doing is not for everybody.

Yeah.

But again, have been developing it so that it's more.

It's for more people.

Hopefully it's more accessible and more entertaining and engaging.

But there are some times where it's, like, it's just not for you.

You're not.

You're not feeling it for one reason or the other.

And I don't take it personal anymore.

I mean, it's in the dark, so if you need to leave, it's fine.

It's anonymous.

Yeah.

But I'd rather you, like, go, oh, this isn't for me.

Then also, you know, just be in that room and be like.

And then you're.

Then.

Then you have a miserable time because you're fighting, like, oh, other people are enjoying it, and it makes you double down on not.

And, oh, it's so.

Yeah.

And, like, I know it's not about me.

It's about that person.

But I hope that the show can help.

Help people open up, too.

Absolutely.

Back and enjoy.

And if you're halfway into a show, give yourself the opportunity to get all the way into it.

Right.

Like, I've been to a lot of Fringe shows where I'm like, I don't know what to expect out of this.

And then you kind of just sit and engage with it and see how you feel.

And it might be a delayed thing too.

You don't know, like, sit and try.

Sit and try and enjoy things.

So I'm gonna put the plugs out again.

I just kind of want to talk about Chicago for a minute.

So.

Shows are on September 22nd at 8 30s, Saturday the 26th at 9.

$15 [email protected] tickets are at the Rose Room.

The show is the Mothman Cometh.

This is an experience you definitely want to get out to.

So Chicago has this robust theater scene and all this creative energy in a different venue than a lot of cities, right?

Chicago is a unique city to me, as somebody that grew up in Buffalo, lives in Rochester, and I have a great affinity for.

For Rust Belt cities.

There's a certain mentality.

And to me, Chicago is the biggest small city in America, right?

So, like, Chicago is the biggest Rust belt city, but it is fundamentally.

It is a huge city, but it is fundamentally a Rust Belt city in the way that other big cities are not.

There's still this.

There's a lot of this working class attitude.

There's a lot of this, hey, people don't like us.

You know, screw you.

We, you know, we're Chicago.

We love ourselves.

How do you describe the, you know, the creative and theater scene of Chicago?

It's amazing.

There is such a thriving and robust and supportive arts art scene here especially.

Well, I can't speak to other sectors, but especially in the theater scene and, and I kind of bop around different sections of the industry, right?

I'm in the circus scene.

I'm in the fringe theater scene, the experimental scene, the clown scene.

I bop around a lot, and it's so healthy in every direction.

There's, there's.

It's oversaturated in the best way.

If anybody wants to try anything, there's so many people who are willing to be like, yeah, I'm in, let's go, or I'll help you do it, or I can connect you to these resources.

So it's.

I love being here, and I think it's the perfect place for me to have, like, also developed this kind of work where people are hungry for weird experimental things because there's so much art.

We get bored easily and we go, okay, yeah, I've seen 80 puppet shows already.

So what are you going to do different?

And like, oh, what can I do different with puppetry?

Maybe I'll merge it with mask work.

Maybe I'll merge it with circus.

Or.

So there's a lot of like experimental merging of styles here too.

And it's, it's delicious.

There's something special about that too.

And like, you know, my, my nerdery, my first nerdery was around, you know, food and drink in many ways.

Right.

So for me it's always when you do something on purpose and with your respect towards the history and respect towards the art of the craft of making these amazing things, you can merge things, but then you can also merge things haphazardly and like I'm going to merge these things.

Who cares, right?

There's this intentionality when you have that respect for all of the different aspects of it.

You know, the cultural history, the, you know, the performance history.

You know, having trained.

Right.

You can respect the different angles of this and then create something completely new based on all that history and all that experience.

Yeah, yeah.

It's a massive laboratory and if you are aware of the things you're referencing and of the, and you know how to use the tools you're using, you'll be way more successful.

Yeah.

And if you just walk into the lab and throw stuff around and mix things, people will stare at you funny.

You might come against something that's brilliant, but as you say earlier with the audience where they can very easily tell whether it's conscious or not, if you're forcing something, you can also feel when somebody's just being haphazard with, with what they're playing with and maybe not investing in it or taking it seriously or just being unaware.

Sometimes it's not even a conscious thing.

Right?

Yeah.

Which is also helpful sometimes too because then we can go, oh, I see what you're trying to do.

Let's play with it.

I can maybe help you do that.

Or I, you've just given me an idea to be more looser.

It's got its pros and cons too.

I suppose that's genuine community too, right?

When you're talking about the community, it's having somebody being able to give you real feedback and that's like real collaboration.

Real community is somebody.

It's not just back patting.

Right.

You're not just giving somebody support.

Support is honest communication and not like honesty and like the, oh, that sucked.

Don't, don't do that.

It's the genuine like, hey, let's, let's work on this.

Like, hey, here's what I felt doing this or here's what I felt listening to this.

But that genuine feedback is one of the most valuable things that somebody can provide you.

But that's also that real relationship.

You have somebody because you're present in the community and contributing for others, too.

Yeah, yeah.

And you have to be open to receiving it for sure.

But it is, again, one of the beautiful things about this scene here is that everybody's so hungry for new work and hungry to understand how it's coming across.

We're also hungry for feedback and collaboration.

Yeah.

And we just keep feeding community.

Well, if you want to feed the Mothman, go to the Mothman Cometh over on over at the Rose Room in the South Wedge Sales.

A good pivot right there.

Tuesday the 22nd at 8:30, Saturday the 26th at 9.

Rochesterfringe.com for tickets anywhere else you want people to follow you, Richie.

Yeah, you can find us on Instagram.

The Mothman Cometh show or Richie Schiraldi is my personal one or the company one is Whisper Theater Collective.

You'll see also that we're bringing a second show.

My wife and I do acrobatic comedy as dads where we deal with empty nester syndrome.

It's very stupid, wholesome.

Same level of like engagement and play and community building, but in the daytime at summer camp vibes.

So you can find more about that show there, too.

Yeah, sounds fantastic.

Well, Richie, thank you so much for joining the podcast today.

If people want to learn more about the rest of the shows on the Lunchadore Podcast network, go to lunchadore.org check out all of the shows and we'll see you out on the fringe.

This has been a presentation of the Lunchadore Podcast Network.

I can't believe he stole.

The single thing that I remember about clowning is Commedia dell'.

Arte.

I was gonna bring it up and then he brought it up before I could.