Ruddle Me This! with Taylor Ruddle

47. The Odyssey w/ Dan Bain

January 15, 2024 Taylor Ruddle Episode 47
Ruddle Me This! with Taylor Ruddle
47. The Odyssey w/ Dan Bain
Show Notes Transcript

In this episode I'm joined by writer, director and comedian Dan Bain to chat about his upcoming theatre project, an adaptation of The Odyssey that'll be playing right here in Christchurch over the summer.

We get into how the project came about, what had to be cut for time, how he landed on The Odyssey rather than The Iliad, what we can expect to see from the play, and we cap it off by asking some rapid fire Greek Mythology questions.

It's a delightful interview and I'm stoked to get Dan back on the show, I hope you enjoy it!

The Odyssey Show Details:
πŸ“… 11-28 Jan (Thurs, Fri, Sat and Sun)
⏰ Weekdays, 6.30pm & Weekends, 2.30pm (except 27 Jan) & 6.30pm
πŸ“ Weather Station Lawn, Christchurch Botanic Gardens
πŸ’² Free! Koha donations will be gratefully accepted by Noosed Octopus
πŸ‘₯ All ages but the show is best enjoyed by ages 12 years +
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Music Used:

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Welcome everyone to episode 47 of Ruddle Me This. I am as always your host, Taylor Ruddle, AKA Percy Hack-son and the Olympians. Got a fantastic guest for you this episode, a very good friend of mine, and some of you will remember him, excuse me, from some of the first few episodes of the podcast. It is Dan Bain. If you're not familiar with Dan Bain, Dan Bain is a writer, director, and comedian. He makes and presents things that are fun. He's been in... Christchurch for a long time he's a bit of an institution in the art scene and I've performed stand-up comedy with him on numerous occasions. The reason I wanted to bring Dan on the show today was because Dan is producing a live theatre show called The Odyssey which some of you will recognize from the epic poem The Odyssey and the Eliad. Dan's producing it as a part of the Anthony Harper Summer Theatre program here in Christchurch. It is going to be playing from the 11th to the 28th of January. at the Weather Station lawn in the Christchurch Botanic Gardens. You can find out more about this by visiting slash summer theater. I'm going to chuck all the links into the description, the show notes, whatever you call them, and as well as Dan's social media information, which will allow you to keep up with the show. He's posting a lot of behind the scenes kind of snippets and everything like that. So it's good quality follow. We recorded this interview at about eight o'clock. on a Thursday morning, which is why my voice might sound a little bit different today. And I'm kind of low energy. This is very much an early start for me, which I'm sure office workers and stuff and out there are thinking, you know, man up, 7am, 7am wake up's not that bad. But to me, who's been waking up at about 10 o'clock most mornings, I've just recently been scaling back my mornings to wake up at 8. So this was another early start for me. It's a great interview though. I really was really looking forward to it and prepared a lot of questions in advance and Dan delivered with his responses. We talk about how the project got started, what the process was like adapting the play, the casting, certain things he had to cut, and then I just asked him some rapid fire Greek mythology related questions at the end. So without any further ado, let's welcome to the show, Dan Bain, everyone. Welcome back to the podcast Dan. Thank you. It's been a few episodes since you've joined us. So it's very exciting to get to chat to you again. Happy belated birthday for yesterday. It won't be your birthday when this comes out, but hope you had a good one. Yeah, I spent it working on this project almost entirely. Oh, there you go. It was, that's what a birthday as an adult entails. It really is, isn't it? So we'll just get straight into it as it's very early in the morning, which is rare for me to record these things and I suspect maybe for you as well. But so what is the project that we are going to be discussing today? Have you got like an elevator pitch or something like that for it? Yeah, well, I'll do my best. So currently I'm in production of the Anthony Harper Outdoor Summer Theatre. contract that happens once a year as part of the City Council Summer Times outdoor theatre programme. This year I'm producing the piece and it is a three-hander comedy reduction of Homer's The Odyssey. And just a quick one on that, you've done an Anthony Harper Summer 2021 I produced Around the World in 80 Days. That's right. A similar kind of vibe in that it's a three-hander reduction of kind of a classic piece of work. Yeah. I was going to say I've done, I believe I did a corporate quiz afternoon for Anthony Harper. Are they... Are they kind of known to be patrons of the arts here in Christchurch? I guess in the way that almost no one is. I guess they are. They've been the principal sponsor for this event for... as long as I've been aware of the event. And that's going back to 99. Gotcha. Something insane like that. Gotcha. So then how did, I suppose, how did you like sort of get, did you get selected? Did you apply for it? How do you kind of get, how did this come about? So every year the council puts out a an EOI document, so expressions of interest. And they kind of, that outlines what it is that they're after and how to pitch for it. This is actually my second year pitching the Odyssey. The first time I put it in, they're like, oh, it came second. And it's like, well, great. The second is just... That's just the first of all the no's. You didn't really need to know that, did you? I don't know exactly. It's like, oh, great. But they did say, please put it in again. But it was when the Cricket World Cup was here, and then it lost to a cricket-themed show, which you can kind of see that's sympathetic to the councils. desire for synergy across events. You can kind of see why they went for that. But weirdly enough, then it got COVID-ded out. So the show got cancelled and then it postponed to the next year. So then there was a cricket-themed show, kind of apopro of nothing, just in, just like, it's cricket this year. Why not? Yeah, so this is the second one. And that's just a process of putting together a document that kind of says what you're going to do and makes it look realistic. And like you've thought about things like public liability insurance, first aid kits and that sort of thing. That's a lot of the kind of the logistics of a large scale outdoor event. You kind of need to prove that you're not just creative but competent as well. Gotcha, yeah. So then the fact that you had chosen the Odyssey last year, does this play have any kind of significance to you? Like what was, how come you chose the Odyssey instead of the Iliad? Ah, okay, yeah, yeah. I guess the Iliad is all fighting, like mostly. it's kind of battles outside a wall, other than the kind of sneaking away stuff at the start, which it makes for a great film, I think. That's true, yeah. I guess to the listeners- It didn't seem very theatrical, yes. Yeah, to the listeners I was gonna say, I should have actually explained, if you don't know what the Iliad and the Odyssey are, the Iliad is... the story that the movie Troy was based on. Most people probably recognize it from that. And then the Odyssey. It was on last night, the night before maybe, on public television. Which felt very, we're like, ooh. Was it at like that kind of seven o'clock prime time? Yeah, classic. I think there's a series of movies like that are at any point on the globe are being played and it's things like Gladiator, Troy. There's probably more. So yeah, that's the Iliad. And then the Odyssey is a sequel to the Iliad, which is about a character, Odysseus, who appears in the Iliad. But I can't remember, is he even in the movie, Troy? He is, he's played by Sean Bean. Oh, there you go. Did they even, did they ever do a sequel movie about the Odyssey with Sean Bean? No, no. I mean, it's low hanging fruit as well. Yeah, yeah, so it is the sequel. And so with... my adaptation, we begin at the end of the Iliad. So the finale of the Battle of Troy, because the wooden horse ploy that ends that war is Odysseus' idea. He's the one that thinks it up. And that's kind of his role in... the Iliad. And then the rest, and then the Odyssey is him trying to get back home. Yeah, that's the thing isn't it? After the war. Yeah. And all the misadventures he has along the way. Yeah. That's funny because you look at the Greek, you look at the Greek sort of, not Bay, but the Greek islands and stuff like that now. And you think, it can't be that hard to sail from one place to the other. It's a journey of even with like the boats at the time, it's like it's a fortnight journey. Yeah, it wasn't an easy one. But the Odyssey takes, it takes him 10 years to do a journey that should take two weeks. In some ways, it just sounds a bit like an absentee father saying that he's going down the shops for a pack of smokes and then coming back 10 years later, doesn't it? Yeah, and being like, oh boy, they were monsters. Big cyclops, mouth in the ocean. Got delayed. Yeah. So then I seen that you'd posted about, there seems to be quite a breakneck pace in terms of getting this one from being approved to the initial stage where you can read through it. What's your time frame been from when you got told to do it, or you got approved to? actually putting on the show? Yeah, pretty short because I hadn't written it. I'd written an outline. So as part of my pitching process, I'd written an outline and two scene samples. So here's what the whole show will be about. Here's how it'll break down. And here's a couple of scenes so you can kind of get a sense of the tone and my ability to write scenes. But I refuse to do writing on spec. It's too much work to write a play and then go, oh, I didn't get it. Yeah, absolutely. They're putting on cricket. Now I've got a play sitting here. What am I going to do with this? So that was the state it was in when I got given the go ahead. And then the only way I get anything done is by setting hard deadlines for myself. So the first thing I did was, as soon as I got it, was book in a public showing of it at Little Andromeda. So that was on November the 19th that I set that showing for. And I think I must've got notified. I think I did it. I think I wrote it in four, five weeks. I think I wrote the whole thing. So I wrote it in five weeks from that initial, oh no, it might have been, was it five? Six, it was six, yeah. Wrote it in six weeks. And then, so that took me through to November the 19th. And then I've been in pre-production since then. Gotcha. So then when did I, oh, go ahead. And then I went into rehearsal the week before Christmas, and we did six days before Christmas. And now we're back in rehearsal yesterday, which was the third, and we'll be probably in rehearsal every day through until when we open on the 11th. So yeah. Just before we started recording, you said you do about three hours of rehearsal a day? Was it how long it was? No, no, 10 to four. Oh yeah, so it's six hours of rehearsal, is it? Yes, six. And then an hour, kind of either side will usually be doing admin, things like, does this costume fit? And that sort of thing. And then you spend six or seven hours on the floor. Yeah. So then one of the other questions I have is, there would have been, I presume, challenging to cut down. this epic length poem into, I guess, is it a couple of hours of a show? How long is the show going to be for? Yeah, it's about aiming for about 90, 100 minutes plus interval. We still haven't, it still hasn't settled into its final running time, but it'll be about that. Which I think is the ideal length of time for a play. 50 minutes to an hour for the first half and then 40 minutes for the second half. But I'm done. That's how long I should be. No longer than that, please. Yeah, absolutely. So then... So yeah, so it's a cut. Yeah, I was going to say that. Yeah, there's a... I mean, the thing about The Odyssey is that it actually starts... It's about... It's structured in 12 books, right? I mean, effectively chapters. four or five aren't actually the Odyssey. They're Telemachus, who is Odysseus' son, heading out from Ithaca to go and look for him. So there's this huge sequence of that. And then it flashes back, then it takes us back to the start of the journey away and actually goes into the sequences that are the famous ones. the journey of Odysseus from. So all of that stuff about Telemachus is not in it, because we don't care about that. Right. Is he in the play at all? Yeah. He's in the play. Well, he arrives in the play at the point that he intersects with Odysseus. Gotcha. he's kind of the main character. Well, cause the first half sims just sailing around and asking the other Kings what happened after the Trojan war, isn't it? Yeah. So that's him trying to sniff out where is my dad. Yeah. Gotcha. So you don't have any regrets about cutting all that. You're pretty happy with it being sort of trimmed down for time. No, no, no. No, that's that I have no regrets about cutting that. There are some things that I cut that I'm like, I wish I could have. worked out how to make that work. I couldn't make the sequence with Calypso work. So that's the second sea nymph that... the first one's a witch, so I guess they're different. But it's the second woman that Odysseus encounters and kind of shacks up with for in this case, seven years. He lives on an island with Calypso, who is kind of enchanting him. But they kind of spend all their time either with him crying or just going at it. And I couldn't make it work. because I wanted to allocate the time. Yeah. Like that was the thing that I was most excited about was like for him to have been away for 10 years. Yeah. Seven of those years is just on an island, getting it on. And he's already spent a year on an island getting it on. But here's the other thing with the sursei sequence. And so I was like, it's just, I couldn't make it work. And it seemed important and it was a shame. There's a lot, there's other stuff that I cut as well that I don't really feel the loss of. The island of the lotus eaters, I don't care about that. Yeah, some of these are a bit odd, weren't they? Yeah, I don't, yeah, so, you know, because they're not particularly theatrical, right? Yeah. The nature of it is I'm not making, I'm not doing a book adaptation, I'm not doing it. It has to be stageable, it has to be fun, it has to be... There has to be action, it has to be playable. Did you figure out a way how to get them to cling to the underbellies of the sheep on that Cyclops island? A little bit. Nice. Yep. I've got a nod to it. The fans can expect something there. I was going to say as well, given that it's a... So I didn't say this at the start, but it is an outdoor theatre and it's... What was the little area that it's in called? It's somewhere in Hagley Park, isn't it? Yeah. It's at what's called the Weather Station lawn. So that's just kind of across the way from the playground. If you can make it to the playground in the gardens, you'll be able to see it. There'll be sign posted from there, easy peasy. Yeah, and that's where we did 80 days as well. Gotcha. And it's a nice little kind of, the trees kind of offer a bit of an alcove, a bit of a backdrop. That's nice, yeah. To kind of... to kind of shut down the space a little bit because obviously the openness of outdoors is kind of not the best for the focused attention of a fearsome show. I was going to say as well, have you had to then not necessarily censor, but have you had to tone down some of the more adult environments given that it's a public space? Yeah. Yeah, I mean, I guess I guess I was always making a family show. It's not a kids show, but very much in the brief was that it does have to be suitable for families. There's still adult jokes and adult situations, but you know, you can't lean on the crutch of obscenity or swears. Which is, you know, it's fine. That's great. and nothing against obscenity or swears either. I'm a connoisseur of filth. But you know, it's good to flex another muscle. The bigger concern or the bigger requirement from outsiders is scale. It's about scale. It's about the scale of performance and it's about the... the scale of props and it's about the scale of narrative as well. Everything needs to be, you know, you lose a degree of subtlety that you can achieve in an indoor space. Yeah, for sure. I was going to say as well, are you, is it going to be in the, I'm trying to like the language, the language that the actors and characters will speak, are you going for a kind of, you know, old timey, I don't know what the correct word is, but in almost like a Shakespearean kind of speaking, or are they going to be more modern in the way that they talk? So, yes, good question. Kind of both, which is a bit of a cop out answer, but it kind of depends on the character sometimes, like some of the characters are more kind of florid or kind of formal in their language choices. And yeah, in those situations I do kind of lean it towards, you know, the sense of what we consider classicism. Yeah, like the epic sort of thing. Yeah, yeah, yeah. Like, ah, you are renowned for such things. You know, that sort of language rather than, oh, everyone knows you do that. Yeah. So yeah, there is a degree of that kind of... formality to some of the language. But my number one priority has been accessibility. Yeah, absolutely. That you can turn up to this as an expert and hopefully not be disappointed. But you can also turn it up to it as like, I have no idea what this is, and just be like, that was cool. Yeah. I laughed a lot and... The other thing that I always find is that every time I've done a showing of this or kind of talked it through with someone, they're like, oh, is that where that's from? Yes. I think a lot of the kind of moments from Odyssey are part of our cultural DNA and makeup. That was my experience doing the research for this. As I'd heard the phrases earlier in Odyssey so many times. but sort of never really known what they were. And then as soon as I started looking at the LA, I was like, oh, that's the Trojan war. And then the Odyssey, I didn't necessarily remember, but it's almost like Odyssey has kind of become a noun in storytelling and all that based on this poem. And yeah, like you say, like all of these scenes that I didn't know that they were from the Odyssey. So I think, yeah, people will come away from it going. Oh yeah, I kinda knew that story, but like, you know, I'd heard the phrase, the suit is of Penelope before, but I didn't really know what it meant. So, um, yeah, that sounds great. I was going to talk about the cast a little bit as well. Um, so how did you select your cast? We've got Dan Allen, Millie Hanford and Donna Brookbanks. Are you also playing, um, characters in this? No, no, I'm not. I'm no, I'm not in it. I'm just doing literally everything else. Yeah. So then how did you come about selecting these three? And are they all playing one character, or are they sort of playing several as the scene demands? Oh, they are all multi-role. Dan the Least. Is that Odysseus? Dan plays Odysseus in Poseidon as his kind of primary roles, and he also plays Antinous. who is the leader of the 108 suitors. He was the sort of the more vulgar of the suitors, wasn't he? Yeah. Yeah, so we've set him as kind of the spokesperson of the 108. So he plays those three, and then the other two play everyone else. Yeah. So primarily, Millie is primarily Zeus and Telemachus. Odysseus's son and Donna is primarily Athena and Penelope, Odysseus's wife. Yeah, so, but obviously everyone else, yeah, and then Millie and Donna kind of play everyone else as well. Gotcha, yeah. There's a lot of character switching. Yeah, yeah. So that leads quite nicely into my sort of next question is given that you're in such a public space, Do you have any kind of, are you allowed to set up like a tent or some kind of screen for the actors to change behind? Like what, were there any kind of challenges or considerations you had to make given that it's just going to be in the middle of a park essentially? Yeah, so I mean, there's a couple of ways that we mitigate those kind of things. So the first thing is the seat is really significant. It's massive. there's a container. So there's a 40 foot container that all that stuff lives in overnight and also is another kind of physical barrier. And then the backstage, so but then behind the set, which is where the container also sits, there is so that's all sitting in like a alcove of trees. And then between the trees in the open space with the. where the container on the set sits. There's a row of fence, of hurricane fence around there. So the back area gets kind of fenced in. And it also has that kind of fence covering hang stuff on it. So there is a private kind of locked area in behind the seat that we be in pre-show, but also that at the end of the night, we can we then shut the fence around the front of the set, pack all the props and removable stuff into the container, lock that up and then bolt the fences shut. So theoretically, it secures the site overnight. Yeah. Okay. Yeah. So Yeah, of the concerns of being outside, that one's actually probably the least one. Sounds like you put that through. True. Are you going to attempt to go ahead in the rain, or is it the sort of thing that you can't really have the props getting wet? It actually depends less on how much rain it is and more on what time it starts raining. Yeah. If it's raining while we're doing setup. We can't because we have to run a bunch of power cables and audio cables and gear. Yeah, as part of the setup. If it's all set up and we're kind of good to go and it maybe starts to sprinkle, we'll be like, OK, let's just let's see what happens. Let's see what happens. Maybe it'll clear up. Maybe. I'm often surprised at what people will endure. Yeah. People will often, I've often seen people at this particular show or at Buskers Festival shows have it just kind of start pouring and then go, oh, okay. And just pull a jacket out of their bag and go. Yep. If you'll keep going, we'll keep going. Absolutely. So yeah. But yeah, the unfortunate thing is that if it does. if it is raining kind of heavily at the time that we need to do our setup, which is several hours before the show starts. Yeah. And we certainly had, when we did 80 days, we had the situation where it was boring at our setup point. And by the time the show time rolled around, it was the sun, it had stopped. It was sunny again. People were turning up and being like, what's going on? Why is this show not on? And it's like, well, we cancelled it because it was raining. And they're like... But it's not raining now. It's like, yeah, but the... Running around with electric cables, yeah. The cables, they help with safety. So just being conscious of time, I'll move on to my next question. Because these ones are ones I'm interested in hearing your answer to. Do you think when Homer wrote The Odyssey, do you think he had any idea how long standing and influential it would be like some 2000 years later? No, I don't think so. Um, um, I think anytime anyone writes anything, they kind of hope that it will last, but for it to last so long is extraordinary. Um, yeah. What was the, what was the backdrop on him writing the Iliad and the Odyssey? Was this, was he, did he have like a patron and this was just his job to create poems or this is where my research kind of stalled. I didn't really, um, didn't really go any further than the actual story. Yeah, so the thing is that although both of these pieces have been attributed to this character that we call Homer, it's still kind of up in the air that if that guy actually existed, he may well not be real. It may be a kind of, you know... amalgamation of different people. Certainly, it's an oral tradition kind of poem. There's certainly people have added bits to it that we aren't privy to, the kind of the elits that have happened along the way. But that's the nature of kind of any ancient piece of text or document that we have. We don't know, we only know what we've... kind of get out at the end. That's true. We're not part of the editorial process that it's been through in 2000 years. Yeah, that is very true. All right, so we've got about 10 minutes left. Let's go through our kind of hopefully rapid fire questions, but some of them might be a little bit more in depth. So we'll see how you get on. So do you have a favorite Greek god or goddess? I'm a fan of Daedalus. Daedalus makes the wax wings that fly, whose son is Icarus. So he's kind of the, he's kind of an inventor. Oh yes, that makes sense. He's more of a person than a god, I think. I think he's a mortal. Gotcha. Yeah, yeah. Is that just for his ingenuity? I think so, yeah. Yeah, he makes, he kind of crops up a lot with kind of just making kind of this and that through various things. So I guess he would, The next question was your favourite Greek hero. I guess he would be kind of under the same umbrella if he's not quite a god. Yeah, I mean I don't know if he kind of quite fits into that hero mode. He's more kind of cute at James Bond, I guess. That's a good analogy. Is the role Daedalus plays. I like Theseus. Yeah? Yeah, I like Theseus. I like the Minotaur story. Yes. Yeah, I think that's cool. So then if you could have any of the ancient Greek mythological artifacts, like the golden fleece, the staff of Hermes, the Aegis, do you have one that you would love to, maybe the wax wings? Like, yeah, what would you like? Yeah, I... Do you know the dragon teeth? No. So the teeth of... There's a dragon that gets killed and they take its teeth and they plough the earth and they sew the teeth into the earth. And every tooth that they plant grows out into a fully armed warrior. Wow. So it's the, yeah, so it's the, this kind of the idea of sewing dragon teeth and it grows out these warriors, which I think is an extraordinary artifact. That is, yeah. It's just a bag of teeth that you can kind of assemble an army from. Fantastic. So the next question is... If you were one of Penelope's suitors, what would you do to stand out over the other 107 in Seduce Penelope? Oh, a couple of things. First of all, I would bring my own food. True, it's a little bit of a bugbear with them, isn't it? Yeah, they all set up in the kind of the courtyard of her house. And I don't know, like they're very much kind of persistence suitors. That's kind of their model is like, we'll just be here until you choose one of us. But they eat all their food, they drink all their wine, they throw a footstool at a maid. There's a bunch, they kind of are unpleasant. And so I guess to stand out, I would bring my own snacks and maybe just try and be charming. And I feel like that would go a long way. It would, because that's one thing that it's constantly mentioned is that they're always eating the food of the house. So that's obviously a sticking point for them. So then... If you were going to offer a large wooden animal to a rival as a method to sneak behind their city walls, which animal would you create? Oh, Lima. Nice. Irresistible. Yeah. So then what do you think of the Ship of Theseus thought experiment? Do you think it is the same ship? I think it is depending on that. I think it's time dependent on how quickly are you doing the replacing. I think if you do the replacing over a really short period of time, maybe it is a different ship. But I think if it's over an extended period of time, the Wairua of the original thing kind of carries forward, carries through. I should have actually explained that for the listeners in case they don't know. part of a ship or a lot of people use it for cars nowadays. The question is, is it still considered the same vehicle? But I think I agree with you there. If it's all at once, then yeah, it's kind of done. It's gone in an instant. But if it's over many years, I think, yeah, I'd agree with you there. So then do you feel- There is a very stupid gag about the ship of Theseus Conundrum in the show. Oh, fantastic. I then had to explain to the actors. They're like, what is this? Why is this funny? I'm like, this will be funny for about five people. They're gonna love it. Everyone else will be like, that's for them. Fantastic. All right, got a couple of minutes left. If you were going to eat the livestock of Helios, how would you cook them? Oh, ribs, I guess. I think ribs. Yeah. Good choice. Yeah. I reckon they've got... A couple of quick- Good marbling. Yeah, I can imagine. So this one here. So if an Odyssey refers to a long and full adventurous journey or experience based off of Odysseus' journeys in the poem, what would a Dan Banercy look like? Probably going to some gigs. And having someone shout at you. No. And then being like, and then being late home. because yeah, I stopped at McDonald's. I don't know. My journeys are fairly moderate comparatively. So then one more that I think we'll end with. So an interpretation of the shield of Achilles that I quite like. So if the listeners don't know, Achilles' shield has got some very, it's very specific imagery that they write about and I think it's the Iliad, it might be something else. But so the shield of Achilles, The interpretation that I like is that the imagery on the shield represents all of the things back home that are precious to him, reminders of what he is grateful for and fighting to protect. What images would be on the shield of Dan Bane? Oh, I guess some sort of family representative thing. Maybe the face of the dog just kind of because she's dumb and everyone loves the dog. If you have to run the... If you have to render things down. Maybe a big question mark because I like the idea of the unknown is kind of the place of big possibility and that feels like something worth defending. And then maybe a check and wing. to kind of represent comfort and chicken wings. Fantastic. So let's once more tell the people out there where they can catch the Odyssey. Yeah, so you can catch the Odyssey from January the 11th running through until the 28th at the Weather Station lawn in the Botanic Gardens in Pricey City, the show is free, but your donations are gladly accepted and appreciated by the production company who has about $10,000 of personal expenses to offset. Get your gold coins out people. Get your gold coins out. I need a sack of them. Don't be like the suitors of Penelope and Free Load. You got to pay away. Thanks so much for joining me, Dan. I'll check all the information will be in the show notes along with your social media links and stuff. Anything else you want to say before we kind of wrap up? No, the only thing I would say is that the show is very funny. It is done by very funny people and it will be a good evening or matinee out. Fantastic. I'm definitely going to try and get along and check one. So thank you, Dan. Good luck with the production and I'm sure we'll have you back at some point to discuss another project you're working on. Awesome. Thanks, A-Lar. And we are back. I hope you enjoyed that interview. It was a lot of fun for me to record. Dan Bane is a consummate pro as always. So once more, don't forget to check out The Odyssey, adapted and directed by Dan Bane, presented by the Anthony Harper Summer Theatre Program. It is ko-ha, which in, if you're an overseas listener, that is the Māori word for donation. It's playing from the 11th to the 28th of January on the Weather Station lawn. the Christchurch Botanic Gardens. Once again if you want to find out more visit summer theater. All the links are in the show notes as well. If you want to follow Dan you can find him on Facebook at I am Dan Bain. He has two Instagram accounts, well he has three Instagram accounts actually. He has his I guess main one which is I am Dan Bain underscore but he also runs two Perfect Show which is his weekly or bi-weekly... Improv Show at Little Andromeda and Stand Up In Hell which is an AI generated art project. So go ahead and check all of those out. You can always you can also see his podcast Sleepy Time Mumbles on all the podcast platforms. Once again all the links are going to be down in the show notes. As for me as always at TaylorOdd or Comedy on all the social media platforms by the time this episode drops I'm recording it. couple of weeks in advance. We will be back to doing Tuesdays and Thursdays at Austin Club for the Laugh Seller. $10 entry each time, both fantastic little comedy shows, 7 o'clock start, and then as always the Tuesday night quiz at Fridays from 7.30 and the Wednesday night quiz from 6.30 at Moi Moi. Those are still going, they've been running straight through the holiday season and as of right now I think that's all the all the events that I have to promote. I think it's going ahead. I'm going to be in Dunedin on the weekend of the 26th and the 27th, doing a couple of shows with Dunedin Comedy. My very good friend Jared Docherty is going to be running those. And then something to look forward to in February on the 15th and the 17th, we are doing a couple of shows for the Cancer Society. So go to the Can Do Comedy Facebook page to see more details on those once it's, once we announce more information. We've also got a live edition of Rodomy This on the 13th of February 2024. to visit Little Andromeda's website if you would like to come along and experience a live version of Roddle Me This. I'll make some proper posts on the Facebook page coming up to it but just save the date I suppose, 13th of February, the day before Valentine's Day. Don't bring your significant other as an early Valentine's Day present, I don't think that would go down very well with them. I think that's going to do it for the show, really appreciate you tuning in and listening, I do apologise for my low energy status today but you know what, I like a good chill podcast too. and I assume the listeners of this show do as well. So we'll wrap it up there. Thank you so much for listening. Check in with you next Monday. I look forward to talking to you again very soon. Ruddler over and out. Alright, I think I hacked in. We're on the air? Shh, security's outside. But how's my hair? It's a radio station. Psst, psst. You guys hear about the Beyond the Shadows podcast with Ryan and Scott? You guys into paranormal? What about true crime? How about UFOs and cryptids? We also have mad hauntings. We got security. No we don't. We're not big enough to need it yet. No, we got security. Hey, what are you guys doing? Get out of here! Listen to the Beyond the Shadows podcast. Beyond the Shadows! Hello, Rattle Me This listeners, I am Rachel. And I'm Heather, and we are the hosts over at Wine Time. We release new episodes every Tuesday about all things mom-related. We talk about birthing stories and postpartum, inspirational mamas who have made a difference and are just complete badasses. And we cover all the mom crime, from missing moms to murderous moms. Come check us out wherever you listen to your podcasts at Wine Time. Or find us on social media at wine underscore time underscore pod. And remember that's wine spelled W H I N E.

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