 or the use of humor, again referring back to that pie chart. I just thought that was a very good way of presenting conflicts between a couple of people in terms of time management and all that. And just some of the interactions between the actors and some of the props that you use that were almost cliche, but actually from people I talked to who have been through the whole divorce process breakup or breakup in relationships are so real about the time and things that you go through college, you meet someone, you get married, and there's the children, and all those things. You hit all those notes. And I think that resonates because a lot of conflict and breakups occur because of all these pressures. And we had a dream of what we thought would be, and I thought you presented that well, and that is something that I think an audience can really relate to. Good. That's what we're trying to do. Thank you. Yeah. Exactly. Yeah. Steven and David. So I really appreciate it from the opening scenes from the Finding the Life partner. And I really appreciate it, like the timing of how that art wins from ecstasy and bliss to difficulty and to an end. But in shooting those pieces in between, but just within the timing itself, it was captured like an entire existence of a relationship very quickly and kind of structured the whole rest of the piece based on what goes on from here. I also kind of continue to strike throughout the whole piece the sense of coming back to being a wash of sea and chaos and then coming through that chaos a number of times into instances that are recognizable experiences. The other thing I really appreciated was the balance between kind of the male experience and the female experience. Oh, good. Yes, that was definitely a big part that we were working from the first time to the second time was to add. I mean, we brought another actor, and we're working on that because it's very female-heavy getting the first time. So great, I'm glad that worked for you. Yeah, it seemed to be a personal change from the first piece, but it's that. And it really came across just in terms of the message. Yeah, that opening sequence again with the romance and then the sort of rush of hope as the ensuing pressures come on you and then enthusiasm and then just the crush of reality right at the end. I can't relate to it at all. Yeah, I know. It's like you're alive, right? Right. No, but it was really such a, I thought, compact storytelling that felt really real and to end it on that note that I think everybody, many people can relate to just that realization of, oh shit, here we are. Here's something I was in love with and here we are. It's really powerful. It's nice. I mean, one thing that we were able to respond was like, Ted, can we get the work song? Yeah, it's really great. It's great. Yeah, it's great for my food. Yeah, great. But yeah, it was really nice. We have, with Lucinda's direction, just being able to, with people who are well-versed in speaking and moving and talking and sort of interdisciplinary work, that we can allow the movement and a song to really convey a story and allow that to be enough. So that was really satisfying and it was a journey, like figuring out how we're gonna do that. At first I was like, let's do it in like photographs. There's like click, click, click, because it happens so much, we know those photos so well. Even then, I would put the dress on and I would start talking differently. Like the silhouette of the bride, which she takes up a lot of space, she demands a lot of attention, you know, like. Anyway, so I think it's to the credit of the group that we were able to work in it, not just, you know, different ways of how to convey it, made a story. Thank you. I have like two minutes left. Okay. I have a quick question. Yeah. Just by showing hands, who here has been through a divorce or the right about the significant relationship? Outing. I really love it. And I have you two found something during the show that you went, at some point you went, oh, that resonated for you. That brought up some of your own experience. Okay. It's curious. It's a pretty good ratio. Maybe you can work for me on this. Maybe I just like that one. No. Okay. Any advice or? I wonder if the water takes too much. Is it happened too many times? No. I like the continuity of life jackets, actually. And I like the transference of that knowledge to another. Yeah. I really enjoyed that. I thought it was the one moment where that actually took that knowledge and said, you're going to go through this and you're going to need one of these. Really was an interesting, when you accumulated that knowledge and passed that on, it's really all you can go take out of the horses. Don't go through the same thing. Yeah. I like everything that everyone else has said and struck me, but the parts that I wanted more of were the moments where I knew I was okay when it was from every each actor, each character. Cause that's what everyone hopes for, is that little thread of hope. You know, I know I'm going to be okay when I'm... That's interesting. I took some of that out because I thought it was too repetitive. But that's great. That's interesting. I thought I heard more of your thoughts about the life jacket. You want to know more about life jacket? We only have two minutes. That was good. That was my question too. Why the life jackets? Well, yeah. Why? There's more of what you're... Cause there's so much wonderful icons in all of it. Like someone back here said they were cliche, but they were like, perfect. Yeah. It was exactly what they led to the other. You knew what it was about. It wasn't like, oh, I've seen this. But it felt natural. Yeah. The water metaphors. What has it been brought into life for so long? The water metaphors were really, really strong for me. It's a person that I think is... That's just from my life, right? I'd like to kayak. And so I worked here in my life. But... It took like pretty much. I put it in, and I like kayaking, and I took it. But I think that it kind of worked with the kayaking. But also there was this metaphor about safety and safety here, and like you're going in, you know? And it was funny that my good friend was here tonight who left, but he and I were going through our divorces parallel, and we'd like, you know, we'd keep... Call me up. We'd be like, we'd call this thing, we'd call it a... Okay, today I'm going to do a bite the bullet thing. Today, I mean, I've got 10 minutes, I'm going to do my bite the bullet thing for the day. We're going to like make that phone call or do whatever it is you've got to do. Because there's a lot of that, right? And I'd say, okay, get you safety gear. And it was just like our little thing. We just did it on the phone. It became this little thing between us. So the life jacket was a part of that, you know? Like a joke between us, the life jacket. And then in rehearsal, we just had the one that Emily Moore, when she was kayaking, and we'd find ourselves putting it on, I'm like just strapping it really tight. Like this is good. This is really good. Right? It's like, just try it. It feels really good. Just strapping it on my life jacket. It does. It's weird. Like let's use the bottle all the time. We're just like burying them. And then it became a thing. I'm like, wow, okay, sometimes you really want that feeling of just being strapped in tight because you're going to go through the rapids. And the only way to the other side is through it. You know? So end of pass it on, yeah, that became a big thing. That too. Okay, well there's gotta be reason for this. Because otherwise, you know, I mean. And also, when do you take it off? You know, when are you okay? So you're having that moment of like, okay, I can take this off now. Or you don't want to take it off and you have to. Like that moment of like that, that he's standing here and the friends are all just saying the things that they say to you. That's all verbatim. That's all stuff people told me for real life things that people said to them. You know? Are we timed? Okay. Peter, I want to hear what you're going to say. I appreciate it. I appreciated that it was focused on the sort of frailty and vulnerability of, you know, divorce partners. And non-ambitiousness. I mean, there was obviously a little bit of that in the pie chart scene and others. But mostly it's just about the weakness of, you know, people going through divorce is such a difficult process that you discover yourself, but also you really get induced to a point and then you have to expand. I really appreciate that. Oh, that was beautiful. Thank you. Produced a point and you have to expand. Yeah, that last moment, but thanks. I have a question moving, what were you confused by? So those are your two choices. So let's start with, what did you like over our interest? How you implemented all these different artistic talents that you all have. Dancing, singing, language, intertwined with dance and singing and the movement was just beautiful the way you used the stage and how you all played off each other so well. So I really, I really liked that a lot. Can I answer the second question? I'm really confused about, like I'm gonna have trouble sleeping tonight. I wanna, I love the simplicity and the beauty of the beginning with just the kind of 50s housewife. And I like how you brought it back at the end. They still don't really understand what that was about. Not to be coy, but I, one of the best things I liked about it was when I was confused. And I almost, I almost thought, I wish they hadn't explained to me so much about the condition. Like once I knew that, it almost located it so much that I kept putting it through that filter. And so, the other thing I really liked about it was the bookends of the beginning and the end because we rarely get to see something shown to us twice and it's totally different at the second time. So I really liked that. But I thought it was nice because the symbolism of the taste of a person is everyone that brings home the flavor of the taste of a person. So I did feel that. And I think about that, I don't think about it. Really? Yeah. I was just going to say that I really like the color explosions that you have, sort of. Like I really liked, I guess it was at the end, but we all seem to have it a lot at the beginning and there were kind of moments scattered throughout it where you just would have like intense bits, a whole bunch of different colors and prints and all that kind of thing going on on stage. And, or just some other security, talking about the experience of color when you're doing this or doing that or there. And that, to me, sort of really hit that kind of sense of what it must be like to have a situation where something simple like a letter or a number causes another little kind of explosion of color or that kind of thing. That same sense of overload but also delight, you know. I like the sense of play a lot, such that even, like I feel like it's easy to take yourself really seriously when you put on a show and have any kind. So it was really fun to just kind of get lost in the silliness of it. I also really liked how you were able to deliver teaching moments in kind of clever ways. I thought the Ted Talk thing was actually very cute and it felt very fresh. It was a good way of delivering exposition, essentially. And the whole idea of like going through a conference in the Marriott and getting drunk and all. That was kind of a fun way of turning this kind of dry scientist trope into something a little bit more entertaining. Although I do agree with you, I think that it could have been less explanation. I think when once people got it, they got it and you could have gone all sorts of different ways with the web app, I mean, to stop and explain what you were showing us. And I think people would follow you there. I really like the way you set up the individual in this. Set up that? The individual singing and how they came about. And they were different. It wasn't a complete art, but the art was kind of pulled together for me by the way you heighten particular senses and perceptions and things, like the colors, or the sound, or the taste, or the aroma, or something like that. How you brought that particular sense to life and then transformed it or blended it with another in the individual, the nips and things. And that was really, I really appreciated that. And for me, in terms of the explanations of my senses, I feel like I really appreciated the times you took to explain what was going on because it made some connections. And that could be useful and shortened. There was a few less words, not completely wiping it out, but maybe contacting a little bit of that. We're talking about when the scientists are speaking. Each individual time, when the scientists are speaking, when you sat down talking to the audience and going through what this was about, each of those particular kinds of moments. Still a little compressed. Less excitement. Yeah, I would say be brutal. But it might, gravity might be a better challenge. We need to switch in a moment to things you were more confused by. You're going towards that emphasis, but we love to hear what you'd like. I got so interested in those characters at the beginning and the end. I thought you were going to tell me the story of the 50s, how women had such a horrible life that they had to invent new ways to make it fascinating. You do that in all the Asian history. So I wish that you would go and make a piece just about those three women. And forget about, you know, but use the same exact concept, but don't tell anybody. And I just can't forget hanging up pizza and fish and fear, because it felt like everything that men do, you know, I thought it was a whole piece about women in the 50s and white men, you know, what they had to do to hang up to make them in or play sports in the background, or watching sports in the background. I just thought it was so hilarious. I wanted to see more about that. Thank you. Yes, one of the things I really loved was how you explored this motif of family in synesthesia, because for me, what's really interesting about synesthesia is it's a very concrete way to understand how people's minds work differently. And my memories are bound up, you know, with my brother and me as a child talking through the characters of the alphabet and being like, well, A is a woman, no A is a man, like, and the relationship with that. And one of the other things I really loved was this Nabokov piece talking about the father and son and their relationship to synesthesia. And I just would love to actually have more of that because there's such cool stories with the Nabokov family because, you know, obviously the grandmother also had synesthesia, and there's this interesting way in which the way that people differentiate themselves from their families, from their loved ones, the way that people very closely together do have different perceptions of the world is sort of intersected with synesthesia. And I'm wondering just because that's such a wacky family and there's so many interesting motifs, sort of like the Vladimir running around with the butterfly in net or his son who's also an opera singer later, like it just seems like they would be such fun people to have on stage. And it also might intersect in interesting ways with the other family motifs you have there with the cantaloupe, which was such like a vivid, like visceral in my mouth, like cantaloupe and toothpaste. And also with that idea of the mother-in-law who can't smell the flowers, so that maybe that just might be another place to give more of that same, some of those same things. We have like two minutes, so any other confusions? Well, there's many things that we stay up to, but I think actually being more confused, like what is it, I think the time where I'm most drawn into that the education part of it, which I personally need because I didn't know anything about this until you told me that you were going to do this piece. So that's good, maybe it comes later, but what draws me in is when I start the real stories, the narrative of the humans themselves, the voiceover, the monologue about the mother, that hearing that from inside the characters and you guys are so good at doing character work that I think there's more massage in there. And also, just what's it like to actually, I'll keep experimenting with these on theatrically, how do you take taste and image and keep moving that together? I think I'm very interested in more with all the talent you have on stage, what you can work on out of with that. Visual images that. Visual images, what's it like to like, I don't know, bouncing to each other in like C color or like, I don't know, this idea that you're talking about with Roy Martin and the sound, but what happens if that's choreography? I don't know, you know, but yeah, it's a little different I think in the cast and I haven't created anything like that. Okay, okay, great.