Video: Matt Farnsworth On His Vocal Coaching Philosophy & More

Welcome to Backstage with Richard Ridge

My guest is one of the most sought after and acclaimed voice teachers

He is also an acclaimed actor and pianist. He has been teaching voice since 1995 when he became the consulting coach

on the Broadway production of rent. Since then, he has taught hundreds of Broadway actors, film stars, and recording artists

including Sarah Borellis, Julianne Moore, Forrest Whitaker, and Ariana DeBose to name just a few

His students have been nominated and won Oscar, Tony, and Grammy Awards

and can be seen performing in film, television, and Broadway. He currently serves as the vocal coach for N. Juliet and dear Evan Hanson

please welcome Matt Farnsworth. Hello. Hello. It is great to do. Excellent

too. I'm sorry. Hello. Hello, hello. Happy New Year. It is great to see you. Where are you, my friend

I am in Portugal. I am in a little town called Strill, about 20 minutes north of Lisbon itself

We just got back. We were in the States before, but we just got back about four days ago

So you've had a world win holiday, right? We have. We have. We surprised family in Charlotte

North Carolina, and we stopped in New York City, saw friends, taught a few people in person

jumped on a plane, came back here, hosted a New Year's party for 17 people

and now just finished a normal day of work. I love that

Well, you were one of the most sought after and respected voice teachers since 1995

How did this all come about for you, Matt, to teach? Oh, my gosh

Well, that's a, you know, I started coaching people because I was a pianist, and I could play

And when I was at CCM, I'm sure you know Jessica Handy. She's one of my dear friends

And we used to go in the rehearsal rooms. And we'd be playing for her because, you know

she'd need me to play some song for her. And she'd be like, you know, you need to just raise your pout on this and do a little of this

She goes, that feels so much better. And people would just say that when I coached them, it was a natural kind of fit

And I just, I always had an instinct for it, even though I hadn't had any formal training

on it that other than my own voice teaching at that time or my voice training at that time

But, you know, then when I got to New York, I was playing auditions for rent

Well, actually, I was waiting tables. I had just done my first Broadway show at Tommy. I was waiting tables

And a friend of mine called Allison Luce, and she said, listen, I'm down at this guy

Brady tells his office. He only casts commercials. And you probably haven't heard of him, but he's got this new musical called Rent

And they've never had a pianist before. Can you come down and play the piano

And I said, I'm an actor, not a pianist. And she said, it's $50 an hour

and I said, I'll be right there. So I went down and I started playing the piano for this new musical called Rent

No one knew what it was. And it just became this kind of huge hit. And then at one point during the casting and your friend, Heidi Marshall

I started coaching these people. We called it the rent farm because, you know, musical theater people at this point

our most pop musical was closer than ever at that point. You know, I can't tell you how many people came in and saying

you know, what am I doing out in the rain? Like they thought that was a pop song, you know

And so we would be casting these people that were performing in the subway

or people that were on the street in New York and they hadn't had a form of vocal training

So trying to teach them how to get through eight a week because they had a more authentic sound and feel for the show of rent

that we didn't have in the Polish musical theater world. So I kind of started like that

And it's because of Bernie and Heidi and they kind of started me on my way

they kind of saw something in me that I didn't even know about at that point

And then Iida opened and, you know, all, it just became this kind of natural thing where I was doing both

I was acting and coaching on the side. And then it kind of just kept building upon itself

So that you hung your shingle out. You had another shingle, right? I just, it was such an interesting lesson in like saying yes to one opportunity

You know, like just how your whole life can change. And the thing is, I loved acting

Actually, I don't love acting. I love singing. I hate acting. And I don't hate acting

I just wasn't as good at it as I was a singer. And I was always a very natural singer

And I'm a very natural teacher. But I had this thing in my head. Like, I've already given so much my life to acting in a musical theater

I can't possibly do this for a living. And then, you know, a couple things happened in my life

And I decided to make this a full time. profession for myself

I love the journey because I mean, I knew you as a before, but I was like, how does one

go from being this, you know, Broadway performer into all of a sudden become one of the most

sought after, you know, vocal coaches and voice teachers? Really wonderful what's happened to your

career, seriously. It's been, it's been a blessing. And, you know, it was, it was really

it was really an interesting journey to, and I tell this to my students, too, so much of it

was just coming to peace and understanding that all the work I'd done in one area of my life

or in a different area of my career can actually bring so much value to this area of my career

Do you know, it wasn't a waste. It was actually, it's actually an addition to what I know how to do with the voice

Beautiful. Well, currently you serve as the official vocal coach studio for the hit musical and Juliet and dear Evan Hansen

How intense and massive are those kind of gigs? Well, you know, they're different beasts

You know, they are, I mean, Lorna has been my students since she started on this journey

and I think she sings like 18 songs, you know, all very, very difficult material to do

And they cast very talented people, so it makes my job much easier

So I can't take credit. I basically just help them stay as good as they are

You know, and the thing about Anne Juliet, that's difficult, is that it's a pop musical

So we want that authentic pop rock sound, which means plosives and hard consonants

which are terrible for singing a lot of times because when you're doing it eight times a week

if you only have to do it into the microphone once and record it, it's one thing. But the audience has these songs in their ear from a recording track that we now have to make it

into a theatrical experience that's viable and believable, but keep their voice safe for eight shows a week

So that's been finding the balance of those things. things. Deervin Hansen was wonderful to work because I got to work with so much young talent

You know, these kids were just, you know, not even finishing high school yet. And they were getting

to go in and do these shows. And so, you know, so much it was like, don't eat four bowls of

Captain Crunch before you go to bed. You know, like, it was basically like helping them through

the daily routine and, and just kind of mentoring them and just helping them blossom into these

amazing performers that also a very vocally challenging score, a beautiful score

So that was a different piece. But it was a lot of work. It was a lot of work

A lot of tears, a lot of sweat. You know, I can imagine because there were so many productions of Deer and Hansen everywhere

So it's like you had to keep them, you know, like, oh, we need someone in Toronto

We need someone on the tour. We need somebody here. And like you said, it's sustaining eight shows a week

Yeah. And it's also, there would be times when they had their mind dead set on someone that needed vocal help before they could do the show

So then there was the pressure of getting them ready before they debuted

So, you know, it's kind of like, do you think this person can handle it? And it was like, I think they can

It's going to take work, but we can do it. And because they were the favorite, you know, that sometimes happens where that's the pressure, the highly pressurized aspect of this is that you have everyone looking at you

Are they ready? Are they ready? Are they ready? But it's worth it in the end. And you see the final product

Oh, I can imagine. So I've seen all the deer of it Hanson's on Broadway and some on the road and I was like boy how you dealt with that And the other roles in the show of course too You know you have students in just about every Broadway show I mean I was looking through the roster You know they been in everything

What does that mean to you? You know, it was funny. When you were reading my bio when I started, I hear that

And it doesn't really, the hour I'm with the client is what matters to me

And that is how all of this has been built. I tell my associates, nothing matters more than the hour you're with that person

They need to leave feeling like they have achieved something and understand something better about their voice

And it's just, there was a moment when I decided to spend more time in Portugal

I was walking around New York and I walked by Phantom and Megan was in that one

And I had like the person and it was a moment where when I came to New York

when I was 14 years old, stayed at the Edison Hotel. Phantom was just opening, do you know

And the Phantom had just gotten their closing notice. and I was looking at that theater

and it was just like a full circle moment, you know, of seeing, seeing my life

and seeing how, what my contribution has been to our amazing community

a small one, but an important one I feel for myself, at least

And to just see, it felt really like almost surreal. You know, I can't

I love New York. I've always loved New York. I will never forget seeing into the woods

that was the first Broadway show I ever saw. I think it was called the Martin Beck Theater back then

And Marin Masey came out and gave a talk back after the show

And that day, we had also been on a tour of the West Village with a very unhappy tour guide

It was like, listen, kids, you know, if you come to New York, you're never going to make it. I've been here for 30 years

And I was so depressed afterwards. And so we went to see Marin Masey that night

And she came out, she did the talk back with the kids. And she, I raised my hand and said, do you think it's worth it like coming to New York to be a performer

And she said, you know, if it's in your heart, not only should you do it, it's your responsibility to do it

And I thought, I'm going to listen to the lady who's doing it. I remember making that decision

And then full circle moment, however many years later, that was 19, I think that was 19, 1987

And then 2007, 30 years later, I was doing curtains with Jason

Danieli understanding Jason and I got to tell Marin the story. And it was on the same stage that I saw

my first Broadway show. And that's when I decided to quit theater finally. It felt like that was the

full circle for me. And I went to Mary Mitchell's Campbell's school in India and I got my head

together and I worked there for a month. And it just, I became, you know, dedicated to being a

full-time teacher and left acting behind. I love that. Talk about, you've had a few

full circle moments, but it's, when you can, especially in the theater or when you're doing

something creative to actually see them and acknowledge them and say, wow, I was here years ago

and now I have students, you know, in this show now or whatever. Those are beautiful stories, Matt

Those are really great. You know, you have also one of the most beautifully designed websites

that explains every wonderful thing that you do and offer. First of all, talk about your teaching staff

I mean, you have a wonderful staff that works with you. I do. My company and our company, Matt Farns and Focus Studio, is my company

It's not me. It's like I teach, but my, first of all, my husband is amazing

He does all of the scheduling, the internet stuff that I don't even know how to work Instagram

People are like, did you see my message? I don't even know how to work it. I don't know anything about it

He does all of that. all of our amazing content. My associates, Mike and Grace are just

they're my right and left hand. And we are, you know, we had it at one point

all my associates have been amazing and throughout the years. But, you know, people come and go and people decide to go a different direction

And it's all wonderful. You know, now that we're a little bit small

the company feels bigger, but we're actually smaller. I don't know how that's happened

But Mike and Grace and myself, It's a beautiful team. I learn from them just as much as they learn from me

We hold monthly, or actually bi-monthly meetings where they bring in a student

And we go around and we say, what would you do next? What would you do next? And that's a great learning piece for the student

And it's a great learning piece for us. And then we observe each other, teach

And so it's a very open kind of concept of learning. And I think that that has really, I never quit learning

You know, I always want to learn. I had a hip replacement. I learned so much about my body from that

There's just always an opportunity. Why is something happening for me instead of to me

You know, what's the lesson here? What am I supposed to learn here? And so that's kind of how we approach things

And we have a very holistic kind of approach with our teaching where I believe it's

you know, mind, body, and spirit. I think that they really, when someone is connected in all areas of themselves

when they walk into the room, you will feel. that. You will really feel that. We're 80% water. So when someone walks in and they're relaxed

and down, the other people in the room also relax and come down. I remember we would watch

I was playing auditions. And I was, I think it was for the three musketeers. I was playing this

audition and Sutton came in. And she just was so, I mean, she, she didn't have like any makeup on

She just walked in and she was like so relaxed. And she, You know, it was just like, good morning, guys

We just rolled out of bed. And everybody was like, like a breath of fresh air because we could all relate to her

And I was just aware of how many people come in, like, trying to be perfect and wanting

everyone to love them. And that just it's not even that as bad

It's just that tension then prevents us from relaxing in the room

You know, and then we don't get to hear the material or see your heart. And so much of the work I do with people is like, oh

If I sense that within them or within myself, it's like, have you considered yoga

Have you considered this? We do all different modalities, meditation. We have people on staff that work, you know, as like kind of spiritual guides and things like that

just to reconnect people to their authentic self, to come back to the origin of who they really, really are

And, you know, this business and the reason all of us end up in this business is, you know

many of us have had troubled childhoods or something that gets us into this business, right

That's why we are here. And it's just a beautiful thing to see people take that and to use it in their art rather than to defend against it in their art

I love that. So I was going to ask you what your philosophy is, but you've explained to a lot of that because it's the three pieces that come together

And relaxation, I would think, like you said, my body and spirit, I would think is like the triple crown of finding relaxation to let your voice come out and be its fullest to say

sing and to feel, right? That's right. And then the authentic instrument is released because you're in your authentic body

And it just, it just works. It just works. Because you offer, you also do in-person classes too, right

Or is it mostly online? We do in person. No, both Mike and Grace are in person

I'm in New York like every other month. And I come back. It's only a five and a half hour flight from Portugal

So I fly back. We come back. But, you know, when the pandemic hit, it was like, it was safer for me to teach everyone online

Because if I'm teaching a bunch of people in Broadway shows and I have COVID and give it to all the shows, you know, it was actually beneficial for my company

I know it was really horrible for a lot of people. But for us, it enabled me to be wherever I'd like to be

And I became very good at online lessons. I prefer in person lessons, obviously

I love to have the energy in the room. But from a technical standpoint, if I was teaching opera, I couldn't do it

it because I need to hear the overtone. But for pop and rock, I hear very much, much more clearly

through the computer, the tensions, the breath flow than I do if someone's in person with me

That amazing The differences between all of them But you know I would think it so great now because if someone doing a show and has an issue they can just go to you online and talk to you like we talking right now

And you can talk them through this and give them things to do to sing through something, right

Yeah. Well, it happened when I just coached, you know, when I was coaching Felicia and the color purple

It was like she was in Los Angeles. I was in Portugal. You know, it just works

It works that way very easily. And it makes it very acceptable

to be with your teacher and to be able to get the information very quickly

The only thing that's a downfall about it, and honestly, is the body work. Like, when I want to go in and just touch the neck and release a muscle, that's very hard to do

But I've come up with different ways and different tools to be able to have them do that

themselves, which in the long run is the best way to do it anyway, because you want the person

to be able to help themselves and not need you. Like, my goal is always to have my students not need me

Right? That's my goal for them to be self-sufficient. I love that

You know, one of the other fascinating things you offer is the MF voice app. I was fascinated with just scrolling through the voice app

Explain what you offer with a voice app that people can download and learn things

So the voice app, my God, was it like seven or eight years ago? I was just, there were so many people that were saying to me, do you have like a warm-up app

Do you have this? Can you do that? It's not a voice teaching app. And I just want to be very clear about that

You really should work with a teacher if you're going to learn to train your voice. But it is a wonderful tool because it goes through and it asks you, are you a baritone

Are you a tenor? What type of music are you singing today

I mean, this thing took me months to program because I had to program this every exercise for every single thing

And then I had to create the range. And then basically it takes you through once you sail, am I sick

Am I? It also has a program for fitness instructors. because I was working with Peloton and Hydro

because the fitness instructors were losing their voices. So, and at Barry's boot camp

like they were always hoarse because they were screaming into their microphone. So I created a series of warm-ups for them as well

But it takes you then through the series of exercises and body warm-ups based on what you programmed in

and then the piano comes up and based on your range, it takes you through the scale

So it's been very, I mean, people, I mean, we had like, I think over 50,000 downloads of it

over the years, which is really nice. And people use it to warm up

And it's a great tool to have in your pocket. And I'm proud of it

It was, I mean, I look, now I look at the videos. I'm like, I really need to redo these videos because I look really young in these videos

That's the problem. No, but I love that, though, because people can be on their way to an audition and say

oh my gosh, now this is a country musical and they press on country. And you have something to, like, just so they can put it in their head or rock or pop or Broadway

It's fascinating what you do. Now you also offer masterclasses. I saw that also, which are audits and work sessions in person

Talk a little bit about that. Yeah, so we do different masterclasses at different points of the year

During COVID, they were very popular because no one could, you know, attend anything in person

But I think people have a little bit of a burnout right now online

So we're trying to do more in-person things now. The only advantage to doing online masterclasses

which is an amazing advantage, is that everyone can participate at the same time with their microphone off

So when I'm giving an example, when you're in an in-person master class, you just have to be silent as the person who's working is working

But in an online master class, everyone can do their own singing at the same time

and apply the principles we're talking about in real time. So I actually think that online master's

masterclasses are more beneficial for people attending than in-person masterclasses. Interesting. That's fascinating

I know. But everybody can be singing while you're explaining in a master class

And then we can open up the forum and people can say, hey, when I was doing that, I was feeling this

I was feeling that. I could say demonstrate from me. And then we can fix things in real time

Okay. And besides working on practically every Broadway show from Phantom on

you've worked on some of the most popular musical films. I mean, the Aretha Franklin film

Respect at, of course, the color purple, which I saw on a screening first and was totally blown away

So what was it like working for you on respect, and of course, now, the color purple

Well, you know, it's a lot of pressure. I'm not going to lie. And on respect, it was teaching Forrest to do all the

it's called calling without hurting his voice. And with, you know, they're changing the music daily

It depends on the scene work. They don't want it to sound like musical theater

They don't want, you know, is it going to be shot live? Is it not going to be shot live

I mean, when I worked with Forrest on Jingle Jangle as well, you know

they were convinced it was going to be in the can, you know, and we were just going to record it

But then he sang so well. that they actually took the live performance of his ballad

and it was him singing live. So you just never, you have to be prepared for anything, you know

And, again, it's the pressure. Like, you know, you're on a film schedule

It's like, is it ready? Is it done? I worked for, I was working on oranges in New Black one time

and it was a dream girl sequence. And they gave me, like, they gave me three girls

but no music and no piano. I was like, wait, guys, like, we have to, like, I need something to work with here, you know

So it's just a different. different beasts, you know, film and television. So a lot of times, of course, on these big movie

musicals, you have very competent people that have everything to you in time. But again

it's like a lead sheet. There's no piano accompaniment. There's tracks with a, you know

a person who sung it already. And so it's just a different, it's a completely different animal

But it's very exciting to work on. And it's, it's a lot of fun. Yeah, I have to talk about you

started out in Broadway shows, and I've seen you in all of them before you became a voice

So I'm just going to mention some of your highlights, just tell me a fun story or a memory of doing these shows

So was your Broadway debut, Tommy? Yes. Okay, so the Who's Tommy

So let's, okay, Broadway debut. How magical was that first performance on stage

What do you remember? Well, I don't remember much of anything because it's such a blur

But I do remember the process of getting it. And I tell this story just because I tell it to my students all the time

It was like my fifth time auditioning for Tommy. It was Hughes Moss casting

Do you remember Hughes Moss? Oh, yeah. And I walked into, and they called my agent and they said, listen, we love Matt

Have him walk in as the character and tell him not to talk after his audition

Because I would, because I would, they would project the part. I was auditioning for the Captain Walker understudy

And they would love what I did. I'm like, oh, my God, da, da, da, da. And they'd be like, no, no, no, no, no

It was just to be like, you know. And so that was one of the greatest lessons I ever learned

Like walk into the room as the part. They want you to be the part and just get out of there

And I finished the audition and Des said to me, do you have a brother? And I said, yes

He goes, is he an actor? I said, no. He goes, damn, because we need two of you. You got the show

And he told me in the room. And then I had to like walk outside and just pretend like, everybody's like, what happened

What happened? I couldn't say anything. You know, so that was a really fun story. And then Pete Townsend took me to dinner, which was really cool

He took the new cast members to dinner when we went to the show. All right

That's definitely a chapter for your book. That's incredible. And that's funny that year because you guys went to St. James and cheaters at the Broadhurst

Exactly. All used to carry on through windows. I remember all of that

I remember that whole time. Wow. What fabulous memories from that. Okay. Cats

Cats. Cats was I think they still have PTSD when I think about cats

Just because everybody does I just You know I'm a dancer I danced right

But I'm not like a dancer Right and and they just for some reason

Thought I could do it and I could But at the time I wasn't making Let's say the most healthy lifestyle choices

And at one point I went out and I tell this story a lot Monk has that The peaks and the polygals everyone knows are proud and a plackable passionate foes It always the same wherever goes and it like this patters on forever

And the first thing I tell you when to go into cats is never hiss or scratch, like, because it's the most basic cat reaction or whatever

So I went into the show and it was, Rochelle Rack was there that night

I'll never forget. She was standing, she was one of my best friends. She was standing, because we had just done Sunset Boulevard together

She was in the back row in standing room And I was really nervous

And I went out I was like, the pieces of the publicals Everyone knows are probably Implicable Pesuit photos

There's always the same where everyone goes And I started jumping Around the stage

Like a special cat Not knowing any of the words Just looking at the other cast members

Like, please God help me And they're all like licking their armpits They don't know what the words are

And the accompaniment was just brum and I'm looking in the garbage at the monitor, you know

because it's all garbage around the theater. And the conductor's going, and I'm going

it was just, it was like 30 seconds. It felt like a lifetime, you know, like an actor's worst nightmare

And I just saw Rochelle Wreck's head go down behind the, just like she couldn't even look at me on the stage

I'm just like, oh, my God, I'm never going to live this now. People were very sweet. They were like, oh, it happens to everyone

but it was pretty bad. That's my cat story. Oh, that's a fabulous story

Okay. Thoroughly Modern Millie. Early Modern Millie. One of my favorite shows I ever got to do

I don't think we could do it anymore today. I think it's just the content would not be appropriate

But, you know, working with getting to work with Dick Scanlon and Michael Mayer and, of course, Sutton, who was just a force of nature

I also tell this storyline. because it was one of my greatest learning moments of my career

that I was the cover for Trevor and for Jimmy. But I was mostly a Trevor cover

Like, Jimmy was kind of like the secondary cover. And they were like, I had like one rehearsal for Jimmy

And they came up to my, up at like Intermitt or at, we were doing two shows that day that said

Matt, you're on for Jimmy tonight. And I'm like, oh my God

And like Tom Hanks was coming to the show. Sutton had just won the, you know, the Tony Award

and I'm like, oh my God, I'm going to suck. I'm going to suck. What am I going to do? What I'm going to do

Like, I'd never done the pratfall. I'd never done anything. And Dick Scanlan called me in my dress room

He goes, Matt, I hear you going on tonight. I'm like, yep. And I thought he was going to be like, break a leg

You're going to be amazing. And he said, just remember one thing. And I said, what? He goes, it's not about you

And I was like, he was like, your job is to tell the story and to be of service to the piece

And that's why we hired you because you can. and it freed me

And so I tell all my students when they walk into the audition, like, it's not about you

It's about you solving their problem and telling the story and using your talent

that the universe gave you to be a vessel to tell the story and be of service

Don't make it about you. And I learned that from that man. And I tell him, he's so sick of hearing that story

Whenever I see him, like, do you remember when you, and he's like, yes, Matt. I remember

I was like, that's the best piece of advice I ever got in my life. Wow, that is really great

So I'm sure your head's spinning out of control and you need someone to sort of say, it's not about you, it's about the piece, go out there and play Jimmy

Because you're like, you're like, am I going to suck? Am I going to disappoint people? Are people going to like me

They're all ego-based questions instead of like, how can I serve? How can I be of service here

Okay, I have to ask you about the main production that you did for Goober and Gross

And I don't know if you have good memories, bad memories, fond memories

For who? Didn't you do Mame? Oh, yes, with Loretta Swit. Yeah, so I was going to ask you

it's on the Gouber Grove Circuit at West Bray Music Fair, and I said, Oh, my God, yes

So I said, I had, you were older Patrick, and I saw you at West Bray

Music Fair just so you know, Mame's one of my favorite show. So I want to ask you

I'm bright red. She, I love that woman. She was so sweet

Hot Lips Hula. And we used to watch her on MASH and we were kids. And it was just, it was so fast

I think Norb Jorter directed that production. Yeah, because he directed that whole circuit

And it was fast and furious. All I remember about that show is that my mom told me I looked fat in the costumes afterwards

Because you were you in the round, right? Is that why? Yes, I was in the round

She was like, you have to get different costumes, honey. Cheetah always said, you have to remember

She's, like, my dearest friend. She said to me, she goes, In the round at Westbury, there's someone always looking at your ass

In the audio, so your mother was probably looking at your backside through the whole

probably was. Right? Yeah, she meant it with love. But I just remember that was my main memory of that

Because Mary Ellen Ashley, who's a friend of mine, was in that show. Oh, my God, yes, of course, of course

I just love your career. So my final question for you, you were one of the most sought-a-ta-voice teachers, as is your vocal studio

What do you love the most about teaching? People. I love people

And I love actors. And I love nurturing talent. Don't get me wrong

I like working with movie stars. But really, my real joy is when I, like, Emily Cook, do you know, Emily, she's a student of mine

She came to me, she won the Young Arts Competition. So I worked with her when she was like 16

And she kept my business card. I mean, she got out of Carnegie Mell and she came to me. But we worked together and I nurtured her and she nurtured herself

And when I saw her get Elfabah for the first time, and like those are the moments that I'm just like, it just

I love nurturing talent, do you know, and mentoring talent. That is my favorite part of what I do

I see shows now and I don't, I love to sing, but I have no desire to be doing

I have no desire to work that hard. actually, that's the honest got true. But, you know, my love is in helping people achieve their dreams and their goals

and align themselves with themselves. And that is my greatest joy, honestly

I love that. Well, you know, you've been a big inspiration for the winners of Next On Stage, of course, at Broadway World

which has become such a successful series that we started during COVID when high school and

college kids had no outlet whatsoever. And you were part of that prize, which was, oh, my gosh, a vote

vocal lesson with Matt Farnsworth. What did you learn and what did you enjoy the most about

I was there for those three years. I loved these kids. I love these kids was so talented

So talented. What I love is like watching them and giving them like a small correction

because they have so much talent. When someone's really talented, you give, you know, just like

when you're driving in lane traffic, you move the steering wheel this much and you're a whole different

lane of traffic. That's very much how singing is. They're very tiny, tiny adjustments

And so what I love is just watching their faces light up when you give them, I mean, it's so easy

You give them one tiny little adjustment. They're like, oh, my God, my life has changed

It's just, it's so cute. And just the enthusiasm. And what always warms my heart, too, is just to see that the theater continues to inspire and to touch the hearts of these kids and that people are still interested in wanting to go into this art form

And it was just, I mean, it saved my life, this art. for him. You know, like this, I hid in the theater in high school because they didn't want to get

beat up by the jocks. You know what I mean? Like, theater has always been a safe haven for me

So I just am really happy to nurture it and like support it in any way I can't

I love that. I have had such a good time talking to you. I cannot tell you

You too. Thank you so much for doing this and taking the time. I appreciate it

Well, for more information about the Matt Farnsworth Vocal Studio and the wonderful things they offer

just go to Matt Farnsworthvoys.com. Matt, have a wonderful time. I hope next time you're in New York

let's get together. Let's do it. Or do you come to Portugal. Oh, forget it

Forget about New York. I'm coming to Portugal. Everybody, thanks for joining us

and we'll see you at the theater. Take care, everyone. Bye-bye