Anthem and Aria : The Psychic Soulmates

09/04/2026

Our shows across the nation are nearly sold out. There's only a few seats available for Greeley, Glens Falls, Louisville Colorado, and Saint Paul is completely sold out.

However we added one extra date in Tallahassee Florida! Tickets just went on sale!

Will I see you there my Floridian friends?

COMING TO TALLAHASSEE – THE GHOST SHOW FROM HULU AND AMERICA’S GOT TALENTThe StoryIt had been said that Theatre Tallahassee was haunted, but most brushed it off as superstition. However, recent supernatural activity has audiences in chills. The Haunting is Real.To help investigate and perhaps el...

09/02/2026

Event tip for October planning: match the intensity of your immersive entertainment to your company's actual culture, not to what looks impressive on a vendor's reel.

A buttoned-up financial services firm and a scrappy creative agency should not book the same version of an immersive Halloween experience. One needs elegant mystery — subtle, intelligent, more intrigue than scare. The other can handle something bolder and stranger.

Ask your entertainment partner directly: 'Can you calibrate the intensity for our crowd?' A good one will ask about your culture before they ever describe the show. A generic one will pitch you the same experience they pitch everyone.

The goal isn't the scariest or most elaborate night possible. It's the night that feels exactly right for the room you actually have.

08/31/2026

The senior partner at the law firm made his position clear before we'd even arrived: 'I'll be at the bar. I don't do audience participation.'

It was an October client appreciation evening — 110 guests, mostly attorneys and their top clients, the kind of room that prides itself on composure.

We didn't ask him to participate. We let the room's energy do that instead. Forty minutes in, after watching colleague after colleague get pulled into something they couldn't explain, he set his drink down and walked toward us himself.

What happened next became the story of the night — not because it was dramatic, but because it was him. The most composed person in the room, voluntarily stepping into the one kind of moment he'd sworn he wouldn't.

The firm's events coordinator told us the following week that clients were still emailing about it. 'Nobody talks about the catering. Everyone's talking about him.'

The best immersive entertainment doesn't pressure the skeptics into participating. It makes the experience interesting enough that they choose to.

Link in bio if you want your October event to be the one people are still emailing about.

08/28/2026

Halloween is the most underrated retention tool in corporate event planning.

Most companies treat their October event as a throwaway — decorations, a costume contest, mediocre catering, low expectations. Meanwhile, the events that actually move engagement scores happen to be built around exactly this kind of seasonal, low-pressure gathering.

Here's why it works: Halloween gives employees permission to be playful in a way no other corporate event does. There's no agenda to perform for, no quarterly numbers to present, no client to impress. Just a themed evening where people can be slightly different versions of themselves for a few hours — and the research on workplace bonding consistently shows that low-stakes shared experiences build more genuine connection than high-stakes ones.

Companies that invest real thought into an October event — not just decor, but an actual experience — get something most engagement surveys can't manufacture: people genuinely looking forward to being at work with each other.

If you're planning your October calendar, don't file it under 'morale budget.' File it under retention strategy.

08/26/2026

Event tip for programming boards working with a tight per-event budget: stop thinking about entertainment cost per event and start thinking about cost per engaged student.

A 3,000-dollar event that draws 40 disengaged students costs 75 dollars per head, with most of them checking their phones halfway through. A 5,000-dollar event that draws 250 genuinely engaged students costs 20 dollars per head — and produces weeks of word-of-mouth that no flyer budget can buy.

Before your next booking decision, ask: what's our realistic attendance, and how engaged will they actually be? Boards that compare sticker price across vendors without factoring in real engagement consistently overspend on forgettable programming and underspend on the events that actually build campus culture.

Budget for impact, not for the invoice.

08/24/2026

It was a commuter campus — the kind of school where the programming director's biggest challenge isn't getting students to enjoy an event. It's getting them to stay on campus after their last class instead of driving home.

'Most of our students leave by 4 PM,' she told us. 'If they're still here at 7, that's the win.'

We were booked for a Thursday evening welcome event. 60 students were expected. 140 showed up — word had spread through a group chat after the first twenty minutes, and students started texting friends who'd already left campus to come back.

What kept them wasn't just the show. It was that nobody felt like a face in a lecture hall. Strangers were leaning toward each other, comparing what they'd just experienced, asking the people next to them if they'd seen the same thing.

The director's email the next morning: 'I've been doing this job for eight years. I've never seen our parking lot that full at 8 PM on a Thursday.'

If you're trying to solve the commuter-campus engagement problem, let's talk. Link in bio.

08/21/2026

If your fall programming calendar isn't locked by mid-August, you're choosing from what's left.

Welcome Week and the first six weeks of the semester are the most competitive booking window in campus programming — every board wants engaging entertainment in that stretch, and the strongest acts get claimed early by schools that planned ahead.

I understand the instinct to wait. Enrollment numbers shift. Budgets get finalized late. Boards meet inconsistently over the summer. But the entertainment market doesn't wait for your committee's calendar — it moves on its own timeline, and dates disappear quietly, without warning.

The programming directors who consistently deliver standout fall semesters aren't the ones with the biggest budgets. They're the ones who treat July and early August as booking season, not planning season.

If welcome week, family weekend, or homecoming matters to your fall calendar, the best time to lock entertainment is right now — not after the first week of classes, when the strongest dates are already gone.

08/19/2026

Event tip: choosing between a stage show and a roaming, table-to-table format isn't about budget. It's about your room's shape.

A stage format works best when everyone can see a single focal point — banquet rounds facing a front of room, theater seating, anything with a natural sightline. It builds toward one shared moment the whole room experiences together.

A roaming format works best when your room doesn't have a natural front — cocktail receptions, open floor plans, multi-room venues, or events where people are moving rather than seated. It builds connection through many small moments instead of one big one.

The mistake planners make most often: booking a stage show for a room with no clear sightlines, or a roaming format for an audience that's seated and expecting a focal point.

Before you book, sketch your room. The format should follow the floor plan — not the other way around.

07/20/2026

Here's a problem most planners don't see coming: the second booking is harder than the first.

The first time a company brings us in, the bar is 'be memorable.' That's achievable with a strong show and a good read of the room. But when a client rebooks us for year two, the bar quietly changes to 'be memorable again, differently, for some of the same people.'

Repeat audiences are unforgiving in a specific way. They've already had the experience of being amazed. Doing the same thing again, even well, registers as repetition, not excellence.

So every returning client gets a different Anchor — the closing moment tied to their event. Same connection-building structure, completely different ending, built around whatever's true about their company this year, not last year. A new initiative. A new hire everyone loves. A milestone nobody's mentioned yet.

The planners who get the most value from a long-term entertainment partner aren't the ones who book the same show twice. They're the ones who treat each year as its own brief.

What's changed in your organization since the last time you booked entertainment — and does your vendor know?

07/17/2026

Event tip: if your leadership team is nervous about booking hypnosis, don't sell them on the show. Sell them on the safeguards.

The objection is almost never 'will it be funny.' It's 'will someone get hurt, embarrassed, or put in a position they didn't agree to.'

Address that directly. A professional hypnosis segment should include: full consent at every stage, the ability for any volunteer to opt out at any moment without it being a moment of failure, and a performer who actively protects participants rather than exposes them.

When you bring this to a hesitant committee, lead with the structure, not the spectacle. 'Every volunteer can step away at any time, and the goal is never embarrassment — it's wonder' lands very differently than 'trust me, it'll be hilarious.'

The committees that approve hypnosis aren't the risk-tolerant ones. They're the ones who got a clear answer to the question they were actually asking.