 Kevin, you want to hit the volume a little bit? Jackie, say a little something so we can volume test you. Oh. So awkwardly right when you're drinking. That coffee is delicious. Fabulous. I think that's pretty good. Does that sound good to you guys? Great. All right. So hi, everybody. Thank you so much for joining us here for this conversation with a projected Jackie Sibley's jury who's right behind me. We also are going to be live streaming this event on New Play TV, which is a program of HowlRound and the Center for Theater Commons. So there might be some people watching online while we are here in the room. And it's possible we might get some questions over Twitter. So we've got some folks monitoring that front. My name is Ilana Brownstein. I'm the director of new work at Company One Theater here in Boston. And right above me is Jackie Sibley's jury, our playwright who is currently in New York. To my side here is Summer Williams, our director. And at the end of the row here is Ramona Ostrowski, the dramaturg. And Ramona Summer and I are all on staff. We're part of the collective at Company One Theater. Company One is 15 years old this year. We produce here in Boston. And our mission is to change the face of Boston Theater, to tell stories on stage that reflect the complex diversity of our own city and that have some social question at the core of the play. So obviously this play is pretty good at that. We can talk about that at length today. So what we're gonna do is we're gonna have a bit of a conversation, Jackie and I, as well as Summer and Ramona. And we're gonna talk a little bit about what Jackie was doing as she wrote the play, what some of her ideas were, and what she's doing now. And then we're gonna open it up for conversation with you and you'll be able to ask Jackie questions. You can ask us questions about Company One and about the production process. You can ask Summer and Ramona specifically about what it was like in the rehearsal room. And at some point the actors will come up and join us and we'll take a moment to acknowledge them when they arrive. So, hi Jackie, how's it going? And hello to our online friends, anybody who might be joining us on the live stream. For those of you who are joining us on live stream, if you're watching it as it's happening, you can tweet at us with the hashtag new play and we'll see it. You can also tweet at company underscore one or at artsemerson if you wanna talk to us directly. So, Jackie Sibley's jury is a playwright who got her MFA at Brown University and is currently not here though she would like to be. I will say there was a small dental emergency that required her to stay at home. But we are really lucky that we have Skype and there she is. So, let's see if I can make this the full screen. Hey, that's better. Hi, come on in and join us. So, Jackie, I wanted to ask you to start us off by giving us a sense of how you came to playwriting. What is it about this form that attracted you? Were you always a playwright? Did you come to it late? What was that for you? I didn't come to playwriting. It didn't feel fully. I started off as an actor as I think most people that work in theater do because it means like no one really has the opportunity to write a play in their elementary school but everyone gets to be in an elementary school. So, I acted a bunch in college and moved to New York and realized that I could not, that I was not really cut out for that kind of life. It's like, I feel like I looked at the first like advertisement for headshots and saw how expensive they were. It was like, nope, nope, nope. So, I just sort of lived in New York and just kicked around and helped friends with shows and did all kinds of odd jobs and started writing mostly for myself and then eventually realized that I really liked using characters to explore ideas and ended up applying to graduate school because I felt like I needed someone to tell me that I had learned how to be a playwright and given me some sort of, I don't know, playwright. Oh yeah, I guess it's called an MFA which is like, tells you that you're allowed to be a playwright. And so, I think I came to it slowly and organically but never. Okay, we're good. Yeah, but I think that Skype was like, you answered the question, stop talking about it. I'm gonna pause for one second because I think our actors are here. Actors, if you'd like to come in, give them a chance to say hi. Come on in, talk a little bit about how it is you came to write this play. We have a couple of things in our program notes about this but everybody who's sitting in this room pretty much just was handed their program as they walked out. So they may not know some of this stuff already. So if you can talk a little bit about what was the genesis for this story for you? I was trying to research a very different play where I thought sort of a play based around this actor who is the son of a German woman at an American GI and he always plays an American GI in all of these sort of like 80s prospering movies. I don't know why I thought that would make a good play but it's side of the story. So I was just trying to find more information about him and I just Googled black people plus Germany to see what would come up. And there was a bunch of hits about a genocide. The Herrera on the Mokwa genocide and so I wasn't, I hadn't been familiar with it at all. I didn't know that Germany had committed a genocide before World War II. I didn't know that Germany had any African colonies. I didn't realize that like any of that had happened and I was, I guess this is like, it's really arrogant but like how surprised I was like, I'm not an idiot. I've taken history class. Like I know a little bit. Hold on, she'll come back, can we, here we go. About, at least like, so I started doing research about the genocide and then went to graduate school and sort of was like sitting on this stack of information and tried to write a play about the Herrera genocide as my graduate student pieces. And that play was really terrible. Yay, terrible things. Like that or it just, I had like a, like I'm reading of it in the middle of a semester and I was like, oh my God, what, oh no. How am I gonna graduate? It's a paper that tells me I'm allowed to be a playwright. Oh no. So I freaked out and then I got more interested in the ways that I felt as though the play was failing. But I thought that it was not actually successful. So I then sort of introduced this meta theatrical element of the big M word and that allowed a group of actors to struggle with similar things to what I felt I was struggling with and trying to capture this story. So your development process obviously began with the failed play and then moved on to the version that you submitted to the Ignition Festival. And can you talk a little bit about how you got from that first version of the play which has a very different ending from the one that those of you who are sitting in this room saw tonight. How did you track the path and what, and can you talk about what the differences were in the first draft versus now? I think that the, when I was in graduate school producing the first draft of the play that you saw that was at this festival in Chicago, in graduate school in the sort of workshop production thing that we did, which means just like there was designers and stuff, but we only produced it for like two or three shows. The play had like slightly different endings like every day of tech and like of the production. And I was having so much trouble figuring out how to end this crazy or like what happens after this moment of where the play breaks. And it tried a variety. I don't know why I'm so like so much a part of the practice process was just like failing miserably and publicly over and over again, but it was like different. We tried different things. We tried having a moment where the actors like sort of walked forward and said their names, their like actual names, but that ended up sort of feeling like a weird PSA for like some sort of disease from the behind the scenes. It just was like awful. And I realized that, so I started, I did some workshops of the play with the director, Eric Ting, who directed the first production of the play in Chicago and the second production of it in New York. And he and I had a really close collaboration. And I remember doing a workshop in Chicago in the middle of a blizzard that like about three people saw because of the blizzard and trying the very first version, iteration of the ending that was what you guys experienced and have been working with. And there was something about sort of giving a lot of opportunity and no language, like opportunity for the actors to have a reaction to the moment before the end of the play. And there was something about it that just felt right because I mean, trying to sort of have a resolution or a more traditional resolution to the play felt a little bit like, felt a little bit offensive to the shit that's drenched up in the play. So any sort of, even like a really like sad ending felt like saying that like, oh, it's racism is sad, genocide is sad, I feel sad, great, I can even go get a sandwich. And I wanted to, sandwiches are delicious, but I wanted to, I think it's delicious. But I wanted to allow for a different kind of interaction with the ideas in the play, the audience. So for those who don't know the original ending, also it had some more, in some ways, some more catharsis, I think, for both the actors and the audience, that it sort of found some places where maybe the audience was able to walk out and feel like, oh that was rough, but okay, we're gonna soldier on. And I think now the ending, and for those who are watching on our live stream who maybe don't know the play, it ends in a very non-traditional way in which there isn't a curtain call per se. Certainly the actors appear later and we acknowledge them whenever they arrive in the lobby, but in the space it is a place where there are still questions and it feels in some ways unfinished. Can you talk about, so you and Eric worked to get to this version and I think this is the same version that was at Soho Rep last year. For you, as you were thinking about how the audience leaves the experience of this play, which has such drastic pendulum swings between comedy and some really dark places. What were some of the important things for you as you were thinking sort of as both a playwright and as an actor originally, to sort of get to this version of the play? I think for me a lot of it is based in my own experience of seeing plays and of being, or I think I can be a very deferential person and nervous person. And so when I personally am made uncomfortable in a situation, I want to make myself feel better and make the other person that made me uncomfortable feel better sort of immediately. And by like making a joke, laughing situation off, make pretend like being ironic about it. And I wanted to free the audience and the performers of that need to make everything okay. Cause it's like, it's just not okay. And I think that sort of allowing that was something that was really important to me. And now I've made myself a little bit uncomfortable so I don't remember what the question is. No, that's fine. That's actually, I think you answered the question. So take an opportunity to begin to open this up to our audience, our actors, our collaborators, Summer and Ramona and give them a chance to ask you some questions and maybe vice versa. If you have any questions for our audience, you're also welcome to ask them. So I'd like to start with, do either of you have anything you want to start with? Any questions that you are bubbling up? It's okay if you don't. We can also stop and listen for a little while. Very good. All right, so you can ask anything you'd like about what you saw. You can just talk about your feelings about the piece. You can direct questions directly to Jackie. It's up to you. I'm gonna turn this around maybe so that, maybe I'll do this. So that, Hi everybody. Skype is so weird. I'm sorry, now I feel the need to play with the weird, like we're, Hi. So we'll do that. Any questions? Yes, please. I have a question for Summer, the writer. Great. What, so we talked about how the ending was very kind of open ended and let you listen to his comfort. What direction do you give the actors for what to do with that? Great, and what I'm gonna do is I'm gonna restate the questions loudly so everybody can hear them and so Jackie can hear them. This is a question for Summer about the ending. What was the, as a director, how did you sort of navigate helping the actors find their way through that ending of the play? It's awkward because they're in the room. Don't say anything, guys. So one thing I, one thing I said was there's only so much of this that is directable, right? There's only, like we're trying to get to the center of something. I can only talk you around the center and you have to figure out how you're going to enter yourself. I, throughout the process, have been asking them to be really transparent and really naked and to be vulnerable enough to be the most naked in that moment, especially when it's difficult. There are things that are very specific that have to happen, right? One, three, and five can't notice for too soon, right? That's a very practical thing. Four has to reset the space in some way, shape, or form. And they're critical pieces that he needs to kind of make contact with and engage with so that we in the space can feel that moment, right? It's important for us to watch him start to break down the wall. It's important for us to see him pick up the chain, pick up the paper to take down the noose. It's important to watch him pack that stuff up in the chest. Outside of that, it's them and it's what happens in that space, their feelings in that moment with each other and with all of you. And what you, you being audience, do or say in that moment greatly influences what that moment is. So there are times when actor four played by, well, Mark. There are times when I've seen people extend their hands to him. I've seen people hug him. I've seen people speak to him in the moment when he's trying to speak. And that is something that he has to deal with in the moment, right? And be open enough to allow himself to feel that. So it's a tall order. There's nothing about this that is at all easy for them. Thank you for that question. Joe, one of our actors has a question. So we as a group spent a lot of time talking about and trying to create a space where we were comfortable enough to allow ourselves to say something that might be offensive or we were trying to create a space where it was okay for us to just jam our foot as far in our mouth as possible. And I was wondering about how your process of creating a space that was comfortable enough for you to say these things because I know that, I might not be the same thing as a playwright, but I know that as an actor you have to own these things that you're saying. Even if they don't exactly reflect your personal opinions, you have to find an ownership form in this space. And I'm wondering if you have to deal with that own sort of thing about like, I can't see this in the mirror. Like, I can't, because at the end it's like, all this shit that we talked about, and like my name, but I'm not sure. Great, I'm gonna say that louder so that just to make sure that Jackie hears it. So Jackie, there's a question for you from one of the actors, Joe, who was saying that in the rehearsal space, they had to make a way for it to be okay for them to be offensive and to say the wrong thing so that they could come to terms with one another as actors through the text and through the process. And he was wondering for you as a writer, what was it like allowing yourself to have your name on a piece in which so much difficulty takes place between these people who seem very real, I think, to the audiences? That's a good question. I think that it's in that way, where like I get to feel incredibly optimistic and like positively hopeful about the people, the artists involved in making the play happen since so much of it is dependent on the direction, on the performers themselves. And I think that I didn't realize, as I was writing the play, I didn't totally fully realize that it was going to be produced. Like I was writing it, like I didn't, like I honestly didn't think about it at all. I think that what I've come to really appreciate and respect is that as much as the play sort of like mocks the process of like a devised collaborative theater company, it also like forces groups of individuals to create a collaborative and devised theater company and be successful at it, much more successful than the characters are, while also hewing very closely to who the characters are. So it's like a super ironic compliment, I guess, the theater. And I think that I realized that like, and I wasn't there for the rehearsal process that company went, obviously, you know that. But when I was involved in previously rehearsal processes, and it was, I was talking about this with Eric Ting, actually yesterday where we talked about how, even the audition process was really different for, especially for him, because he has directed a lot at a bunch of regional theaters where you like have actors come in and read a part of the play. That's a normal way to audition people, like come in and sing a song. And for us, we have people come in and we had an interview where we just sort of asked them, maybe assaulted them with personal questions to sort of, because I firmly believe that strangely, the only requirements for the performers in the piece are that there's three white actors, there's three black actors, that all of the actors are good at, that are smart people that can empathize with a character. Like I don't think that someone has to be five foot two or like have like medium olive skin. Like there's no specific requirements besides generosity, interest and empathy. So, I guess I get excited about the opportunity to let groups of people come together in that way. Thank you, yeah, that's really, that's very interesting and helpful. Thank you for the question, Jen. Other questions or thoughts about something you just saw? Yes, please. Hi, I'm Maggie. Jackie, can you hear her? Hey, I can come over there. Yeah, why don't you go over there? Hi. Hi, thank you, Jackie. Can you hear the performance of their performance? So my question is that although this deals with, and in the title, it's very much about the specific historical occurrence which you are kind of dealing with, but to me it felt like a very American play and it felt like a lot of times, especially because of kind of the conceit in which you wrote it, it dealt with a lot of American, inherently American issues. So I was wondering if that was something that you, I'm sure it's something you took into consideration, but exactly how that kind of came into the process as you kind of, as it kind of unfolded through the writing of it. Because you kind of started with the nugget of the idea, but then the kind of debunking also. Great, thank you. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. I definitely, once this other layer, I'm very aware of the fact that for someone that is really interested in finding out something about the Herrero, that this is an incredibly disappointing play. You actually learn more from the Wikipedia page, actually. And I also, as I was sort of swerving into this whatever the thing that you saw is, that I was hyper aware of the fact that in some ways I was just like using their story to tell a different story. Like I was, yeah, like it was like, it could be seen as incredibly offensive to sort of, to boil someone's, this like huge atrocity down to like an example of something and just sort of point at it and not investigate it. But I also think that because I'm not a historian, or like this sounds sort of like a cop-out and I don't mean it to be, but like because I'm not a historian, I did a bunch of research about the Herrero, but I just felt completely incapable of telling of creating a piece of theater that would somehow speak for these people. And so I did feel like I was equipped to tell a story about America and contemporary race dynamics. And so I sort of take solace in the fact that even though the play ultimately is not about Africa or about Namibia or about the Herrero specifically, that it is at least exposing people to that history. And I've been, I've got, had the chance to talk to you a couple of descendants of the Herrero who came to see various productions of the play, which was terrifying and incredibly exciting. And talking with one couple in particular and their children, they were just sort of excited that it was finding a way for American people to connect to this story and to learn about it and then therefore be more interested in it and be able to go out and sort of do some research about it and learn about it. And so that has been gratifying. Great, thank you. Other question? Yeah. Do you want to come down and ask? You can if you want to. Oh yeah, we'll do, we'll take another question in the meantime, but yeah. Yeah, I'll come down somewhere. I was going to kind of use a southern accent. Was that your choice or how does that fold in and kind of follow up on the last question? Great, so this is a question about the accents and about how they move through the play. Summer, do you want to take that? So that's Jackie, right, in terms of the drifting into the American South and the way she kind of sets us in this kind of netherworld all of a sudden between investigating the German and the Herrero situation and doing that by way of exploring what the black-white dynamic is of the American South. And then it's the, I think there's a really lovely kind of not identifiable finesse that happens in the moment between those two actors as they begin to slip deeper and deeper into it, which kind of feels generous and organic and tells the story really well, but that's Jackie's duty. Yeah, Jackie, do you want to say anything yourself about the shift in the accents that are indicated in the play? Oh, yeah, just that I'm sure I do want to say something. Yeah, I was just going to say, do you want to, I think one of the questions is that we've had a couple of our post shows has to do with where that happens and why. So I don't know if you want to talk about sort of your thoughts about that. Ah, thank you, Alana, thank you. You're welcome. Yeah, I think, I mean, it's, it happened, I think that it's like pinpointing exactly where it happens is something that is up to summer and the performers, but the scene that it happens in is sort of this sort of longer form improv that gets a little murky between the black man actor and the white man actor. And it seems like to me it happens there in a way because it's at a point in the play where the actors are committing more to the process. And that in terms of how they're investing in the characters, it's coming from something that their own imagination rather than something that they are trying to fulfill externally. And so it's something that comes from inside rather than like pointing and trying to become something else. And so they, in my crazy brain, they like sort of subconsciously, they like see the dynamic that they have, which is this black, white dynamic and subconsciously and immediately layer onto it the most recognizable version of that black, white, hostile dynamic. And I think for those who haven't had a chance to read the interview in the program that Ramona did with Jackie. Jackie, you say something in that interview about how you yourself felt a similar kind of recognition when you were looking at photographs of some of the Herrero who you saw documentary photographs of them hanging and that you made a connection yourself to the American South. So it's interesting to me that I think night to night our actors also have to navigate that exact thing that you were just talking about. Jesse, do you wanna come up and ask a question? So this is Jesse, he's one of our actors. Hi, how are you? Hi, it's good to see you. Nice to meet you too. Thank you so much for this piece. It was a ton of fun to do. I can speak for everybody else. We had a class and it was such a huge learning experience to an actor and all that. Now I'm done buttering you up. I was wondering, I was actually, it wasn't anything to do with the play, but just my interest in you as a writer so I like to write a lot and I know that I'm constantly reading and I'm sure you are too. So I'm just wondering if you're reading anything right now that you would like to recommend, not necessarily like, oh, this is how you do a better writer but like, I don't know, a cool novel that you're up to or like anything like that. I'm always looking for this stuff to read. That's it, yeah, that's my question. Friends, friends away. Yeah, I'm sorry, you're very scary. I try to be scary. Yeah, no, this is so embarrassing. Like I just, I have like actually not been reading lately. Yeah. It's like, oh, sad balloon. I guess I've just been rereading some Carol Churchill plays. Awesome. She's awesome. And what's the last thing that I've been reading that I, oh, I guess, I'm like, just say anything except for the internet, don't spit on the internet. But I recently was looking at, or I've been reading four projects more than pleasure, but there's this graphic novel that's written by this dude, his name I am not going to remember, but it's called Safe Area Garage Day and it's about this area during the Bosnian genocide. I'm just like, I'm just like reading about genocide. My, yeah, but I'd never read a graphic novel before and it completely blew my mind in this book. Wonderful. Safe Area what? Right, that's, it's like a Bosnian word. It's like, G-O-R-A-Z with a thingy on it. E, so it's like Rajday. Okay, gotcha. All right, I'm gonna check that out, thank you so much. So, this is embarrassing. Don't be embarrassed, don't be embarrassed. Jackie, this might be a nice time for me to ask you what are the projects you're working on right now? I know that this play took up so much of your artistic and psychic space for so long. So what, where are you going next? What's the next thing on your horizon? Well, I've been working on a play that yet another play that is broken, but I don't know why, but I've been calling really, really, really, really, really is about photography and memory and grief. And so I guess, yeah, for that I've been reading like a bunch of like photography theory books, like Camera Lucida by Roland Barth, and Regarding the Pain of Others, and also on photography by Susan Sontag, and other stuff. So I've been working on that, but then I've also been working on a play sort of about beauty bloggers and girls on the internet. So I've been watching a lot of YouTube videos, which is exactly what I didn't want to admit to you guys. Lots and lots of YouTube videos. And I'm gonna be doing a reading of that at the end of the month at New York Theater Workshop. So I've been sort of working on that. But then I guess the biggest thing is that my husband is, I'm pointing, because I am in an apartment and he is in an apartment. But he is an anthropologist. He's getting his PhD, and he's doing field work in an area sort of south of Morocco that's called Western Sahara. And we're both gonna move there for like a while. Just trying to sound artsy and nomadic. I don't know, it's gonna go to Morocco. Just drop out, man, for a little while. And so I have some books on women who traveled to Morocco, which is part of the reason that I'm rereading to Carl Churchill, because in Top Girls, there is one of the characters, this Isabella Byrd, who's like an 18th, 19th century British aristocrat who traveled to Morocco by herself. And a bunch of books on Islam and I've just been sitting in a stack glaring at me and you feel unsuccessful. So I'm gonna be researching a play there next month through the end of the summer. So I'm pretty excited about that. I think we have time for maybe one or two more questions or comments. Yes, right here. Fabulous, I love this. I'll come say hello. Hi, my name is Andrea. Okay, so first of all, thank you so much for the work. It was moving and stupendous and difficult and thought provoking, all consistent. So I'm really grateful, thank you. So some of the things that I noticed that I'm just finding myself sitting and mulling over and also as a writer, I know that if I had the opportunity to hear what somebody was left with, that I might appreciate it because I thought I was just kind of sticking up. Great, okay. So one of the things that I loved was when one of the characters took on the persona of the grandmother in relation to the image that the other actors saw and talked about that you can't walk in somebody else's shoes. And it was very acute to me, carefully watching how that character transformed into a perpetrator of sorts. And then I felt like that was kind of dropped. And then we watched all of the characters become either perpetrators or victims of sorts. And I was just, I was struck with two things. One of them is that in my deepest heart, I hope and I believe in all of my work is predicated on this notion that there are a small percentage of humans, the species that we are, that actually are able to look at and be accountable and say no. And I found it really interesting that you left that out. And so that as we watched the actors workshop and improvise themselves into a place where they were in fact walking in what they imagined someone else's shoes to be, that that option wasn't a part of the palette at all. And I just wondered what you were thinking I'd have done about that. That's a great question. Thank you so much for this opportunity to ask you. Oh, thank you for asking. That's a really, yeah, that's an incredibly interesting and generous question. I wanna give it as thoughtful an answer as the question was that was not, the grammar was really bad. I don't know what I mean. Where I think that it's interesting or like in reading about genocide or like thinking about genocide, a big part of it, and it feels ridiculous to me to pretend that I'm some sort of expert on genocide, but we're just gonna roll with that for a second. But that it seems like it's not about like one evil person making a decision to be evil. It's obviously like a communal, everyone in a society is implicated in the extermination of a section of that society. That's just, so it's to me there is no, there is no no if you're a part of something that is like a part of a system of oppression in that way. But I also think like in a very, very different way, like so much about the art of performance and the art of theater is about never saying no to anything. Like so that's like, I mean, not down, I love improv but I'm making it something else, but that like the people say it super ironically and with like kind of an eye roll of like, you play yes and so your collaborator comes into a room and they're asking you to do something that you think is wrong and stupid, but you don't say that, you say yes and try to add to instead of, and I didn't know that's, I think that as scary as complicity is in a system of oppression, I think that investment and sort of like openness is beautiful in theater. Like I think that there's something interesting about complicity and this yes andness of live performance and of the audience, like of suspending or disbelief and all of this stuff. There's a lot of, I think it's like an, I don't know, I'm not trying to draw some sort of relationship or a one-to-one, but I think that they sort of, those things sit together. And so it just felt right to not have anyone say no or stop until play breaks. Yeah, Jackie, just so you know, we've definitely had some conversations after performances where audience members have spoken about their own complicated feelings in those final moments when Mark is walking around the space and sort of trying to speak those final lines and not speaking them. That audience members have reported feeling torn as to whether they are being asked in that moment to still suspend their disbelief and be in a play or whether that moment is a real human moment that is happening sort of in real life at that exact second. And I think one of the things that I appreciate most about your writing and about the structure that you create and about the world that Summer and Ramona and the actors have created in that room is that those things are inseparable in many ways. That the complex quality of am I an audience member in a play or am I a human being having a relationship to another human being sitting in front of me and how much of this is real and how much of this is about the event. That those things are not, you can't decouple them in a way. And I think, so I just, I wanna say thank you to you for creating a space that is asking us artists and producers, collaborators, audience members to investigate how that feels. Because I don't think we often have a chance to do that. So I wanna say thank you about that. And I am sorry to report that we are at time for this event, but Jackie thank you so very much for your time and your generosity in being part of this conversation with us even while you are in the midst of great dental pain. And thank you to our audience for being here and our actors, do you wanna say something? Is that? No, we're just gonna come down. Oh great, and if you wanna hang out on the computer for a minute Jackie the actors are gonna come say hi for a second. But audiences thank you so much for being with us and we hope you come back and join us again. Thank you. Thank you live screen. And if anybody wants to come up and ask Summer or Ramona any questions, please feel free. Ask today, but I'm so excited, this is so weird. I had to say it out loud. I've said it several times, I'm not ashamed to say thank you. Am I still on the big screen or am I only on the little screen? You're on the big screen. Hold on, I'm gonna take you away, I'll take you away. No, no, no, you guys wanna see her, but I'm gonna take her off the big screen. There we go, okay, hold on, hold on, there we go. Okay, now you're off the big screen. Thank you.