STEPHEN GORDON: I hate when people talk about me.
FALA: Sorry. Okay. Stephen has designed the covers. (Laughter.) I can't look at you!
[Pipe and Drape theme plays.]
I’m Stephen Fala, and you’re listening to Pipe and Drape, the only podcast that spotlights the creative minds behind the Theatre For Young Audiences industry. Every two weeks I sit down with a theatre professional to hear their stories about the audition, rehearsal, and development process of theatre for young audiences. Each of them have bridged the path from youth to adulthood while working in the theatre for young audiences industry. My guests have mounted shows small enough to fit in a minivan to productions so big they travel by caravan. You can join the conversation by emailing PipeAndDrapeStories@gmail.com or messaging @PipeAndDrapeStories Instagram.
This is episode 17 of Pipe and Drape. In the following interview, my guest shares his experience as a performer in two short musicals, John Tartaglia created for the Wildlife Conservation Society. My guest's pipe and drape story takes us out into the summer heat at the New York Aquarium. Thank you for listening today.
FALA: Hi everyone, today I’m talking to actor/artist Stephen Gordon. Stephen has recently been seen all over the Atlantic Ocean flying around onstage as Peter Pan aboard the Disney Magic, in the northeast at Syracuse Stage, Regal Music Theatre, and Busch Gardens, and in New York City with The Dramatists Guild Foundation and The Drama Company NYC where he was both an actor and graphic designer. Stephen has designed the covers of several Elizabeth Flaherty books, painted the walls of Alice’s Tea Cup, and the created the logos for podcasts like Out There: A Cryptid Podcast and Pipe and Drape. Yes! Stephen designed the logo for this podcast! His penmanship defies all space and time, he knows the name of every crew member aboard the Disney Magic, and he loves everything ookie spooky. Stephen is here to share his pipe and drape story from the time he performed next to some sea lions in John Tartaglia’s Take the Plunge! Stephen, welcome.
GORDON: That was the most wild bio I have ever heard I think in my life. I need you to write all my bios for the rest of my days.
FALA: Stephen, you grew up as a Disney kid, yes?
GORDON: I did. Yes.
FALA: What was your favorite Disney film growing up?
GORDON: Okay, my first favorite was The Little Mermaid for sure. I used to put my feet in an oven mitt and a red sweatshirt on my head and pretended I was Ariel. So that was fun. Pocahontas was a favorite. Mulan was a favorite, but absolute favorites of all time: Hercules and The Hunchback of Notre Dame.
FALA: Okay. Most of those have been adapted into stage shows.
GORDON: Yes, they have.
FALA: There have been many interpretations of Arial, costume-wise as far as how to solve the feet and traveling problem, but no one's done oven mitts yet. And I feel like in sort of like in a, Into the Woods reinventing found object sort of way, you were onto something back in the 90s.
GORDON: I think I was. I really appreciate that you say that. And actually, while working for Disney, I was able to meet Ariel, and I got to tell her that I used to pretend to be her by putting my feet in oven mitt and she laughed and she said, 'You know, I believe that.’
FALA: I'm surprised she even knew what an oven mitt was.
GORDON: She's learned she's really come a long way. I do have to say
FALA: Was it always the same oven mitt that you used? Like was it off limits for like did your mom still stick her hands in there and handle food after you put your feet in there?
GORDON: Eh, it was one that wasn't used very often. It was green. I didn't have it on for very long. They usually just chose to use other ones. My dad is an amazing chef, so he has like a million of every possible kitchen item. So he is like, well this one's gonna be a toy now I guess.
FALA: When you were on the playground at school, were you also playing different Disney characters or were you doing something else entirely?
GORDON: It's no surprise I was a weird kid growing up. It wasn't necessarily trying to play Disney characters all the time, but it was always like something in my own head world something. My elementary school had a lot of woods all fenced in, in addition to the playground. So other kids were like playing kickball and stuff like that and I was like wandering through the trees like some kind of like weird nymph spirit gremlin And like once my teacher came over and was like, you good? And I said, yeah, I'm fine. He said, you're just doing your thing? I said, uh-huh. And he said, okay. And he left me alone and I was like, I'm Alice Wonderland right now. Leave me alone.
FALA: When was the first time you got to channel all of that into performing for an audience and not just for squirrels?
GORDON: The squirrels didn't watch Stephen, the Squirrels didn't watch.
FALA: Oh.
GORDON: The Chipmunks did. My parents learned pretty early on that I loved performing in some way or another. So I did something called Kid Stock, which I believe still exists. It's local to Massachusetts. I did that when I was I think five years old where we would watch clips from an old musical and then recreate it by putting on our own like fifteen minute version of it. We learned a few of the songs we did Oklahoma, My Fair Lady and this Dr. Seuss one that involved some of the older kids and we were the who's and they were the Grinch and the Cat and the Hat and all of them. So that was very fun at the time. And then I eventually started doing it more frequently and I would do like, I would do summer theatre camp and I would do four children's theatre shows a year and I would do shows in high school. It was just like something that I was always doing. There was never really a “off season” for me.
FALA: You grew up bööked.
GORDON: In the suburbs of Massachusetts youth theatre? I sure did. I was very lucky that I had the opportunities that I had and that my parents were willing to take me to those things and pay for those things and deal with all those things and drag all the people to go see me in those things for so many years.
FALA: Outside of performing in the woods and in your kitchen and in your camp shows, did you get to see theatre at all as a kid?
GORDON: I did! At our high school they would do something called the children's tour that we, we called the children's tour or the elementary tour and every year the high school did a big fall musical. A lot of high schools do a spring musical. We did a fall one right before Thanksgiving, right when it's a very festive time for the schools ‘cause like they get ready for the Thanksgiving games and all that stuff. And a few weeks before we all got to travel to all of the elementary schools in the town and perform a few numbers from the show that we were doing. And I remembered I was in first grade kindergarten or something and they started doing that and I said, who are these grownups doing this play? Like I wanna see it, what is this? I remember they did The Music Man and 42nd Street and some other things ‘cause usually the big musicals were like family friendly musicals at the time. And I was hooked from the beginning. Every year that they would come, I would get so excited, we would go see the high school shows and I was convinced it was Broadway through and through. And then it was surreal when I was a high schooler to be able to go and be the older kid doing that for all the elementary school kids.
FALA: Did it feel like Broadway once you were performing?
GORDON: No! (Laughter.) Like all right, here are some crates that they store on the cafetorium stage. Let's use that as our table and chairs for this fun number while we do our jazz squares. But it was a lot of fun.
FALA: That sounds a lot like what people end up doing when they're touring TYA places. You got your gymatorium and it's like I got a box then we stored our costumes in it and now it's the sofa.
GORDON: Yeah, pretty much. Although our high school, our director had built the program from scratch for years and years and he was an amazing set designer so we actually got to come back and do the shows on these amazing sets with these amazing costumes and stuff like that. So that was very cool. That's not relevant but I thought I would mention it.
FALA: No, that is, that's staying in. Did you have professional productions come through your elementary school or was it just your high school's teaser performances?
GORDON: It was mostly the high school teaser performances. Occasionally we would have performing groups come through. We had a few Shakespeare groups come through where there was like four or five people and they'd do an abridged version of Romeo and Juliet or something like that. That was always very cool. We usually got that when we were older. We had jump rope performers come through, we had professional actors come through and kids were pulled out of class and they would workshop a show with these people about bullying or something over the course of a day or over the course of a couple days and then they would present the little show to the rest of the school, which is very cool. And we had some more of those things, not so much big full production things that were coming through.
FALA: Okay. So that adds that you ended up studying theatre in college, you know you were a wood nymph then you were doing children's theatre as a child and your parents supported it all, letting you play with the oven mitts, doing the camps and they said yeah, go get your BFA.
GORDON: The oven myths did not make it past probably kindergarten.
FALA: I don't believe you.
GORDON: Okay, that's fine that's fine. We'll call my mom. We'll get her involved. I went to Hofstra for a year after I graduated high school. I did my whole freshman year there, and that program was much more Shakespeare-based and they did a musical every other year and I had to really work hard by getting contact with other departments in order to do voice lessons or take dance classes and things. So I thought, you know, this is just not a program that's going to foster me in the direction that I really want to go. And after all the college auditions, Syracuse was the school that stood out in my mind the most in terms of like I feel like I could really fit in here and have a great training experience. So I just auditioned at Syracuse to transfer. I already had a school to go to but it was just Syracuse that I wanted to go to and I put all my eggs in that basket and worked really hard and fortunately the stars aligned and I got to go to Syracuse. And the way that program is built, it is a four year program so it's really hard to shorten it but we found a way to make it work. So I ended up doing five years of college instead of four and I'm so glad that I got to do that because my whole world changed—being able to do that instead.
FALA: You have this program where you were immersed in the New York audition and class scene and you're blossoming into true adulthood.
GORDON: I did the Tepper Semester in New York, which was a great way to have my entire graduating class move to the city and adjust and everything before we got released to the real world. And I auditioned and I worked a little bit for a couple of years. When I was in college I was fortunate enough to do Avenue Q, which was one of the greatest experiences I've ever had performing. And our director knew Stephanie D’Abruzzo who was the original Kate Monster/Lucy in the Off Broadway and Broadway production. So she came in for a few days and did a puppetry workshop with everyone that was auditioning. So we got some of that training and then from that we, when we were cast we would do a bunch of puppet work throughout the rehearsal process, blah blah blah. So I ended up having this puppetry experience and I think because I had puppet toys growing up and I have been so much a visual person, it came pretty easily to me, which I was very fortunate to have a skillset like that that I was able to easily pick up. So when I graduated after a few years of auditioning and working some jobs, this opportunity came up on backstage seeking singing puppeteers for this show. Like okay, well that's something that I can do. What's this all about? And it was through the Wildlife Conservation Society performing for John Tartaglia Productions doing musical puppetry. I was like, well I grew up caring a lot about animals, learning a lot about wildlife and being very passionate about wildlife conservation and I love doing puppetry, I love performing, and John Tartaglia is somebody that I find to be a huge inspiration, so this is a phenomenal opportunity that I can't pass up. So they asked for video submissions first and I recorded myself with a puppet that I had made singing “My Heart Will Go On” by Celine Dion. Surprisingly, they asked me to learn some material and come in with it and I spent several days trying to memorize these two scenes from these two little educational theatre shows because when you're holding a puppet with one hand and then using the rods to move the arms with the other, you don't have a hand to hold the sides so it's much harder to look down at a piece of paper. So I was trying to memorize it and create characters and create voices and all of this stuff, which was really a lot of fun. And it was the only audition I have ever gone to where I was actually a couple minutes late.
FALA: Ooh, interesting.
GORDON: I am the kind of person, if it's a twenty-minute commute I will leave at least thirty minutes before like especially for an audition of any kind. I always like to be early. It was in May, it was warm, New York subway. I was like I definitely need to be early. And that day it just did not happen. I showed up right at my audition time, which when you have to fill out paperwork and everything means that you're late. But they were very gracious and they said there's no one waiting, it is okay, you come in when you're ready. Which was very kind. Come to find out I was one of three people auditioning that day ‘cause they had only narrowed it down to three of us and we all got the job.
FALA: Oh my God.
GORDON: So that was fun. But it was so much fun. It was such a nice room. It was people that had worked on other shows through the Bronx Zoo, through the aquarium that the WCS had hired John Tartaglia to write shows for. So they knew him, he was not present but they knew him and they were all awesome. They were so kind and they ended up being my directors and my castmates for the next four months.
FALA: Did they have a puppet for you to work with in the audition room?
GORDON: They did. They had a few puppets to choose from and because I was I think the first person that afternoon, they didn't have a music stand yet so I was putting the sides on the piano that was there like trying to read when I blanked and they had done this show the summer before so like they were like whispering the next line to me at one point as well which was fun. And then of course as I was leaving the person showed up with the music stand, they're like, here's your mirrors are stand. I'm like thanks (Laughter.) Which was silly.
FALA: And so how soon after this did you get your offer?
GORDON: Within a week. I think I auditioned on a Thursday and I found out the following Tuesday.
FALA: How much time did you have between getting the offer and starting rehearsals to kind of figure out your life?
GORDON: We had about two weeks notice? It was performing at the New York Aquarium, which is at Coney Island. So it was local, didn't always feel local but it was local and everything was done via email at first. Like you'll start around this date, you'll do a week of rehearsal at the Central Park Zoo in one of their learning spaces that's big and open and then we'll move to the aquarium. We'll just do a week of rehearsal ‘cause the shows… it was two shows we would alternate, they were both fifteen minutes long so it was a pretty quick learn fortunately. So we would do a week of rehearsal at the beginning of June and then we would perform on weekends for June, July, August, and September all through the summer. So I was able to keep my survival jobs, just adjust my schedule and my availability for them throughout the summer. During the course of the summer juggling all three of them ended up being too much and I ended up leaving one of them in order to keep doing this performing one and doing another survival job that was easier for me to balance the schedule.
FALA: Did you have a day off between all of your jobs?
GORDON: If I chose to, yes. I could usually get Mondays off. Friday, Saturday, Sunday was pretty much all aquarium the whole time just because I lived up in Harlem at the time and the commute was ninety minutes. So I would, over the course of a weekend do three hours of travel, at least on the subway when it was just Saturdays and Sundays. And then when we also did Fridays it was longer.
FALA: Did you bring a book?
GORDON: Sometimes? Usually a few of us lived up in Harlem so we would just commute together and we would find ways to entertain ourselves and some people were scheduled certain weekends and some were not. So there was always a chance that you would be with somebody different.
FALA: What was the rehearsal process for these two shows like?
GORDON: So the Wildlife Conservation Society in New York contacted John Tartaglia and wanted him to create a show for the Bronx Zoo with puppets that they can talk about recycling and ways that we can reduce our carbon footprint and stuff like that. And he created this show called Reusable the Musical that they performed outside there and they had specific characters that ended up being favorites to locals that would come a lot and see the show over and over again. So they asked him to do a show for the aquarium instead and focus specifically on sea life because at Coney Island you're right on the beach. So there's a lot of ocean-based conservation stuff happening at that aquarium. And he wrote two shows, one was called Take the Plunge and the other was called Shark Show and one was specifically about the oceans right off of New York and this character or these certain characters from Reusable the Musical were in that and they go on this new adventure under the ocean and in the in Shark Show they would go down to the ocean again and they specifically found these tiger sharks that you can find off the coast of New York. That was really cool and relevant for the kids that were going. It was a small cast of like five or six of us that would rotate and he wrote an original script and then he took songs, pop songs of all different genres and would write parody lyrics to them. So it was a very easy learn and like there was no sheet music or anything. We had scripts that were finalized and we just kind of learned by listening. Like in Take the Plunge, there's a big sea turtle that comes out, her name is Tina Turtle instead of Tina Turner and she sings Aretha Franklin's “Respect," but it's about respecting the ocean wildlife. So that one was a lot of fun. I got to be backup fish dancers in that I had two little fish on my hands and they had all this fish choreography they would do behind her while she got to belt and riff to the stratosphere for a bunch of six year olds. Speaking of belting and riffing to the stratosphere in front of six year olds, we would perform on an outdoor stage with this little canopy over it right outside the sea lion exhibit. I don't know if you've ever heard sea lions, but they are some of the loudest animals I think possibly ever. And they were usually quiet but sometimes they just felt like singing along and they would just howl and it would cut through our mics, it would cut through the sound system. It was just, there was no point in talking or singing when they were making noise because it was just so loud and like, anyway, as I was saying. So that was always a fun little surprise and we're like, oh yeah, you guys wanna join in? Cool, let's do it.
FALA: Were you allowed to improvise during and acknowledge the sea lions?
GORDON: Sometimes. It depends. Usually we would just try to keep going. The show was tracked entirely. It was just one continuous track, which at times was difficult if we were not sure how long we had until the music started or the next sound cue happened. They did put little tricks in where they had, um, when they were above land, if you heard a seagull, it meant that you had ten seconds until the music started or if you were under the sea. If you heard bubbles, you knew that there was a song that was starting. So that was a nice cue in so that you knew when to start. But mostly we had to stick with what we were doing. There was one point, it's about a human girl or a human puppet girl rather that gets taken under the sea by her animal friends. Once in a submarine one has this special diving goggle set that she's able to use so that she can breathe underwater. And she's talking about these sharks and talking about how big and scary sharks are and the music was just going on for so long. Every time they said the way that it's set up, you just have to really milk this part. So if you can add lines in, you can. And she, this one girl would just milk it beyond belief while this like jaws music is starting to underneath her and she's like, sharks are big strong denizens of the deep, they are large in charge and we are back there holding these tiny shark baby puppets ready to pop out. Trying not to cackle at her, just going on and on and making these like monstrous noises. I'm like, oh my goodness, how is this real? How am I getting paid to do this? And the sea lion's like, (sea lion impression) whoa, whoa, whoa. It was wild.
FALA: Did the kids...was this a moment where kids kind of saw all the sharks coming and they're screaming? Like was this a very participation based show that would happen?
GORDON: It was not actually, which which was a little bit relieving. There were points where it was kind of encouraged that they could yell to us or talk to us. It's fifteen minutes, come engage with us, cheer, clap, yell if you want to. But usually it was just, we're gonna tell you this story.
FALA: How do people know that the show was happening or you know, when it was starting because people aren't going to the aquarium to watch a puppet show necessarily. So how do you gather this audience around outside? Was there a pre-show announcement? Did you have to go and say, ‘Hey, kids want to see a puppet show?’
GORDON: It's funny you mentioned that because yes, that is what we had to do. They advertised it in the brochures for the day and on the schedule, but people weren't always reading them or didn't really register what it was. Five minutes before every show, two of us would go out with two of the fish puppets and have them swim around and we would yell to each other saying, what? There's a puppet show in five minutes. Five minutes. I love five minutes. It's my favorite increment of time. How can you tell time you're a fish? What'd you say? Blah blah blah. Like it was, it was ridiculous but it often did work. And we also started to play music. I created a playlist of "Wipe Out” and other like Caribbean oceany summery songs that we would play and we'd turn that up on the speakers so people would be attracted to the music sound as well. We usually had pretty full space. It was a small space that we had so we were able to fill it up pretty well. There was one show, it was one of the last of the day and the last row was just all nuns. And we started, we were like, okay, let's see how they like it. They were living, they were clapping along, they were laughing, they were having the best time and then it started to rain and we had to end the show early and I was so disappointed.
FALA: Do you usually get to meet your audiences afterwards? Like was there a chance you were gonna meet the nuns?
GORDON: If they decided to stay after and fangirl for us, sure, but usually not. Usually we would finish and we would immediately have to start switching the puppets out. If it was a really hot day, we would actually take them back inside so that they weren't overheated. Cuz there were these gorgeous, gorgeous puppets that they had made. The company was called Puppet Dungeon and he's done a lot of stuff with John Tartaglia before, and his team. our backstage area was inside the classroom and it was a large room that was carpeted and they had a whiteboard and a projector and stuff like that, but usually it was just an indoor space that they could use if they had a function there. Or when they have summer camp, they'll have the kids in there. And when it was rainy for the whole day, we would actually set up in the classroom when we perform inside, which was nice because we were in air conditioning and not in the sweltering heat. But every day we would get there, we would set up everything ourselves, we'd strike everything ourselves. At the end of the day we were given our uniforms. We had tee shirts and baseball caps that we would wear and they told us to wear khaki shorts and then whatever sneakers we wanted to wear. On particularly hot days, I would sometimes bring more than one shirt and I would switch if I had to, if it got to be too sweaty. The shows were physical and they were hot, but they were so short that usually right when we started to sweat a lot, the show was done and we could go back into the air conditioning and have half hour, forty-five minutes, an hour off before we had to go out and do another one.
FALA: How many did you do a day?
GORDON: We would do between five and six a day.
FALA: Oh!
GORDON: I mean, it ended up being an hour and a half of performing total. But these, these shows, even though they were, they were short, they were taxing, they were really taxing. It was fifteen minutes of nonstop character voices and physicality in the heat. And when you're not on stage or preparing to go on stage, you're switching a set piece or you are helping somebody else get ready for their part because their puppet is bigger and they have two people or you're moving the backdrop or whatever. Like there was just constant motion for the entire thing.
FALA: The constant motion.
GORDON: Of the ocean.
FALA: It's exhausting, but suddenly it's then it's like, oh, I'm done, I'll go home. People don't realize a lot of times with TYA, it's like you're going nonstop the entire time. Whereas with a lot of shows for adults where it's bigger casts and you have a hired stage crew and wardrobe and people to preset everything for you, you are only on stage or like doing anything for maybe fifteen minutes with, with this show it's like, it's fifteen minutes of work all at once in the August sun. With puppets. On ice.
GORDON: Underwater on fire, yeah.
FALA: With lesbians.
GORDON: I love lesbians. Not as much as you. And people who know me well know that I do not like the sun. I don't do well in the sun. And it was a full day of working in the sun. And at certain points in the day, if it was overcast or if the sun was right over us, we were usually okay ‘cause we did have a mesh canopy. But in the evening when the sun was sitting right over the horizon, it was so beautiful and it was so bright and it was right in our faces all fifteen minutes. But it was kind of like a little bit of a badge of honor for me to be able to say that I worked for Wildlife Conservation Society, even though I was doing puppet shows at the aquarium, I thought of it more as, oh yeah, I work for them, I work for the Wildlife Conservation Society. I have always cared about animals. I loved going to zoos growing up. I know like to this day I know way too much about like the big cats of the world. So being able to work for Wildlife Conservation Society and suddenly learn about using metal straws or silicone straws and reducing your carbon footprint and recycling and the science behind it and ways that we can make adjustments. It was fun to have that be a little bit more on the forefront of my mind while I was working there. It wasn't just a job where, ‘Oh, I wanna work with John to Tartaglia and his associates,’ blah, blah, blah, blah, blah. Like that was an appeal, but it was, it was a great organization with a great cause that I was really passionate about and I got to learn so much from working there just about the science behind all of it. And the reality of, I've often been on the fence about like, are zoos good or are they awful because it's animals at cages? And I learned all about the AZA, which is the Association of Zoos in Aquariums. And it's all…it’s an organization that regulates zoos in aquariums all over the country and makes sure that everything is up to code so that certain animals have a certain amount of space and are treated properly and have access to the resources and the socialization and stuff that they need. And they never pull healthy animals out of the wild. It's always animals that were bred and captivity and could not survive in the wild or they were injured and rescued or whatever. And some form where they are better off and safer or they're in a breeding program where they're trying to bring the population numbers up and you can't regulate that in the wild, but you can if you have the animals living together in a space.
FALA: I think a lot of people don't realize that doing shows for kids, educational theatre, it's not just the kids that are learning. There's so much research that that's involved with it too. And so, while the final product is a piece of educational theatre aimed towards a younger audience, the entire process ends up being educational for everyone involved. What other things have you taken away from this experience and applied to other jobs in theater, in design, or just like your life?
GORDON: Working with this really great team, I was able to get into some auditions to work with them further on some other projects, which was very exciting. And those were rooms that I never would've been able to get into or would've otherwise felt way too intimidated to actually try to get into. And having a personal relationship with these people made that so much more accessible and so much easier and so much more fun. Doing the shows for kids that were, some of them were infants and would actually try to crawl onto the stage and touch the puppets or pick up a prop that they weren't supposed to touch yet or whatever, so we got to have those experiences. But certain jokes and certain songs appealed to different kids and adults at different ages, which was really interesting to see how different crowds would respond to the things they recognized. I just had a really nice time, it was a really fun gig and it was easier because I got to still live at home and have my personal life. So these shows did not consume my life in the way that like a tour would or a sit down production somewhere else would. I had my set schedule where I had my weekends, I was completely full, but I still had my evenings off. I would get home around six or seven and that was too late to maybe pick up a shift at another job, but I had the evening free so I was still able to see my closest friends and go to restaurants and have my life in New York while still being able to kind of go a little bit remote and go a little bit out of where I normally reside, have these experiences, and then come back.
FALA: Stephen, how can our listeners find you and see more of your work?
GORDON: I’m @stevachu, not like sneezing, like Pikachu, but my name's Stephen, so that's @stevachu on Instagram. I have a website, stephen-gordon.com. I should change it to StephenNotFala.com, but we'll get there.
FALA: Are we gonna sing “Sisters” from White Christmas now? But we'll sing Stephens…
FALA & GORDON: (Sung.) Stephens.
FALA: Check out Stephen's Instagram to learn about his adventures under the sea and at sea, and definitely take a trip to Alice's Tea Cup Chapter II in New York City to see his artwork and get a little scone.
[Pipe and Drape theme plays.]
You can join the conversation about theatre for young audiences and find more Pipe and Drape content including photos, quotes, and TYA news on Instagram @PipeAndDrapeStories. And please be sure to rate and review Pipe and Drape wherever you listen to podcasts! Each star given or review submitted helps future listeners to find the show. Be sure to tune in every other Tuesday to hear theatre for young audiences creatives share their pipe and drape stories. Pipe and Drape is created and hosted by Stephen Fala and distributed by Anchor. The Pipe and Drape logo was created by Stephen Gordon and music was composed by Stephen Fala. Thank you for listening with me today.
GORDON: Oddly enough, when I asked to be a mermaid at the aquarium, they said no.
Find Stephen Gordon:
WEBSITE: stephen-gordon.com
INSTAGRAM: @stevachu
Connect with Pipe and Drape:
INSTAGRAM: @PipeAndDrapeStories
EMAIL: PipeAndDrapeStories@gmail.com
Host: Stephen Fala
Artwork: Stephen Gordon
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