E242 Evelina Girling

This week's guest is Emelina Gerling, who joins us from London, England. Emelina is the founder and CEO of the London Cabaret Club, which is an immersive dining theater experience in central London that features rotating seasonal shows with themed menus and performances. In our conversation with Emelina, we discuss the creative process of planning shows months in advance while managing the current production. Emelina discusses the club's operational aspects, including international residencies, staff training and cost management strategies.

We talk about Emelina's journey in the hospitality industry. We discuss the success of the business in the competitive London market, future plans for new productions, plus a number of other topics. Make sure you check out the club online on Instagram at the London Cabaret Club and on the web at thelondoncabaretclub.com, or check the show notes for all the links. We'd like to thank Emelina once again for taking time out of her very busy schedule to speak with us and enjoy the show.

All right, we're back with another episode of the industry podcast. My name is Kip and this is Dan. Hey, that's me, how's it going? Great man, great, no complaints.

Wonderful, yeah, we're gonna miss the summer here. It's a couple weeks before this comes out live, so enjoy the beautiful summer and some great festivals we've got going on here in town. Every weekend at festival here in Kitchener Water, Looing, downtown Victoria Park. There's Swing by Sugar Run after at Sugar Run Bar on Instagram to find out what's going on there, but you're down town anyway for these festivals and we're right around the corner.

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Also like, rate, review the show. All that always helps us a good great deal. Yeah, just some other friend. It's the quickest thing to do, and the easiest thing to do takes about two minutes and helps spread the word.

So we definitely appreciate if you can do that. And don't forget about our good friend, alchemistally, at alchemist.ally on Instagram for, she's been summers here, and if you've been following her at all, she's been crushing the parties lately. So yeah. Nice.

Yeah, so if you're looking for someone to host an event, whether that could be bridal shower, wedding shower, maybe shower anniversary or just a backyard barbecue party. Ali's your girl and they can find the information in the show notes as always about everything we talk about. I just want to drop one more thing too. Our good friend, Reese Sims, who's been on the friend of the pod for sure, been on the show a couple times now, has come out with an amazing project called the Flavor Report.

First edition is out now, Google Flavor Report, F-L-A-V-O-U-R. It's unbelievable. It's basically 90 pages of Sharp Scares writing, trends and flavor, nerdery. So there's a bunch of incredible contributors, but the product is amazing.

I checked it out. It's really stunning. It's beautiful to look at and the content is amazing. So congratulations to Reese Sims.

It must have taken her a huge amount of time to do this. So yeah, and a lot of parents on the show just a couple weeks ago, it episode 239. So give that a listen. That was part two of her interview with her.

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So let's get to our guests. Evelyna Gerling is joining us from London, England. How are you? Hi, very well, thanks.

Hello. Wonderful. Thank you very much for joining us and especially on the sleep and evening for you. We're excited.

Thank you. Crazy. We haven't done European guests in a while and like coordinating the time difference is not always easy. So thanks for being flexible.

No problem. Okay. So I want to get into basically, you are the founder and CEO of the London Cabaret Club. So tell us a little bit about what that is exactly and then we can talk about how you got here.

Sure. The London Cabaret Club is a immersive dining theater experience here in London, Central London. It we created it. I co-founded it.

I created about 10 years ago. I thought there was a gap in the market for having new offering in London. So it is the most amazing experience and involves coming in and dining throughout a spectacular show, which is at a stage, a 360 stage in the center of the magnificent Ballroom, which is our venue, the Blues Reborum, based in a Blues Reformer, Central London. It is quite a unique experience and amazing, you know, amazing offering London.

So it's like dinner theater is basically the concept. I guess you can call it dinner theater. Yeah. Yeah.

And so like, do you always do you rotate the shows you have there or has it been the same? Yes, we rotate them seasonally. So we tend to have about four shows a year every season. So at the moment, we're planning Copacabana, which is our fabulous Brazilian summer show.

It's very flippy, full of color, feathers. It's amazing. Brazilian dancers as well as other specialty access singers. And then we tend to rotate shows every three to four months.

We've had Rock New York Chicago finished recently, Gatsby's one of our big winners, Bond is coming up London of Dies. Oh, nice. Yeah. I got a quick question.

When you rotate the shows, do you adjust the menu accordingly to be the match the theme as well? Yes, we do. And if you can use drinks, a few drinks are designed according to the theme of the show. Oh, right.

So I have an amazing spicy Brazilian flavor menu, which I'll show you the creative, as well as fun cocktail, fun, colorful cocktail, that's kind of compliment the theme of the show and the food. So that changes easily as well. OK, I have a ton of processed questions for you because I'm super fascinated by this. It's like, I'm just trying to run one little bar here.

But what you're doing is like, you have to keep your toes in several different pools of water here to juggle what you're doing. It's such an immersive experience. So my first question is, how do you decide on the shows to dramatic troops reaching out to you? Do you seek them out?

Like, my interest in that. So how do we sign the shows? We have a creative team and we tend to plan ahead. So this is a special year ahead on our shows.

And it really doesn't depend on the season. So obviously, in the summer here in London, we offer a summary show. So we, you know, this is what the theme of Co-Comana came up with. So what could we offer in London?

It's appealing to the, not just to the local market, but to international tourists. Come, the autumn and Christmas here, it tends into the winter months, which are popular and as far as Christmas shows. And we tend to choose a theme that would go alongside a Christmas show. Or so Gatsby Normally is a big winner.

Or Bond is another big favorite. And it depends on the season. We try to vary them from year to year as well. So sometimes we have a show that will run, you know, one or two years, take it away and then we'll bring it back to you a few years later.

So you have like a creative director on staff. So it's not just like your, it's not like an outside production that's coming in. You do the whole thing in-house. Oh, wow.

In-house, yes, I am the creative producer. I have an artistic director, a hygienic hero. We have a creative team of choreographers. We have, you know, it's costume designers, you know, with the big, great team behind every production.

So it's a big team effort. So you're like running auditions all the time as well then. And choreographing it like, how do you have time for this interview? I'm not sure.

I'm not sure. But there's a fun part. Auditions are great fun that we do them twice a year, normally maybe in the year and then halfway through the year. And, you know, London, as well as I was playing in York, we're quite lucky.

We have an abundance of talent on tap here. You know, we don't even advertise that much. It's just by word of mouth. And it's, we have a great turnout, you know, it's a great day for us to, you know, to provide a platform for new and emerging artists as well.

It's something that we like to do. And it's good for the industry. So it's, and yes, it does give us busy all year. And the production of the shows, you know, they come into play every season as well.

So we're now currently working on London and the Dies, but we're producing a new show for next year. And that takes longer. So I show that we bring back, takes a short period of time. So it might take like two to three months.

A new show takes probably six months. And because you're open, like all the time, you have must be, like you said, planning the next show while one's currently running. So you're auditioning choreographing for the new show while you're also trying to maintain the production of the one that's currently airing. Yes.

So we're quite strict about that. So we have lots of the current show running. The rehearsals taking place from weekend and weekend and we come in and do, you know, quality checks and control throughout that season. But in the meantime, yes, in the background, we're working on the next production.

Crazy. How many seats in your venue? Like what's the full house? A full house is about 250 seats.

Oh, wow. Wow. So now, okay. So now that moves on to the stuff that I know a little bit more about, but it's like, so now you're also planning a dining menu and a cocktail menu on assuming, wine list, whatever, for 250 guests per night.

So are you overseeing that part as well? Obviously you'll have like a chef and a bar manager or whatever, but. We do. We obviously everything, every part of the business.

So we obviously the food venues, so we take tasting take place as well as, you know, choreography or hustle. So it will take place at the same time to make sure that the new season menu suits, you know, the show, we tend to use seasonal products here as well. So we, you know, we're very, you know, aware of how people, you know, like the season. But, and the drinks, yeah, the drinks are part two with our bar manager and our S&B manager.

We create the menus ahead of time as well. And they change. You know, we have a staple, obviously, drinks that people love, you know, like the coffee returned or the wines, but we always try to tweak it to make it a bit interesting for that to go show. So you do, do you do like a course pairing dinner or is it more like a two-journ adventure?

Course pairing, well, pairing doesn't happen at the London Cavalry Club. It happens out, we have another immersive experience, which you may have heard about, it's called a Petit Chef. That's another experience that we offer here at the London Cavalry Club. Of course, why would you stop it?

Why would you stop it? Everything you're doing already? Yeah. So it's a different restaurant on Tuesday to Saturday, extremely popular, not just with families and kids.

But with the wine pairing, that works really well in that particular offering because unlike the London Cavalry Club, which is very, you know, big, noisy and busy affair, as far as the show is, as you guys, lips each up is a little bit more structured. So it's a similar concept in the fact that you watch it. It's a different type of show. It's a projection show that happens on your table.

So you're dying throughout this amazing experience of these Petit chefs, that's why it's called a Petit Chef, they're part of your plate and a show that happens on your table. Grab it any other way, but it's kind of, yeah, a film, a show that happens, you know, it's projected from the ceiling down onto your plate and you are taken through this journey with the chefs through the evening and you'll present, they basically make them in you for you. That's the whole point of the offering and you're presented with the plate of food that they have created on your table. This is a very cool concept and the menu is very true.

In this season, for example, with the Petit Chef and his friends, which means there are four different chefs and four different menus. So, French, Italian, Spanish and Japanese desserts. So you're dying throughout these different countries. Thank you.

That's amazing. I'm sort of blown away by how you are coordinating all of this at once, but what, especially because you, your background is in finance. Well, yeah, it used to be. It was, it was one of the reasons I created it because I felt that I wanted to do something more creative, you know, my career and always had a love for the arts and musical theatre and dining and just put it all together really.

Did you, were you in drama clubs when you were growing up? Like, or was it just, more like you're just a love for it as a more of a viewer? Or did you grow up in that sort of framework? I did grow up in the performance of the answer.

I did the answer and I did do some performing arts, but my background was actually more art-fying art. Oh, okay. I was a pretty different, but still in the artistic world, obviously. My co-founder, Donnie Ferri, who we founded the concept together, he was in performing arts and he was a professional dancer for 20 ideas.

So, yes, both our backgrounds came together to form what the Montgomery club is today. And did either of you have any background in food and beverage? No, we didn't. Amazing.

That was the learning program on our part. Apart from the love of it, obviously. Yeah, yeah, yeah. It was great.

No, that was actually quite a great experience for us because we had to learn everything from the ground up when it came to running a bar or a running restaurant, kitchen, you know, things to get heated up in the kitchen with the characters in the kitchen. So, in fact, I think most of our drama happens behind the scenes, especially. And we got used to that. That wasn't our world.

So, that was something we had to learn. But behind the scenes is really interesting. Yeah, that's where it actually happens. Yep, that's for sure.

So, I guess my question is, what made you think you could do this? I think we just, we didn't think we were kind of crazy in the world. You can't do that. So, it dies in the deep end of the thought of, we're going to do this.

Because, yeah, like, any, if you just break down everything you just told me that you're responsible for in this venue, it's like every one of those things. It's like a completely different experience and a full-time job that, like, most people would only dream of tackling one part of that, especially if they didn't really come from a background of working in those industries. Well, yeah, that's actually interesting because at the beginning, we didn't have that experience. So, we worked with outside suppliers, we did, we outsourced the kitchen, so we had a cake at home, and then we got outsourced the bar.

But then we soon realized that wasn't cost. Right, yeah, yeah. So, we then decided to take on, in fact, I had a very good mentor at the time, who was Jeremy King, who was Jeremy King, who ran some British team, and some of the restaurants here in London. He said, everything has stopped with the catering chefs and hire your own team.

It's the only way you're really going to get this novel to work. So, that's exactly what we did. We sourced our own kitchen team. We weren't, we were clever enough to make sure that our chefs were catering chefs, because our set menus, so they're not, they can't, which again, comes out of the P&L and costs effective way of doing things.

But that means they can execute things fairly fast and on a timely manner. So, we'll see chef has to run on a very structured time scale and set his London library club. So, they are very good at executing it in the way that we need it to be executed. Mm-hmm, yeah, so I can't even imagine.

So, how long have you been open now? 10 years. So, 10 years. So, so you grow up, you're in fine arts, that's sort of your specialty.

And then you transition to finance. And then just one day you were like, well, this isn't great enough for me. We're going to try this. And 10 years later, you're still doing it.

That's quite a story. Well, it was literally like a lot of stories and an idea of an account for one day. We were doing this and we created a logo on an account and decided, yeah, that's how it started. But it was, we did try and test it in London.

So, we started with pop-ups in London for a couple of years. It's just to try and test the product at the offering. And the result of that, meaning that the audience's reaction. So, we initially invited fanning friends and then people on the industry and realized that this was actually kind of something that could work because, yeah, obviously that the reaction was amazing.

Could you give us maybe sort of a breakdown of like what an average day looks for you from like when you get up and go to work to when you're done? Because I'm just very fascinated by how you're getting all this done. I'm an early writer, I love getting up early. Yeah.

And I do check emails. I mean, really early in the morning, I don't think my people really appreciate getting involved just from me but they used to it. And I think anybody who didn't appreciate that probably quit was not on the top. But I like to think that I have to use every, you know, kind of hour of the day otherwise I am not going to get all this done.

But I kind of enjoy it. You know, I don't mind using it. Those are because we both enjoy what we do. You know, this is our company and it's our concept.

So, it's something you're passionate enough about what you do and you don't mind putting the hours in. It doesn't feel like work. So, I think that helps always felt about it. We did have timescines, obviously through COVID and getting back on the article.

That was tough and really hard to get back on track after that. But again, we believed in what we do in the company. And what is my average day like? I guess I get up.

I normally exercise first thing just to get my book going and bring working, get the emails and the emails. And then it's not working on whatever we're working on whether it's, you know, let's say it's a production week, you know, with the rehearsals. Well, they happen every day and evening for it for four weeks. So, I have to be extremely organized to make sure I get that done as well as other things, you know, personal stuff that gets done as well.

But I'm quite regimented. I like structure. So, I feel like I need to apply my day to day ahead and I know what's happening next day. So, I can fit everything in.

And in the evening and kind of recap, make a list of tasks through the following day, which I said at the time, I tell you, okay, let's get this done. You're never going to get everything done. I mean, I haven't a little mile long, but I prioritize the top five and I make sure I get this top five done for the following day or, you know, whether it's a weekly, you know, past calendar, we make sure we accomplish what it's much we can within the week. And then I do care to leave things and not get to work out with things, don't get done, but it's okay.

Yeah, I guess you kind of have to, right? Like, because the other thing that happens in this, in like the, at least in the hospitality industry is there's constantly small little fires that break out that you're not expecting to have to put out something, a repair or like, you know, like a problem with the building or any of that stuff can pop up at any time and I can like hijack your whole day. A whole day. Happens for the time.

And that's where my team come in. You know, I delegate back to my team because they have to be on the ground and put out those fires and they do. They're very good at it. So I can, you know, we've done some, we've done some residencies outside the UK, which means that we were running parallel shows in different countries.

So we've done Dubai, we did six weeks of residence in Dubai and we did one in Cannes, the Carlton Hotel in Cannes, one summer. And that was challenging running the two venues at the same time in different countries, you know, sometimes sometimes those, you know, you know, UK and time. So I really had to trust my team on the ground that they are, you know, getting to those, those fires you're talking about and making sure that the operations work, you know, today. So how did the shows go over in like, goodbye?

Amazing. That was a private client that hired us and he insisted on taking his own cars. We had to audition for a brand new cast that we took out for this London paradise, the Bond show, he wanted it was quite different experience to London, you know, not used to the way things work over there. But yeah, it was a great success.

I would actually really like to go back to Dubai is a different market altogether for us. And it's dynamic. It's fast and furious. People are, you know, quite demanding because there's a lot on offer and it's all very, very very high standard and you need to be on public game.

And what prompted the one in Cannes? That was, you know, the Carlton Hotel in Cannes on the Croissette in St. It was quite a famous hotel. They were relaunching their hotel, which dates back to the 1920s and so they were doing redevelopment and a brief running and launch of it.

And they wanted a show to kind of launch that. So we took the Gatsby show out there. It was a great experience for us because LaCan, but it was nice to do something in Europe and in the summer season, we did it in the summer season. They have an amazing, well, it's not a ballroom.

It's a grand salon over in France, the 14th grand salon. So the venue was spectacular and it's quite well known on the Croissette. So it was amazing for it to see those sort of clients come through the door. So it was like that.

Obviously the hotel would be providing their own food and beverage stuff. And you guys just put on the performance? We did. Yeah.

Well, that makes it a little easier. It was like you said that they're very old school. So it was like hard to kind of explain to them that they had to be slightly faster to make sure that the people delivered the time we ran between the acts because we only were certified within the intermissions. Oh, yeah.

That makes sense. So they had to learn how to manage the evening, structure of the evening. So we did train them to do that with our own managers down to town and who retrained their house stuff. Oh, I would love to have seen that.

Very funny times. Yeah. So I never thought about that, but that makes sense. How long do you feel like it took you to get that timing right, even at the original club?

That took a while. I was about to do that. And now we've got it down to a team. No, it happens so well.

But any new members of South and Commonwealth board, they have to retrain them. Because it is a performance. The food and drink are performance like the state performance. And they need to make sure they're delivering that at the same level as the show.

They're looking at some great film managers who do that. Definitely a specific disaster stories from like timing wise for food and beverage delivery or from the performances themselves. Or have you been lucky and everything's gone pretty smoothly? No, we haven't that lucky.

A lot of disasters because our show is a fully massive show which means the dancers are on stage as well as off stage. And we have new members of South Korean walking the floor with a tray of drinks and unaware there's a doctor coming behind them or a hot pot behind them. That is the recipe for disaster. And it happens every now and then that does happen.

As to the audience's experience. But we do have to train stuff. I kind of think that if you're coming to a show like that, the audience might even appreciate something like that happening. Because it's very spontaneous.

And you feel like you've seen people like when they see people screw up too. I don't know. They have to be very kind to you. A lot of people are kind to the way they say don't worry about it.

But sometimes it does happen in the middle of the show where the focus is on the people to the post of the stage. But that's okay. That's appreciated by the audience. So do you ever get to take time off of yourself?

Because it seems like this is a 365 day job. I do take time off. I need to for my family. We have high low season so we are able to take time off and low season.

They're not stressed too much in those periods. So we go down to two evenings as opposed to five weeks and all those seasons. So it's a little bit of a break for us. And after you need a break too.

So we make sure they get their holidays in the year in the long months. So you're curious about just my business brain operates on a smaller level than yours. And the first thing you've ever had you must have at this project. It must be insane when you talk about paying performers and kitchen staff and front-of-house staff and operations managers.

And then you're dealing with nuts and bolts and plates, glassware, everything. So talk to me a little bit about that. How long did it take you to get a handle on? No, luckily you did have a finance background which would be helpful.

But getting a handle on all of the outgoing costs with how much money you needed to bring in to make it successful. That's a very good question. That did take some time because you're right. There are a lot of op-hans and it's good.

I mean, if as long as you're putting some really strict guidelines in place and you make sure that each team has responsible for their own departments and the wasteage and so on and their revenue. So we divide it within the company to make sure that it does work. It does work. You're right.

The performance is, but we contract people seasonally. They're under contract. That helps a lot. And salary staff, obviously.

So bringing things in-house, doing the math sales that I've mentioned, making huge of our own in-house kitchen bar, money staff and contracting the performers has reduced costs dramatically. And to help in controlling those events. What do you think was the biggest lesson you learned from when you started this 10 years ago to where you're at right now? That was the biggest lesson.

That was the biggest lesson. Okay. That's fair. That was what, you know, being creative and to extravagant with certain things.

We are really frugal when it comes to things like recycling, how quick, for example, we recycle from season to season and making sure that that is running a very efficient manner that we know that this people are taking care of valuable assets that we've invested in. But you know, some people don't because it's not their company. It's just like I do and other people. So we have to make sure that in each area that people are at, you know, being aware of that because otherwise it doesn't work.

There's too many losses. Oh, I know. It's crazy too. Like you said, like even in my small business, it's like people don't care about your glassware or your color or whatever.

It's like, you know, like, and that's even the glassware. And that breaks in a little bit of a show in the forum and all eyes turn to that waiter. He's not going to do that again. No, that's true.

That's fair. You got that working for you. But you're also like that, those little costs add up after a while too, because like clearly you're trying to run a high end experience. So you can't be using sort of cheap materials when you're when you're putting out like a fine dining experience for somebody who's there to see this performance as well.

So even all that stuff adds up. Yeah. So the other thing I wanted to ask you about is obviously London is super famous for being a mecca of cocktails and fine dining and the bar scene constantly evolving and sort of city that's at the forefront of all those developments in the food and beverage world. So how do you stay on top of that while also trying to stay on top of like what people want to see for a performance?

Yes, it's extremely competitive here in London. The offerings are very high level. So, you know, we look at competitors, we look at what the trends are with drinks. You know, we do our research from season to season and making sure that we're offering, you know, the latest, you know, kind of trends out there as far as drinks are concerned always keep it the staple, you know, popular ones.

But it's that that takes a lot of work too. And do you need to do that, especially with food because food changes. So rapidly here in London and trends and and people are expect, you know, a certain level. And so you have to make sure that we're continuously improving our menus and to making sure that, you know, that being re-end or way of styles, different styles of foods come into trends and make sure that we are offering them.

And it does actually work because people are aware that, you know, their expectations are quite high. Yeah, I'm sure. Especially because you do have a lot of tourism as well who are like expecting what London generally has to offer, right? So, yes.

So in your situation more than almost anyone else is like the reliance you must have to have on like hiring the right people to be working underneath you and with you. It's crazy because you've got so many sort of balls to juggle there. How is that process been for you? Have you had a lot of turnover or have you been lucky enough to sort of keep the right people in the right places for this decade?

We're extremely lucky. We have a very small turnover and high retention rate for our staff. And I think it's because, you know, we hate like a family. So, you know, people who they went long enough to treat it well and obviously are rewarded for that.

So we're, yes, we're lucky enough to have good solid staff who have been blessed for a while. That's good. Yeah, that's a question about patron metrics. Obviously, it's no one ever wants to fill out a survey when they're over dinner or whatnot.

But are you able to track like who how many of your patrons are say local versus out of town visiting and stuff? And what are those numbers? Do they change over time? They do change over time.

Yes, they have changed since COVID since the EU. We have probably more more British now than we did before. Interesting. That's less European, but they're coming back.

They are coming back. You know, the US market was been a little bit strong for us. So it varies from season to season. It really depends on which tourists are in town and not.

But we do have a very staple, I would say, UK market and London, I mean outside of London. So the county is people coming into London for their weekends or their celebration. That's why our best offerings are celebration markets. We offer great birthday packages and celebration, not just birthday, and best raise or any type of celebration.

The corporate market, we're quite strong as well. So we do call lots corporate, especially Christmas time, but throughout the year, we offer some good corporate packages. It has changed since COVID since. Yeah.

Yeah. For everyone. But the other thing I want to ask you about is, so you're already dealing with the competitive market for food and beverage in London. But I imagine I don't know as much about this, but there's must be a very competitive theatre.

The market as well. So you're also dealing with that. Talk to us a little bit about how you stay on top of that. Extreme competitive is the West End.

Yeah. So we don't compete with the West End. In terms of the effects, we do in the fact that we are at the level of our productions, especially the talent on stage, our West End trained dancers and performers. In fact, we quite often allow our dancers to go off performing West End and come back to us.

It's healthy, it's really helpful for both them and us and to say that we've got the star of Wicked, who thinks are wicked coming on board or what about singers. And the best thing is, is currently the Devil West Proteter. She's seen a thing when they roll. So it's really lovely.

It's a great connection with the West End. So we compete with them. We kind of work alongside them. Yeah.

So we often, as I said, just, yeah, we use the same talent which is great. Yeah, that makes sense. And this way works out for everyone, right? Because I'm sure there's lots of downtime for them.

They finish the show and they want to keep working. Yeah. It's great for them as well. I guess the last question I want to ask you about is the other thing that I, and correct me if I'm wrong, this might be just a perception outside of the UK.

But like the London scene as well is always sort of a reputation of being a bit of an old boys network in the food and beverage industry. So is that true? And if so, talk to me about the challenges of being a woman at the top of this sort of enterprise. Yes, that is true.

Let's then let's go on board. I think there are more women in those roles than there used to be. That didn't really phase me. It was like this.

I thought, well, the world of finance, that's the world of other industries. So it doesn't really matter. You just have to be a woman who wants to work in those industries. So it really is, for me, encouraging women to fill in those roles.

Obviously, I work in both, you know, food and beverage and entertainment. And entertainment, it's less so. If I'm women in those men's roles, those roles, less so in the beverage. But not as much as it used to be.

I think it's not quite 50-50 yet. But working on it. That's good. Do you feel like your experience in finance sort of helped you prepare for that situation when you moved to the food and beverage side?

Not sure it did. It's completely different industry. It's to be fair to the beverage you really do have to have. I was a new, but you really have to have that experience and feel that I didn't have.

And I kind of respect that. People work as you know, from the ground up to get to those levels. And I think, yeah, I think it did help in the fact that I was confident women coming into a very, you know, hostile industry. But I had to go by by the way.

And as long as you're at your hard work, and you know, you've got knowledge of industry in which I had to learn very fast, I think people have respect for that. You know, well, you're male or female, doesn't matter. Well, that's good to hear at least. Tell us about anything upcoming that people should be looking forward to going forward with the London Cabaret Club or do you even have time to think about new projects?

I don't know how you would. So, yeah, we keep new projects on the cards the whole time. It keeps us going. It keeps the team going at them.

Something we look forward to. So we have currently, as I said, Kevin Mano running this summer, which is the most fabulous show, first of October at Bonchoke, Kx10, which is extremely popular London Everdise. And it runs through until the next March. And next March, we have a brand new production, which we haven't announced yet.

I will say to Brian, you theme, which we haven't done before, an Italian theme. It's going to be a lot of fun. And yeah, watch the space. It's going to be really amazing.

So I think, well, probably one of our best yet. Okay, we'll tell our listeners where they can follow you, the club, whatever you want to divulge here so they know what people know what's coming up and when to visit London. You follow us on the socials London Cabaret Club at Instagram handle there. Facebook, obviously, TikTok.

We're on all the social platforms. So you just look up the London Cabaret Club and our website is obviously the place to go for it. We go to www.londoncabaret.com. And yeah, we'd love to see you here in London any time.

Happy to receive messages that we can email my team. I've always available for your requests. Amazing. Well, thanks so much for taking this time because I can't imagine that you had it to give.

We really appreciate you coming on the show and best of luck with everything going forward. Yeah, it was a pleasure meeting you. And thanks again. Thank you.

I hope to see you too, Dan. I don't know if you're trying to flood any time soon, but we'd love to host you. Well, if I do, you'll be the first one to know because I want to see one of these shows for sure. So, I'd love that too.

Thank you. Thank you very much. Okay, thank you. Bye-bye.