 I was in group six in Joe's pub. And one of the headlines, my name's Linda Chatton of New York Theatre Workshop. We came up with a headline that social change happens personally, one on one. And so we had a really productive conversation about how do we do that, taking performance from door to door, you know, one person performance from door to door. Having the audience bring gifts for each other, for the theater, for community organizations in need. So anyway, we had a wonderful conversation in that regard. Thank you, that's great. Anyone else? Anyone else who's sat around those tables? Hi Suzanne, speaking for group 15 in Joe's pub. Two points. We had a long discussion around in terms of enacting change funding opportunities and the structures, panel composition, the ideas of actually providing mentorship to applicants or people who made it through the LOI process. And there was some good examples around the table of success already. Regarding the last question or the last bullet, we had quite the debate and healthy argument about that question's wording. Some people liked it and spoke around it and the notion of utilization and what that means. And others of us had an issue with the idea of performance as platform for social change. Thinking maybe that it was a commodification or a device or something. Somebody else? Mark. Hey. Hey. Oh me. I represent a group 23. Woo! Woo! Anne, Brian, Annette, Matt, Jennifer and me. It was a very beautiful and amazing group. I think critically that came out of that group were a number of things. One, the notion of what kind of actions artists can actually take even in their writers. Thank you Annette about accessibility issues being a part of your writer when you're working with a presenter, environmental issues as being a part of that. The other notion is can we establish an international standard on diversity, inclusion, environmental and put it into a policy and a sense of priority for all of us. We also talked a lot about how to engage, inform the audience, not just when they come through the door, but before they get into the door and also how can we ignite those who have not been ignited. And then there's a notion of a search and to look at our searches, thank you Brian, amongst our friends. For all of our friends actually sitting in our audiences and actually begin to think about curatorial responsibilities, are we thinking from our own perspective or our perspective of a friend who may have accessibility issues, our perspective of a friend may be a conservative Jewish mother? Right, his mother. And then we also talked about the political urgency and the notion that the voices of interest, we have many, many coalitions that can be built. So those discussions aren't ours only to handle and the performances aren't ours only to engage in but to look at partnerships from around there and that's, thank you Annette. And then we also talked about giving the audiences new work and more confidence in accepting that work. Thank you Matt from across the seat. And I think the really big issue is that it's not just about risk, it's not just about turning over the tables but being there when they're turned over and being able to talk amongst our community members once they're turned over. But it's also okay not to have to talk everything to death and to have a party to do that but it's also okay to have protests and have people walk out on things as long as we've laid the groundwork that they're not walking out on the arts but they maybe walk in on individual things. My table 23, what do you think? You're pretty good. All right. You're pretty good. We have time for one more maybe? Is there one else? Oh, one right there, go. Thank you. I'm Sarah Zatz from Intron Company and if you really knew me, you would know that being the report back person is completely terrifying. So, we were in week five and we had a really profound and far reaching conversation and we tried to crystallize it down to some examples of the wings. So I'm gonna summarize these three points very quickly. One approach as a wing that we discussed was radical hospitality movement and some examples of radical hospitality that we talked about were gender inclusive bathrooms and theaters. The possibility of simultaneous language interpretation to include audience members who might not approach the theater was English as in their first language. So we have ASL interpretation. Why not have simultaneous Spanish language interpretation? Incentivizing audience attendance. So it's not just enough for many people to make it free. Why not look at some models where people in fact maybe get paid to come to the theater. We talked about that example from Tijuana, Mexico and people need a childcare cost cover. People need work subsidy so they can time off the work and need transportation subsidy so they can head to the theater. So it's not just about making it free. And then another example was looking at ushers. So King Tommy Company did a show with LGBTQ youth transgender youth of color and when we brought it to New York Live Arts we made sure that our entire ushers core were made up of volunteers who were themselves LGBTQ youth of color. So that when people walked into the audience they saw faces that looked just like them who were walking them into the theater. Another model that was shared was an organization in Manchester, England that actually worked with local community organizations to relinquish the power of the artistic programmer for a year and allow the community organizations to dictate what the programming would be. So when we're thinking about art inclusion, thinking about what does it mean to let go of your power as an arts organization to dictate who appreciates and sees what culture. And then the final one we wanted to share was from the arts presenter at the University of Southern California in Los Angeles that this year during the many on-campus student protests for inclusivity, particularly for students of color and in alliance with students of color that one of the demands students made was that the already diverse programming of the arts presenter unit should include more, even more diversity programming and in response the provost actually gave the arts presenter more funding to accomplish this. And that seems like a great win for the arts and for the students. Thank you. Thank you. Anybody else? I think we're holding on time here. So thank you. That was, give us feedback about that experience later over coffee was put together by my staff. This is the hardest thing we do every festival. And also John McAnne, I don't know if you know this Zen master sort of facilitator really helped us a lot with this together. So thank you very much. Thank you, John. And I want to introduce somebody. Years ago, I was running a homeless theater festival. And I thought it was nice at St. Anne's and I really wanted to find a place in the mirror. I did want to find a place in the American theater. And that was the goal under the radar after all to pierce the protective coating of the American theater. Oscar Eustis was kind enough to take me in from the cold hard world of itinerant presenting festivities and give us shelter. Actually, Oscar, back when we were trying to name this work that constantly defied catharsisization, like to call it homeless theater. Theater without a permanent home and a larger infrastructure. And I still think that's one of the most fitting definitions of the companies that under the radar. And I would still use it if it did not debase the experience of the many truly homeless people living on the streets outside this theater. It's now been over 10 years. We've been ensconced in the heart of the American theater, the public theater. We have been taken on as a core mission of the theater and enjoy the support of the whole institution. Oscar, who has been the public's fearless leader for the last 10 years plus, has been a great champion of the arts that make this work, this homeless theater and of course, a great collaborator of the Vice Theater Initiative and the Under the Radar Festival. When I tell people about Oscar and how important he is to the American theater, I just tell them that Angels in America is dedicated to him. And also that he was the man who gave Lin Manuel Miranda a home to make a simple little show called Hamilton. Please welcome Oscar Eustis. Thank you. Listen, it's been my great privilege to have Under the Radar here at the Public Theater. We are lucky to be the recipients of the vitality, not only of the festival, but of the symposium. This is a great gathering and I'm really grateful to you guys for being here. Very grateful to Mark Russell for having started this enterprise and I'll say a word about me and you in just a second. I'm gonna get out of the way quickly here but I just wanna talk for a minute about what Under the Radar in my perception means to the public. The great thing about the public or the thing we try to do, and I've tried to do this as long before I got here, is emulate what's best about America, which is the idea that there is, as Harry Blackman said, a penumbra of expansion of inclusiveness that is built into the constitution of this country. America's many contradictory things, the founding of this country, was many contradictory elements. It was a democracy that was also a slave society. It was a new birth of freedom based on genocide of the Native Americans. But there is, at the core of this country, an explosive and radical idea that means that we are always expanding who has a say at the table. We are meant to in struggle with forces who wanna do something else with America, who wanna valorize a different part of American history and a different theme in American history. But the theater, the public, tries to take that on. We try to take that on with diversity. We try to take that on with inclusiveness. We try to take that on aesthetically as well as in every other way. And in a way, the core influence that Under the Radar has had here has been to continually try to take work that traditionally has not found a home in the American nonprofit theater and create more of a home. Widen that, widen that embrace that's happened with Elevator Repair Service. It's happened with Gobsquad, it's happened with Guillermo Conorone, it's happened with Lemon Anderson, it's happened with Universes, companies that have come to the public through Under the Radar moving into our main stage season. It's not the most important thing that Under the Radar does, but it's the part that I feel personally invested in. The idea that we're expanding the role that the theaters, the producing theaters play in providing resources and access to audiences to the artists who are really defining our future. So I'm grateful to you for being here. I'm grateful to Mark for having created this thing. And you will understand today, especially grateful to the woman that I'm about to introduce to you, who has been indispensable in the last decade in everything, not only that Under the Radar has been able to create, but that the public theater has been able to achieve. My colleague and friend, and just extraordinary producer, Mayan Long. Woo-hoo! Before I introduce our closing act and before I send you off to lunch, I wanted to take a moment to share with you some news. As some of you might have heard, this will be the last year that I will be with Under the Radar as the director of the festival. Ooh. It's a surprise. So in February, I'll be moving to the Bay Area and I'll be continuing my work as an independent producer, curator, consultant from the West Coast, and I hope to be able to share more specifics with you in the future. The Bay Headline is that my husband Eric Ting is the new Artistic Director of California Shakespeare Theater. Woo-hoo! Thank you. But I think the real headline is that after 11 years at Under the Radar, it is time for a change and face the strange. I think it is healthy to live in a state of discomfort and to jump off the metaphorical cliff once in a while. For some of you new friends, I started as an intern here at the Public Theater 11 years ago. After I came from Singapore to study directing uptown and I have been running alongside the festival's incredible journey. I know it's a real immigrant success story. I'm very proud of the work that we've done here at the festival. We have introduced many, hundreds of new companies. We have presented some gorgeous, important work. And I think we've done a little bit in terms of refocusing the conversation around independent work and supporting artists and contributing to the conversation about making something visible. We've gone from arts market to focusing on the life cycle of projects and artists and figuring out how we as Under the Radar, the device theater initiative can intersect and marshal resources of the public and the field to support artists who are doing the real work. When I started with Under the Radar, it felt like I walked through the looking glass. Working with artists like Back to Back, 600 High Women, Motus, Guillermo Calderón. This work was like static and dangerous and political and audacious and made by artists who were creating worlds that did not exist yet. And I also realized that I wasn't interested in reflections of reality as much as I was craving the creations of new realities. And it was not just important to tell different stories, the diverse forms in which these stories are told was equally important. And this is the work that keeps me up at night, that keeps me up in a state of discomfort. I will say, my joke is, before I came to America, I was not a person of color. I grew up in Singapore as part of the ethnic majority. I'm not American. It didn't seem like my battle to fight. It seemed a strange thing to negotiate. And I had always been embraced and not just for my work but for my different point of view and I embraced that. But when one looks at the numbers, the disparity and the disconnect between what is in our city and what is on our stages and what is on our city, what our city is, that is when I became a person of color. To be part of that tribe means I have to work harder for it and to make a space for it and to fight for a space of it. And it became a paradigm in which I view the world and the work and I am grateful for it. We're all part of the same ecosystem and to borrow analogy from my friend, Joe Hodge, to say that there's lack of equity in theater is like saying as a pity, there's a leak on your side of the boat. Take it away, Joe. But before I go, I have to give some thanks. I don't mean this to sound so final. I'm still gonna be around, I'm not dying right now. But it's a moment to just sort of take stock of these 11 years. I have to give some thanks and don't read anything into how I deliver this because Singaporeans, according to the Financial Times, are the least emotional in the world. And that is above Belarus. For those of you arts administrators and artists who are fighting the good fight, keep fighting the good fight. I will keep on fighting with you. And to the inspiring women that I've met along the way, Olga, when I first started under the radar, Olga came into the tiny, tiny office and she was wearing her fur coat and her bangles and she was telling me about Teatro de las Andes and I was just like, what have I gotten myself into? But I love you, Olga. To the inspiring women I've met along the way, Olga, Susan, Diane, Fri, Maria Lynn, Anami, Carmen, my peers, Katie, Maria, Shanta, Stephanie, Colleen. It's kind of amazing to be in the same field this year. To Patrick and Oscar, who took a bet while the odds were good, but still. I mean, to lead the festival with Mark. When Mark went to Switzerland and they said, do you want to do this? I'm like, yes. It was, I have to say that being at the public, I think there's nowhere else but the public where they'll be able to take chances like that, where they're creating the space for a different voice, where they encourage such ambition and creating space for one to grow. And to Lily Lamakinson, I don't know where she is. Maybe she's outside. She's, you know, in the next generation of producers, anybody with that cool taste in music, you wouldn't expect to be that smart, focused and organized, but she is. And if she's had any indication of who's coming up in the field, it might be okay for a little while more. To Andrew Crochet, Associate Director, I'm like a friend, the most open-hearted, generous triple threat producer one can meet who's an expert on anything from the nuanced difference between the analog and digital makers for God's squad, the Spanish Golden Age, two fair use and copyright law, and the brand of organic video form, I love. Odds are, if you don't know something, if I don't know something, I'll call Andrew, and I will be calling Andrew. And to, oh, okay, I missed that. Okay, great, and then, right, that guy. So, Mark Russell. I missed that thing, I might have to ban him. To the man who came to my Green Heart wedding, kidding, but he came to the wedding anyway. And to the man who was lazy, so lazy that he only interviewed two people from my position, and hired the intern who already knew where the copier was. You know, the man who makes an art out of improvisation, the man who created a visible space for me to occupy and to occupy strongly. There are no adequate words for these 11 years and 10 festivals we did together, the amount of bourbon we have had, the adventures we have had together. So, just thank you, everybody. I'll see you next year when I'm sitting there. So, thank you, and now I want to introduce to you an amazing musical group, and they will speak for themselves, but I wanted to introduce to you the Bangsons who will take us off to lunch. Thank you. Thank you. This is Sean. We met, we had our first date, and we got married three weeks later, which is officially a terrible decision. But now it's been enough years that we can tell you when people feel like, you know, oh shit, she's pregnant, or you know, she's dying. But we, when we fell in love, I became immediately convinced that one of us was gonna die. And, you know, we will, one of us would, both of us will. But, we became obsessed with this problem, and it was getting in the way of us sort of being a normal, whatever that is, couple. So, we started to write all these songs, which are sort of helping us trace through what we would do if one of us did get sick. So, we wrote this aria, we heard this show we made called Hundred Days, and it's about the moment of diagnosis. We sing it to help us get through. So, we're gonna invite the incredible Joe Lampert to the stage to sing it with us. Hey, baby. Yeah! What, the blurb?