On the Corner of Broadway and Tech with Carla Stickler

About Carla

Carla Stickler is a professional multi-hyphenate advocating for the inclusion of artists in STEM. Currently, she works as a software engineer at G2 in Chicago. She loves chatting with folks interested in shifting gears from the arts to programming and especially hopes to get more women into the field. Carla spent over 10 years performing in Broadway musicals, most notably, “Wicked,” “Mamma Mia!” and “The Sound of Music.” She recently made headlines for stepping back into the role of Elphaba on Broadway for a limited time to help out during the covid surge after not having performed the role for 7 years. Carla is passionate about reframing the narrative of the “starving artist” and states, “When we choose to walk away from a full-time pursuit of the arts, it does not make us failed artists. The possibilities for what we can do and who we can be are unlimited.”

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Transcript

Announcer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.

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Corey: Welcome to Screaming in the Cloud. I’m Corey Quinn, there seems to be a trope in our industry that the real engineers all follow what more or less looks like the exact same pattern, where it’s you wind up playing around with computers as a small child and then you wind up going to any college you want—as long as it’s Stanford—and getting a degree in anything under the sun—as long as it’s computer science—and then all of your next jobs are based upon how well you can re-implement algorithms on the whiteboard. A lot of us didn’t go through that path. We wound up finding our own ways to tech. My guest today has one of the more remarkable stories that I’ve come across. Carla Stickler is a software engineer at G2. Carla, thank you for agreeing to suffer my slings and arrows today. It’s appreciated.

Carla: Thanks so much for having me, Corey.

Corey: So, before you entered tech—I believe this is your first job as an engineer and as of the time we’re recording this, it’s been just shy of a year that you’ve done in the role. What were you doing before now?

Carla: Oh, boy, Corey. What was I doing? I definitely was not doing software engineering. I was a Broadway actress. So, I spent about 15 years in New York doing musical theater, touring around the country and Asia in big Broadway shows. And that was pretty much all I did.

I guess, I also was a teacher. I was a voice teacher and I taught voice lessons, and I had a studio and I taught it a couple of faculties in New York. But I was one hundred percent ride-or-die, like, all the way to the end musical theater or bust, from a very, very early age. So, it’s been kind of a crazy time changing careers. [laugh].

Corey: What inspired that? I mean, it doesn’t seem like it’s a common pattern of someone who had an established career as a Broadway actress to wake up one day and say, “You know what I don’t like anymore. That’s right being on stage, doing the thing that I spent 15 years doing. You know what I want to do instead? That’s right, be mad at computers all the time and angry because some of the stuff is freaking maddening.” What was the catalyst that—

Carla: Yeah, sounds crazy. [laugh].

Corey: —inspired you to move?

Carla: It sounds crazy. It was kind of a long time coming. I love performing; I do, and it’s like, my heart and soul is with performing. Nothing else in my life really can kind of replace that feeling I get when I’m on stage. But the one thing they don’t really talk about when you are growing up and dreaming of being a performer is how physically and emotionally taxing it is.

I think there’s, like, this narrative around, like, “Being an actor is really hard, and you should only do it if you can’t see yourself doing anything else,” but they don’t actually ever explain to you what hard means. You know, you expect that, oh, there’s going to be a lot of other people doing it in, I’m going to be auditioning all the time, and I’m going to have a lot of competition, but you never quite grasp the physical and emotional toll that it takes on your body and your—you know, just ongoing in auditions and getting rejections all the time. And then when you’re working in a show eight times a week and you’re wearing four-inch heels on a stage that is on a giant angle, and you’re wearing wigs that are, like, really, really massive, you don’t really—no one ever tells you how hard that is on your body. So, for me, I just hit a point where I was performing nonstop and I was so tired. I was, like, living at my physical therapist’s office, I was living at, like, my head therapist’s office.

I was just trying to, like, figure out why I was so miserable. And so, I actually left in 2015, performing full time. So, I went to get my Master’s in Education at NYU thinking that teaching was my way out of performing full-time.

Corey: It does seem that there’s some congruities—there’s some congruities there between your—instead of performing in front of a giant audience, you’re performing in front of a bunch of students. And whether it’s performing slash educating, well that comes down to almost stylistic differences. But I have a hard time imagining you just reading from your slides.

Carla: Y...