(Upbeat Music)
Editor Brent here.
I just wanna tell you guys that this is
the second half of our conversation about
pre-production for a show.
It also gets into how we cast some stuff
and what we do with props and costumes
and pieces that we find for a show and
how we manage them a little bit as well.
But also, I would like to mention that
we're terrible at PR for
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And so if you have somebody in your life
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program or that you think would benefit
from this podcast, please send it to them
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Also, if you go to
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And it'll also let you subscribe so that
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Jennifer's producing.
Thanks.
And now back to Jennifer
talking about pre-production.
So, all right, you've got a production
analysis, you've got a calendar, you've
doubled up on characters if you need to,
and you've sent that information and the
descriptions of the characters out to
your students and you've
sent out an audition form.
And we can also send you or link to you a
copy of an additional form.
I use Google Classroom for this.
It is a magical, magical thing if you're
not currently on there.
And I make a form like a quiz and it has
very basic questions like the kid's name,
their grownups name, emergency contact
number, because it'll be faster to have
it on a spreadsheet than to get onto the
computer if there is an
emergency during practice.
We've only had a couple of those.
One involved a slap bracelet.
And we did have a contact experience very
quickly and call EMTs, but everyone is
fine and that kid can
feel most of his finger.
So, you should outlaw slap bracelets in
your program and in your building and in
the world, because who knew?
Who knew they could do so much damage?
What else?
You asked them to list what characters
they might like, one or two, so you kind
of get a feel for, do
they want a larger part?
Do they feel
comfortable with smaller part?
Is there a part they're just really,
they're really feeling?
And then they can come in later if they
want to auditions and do a prepared piece
from that character if they want to.
And then there's a question where you can
click boxes for what tech crew you'd like
to be part of, costumes, props, set,
hair, makeup, publicity,
light, sound, et cetera, et cetera.
If you'd like to be a crew chief, that's
one of the questions on there.
Do you want to be in charge or do you not
feel comfortable doing that yet?
There's a question about, are you
interested in, would you be willing to
dye your hair or cut your
hair, depending on a character?
Are you willing to
kiss somebody on stage?
This particular show,
there is no kissing,
but we did Midsummer Night's Dream last
year and there's what,
three couples that get together?
Well, there's four, but that fourth
couple doesn't, five, but one couple
doesn't last the whole show.
Unless you saw the ballet version at
Shakespeare in the Park in Louisville
this summer, and then
they did see the entire show.
And I kind of liked it that way and I
wish I'd done that, but I ship a sail.
Like I'm not doing that show right now.
And what I have found is that the boys
are primarily, yes, I will kiss anybody.
And the girls are like, I
don't know, man, it depends.
So we have to work through that.
I'm not going to put a cap for a major
role when kissing is important.
The romantic chemistry is important if
they've made it very clear that they're
not, they're not doing that thing.
One of the questions are
on there, the conflicts.
And then if they want to upload something
to show me something else, some of their
information, that they like, sometimes
kids have sent me set designs that
they've done on paper.
They've got a bunch of, they've got a
Pinterest page they've made about the
costumes, or here's some hair and makeup
ideas for your villain
characters in a show or whatever.
And so they can do that as a supplemental
as here or a video of
themselves doing something.
We've gotten those sometimes.
When we do the musical, because those
kids aren't all in my school and I don't
know them, I more often get videos of
younger kids performing in other venues
where I haven't seen them.
And that's helpful just to kind of get a
read on people, especially this early in
the year, because I don't know all of
these students that well.
And some of them I will never learn their
names because I'm so bad with names.
Or I will never spell
them properly, that's okay.
And then I send that out and then you
give the kids a couple
of days to get that done.
And once they've filled that out, you can
make it into a spreadsheet.
So you can sort that however you want.
You can sort it by, here are
the people that want the lead.
Here are the people
that want to do costumes.
Here are the people that
want to be tech crew chiefs.
And you can look at that
information very quickly.
And then I print that out and make notes
and it's like in the thing.
Now, does everybody get what they said
they wanted on the audition form?
No.
Do some people get put into positions of
authority or become crew chiefs that
maybe didn't ask for that?
No.
But I will go and talk to that kid and
tell them, I know you can do this.
I need you to do this.
And nine times out of
10, they do deliver.
They get it together and
they do what I need them to do.
It's really amazing to me, all these
years that I've said to kids, I think you
can do this when maybe they thought they
could not do it and then they did it.
And they did it better, whatever they
did, their onstage part or their crew
part or whatever they were doing, their
student directing, better than I thought
they'd be able to do it at the end.
But I never told them that.
I just said, you can
go and you can do this.
And then they do.
And that's, I mean, magic.
I think I've said that in every episode,
like this is all magic.
And they're so impressed themselves.
And then they can go on.
Sometimes they literally go on to do
other things they were too scared to do
before because we told them
that they could and they did.
So we don't wanna say,
"A" but it for failure.
I'm not gonna put it in a position where
I think they can't do it.
Do they sometimes not
live up to their potential?
Sometimes.
But mostly, I would say 95% of the time.
I think that's a fair number that they
live up to their potential.
That's probably really true.
I mean, we have a lot of kids that will,
well, we have our kids that are gonna not
live up to their potential.
You know it, but also like sometimes they
can not live up to their potential right
up until the day before the show.
And then you're like, listen, if you
don't get this together, like we're gonna
put a kid up there with a script or
whatever and then for the most part, they
tend to get it together.
We've had a handful of kids that you're
just literally like, no, you
cannot be on the stage, goodbye.
And one of the kids that was, he was such
a great kid, he got bounced out of the
show and then showed up to watch the show
and was just like praising
everybody and loving the show.
And like, man, this is so great.
You know what man?
That was a surprise.
You could have been in this.
Yeah, the before the show, he was like,
no, I cannot physically
do this, I cannot do this.
And it wasn't his first rodeo either.
And so we put a kid on stage, he did a
good job with the script on stage.
We have had some students who in 24 hours
have been off book and in the show.
I'm going all the way
back to the crucible,
Romeo and Juliet, we had a kid get
arrested that was in Romeo and Juliet the
very first time we did it.
And I saw a kid in the
hall, his name was DJ.
And I was like, hey, what
are you doing first block?
And he's going to be on block then.
He said, I have social studies.
So I would do a social studies teacher
and I was like, can I have this kid for
like a week so he could
be a Romeo and Juliet?
And the teacher said, yeah,
he's making an A, he's fine.
So he went to my class for like a week
and he was the, Parris, he was the guy
that Juliet's parents wanted to marry.
And that boy was off
book like in 24 hours.
He did get stabbed in the eye during one
of the shows when he has to fight Romeo
in the tomb, but he
survived, he's doing quite well now.
He's one of my favorites because they're
all my favorites, right?
The crucial, we had a kid that he was one
of the, he ended up
having to be one of the judges.
And he came in and just like
shuffle the judges paperwork.
One year we had a girl who I knew and had
brain surgery the year before, but she
showed up for drama and she seemed fine.
And she had to take on, she was in one
show that she learned all the lines for.
A girl quit, like quit school and took
off the week of the other show.
And she was a director.
So she had a script she
could play with sometimes.
And this girl, I can see her face,
Brooke, her name is Brooke.
Brooke Davis.
It was Brooke Davis.
Well, it was Brooke Davis.
I think she's
different less than I am now.
I think she's married now.
And she came in and did the whole other
part and it was great.
And then I got a message from the office
saying that that kid based on her IEP
could not be asked to memorize things.
And I was like, well,
the ship has sailed.
And she was amazing.
And she said, you believed in me.
And so I did it.
And she did, she was great.
And she's so great.
She has the best smile.
So if you believe, I believe, I believe
until they're like, they
physically aren't there.
And once while we're throwing out, but
mostly it's because they physically go
away for some reason.
I think we've had two kids arrested.
One of them was in the box.
He was the sound guy for
a show that got arrested.
But that's been a long time.
Because we were still, yeah, that's been
a long time ago since that happened.
It was like the second or third year.
That was Ms.
Nelson is missing.
With the show where I gave myself a
concussion and cut my head open.
But I'm fine now, really.
All right, so we've
got the audition form.
And then the last thing you do before you
go to auditions, since you have this list
of what you want the characters to have,
the kids know what it is, whatever, is
you wanna come in with some sides.
And I don't know why they're called
sides, but it's just a scene from the
script that you want the kids to read.
So all my kids have their own scripts,
but a lot of times in other programs,
they make photocopies.
And they don't give out the sides and
they don't give out scripts
until after the show is cast.
But since I know everyone's gonna be in
the play, I go ahead and give everybody a
script as soon as I get them.
And it's like Christmas morning.
They're just hysterical.
And they're wearing their names on it,
looking through stuff and whatever.
So you would pick scenes from the show
that you want to have them read.
So you wanna pick scenes where people
have to do something uncomfortable, like
talk in a weird voice or move in a way
that is not how average people move.
Or you have to check chemistry.
People are supposed to be best friends or
romantically involved or arch nemeses or
a parent and a child
or brothers or whatever.
Like how do they play
to each other physically?
And then Thomas talked last week about
doing improv and auditions, which I
thought about doing and then
forgot about it for this show.
But I may be able to remember to do it
for next time because
that's a great idea.
Oh, and one more thing about before
auditions that is not,
I don't think most people do, but I did
hear this somewhere.
So I didn't make it up myself is you, I
don't wait and do the read through when
the show is happening.
I do it beforehand, which I think we
talked about a little bit last week.
And then you just go around a circle and
everybody reads a line.
So everybody gets to hear themselves and
they get to play with the script a little
bit and ask questions, start thinking,
oh, I know how to make the posters they
need for this player.
Oh, I know how to costume this character.
Oh, I want to be this girl because she
does this thing and I can do that.
And then you go audition.
And the first day you let
them bring what they have.
So if kids have memorized pieces,
sometimes they have a buddy and they get
on stage, they do a scene, you let them
do that until you run out.
And then I do cattle call.
I will say like this year because she had
jury duty, we had a day
where I was just kind of,
I wasn't really auditioning the kids.
They just had scripts and I was kind of
running them through
almost like a mock audition.
So we started on that day, the particular
script that we have has a line in it and
people talking in the line.
And so I just lined everybody up in a
giant line and just- Like
a physical line.
Yeah, like a physical-
Where they say lines.
Yeah, it's so meta.
And so I lined everybody up and just had
them start doing the lines.
And basically we made the line out of
everyone that felt like they were this
one character were on the left side and
everyone that felt like they were this
other character were on the right side.
And so the two characters met in the
middle, we would run lines with those two
people and then they would go to the ends
of the line and then there would be two
new people and they
would just work that way.
So we went through everybody that way.
So everybody had practiced
the line and worked with it.
And I gave them plenty of time.
And then I sent them all back in the
audience and I said, because we'd already
done the circle read
through at that point.
And I just told them, I said, if there's
any character in this play that you feel
like speaks to you, like that you
identify with, or you feel like you
understand, or you feel like you have
some idea about how they should move or
talk or whatever, go on
stage with your script.
And then I just called one of them and
said, okay, tell me what character you
feel like is you or that you wanna,
I guess it's an audition, but it wasn't
really an audition because I wasn't
taking any notes and I wasn't making any
marks about it or anything like that.
But it gave them a chance to sort of,
like to work that character a little bit.
And then when I told them, when the class
was over, I said, listen, tomorrow she's
gonna ask you if you wanna get up and do
something related to
any of these characters.
And now you already have had a chance to
be in their skin for just a minute, go
home and think about it a little bit more
and work on it a little bit more.
When you come in tomorrow,
you'll have an opportunity to do it.
And I felt like, and I think you even
said something to me about the fact that
we had a lot more participation for kids
being like, yes, no, I
have an idea of this.
I like, it's just-
Something's good to never
audition for anything before.
I think that was
probably helpful for them.
Yeah, cause I mean, again, we're sort of
beating this into the ground, but we have
a very, very young class.
So I felt like that was a good way to
sort of break the seal a little bit
because we have a lot of kids that are
very personable and like outgoing and
stuff like that, but they're just all
like, well, I don't know if this is okay
or I don't like, I don't know.
I don't trust myself to make this voice
or I don't trust
myself to read this line.
And so just having them go up there and
go through it once, I really do feel like
it sort of broke it up a little bit.
And it was a day we were gonna lose
anyway because I'm not
authorized to cast a play on my own.
Do you want to cast a play?
No, it's fun.
Not authorized, you can do it.
She says that she always cast the play
correctly, but I know that if I cast the
play that I would definitely cast it
incorrectly according to her.
I would not say anything.
There would be facial expressions and
noises probably of
displeasure, but that's okay.
You're good at other
things I don't know how to do.
So it works out just fine.
But I do feel like, like I said, that
wasn't a day that we really lost.
So I felt like it was a good use of our
time to sort of break this,
like I said, to break the seal.
Did you do any side coaching?
There were a couple of the kids that when
they got up there, I was like, okay, I
see what you're doing, but like, what
about if you, what about if
you did this a little bit?
Or, hey, you're interested in this part.
So like, there's this part in the script
it's not maybe necessarily even where
you're reading where
this character does this.
So, you know, I mean,
we did, I don't know.
I didn't spend a ton of
time on each one of them.
I had also did help that several of them
wanted to do scenes where there was
somebody else in the scene.
So we would drag somebody else back up
and then they would
kind of work together.
That was actually where I saw a lot of
the stuff that a couple of the different
kids could do because they just sort of
got like, okay,
you're this character now.
And they had to sort of make that up on
the spot and they didn't do bad at it.
And I mean, a little bit, we talked about
it when they were in line, like, you
know, and stuff like that.
So I don't know, it was a little bit of
an audition for auditions maybe or
something like that.
A pre-audition, audition.
I like it.
So let me the cold call and then I do, or
the not the cold reads, let
them do their prepared reads.
And then I cattle call.
And that's where I might say, everybody
who's interested in playing a male
character or a female character, or
anybody who's interested in kissing
somebody or whatever, get on stage.
But because this show is so wide open and
there's gender is not important, the show
in a way would be in like, I don't know,
a rom-com or something, or like as you
like it, where you have a girl pertain to
be a boy, pertain to be a girl who would
have been played by a boy.
But that's a different podcast.
Then I would say everybody get up.
And then I would look at these
characters, I look at these actors and
think, I mean, people tell you that
appearance doesn't matter.
It does.
When you're doing theater, what you
physically look like matters.
It makes you suited for
some parts more than others.
When I was doing shows like in high
school or whatever, but not in
college, I always was the mom.
Like I always got cast as a mom, even
when I was like, when I was 13, I got
cast in the mall as one of the moms in
our town because I looked
like I was much older than I was.
Some kids skew older,
some kids skew younger.
And like I said earlier, there's a kid in
this show that's
supposed to be very, very young.
So if you are six and a half feet tall
and you have a beard,
you're not gonna play that part.
I mean, there is a part for everybody,
but not everybody is for every part.
And I'm all for genderblind casting, but
I think, especially when you're dealing
with audiences who aren't necessarily the
kind of people that go to theater all the
time with all the theater that they get,
and more so in like Shakespeare plays and
more serious plays
like the one about Alice.
I can't remember, where
they killed Jacob Bolton.
That play was very serious or thank you
for flushing my head in the toilet and
other real-use expressions.
That one's pretty serious and really
good, but I don't wanna do it again
because it was so good.
Where you wanna give the audience as many
visual cues as possible.
So if I'm supposed to believe these
people are kin to each other, they look
vaguely similar somehow.
We did a show called "Oddly Puddle" is
from outer space or
inner space, one of the two.
And it was about a kid on the spectrum
who was nonverbal.
And the way the show was set up,
the first half took place when he was
like 11 and it was him and all the
neighbor kids and a
tutor that worked with him.
And then the second half after an
omission was all the same
characters, but they were like 17.
So we had to cast two sets of kids that
you could tell that some of them were
older versions of the other one.
Cause my kid was so little, he
played one of the little kids.
And the other kid that played him had to
be like six and a half feet tall because
my kid was already so tall as a freshman.
So your visuals do matter.
So I'll look at these kids in this group
and say, which of these kids would I
believe is bat guys one of
the characters of the show?
And I just tell him, I said, you can try
to figure out what I'm thinking.
I don't think it'll do you any good, but
if you wanna do that, that's fine.
And because I ask you to sit down,
doesn't mean I don't like you.
It means that this is not a part I wanna
see you for or I've
already got a part for you.
I don't need to see you anymore.
So I don't wanna take it as some kind of
like disrespect or I don't like them or
they're not a good actor.
That's just not what
I'm physically looking at.
And so we might do
three or four cattle calls.
So I can look at all the, there was a
grandparent character and this little kid
character and there's this giant security
guy and there's Batman and the clown and
who's clearly supposed to be the joker.
So I just wanna physically look at them
and then we'll have kids do cold reads
from that where it's like, well, here's a
scene from Batman with
Batman or Bat Guy and the clown.
So we'll put all the kids I think might
be Bat Guy over on stage right and all
the kids I think might be the clown on
stage left and then they just
pair up and come to the scene.
And sometimes when that's happening, I'll
have them switch and they go, "Oh, well
maybe that kid could
be the clown instead."
So I don't know, I'm just taking notes
and I try to take notes online, but it is
much easier for me to write things down.
Although frankly, I can't read about a
third of it when I get done running it
down, but make notes and highlight things
and put stars by things.
And so we do that the first day, maybe
the second day and then after the second
day of auditions, I go
home and I precast the show.
Like I think, okay, if this is the last
day of auditions, what did I
like, what I think would work?
I give everybody a job and I double check
to make sure I haven't skipped a kid
because that's happened a couple of times
and that is terrible for that child
because I think I forgot about them, but
I'm just really bad with names.
And then I'll make this list and then the
last day, I'll come back and say,
"Listen, if there's anything else you
wanna show us, and then I will look at
these kids who I think belong in these
parts and see how they work together with
other kids in those parts."
And I think this time I
maybe switched four kids around.
I've read at the precast, I think I
switched four kids around.
So it was pretty much what I wanted it to
be after that second day.
And that's how I do it.
So do it.
I also think it's funny that she said
that sometimes your body has to make you
a certain thing when one time she cast a
five tube kid as the twin
of a five 11 or six foot kid.
And they're like, it was great because we
just sort of dressed them the same and
everybody was just like,
"Ah, yes, they're twins."
And also because those two boys spent so
much time together, their
physicality was very similar.
I'm talking about Sarah and Fresno.
That was also fun.
It was totally fun.
No, it wasn't Fresno because Fresno was
the girl that Ian was hitting on.
It was Sarah and Key.
Oh.
There was one time where
it was Sarah and Fresno.
I don't remember what it was.
That was in the show
that was in Comedy Bears.
I don't know.
I mean, I believe that's a thing.
Was it a show where Sarah didn't play
evil because Sarah always played evil or
chaotic neutral at best?
Right.
So yeah, I mean, sometimes, and also
like, you know, the play we're working on
right now, there's a person, we're
basically gonna have a
person be She-Hulk probably.
So you don't wanna cast a five one
She-Hulk unless it's funny.
We just a really tall dwarf.
Because then if it's funny.
Yeah.
Like if it's clear that you've made this,
you've gone against type on purpose.
Are She-Hulk's gonna look a lot like
She-Hulk though, I think.
I don't know if she can do
that because she's gotta be,
we may have to do something else with
that because that kid's gotta
be, she's on the movie panel.
And I don't know if we can change the
makeup up that fast.
So I don't know.
Maybe we can do that for some other time.
I don't know if she can
do that for Halloween.
That kid would make a
good She-Hulk though.
I found out today I taught her mom.
I don't think she looks like
her mom, but I know her mom was.
Tell that out today.
That was cool.
All right, so that's how we auditioned.
And then we, like I said, we cast that
play and put it online the night before.
And we started blocking today and it was,
nobody was hysterical in tears.
So winner, winner, chicken dinner.
And also one of the things you're gonna
learn in the world is how
to deal with disappointment.
And I understand being up sectioning and
casting a play, but
also, you gotta move on.
So we gotta teach resilience, right?
So the premise sort of of this episode
was the idea of all the work that you do
before you cast a show.
So how often, once you start making the
production document, do you feel like you
have to go back and do
large scale revisions to it?
So with like the props and the costumes.
So there is a, one of the colors on there
for the blocking is it says, we don't
want to do this anymore.
Forget this idea.
And that is a live document.
So all the kids have access to it.
So like I said to Kyle today, we need
this, this is a clipboard with a paper, a
bunch of paper she can shuffle through,
add that to the thing.
I know Mikayla, the stage manager's added
several things to it already.
She's added all the
posters and stuff when needed.
So that's a little bit of a document.
One thing our stage manager did really
quickly after she gained access to the
document was she triaged all the,
whose problem this is, like really fast.
Cause like you released it and then she
was just going through it.
And you're like, cause like, as you were
talking about it, you're like, wait, what
are some of these colors?
And they were colors that she had added
that were like Mikayla's problem,
costuming from, like she had
triaged a lot of the tasks.
Yeah, she's great.
I think that she's going, this is
something that she might
like to do as a career.
She's looking to go to
college to major in this.
And I really want to help her do that
because if you want to be a professional
in theater, I think, and this is from my
own personal experience and my own
children and just looking around, that
tech is the way to go.
Because listen, I love actors for the day
as long, but they're a dime a dozen.
But if you've got somebody, because when
my tech kid, they've got to be competent.
You can't, I don't have time to sit and
hold their hands and be like,
did you put that like you in?
Do you have that prop?
They have to have it done.
Or they have a crew they can delegate to
and say, okay, you're in
charge of all the food.
Or there's a big scene with a
whole bunch of craft projects.
There's going to be a prop kid who just
takes care of all that craft stuff.
Because we have to keep, every time we do
the show, we have to keep making that
craft over and over again.
So we have to have lots of different sets
of those in different
levels of production.
And we have to cut somebody's hair.
So we need to find a bunch of hair and
then figure out how to glue it onto
styrofoam, which will be fine.
Because that's a prop kid's problem.
It's not my problem anymore.
That's the great thing.
I write these things on the production
document or on the production analysis.
And then I'm like, well,
wash my hands of that.
A child will figure out how to do it.
And they do.
If you just let them go, if you trust
these kids, then they really just come up
with the best ideas.
And then I don't have to stress about it.
There's 40,000 different boxes on this
production analysis.
How will I get all these costumes and
properties together?
And I'm here to help.
And Brent helps.
And Brent's wife, Pauline,
makes these amazing costumes.
And we have Mr.
Christian, the art department director,
who he makes beautiful things for us.
And his students make
beautiful things for us.
He made a cake last year that a kid could
jump out of to sing a song.
I mean, a massive three-tiered cake on
wheels because all set
pieces should be on wheels.
It was just so much
cooler than I could have made.
I don't know how to do that, right?
So I just love to be
like, goodbye, little problem.
I will also, I will say like-- You will
say that everything should be on wheels.
No, this is the part of the production
that stresses me out
more than anything else.
I've worked with Jennifer long enough
that I know that she's good about
breaking these things all into little
pieces and then farming them out.
And oftentimes a lot of the work gets
done and then she triages the
stuff that doesn't get done.
And then there's a list of like, over
time through the production,
there are times when she comes to me and
she goes, "Okay, we
have to do this right now."
And then that's when I go
and like figure that part out.
Although I try to think about things
ahead of time, but the thing that she's
talking about with the 40,000 boxes and
everything has to be this way and we need
all these things and
how are we gonna do this?
Like, that's the part of
it that I can't deal with.
Like, I don't enjoy that.
I don't even tolerate it well, honestly.
Like, I don't look at
the production analysis.
I don't know that maybe he ever even
looked at one, honestly.
It causes panic attacks for me.
Why?
Because everything's in a little box.
So instead of saying, "We have to costume
all the actors," it says, "We need a
Batman costume for this guy."
I understand that it works for you, but
it does not work for me.
What would work better for you?
Which is okay though, because she's the
one doing this, just like this podcast,
she's the one that's doing the majority
of the lifting and I just do the things
that are technically complicated or
physically complicated or,
you know, like in this production, we're
gonna put a kid through a table.
It's gonna be my kid.
He's gonna go through a table.
I'm so excited.
He's pretty much, I think he might be as
excited about the idea of
doing it as she is just now.
But, you know, I've been thinking about
that for like two weeks probably, but I
have literally no idea how we're gonna do
the craft project thing that she was just
talking about and the idea that we have
to have a bunch of those ready to go for
three shows, like I literally broke out
into a sweat when she said that because I
don't wanna have to deal with that.
But you don't.
I know, but that's what I'm talking about
is that like, this is an aspect of this,
earlier when I said this is an aspect of
the production of these shows that I
don't really have a lot to do with.
It's because I don't enjoy having this
giant pile of stuff in front of me.
Like I enjoy, I don't wanna enjoy is the
right word, but I tolerate better the
idea of like, okay, this is the goal that
we have for today and I need to do this,
and this is the goal that we have for
this and I need to do this, and this is
the goal that we have to accomplish here.
How are we gonna do it?
You know, like that's much more than--
One crisis at a time.
That's much more the way that I work.
Like I've said my whole life mostly to my
mother who may or may
not listen to this podcast.
Like I don't do well when it's like, I
need you to clean all this up.
Like it's too much.
I don't, I can't, I will work on
something nonstop, but when I see a giant
pile of things like
that, it's hard for me to do.
So like I said, like I tend to work on
whatever the thing is that she's blocking
at that moment or whatever the thing is
that's the next thing we need or
sometimes I just get real stumpy when
she's like telling me like, oh, we have
to have a thing there right now, but it's
not the thing that I was working on.
So I like to--
Make this noise.
Yeah, I like to act out for the kids
where she's like, we have to have that
door up right now and I'll go grab a
giant sledgehammer and literally hammer a
nail in with a giant sledgehammer just so
it makes as much noise as possible.
And the kids were like,
we don't know how to feel.
Right.
Sometimes you just have to keep people on
their toes a little bit.
Oh my Lord.
But that like, so that's why I do have a
lot less to say about the production
analysis because it's not a thing that I
really like dipping my toes in and I'm
glad that it works for her and Michaela
and stuff like that because
it makes the show way better.
Well, that's the thing.
The kids are like
responsible for our columns.
So Thomas is responsible for props and
Josie and Kieran doing hair and making
costumes and Hayden's gonna do lights and
Max is gonna do sound.
So the kids don't have to worry about the
entire thing either, it's just a nice
place where I can see then whenever a box
turns green, I know
that problem is solved.
And this is a big problem I have seen
with other people who are new to theater
productions or who maybe want to be the
star of the show and not actually the
producer director is they wanna take on
everything themselves.
I made all these costumes, I did all of
this set and that to me is exhausting.
For number one, this isn't about me and
number two, I do not have that kind of
talent or that many hours in a day.
So the more I can farm out and give
people responsibility which is the point
of this operation, the easier my life is,
the happier they are, the
faster we can get stuff done.
It just works out incredibly well.
So you cannot do everything yourself.
And that means that you have to let go of
control and that some things are not
gonna come out exactly
the way you want them to.
They might come out
different, they might come out better.
If it's bad, you can say, no, this is not
what we're looking for, we can fix it
because this is in service of the show,
not about your ego or my ego.
But sometimes things happen and I think,
well, that wasn't what I thought it was
gonna be but I'm not mad.
Like we're trying to make a poster of one
of the comic book characters that's in
the show and she has a fin that doesn't
know where it needs to come out of her
body and we cannot get that fixed.
So I decided maybe today that since this
is supposed to be taking place at a Comic
Con that's not like the fancy one out in
LA, it's like one that might be held in a
smaller city like Bowling Green or
something, that maybe it's okay that her
fin, it does not make sense where it
comes out of her body.
(Laughs)
And that might just be the thing.
And so when kids see those posters, it's
just be one of our posters in the halls
for the show, they will stop and look at
it and be like, where
does that fin come from?
(Laughs)
And that's okay because educational
theater, this is not
Broadway, that's not what we're doing.
So sometimes, and also the great thing
about live theater is at some point you
have to let it go because the show is
tomorrow and it is what it is.
And not all the gags and bits that we're
talking about now are gonna come to
fruition, they just aren't.
And that's okay.
We definitely had to have conversations
about that before, like a day before the
show where it's like no Jennifer, this
thing is just not, it's
not gonna be able to go.
Like we can't pull the trigger on this.
Like, I mean, I have a lot of ideas about
how to do this table
thing, hopefully they work out.
But could you put wheels on it?
Why?
The last thing you want is for the table
to slide off from underneath them.
I guess that's true.
Maybe the wheels are retractable.
Yeah.
I don't know, we've had very rare
instances where it's like, no, we just
literally can't do that.
Which is wild when you consider the fact
that we have no heavy equipment, we have
no ability to lift things, we have no
ability to, you know, like you see
theater companies that have things that
fly on stage and fly off the stage.
That we don't know if fly is phased, or have a different job.
Have giant, like massive physical space
that wrote like spin on stage and stuff
like that, you know, or whatever.
We can spin a house.
Yeah, we can spin a house.
We do have a massive two-point house that
can spin as two stories tall.
So, you know, it's kind of
cool, the amount of stuff.
I'm always kind of perplexed by how
sometimes we are able to do the things
that we are able to do in a small theater
that sort of got randomly put in the
middle of our high school, in a town that
probably shouldn't have a theater as big
as it is, and with little to no support
from really anybody.
Yeah, they didn't really ask anybody who
was doing theater when they put the space
in, like what would be useful for us.
I had just moved here, so I was not in a
position to give advice to anybody.
But I don't know if
that's part of the fun, right?
Oh yeah, no.
We're scrappy underdogs,
and it's freaking magic.
Yeah, it definitely is too, because, you
know, I mean, one of the reasons that I
keep my daytime job that I have is
because a lot of days, I'm not doing the
same thing that I do the day before or
two days ago or whatever.
Sometimes, you know, I spend weeks just
rotating through various things until I
finally make it back to
the first thing or whatever.
And so that's one of the things that I
like about this too, though, is that, you
know, if she comes at me and says, "I
need a barrel that looks like it's on
fire, but the barrel has to be moved
around stage, so there can't be any
wires," then I have to sort of stretch a
little bit in the way that I think about
things to come up with a way to do that.
And so-- Like a giant wizard who talks.
Yeah,
you know, we've done stuff like that.
And it is actually kind of interesting
for me because it gets me out of
sometimes the ruts that I get into with
what I do on a day-to-day basis.
So you've talked about the production
analysis and how you
build that to some extent.
And, you know, you sort of decompose the
script into various
cells in a spreadsheet.
And then-- Decompose
interesting word to use there.
Yeah, well, I mean, that's kind of how I
feel like it is, is that you take this
whole thing and then you decompose it
down into its various parts.
Or deconstruct, that's a good word too.
Then like you have your PR team or
whatever, that they're
out-- Publicity people.
They're out making stuff.
How do you start ingesting this stuff
like that from them?
Like when a kid says, "Okay, I've made a
flyer "that we're gonna
print out and do this stuff."
Like how are they, you talked about
Google Classroom a little bit, like how
are you retrieving that stuff so that you
end up, where are you storing it?
How are you putting it together?
So that you end up with this collection
of materials so that you
can go back and find it or--
Oh, like from previous shows?
No, more like when this kid says, "I have
this and it's done,"
then what happens to it?
Well, then we print it out and we just
disseminate it out into the world, put it
on walls everywhere.
And we have big bulletin boards good for
us too, but yeah, we just put it out
wherever people have it.
Sometimes it gets out of
the community, sometimes not.
That's one thing
we're not very good about.
People say, "Oh, when's your show?"
And I'll say, "It's over."
And like, well, we didn't know.
So we are not doing a
great job right now with PR.
I would say that is a weakness in our
program, PR and
fundraising, but like I've said,
magic, we haven't had to fundraise.
But we do need to do a better job of
getting the
information out in the community.
Because right now we have the science at
school, we have a Facebook
page, and we have Word of mouth.
And oh, Instagram, we have Instagram.
So, okay, more physical things then.
So you send the kid
in to go find a walker.
They find that walker.
Now, what is your process for what you do
with this thing now that it has been
acquired and brought in?
Well, in Mary Poppins' land, the prop
master took it after rehearsal and put it
somewhere where they are
collecting all the props.
And I know he did come back in later.
So I'm very lucky that I have a couple of
students every period, because I'm a
librarian after I teach my
first period of theater class.
I'm a middle school, high school
librarian the rest of the day.
But I have independent study, technical
theater kids, who are pretty much the
crew chiefs, and they can work on theater
stuff during that class
period when they're with me.
So he was collecting props earlier today.
So I'm assuming he's got a space where
he's storing all those things.
And then ultimately we'll have a table
for those, but that's
not, that is far from today.
Okay, so what about you go show shopping
and you buy things that you see, then
what do you do with them?
How do you batch them together?
How do you-- So we come back with all of
our, with our spoils.
And usually a lot of the crew chiefs are
with me, but then they take their things.
Like every kid has a costume bag that's,
and this is on the schedule, what day the
costume bags are due.
On the schedule is also what days all the
measurements for the actors are due so we
can find what we need, what other
deadlines are there.
When you have to get your lines
memorized, but that's going to prompting.
I think there's maybe only two deadlines
like that, because there's the deadline
for props, costumes, hats, all the
buy-a-lifts to be done.
And then they can go just put the things
right in the kid's costume bag, except
they tried them on to
make sure they're good to go.
So the crew chiefs are
responsible for that.
And mostly that works out okay.
Sometimes we have problems with hair and
makeup, I think only because
those are very small things.
And like I said, no
one has enough storage.
I've been backstage in major theaters, in
New York, in London, and
in Germany, and nowhere.
Did I find a space where I thought, oh,
this is enough backside
storage for what you have.
No one has enough space.
There's always like, here's an idea of
where one thing's to go, but then stuff's
sort of like spilling out into sitting
around because we made this really cool
thing and we didn't
know what to do with it.
So here it sits, you know.
Well, and every space is
occupied by human beings.
Right.
Human beings predominantly are bad at
putting things back up.
It's really, you know, because chaos, you
know, everything spreads farther and
farther onto the world.
So we have to, our hair and makeup people
share their space with all of the hats
and with all the pieces of material.
It's amazing what you can do with the
piece of material if you can't afford to
build a whole thing.
It's amazing what a myriad of ills
material will cover that can be clothing
pieces, just straight pieces of material
or can cover set pieces
and look like wallpaper.
And a great thing about that is if you
need to switch a wall really fast, you
can Velcro that stuff and then yank it
down and have the other wall behind it or
just other piece of
things you can Velcro up.
And we've done that trick several times.
So there's, we have like a corner for
hair and makeup and part of a bathroom.
So, and that's an area that I don't know
that much about because I don't use a lot
of, well, any makeup products.
So that's something that is left more to
students than a lot of other things are
because I got nothing.
And those things are
small and hard to lose.
Every time we do a show, buy bobby pins,
buy bobby pins, buy duct
tape, buy baby wipes by the case.
Every time we do a show, you will use a
case of baby wipes to take off makeup, to
clean the floor, to
clean other random things.
Yes, anytime we do a show, I buy those
three things religiously.
Is that all the time?
I can't think of anything else.
Yeah, bobby pins, duct
tape, and baby wipes.
That's really what all shows are made of.
Safety pins, a lot of.
Safety pins, always buy those because
they're going to get missing.
You could buy 5,000
safety pins off of Amazon.
And by the time the show's over, you have
two safety pins and they're like the size
of your pinky nail, the only
useful size of safety pins.
So yeah.
Now you're talking about, so we've talked
about physical things.
We've talked about PR items, like where
now you're, one of your other things is
you got to have sounds.
And ideas about lights.
So you're starting to, you've broken your
production analysis down into sounds that
you need, and music that you need, and
types of music that you need.
And then how are you collecting those?
How are you gathering those artifacts to
then go into the systems?
Right, so we have a really nice light
board system and it's fabulous.
Everything is LED and you can change the
colors, the lights at the push of a
button, whereas we used to have to go up
and put gels in the lights that sometimes
people would leave on for days at a time
and they would burn holes in them.
And this lights, and the lights are much
smaller and I won't burn my
hands if I have to move them.
That is one thing kids don't do is they
don't get to move lights
because they're up in the ceiling.
We don't put kids up on
ladders, that's unsafe.
The sound cues, I have given my sound
designer a bunch of
ideas about what I need.
Some in case it's specific
sounds that I know I want.
The coolest sound cue I think we ever use
is we did a production of Beauty and the
Beast, not the Disney version.
And in this version, there was this arbor
made of roses and the
beast would go and talk to it.
And basically the arbor was like, yo,
you've got to find somebody who loves you
to marry you and you have a very limited
amount of time because if you don't do it
or if you do it, then we're gonna die.
Like the servants and
stuff had all become plants.
They weren't like bowls and
plates and pianos and things.
So, but they were all dying because he'd
been alone for so long in
the house when Beauty shows up.
And we rigged it, we rigged an arbor.
We actually took an arbor out of
someone's yard and washed it, got all the
mud off of it and then covered it.
Oh, fake plants.
You should buy those at Goodwill.
Anytime you can find fake shrubbery,
especially ficus trees or
roses or vines, buy them.
You will use them a million times or buy
giant sheets of shrubbery on Amazon.
You will use that stuff.
You will use it every single time.
It's amazing.
So we covered this arbor thing we had
bought, this trellis thing with roses
and, well, Christmas lights first and
then roses and then vines.
And then we just had somebody, because
this was before there were LED lights,
somebody backstage where when the roses
would start talking to him, they just
plugged in the lights.
And when they got done talking, they
unplugged the lights.
And that was a little bit.
But the roses, like only he can
understand that they're supposed to sing.
And I could not find a sound that was
appropriate for those roses to make this
sort of like haunting melody I wanted.
And finally, like two days before the
show, I decided to use the children's
chorus from Poltergeist.
And it was, I mean, out
of context, it was perfect.
It's a bunch of little
kids like, ahh, you like that?
And those kids were so young that they
didn't know what it was.
And a lot of the adults in either, like
people, my husband was like,
is that the Poltergeist song?
And I was like, no, that's roses singing.
But a lot of people didn't know what it
was, but I thought I was like, because
that was something that had nothing to do
with what we were doing, was not in the
same genre, was not a takeoff on some of
their, wasn't something we got from some
other versions of this play.
It was completely in the other realm.
But I was like, oh no, this is the thing.
So you never know when you
can repurpose it like that.
And they went really well, because I
really, I did not have the kind of faith
in that show that I should have.
It was brought to me by a student
director who I loved
and adored and trusted.
And she was gonna graduate,
and this was her last show.
And I trusted her, but I was like, I
don't, this whole story is just insane.
And I don't know.
And it really was, it was fantastic.
That show was really, really good in a
way that I thought it would not be.
And this is the first show we bought, a
bunch of different widows for that show,
because we covered all
the house and greenery.
And she had this big bed
with this big canopy on it.
It was really cool.
So I've given the sound designer, here's
all the cues when they have to happen.
Here's vague ideas about
what kind of music it is.
And here, and so go find these stuff.
So he'll make a playlist, and then you
will upload that to the computer in the
sound box, and then magic will happen.
Is that all that works?
I don't know, because I have to do this.
This is what you do.
I look at the direction analysis, and you
make the sound cues come on.
So is that how that works?
So that's been much
easier since the advent.
Because when we first started doing it,
we had it on a cassette tape, because
there was a cassette player in the back,
and then we moved to CDs, because there's
one of those in the
back, in the little corner.
And we started doing people's phones, but
then if they lost their service, or they
got a notification,
then that would happen.
Or we do it on Spotify, then a commercial
would come on or something.
So now it's, and we would do, we were
trying to use sound
cues off of YouTube videos.
We had to switch back and forth, we had
computers, and people's phones, and plug
different things in.
And then if there was a
video cue, it was like,
I don't even know how
we got that stuff done.
And we did it, but oh
my God, it was stressful.
It's much easier now.
So now we use a piece of
free software called Multiplay.
It's much easier for the sound designer
to, like it's more complex than maybe
hitting play on a Spotify playlist.
But it is much easier for the sound
designer to utilize in a production
system, because it has the go button that
takes you to the next cue, and you can
rearrange your cues, and
stage things, and fade things.
And also manipulate the
cues, in a way we could before.
So we did Trap last year, we did this
really weird noise that happened
sporically, and then got louder, and got
cacophonous, and that was, Brent said,
that's the worst part we ever had,
because he kept bringing me noises, and I
was like, no, that's not quite right.
But I couldn't make the
noise that I wanted to be.
I just knew what it was in my head,
because it was like, what do you want?
Yeah, imagine someone telling you they
need a weird noise, but not being able to
describe it, and every time you give them
a weird noise, they're like, no, that's
not the weird noise I need.
But then you got it, and it was great.
Yeah, and then also, I need a weird
noise, I don't know what the weird noise
sounds like, I just know
that that weird noise is wrong.
Also, I need that weird noise, I kinda
like that one, but I need you to make it
happen like 500 times, overlapping each
other in a weird pattern.
Oh wait, no, I hate it like that.
Yes.
So it was a real fun time.
But then you made it work,
and it was really creepy.
And so
using multi-play, we
actually can incorporate now
the sound system more as, it's actually a
lot easier for our sound designer to
understand because it sits opposite, in
the sound booth, the light system.
And so when a sound designer walks in,
the person that's been our light goddess,
as Jennifer says most of the time, can
actually sort of explain to them how cues
work in a system, because most people
don't really interact with a, okay, I
wanna line all these things up, and then
hit go and go and go and stop and go and
whatever like that, they
don't really understand it.
But our light designer is like, oh yeah,
no, you cue these things the way they
need to be, our stage manager's gonna
call them out when you need to cue them
off and stuff like that.
And so it's a more intuitive system for
the people that already
know how a cue system works.
And then Multiplay has now integrated the
ability to kick off videos as well.
So what's the most recent one?
Singing in the Rain.
Singing in the Rain, yes.
Yeah, we use it for that, where we kicked
off prerecorded videos, stuff like that.
So that was a new one for us as well.
And Multiplay is an open source program,
not funded by a giant company.
So every now and then there's a glitch in
it, and you gotta be like, oh wait, no,
that's not how that's supposed to work.
But it comes with a low, low price of
free, which is pretty nice for our way of
working with things.
Like Multiplay was just me in my spare
time being like, okay, there's gotta be a
way to do this better.
And some of the lighting effects that we
did in midsummer were me building-- And
the lights went out in the house.
Building controllers and stuff like that.
That was so cool.
It was like, okay, there has to be a way
to do this, but that's not an aspect that
Jennifer's really great at.
And I like to make weird
stuff so it works out, though.
And I see I feel the same way about that
stuff, the way you feel
about the direction analysis.
As I'm just like, so I said during
midsummer, I would like the lights in the
house to go off in rows
and go, dog, dog, dog, dog.
Like it's scary and terrifying and the
end of it, the dark at the end.
And it really wasn't.
The audience was looking around like
what's happening, when
it's already happening.
But I didn't know how
to make that happen.
I just made those noises at
Brent and he was like, okay.
And then he made that work.
So production analysis
is great and I love it.
It's my best friend.
But then these other things like the
sound stuff and whatever, I
don't have to worry about that.
And I wouldn't, I think we try more
technically advanced things because
that's something that you are better at
than me and I can just be like, here.
That's why you get your own color on the
production analysis.
Called orange, Brent's problem.
Oh, I like orange.
Good, because that's your color.
Michaela's head's over.
(Laughing)
I would know that if I overlooked that
the production analysis.
Too scary for you.
And like you said in the production
analysis, it turns up
green and that means it's done.
But then wait, where is it?
Where is that at?
Like where,
okay, we did that and it's somewhere.
But I'm so I know that at different times
we've made prop boxes and
we've collected props in those.
Like we've made prop tables.
We almost always have props here.
Right, and costume bags are good.
But then sometimes it's like, listen, I
just need to see every
different picnic hat or whatever.
And we pull that stuff out and we kind of
look at it and then we go,
okay, this is the one we want.
And then we try to
funnel it into a costume bag.
What is a picnic hat?
I was thinking the big,
floofy ones, like a shade hats.
Like a summer hat, like a straw hat.
But that's also it sometimes too.
Like the other day you told some of our
older kids, I need you to
go find me a pirate hat.
And they vanished off and came back with
a tricorner hat, which was not a pirate
hat, but could be a pirate hat.
It's a pirate hat they could fit.
And so sometimes it's not about what it
is, it's about what it feels like it is.
Or what you can convince
the audience that it is.
Right, exactly.
Is it a bed sheet or is it a tote?
Right.
And one thing that she was talking about,
you should buy a ghillie suit.
Yeah, those have been very useful.
Ghillie suits turn
into mossy covered rocks.
They turn into ways to hide places that
actors go in and out.
And there's not even the suits, like we
have a couple suits that we're used to,
but just the ghillie material, which is
the stuff that I didn't know, let's call
this, it's the stuff that like hunters
might use to cover over a blind, if
they're making a duck blind or something
like that or a deer stand.
So it kind of blends in with the shrub
where you said the
woodland creatures don't see them.
And that stuff is infinitely,
yeah, I mean, that's good money.
That was a good way to do it.
Any kind of greenery, man, you can just--
Well, because you can instantly make
something look like it's
been there for a long time.
Yeah.
You know, we've hyper-machayed a cave
onto the front of one
of our rolly houses.
Thumper did that, Thumper
came and helped us do that.
And then threw ghillie suit or ghillie
material over it and ta-da, a super old
cave that's been there forever.
Yeah.
So there's a lot of stuff like that.
But so having the staples, that's one of
the things that Jennifer's good at in the
production analysis is that when she
decomposes things down into their smaller
parts, she'll be like, "Oh, yeah, I can
make this out of that
because I know we have that."
And so there's a lot of stuff that when
the production analysis is being built,
she can just be like, "Yeah, that's
already done, that's already done, that's
already done, that's already done.
I know we have these chairs, I know we
have these tables, I know we have the
screen area, I know we have this thing."
And basically we just have to send the
kids in there and be like, "Hey, go find
these various things and--
Benches, we use those benches.
They're benches.
Yeah, yeah, you have to
be careful with that one.
But that's from 20
years of building up stuff.
So if you're just getting started, you're
gonna have to do a lot more
borrowing from other places.
But think about stairs, like we've had
the same, we've got two set
stairs that are as old as Ian.
And the tall set piece, the two-story one
and those two long walls, we've had those
for more than a decade.
So if you come into a space that
somebody's already started, you wanna
take time to go through
and inventory what they have.
Because there's no list on paper.
I know there are theater programs, I've
read about this, where they barcode
everything and catalog everything.
I don't know that would do me any good.
Because we still have to
figure out where the thing is.
So to go back, I think that is a thing
that Jennifer does really well, where she
is able to nudge the production analysis
into a direction because she knows, well,
these are things that we already have and
so I can use that and use
that to make this other thing.
And she's talking about, she was talking
about props and set pieces that we have
that have been around for 10
years, just as on the side.
Some of our set pieces,
if you took a knife and
scored the paint on them,
there's easily 10 to 15 to 20 to 30
layers of paint on the set.
Because everything gets repainted almost
every show if it's in a show.
No, here's a pro tip.
If you go to Lowe's, this may be true of
other home improvement places, but our
school has a, we can use purchase orders
at Lowe's so I shop there quite a bit.
And there's always a kid from drama who
works there, it seems like, or used to be
in drama, is they have a big shelf near
the paint section of paint that nobody,
that somebody ordered and decided they
didn't want or whatever.
And I mean, one time I
bought 20 gallons of white paint.
We've been using that stuff for years
because you can use it to
mix other things or whatever.
It was supposed to be like for Arkinlots,
I think, or whatever,
but it doesn't matter.
Like you can use, because you're like,
what kind of paint, what
kind of paint do you want?
If I have a color, like what is the
cheapest paint it will sell me?
Literally, the quality of
the paint is immaterial.
I will use this for two months and then I
will cover some of this.
But yeah, you're right.
Like those houses probably weigh a good
five pounds more than they did when we
built them because of the layers of paint
that are on them and the spinning walls.
Yeah, so when we have one of those
Saturday rehearsals that she was talking
about, there'll be six kids show up and
the first thing you tell them to do is go
put different clothes on and then you
hand them whatever paintbrush they can
hold and you just start going, make that
black, make that brown, turn that green.
And they, we had one kid that just
painted their hand every time, but also
they painted the set.
And you get drop cloths, all the drop
cloths, which are old flat sheets,
because flat sheets are not useful on
beds, but very useful in theater.
So we have a lot of that kind of stuff.
Five kids with three inch house brushes
just literally sitting there repainting a
set that was brown, that was black, that
was brown, that was black, that was
brown, that was black, but we
needed to be brown this time.
And it's okay because it has to be
theater and because we have a proscenium
stage, the audience is not
close to the action at all.
There's an apron in front of them and
then four spaced in audience.
So you can go look up close to our
theater set pieces and be like, ah, this
little sketchy bit from the audience.
It looks just fine.
Like we may not have the most money in
the world and we have the most talented
people we know, but I mean,
are we all going to Broadway?
Clearly not, but we hold ourselves to
professional standards as much as we can
in terms of, we want to give
our audience the best show ever.
Not like, well, we're a bunch of kids out
here in the middle of nowhere, so it
doesn't matter if
this is any good or not.
We are doing our best to provide quality
entertainment to people.
And I think, I mean, I don't know, we're
the best theater, we're the best
educational theater
program in Evans & County.
So, that we know of.
That we know of, but surely
if there was another education.
What if there was like an
even more rogue underdog?
What if there was an even more, you know,
behind the scenes, even underground
educational theater?
They performed in the cave.
Yeah, like, I mean, we
just did not know about it.
(Upbeat Music)
But I digress, is a, We Snatched.
Production.