 part of their traveling master's program. So I'm going to ask Rachel to tell us a little bit about how that works. No, of course. So hi, I'm Rachel. I'm the executive director of the Dramatist Guild Fund. So we're the nonprofit arm of the Guild. And we support all writers for the theater, whether you're a Guild member or not, who support you. But you should be a Guild member. But you should be a Guild member. Yes, very important. Someone asked this morning about how you join the Guild. And on the paper that we had in David's class this morning, it has the address and everything on it. But the best way is just to do your website, right? Yeah, the website, DramatistGild.com. And there's also a town hall meeting at 4.30. If you're interested in becoming a Guild member, I encourage you to come and find out more about what we're about. And so the Fund supports writers through emergency grants to individual writers, grants to nonprofit theaters across the country, and also our educational outreach programs, of which the Traveling Masters is one of those programs. So we bring prominent writers like Tina, and last year we brought Christopher Dureng, as well as composers and lyricists to regional theaters and schools around the country. So I'm here as a playwright supporter today. And Mr. Dureng's had a pretty good year since we saw him last week. Tina, may we be the blessing upon your father, and may we be the blessing as well. Tina, you want to talk a little bit about what being a Traveling Master means, and what you've done with it? I think it means passing the torch. I think it means crawling out from under one's own lonely rock, and meeting other people who live under lonely rocks, and saying, okay, someone's alive. They still move. You know, we got out from under our rocks, and we are still writing our plays, and we are still raising our voices. And I think it's about making connections, and reminding all of us that each of us have something within us that nobody else has, and that when you write for the stage, your obligation is to put on the stage what has been missing in your eyes, what the stage means that only you can provide. And so it's sort of a mantra with me. So I enjoy traveling around, and I have to say that I love South Beach. I love that road with all of the people, the huge margaritas that are this big, and all of the vendors with false food trying to get you to come into their restaurants, to all of the sort of young starlets and poor prostitutes, I'm not going to say that, but I love the feel of Florida, and I love the cruise ships, which I think you're all going to come in this weekend. I think they're so ugly, but they're certainly so romantic. But I want to sort of reach out to you and remind you that what we do is very lonely and makes us paranoid, but it's very, very important. So that's why I love it. Wow. I think we can all take that and go home with it. That was worth the weekend for me right there. Steve and Lauren are new to city rights, and the idea of really having some writers who are directly, Leslie, excuse me, so excuse me. You don't see me, granted. Leslie's jokes last year, she got to sit on this panel. I don't think she's the channel. I don't think that's what happened. So Steve and Lauren are both new to city rights and to city theater, and those of you who were with us this morning, as I have been working with Susie and the team at city theater over the course of the year, we've been talking about, there's some playwrights they didn't know that I thought that they should know and people that I knew that wrote short form and people that I thought were just really great cool writers that would fit in with this vibe really well. And oddly enough, while I had, I initially approached Steve and said, hey, about any chance do you have this week open? In the meantime, then they picked Lauren's play to be in their children's programming, and those of you that are still with us here on Sunday are gonna get to see that. And I happen to know as I think they probably, Steve and Lauren are the best of friends. In fact, Steve was recently Lauren's maid of honor at her wedding. Master of honor. Master of honor. It's a maid of honor, I can own it. I can own it. I can own it. I can own it. I can own it. And so then in the meantime, Susie's like, oh my God, you're from Lauren. I mean, you do this. And I was like, okay, you cannot have one and not the... I think we have a slightly different version of the story. Do you? That's good. So, in the meantime, then one of the things that we've always talked about with Citi and having, I've only been a part formally of the organization for a little while but have spent my time in South Florida seeing the festival, I think I've seen two of them over the years and have been peripherally involved quite a bit. And one of the struggles is always that they pick the plays, then they pick their company. And inevitably, those of you who have produced, especially who've worked with a company, no matter how you try to divvy it up, there always ends up being an actor who has less to do and an actor who has too much to do. And we were talking about this and I said, well, the other thing that Steve Yocchi has is this astounding ability to just have output all the time. He just writes more than anybody I know. And the fact that for years he worked with Actors Express in Atlanta, which is one of our NNPN member theaters, writing their intern showcase. So he would be given a group of actors to spend a little bit of time with them and he would write a play for them to do. So I said, why don't you guys talk to Steve about the possibility of writing a piece for whatever leftover fill-in you need to do. And thus came the piece that you saw last night. So Steve's done a little commission work kind of sort of for this program. Anyway, I also knew that they both are really excellent, wonderful teachers and I loved the idea of being able to have them team teach today as well as being part of it. So that's why I brought them here and my version of the story of how they got here. Which is the only one. No, that's, it's roughly the same except for like that fun NAN part which is where you said to Lauren, Steve's coming, so you should come. And you said to me, Lauren's coming, so you should come. But at the same time, before either of us had agreed to come, which was amazing. I think when I, someone else pointed this out to me last night, probably my son, that when I ran my list of things I've been called, I left out manipulator. But in a great way, but in a great way. Perfectly. So talk to us a little bit, you two, about why you teach and why you like doing convenings like this, because I know you both do a lot of work. I just wanted to say to start with, I mean just as a deference of respect, Tina is the master on this panel. And to be on a panel where we're called masters with her is really odd to me. So that's all that does. Tina's the master on this panel and we are here to help. So, but I don't know, I love things like this because there's always a really great energy. It feels like people crawling out from their personal sort of like retreats where they write to form community and to revisit community because the community is always there, it's just that we don't engage it. And so I think that for me that's always, like I always leave these things feeling exhausted but refreshed or like re-inspired to continue to work. Cause I'm one of those people that's like, everybody should write, we all rise together. Like, you know, my work is different than your work is different than your work. And so we're all creating new audience because if they don't like what Lord's doing or what I'm doing, they might like what Tina's doing. Or, you know, so we're all growing audience by writing and like working in the field side and it's exciting and not boring. Lauren? I will also defer to the master that is to my left. But primarily because my Tina Hell story is this amazing place she would have called Approaching Vance Bar, which I was in when I was 11. And it was one of the reasons that I started to be a playwright because at that point I'd only done plays to kill a mockingbird and, you know, 11-year-old versions of like McBee. Which is a lot of which is that that was expressed by a woman long time ago. So anyway, that play reminded me that, wow, they are new plays and they sound like a version of poetic modernity and it's such an incredible play. So thank you for being brilliant and inspiring me even though you didn't find it. I'm sure there's thousands of us who would fall in that category. But yes, so I love being in these scenarios because I think inherently both informally and formally we start to learn how to describe what we do. Even just casually over drinks. Oh, what kind of plays do you do? Where are you from? What do you do? What do you do? And I think the more you can kind of say and claim, one, I'm a playwright, always good to know and to claim. And two, to kind of say, you know, I do write with a lot of, I write science plays. I write plays that are ferociously funny in a way that's my version of activism is through kind of rageful comedy. Or whatever it is you do. And I think even though definitions can kind of box us in sometimes I think it also can strengthen the core of what you know you're good at, what you know your voice is. And there's that great power coming over. I find those conversations happening a lot here, which is great for people. All right, let's go. When did you first say out loud, I'm a playwright? Was there an incident that made you know this is what I'm doing? Okay, this is sort of interesting. I come from the family of writers, the house. They're all minute. And they all have deeply set blue eyes. And they're all wildly insecure. Because the war some blue blood is essentially a very insecure and we all feel that we're imposters. But yet I came from this family of writers and so growing up it was always being read aloud to all the conversation around the dinner table was what are you reading, what have you read. And so I wanted to be a novelist. And so when I went to Sarah Lawrence, I took a short story class. And they made a rubber stamp worst in class. And it went right on over my farm. And I couldn't control the language. I didn't know that she entered the room, but she slide into the room, and she inserted herself into the room, and she spat on herself into the room. And I was a disaster. And it was my senior year and I was supposed to write something wonderful. And I just had pages of adjectives. And so out of desperation I decided to write a play even though I had never studied playwriting and I had no idea sort of what a play was, but I wrote this and being Sarah Lawrence, kind of love it. I wrote a play about the end of the world. Of course, what else would you write? I was a king and a queen and a group of pigeons sitting on steppard as part of a nonsense. And my dear friend Jane Alexander who was the leading lady at Sarah Lawrence read it and said, ah, I want to direct it. And at that point this was back, you know, in the 18th century. People came to school with horses and carriages and they would not be had ever done a play. As soon before it, all the theater department heard was play lead. And so they said, yes, Jane, please do it. Thinking that she was gonna be in a production of the Caucasian talk service. So she directed the most terrible, pretentious play of mine called Closing Time about the end of the world. And mercifully, two days before it was to open the lead actress got sick. So Jane took over and it was a triumph. Shit, that was a triumph. So it's like having author, author, what did I know? And I was a D student and I ran out and started selling kids. And a little bearded man came up to me and he said, oh Tina, Tina, I'm a composer. I'd like to turn this into an opera. That was it, you know. I had never studied playwriting. I never went to graduate school. After that extraordinary experience, my father said to me, Tina, you can either go to graduate school for a year or Europe. You know, of course I said I'm going to Paris. So Jane and I hopped on an ocean liner. Her excuse was she was going to Edward to study mathematics. I was going to the Sorbonne to study philosophy. Within a week, Jane was acting in the fringe and within a week I was writing The Great American Play in a little garret right over the pine earth. And a friend took me to see Inesco's The Ball Soprado and seeing that play, which was really about my family because they're very high-loan and lots of conversation but basically it's all gibberish. But as with this performance, it was done completely you know, soft wire with a straight face all of this gibberish, you know. Jane and Edward, I'm like, I'm going to have Jesus one. I was born and I thought, oh, this is it, this is what I should do. That Inesco sort of mimes and explores and transforms life in terms of the male world of power and identity. And it is my job to do this for women. But I never went to graduate school. I never had a mentor or even had some kind of a woman back young dad and said about how I did this. I really don't, I don't really know what my graduation heart is. I don't know much of anything. And I sort of taught myself. But, and I think because I'm self-taught as a teacher because I never had a mentor, I desperately wanted to be that old man, a cellul man because I'm a kidney problem. I should throw up in the West. There's something in me that I never had that and so I wanted to do that now. Well, I know that has been such an important part of your life and career. Do you find yourself as you have grown as a playwright, has how you mentor people changed? How about we start an MFA, Hunter? And we can choose our students. They're ever so much more accomplished because in the olden day anybody that was getting a master's in theater could take the class and they'd think, oh playwriting, that sounds like fun. But now we get writers who have been around the block a few times and who have had productions. And I'm sort of an awe of them. And I feel, I mean I always feel, I said before to some people that I feel my job as a teacher is to be a mirror. And because I'm so tall, I could be a full-length mirror. My job is to reflect their play back to them. And whatever it is that they're trying to do, I have to sort of walk through the mirror and help them build that up. And so I've never really had an agenda. I think what we need more than anything, all of us is to be seen and to be recognized, to be acknowledged. And I think it's rare for students to be acknowledged and I think it's rare for us to be acknowledged. And so I'm just this big mirror for what no one had. And I don't think anything's changed except I've gotten terribly old and I keep telling everybody, how are you writing this so hard? I'm really 20 years old. This is what happens. And this is what involves. So I have wonderful students and they teach me. Lauren, I know you are actually, you came through the Young Playwrights Inc. program which I don't know if you're aware, but our scholars are being worked with with them this weekend and those folks are actually teaching a teacher lab today. You obviously had some wonderful mentors have on the way and have helped shape careers. So the idea of, yes, we all acknowledge Tina's had a different level of masterdom, but do you feel that it's important for you to do that, pass along, to be the mirror for people? I have benefited greatly from great advice. I feel like you were mentors. I feel most of my time until I was 20, whenever I was in grad school, I didn't take a playwriting class ever. It was just, you know, reading Beckett first, which means my first 10 in the plays were nutty. And then I was reading Tennessee Williams and then Miller and I'm going, oh, oh, okay, okay, okay. And then of course realizing, well there aren't that many women playwrights that I can read in my local library and maybe go seek those out. And so all of that was kind of developing my own voice and through productions that I was able to get and I would play in an evening of three other kids that were like me, it was an amazing moment to go, oh, this is a job, this is a craft, this is an art, not just a hobby, not just a thing that you can kind of do while you go be a lawyer or something else. And so it kind of worked me that way, but I definitely feel in many ways self-taught to a point where I was desperate to pour the grad school theory, which provided me a sense of structure and how to get some of the messy thoughts into, to walk a little bit, not in a straight line, but in the same direction. So like everyone just walk over there, you can walk into different cases, into your different gates, but everyone aims towards the client activities. So that definitely helped me, but I first thought of one of those kind of things I think that's fascinating on an, even like an evolutionary psychology level, like why on earth did we decide that this is a way that story works or what a story even is or how on earth did that come to me because I think it's ingrained in the kind of magical space and what makes this humanist story so, here I go, all the life I've ever talked about. So yes, yeah, but we do have some great people. I think grad school is very good for me. It's not great for everyone, but I definitely think that I'm having people that you can trust and respect. It means that you will be able to see your work through their eyes, which is an incredible gift. You shape yourself out of your own personal BS or your own personal cloud. I'm seeking out for a second because I want to go just back a little bit because both of you talked about being women playwrights and how that's different. And I know that suddenly the Guild has a great interest in those of you who follow 2AM theater and howl around and know that there's been a lot of sort of political upheaval in the last few weeks about women playwrights. And I have to say I was astounded the other night when we lined all of your finalists up and what I think there were two would have been three men and the rest of you were women. And the idea that there aren't women playwrights is obviously silly. The idea that women playwrights aren't getting produced at the rate that they are. That's another level of discussion. But talk a little bit about how that form has changed, Tina, in your career and then Lauren had looked to hear what you think as a woman at this level, how it feels to you about that. Yeah, the numbers are still not good. I was right after my Lillian award that Teresa formed four years ago when after the drama awards, whatever they were, the drama desk nominations came out and there wasn't one woman achieved. Email the group of us at two in the morning saying what do we do about this? And Marcia Norman by 9 a.m. said we have our own awards. And so now we have the Lillies but we give awards not only to active female playwrights but you know actors and designers. And Julia Jordan always used to help women too. And the numbers are still very bad. However, I find that more and more women are being produced and it was very interesting. Yesterday I met with some of the young scholars who called them the high school kids. There was all women in one guide and the majority of the women were young African American women and I said I just have to tell you I'm on the bar which develops plays by sort of emerging, more than emerging, really sort of almost their playwrights and that there's a real noise being made by the emerging young black American female writer that this is really happening and that I'm friends with a lot of Pitori I was there to hear on the mountain top and Chisa Hutchinson and Tonya Barfield and countless others and that there's something's really happening there. And even though, see here's what's tricky. Here's what's really tricky. The numbers are great but nothing is more depressing than hanging out with the women who are always complaining about oh, nobody does our plays and it's always the men and a lot of these women are sort of, dare I say it, women that have never been produced and they're really pissed off because they're not being produced and so it's all about the glass being half empty and this tie raid and I've been asked how my bottle, I hope this isn't being taped. My bottle often been asked to join. Oh, it's being streamed out over the internet all over everywhere. Oh. I don't do the internet. I don't even know what streaming is. So it's very bad, it's fine. You're fine, you haven't said anything that's just don't use any names. Oh, I would never use names, but here's the point that Teresa and Marsha and Julia Jordan wanted to do is they wanted to celebrate with the male noise and so by creating the lilies, okay, so maybe only 17% of plays being done are by women but what wonderful women they are and what wonderful ladies they are and I think there was recently when Ensemble Studio Theater announced their upcoming you know, marathon of what, 12 plays and two of them, it's immediately a great upward. I ran into Billy Carter, who's the artist director and I said, Billy? And he said, I know, I know, I know. A lot of things went wrong in the last minute so my sense is that things are starting to relax and that women, it's not that we hate men and it's not that we're angry at men necessarily, it's just that we want to celebrate our own voices and I think as long as we look at the glasses being half full, I think things are really helpful but if you're a little activist, maybe you would bite my neck and say no. No, I think you're absolutely right. I think there's a couple of different levels but it's true absolutely that the numbers aren't kind to female directors, female writers, female design but one thing that was interesting to me is to look at it from the numbers of female roles written, whether by men or women because I'm actually saying that's one of my favorite feminist writers. Steve's work is incredible and his female characters are deep and complicated and evil and wonderful and joyful in all of the things and so I think this is where men and women can come together because really what the issue is is female story that and often even if it shakes your great roles for women except they are generally like two out of the 20 roles are women so we have either to choose from Ophelia or Gertrude and well they both die and they aren't given a lot of development and it's all in the context of men so there's a lot of the issue of how we can all help that even place is not just through female writers of course that's enormously important but to look at the plays that are being done and count these numbers and in San Francisco there's a wonderful movement that's coming about from this kind of feminist community and unfortunately some of it is a little aggressive and I don't think that's helpful ever because I think we're smarter than that and then classier than that and that's how you win is outclassing people and I do think that what we found though is that oftentimes certainly in equity and at least today way more of the equity contracts go to men and women and then it's a labor issue if you have the exact same number of male and female equity actors but the roles that in the plays that the viewers are choosing outweigh vastly the female opportunity that's there then and that's not quite fair so it's a moment for you as a writer because it starts with you guys and I consciously go am I assuming that's a man does it have to be and sometimes yes it does and I can't out, does the story have to be that little boy or little girl and what that does to our collective conscious because the more you put females at the center of the story with the actions with the risks and taking the chances then it's more likely that females do that in real life and we find that female president. What a shout out. What a shout out. What a shout out. What a shout out. Rachel do you know another gender that you could do on the spot would you know what your membership is ratio was male to female? I don't know. Do you know what I mean? I don't know. I don't know. I don't know. I don't know. I don't know. Usually numbers are fairly even. Yeah I would assume that it is and I often I was you know we get quite where you passing out sage advice I really found myself doing this often recently which has made me realize I really crossed over but I was with a group of women at TCG and we were discussing diversity but racial diversity and gender diversity and I was saying when I first started going to Lord meetings I was one of the few women in those Lord meetings for managing directors of the Lord theaters and now it's about 50 could and that's in a pretty short as old as I am that is in a pretty short timeframe in the scope of the world how that has changed and a lot of that changed because there were there became theater admin programs across the country where those management programs that used to be there were so few of them and they were turning out mostly male students once there was an explosion of those programs the programs became more available then there were more women students more women who were being trained and people couldn't keep them from the job and frankly what's interesting it's not just that we're being nice and fair things 60% of the ticket of the audience the butts and seats are female 70% of the ticket buyers on Broadway and regional theater are female so our audience actually is you know so there's a justifiable reason to go wouldn't you want to see more of your stories out there I mean it's waiting there for us to kind of say we're complimenting you thank you for sitting there and going to the and bringing your husbands and sons along with us Steve's play Pluto that we were speaking of earlier that's going to be one of the rolling world careers next year has an absolutely beautifully written devastating female lead in it and I wonder do you do you often think of that do you think well I really want to focus on a woman's perspective or this is just the story I want to tell and this is the person I want to be there to tell it does it enter into your thoughts I think it's this story that I want to tell and this is who needs to be at the center of it I mean like if you're writing something that takes place like Bellwether for instance that we're going to read later tomorrow I guess some of that it's 10 actors I think it's seven women three men because it takes place in a gated suburban community and it deals with sort of mothers and neighbors and whatever that community is so those are the people that need to be in the play I definitely don't sit down and think like I need to write a play about a woman but I also am not one of those people I've heard very much early in my career well you can't write women and I think that's stupid I think when people tell you write what you know they mean start out by writing what you know but then get better at writing and go write whatever you want like so I definitely think it's one of those things where it's what's best for the character but I have to say I really love writing female characters a lot well then you see it in your work Tina do you have a sense of over the course of your career you've written more women than you have I don't necessarily think about it consciously it's funny honor more of the poet and playwright and a biographer who wrote this book about a grandma than a book about her father who was a bishop like the Episcopal Church in the early days she produced my first play The Birth of an Ashworth and she used to say which of you first Tina a writer or a woman I said well I'm a writer because I come from family writers and I never knew I was a woman until I was about 40 years old because I just never thought I'd be married or a mother I just was a brain a sort of a goofy clown a generous goofy clown who liked to write and it wasn't until I began writing plays that it seemed to be about women and women's issues that I realized oh no no I'm the woman first because it's but I was never conscious of that and when I tried to join a women's group oh god I gotta tell you this okay in the height of the women's movement we lived in Columbia County there was a women's group that met in Columbia County in Hudson, New York and I didn't know any of them and we all sat in a circle and we were all in our 30s and I was actually denied the women and we began sharing and so the first before it goes oh man I just had a baby and I don't know what to do with it and I'm so afraid the baby's gonna die and I'm so inept and the baby cries and my husband's at work all I do is cry all day I'm just so miserable we'll be explained the next woman I have three children and all they do is cry and fight and my husband's working in the gas station and I don't know what to do and I don't know what to do with them and my other friends aren't any help Tina it's your turn and I say well I'm working on this play and it's a really hard time getting the first act and there was this silence and then oh you're a writer oh you're here to get our stories you're here to take our stories and steal our stories out out of the womb that was my first experience with women's movement I was banned I was banished from the world and I felt for them and little did they know I was writing birth and afterbirth which is a play about how women compete about fertility because my husband and I took five years before he had children my junior and sister-in-law would say Tina you are not a woman in here you have see children and I thought wait a minute wait a minute this is deeply perverse and deeply disperse and so I want to play about a family who has a child a child celebrating his fourth birthday by a large gary hand and a couple who doesn't have a child who are anthropologists and I have them collide and so I never was conscious of it and the women's movement would have none of me and I was to write I don't think it's about writing about what you know I think it's about writing about what you don't know it's about exploring the mysteries and the conundrums and the regrets and the desire for revenge that you don't write the story that's all perfectly laid out but you hop on top of that ache and that tremor and you write it to the end and I bought you a stamp that I want you all to stamp on yourself or on a book yourself for a present no, no, no but this is it and I thought you all needed to have an imprint of this this is dear Samuel Beckett saying when you're up to your neck and shit all you can do is sing so that's what happens fabulous they could have something that isn't important to you um, okay so what do you want me to ask you, not mine well I'm talking too much no, I personally get out of your head we're fine, don't worry about it okay, I'm working with the great Martha Tark the new choreographer she is adapting this famous novel by Colette Bolchetti about a love affair between an Asian courtesan, Leia and her lover, Cherie who is 19 and she's 49 and Martha has gotten her man, Carnejo who is the lead young dancer at ABT to play Cherie and she has gotten Alice and her fairy to play the aging Leia and she just turned 50 and my job is to write the words of the very angry mother of Cherie who got this liaison going in the first place who then decides to end it but almost, I mean and that's very exciting because now I'm in a position that I do whatever Martha tells me because she's the alter-up and she's the one who talks visually she says things to me like you know when you speak I never listen to a word you say I just look at your face she says to me I want the sound of falling petals in this piece I want the sound of falling glass you know, so I like she says never know true fiery, too literary and I say anything, anything you want because the dancing is going to be very beautiful and all to reveal on the piano on the piano stage so she wants clearly the mother's voice to be angry, bitter and sort of a counterpoint and a percussive element but the other thing that I'm working on Martha Clark knows that I'm this Bach freak and she sent me this U-Tune this young man, Evan Chinners who plays, who graduated from Doolard two years ago and the U-Tune was Evan Chinners playing a Bach two-part invention on two pianos like sitting on a stool with two uprights playing each piano at the same time and very well, very fast, a lot of feeling and I'm sort of crazy and go down further on the U-Tune site and see where he was playing and he was performing with a friend who plays jazz saxophone anyway, I went to this evening and was completely blown away and he's 26 and the other guy's 24 and afterwards they all went out and I had to go home and be an old lady and he said, you have an email because I told him how much I'd like to work and he emailed me and he said if you ever need actors, let me and Jesse know so suddenly I am writing a play for this preternaturally talented young man who plays Bach, Lickety Split and his buddy who plays jazz saxophone and what play, who am I writing a play for? Summer Shorts in New York City because Summer Shorts run by John Corbett has done two of my plays and they're very much like your Summer Shorts except their plays are a little longer and I knew, and I said, do you ever do music and he said, well we're just starting to do music so I'm writing this piece for these wildly talented guys and I am over and over and over and we start with this little brass band so exciting. Yeah, and Susie wants to say something. I do. First of all, I want to say to so many of you who are in the room from places so very far away like Bend, Oregon and Idaho and Chicago and San Francisco and Los Angeles and all of those remarkable, fabulous places that we all owe a debt of gratitude to Rachel Ruth who in fact has this marvelous program called The Traveling Master because of that program. We have Tina Howe sitting here in the room with us and I would recommend that all of you speak to Rachel and say how do we get Traveling Masters to come to our communities too because this is such a brilliant thing and we are of the oral tradition as playwrights and here we have these three amazing writers with us sitting here that come to their approach and work so generously and share with us but I really have to say that because of Traveling Masters that led to city rights masters and hopefully next year there will be even more masters. Masters to us all but I really do want to thank you Rachel for being here and for providing this program and for partnering with us because this is the third year we have Lisa Crown in the first year, Chris Durang and it's just this is exactly what is supposed to be happening at this conference and I just want more of this to kind of go out into the world and thank you guys a lot because I know we have to wrap up and get to this next session but if you have a couple of questions maybe one wrap up. You bet you got a question, you want a girl up? Yes. You must have been happy to see the last Tony as the two top directing awards for work females. For female, yep, that was great. Fine, fine jobs done. Yeah, yeah.