I’ve been fantasizing about skiing the X-Files since JF Lanvers posted a series of blogs (with video!) about this mysterious tree run in Empire Canyon. I knew it would be fun, if I could work up the nerve—I didn’t realize that skiing it would mark a major milestone in my life. Of course, it goes without saying the big-deal milestones of my life—marriage, motherhood—are beyond comparison. And I’m reasonably certain that I’ll be hard-pressed to compare even my best day on the slopes to those moments. (However, in the unlikely event that I am invited to compete in the Winter Olympic Games—Senior or otherwise—I reserve the right to revise that.). Still, it was something I’d long-fantasized about, and hoped I’d do someday.

In fact, skiing the X-Files was exactly—EXACTLY—as much fun as one of the most treasured moments in my professional career: The night I opened for Caroline Rhea at Caroline’s Comedy Club in New York City.

The back-story is that I was the assigning editor on a story that Caroline Rhea, one of the funniest people in America, did for a magazine where I worked. We spent a lot of hours together—and in that time, she decided I was funny, that the silly stories I told her about my life and my family were actual “bits,” and that the world needed to hear the comedy of Bari Nan Cohen. Oy vey. I balked for a half-second and then realized I had access to a unique opportunity.

So she helped me hone this material and, there I was—legs shaking with adrenaline and with a view from the stage of that freaky digital countdown clock that only the talent can see. 2:59, 2:58…breathe.

I was reminded of this experience on the last day of this year’s Women’s Weekend Specialty Clinic, which found me, by 10 a.m., hiking across the ridge above Daly Chutes, like I owned the place. (For the record, it’s wider than I thought, and has one of the most breathtaking 360 degree views I’ve ever seen—and not a clock in sight.) The hike made me grateful that I’d (mostly) kept up with my running habit this winter—I was only a little winded as we crested the highest point of the ridge. And, yes, I had a stellar mentor in my instructor Letitia, who’d sized up my skills and determined that X-Files needed ‘em.

Thus, we glided over to the entrance to X-Files. And as we found turn after turn, I was nearly overcome with emotion. (“Don’t cry—your goggles will fog,” I told myself.)  It’s beautiful and peaceful there. And eminently skiable—the trees aren’t nearly as tightly packed as they look from the “outside.”

As I completed turn after turn, I found myself drawing on all the preparation I’d unwittingly done for this moment, pulling a variety of tools from the skill sets Letitia and the other teachers had drilled into me over the course of three days. Side-slips turned into swooshes of snow pushed out of the way, wedge Christies became parallel turns. Just as the days leading up to my comedy debut were spent under Caroline Rhea’s careful tutelage on projection and timing, so that on performance night, I’d be good to go.

I can’t say with any certainty that either performance was “pretty” from a technical standpoint. I can, however, confirm, that both hold places of honor in the category I like to call, The Most Fun I’ve Ever Had Standing Up. And no, I’m not working blue right now.

But what I can tell you is this: In both instances, I didn’t really care how it looked. I was having so much fun, how it looked, well, it just didn’t matter. In both instances I had a great support system. In the club, I’d planted some key friends and colleagues in the audience. In the trees, I had Letitia, my pal Stacey and two other women who were just rockin’ ski companions. We cheered each other on, the same way my friends had laughed at my jokes louder than anyone else in the club.

The skills I brought into the X-Files—timing, correcting my form errors to prevent falling—even looking past the trees (for, if you look at the tree, you will most certainly ski into it) and reaching down the hill to make the turn—had their roots in those rehearsals with Caroline. You need to think fast when you’re onstage, you need to revise your bits to fit the audience, and you need to have good timing, you need all those things to be able to improvise. You need to look beyond the clock and read the audience. Caroline Rhea may not think of herself as a ski instructor, but I’m telling you, I would have had a lesser foundation for absorbing the lessons I’ve had on the hill, without the comedy coaching.

And, while the bragging rights to both things are cool, it’s not really (much) about that. There is a certain satisfaction that comes from knowing you have the tools to do something.

I’d like to say I didn’t continue past my one night in comedy because life got in the way. That could be true. But comedy requires singular focus, driving passion, and the ability to travel the country for low-paying gigs rife with hecklers in the hope you can eke out a living—and the very faint hope you’ll get famous doing it. As it happens, the night I did standup occurred during my last weeks in New York—my heart was already in Park City, we’d just closed on the house; Jeff was checking on things, scheduling the water softener installation; service on the furnace, making sure the lawn sprinklers were set properly, meeting the neighbors. And maybe if I hadn’t planned the move, I might have taken some improv and stand-up classes in the city, and given it a go on open mic night.

Instead, I followed my heart and my skis to Utah—and learned to ski the trees. Decently. I’m not stopping ‘til I’m awesome at it. And then, who knows?

So, if you were one of the hundred or so people in the world who got to witness my comedy debut, all I can say is: Come ski with me sometime. I’m a better skier than I am a comic. And if you weren’t—maybe I’ll dig up the video of my time on stage and show it to you.