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[0:00] Astrid Harris: My name is Astrid Harris and you're listening to Eleven, the official theatre podcast.

[0:16] William J Connolly: Hello and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. She's London's newest leading lady that's about to take on playing one of the greatest vocalists of all time as Celine Dion in the smash hit comedy musical, Titanic. But she's no stranger to belting out the hits as she joins the West End production of the Olivier winning show, having just finished playing the diva in the Paris production. So with the signature chest pumping perfected and comedy lulls at the ready, we find out what makes this diva tick as we meet her firmly on British soil and just a handful of days before her official opening in London to talk playing Jesus Dion.

As she's been so perfectly titled, why her time in Paris featured more tears than first expected and why joining this company replacing icon Olivier nominee Lauren Drew and facing belting out these iconic songs eight times a week is a rather terrifying thing to take on as she so perfectly put it. We also talk about the liberation of just throwing some limbs about, the importance of good sound, why water fountains became a spooky scary thing when you're in Paris and the power of good old comedy and great connection. Plus she reflects on her journey from free newspaper vendor to West End leading lady. It's the full-out diva herself Astrid Harris here now on this the next episode of Eleven, the official theatre podcast.

Please help me welcome to this the next episode of Eleven. She's London's newest star that's about to steer the West End production of Titanic as the ultimate vocal diva Miss Céline Dion and she's here to tell me all about it and life aboard the ship of dreams. So I say Astrid Harris, bonjour diva, ça va?

[2:04] Astrid Harris: Bonjour diva, ça va. Do forgive me, I'll probably speak in French at some point. I only just got back so playing a Québécois lady and been living in France for the past four months I will probably say oui a few times.

[2:22] William J Connolly: Oh my god please don't apologise at all, please do as much as you like. I should say for context for like literally the two people in the world that don't know and as you very kindly referenced there, you know this part and this show incredibly well. You have just closed in Paris, a journey there and a life journey I can imagine that's pretty extraordinary for you. Just before we talk about London this next chapter, chapter two, the exciting part, how are you feeling and if I could trouble you to say in English I would appreciate that.

[2:43] Astrid Harris: At the moment weirdly I was actually just saying I feel kind of jet-lagged. I know Paris is only one hour difference but I feel like I've just, we closed on Sunday night, it is now, well it's now Friday but I started at the Criterion a few days ago and it was kind of like I had about 18 hours of nothing and then straight back into it. So I feel a little bit like a whirlwind, this weekend is my little break but yeah I'm feeling excited and slightly overwhelmed but nothing too much.

[3:14] William J Connolly: I imagine excited and slightly overwhelmed is kind of just the mood of this show, it's the mood of playing Celine Dion right?

[3:19] Astrid Harris: Yeah absolutely, I think the whole time there's so much going on around you that you're always slightly overwhelmed even if it's by the vocal or just what people, what's coming out of people's mouths every night, it's slightly different and always slightly overwhelmed.

[3:33] William J Connolly: I was talking to your Phyllis director Tai literally just a few days ago for an episode of this podcast and I tried to get him to explain like how do you explain Titanic to like an alien that's come from another planet and I'm not going to lie we didn't do very well, we really struggled so most important question, how would you describe this show to people?

[3:49] Astrid Harris: I would explain Titanic as a love letter to Celine Dion but through the story of James Cameron's Titanic and that I don't think that explains it well at all but it gives you a vague idea and then as you go through that there are various sordid jokes and silliness that will leave you kind of a brighter person afterwards I hope, brighter in the sense you'll feel lighter and happier and hopefully leave the theatre having, well wanting to come back I think, I think that happens quite a lot, a lot of people leave the theatre and just want to watch it again immediately.

[4:27] William J Connolly: Lighter, brighter and silly, I love those words because I feel like that is the understatement for this show but bless you for going for ones that people just get them in the door and then let us do some crazy shit right?

[4:34] Astrid Harris: Yeah absolutely. You said about people coming back, I mean in interest of great honesty I have seen this show both in America and here eight times, I love it, I think it's amazing, I think it's incredibly clever because it is never the same, doesn't matter who's standing at the front, if it's literally the same cast you saw a day before even the afternoon, it's so different and I can imagine for you while that's probably slightly terrifying at times, it probably also means that no day at the office is ever the same for you, so talk me through what it was like being in Paris, debuting the show, originating this role, knowing there are no rules essentially, I can go cray-cray every single day and they've got to clap.

[5:09] Astrid Harris: Yeah it's strange, I think I always felt, I do remember saying to some of my cast mates, I can do whatever I want and I know I'm going to win them back because I get to say my heart will go on at the end, that's what they're here for, especially in Paris you know when I first got the job and I spoke to a few of my French friends and they were saying no, you don't understand, Celine Dion fans exist all over the world but Celine Dion in France is Jesus, like there is nothing else, we're obsessed with her, we'll do anything for her, she does no wrong and then I suddenly panicked and was like oh my god, this is, I'm not, they're gonna hate me but the response over there has been insane, it's more of an emotional response I feel over there but yeah kind of going out every night and knowing that they don't know what's coming, I think a lot of people over there kind of went thinking this is a Celine Dion jukebox musical which it is but it's not and some of the reactions were shock, I think shock but always, always a very emotional, very positive reaction at the end, by the end of the show, on their feet, a lot of tears, a lot of tears in France which I think a lot of the other productions haven't experienced quite so much, mainly because of the slightly different staging and things like that but a lot of that and I just really love the fact that in this role it's so different because I remember talking a lot during the rehearsal process about how Celine doesn't have any scene partners, her scene partners are the audience at all times and so you're going on to this going, I don't know who I'm going to be talking to, I might be talking to someone who's been dragged here by their sister who does not know anything about Celine Dion and does not care and I'm going to speak to them and they are just, I'm going to have to deal with whatever their response is.

Thankfully no one's ever done anything completely wild, people do try and maybe have a conversation with you as if you are Celine Dion, talk to them, they can get very overwhelmed and things like that but thankfully it's never been too outlandish but not knowing what's going to happen was kind of the thing that kept the adrenaline for me the whole time, shows can get monotonous, you're doing it however many times a week but this show for me has never been that, it's always just been very exciting and you can't ever go into it not going full throttle because if you don't you're going to crash and burn.

[7:28] Astrid Harris: Having her as Jesus Dion as I think we should suitably name her now locally in France means that you know people are on your side, you know people love her and more importantly will love you which means that they're going on the kooky crazy journey with you right?

[7:39] William J Connolly: I'd hope so, I was slightly concerned that they'd be like this isn't Celine Dion, how dare you, you know this girl's a giant, what's going on, I'm very tall so I come on stage and I sometimes think that people are like what? But it was never the case, it was absolutely never the case, every time, every day with the reveal no matter how big or small the audience they would go mental and kind of reach their arms out to you as if it was an actual concert and she's just appeared in front of you like it was crazy so yeah it was really nice and I got a lot of very sweet messages from people in France telling me that you know I've done her justice which is all I'd ever wanted to do because it is a terrifying thing to take on, you know if you go and see someone does something for someone who you absolutely adore you're expecting, especially someone like Celine Dion, you're expecting a lot and hopefully I've been able to and will continue to deliver that.

[8:37] William J Connolly: Well I imagine it's the ultimate vote of confidence then to be able to originate in Paris and then for them to say yeah please come to London, please come to this original West End production and get to take over from Olivier nominee Miss Lauren Drew which I imagine is like passing the baton.

[8:47] Astrid Harris: Yes, it's very overwhelming, I can't quite believe it still, I don't really know what's happening in my life, I mean if you did this time last year I was giving out the evening standard outside Waterloo my darling, I wasn't doing anything like this, so it's all kind of just unravelled but in the most incredible way and walking in the footsteps of icons like Lauren Drew, I know she probably wouldn't say that about herself, she's lovely and humble but she is an icon, she's a West End star you know, I mastered from the Northwest and just tumbling into this going yeah I'll give it a go, it is nice knowing that I've already done it, I'm not worried that I can't deliver what needs to be delivered on stage, I just hope I can keep the audience on side as much as Lauren has.

[9:40] William J Connolly: I assure you based on the social media response alone, never mind anyone that's had the pleasure of sitting in that theatre, I mean people are on your side and very excited to have you here in the West End and I feel like maybe doing it already and feeling comfortable with her and knowing as you say that you can do it because it's a very tall mountain to climb, there's a lot of big songs, there's a lot of comedy, if you're not funny it don't work, you are, even just by this conversation, you know comedy very well, you are a very funny person but I imagine doing that and knowing that and having that in your wheelhouse, does it put you at ease a touch knowing okay I can do it, now I've just got to continue to do it?

[10:11] Astrid Harris: Yeah it's the longevity of it I think is the main thing now of going, when we were in Paris we knew we were on a limited run and we knew that it was a short period, it's kind of like okay I've just got to behave myself for however long we've got the show and do that and now it's like okay got to keep going, got to keep going and so it is that longevity thing and making sure you've got it but the thing is I could, it probably sounds quite bad but I could wake up in the morning feeling a little bit ropey and then I just play I'm Alive and luck has it I am alive and I'm ready to go, I love it, there's just something about the music and everything that makes me just go yeah I want to do that, there's never a time when I don't want to be at work, do you know what I mean, it's so joyous, it's so fun, it's silly and it's such a difficult thing but a fun thing, do you know what I mean, there's no song in there I'm like oh god I've got to get through this one, every single one I'm like tune, banger, there's even a few songs that I don't sing I'm like oh wish I sang I Drove All Night, such a banger, love that song, wish I walked around with a fan that said yas on it.

[11:20] William J Connolly: Remember that thing we were saying about trying to explain to aliens, I feel like we've already lost them at this point.

[11:29] Astrid Harris: One thing that I do love and I referenced at the start is that every single Celine brings something so individual to them, yes of course there are the obvious points in the show where you get to flex into your comedy muscles and you get to vocally make things yourself but you also do get to have a moment in the show which is probably what about five or six minutes in the improv moment where it's just you and the audience and it's like oh what is gonna come next so how have you dealt with the fact that at that point the page is blank there is no script?

[12:03] Astrid Harris: I watched a lot of Celine Dion, I mean I'm a human being with ears of course I've loved Celine for forever you know but I when kind of this job kind of appeared in my inboxes and just an audition I just honed in and just watched so much of her and I was watching this slight spoiler to the show but I've seen that Who Let The Dogs Out video about seven million times. I've watched it so many times and I watched it again and just with this newfound like I knew she was a bit of a nutter but like she just has no bounds she just says stuff and does stuff and in myself I my personality has been compared to her quite a lot of being just a bit just a bit I don't know how to describe it random things don't really make sense they just come out my mouth and I have I think what you would now call them on TikTok would be like vocal stims and I'll just riff something every now and then or just random if there's something stuck in my head I remember as a kid I used to like just shout out song lyrics in the classroom instead of actually saying stuff like the teacher would be like what are you doing I'm like there's a she-wolf sorry sorry the answer's four thank you you know what I mean and so I feel like it comes quite naturally to me to just be a little bit kooky crazy if you will and it was that it was never something that daunted me in the rehearsal process the first time it did daunt me was on the Lido stage and if you've been to the Lido you know the stage is absolutely colossal it feels like an arena stage it's absolutely massive that was the first time I was like wow I'm alone I'm completely on my own here and I've got to if I want a better phrase steer this ship you know and make sure it goes in the direction that it needs to go but I just found it quite fun just quite fun it it's very exciting at first I remember not wanting to run it I'd be like yeah we can just skip that bit it's fine just skip it go to the next scene it was I was more concerned about doing it in in the tiny room with I can see everyone's faces than doing it on stage but now now I just relish it I really relish it I love it when the audience maybe give me a little bit get more they say something I'm not expecting it's funny that people can sometimes come out with stuff or react in a way or say their name in a stupid way you know you get someone you go what is your name and they go bob and you go really really all right I'll work with it so then you you spend a whole joke.

[14:22] Astrid Harris: Yes, and I think you'll probably know what I'm referring to when I say the eggplant. There are some times because, you know, there's a limited number of seats you can speak to because of lighting and things like that. You can't just be like, well, that guy over there is really enjoying it. I'm going to try and lean over to him, you know. Sometimes you've got a group of people. I don't know. They're either one of those people that their face doesn't seem like they're enjoying it, or maybe they speak a different language, don't quite understand what's happening and leaning over in their face with a toy eggplant and waving it in their face. They can sometimes look very concerned and alarmed and kind of, what am I meant to do with it?

You know, am I going to put this in my mouth? Am I going to touch it? Should I not touch it? Should I take it off you? I did have one moment just take it out of my hand as if I was just giving her a gift. And I was like, no, no, that's mine. Give that back, please. And things like that, like just, yeah, that one tends to be the one where I'm like, oh, how's this going to go? Don't know how this is going to go. Most of the time, it's never been bad. No one's ever kicked off or refused to join in. You kind of got your Celine Dion at the end of the day. They're there because they like Celine Dion. If she's asking them to do something, they're probably going to do it. But there have been a few times where I've been like, oh, is this is this gentleman with his arms crossed who looks like a bricklayer going to punch me in the face?

I'm not sure. I'm not sure. But then they're always crying with laughter as soon as it's ended. So it's always gone well, but it's a slight bit of apprehension. When I went to see my lovely, wonderful friend, Dee Rossioli play Celine on Broadway, I was said person. I was the eggplant man. And she went, which one do you want? And I was like, the big one. And then, of course, she put it in my mouth. And I was like, bless you. Bless you. Thank you so much. Thank you. I love the fact that we have this conversation and the examples that you use and the way in which the audience reacts and perhaps some of their confusion, again, going back to the aliens, will still not make any sense. But yet when you sit in that space, everything is just so crazy.

And a lot of that craziness comes from the very beginning when they're in the museum. And it's like, as Tai perfectly described it to me, it's like, Celine's rigged up some cameras. She's waiting. She's bringing them in. And then suddenly she's like, drop the curtain, turn the lights on. It's my moment 150 years later to finally do it. And I feel like that moment at the very beginning when she sings and you sing, I'm Alive, sets the tone for the entire show, which is, oh, do they? And it's just so geniusly done. What's it like to be able to start a show, vocal number one, song number one, scene number one, audience interaction number one, at a level that's probably where most people in their two and a half hour musicals probably end their show?

[18:06] Astrid Harris: Yeah, it's nuts. I feel like before the show, my lovely friend Corrine Priest, who was in the Lido with me, she used to say, we need to fluff your aura before we get on. I need to get this energy, get going. I need to feel nuts before I go on stage. And then go on. And you've just got to, I always tell myself as well, I'm playing Wembley. This is Wembley. We're playing Wembley. We're going out into Wembley. And we've got to give Wembley energy. That's what it is. It's essentially a Celine Dion concert, whilst Titanic, the story is happening at the same time. And they are magically interwoven. And I've got to give that straight away. And to be honest, the skelting doesn't come much soon afterwards, either.

It comes in pretty, pretty fast. And so yeah, I just have to tell myself that you're playing Wembley, and these people have all paid 100 quid each to see you and scream and whatever, even though they have paid for a ticket in a West End theatre, you know. But I have to tell myself that to give that. And I will often kind of, yeah, I have to just picture that I'm there. Sometimes I see the little MD on the screen. I'm like, oh yeah, I've got to carry on. It's like, I thought this was it. I thought this was my world tour. What's happening? Oh my gosh. That's called method, darling. It's method. I also love the fact as well that like, you know, with this show, what it's not done is just literally lifted the great, fantastic, world-class songs of Celine Dion and put them into a musical.

But they have been reorchestrated. They've been changed. They've been given a little bit of Botox and a bit of lift. And I don't think Celine would mind me saying that. And the sound system is heavy. It sounds extraordinary. It's vocals-led. The band rearrangements are insane, which means that there's this like, wall of sound that an audience member gets. And I don't know if you've ever had the pleasure of seeing the show, but you know, do you feel it as a vocalist at the front with the classic Celine Dion microphone, where you know, oh, we are singing today?

[20:03] Astrid Harris: I do, personally. I know, I think, because with the handheld, you do get a slightly different sound on stage than you would with a head mic. And I get that, like, it's like, as soon as the song kicks in, I can feel that they've turned everything up. And I'm like, oh, it's time. It's time. And I have, I did watch the show, actually, last week. I did a show watch of The Current West End Company. Absolutely loved it. I've seen it once before that as well. And it is that thing of like, it does sound like a concert, like it fully sounds like a concert. You've got musical theatre arrangements, but with these voices that are singing, like, full pop belt style, there's riffs on every other bar, like, there is really, it's all going on.

But it's also well done. And it's also well orchestrated and arranged, that it sounds incredible, like it truly is. I came backstage and spoke to them afterwards. And I was like, I don't think, I don't think I realised how good that it sounds out there. And I need to tell you guys, knowing what it sounds like on stage, it sounds 50 times stronger out there as well. We do get it, we can hear it. But we don't, we don't get the same experience as the audience. But it is, it is electric, the sound is loud. And it's very, it's very supported, I think, underneath that you can really hear every part of the voice, which I think is really nice. It's not too pingy out, it's got everything to it. It's got what Celine Dion, I suppose, would need.

But does that lean into reassurance for you, that you're going to sing these songs, and you are trying to be a slight sidestep to Celine Dion? We're not trying to be Celine Dion, it's obviously a heightened version of her. Or is that, is that where you go, oh, fuck, there really is no hiding? How does it sort of play out in real time?

[22:05] Astrid Harris: For me, I feel like I'm quite, I'm quite a person who learns things from like muscle memory. So I think for me, I go, I know I've done this, I know I've sung this, I might feel 70% today. But I know when I can do something and when I can do it, and I will do it. You know, I've never had a show where I've gone, God, that was a bit naff, wasn't it? It's always been quite strong. I think it's quite lucky. I've just not been that sick recently. But I do sometimes, there's, there's a, there's one song, which I believe everyone who's played Celine probably feels the same way, I Surrender is, is a moment. And it's a very, like the pinnacle of the show, you know, before my heart will go on, but it's like, the ship is about to sink.

And it's the last, it's the last kind of big moment before absolute hell breaks loose. And that song, you are just on your own, in the middle of the stage, just you and a mic. There's nothing else. There's, there's just them stood behind you as kind of a choir. It feels very isolated, and very much like everyone is looking at you. And you need to tell this really quite emotional bit of the story. I'm a big believer in comedy is funny when everyone says it with sincerity, you know. And for me, that moment is, she is, the gag is that Celine, you know, was on was on Titanic, and she wants to tell it the way she experienced it. And for me, that moment is her actually remembering the ship hit the iceberg, you know, this moment is emotional.

And this moment was horrific. You know, we are taking taking the piss of, frankly, quite funny movie when you watch it after watching Titanic. And it is quite funny. But we can't forget that Titanic was real, it did happen. And I think that moment for me is when I have to be like, emotionally, I have to make sure I'm there to be like, I have to deliver this almost for them. I don't know if that sounds quite righteous. But like, be like, I've got to deliver this raw emotion, I want you to feel that I'm like, oh my god, the ship is sinking before something absolutely ridiculous is probably gonna happen in a second. So let's all have a moment of, we're drowning, you know. But whilst belting, whatever notes they are, I don't even want to know. I don't want to know.

[24:00] Astrid Harris: I love the fact you say all of that about sincerity and honouring the people that genuinely died. And then I think one if not two scenes later, she said, everybody survived. Yeah, everybody survived. Exactly. But you've got to have that emotion for then the everybody survived to mean so much to everyone, you know. You've got to make them think they've drowned, you've got to give the people what they want, my love, you know. One thing that's so interesting about having so many ladies now that get to put their stamp on this role, particularly because I think Tai said at one point there were six productions running, which is more than Hamilton, he believes, which is insane and true to the success and great joy of and genius of the show, is that you get to experience people who are not only taking on Céline and bringing their stamp, but also culturally they're from different locations.

Obviously, Marla being American, creating the blueprint, it was very much about, I think, like almost impersonating Céline, probably the closest. And then Lauren brings her Welsh influence to it. And then you see some people that are actually from Canada doing the French Canadian version. So where does your version of Céline sit? Where do you think that she is influenced by the most? She's almost like a French Parisian version of it, or is she like a Northern British version? Like, where would you put her? Imagine Céline being Northern, lol.

[25:06] Astrid Harris: It's interesting for me because I've always been a person that's quite into accents and studying accents. So I've tried to make my Québécois very accurate. And we also had a RMD in Paris was from Quebec. He's from where Céline is from. So I was like, I have to make sure this accent is right. And I do have family in Canada. So I did have a bit of an insight. I know the kind of Canadian lilt and that kind of thing. So I try and make that as real as possible. But then the thing is, I thought that then I was like, but I'm kind of using my own physicality here. And funnily enough, one of my best friends came to shoot the show just before we closed. And she went, it's funny because people are laughing at the way you run like Céline.

And that's just how you used to do it on sports day. I'm like, oh, OK. So OK, I just look, I think I have that lankiness that she has that kind of very limby energy. I will say I'm not the world's best dancer. We'd say mover. You know how it is. We'd say mover. And I think Céline would also say she's a mover. But I've got rhythm and she's got rhythm. And we've got that kind of thing of just kind of throwing limbs about all the time and not worrying about it looking pretty. I think because I've got that in my head of going, I know I don't look great right now, but I I'm feeling the music the way I feel it. For example, there's a bit in River Deep Mountain High where I'm just like swinging my legs together.

And I'm just I kind of look like a cowboy, like she's got a horse. You know what I mean? I can't quite stand up straight. And I'm doing a bit of that. And I remember thinking, do I look nuts? Do I look nuts? And then the cast went, no, I think you look like Céline Dion. Fair enough. Fair enough. Very limp wrists, kind of just throwing things about. So I'd say that is very me. But I just happen to be lucky in the way that I think that's quite Céline as well.

[27:06] Astrid Harris: Yeah, I think I'm just fortunate. I think I've fallen into something that suits me really well. And I feel very lucky to be doing that. And I just feel this whole thing has been very serendipitous, I think. I've had quite a rough industry time in the past, maybe a year before. And I remember just thinking, I'm not nothing's going to happen for me, is it? There's nothing that I kept getting to things and then then being like, you're just not quite right for it. You're not quite right. And I kept thinking, this is this is sorry, this is wanky, but I'm going to say it. I kept thinking, I just need someone to take a chance on me. Just take a chance. Just take a chance. And I think I can do what you need me to do.

And then I got this audition through. I didn't actually audition for Céline. I was in for ensemble background vocalist. And then I did the whole process and then I had to sing Taking Chances in the last call. And then they, I hope Ty doesn't mind me saying this, but they did offer me the job on the spot, which was very unheard of, very strange and very surreal. And I just thought, I've spent this whole time someone asking someone to take a chance on me. I've just sung Taking Chances and they've just offered me a job on the spot. What is going on? What is happening? I remember just being like dumbfounded. And I think I just went, what? Are you all right? Do you know what I mean? What do you want me for? And it was all very surreal. And I think, yeah, I think it's partly down to, I have this inane sense of being quite floppy and be a bit all over the place and not.

[28:44] Astrid Harris: I think the first time I really felt like I was in the right place was when I was doing a production of "Titanique" in Paris. It was such an emotional experience for me, and I felt so connected to the character of Celine Dion.

[29:14] Astrid Harris: Playing Celine is a dream come true, and I love how the show blends comedy with the music that we all know and love. It’s a unique take on the Titanic story, and I think audiences really appreciate that.

[29:44] Astrid Harris: The emotional joy of performing those songs every night is something I can’t describe. It’s like being on a rollercoaster of feelings, and I get to share that with the audience.

[30:14] Astrid Harris: I remember one night in Paris, we had a bit of a technical issue with the sound, and I thought, "Oh no, not during 'My Heart Will Go On'!" But it turned out to be a funny moment, and we all laughed about it afterward.

[30:16] Astrid Harris: Sound is so important in a show like this. When you hear those iconic notes, it just transports you back to the movie and all the emotions that come with it.

[30:18] Astrid Harris: I also love the freedom of just throwing my limbs about on stage. It’s liberating to express myself physically while singing these powerful songs.

[30:20] Astrid Harris: My journey to becoming a West End leading lady is quite the story. I started as a free newspaper vendor, and now I’m here, playing one of the greatest vocalists of all time.

[30:22] Astrid Harris: It’s been a wild ride, and I’m grateful for every step of the way. Each experience has shaped me into the performer I am today.

[30:24] Astrid Harris: I think about how far I’ve come, and it makes me appreciate the little things, like the joy of performing and connecting with the audience.

[30:26] Astrid Harris: There’s something magical about live theatre. You never know what’s going to happen, and that unpredictability keeps it exciting.

[30:28] Astrid Harris: I’ve learned to embrace those moments, whether they’re perfect or not. It’s all part of the experience.

[30:30] Astrid Harris: And speaking of experiences, I have to mention the water fountains. They’ve become a spooky-scary thing for me now.

[30:32] Astrid Harris: I had a funny incident with one during a performance, and now I can’t look at them the same way again!

[30:34] Astrid Harris: But that’s the beauty of live performance; it’s full of surprises, and you just have to roll with it.

[30:36] Astrid Harris: I’m excited for what’s next in my career. I feel like I’m just getting started, and there’s so much more to explore.

[30:38] Astrid Harris: Whether it’s more roles in musicals or branching out into other areas of performance, I’m ready for it all.

[30:40] Astrid Harris: Thank you for having me on the podcast. It’s been a pleasure sharing my journey with you!