 I'm streaming today, and I just wanted to make sure that you're aware that because our camera is about right there, there's a little bit of an angle in which it can see the stage. So we want to make sure that we're not blocking that line of sight, and right here at the magic table is where that's happening, sorry, magic folks. So if you want to speak to our friends at that table, you can chat with them right around here. They're going to be right there, these lovely people there. Yes, yes. If you want to chat with them, just make sure to go around the table. That way we're not blocking the line of sight for the camera, and we're going to get started here just in a second. So stick around for the panel on how to apply for fellowships, internships, or apprenticeships. Thank you. All right, we're going to get started. So first of all, I wanted to thank you all for tuning into or attending our panel on how to apply for fellowships, internships, or apprenticeships as a part of the creative careers. So I wanted to introduce myself. I am the Education Fellow at Berkeley Rep. I am going to go down the line and introduce our other friends here, my peers who also work in other Bay Area organizations and theaters. So I want you all to share your names and pronouns, please, and your positions and what organizations you are representing today. I'm Jordan Charlie Watley. He, him, and I am an Artistic Direction Apprentice at Magic Theater. My name is Hannah Clegg. I'm the Education and Community Programs Fellow at ACT, and my pronouns are she, her, hers. Yo, yo, yo, what's up, everybody? I go by the name of Cameron. You can call me Diz, though. Please call me Diz. He, his, him. I am the Development Intern at the UC Theater in Berkeley. Fantastic. Okay, great. So before we get into what those positions entail, I wanted to start with a question about what your experience was like before you applied for your fellowships or internships or apprenticeships. What was your experience like in the arts, if any of you want to take that question? Okay. Cool. So I've been performing and writing music since I was like 14 years old. I'm 24 now. So before I even heard of this program, I was just running around Berkeley, California trying to find any gig I can get, just trying to elevate my brand any way I could. I have a background sort of in theater, but also sort of not. I just graduated from the University of Michigan having studied vocal performance. So I, yeah, I've been involved in the arts a lot from the performance side for now, but also sort of definitely in the education world, sort of administrative before this fellowship. Before this fellowship, I was getting my degree at the Johnny Carson School of Theater and Film at the University of Nebraska-Lincoln, and it was a dual emphasis BA in theater directing and management and performance as well. Fantastic. And so I'm curious about what exactly prompted you all to apply for the apprenticeship or fellowship or internship that you have now? So I just graduated in April, and when I did, I found myself really not knowing what next steps I wanted to do. I knew during my senior year that I did not want to go straight to grad school. I wanted to take some time to kind of figure myself out, figure out my role in the world. When I was in school, I loved singing and love performing, still do, but I also felt like I wasn't having like a tangible impact on the world, like, you know, the performance spaces I was in, I would sing and they'd be like, pretty, and I'd be like, great. You know, I didn't feel like I was doing something or like doing good or affecting change. So I was really looking for something like that in my next step option, and I was just kind of searching the internet, looking up theater companies, looking up educational opportunities like this, and ACT was the first one I came across that I was like, that is exactly what I want to do this year, and I went for it, and that's how I ended up here. Fantastic. Thank you. Anyone else? So there were three things that drew me to an apprenticeship. The first one being getting right out of undergrad. I knew I wasn't ready for something that going professional straight away. I wanted something where it was still very much a learning position. The second thing was I also wasn't ready for like committing to one specific area. Coming from the Midwest, I knew I wanted to get out of the Midwest and see some different theater cultures. So like I went and I worked in New York for a bit, and then I sort of found out about the Bay Area, and this is a good lead into my third point, which is I knew I really wanted to work in new and developing works, which there's just so much of that in the Bay Area, and so being able to try something entirely new and be able to work in these new and developing plays is what really drew me to San Francisco and Magic Theater in specific. That was beautifully said. To be quite honest, me personally, I was just lost, like I said, I was running around Berkeley and very indecisive trying to figure out my next steps in life because when you're trying to, you know, I'm in music, so when you're trying to, you know, actually blow up as an artist, it's a lot of no's. I guess it's in all of our fields really, it's like a lot of no's, sometimes yes is in a couple maybes and you're like, all right, cool. So I started working at the UC Theater as a floor staff member just like working there, and they just had like, hey, sign up for the program, sign up for the program, it was like consistent marketing, and I'm like, nah, they ain't even what I want to do because I just want to rap. I just want to rap. I don't do anything else besides rap. And I just said, all right, cool, I'm going to apply one day, you know. It was just that simple. I seen it and then I had a conversation and I was like, all right, I'm going to apply. I'm going to just see what can go, see how far I can take this, you know, on that side of the things, you know. Yeah. Thank you. So some of you did kind of talk about where you heard about this program. Can anyone share a little bit more about how you learned about this opportunity, what resources were you using, and just kind of talk a little bit about what got you into this program in terms of resources and information? Maybe it's not the most impressive thing, but I heard about Mind through a word of mouth, honestly. I had heard people talking about one of the shows last season for Magic Theater, Gangster of Love, and that sort of led me to look into reviews and I just heard about how much that it tried to tackle, just both like in its script contents and the fact that it had like live music and projections and all sorts of crazy things happening all at one time. It's like, yes, this is the theater that I want to go. I want to go to a theater that tries big things, big bold ideas. So the more you can talk about your work, I think the better it is and that just let me know the website, here I am now. Thank you. Yo, like I said, I was working at the theater and it was like a sign. It said Pathways Program and so I just asked, I'm like, yo, what is this program? Can you explain to me what it is? And they proceeded to do so and I was like, you know what? All right, that was my resource. All right. I didn't even know Theater Fellowships existed before I found this one. So good on all of you, you already know. And I just random Google search. I say that, but it's probably my like 200th Google search in the post-grad panic process. But you know, American and Theater are two of the words in American Conservatory Theater and that was what I was Googling. So I feel really grateful that I kind of just stumbled upon this thing that was exactly what I wanted to do before I even knew that that's what I wanted to do. So a couple of you were talking about online searching or word of mouth. Were there other opportunities that you were also looking at while finding this opportunity? Whether that's through other people, whether that's online, what were some other things that you came across? I was looking at a lot of jobs before this. I was kind of thinking like New York, Chicago, find an entry level something somewhere. I'm really glad I didn't end up going that route. We can talk about that more later. But just that this is more of an educational experience than like a come and do your job leave experience. Yeah. Yeah, I was at a point where I was literally throwing applications across the country. I had thrown some Southern companies and I sort of focused more on the West Coast. I was throwing some in Seattle at like Taproot Theater. I just missed the application deadline for Seattle Rep. But and I was throwing a couple more at some in the Bay Area actually until I stumbled upon Magic. And here I am today. Lovely. Thank you. No, I wasn't doing anything else. Great. Right place, right time, right? Talking to the right people. Great. So I want to talk a little bit more about your positions currently. What does a typical week look like for a fellow or apprentice or intern in your position? Or what are some of your favorite projects right now? Oh, yeah, I can do this one. So a typical week as a development intern at the UC Theater looks like this. You start off, you come in, you get like a little briefing on what you're going to do for the day or the next project that you're going to develop. And then you go sit in this tiny room. I'm playing. It's not really that tiny. And you really just bounce ideas on how to bring people in, how to engage with people like on a human level. You know what I'm saying? Because it's so easy to get caught up in like the company that you forget people are just people at the end of the day. So we try to figure out ways to like meet people where they are and bring them into our home. And like, because it's a community theater, we want everybody to come in and feel like they're home. And so that's that's a typical week for us. Most of project most in most exciting project, I say right now would be is this upcoming campaign and we're working on to like really bring everyone together. We're trying to create this event to bring everyone in. Can't really talk about it too much, but it's coming. It's coming, y'all. My fellowship is kind of comprised of two main parts. Part of it is education. So for that, I get to go teach at Ida B Wells High School every day. We do like fifth period drama class, which is really fun. I also teach at the Boys and Girls Club in the Tenderloin and just other areas around the city and then help with the grant for so all our programs are grant funded. I help like log data and do the monthly report back to DCYF. And then the other half of my fellowship is community programs. So we try and go out into the community, you know, engage with them on a personal level and then kind of curate and produce events that connect ACT to its community and vice versa, which is a really fun time to get to do my one of my projects. I'm the most excited for right now is that at ACT as part of the fellowship. We get to do something called the fellowship project, which is where we produce a play from start to finish. Do all the fundraising, all the marketing, everything like that. I'm really excited. I'm helping assistant direct, doing some music, directing. And then my most favorite part is I'm doing educational programming around that project. So we get to go. I got in contact with 826 Valencia, which is another nonprofit organization that focuses on writing in the area. And we're going to partner up with them and do some writing workshops kind of surrounding the themes of the play. We're doing the revolutionists. And I'm just really excited to get to, you know, create my own lesson plan, create this two workshop series kind of from the ground up, like trying to bring this play out beyond this audience and beyond just what's going to happen on the stage. So I'm really excited about that. Magic doesn't have a typical week, I don't think, which is totally great. It's a small office and so much is happening all the time that you are kind of expected to help out with everything. And I think that is so much fun. I think, honestly, if it weren't like that, working in an office for me would get very stale very quickly. So it definitely keeps you on your toes. But like right now, we're working a lot on like season planning. So we've read probably 15 scripts in like the last two weeks and we've met to talk about them like every three or four days. And then in like two, two and a half weeks, I'm going to go into rehearsal for Assistant Directing In Old Age, which we're partnering with ACT. They're opening her portmanteau. Go see it when it comes in old age. But we're also like planning for our spring donation gala. So we're doing contact for that while doing outreach for in old age and season planning. And we're still sort of wrapping up like our Virgin Play Festival from December. So it's sort of there's a lot of overlapping and you do need to be good at multitasking. But I think that is just so relieving to not have to do the same thing day in and day out. I think that's I think that's the most I can sort of summarize a typical week for magic. But you're going to have you're going to have a finger in each department pretty much. Great, great. And before I move on to the next question, I'll share a little favorite project of mine as an education fellow at Brickley Rep Theatre. We're currently working on the Teen One-Ax Festival in which it's completely teen driven where we have teen playwrights and directors and actors and designers. And they're being kind of guided by all the fellows. So we get a chance now that we as fellows have learned through the year to teach, which is really, really cool. So here's a quick plug. Performances are April 6th and 7th. Come watch Teen's Make Magic at the Brickley Rep Pete's Theatre. But great. So thank you for sharing all of those. I wanted to share that exciting project myself because it's really fun. So for all of you, as you prepare for your next step after your internship or apprenticeship or fellowship, can you please tell us ways in which this particular position has? I guess I'm asking which things are you? Let me rephrase this question. Can you please tell us ways in which the things you're learning now are preparing you for what you plan to do or thinking about doing after this fellowship? There we go. That's it. I definitely have a deeper understanding of what is expected of an artistic staff member. You know, I thought I knew more about it coming out of undergraduate and now looking more at other apprenticeships, other jobs. I am more learning what is my strong suit in an office and in a rehearsal room and what more can I do to beef up my weaker sides and also pitch my stronger sides better? And how can I find theaters that will cater to my strong suits and my skills a little better? Thank you. I think for me the most valuable thing I've gotten out of this fellowship is not a skill or a task, but I think just my own personal growth, my sense of self is higher now than it has ever been. And a lot of that is because of the autonomy my mentors have given me and the support and the praise. And then also just, I'm from Michigan, I moved here for this. And just that sort of falling into this next life thing has really just kind of like made me know that I can do a lot of stuff, you know? And also I'm really, really grateful for the work that I've been able to experience with communities and working with communities different from my own and like learning how to engage on a really human level. That was something that was really important to me, but that I didn't know how to do or didn't feel like I had a good place or the knowledge to do. And I'm really, really grateful for just kind of what I've learned about the world and the people around me and also about myself through this fellowship. I think I'm going to piggyback a little bit of that. I think the most important thing I learned is similar, that I'm good enough, you know? Because I walked in feeling kind of like I said lost and not trying to, you know, just trying to figure out where I'm going. And now I'm just like, yo, I can do this. I can walk into the room and I can talk and I can really give you the good parts of me, the strong, right? And also organization, you know, you got to be organized. I didn't know how to send an email when I came in. I know how to do it now. So it's just really great. I think that can take me a far away even if art doesn't work and I have to go work in like an office or something. At least I know I can be organized. Yeah. Great. Thank you. So last question. Do any of you have any advice for any of our friends in the audience or who may be watching who are interested in applying for a fellowship or an internship or apprenticeship specifically in the arts? Be you. Be you. Please bring you. I think sometimes we get into this mindset when we look at these papers that it's like a job interview. So let me go ahead and put my best, you know, whatever on. And no, just come, come with the passion. I say, come with why you want to do it in the first place. Come with the heart, the energy that you thought about when you saw the paper like, yeah, I want to do this. Come with that same energy and don't overthink it too much. You know what I'm saying? My best advice I think is think about why you want to do a fellowship or an internship or a apprenticeship, a ship specifically and then make sure that the role you're applying for fulfills that, right? So there's a reason why you're not just applying for an entry level job, right? And it's, but for me, it was the educational opportunity, the opportunity to be like, that's a cool meeting. Can I come be a fly on the wall? Which as a fellow, yes, as a person being paid hourly. No, you have to do your work. So, yeah, so make sure that the experience you're applying for and that you're investing time to, like, you know, try and get is really has that educational aspect has whatever you are really looking for in it so that you can grow as a person and it's not just going to be like the other job you could have applied for. When you look at a theater to apply to the first thing you should do is find that theater's mission statement and make sure that their values and their mission lines up with yours, because I think if you work for a theater that you just morally, ethically, artistically, whatever you don't line up with that theater, you're not going to be happy there. And when you find out what that theater is really about and what their goal is and you can be passionate about that, that's when you found the theater that you can work for. Obviously, apply anywhere and everywhere because jobs are scarce in this industry. But do find those ones where you're like, yes, this is one where if I get turned down, I will apply until they take me. Yes, and thank you for all of that. So I wanted to, if we have time to turn over to our audience to see if any of you have questions for our panel members, if anyone has a question, you can raise your hand and I'll send a mic out to you. If it reaches, if not, then just, you know, shout a little. Actor voice, does anyone have any questions for our panelists? Yes, I know the answer for ACT, which is yes. On the application, it asks you to rank your top three choices in order. So you can apply to three. Just make sure that when you are ranking those, whatever department you put first, we'll see your application first. So make sure you really think through that order. Yeah, it's pretty much the same for magic. You just you send in your application. Some of the applications are mostly the same. Some might write or ask for a writing sample. Some might ask for a portfolio. So if you just submit all the materials and let us know what you are interested in doing, we'll review it just the same for both departments. Same thing for Berkeley reps, fellowships. When I applied, we also rent first choice and second choice. I don't know if it's more now, but last year it was you had a first choice and second choice, so you could apply for either of those. Any other questions from the audience going once? Yes. Grab and contrast your most stressful day versus your most enjoyable day. So I think at magic, the most stressful days are the most enjoyable days. Just like I said, if everyone isn't doing something in the office, then it's, then we're all just kind of there. I think, I think you really have to enjoy your work. And if you're getting stressed, then those are just the days you're doing something that you don't want to do. And you have to say, I don't want to do this, which if you're looking for a company that does line up with what you want to do, like what theaters in your heart those days shouldn't be too often. Sometimes you might leave at 2 a.m. That's not always fun, but I think that probably happens to all of us. Yeah, I agree 100% 100% straight to the point. Great. Yeah, I also agree. Some of the busiest, craziest days that include a lot of speedwalking are some of my favorite where we have, for instance, student matinees or we have hundreds of teenagers coming into Sierra Shows during the day where I'm facilitating a pre-show workshop where we're kind of getting them ready to go into the space and watch theater and prepare for that experience. Where I'm there at 9 a.m. setting up for those things and facilitating and then going into the theater and then getting all the teens back onto the buses. And next thing I know, it's, you know, noon or one o'clock and the day is halfway over and it's very quick and it's so much and a lot is happening, but I'm also engaging with young people. And guiding teachers to this and talking to people after shows and getting people ready to go see theater and experience theater. So it's also magical and beautiful and fantastic, but it's also a really high stress situation. But it's so, so, so worth it. And I think those are definitely the best days when you're most exhausted and they go by really, really quickly. But those are those are definitely the ones worth sticking around for. Any others? Any other questions about day to day application process? Going once? Yes, I have one and then two. Go ahead. So I know that a lot of our panelists here are also artists and performers know that. So how have these admin positions helped you grow as artists as well? Hey, so. I think it really just took my thinking to the next level. Like I was limited by like parental expectations and like community guidelines that a rapper should be. But when I went here and saw the other side of the business and how like shows were actually booked and how shows were actually thrown, it made me take my craft and made me think approach the way I. It made me approach the craft differently, you know what I'm saying? So now when I when I write a song where I plan out a set, I think about a lot of things I didn't even know existed before. And also when it comes to money and stuff, it lets me it let me learn about how money is actually made. So I know to take this stuff seriously and I sign no bad contracts or anything like that can mess you up, things like that. Great, thank you. I think for me, finding that exact balance is really hard at first. Coming from a place where you're doing your art all the time to a place where you are doing something else, 40 hours a week can be really hard. I'm really lucky that I get to teach theater every day. So like that's practice for me. And like learning the point is them learning, but I also learn. I do think, though, one thing that I've found just in the last couple months is that when I am not doing singing for my job, I it is all coming from me. Like I've found that joy again and that drive to do it myself rather than do it for a grade or for, you know, whatever. So, yeah, that's just recently I've just it's much more joyful and like a release and like just yeah, it's nice to have to be motivated yourself when you weren't the one motivating you before. Working in an office is a performer. You learn really not to take so many things so personally like you don't get cast in a show just as a performer. You're like, oh, I'm a bad actor. They didn't like me. They didn't want me when in reality you're probably a very good actor or actress. You just didn't fit the show or the script to the world of the play. It might have even just been like a simple scheduling thing. And it's not that personal. And they will hold on to your headshot for the next 30, 50 years. So you learn it's a lot more just about getting in the room with these people than it is about being the most impressive person to walk in and get the show immediately. So I'm hearing learning different angles and growing as an artist and kind of experiencing that as like a reflective experience. They're really cool. Any other questions? So I'm here and I'll come back over here. We'll talk about how they make it work financially. If you couldn't hear the question was asked about how we make our fellowships or internships or apprenticeships work financially in the Bay Area. It's sort of a year of committing to it not working all the way out financially and you have to make some sacrifices. And at least for me like I'm so so lucky to have the ability to be here because I like know I have a safety net to fall back on. And that is something that's really sad that they're kind of their accessibility for fellowships financially happening. And also I know a lot of us are really grateful for but it is a problem that hopefully we can fix in the future. Also, ACT at least lets us work front of house. So it makes your days very long and your weeks like 60 hours. But you do have the opportunity to usher and bartend and things like that to have some sort of income coming in on top of for me. I just get housing through my fellowship. So that like has been such a great opportunity and kind of how I've made this work. Yeah, magic is very kindly, very flexible about their apprenticeships. If it's just not economically feasible for you to come and do this, you can do something like part time, part season. So you can work a little something on the side. They do also provide front of house box office concession positions for a little more income. But it does. It takes a very tight belt to be in San Francisco in general, but especially to work as an apprentice in the arts for this. So it's really just about finding ways to tighten that belt and get what you can. Magic is also pretty kind and they'll like let me work other jobs every once in a while. Like I will go and PA for Playwrights Foundation every once in a while. So that's a little bit more income coming my way. At the UC Theater, it's a lot of opportunities that come in from like other concert venues. They're always looking for other people to come work a show or so. You might get a job that way. But reality of it is you don't have to hustle. Sorry to say you don't have to hustle like I ain't slept, you know, I'm exaggerating a little bit, you know, I'm a Lyft driver. So when I leave that, I go Lyft all night long. So you just got to hustle. Just find a way to make it work. Yeah, believe in yourself and always ask questions to ask somebody because you might meet people and they might have stuff that's open and you didn't even know because you didn't ask the question. So ask questions. Talk. Convince like four or five of your friends to move out here with you. And you can you can all you can all just live in one apartment. Studio apartment. A studio. One studio. It's like a 10 month long slumber party. I'll also add that although Berkeley Rep's fellowships offer housing and a monthly stipend, I also became a lot more resourceful and looking at what kind of community resources I have, like applying for benefits because my income technically is below that standard, so I applied for food benefits. I just had to get over my pride of like, I don't need that. I don't want to take that from people who like might really, really, really need it. And I thought, wow, I kind of really need it. So I just took that leap of faith, just being like, OK, well, I think this is something that I need for right now until I get a salary job, hopefully, sometimes soon and just did it. So just finding my community resources, asking questions, reaching out, going online, the Internet, it's a beautiful place and just knowing what you have available to you and the community as someone who lives here. Yes, I'll go here and back over there. But those of you involved in theater education, did you study that specifically as an undergraduate and how if so, like how helpful has that been? Or if you didn't, you know, how are you feeling about it now? Yeah, so those of you who couldn't hear on the question was asked about how our undergrad experience, if that was in theater or in the arts, how that has benefited our experience and what that was like. I did not study education specifically. But one thing that my dad told me when I was deciding what to major and was don't get the minor in theater admin, just go do it. So I did internships in education and, you know, taught private voice lessons and worked at summer camps and kind of learned through doing, which was really helpful for me. Yeah. I went to the University of Texas at Austin, Hookam-Horns, some long from home, but got my certification in K through 12 theater education. So this is exactly my track. And though a lot of people in my cohort went on to become theater teachers in Texas schools, I really wanted to learn more about community outreach and programming with a larger organization and how we program with schools and more along kind of community based projects. So I came out here knowing that I have this experience teaching K through 12 theater. I know how to create lesson plans and unit plans and all the things, which are things that I still apply to my fellowship now as we create pre-show and post-show workshops for our productions, as we go out into schools with our outreach programs and teach lessons in schools using theater. So I think applying that to what I'm doing within the fellowship was great. I mean, it was it was very doable. I could apply my skills, but I'm also learning so much more outside of what it means to teach in a theater or in a school, to teach theater in a school. I'm learning about the different ways in which I can use my theater education background to make that happen out in the community and within the theater, too. And another question. Looking back now on how to make it work in the area, how well do you do these community organizations work with other people as well as people? Would it be school, a job, or anything else like that? At my organization, it's really passion-based, you know? Like, as long as you're really passionate about doing a program, they will work with you. Like, you're a full-time job, we got people that go to Cal and they have a big workload. We got some people that are still in high school, you know how that is, you know, five days a week and everything. So it's all about, if you really wanna be there, they will find a way to make you fit, you know? At ACT, I think most of the fellows are full-time, but we do have some who are part-time, who are making other jobs and other responsibilities work. So I know that the different mentors for the different departments are really willing to work with you to find something because everyone knows that this is so difficult to make work financially and time-wise. People are really willing to work with you and find a schedule that makes you get the most out of your fellowship, but also, like, lets you live a life. Yeah, like I said earlier, magic is also pretty flexible, very flexible, on when you can come in, what hours you need to do, what else there is for you to work around, whether it's a part-time job or school. And if it's so much to where you won't be in enough to really get anything from the apprenticeship, they do offer a lot of internships that are also slightly less of a commitment than the apprenticeship that would be even easier to work around when it comes to that sort of thing. So it's sort of similar where if you really wanna be there and you prove that to them, then they will help you be there. Thank you. Any others, maybe a last question? Going once, going twice? Okay, well, if you think of one in a few minutes, we'll all still be around. One question, and maybe a question? Yes. Great. That is a great question. So the question was asked is if we have to have a theater degree to apply for our positions as interns or apprentices or fellows? No, I don't have a theater degree. I have a sort of related degree, but I also know that other people who are fellows in this program have English degrees or marketing degrees or no degree. There are several fellows who didn't graduate, and so it isn't necessarily a post-grad experience. Often it is, but it's also just like starting career experience, and if you're ready for that, who cares what your transcript says, right? Yeah, for magic it's pretty similar. You don't need a degree in theater to come work at magic if you have any experience, or even if you were just very passionate and you're able to translate what skills you do have until what field you're applying for. We'll totally look at it. Having a degree in theater isn't a make or break deal for us. Yeah, just to echo off of that, I think it's mostly about experience and passion. And if you have the passion for the work and if you have the previous work to kind of support that, I think that that's enough. I would definitely go around to these different tables after this panel and talk to each theater specifically and ask them what those requirements are. But I'd say that, to answer your question, no, also. Also, I just wanna add, as someone who, as I was looking at jobs and fellowships to apply for, none of them said apply if you have a bachelor's of music, and I know that that can be the same for other degrees or not having a degree, and I would just say just apply. If you know that you have those skills, that other people who did complete those degrees have, there's nothing stopping you just because the piece of paper says one thing, doesn't mean you're not capable, and hopefully the people interviewing you will know that and see that. Great, thank you. So if any of you have more questions for us, we'll be around for another few minutes or hours, I don't know, but we'll be around. So feel free to ask us questions, stop at the tables, and get more information. I wanna go down the line one more time to give names, pronouns, our positions, and the organizations that we're from, and then we'll close out. I'm Jordan Charlie Wotley, I'm an Artistic Direction Apprentice at Magic Theater, he, him, his. I'm Hannah Clegg, I'm Education and Community Programs Fellow at ACT, she, her, hers. I'm Cameron Justice McGowan, and I am a Development Intern at UC Theater, and I am he, him, his. And I'm Simone Emmett, Berkeley Rep Education Fellow, she, her, hers. I wanna thank you all for attending or tuning in to Creative Careers, how to apply for internships, education, sorry, internships, fellowships, and apprenticeships, thank you all.