 So, every show I do, I feel like I learn more about why people behave the way they do, because I spend so much time thinking about what the characters might do and why the composer wrote a particular phrase the way it is, and it's my whole year doing the research. So the most recent, one of the most recent shows we did was Johnny Skiki, and this is an ensemble comedy, and I love to make people laugh, and I've been so overjoyed at how much fun it has been to come up with this stuff, but my very favorite, most rewarding thing is watching those students for whom it is a different show every night. You know, we have basic things that we're trying to accomplish in basic movement patterns so that we stay in the light, but just in terms of them living in the moment and reacting to each other, the facial expressions are different, the little, you know, elbowing the person next to you thing is different. I mean, something goes wrong with a prop, and so they jump on it and it becomes even funnier than it was in the first place. They'll give suggestions, you know, for example in Johnny Skiki, weird things that we could find in this dead guy's house, and they turn into these great bits, and then seeing the audience just crack up, it's so rewarding, but it's for the students, because I see them hearing what they're doing, and it's all them, their ideas, you know, I just maybe steered them in a particular direction, and it made it physically possible for them to do it, but it comes from them. The other show this year was Goyescas, which is a pretty, it's rarely done, it premiered in the same year as Johnny Skiki, and it is based on a lot of paintings of Goya, who he must have witnessed so much tragedy in his life, because so many of his paintings, especially in his later years, are so dark, and I felt like I understood so much more about Spain, and we created a character in the show that actually represented Goya, it wasn't something that was in the original script, but I really wanted to show Goya's art, and so we put about a hundred of his paintings up as projections, and we saw this character kind of throughout the plot sort of dreaming these up as the events of the show happened, and that way I felt we were showing for him how art was a therapy almost as much as it was an obsession. I mean he had candles put on his hat so he could paint at night, and he went a bit crazy in the second half of his life, and they think it was because of the lead in the paint, you know, but he just had this burning desire to create all of this beautiful art, and so it was anything trying to understand how we could do that through staging and show that for him. Last year's show, Midsummer Night's Dream, again, this is a story about a lot of humans that spend the night in the woods, and they get caught up in this fairy battle, and they make art, and they make love, and there's fantasy, and at the end of it, they're all changed by it, but it's about the power of art to, in dreams, I guess to lift us out of ourselves and then maybe bring us closer to who we might be instead of being fettered by society, and it was very fun in the show to try to show that with people, the power of all the folklore that you could find about the fairies in British tradition and how that influenced what the characters do and to watch their arc. We had, there's a character in Midsummer who is in drag for a little while in the third act, and I've seen productions of that show where that's made very funny, it's sort of lampooned, you know, drag is funny, but I didn't like that because, you know, it's not funny, it's very important if that's part of a person's identity, you know, and Britain, the composer and his partner Peter Pears, who created this opera together, you know, they were in this same-sex relationship, very loving, very long term, and I can't believe that they would want that for this character of Flute who Britain's partner Peter Pears played in the premiere, and so to me it was very important that he be beautiful and, you know, that the fairies embrace this, him sort of coming to terms with his real self, his identity, and I think that we did that. I was so, so proud, you know, hearing the audience cheering for him when he came out at the end. Again, I think a lot of what I do as a director, in addition to teaching, is look at what the creators are really saying in trying to help people relate to that, no matter where their stories are as an audience, how, where they're coming from, I really try to make things as clear as possible.