⭐️ Building credit and establishing a history of repayment
⭐️ Using SEP IRAs as a retirement savings tool for freelancers
⭐️ Negotiating to contribute a percentage of your fee toward retirement
⭐️ Creating a “third show,” the collaborative result that emerges between the director’s vision and the designer’s vision
⭐️ How theatre becomes complete only when the audience participates in the experience
Building Credit Early
One of the simplest pieces of financial advice discussed was establishing credit. Harrington recalled taking out a $1,000 loan in her twenties. It wasn't because she needed the money, but because she wanted to build a credit history.
Credit demonstrates to lenders that you can borrow money and pay it back. While credit scores are not the end all and be all, they do serve as a record of personal reliability.
SEP IRAs for Freelancers
For freelancers and independent contractors, Harrington highlighted the value of a SEP IRA.
A SEP IRA can be especially useful for people with freelance income who have already maxed out a traditional or Roth IRA. In 2026, the IRA contribution limit is $7,500, while SEP IRA contributions can be up to 25% of self-employment income, with a maximum contribution of $72,000.
For freelancers, a Roth IRA and SEP IRA combination provides substantial retirement-saving options with super quick setup and no cost to maintain.
Negotiating Retirement Contributions
Another practical takeaway was Harrington’s experience asking producers to contribute directly toward her retirement savings when she was working outside of union contracts.
Rather than negotiating only for a higher fee, she would sometimes request that a percentage of her compensation be contributed to a SEP IRA. For freelancers who do not receive pension contributions through a union agreement, this can be a valuable part of a compensation conversation.
Retirement contributions, healthcare support, and other benefits can all be part of a gig negotiation, even if you aren't a member of a union.
Creating the “Third Show”
Artistically, Harrington shared a simple concept that describes how designers and directors collaborate: the idea of creating a “third show.”
A production is not simply the director’s vision, nor is it any individual designer's interpretation. Instead, it becomes a third version—something created through the collaboration of director and designers. And ultimately, the performers, technicians, and the audience help create a fourth, fifth, etc version of the show.
Ethan observed that the "third show" idea helps explain the transcendent feeling of live theatre. No single person owns the final experience. The art emerges from the intersection of many voices sharing the same space, moment, and intent.
A performance does not fully become theatre until an audience is present. The same could be said for a podcast. The interview between Wendall and Ethan was a conversation but became a podcast only when listeners join in via the podcast feed.
Listen to the full interview at: