Stage Lights, Real Lives: Behind the Curtain with Susan Dormady Eisenberg
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Cathy:Welcome to Late Boomers, our podcast guide to creating your third act with style, power, and impact. Hi. I'm Cathy Worthington.
Merry:And I'm Merry Elkins. Join us as we bring you conversations with successful entrepreneurs, entertainers, and people with vision who are making a difference in the world.
Cathy:Everyone has a story, and we'll take you along for the ride on each interview, recounting the journey our guests have taken to get where they are, inspiring you to create your own path to success. Let's get started.
Cathy:Hello. I'm Cathy Worthington. Welcome to the late boomers podcast. I'm here with my cohost, Merry Alkins. And you know, Mary, as baby boomers, we grew up with music shaping every part of our lives from Broadway cast albums spinning on the record player to rock and roll blasting from our radios.
Merry:That is so true, Cathy. And I'm Merry Elkins, and that music really was the soundtrack of our lives. And because we're both been singers ourselves, we know firsthand just how much work and training, heart, and courage it takes to step out on a stage and share your voice. Whether you're singing in a choir on a Broadway stage or an opera stage or just in the shower or your living room.
Cathy:Yeah. Which is why today's guest is such a joy for us. Susan Dormity Eisenberg writes about the world of singers and performers. She's the author of two novels, The Voice I Just Heard, now out in a revised edition, and One More Seat at the Roundtable, a novel of Broadway's Camelot.
Merry:That's right. And Susan has profiled singers for publications like Classical Singer and Opera News and and Huff Post. And she's a member of the author's guild, and she spent part of her career in the arts marketing business at places like Goodspeed Opera House, Syracuse Stage, and the Joffrey Ballet.
Cathy:She also studied voice herself, so she knows what it takes, The discipline, working with nerves
Susan Dormady Eisenberg:Yeah.
Cathy:And the perseverance. And she knows how the demands differ, whether you're singing Verdi in an opera house or belting a rock ballad in a club.
Merry:And her fiction captures all of that. It takes us behind the curtain, not just to the divas in the spotlight, but to the accompanists, the directors, the stage managers, and all those unsung heroes who make the magic on stage happen.
Cathy:And as boomers, we really appreciate how Susan's stories remind us of the generations of singers and performers who paved the way and how that legacy still inspires new voices today.
Merry:That is so true. And as fellow singers who know what it feels like to sing in front of an audience, it's a treat to have Susan Dormity Eisenberg on our podcast. Welcome to Late Boomers, Susan. Cathy,
Susan Dormady Eisenberg:Merry, thank you so much for having me. I couldn't have asked for a nicer introduction. Everything you said is exactly what I hope to do in my work.
Cathy:That's great. But, Susan, first, please tell us how the music you grew up with and the people you knew planted the seeds for your love of singing and your desire to write about performers.
Susan Dormady Eisenberg:Well, the music I grew up with is the exact music you mentioned. It's the Broadway show albums of the late fifties and early sixties. My mother and father subscribed to the Columbia Record Club, and I remember that.
Cathy:Remember that? I remember that.
Susan Dormady Eisenberg:Broadway albums came in the same pack. My Fair Lady, Camelot, Sound of Music, and a couple others. Well, I I took them up to my room, and I played them on my record player.
Merry:Uh-huh, right.
Susan Dormady Eisenberg:I fell in love. I had not seen any shows at this point. I was a little too young. My parents hadn't taken me. I didn't get to Broadway for years, but we had this summer theater, the Comedy Musical Theater, where I later worked and which is the scene of my novel, and that's the first time I saw a Broadway style musical.
Susan Dormady Eisenberg:In 1963, I saw Carnival.
Merry:Oh, yeah.
Susan Dormady Eisenberg:Anna Maria Alburghetti's sister.
Cathy:Well, what did you have a record or a singer you couldn't stop playing?
Susan Dormady Eisenberg:Anna Maria Alburghetti.
Cathy:Oh. Oh, really?
Susan Dormady Eisenberg:And yeah. Yes. In Carnival. And Julie Andrews. Oh, yes.
Susan Dormady Eisenberg:Of course. Camelot and My Fair Lady. Oh, yeah. I could never get enough of Julie Andrews.
Cathy:Oh, sound of music
Merry:too. Still can't. She still
Susan Dormady Eisenberg:sound of music later in the movie, but I'm just talking about the movie.
Merry:Yeah. Absolutely. That is so true. What about, like, rock music or I love
Susan Dormady Eisenberg:rock music. I mean, yes. Everything starting with, say, Elvis, I was a little young, of course, the Beatles.
Merry:Oh, yeah.
Cathy:Yeah. That was me.
Susan Dormady Eisenberg:Right? And then, of course, you have to know this. I was at home visiting my I mean, living there for the summer in college when Woodstock was happening. Oh, yeah. I remember going home and telling my parents, I'm going to Woodstock.
Susan Dormady Eisenberg:My parents Did you go? No. You're not.
Cathy:Oh, they stopped you from going?
Susan Dormady Eisenberg:They stopped me.
Cathy:Oh. I was way too far away. I was in California.
Merry:Yeah. Me too. I couldn't have gotten there.
Susan Dormady Eisenberg:Well, could you imagine
Cathy:I was too young.
Susan Dormady Eisenberg:What would have happened if I set off for Woodstock? You probably remember that the I was in Upstate New York near all the The traffic. Wasn't very far. People were trapped on
Merry:the roads for hours. Oh, I bet.
Cathy:Yeah. And then it rained, they were in the mud.
Merry:And and oh, anyway, that's
Cathy:a whole another subject.
Susan Dormady Eisenberg:That's another story. My mother and father
Cathy:It's a different podcast. Same thing.
Merry:Yeah. Right. Right. Right. Well, I have to say that I saw the Beatles in 1964 at the Hollywood Bowl.
Cathy:Oh, no.
Merry:When they were there. And I sat in the very last row of the whole place. Couldn't see them except, you know, they were the size of an ant, and everybody was screaming so you couldn't hear them. But that's kind of like my Woodstock.
Cathy:Well, in 1966, I saw them in Dodger Stadium. And '65, I saw them in a football stadium. My mother went with me. Oh, she did. I'm awestruck.
Cathy:Sure did.
Susan Dormady Eisenberg:I'm struck I'm awestruck. You well, then I resent Let's
Cathy:get back to her subject.
Merry:Oh, okay. So let's talk about some of your novels, because few of them are about the vocal arts. And why did you write the your last novel and the first?
Susan Dormady Eisenberg:Well, it started as my first novel, and then it became the new novel because I put it out first in 2012, and then I completely revised it and then putting out a putting it out again. And I always sang and I studied voice for years. I had eight teachers.
Merry:Oh. Wow.
Susan Dormady Eisenberg:And they'd always say the same thing when I came in. Oh, you have a lovely voice, but you don't have any technique. And even after eight teachers, I never had technique. So I I then I did interview a lot of very famous singers, and I thought, you know what? This is an exciting thing, and I wanna write about it.
Susan Dormady Eisenberg:I love singing. I don't plan to be on stage, but I can bring it to life as a writer.
Merry:Ah, and you have. Well, give us some insights into the backstage world of performing.
Susan Dormady Eisenberg:Well, of course, it's never glamorous. It it looks glamorous only out front, but usually backstage, it's it's very unglamorous. I did write a book about Camelot, One More Seat at the Roundtable, a novel of Broadway's Camelot. And the whole purpose of the book was to fictionalize but be very honest about what happened in Camelot because Camelot was a dumpster fire. And from the day they left New York after rehearsals, yes, yes, and went to Toronto and then went to Boston, it was a mess.
Susan Dormady Eisenberg:It almost closed in Boston, and it almost closed again after opening on Broadway. So I researched it very carefully. I talked to many people who I talked to people who were there who told me what happened.
Merry:Had no idea because it was such a great play and musical and a wonderful movie.
Cathy:But it's considered a success on Broadway, isn't Isn't it?
Susan Dormady Eisenberg:It took a long time to become one, though. What it happened was in Toronto, they lost their director, Moss Hart, and then there was no director, and it was a sinking ship. They had no captain, and they brought in Richard Burton's foster father to keep him calm, but Burton Philip Burton kind of undid what Moss Hart did, And then every day in Boston, they were there for five weeks, they were getting changes to the script. Burton, Andrews, Goulet, Roddy McDowell, they wondered what's what is tonight's script going to be?
Cathy:Oh, well, yeah, you can't have a show like that.
Susan Dormady Eisenberg:That's They made it back to New York. They opened to very lackluster reviews, and then a miracle happened. They call it the March miracle. The show had opened on December 3, and on March 19, Ed Sullivan featured them. In the meantime
Cathy:Oh.
Susan Dormady Eisenberg:Moss Hart had come back, and he'd redirected. The show was great. They did excerpts on Ed Sullivan. The show was a hit.
Cathy:Yeah. Think we all saw those.
Susan Dormady Eisenberg:Does that answer your question about the backstage walk
Cathy:of Yes.
Merry:Yeah. Absolutely.
Cathy:How have the performing arts like opera changed over the years? And also tell us how pop, rock, rap, and country are different from classical.
Susan Dormady Eisenberg:Well, the way opera's changed is that in around the seventies and eighties, many American companies were springing up, and a lot of those companies, such as, let's say, the Houston Grand Opera, and some in other cities, many cities, they developed young artist programs. So they were training homegrown singers that then they were singing they were sending out into the world, to have starring roles or starting with smaller roles and working up. But the problem is over the years, many, many singers were training for the profession, but the opera companies were not doing as well. And a few years ago, there were 8,000 freelance singers. Wow.
Susan Dormady Eisenberg:But only 80 I just read this in Opera America. Only 80 were working steadily.
Cathy:Oh, yeah.
Susan Dormady Eisenberg:So that that's one way it's changed. Another way it's changed is that with the advent of opera in HD introduced by the Met, people have to look like their role. We don't want a three hundred pound singer playing an ingenue, at least that's what the audience That's true. The casting became really different, and singers began to feel pressure of being ready for their close-up. That's another big Yeah.
Susan Dormady Eisenberg:Well, yeah. That's for sure. Remember how many heavy, lovely ladies used to be the stars of the opera, like Mousserrat Caballet? It was just huge, but the most beautiful voice in the world. I don't know if she would do a good get a lot of jobs today.
Merry:Well, there's a, yeah, there's a few beautiful opera singers these days, though.
Susan Dormady Eisenberg:You mean large heavyset opera singer? Of course, there are.
Cathy:Yes. Yes. Oh, yes. No. Some some people
Susan Dormady Eisenberg:will always break the trend. Mhmm. I'd rather not name names, but yes.
Merry:Yeah. And
Cathy:do do you feel that the other categories of music have changed a lot too?
Susan Dormady Eisenberg:Well, I'm not an expert on those, but I do think that that some of the more modern styles have infiltrated opera because we're now having much more modern opera, and we are hearing different styles in that. And of course, if we want to talk about Broadway, we have Hamilton.
Merry:Oh, yeah.
Cathy:Oh, yeah. Right? Love it. Love it. Love it.
Cathy:I love it.
Susan Dormady Eisenberg:And also, the other thing that we have to talk about is the fact that many people are not writing Broadway musicals from scratch anymore. What they're using is a potpourri
Cathy:Jukebox.
Susan Dormady Eisenberg:Yeah. Jukebox musicals. That's that's very popular.
Merry:Yeah. I just saw Anne Julia, and I loved it, and it's a jukebox musical.
Cathy:And Mamma Mia just came back to Broadway. Mamma Mia. I saw And you've got MJ and Beautiful Noise and all these ones are just old song books.
Susan Dormady Eisenberg:Yeah. Just in time with Jonathan Groff.
Cathy:Oh, that's fantastic.
Susan Dormady Eisenberg:Love to see that.
Cathy:That's fantastic. I did I did see it. I did see Is it wonderful? He's incredible. Oh, he's
Susan Dormady Eisenberg:I saw him as
Cathy:Merrily We Roll Along. I mean Well, they can't do it without him because his billing's on the outside of the theater. So, it says Jonathan Groff in Just in Time. They don't do it. He's not missed a performance.
Cathy:There's no understudy. They just can't do it without him.
Merry:I wish it would come to LA. It probably will. I don't But with him.
Cathy:Oh. Yeah. You're gonna need him because his like I said, they mounted the show with his name attached to it.
Susan Dormady Eisenberg:I live in Baltimore, and I'm always in my car with my husband driving to New York. We see so many shows. It's unbelievable. Oh, good. It is our mutual passion.
Cathy:That's good. Don't miss that one. Don't miss that one.
Susan Dormady Eisenberg:My husband and I met in a production of Camelot. I was Guinevere and he was in the chorus and neither one of us ever set foot on stage again.
Merry:Oh. Oh.
Cathy:They weren't any good.
Susan Dormady Eisenberg:Yeah. Yeah.
Merry:Well, I'd love to hear more about your novel, A Voice I Just Heard. And it's a coming of age story and a tale of love that encourages us to follow our hearts and chase our dreams. It's also about the Vietnam War. Right? Yes.
Merry:So talk about your book and why you mixed war and the arts in one to tell a story.
Susan Dormady Eisenberg:I'd love to. The Vietnam War was the seminal event of my generation, and it sounds like possibly your generation too. Yeah. You're younger than I am, but it was pretty amazing. And I lost a friend in the war.
Susan Dormady Eisenberg:I always knew that I would have to write about it. But when it came time for me to write my first novel, I thought I would incorporate that in a novel that was coming of age, but I was also very interested in concept of vocation. I think vocation is so important to all of our lives. If we have a gift, should we use it to earn a living? If we have two gifts, which one should we choose?
Susan Dormady Eisenberg:Important, I mean, and then the old saying, if you love what you do, you'll never work a day in your life. And that's part of vocation. So I wanted to talk about a person, Nora Costello, who was a young singer who didn't get very much encouragement from her family, but her brother was her North Star. So The Voice I Just Heard is a novel about Nora, a young soprano who's struggling with vocal stage fright. She meets an alluring baritone, that's Bart, at the Summer Tent Theater, but this is 1970.
Susan Dormady Eisenberg:It's a few weeks after her brother's, death in Vietnam, and she wonders how she will survive without her North Star and her soul family cheerleader. And will Barb Wheeler, this singer who knows a lot about singing, break what's left of her heart? Those are the questions.
Cathy:And so then that leads me to my next question. What's the price of chasing a dream?
Susan Dormady Eisenberg:That is the question of the novel. The price of chasing a dream, I think, is that we may wind up having to alienate people who don't agree with our dream. That would be sometimes parents, sometimes mentors, because in in moving forward toward our dream, sometimes we have to follow what we want to do and not listen to perhaps naysayers. One choice.
Cathy:I agree so much. I had a grandmother that nagged me every day, You've got to go get your teaching credential. I said, I don't want to be a teacher, I want to be an actor. And she's like, No, you need a teaching credential. I said, But I don't want to teach.
Cathy:She just couldn't even fathom that, like why I wouldn't do that.
Susan Dormady Eisenberg:Yeah. In my book, it's really interesting. Nora Costello has a beautiful soprano a coloratura soprano, more Beverly Sills than Julie Andrews. But the few times that she sung in public and her parents were there, she was not able to control her stage fright. So they don't know she sings.
Susan Dormady Eisenberg:They don't know how well she sings. They don't even they don't think she has a gift. And I think one of the biggest moments of the book for me is a horrible moment when she goes to the Metropolitan Opera with Bart and comes back, and she's so inspired, and she tells her father she's changed her mind. She isn't going to Broadway. She's going to become an opera singer.
Susan Dormady Eisenberg:And he says, didn't you just go to the opera? Don't you know that people are born with gifts like that? Oh, it's like it's a horrible thing.
Cathy:Yeah. Is a horrible thing because you aren't born an opera singer. That's for sure.
Susan Dormady Eisenberg:No. No. It's years and years.
Cathy:It's years of training. Absolutely. And
Susan Dormady Eisenberg:so I feel like we have to forge our own path at all costs, all of us. I know for myself, my parents weren't excited that I said I wanted to be a writer. Yeah. I think they were thinking in order to be a writer, you had to be Truman Capote.
Merry:Not true.
Susan Dormady Eisenberg:Absolutely. You had to have a Gothic Southern upbringing.
Merry:Maybe that's the point. What does theater teach us and opera teach us about being a human being that we can't learn by attending a sporting event or a lecture or anything else?
Susan Dormady Eisenberg:Well, at a sporting event or a lecture, we're more of a passive observer, and the emotion comes from perhaps the lecturer says something that rings true, or we get excited about watching our favorite team. But in opera and theater, we really see ourselves in the characters and that we connect with also the people who are interpreting the characters. And so I think we can get observations about life and we can grow just from going to the theater. It's amazing how much theater affects us.
Merry:Yeah. Really is. It really is. And it gives you so much joy. And the audience is really a participant.
Susan Dormady Eisenberg:Absolutely. The thing that I've observed about singing, great singing, great acting, is that and I do cover this in my novel because I think it's important to know. Those people have something to give. They're not standing on stage waiting for applause. The applause is a byproduct of their greatness or their wonderful performance, but that's not why they're really there.
Susan Dormady Eisenberg:The great ones are there to share with us, to give to us. Mhmm.
Cathy:I agree. Is a career in the arts then a worthwhile goal, and how can artists support themselves beyond the stage?
Susan Dormady Eisenberg:That's a really good question because I think a lot of them can't, but I think it is a number of compromises that they have to make. As we've all heard, it's not funny, but what's another name for actor? Waiter. They're out
Merry:here in Los Angeles too.
Susan Dormady Eisenberg:I probably shouldn't give away this spoiler, but I feel like doing it because of what we're talking about. My novel, my character meets this fantastic singer. He's a washed up Broadway baritone, but really, he's a plumber.
Merry:Oh.
Susan Dormady Eisenberg:That's how he earns his living. But I mean, seriously, I think people have to sometimes be really flexible if they wanna be in the arts about doing other jobs, maybe not for all time, maybe just for a short time or maybe all your life, but people that really have to be there just do have to be there. So I know a lot of people that have made compromises to stay in the arts.
Merry:Well, price of chasing a dream. Right?
Susan Dormady Eisenberg:That is the price. Sometimes it is a financial price, but I think a lot of it is an emotional price. Because if you are still having to work two jobs to be an actor or a singer, a dancer, it may mean that you haven't achieved the level of hireability, if that's a word, to sustain you. It may be that you didn't quite get to that place. Mhmm.
Merry:Yeah. That's that's a big, big disappointment. Yeah.
Cathy:You think? It is.
Merry:And we've all been there.
Susan Dormady Eisenberg:I also worked at the Joffrey Ballet. I was in marketing, and I saw all the heartache in dance. And, I mean, those kids, they start dancing when they're very young, and they could be washed up at age 30. I'm serious with the level of injuries. They could be.
Merry:And especially nowadays with the kind of athleticism that it requires. It's more athletic. It absolutely is.
Susan Dormady Eisenberg:I think dance is much more healthy for for women now, though. Since George Balanchine passed on and since the companies have changed, I see more womanly figures in dance, which I really appreciate.
Cathy:Yeah.
Merry:That's that's true. Let's talk about where you grew up. Cohoes? Cohoes, New York. Yes.
Merry:And you used it in your novel. Talk about Well,
Susan Dormady Eisenberg:I used it as a symbol because Nora's brother, who died, loved the Cahos Falls. Cahos has a waterfall that's the second largest waterfall in New York State.
Cathy:Oh.
Susan Dormady Eisenberg:It's very beautiful, and it's the second most famous after that other waterfall.
Cathy:The one in Buffalo.
Merry:Yeah, right. So
Susan Dormady Eisenberg:I used the Cahos Falls as a metaphor for just life. He just found so much solace, the brother going to the falls. It was something he felt he discovered because in my day a lot of people didn't go to the falls. They weren't really running. They were diverted for hydropower, so you rarely saw them, and I rarely saw them when I lived there.
Susan Dormady Eisenberg:So I used them as a symbol of life and he used them, Liam, as something that inspired him. Then later after he died, my protagonist had a song created to a famous poem about the Cahoe's Falls. It's an 1804 poem by the bard of Ireland, Thomas More, and I had it commissioned and had it actually written as a song so that my heroine could sing it.
Cathy:Oh, I was going to ask you about the song you commissioned, Laurie Laitman.
Susan Dormady Eisenberg:Laurie Laitman, she's a wonderful art song and opera composer.
Cathy:So you actually had the song composed, like commissioned it, that you could let the heroine singer sing it in the book?
Susan Dormady Eisenberg:Yes, and then what we did was Lori has many recordings, so it's only one song, so she put the song on an album called Between These Spaces I believe, and then it's also free to hear on YouTube. Just Google Lines written at the Falls. So we originally thought that we might have a CD that went with the novel, but that's Yeah. No. Technology has, you know, outpaced that.
Cathy:Yeah. Because nobody has a CD player.
Merry:That's right.
Cathy:Yeah, because years ago my daughter wrote a children's book when she was a child, she was seven, and it came out with a CD of the kids singing the song that was the book, And it was very popular because you everybody had a CD player. You popped it in fantastic. In your kid's bedroom. They're reading the book. You pop the thing in, but can't do that anymore.
Cathy:When it was they re reissued it last year on the twenty fifth anniversary of the book. They did. She's now 35. And so there's you know? But no CD.
Cathy:No more CDs. Think that's And it's too bad because
Merry:You have to stream it.
Susan Dormady Eisenberg:Yes. Yes.
Cathy:No. But there is no streaming of those kids singing it. We went in the studio, recorded it with kids that she knew. Oh, yeah. Bunch of kids singing.
Susan Dormady Eisenberg:Yeah. Yeah. My original conception, and then I Laurie went along with it, was that we wanted people to hear the song and the soprano. Then in this version of the book, my own soprano, Nora, couldn't the book ends with her trying to perform that song, but not necessarily succeeding because she's just not trained enough. She's just bikini, and she hasn't gone to conservatory.
Susan Dormady Eisenberg:She's on her way, but she can't really do justice to the song. So the the whole purpose of the song now in the book is not only to pay tribute to Liam, her brother, but also to show what it takes to sing an art song. You can't just interpret one. You can sing the notes, but you may not be able to put it across.
Merry:That is really, really true. When you watch all the TV shows like The Voice and American Idol today, it's all about the interpretation.
Susan Dormady Eisenberg:Everything's about interpretation the arts.
Cathy:Mhmm.
Merry:So on that note, what do you think is the overall value of performance, going to a performance versus listening to it, or even watching it on TV or online?
Susan Dormady Eisenberg:Oh, I I feel very strongly about this. I love singers. I have several very famous singers that I fell in love with. They happen to be opera singers. And I got all their CDs and I played them, and then my experience going to the house, to the Metropolitan Opera, was so different.
Susan Dormady Eisenberg:Or it could be a car Carnegie Hall. It could be a recital hall in DC. I've heard them at various places. What I learned was the voice, at least at that level, is a fraction of what you hear in the house. Doesn't have the depth.
Susan Dormady Eisenberg:You're only hearing the front part. But when you go to the opera, you're hearing the whole voice. And no great recording can give you that. Really? That's what I think.
Merry:Yeah. It's interesting.
Cathy:You would think the recording could pick up much more nuance and detail.
Susan Dormady Eisenberg:Maybe nuance and detail, but the depth of the voice. And the heart. Yeah. It's just not quite there. In my opinion, I may be wrong.
Susan Dormady Eisenberg:It just may be me, or I just fell so in love with those particular voices that hearing them live was so exciting. But I always believe in live performance. I subscribe to Broadway HD, and I've seen musicals there, but it's it can't compare to you're in a house with a lot of other like minded people. You're the energy of our audience, the energy of the audience. That's true.
Susan Dormady Eisenberg:Right? Plus the energy on stage. It combines to make this wonderful symbiosis, and then you have a wonderful experience enjoying the performance. I don't feel that at home when I'm watching.
Cathy:That's absolutely true. You you can't feel it at home. As somebody who goes to a lot of Broadway, I go to considering I live in California, I go to Broadway a couple times a year. I try to see four or five shows while I'm there. And by the way, Susan, don't miss Operation Mintzmy.
Cathy:I wanna see that. It's fabulous. And Susan, what would you like our audience to have as a takeaway today?
Susan Dormady Eisenberg:Well, obviously I'd love it if they buy my book.
Cathy:Oh, yeah. Beyond my book, I
Susan Dormady Eisenberg:would like to say that you will never lose by examining your dreams and pursuing your heart towards your vocation. You will never lose even if people oppose you or don't immediately support you. In the end, you want to be fulfilled.
Merry:Oh, that is so true. Thank you so much, Susan. That's really powerful to You're welcome. Honor. Our guest today on Late Boomers has been singer and author Susan Dormity Eisenberg.
Merry:If you'd like to connect with Susan, you can reach her via her website, susan d eisenberg, e I s e n b e r g dot com, and you can buy her book.
Cathy:Yeah. And please subscribe to our Late Boomers podcast on YouTube. Like, follow, send it to all your friends. Join us next week to meet another inspiring guest, Susie Prudin, who's a dynamo running her own publishing company, and she's in her eighties. And please share this episode with a friend who needs some inspiration.
Cathy:And as always, thank you for being part of our Late Boomers community, and thanks again to Susan Normandy Eisenberg.
Susan Dormady Eisenberg:Thank you so much.
Cathy:Thank you for joining us on Late Boomers, the podcast that is your guide to creating a third act with style, power, and impact. Please visit our website and get in touch with us at lateboomers.us. If you would like to listen to or download other episodes of late boomers, go to ewnpodcastnetwork.podcast
Merry:is also available on Spotify, Apple Podcasts, and most other major podcast sites. We hope you make use of the wisdom you've gained here and that you enjoy a successful third act with your own style, power, and impact.
