Where Are They Now?: Church Basement Ladies Character Mavis Gilmerson

Actor Greta Grosch speculates about where the ladies are now as a national holiday tour kicks off at the Ames Center

By Kathy Berdan

November 16, 2023

The Church Basement Ladies’ nine scripted stage productions have been seen by more than 4 million people in 48 states and Canada. The comedy musicals center around three Minnesotan women who work a Lutheran church’s many events while sharing friendship, life lessons, and recipes. The show returns to the stage this holiday season—but don’t look for any new aproned antics.

“These shows, in that format, are done,” says Greta Grosch, who has acted as Mrs. Gilmer (Mavis) Gilmerson in all nine of the musicals and written the last eight. In other words: There won’t be any new stage productions, but that also “doesn’t mean the Church Basement Ladies are done,” Grosch says.

The stage productions continue in “reruns” throughout the United States. Church Basement Ladies 4 (“A Mighty Fortress Is Our Basement”) closed at the Ames Center in Burnsville Nov. 12, but it returns Jan. 4-Feb. 14. The Church Basement Ladies Christmas show (“Away in the Basement”) will be on a national tour during the holidays, with a Nov. 16 tour kickoff matinee also at the Ames Center.

And Grosch is working on a movie version that she hopes will find a home with a streaming service. It could be a musical series, she says. After all, there are 84 songs in the nine versions.

But can these uniquely Minnesotan Lutheran ladies, with their Jell-O, hotdish, glasses of Tang, bars, and, of course, endless pots of coffee, find an audience outside the Midwest? Definitely, Grosch says. 

“It’s a tried-and-true product,” she says. “It’s like ‘The Golden Girls.’ People fall in love with these characters. … The church basement is where we are. Who we are is universal.”

The Church Basement Ladies’ stories were inspired by the 1997 book “Growing Up Lutheran: What Does This Mean?,” written by two Norwegian Lutheran farm girls, Janet Letnes Martin and Suzann Johnson Nelson, who met at Augsburg College in the 1960s. That book led Curt Wollan, executive producer of Troupe America, to create the first Church Basement Ladies show. That production was set in the 1960s and ran for two and a half years at Plymouth Playhouse.

The stories from the basement, located in fictional East Cornucopia, Minnesota, feature Mavis, Pastor E.L. Gunderson, Mrs. Lars (Vivian) Snustad, Mrs. Elroy (Karin) Engelson, and her daughter Beverly (who is also called Signe). All the Church Basement Ladies shows have a conflict, and Vivian has to learn something and come out on the other end, Grosch says.

The nine productions are based decades in the past, with the final edition set in 1984. So, hypothetically, where would they be now? Grosch has some ideas, updated for today.

The character Vivian was born in 1901, but if she were alive today, she’d likely be living in an assisted-living facility, “criticizing the food, rubbing her finger over the piano to check for dust, and ruling the roost.”

Mavis is likely still farming. “She was born to farm,” Grosch says.

Karin, whose husband was a John Deere dealer, is running for office, Grosch speculates. “Maybe she’s the mayor.”

Beverly wrote a series of books based on living in a small town and does speaking engagements at events like mother-daughter banquets, advocating for small-town life.

Pastor Gunderson moved to “The Cities” in the second production and came back to work as interim pastor before the church closed. He’s likely retired, but his wife is “a real go-getter,” Grosch says. “She’s probably a pastor now, and he’s a pastor’s wife.”

And the original actors, who brought these characters to life?

Janet Paone, who played Vivian, works at Irondale High School and has done other CBL productions around the country. She was a fitting Vivian, Grosch says, because Paone “continues to be the kind of person people turn to for advice. She parks herself somewhere and people buzz around her.”

Dorian Chalmers, the original Karin, works for Troupe America and is still acting, Grosch says. The kind of person who helps people move and remembers birthdays, Chalmers “really is Karin,” Grosch says.

Grosch played Mavis and has been acting and creating for the stage for 35 years, including a couple of years with Dudley Riggs Brave New Workshop in the mid-1980s. “I am Lutheran through and through,” she says. Born in California, she lived in Ethiopia and Papua New Guinea growing up while her parents volunteered with the Lutheran church. She now lives in St. Paul and is the secretary for her church. She didn’t want to be a pastor, though. “The stage is my pulpit.”

She recently directed her first Church Basement Ladies production and created an offshoot Scandinavian comedy trio called “The Looney Lutherans,” which will perform at the Ames Center from Nov. 18 to Jan. 31. She’s also a freelance artist in the Twin Cities who does voice-over and commercial work. 

“We really are the characters, in terms of who we are,” Grosch says of the original three Church Basement Ladies. “The three characters really reflect the three actors who created them.” 

The “Church Basement Ladies” series:

  • “Church Basement Ladies” – 2005
  • “A Second Helping” – 2008
  • “Away In the Basement” – 2009
  • “A Mighty Fortress Is Our Basement” – 2011
  • “The Last (Potluck) Supper” – 2013
  • “Rise Up, O Men” – 2016
  • “You Smell Barn” – 2018
  • “Hark! The Basement Ladies Sing” – 2019
  • “Plowin’ Thru” – 2022

Kathy Berdan recently retired after 42 years working in newspaper newsrooms, the last two decades of which were at the St. Paul Pioneer Press, where she was an arts and entertainment writer and editor for 17 years.

‘Church Basement’ lady swings for comic gold with new show ‘Plowin’ Through’

Actor/director Greta Grosch seeks to entertain from a secure place with ninth “Church Basement Ladies” show at Ames Center.  – By Rohan Preston Star Tribune / January 12, 2023

Greta Grosch headshot

One of the more famous bits in Twin Cities musical comedy history involves Greta Grosch, menopause and a freezer.

Playing good-natured farm wife Mavis as she is going through a change of life in the “Church Basement Ladies” in 2005, Grosch worked her 5-foot-11-inch frame into and out of the cooling appliance, drawing guffaws as she sprawled over the freezer before tucking her gangly limbs in.

Wendy Short Hays, who has choreographed “Church Basement Ladies” since the series began, had two words to describe the scene where the pastor helps Grosch get out of that freezer with her butt in the way — “comedy gold.”

“Greta’s not shy about using her lankiness and stature, which I love, being a tall person myself.

And she’s fearless, willing to try anything,” Short Hays said.
Well, anything but a regular 9-to-5.

After graduating from Minnesota State University, Mankato with a bachelor’s degree in theater, Grosch was doing her taxes for the first time when she had a lightbulb moment.

“I never want to have a job where I’d have to go to human resources and fill out paperwork,” Grosch recalled. “You can make it in this business if you say yes to opportunities and keep your expenses low.”

The business is entertainment. And over the past 30 years, Grosch has cobbled together a career that includes voiceover work, TV commercials, corporate speaking gigs, a comedy troupe and lots of theater, including writing all but the first “Church Basement Ladies” script.

From left, Tara Borman, Greta Grosch, Janet Paone, Greg Eiden and Dorian Chalmers in “Plowin’ Thru.”

Adapted from Janet Letnes Martin’s and Suzann Nelson’s 1997 book “Growing Up Lutheran,” the series centers on broad characters who keep things humming in a greater Minnesota church.

The ladies deal with weddings, funerals and crazy ideas from pastors.

“We have these ladies at home in every church, synagogue and temple, and in every home at Thanksgiving, Christmas, you name it,” said Martin. “They’ll kick you out of the kitchen because they’re managing things.”

The Church Basement Ladies productions are popular, drawing more than 3 million people since 2005. The series’ ninth iteration, “Plowin’ Through,” plays at Burnsville’s Ames Center through
Feb. 15.

“A lot of people brush that off and say, — yay, it’s just a bunch of blue-haired retirees in the audience,” said Short Hays. “Yes, we have to keep growing younger, diverse audiences and get folks in the theater but let’s not forget those who created it for us.”

Grosch is sometimes styled as the Carol Burnett of the Twin Cities because of her prodigious physical humor skills and the way she’s able to ramp up the pressure in ordinary situations until they spill over into absurdity.

“Some people are funny because they’re insecure and they use comedy as a defense mechanism,” said Grosch. “I’m lucky to say I’m secure within my family and my comedy comes from the fact that I live in joy. Comedy for me is a celebration.”

Her comic sensibility was formed because of her unique  ackground. Born in Orange, Calif., Grosch grew up mostly abroad, including in Ethiopia and Papua New Guinea, where she went to high school.
“My parents were volunteer teachers working for the Lutheran Church,” she said. “Everywhere we lived, I was always in choir.”
Her mother taught music. Grosch didn’t see much TV or films in her youth.

“The comedy I was exposed to came from family sitting around and laughing,” she said. “Truth be told, that’s the comedy that I’m most interested in — relational comedy, where you’re reacting to stimuli, whether it’s other people or a coffeepot.”

Grosch got her start in the Twin Cities with a brief bit at Dudley Riggs’ Brave New Workshop before landing a role in “Tony n’ Tina’s Wedding” at the former Hey City Theatre.

Namesake theater owner Sandy Hey said Grosch showed versatility and oomph at the audition.

“She played the guitar and sang these comic bits. She was able to do these characters that are likable, even if they’re irascible,” Hey said.
The freezer in “Church Basement Ladies” has been used as different props since 2005, including as a coffin and even as a place to hide lasagna, prepared by a good-natured person but deemed unfit for human consumption.

Grosch has had a central place in all of it, and she hopes that audiences are feeling her big chick energy.

“Timing is such a big deal in comedy, and I get goosebumps trying to work out a comic bit,” she said. “A lot of times you’re swinging blindly like at a pinata, but when you hit it, it’s electric.”

Broadway World Interview: Greta Grosch of THE ROOMMATE at Prime Productions.

By: Jun. 13, 2022

PRIME Productions presents The Roommate, featuring acclaimed actors Greta Oglesby and Alison Edwards in playwright Jen Silverman‘s dark comedy about an unlikely pair and self-reinvention. Opening June 3 and directed by Twin Cities’ theatre artist Greta Grosch, the production brings together two totally opposite women-a sheltered, newly divorced Midwesterner and a mysterious, New York vegan lesbian. As the two begin sharing pieces of their past, they discover what it takes to re-route your life-and what happens when the wheels come off.Interview: Greta Grosch of THE ROOMMATE at Prime Productions

We chat with director Greta Grosch about the production.

How does it feel to have live audiences and theatres back?
What a joy to be back in community! The artform requires a “conversation” between those on and off the stage, and it is so wonderful to be able to do that again!

What inspired you to pursue theatre?

I have been telling stories and engaging with audiences my entire life, but didn’t know anyone who worked professionally in the arts. After college I started getting jobs in the business, and it occurred to me a career in this business might be an option! Definitely a case of “do what you love, and the money will follow…”

How does this role of the director compare with the role of the actor?

I was an actor and writer for decades, and love being able to bring those experiences to the other side of the table. I always want to honor the intent of the writer, while also keeping an eye out for what the actors need. And, when you’re the director, you are ALLOWED to have opinions on everything!

What is your process as a director?
I go into each project with a very clear idea of what the show should look, feel and sound like. As we began rehearsals and production meetings, it is satisfying to let go of MY vision and embrace OUR vision.

Do you have a favorite moment in the show?
My favorite moment is one of the last in the show. It took us awhile to find it, but I was
confident we would get there. I told the actor, “We don’t know how this show ends yet, but we will.” In our last rehearsal before tech, we figured it out. Every time I see that moment in the play, I am reminded to trust the process. The answer will always come. In its time. It always does.

Did you face any challenges with your character or the production?
Well, we had a 2 year gap between our first production meeting in March 2020, and our first rehearsal in May 2022! Oh, Covid…

How was working with the cast and the creative team?
There was such joy in being back together. We felt a real sense of collaboration and creativity. Great to be telling stories together again.

What do you hope the audience takes away from seeing this production?
The show is about 2 women over 50, eager to reinvent themselves. They are changed thru their relationship with one another, and find themselves along the way. I would hope audiences are inspired to allow unexpected relationships to change them.

What are your favorite local spots?
After a long cold winter, Minnesotan’s love anywhere with a patio. We have a lot of local
brewpubs with rotating food trucks. For me, that is a winning combination: good food, outdoor seating, and a hoppy microbrew!

Thank you Greta for your time.

The Bazzess: with Sam Landman. Episode 6: Greta Grosch

How do you create a show? Scratch that. How do you create a theater franchise? Greta Grosch dishes out stories about how she helped turn the Church Basement Ladies series into a worldwide phenomenon

From the Lutheran mission field to the church basement, Greta Grosch finds her niche as an actor and playwright

When she was 17, Greta Grosch was ready to step away from Lutheranism.
“Our family was as Lutheran as they come,” she told Metro Lutheran. “My dad
had even served as an assistant to a Lutheran bishop for awhile. So how did I
show my rebellion? I refused to attend a Lutheran college. Instead, I ‘went
secular’ and enrolled at Mankato State.”
Well, that was then and this is now. Grosch, who helps keep them rolling in
the aisles as part of the cast of “Church Basement Ladies 2: A Second
Helping,” is 40 now and has embraced her Lutheran heritage with no
reservations. In fact, she says she wrote “A Second Helping” in part to honor
her Lutheran relatives, whose lives helped inspire the storyline.
In an early-April interview, Grosch explained what it’s like to have one foot in
the church and the other in the theater.
Metro Lutheran: You grew up in a Lutheran missionary family. What was that
like and how did it shape your sense of vocation?
Greta Grosch: It’s interesting you should ask that. I was just discussing that
with my parents a day or two ago. Being a missionary kid was no big deal
when I was very young but became an issue when I was older. As a young
person I found myself concealing my real identity. “What does your Dad do?”
my friends would ask. My answer would be, “Oh, he works in an overseas
position.” Later, when I was out of my rebellion phase, I would happily say,
“My dad does mission work for the Lutheran Church.” But that wasn’t going
to happen at age 13.
I first acted in a play in Ethiopia at age three, and knew early on I wanted to
act — and write for the stage. Of course, the theater tends to be a secular
business, and I didn’t want to do ‘Christian theater,’ complete with
testimonials and all of that. So that meant I had to discover whether theater
and faith can be blended. I’ve discovered they can. In fact, sometimes I
actually get to preach to the audience. So, in a way, I feel as though I’ve hit
the jackpot.
What have you done in the theater since leaving college?
I have worked at dozens of theaters across the country for over 20 years. I
was in New York for a while. I’ve done regional theater. About 11 years ago I
was cast at Brave New Workshop. That was what got me anchored in the Twin
Cities. I’ve been in “Tony and Tina’s Wedding” at Illusion Theatre, several
other local venues. I’ve been with Troupe America (the company that
produced “Church Basement Ladies”) for three years, but I do other things at
the same time.
A lot of people wonder how an actor can do the same part, night after night,
without burning out or getting sick of the part. How do you do it?
It’s like any other job. Some days you discover something new in what you’ve
been doing for weeks and weeks. Other days you just have to do it because
it’s your job. But you think, “I can’t imagine wanting to do anything else but
this.” I did 800 shows of “Church Basement Ladies 1.” That’s a lot, but that’s
how it is in live theater. It’s eight shows a week. But think about it: A
schoolteacher has to show up every day, five days a week, and inspire his or
her students. Some days it’s fun and some days it’s work.
Church Basement Ladies is a funny play. But has anything ever happened that
was extra funny, because it was unplanned or unexpected?
Oh, yes. There have been times. Here are two examples. Janet Paoni, who
plays Mrs. Snustad, the sarcastic older woman in the play, once climbed onto
a stool which promptly collapsed. She ended up on the floor. We all laughed,
but the play went on. Then there was the time when I came on stage and,
instead of making a turn at the right moment, I just kept right on going, out
over the front of the stage. I landed in the audience, in the lap of a very
surprised woman. One of my legs was still on stage, the other sticking up in
the air.
It’s one thing to act in a play but quite another to write one. How difficult was
it for you to create the script for “Church Basement Ladies 2: A Second
I started writing scripts at Dudley Riggs. I’ve written scripts consistently for
the past 10 years. When we started “Church Basement Ladies 1,” I knew I
wanted to write the sequel. I wanted to honor my delightful Lutheran
relatives. And I also hope to write a couple more. There will probably be a
Christmas show, and also a prequel, taking the story back behind the first
one we did.
I don’t think of writing scripts as difficult. For me it’s fun, it’s satisfying, it’s a
challenge. I listen to what the “idea people” say. I tend to write everything
down. Out of all those notes the ideas come.
“Church Basement Ladies” filled the seats night after night, and “Second
Helping” seems to be doing it again. How do you account for that?
Well, the plays are a hit and Minnesotans love them. We opened in Grand
Rapids, Minnesota. During that performance the audience went absolutely
wild. I thought to myself, “This is what it feels like to have a hit.” But you
need more than individuals to fill a theater and sell a play. Bus groups are the
bread and butter of theater. You need group sales. There are lots of bus
groups in Minnesota, Wisconsin, and the Dakotas. We’re really tapping into
those groups. In fact, it was members of the bus groups who really urged us
to create the sequel that we’re staging right now.
What’s in your future?
I’ll stay on with Troupe America. But I’ll also audition for other plays. I’m
always looking for other things. I’ll audition at the Guthrie when
opportunities arise. And, of course, I still dream of ending up on Broadway
some day. When you’re young, you have grandiose dreams. But God always
dreams for you bigger than you could have imagined. So I have to stay open
to what may come.
What advice do you have for a young Lutheran who aspires to be an actor or
a playwright?
You have to be realistic about it. You may need to take a second job.
Personally, I’m fortunate. I make enough in theater to live without
supplemental income. But for a while I also worked at Starbucks to get by.
Whatever you choose to do in life, you have to follow your heart. A college
professor of mine wisely said, “If you can imagine being happy in another
profession, do that.” I can’t imagine being happy doing something else.
Garrison Keillor likes to characterize Minnesota Lutherans as dour and
humorless. Does he have a point?
Lutherans in general have a grim work ethic, a sort of martyrdom complex.
You’ve heard the expression: “I don’t want to be a burden.” But what keeps
us Lutherans going in good times and bad is a sense of humor. In “A Second
Helping,” my character, Mavis, says, “Get up. Work hard. Have some fun. Go
to bed.” I could add, “And laugh at yourself.” Lutherans aren’t generally the
type to crack jokes. Instead, they find humor in life. Life can be hard. Having
a sense of humor gets them through it.
One potluck dinner deserves another
Church Basement Ladies 2: A Second Helping, now playing at Plymouth
Playhouse, I-494 and MN Hwy 55, Plymouth, Minnesota. For prices, call
763/553-1600. Group tickets: 763/383-1073.
When Troupe America created a comic musical stage play rooted in rural
Lutheran culture, Minnesotans gobbled it up. When the production company
dished up “a second helping,” the hungry hordes returned. “Church Basement
Ladies,” the story of four women and their madcap antics in a Lutheran
church kitchen, sent audiences into paroxysms of laughter. (It’s still doing it
in audiences outside Minnesota.) Guessing the sell-out crowds might return
for a sequel, the company offered “Church Basement Ladies 2.”
Cast member Greta Grosch, who plays Mrs. Gilmer (Mavis) Gilmerson, a
farmer’s wife, wrote the script for the second play. So far the gamble is
paying off. The crowds are flocking in once again, and a significant number of
those climbing off the tour buses to fill the seats at Plymouth Playhouse have
already seen the first play.
Troupe America’s publicist, Linda Twiss, told Metro Lutheran that the plays
have succeeded for several reasons. A key one is this: The production’s
marketing team has put the multiplier principle to work. Church groups,
community groups, travel groups, and other like-minded coalitions swelled
the ranks of those who saw “Ladies 1,” and that pattern is now repeating
itself for “Ladies 2.”
What will audiences see when they show up for “A Second Helping”? In the
spirit of the first play, there’s a fresh supply of cleverly written and executed
music, lyrics, and choreography; another goofy and just-barely-plausible
storyline; and more wonderful wackiness, all rooted in the experience of
small-town Minnesota church life.
But it’s not simply wall-to-wall levity. There are two sobering plot elements,
the inclusion of both of which seems appropriate and inspired. There is an
untimely death that shakes the close-knit fellowship. And, at the close, we
get a moving and deeply touching musical sequence based on the gift of a
baptismal blanket. The rehearsal of the history embedded in the quilt
squares is enough to bring the most stoic German or Norwegian to tears.
There’s genius in this plot element. Any audience member who ever helped
create a quilt for Lutheran World Relief will experience an instant connection.
“Church Basement Ladies 2: A Second Helping” is a happy, wholesome
marriage of very funny writing and accomplished acting, with pious truth-
telling at a very deep level. Bring your appetite. This is a feast for the soul.
— Michael L. Sherer

Make ‘Em Laugh!

Greta Grosch mugs and makes music in customized shows for corporate audiences.

By Megan Pelka / Minnesota Meetings and Events Magazine, Sept 2002

Imagine a sales meeting where the CEO and vice president of sales appear dressed as the Blues Brothers, singing a customized song about the company’s earnings to the tune of “Sweet Home Chicago.” Or VPs at a power company dressed in hula skirts and coconut bras, singing, “I’ve got a lovely bunch of power controllers” (to the tune of “I’ve got a lovely bunch of coconuts”). A welcome change from the more formal sales meeting.

Greta Grosch is the creative force behind Girl with Guitar, an entertainment company that has proven its ability to persuade even the most hidebound of companies to lighten up. After obtaining a degree in theatre studies in 1989 from Minnesota State University-Mankato, Grosch worked in theatres until she bought a guitar and discovered another talent: writing songs. She has written and performed improvisational acts for Dudley Riggs’ Brave New Workshop, and acted in shows at Playwright’s Horizon in St. Paul, the Ordway Center for Performing Arts in St. Paul, and the Bryant Lake Bowl Theatre in Minneapolis. In 2000 she starred in her own one-woman show, Greta! Still Becoming, at Bryant Lake Bowl. Currently she appears in Tony ‘N’ Tina’s Wedding at the Hey City Theater in downtown Minneapolis.

For the past few years, however, she’s moved into the corporate meetings and events market because demand for entertainment at such events has increased. Grosch uses the skills she’s learned on the stage in her corporate performances, in which she offers comedy skits, songs, and music designed specifically for the client company. And since she’s a one-woman operation, Grosch can entertain clients while staying within a modest budget.

“I can offer [corporate entertainment] on a smaller scale,” Grosch says. “What I do is catered towards the company, more personalized.” Depending on the needs of the client group, she can either stick to her own routine or emcee an entire evening of awards, presentations and announcements, interspersed with parts of her own act. If a client wants a bigger show, Grosch employs other local actors, a keyboard player, an additional guitarist, and even a full band if necessary.

At the recent induction of a president of the Minneapolis Rotary Club, Grosch enlisted the help of the University of Minnesota Alumni band and also a few U of M cheerleaders to perform during a skit she wrote for the new president.

Just how wacky will Grosch’s songs and shows get? Clients should expect a call from Grosch so she can learn the theme and message of the event, get a feel for what the company is about and find out if there’s a certain product she should cleverly work into the song-or if the boss deserves a little ribbing. Grosch collects information on employees that she weaves into a three- to five-minute song. Often she will interview the audience the day of the event and compose a tune during dessert for her finale.

The humor in her shows comes not from a series of jokes, but from her informal interaction with the audience, and the situations in which the audience members find themselves-as backup singers, for example. Grosch operates on the theory that people look for opportunities to let their guard down and have fun-they just need to receive the right kind of invitation. She dresses in costumes during her performance and brings along a few extra outfits and wigs to encourage the audience to dress up and join her on stage, making employees the stars at their own party. Performing bits of comedy and spontaneous acts, they may even find themselves singing the company’s new theme song. Grosch is more than happy to accommodate requests, as she did for one company’s Christmas party by dressing up as Mrs. Claus and joining Santa (the president of the company) in celebration and song.

Comedy shows have gained popularity at fundraisers and seminars, and Grosch is experienced in both formats. “My goal is to have it be fun, interactive, and spontaneous so the audience can really participate,” Grosch says. A fine goal, to be sure, but what if it doesn’t work? What if the audience isn’t responding and the VP is looking worried? Grosch always has a backup plan and if that doesn’t work, there’s another; whether it’s getting suggestions from the audience for an on-the-fly skit or serenading them with a song or two, Girl with Guitar takes great care to make sure a show is a hit. “Preparation goes a long way. [Performing] seems so casual, so off the cuff, but it’s not,” Grosch says. “It’s about having a plan A, B, C, D, and E, because if someone’s hiring me to do a show, it’s about being really prepared and knowing how to do something, no matter what the situation.” One surefire performance is her server act, which she has performed at numerous events. If the event is at a restaurant, Grosch will dress in a server uniform and begin seating guests. She continues this charade until it is time for the entertainment to begin. The audience watches as Grosch nibbles canapés or passes bread rolls from plate to plate. As she serves, Grosch pretends to recognize the head of human resources (who is in on the act), and she begins talking very loudly to get the attention of the room. Once all eyes are on her, the conversation goes from normal to bizarre in a flash, with Grosch bringing up her supposedly denied application to the company and demanding an explanation from the HR person. During the act, Grosch will divulge comedic reasons why she was not hired and throw in a few jokes about the company and the president.

Finally, when many employees are whispering and giggling or looking astonished, Grosch breaks into song and invites the entire company to join her as the event begins. With her well-rounded repertoire of talents, Grosch can customize a show for any special event that’s sure to make ’em laugh.