 Guys, please, please, please, make sure you don't say this word. You're gonna be fired. Yes. No, I'm not. Wait, gentlemen, don't be shy. Please do come and join us in the first week roads to the house. I'm still trying to figure out what to do. We're new artists, right? Yeah. Please come and close the door. I'm already so close to the house. No. Come on. It's gonna get set. We're lost. Just trying to be fine. Anything that I help with? Yeah. First week roads. Thank you very much. You're welcome. Yeah. Absolutely. Yeah. Okay, sorry about that. Okay, so. Oh, that's fine. Yeah, part of them getting on stage is started. I want to do a little singing with you guys, if you don't mind. Great. So, this is the fun song. Really easy. This is a repeat after piece song. So, I'll start and you call it, there's just two little parts and it's a lot of fun. You guys ready? Yeah. I use the insurance from the accident to pay off the mortgage, 75 for groceries and the rest going to taxes, tuition and Athena. Hello there doctor. This is the doctor. She's wide with for you always. She's constantly coming to me through the bachelor's half star. Maybe a whole of her bad crochet stuff on the nails in my friends post. Yeah, stand up at the okay corral lesson. I said no more, you know. Give yourself a god damn reusable bag of fucking 20 because they fucking exist in our god damn house. Like little scrunchies. Well, there's something about eating a banana that's like across the show that wants to keep it nice and neighborhood. Oh, it's for you. You brought from your refugee family? Coming today. It says it's raining right now. I love when they're wrong. No, I don't. It was late. Like, hello sheeples. Josie, the birthday's soon tomorrow, actually. You know, I knew that it should be very great. Did you send her something? Money. Someone paint it over I heard about it. Did you see my child today? I did. Where she wearing the coat. Something long and green. Damn it. What's wrong with that? Nothing. Nobody cares about the resilience of my soul. What should they? What should they? For me, it was me too. Punch it in and lose it. Climbing agent. Scatter over the floor and wormy little pieces. Pick up the relief. Make my conscience will go with it. I meant for all that. Maybe that is what we're going to suffer from. It's a possibility. No! It's when you man. I think he's asleep still. So Roy's come then. He's playing out of storage space. I'm 15. How do you look? Nice looking. All filled up. Woolfisher. Up to the next you can get just a glimpse of the danger beneath. Fine with a cleaver and a carcass. Jane to five and Halloween. Might be someone you like to exchange barbs with in a dark corner while the shit is proverbially singing. Oh wow, that sounds alright. I like to exchange barbs with a man. I'm remembering the feeling as you speak of it. Lick coming up over my eye to you. Licks crossed tight, put her to sleep. Yeah, I'm getting a tics. He was kind. It's like a river. It keeps spitting you out. Of course you need to make the decision about whether you're going to put stones in your pocket because it won't let you drip away in your own. You look small. Tina, I've been bugging my cute cop body about Bill's case. Oh yeah? I'm bugging him because Tina told me Roy was coming. Turns out they got a blood test when they brought her in. That's not true. They were checking some drugs and it was blown out. Hey, honey, did you buy him a toothpaste? Yeah. You did? I think he said maybe I didn't unpack it. Well you just find that I'm looking. Right now? Yes. Did he buy him last time? He did. He should be down soon. It's he. Very nice looking. All filled up. What do you feel? It's too early to know. Turn out different. I thought I'd enjoy some twisty, loopsy path through the counterculture. Here I am living in my hometown with two kids. You can't have expectations. I raised both my daughters to be leaders and now one of them is a lot of them fell out of the state to girls. Hey Grace. My daughter Grace. A listener. A woman capable of immense action and moral. Tammy, it was on the sink. Oh, sorry. Did you look on the sink? I did. Oh, you did. Do you want me to make you a toe in a hole? What kind of bread do we have? Pump or nickel? Why don't you make me a puffy toe? Sure, baby, I'm into a puffy toe. It's raining. Maybe it is. Angel from Christine. Do you want to have some? I can't have it. For 175, I could get a six bedroom in colony Pennsylvania. Where's colony? Your Lancaster. The two hours from Lancaster. Where's Lancaster? Somewhere, somewhere in Pennsylvania. You can't have it removed. Roy up yet? She's sneaking it. Someone painted over Josephine's penis. You were here before. A little readout. And did you see me as expect? She's on the outer spot. She's dressed in a leopard coat. We were like, don't open it. She'd seen this song. It was like, hey, be spread out. Thank you. That's her mom. Don't be a dark spot. Do you know what I mean? I'm sorry. I mean, that's what the gang is for. It's a loyalty thing. So when your life is stretched out like a sidewalk, there's not so many pieces of nasty act very dumb. Listen, be careful. We're all taking you down from one board to one. It's just an unfinished basement. We finished it in 1996. Title means finished. I'm going to tell Tina better. Can I tell her not to say that? She should learn. No. They can't give it up to me. We've been together for two years. What were you going to tell Tina about Josephine's penis? Oh, I think she is. How does she know? Mom, I love the broy. I see. That's a weird experience. When I get close to him, my body pumps up with fluid. My whole body feels more taut. Like, I feel sick, you know? Like, sweating. I'm pretty sure I gave him a bummer when we were driving here. I reached out to pick up a receipt and brushed it inside his leg, and he, like, had to pull his shirt down. I wanted to stop the car and, like, disrobe him. I'm sorry. He's like, I'm dying. I don't know what to tell him. Should I tell him that I love him? I really want to tell him. But I'm torn. What is that supposed to mean to be like, she never told me that. Now things are weird. And I think it took him a lot. But I'm like, ew. He's very handsome. He's your sister's cousin. He's talking along. It's pretty bad. Tina will take it back. It's not like I'm in a war. If Joe gets out, he's going to want anything to do with us. Or Roy or, you know, Joe. Joe will say no. Well, Tina doesn't think so. What is it like? I want to do something for you. What do you do that's not for you? It's the thing I'm thinking about. Joe, did whatever she wanted. I was obviously not doing what I wanted. I was talking to myself. Telling myself you don't feel bad. It's your serotonin levels. What the fuck? I'm not even going to want it again. You're too romantic. It happens that have to be what they have to be. Nothing has to be. Nobody has to be. I can't live in that world. It's me. People have to be. Roy has to be. For me, it's Roy. Me and Roy. Do you want something weird somewhere? Sure. Tina, she doesn't like me. We'll go away. We'll go away somewhere weird. The beach channel. The beach is the center? And we're going to have a series of times. We'll have two years of time. And you're like, hey, counselor, where's me? Yesterday, a girl used to pass by. It was about me in the homeroom, came in for a consultation. For what? Substance abuse, so to speak, depression, whatever. Well, she's asking for help. I'm proud of you. It felt like I was inside when I closed back. You guys, that makes the language really small and some of it is sucking all the air out. You don't know how lucky you are to be a leader in your community. No, no, no. The center is a bastion of this community. We lead you and me together as a team. It's awesome. Oh, no, no. I live on the margins, it is not that hard. Tina? That's Tina. Sister Conrad, we're involved. We're not involved. She's a woman of uncontrolled inspiration. When you come out here, can you not be your trash in your way? Because there I enter the world through a threshold of trash which is not difficult to see is a terrible way to enter the world. I am hate. Sorry, I'm going to take it out. Oh, I'm going to drop a bomb on this house. I stray over Joe's penis. It being her birthday all I couldn't get it. Roy is so good looking. Don't you take that, Tina? I never thought that her nicely. His physique would balance out. His voice can go either way. It's a question. These middle-oiled adresivines will always be good in my voice. You don't see him shagging up his own one-two bluesy just because his own lady's in the camp. I mean, maybe he just hasn't found the right person. The right person? I'm going to be kidding you. Want me to do your pressure points? Just dehydrated. It's a roadhouse. Dave was only a story about Joe. We shouldn't have left one penis like some's commemoration. We should have left all of them or none of them. They were everywhere. They were on the elementary school. So the kids don't know what a penis is? There's a checkerboard on the under name and 100% no was a swastika. Other than this wall. And now it's a checkerboard and Joe's penis is a flower. And that's just nice for whether they know what it is or not. Tina likes some commemoration. Oh, shit. She knows her penises. She told me. Great. Okay. Let's just stop with the Joe talk, okay? We're like anorexics and can't stop thinking. Ah. Stop thinking. Okay. He knows. Romantic beauty. Everything. The glasses are really heavy. Back to your same line. I know a place like that on 15. Put's over a waterfall. These waitresses that wear like concert minor minestresses. Like, oh, neckline? Yes. Well, let's go to the night. I don't know a lot. Oh. Let me bother her too, please. What are they up to? Poot. Probably her. He's clearing out a source based on beauty. Oh, shit. This is where the boy grew up. Can't come home. When you visit your home town and you weren't living there anymore, this marriage Joe's to me. Where is Joe's? She thinks she's not being seductive, but she is. She thinks Joe's good. She's not wearing hot lingerie I see it all the time with my students, got this class, full of knockouts, boss women, and the boys always love the greasier duck with the chewed up sweatshirt closets. Joe is your doctor while they're both my daughters, and Grace has been a good one. I know you did a lot of things, raising Joe. Everybody just blames you, nobody blames you. Nobody thanks me. I didn't watch the kids while I was finishing my PhD and while I was getting a seminar. You were paying off the same old story nobody was able to take me, right? I was a good girl, all those years. You're my best friend now, and I'll be your best friend now. When you came into this house, you were a godsend. I was losing my fucking mind. I don't think raising kids are any less worth than anything else. They were my kids, I didn't want to do it. I was bad at kids. You were good at it. We helped each other when we needed help. But now in Joe's new day, she was always a problem. There's nothing you could've done. No, no, no. That ain't the place I'm going to go. I'm going to stay awake for another day. No, no, no, no. You're a joke. Christina and I are working on the field. What are you, some kind of male model? It's like a fancy thing that I wear. I don't know. Why don't you pay a check, you know? I'm going to take it off before they... It meets up, Roy. I saw you do 50 push-ups last time. You know what I mean? How was the week? You know, we broke tomatoes and ate them. We super good at that. That was my honey. She does this board of her identity. True. Well... She did it. There'll be a lot of me on the watching termites. Show her the corners of the room. They can talk about that stuff. Of course. It's the lane. The lane's their system. Hey, honey. Hey. So... So can you talk to them? You are. I visited Jessica. I had to check on her. That's an hour to the center. I just stopped by to say hi for a second. So you're here. So can you just talk to them? You know, I hate talking on the phone. What are you saying? I'm a musician. And I'm practicing. I have a practice on Saturday that I would like to be prepared for. We have a gig next month. Did you forget? No. Of course not. I guess I'm not saving lives. I know I'm nothing compared to you. I know. Hold on. It's on the kitchen phone. You know, there's beauty. And there's romance. And then competence. Earning the potential. Embrace the challenges versus avoidance of challenges. All over. Ability to make decisions. Ability to look at these most items. Where are my keys? I mean to my wallet. I just want consumption. Are you coming? You should take a blow torch to that guy. Whoa. You know what an ace in the hand is called? No. And an ornacoga. You want to know why? What? Yeah. Looks good. Never wins. I like that guy. All right. She was a professional tennis player who was terribly attractive. You want me to show you? From what I was looking at. No, not that. So, Roy, where are you guys again? I was in Territown, but I'm working in Florida. No, you're not, Roy. This is how people talk, Grace. So, yeah. So, Troy. So, you're doing something with bonds? Yeah. Urban revitalization is funny. You better come to our store. No. Of course, the only thing that's in our house is going to war. You know, right here in this very town we've got this road. You know what I'm told? Shades of death. Shades of death, Roy. Any person in those houses was gay. Hey, girl, girl. It's just fun. It's poison. It is not poison. I'm going to take a word about some, you and Joe, funny stories. Take a word? Yeah. She's my backgrounder. I want to know how she is. I'm going to go somewhere. I'm going to take out the trash. I did that. Hey, Tina. Fine. Go. Sorry. Sorry. She's... She's fake. She, uh... She even lost her biggest teeth. I think she's lost. She's just like a good person. She's shy. Nothing like Joe, actually. She isn't like her. You're like her. Well, are you seeing her? Since when? I think she's with you guys, with her daddy. It's nice. It's not nice. I'm going to try to be nice. Hey, get any more about bringing her to see Joe? That's just good. That'd be hard on her. I don't know your mommy. I don't know what it is. I think it's just confusing. I was mad. Of course. Of course. Of course. But now, uh, the age she is, um, confusing. You and daddy could come live around here. We got all these people converting their lives as they want to rent. Well, whatever. You're your mom, right? Yeah. Nice place to be out here. Nice, uh, community. You could just move here when Joe gets out. Yeah. It'll be fine, Roy. You must be fine. I mean, people forgive and, uh, they won't take it out on tax. What Joe needs, actually, is to come back here. She's doing so well these days. She's so strong. That killed me. That fucking strong. You know that strong. Joe's had 20 years. I'm working on the appeal. I mean, you don't think she was responsible? Of course she was. But not really responsible? She was. It was a mad episode. She wasn't in her right mind. Christina and I are working on evidence of the appeal. There's a person who can't walk. It was a mad episode. So she went too far. She didn't mind it for so long. Well, I'll tell you, even if she does get out, I'll let her in two piles. She doesn't have any rights there. She does, Roy. Not legally. Yeah, but you know it. We know that, yeah, that she does. Tina. Hey, how are ya? How are ya? Wow, weird. You got something feral happening with you, Roy. I'm a nerd. Don't scare him. I was learning. Oh, fine, fine, fine. You know, I don't work for a firm anymore. So that's why I went. I was working 80 hours a week. It was exciting, but exhausting. But I had to be home more. So now you mostly small business stuff? Work for the home and then for the stuff. It was called communal office rates in town. Like, we work, but now we work. You know, I do small business, I'm acting, low-stage, flexible, not a lot of meetings. We're driving it crazy. No, she's great. She's great. She's a Venus flydrap. And I'm her bud. Fantastic mom. Amazing cook. Out of town. I love that. She's really into running these things. You know, dude, kids, they need us less now. We're thinking about getting a dog. No, we wouldn't. You hate dogs? No, I hate them. Dogs. Everyone I know gets a dog. And it says, why don't I get this dog my dog? I keep saying this now. We just got to the point where the kids can get up on their mobile in the morning. And now we're going to get up at 6.30 and want a dog. And by the end of the week, I'm just ecologists. I'm great for conversation. You can't really have a conversation without getting a dog. Do you guys know a connection to silence and communication habits there? It's been a long time since I laid on someone's chest and experienced the antenna. This morning I got some news about Joe. What's this? I think they're working on an appeal. We are. There's nothing to appeal. No pain. What news? Maybe you should get it all. I found out from my cute old cop buddy that they did get a board test. He's checking it out right now. He's been measuring lithium. Does that show up? Could of, depending on where they sent it. She wasn't taking it. She wasn't taking it. It doesn't change what she did. It might change the sentencing. Instead of 20, it could mean that in a couple of years she could be wandering. She could be walking around. She could see her work. Just information. Information that I've heard anybody saw that. She just doesn't want to get involved. First, do you want to compete or will there all much from place to place? Nice to see you, everyone. Tina, I'll let you know when I know. I'm going to take a nap. It's 10 in the morning. I look up for you. I'm brave to visual. Dancing slow to a fast song. Who fills his drink down your sparkly top. Pushes you against the crunchy cement wall. I feel that you take it from you. Even if you didn't want to. You don't want to give. Grab this grape and barley apron. Oil cloth, wax cloth. All that stuff. And that's about the toast. That should use it as a work bag. It's about a great deal. I can't do anything about this because I'm going nuts. I'm exploding. And what's happening to me is not healthy. So, oh my God. You don't fit in. I don't want to be in love with you, but my body, it's just like, must fit in or not. I'd be like, you fit in it, you know? But it's okay. It's okay. I'm not even hugging you. You're going to be happy. I'm going to be crazy with you. Is that anything that I want? That's so nice. I'm going to lose a lot of stuff. So, it's okay. I mean, it's... No, I don't want to be like... Too raw. You know what you mean, Pat? I'm very old anyway. She's all like, wanted, positive, and soulful. I'm really sexy because of energy, you know? I'm like, someone who gets cheated on. Like, why would anyone marry you in the first place? Like, I only exist in, like, the neurotic world. Last night, I asked him when I was English. Shut the fuck up! So, I'm happy. I'm going nuts. Hey! Hey! Sorry, I'm going to talk now. I'm going to gladly talk with someone. My communication is not as good as you guys do. I used to say to you, all you did was talk to me. I mean, like... I think you're sexy. But yeah, me, like... You gave me a warning yesterday. No, I didn't. No, I didn't this time. No, I didn't this time. No, I didn't this time. I think those thoughts mean it. I'm pretty wrapped up with Patty and the arm. I mean, there was a lot of bullshit in my life. For, like, a long time. Now, I'm, like, not into that. So, I'm happy about that. But, like... I really enjoy the argument. There's, um... Like, I felt really nourished by our... You know? No. Sorry, I'm experiencing something weird. Sorry, sorry. Can we start again? I'm, like... I wasn't present. Do you ever, like, hate me? You like me? No. Can you give me too much anxiety? In this life, please. Let's go outside. Don't even kiss. Let's go outside. You can, you know, feel that... Love is important than I am. Love is very nice. What is this thing? Isn't it great? I love this kind of cloth. Oil cloth. Wax cloth. Hang on. What's happening? Nothing. Nothing? Nothing. There's nothing? I try to make nothing happen. They actually never made it happen. Actually, never. Nothing. Never happened. I'm talking, though. I was telling Grace about this. I was putting the ones on the corner. I moved on. Boy, have you ever considered wearing suspenders in Grace? Or are you going to be in that? What? For a whole life, I could never get her to be her appropriate girlfriend. Roy! Your mom's on the phone. Oh, shit. She says dad is fine. Oh, good. It's the kitchen phone. I'll be right there. I thought you were going to take a nap. I don't know how soon it's out of here. Oh. What? Last night, that night. You need to talk. Right here at the dog, so I could have just fall asleep. Red low, red low, red low, guy. Report. A phone call inside. You? We got to go to the day camp. He's being bullied again. Yes. I said to him, how should I go? He's always on this wall. I still can't really imagine him. He's sensitive. He's sensitive. Anything's out. She's very sensitive. She's very sensitive. She's like this opus flower. Dog masses don't gather. So they try to step on her. I didn't know until I started questioning her about weakness. I was. Remember when I thought I was on life? No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. being a girl, you know, taking shit, and also asking me, oh, what do you think of me? I'm letting someone else answer. And what about me? You're smart and kind, and everyone's just always saying it. Joe was a salty wind, whipping sand in your eyes. Wake up, assholes. We should put that sunshine on you. It was like you were riding in a convertible, arms spread wide. It was like you were six years old, rolling down a long, steep, grassy hill. When you were in your shade, it was a cold, dark, and scary place inside. We're already here to practice, and I still don't want to. No, it's because we sense their access to power. It's just old tribalism. We go through the person, the being person, you know? And they'll be able to, like, knife anyone who comes to steal a yakki, or whatever. I'm not here yet. I remember my mom saying when I was growing up, now you're even there, you guy. I thought, you're beginning me to a life of unsatisfactory partners, because I'm always going to want that bad boy because that bad, graceful and sexy, he went in the fight and probably screws better. That's my harker, Joe. The Cognizism and Josephine in the back seat watched all the bad boys as they get older fade into men who don't know what to do with themselves, carrying them. Diabetes, heart disease, obesity, opioid addiction, lung. They're like the nurse. They're arrogant to your take. They'll ask when you came here. I'm not a nurse. I was like the last clowns. They never liked me. That's the end. We have a video response from Jess Carter Gallo who was in the script and watched the video, and he's not designed to be for kid season Harry Potter today or whatever. And then there's a little talk back. I think I got it. So yeah, I guess we can just start by talking about what this whole thing is a part of. Do you want to sit down? Yeah. We can talk about what this piece, excerpts that you just saw is a part of a larger project called All Long True American Stories. This piece is A Woman Among Women. And All Long True American Stories is this five-page cycle that Julia has been writing for since 2015. That is a series of response, works responding to the great white male American canon with new plays for other people, mostly women. So this one was responding to All My Sons by Arthur Miller. The other ones in the series are Long History and Tonight, True West, American Buffalo, and See's Story. So yeah, that's what this piece is. And the whole series of them, again, has been in development since 2015 and we will have a premiere in 2020. So this is, you know, we've been workshopping this piece for a while. This is just the first part of the first app, basically. Do you want to talk a little more about the whole project? How you got started on it, maybe? Oh yeah, well essentially I got started on it because I saw a play that I felt using maybe that capital of femininity without actually putting it inside of an actual female situation and experience. And so I felt like I wanted to create a new world based off of these plays that I've had for a long time. I've been kind of passed along the way in my theater upbringing to basically create kind of these bigger situations and working with kind of volume and excess and a sense of a glut almost of roles and dramatic situations and things like that. So yeah, that's pretty much where it came from. Yeah, so we've been working on this piece together and another one in the series. We used to wear bonnets and get high all the time, which is the title of the piece responding to Long Day's Journey into Night. It has to be long, it's a long title, a meal song title. So we've been working on those two after the last two years. And yeah, I guess just to talk a little bit about the form of this piece, which is like somewhat represented here, but this theater is sort of different than a lot of the pieces we worked in on this piece and what we ultimately think it will be, you know, we've thought a lot of... I thought of you. You've thought a lot about, you know, this is this sort of community. There's a complicity in this group of people. Ultimately, you know, there's a lot more stuff that happens, but ultimately it ends up at Clio, and as in all my sons, Clio did sort of, there was a betrayal of trust that resulted in her daughter, Joe, and a young cousin. And so there was this sort of massive cluck of people in this community, and that they're all sort of complicit in a way. So we thought a lot about what are ways of representing a community and also, you know, sort of talking about the topic, I use that part, but anyway. And like in a group, there are principles that we came to, so that's where this idea came from of having the audience be in and amongst the actors because they're part of this community, they're part of this story, they're part of what ends up ultimately sort of damning a member of this community to incarceration, which is something that ties in with what our role is getting at in terms of what's a fabric of a society with a fabric of a community. Yeah, that's something about display. Yeah, that's great. I mean, I think we should go to the video screen, so Jess, spark it out of me, a video response which we will be seeing now. And then Andrew will come up and talk to us a little bit about it. You're right. I have a certain grasp on reality who had developed a bad case of hives as a reaction to shellfish. And this friend, colleague, we're all going to acquaintance now, really. They needed someone to accompany a group of high school students they were instructing to a Broadway play. And there's acquaintance, graciously warned me that what I would see was a piece of musical theater, which I was familiar with as a form because I'd seen that version of Jonathan Larson's red, sort of, sanitized, strange Maria, catchy response to the HIV AIDS crisis. But this means again that our shepherdhood we received in the back, and by the end of the performance, it's chanting forward in their seats, hope my life's record in mine. The story we were engaged with, presumably engaged with, was about a pregnant woman in an undesirable relationship and an affair that ensues with her gynecologist, which, wasn't all over to it, to the gynecologist. I didn't want to be presumptuous about your medical history. But so you know, you know, there's that sense of pull or wonder in that moment of assessment and care through the offering of the orifice and its necessary exploration. But those values weren't being named because there's a limited language that we trust will be understood. Provided laughter and lessen how the story lines. Perhaps they resonated with me in their neglect. It's a story about bacon, which I identified early on as a kind of trap, a cute trap, that I don't bake personally. View it as an activity of distraction. I prefer to doku. There's a line that I reminded of in the Jonas text of a woman who owned women. When the wounded sister, Grace, who's lusting after her incarcerated sister, Joe's husband Roy, she says, were like anorexics who can't stop baking. And of course the scenario at that point is that it's a gag of women who found themselves discussing a woman who's no longer in their presence, Joe. And they're discussing her relentlessly. She's a fallen woman. She's a prison woman. She's a site for projections and fantasies of fame. She's a site for gossip. Gossip is just compensation for everything that should be said, converted into everything that is actually unnecessary. That's what I think about women, to answer that earlier question. We know right, you know men, gossip too. Roy to shine in Roy. But that musical, that musical was so harrowing it brought so many to see. And that made me feel claustrophobic. It was an agreement over lyricism, when in fact we know that nothing flows from one thing to another. That play was called Waitress. You want to talk about this play? Yes. You know, I had never heard of Arthur Miller. When he told me that all my sons was the inspiration for Woman Man. It's in my mind, I sort of imagined there was an early pre-identity public's performance artist. Yes. But I did recognize the middle one from a retrospective at the film forum. It's calm. Yes, the screening was ill-attended. But I had a time capsule language 1947 when the war could be discerned discreetly. The good guys were good. The bad guys were bad. And we didn't need Sudoku to cultivate our focus because our objects of inquiry were so limited. That's when you said I was talking about the therapist. And he said the general rule is that we get good at something or we make money at it. If we just choose the one thing, we limit it. Your therapist sounds sheltered. Do you see the therapist? Speaking as an active therapy. Especially when I'm in between health insurance. But the journalist text was a curiosity to me. It was a provocation when you asked me the question about what would a woman say? What would a straight woman say about this play? I would say what was by a woman and I would put the rest away. It's the only way to survive. We're just going to hold for a second. I know I'm speaking. What are you doing here? I'm talking about a blind faith that What would a woman say about this place? I would say it was a viable one, and then I would put the rest away. It's the only way to survive. The nightmare of speaking for women. The nightmare of speaking for anyone. In this video footage that I watched, there's a circle of people with a few empty chairs. You can tell they're not the city because the audience is very warm. And as the camera starts to pan out a little further, I become a warrior, as we do, through the computer. What interests is the artist Julia's interest. Well-behaved women do not make history. It's a slogan that one of the characters, Sarah, Sarah, the idea of characters, does so silly to me. Sarah sees that slogan and counters it on a doormat. I think it sort of speaks to... I think it speaks to how does one receive recognition and notice in a man's world? I mean, there are certainly worlds that belong to women, but the public space is so far gone that I don't even know if that world can be made tangible. And so my question to her would be, is it a formal gimmick? What are you reaching across? What am I reaching across right now? This is not Broadway, but I'm tilting forward. I'm leaning in by that phrase. Are you? We're about to see so many artists that I love. The Studio Visit model is effectively a chance for us to dive a little deeper into a project, an exciting project such as this, from a multi-valence attack. That is to say, we get to see a little bit of the work, we should hear the artists talk about the work, and locate themselves in the moment in time. We get to co-commission. We talk and they were really passionate about inviting us to be the critical respondents. And so we get to have another perspective, another creative perspective on the work as it exists in this moment. And then we get to talk with you all. So this is a Q&A. If you have questions for each other, that's appropriate too. But the one thing that I ask is that we really honor the idea of question and answer. If you have comments, if you have thoughts, if you have passionate ideas you want to share, just whisper them to yourself and then say them as you fall asleep at night. But instead leave this space as a chance for you to really offer questions up to the room because that's the generous gesture. And then we'll get to that in a bit through conversation. So I'll start just by saying, so you said it will premiere in 2020 and I will ask you where, except yay. But I'll say, is the idea that the whole cycle is going to, that is the first time that all of the players will appear as together as a couple of weeks? Yeah, that's the sensible idea right now. Yes, they'll appear as in a rep run. So they'll be kind of opening over the course of a couple of weeks and then there'll be these marathon days where you can see all five in one day and we'll develop a rep company so that there'll be a crew of maybe 14 actors that will be performing all of us. Does anyone out there have any questions for the artists at this moment? No? Okay, so you said you saw a play where you saw the idea, the device of that anonymity being used without it being anchored and sort of being on the screen, or rather a sort of plot device? What play? Uh-oh, I can't say. Okay. Sorry, so what was the play? It was a new play. I don't know if these are working, but I like aren't they on? Yeah. Okay, great. Okay, so then it was a new play that you can't name, but was it that trigger used to then go back to the canon? The American canon? Yeah. Was it hard to identify what those plays were? No, it was very intuitive. Yeah, to think about that, it was almost like a list that I came up with just thinking in a very short amount of time about what the list would be if I was reading any announcements from any Broadway theater. That just happens to be convenient. But yeah, it's just amazing that since we've been working on this, there's an announcement every season where it's like, we're doing true West with Paul Derno. I mean, great, fine, fine. But it's like, okay, we'll just do like bottom of the stage dirty every season. I don't know. You just start to notice it in a different way. It's just constant, constant saturation, I guess, of that theater world. Yeah, well, I can't help it. Here we are at a university. How many copies of the Hart-Court-Grace anthology or drama have like traced those lines for you? So that like, there are so many students who come up in the theater thinking that's the only way that we can represent, or not even represent, leverage that kind of ideas for representation. Yeah. I mean, I was also just primarily interested in it because I was interested in dramatic structure. And I'm kind of a formalist in that way. And I'm just interested in these structures and figuring out what they are and figuring out in some way. I think it had been by Osmosis or some other way been fed to me that there's a different female structure than there is necessarily a male structure. And also just this idea. I mean, I don't know. Also this other idea that women can't really write structure, which I think, you know, actually we're in a very different world in 2015 when I started writing these pieces. And I don't think that that would be anything that anyone would say any more. But I feel like, you know, certainly I had heard that kind of feedback. And so I was actually interested in like, what is this foreign structure? You know, what would it be like to play within the confines of these foreign structures? Well, I have to say, when I saw the show last year, the pleasure of watching women engaging in locker room talk about a male body was real different than that. Yeah, yeah. You know what I mean? It's a different experience to dismiss that as boys would be boys or girls would be girls. Yeah, yeah, yeah. I mean, I think there is something interesting about allowing a female character to have a real Aristotelian arc in a classic way, which somehow I think maybe feels fresh to me. And I'm not sure, maybe it's not fresh, but it feels fresh to me. Yeah, I mean, and just to like, your point about the locker room talking, I feel like the idea that like, the way that behavior sits on different people of different genders and different races and how our society like accepts or rejects that, you know, and then how that plays out now, you know, in so many things where you're like, oh, so like, whatever you can say, whatever we want about this person, because they're this kind of person, and because women have been treated so badly for so long and so now, can they turn and like treat men just as badly? And it's like, well, it's a question. You know, how far did not the pendulum just sink in either direction? Yeah, yeah. You also earlier said something to the effect of, as I continue on these pieces, I better lawyer up. Oh, yeah. Oh, well. You're streaking my mind right now. Yeah, totally. Thinking about, oh, I mean, I said that because I'm thinking about estates and certainly I think that all my sons is very far and also they're all loving homages to these plays, which I actually, if you spend any time with them, you recognize that they're full of skill and craft and I really enjoy skill and craft, no matter where it comes from. And to speak to that point about objectifying, for example, Roy, and the character that Roy is kind of standing in for in all my sons, it's just constantly objectified, but it's not the reason it's interesting because it's not objectification. It's these compliments from these fatherly figures, you know, and everyone has the best intention, so I wondered about putting those good into it. And Anne keeps being like, my notes are great. You know, she just keeps, she actually really, she enjoys it. She finds it, it's stimulating. So I just thought about, you know, what that looks like when it shifts. Yeah. Have any questions emerge from y'all in this time? Yes? I mean, I think that talks to a little bit of my struggle with structure and story and structure and story in the course of this play, which is that eventually I can't just hear people talking and revealing information. I get very tired of that. Pat Cain, I'm like, please don't tell me any more facts about who you are. And so there were these moments where I think just as a person writing something, I came out with something that I thought, okay, well, this is the song. This is a moment where we can go into a more associative philosophical performance place with these, and that was important. That is not necessarily important, but just unavoidable when I make something. Any upstairs? Oh, yeah. I didn't really do them at once. I mean, I started, I did a few very quickly, and that was just, I mean, I think I was really depressed, you know, so I was like, I need to do something. Like, I need to really do something because otherwise I'm never going to get myself out of my weird depression that I'm in. So I was like, it felt a little bit like that. I think there's, I think it talks about like being a blindfold with mittens on when you write a first draft, you know. It was kind of just like full scheme ahead, getting out as much as possible. And then now, actually now I feel like I'm in the middle of the hardest part of the entire exercise, which is now seeing how they all speak to each other, and revising, and finding out what they're all really saying. The initial vomit was, it felt like that, felt like that, a vomit. And so now it's actually like figuring out what the experience will be. Any others? Well, that almost, you have many questions for each other. We'll take vomit as an exit point. To say, honestly, it is such a pleasure, there's something about for any where you get to just pick all the artists that you would to work closely with and admire and engage in this sort of like complex decomposition with. So this is really pleasurable to me. I hope it was for you. And thank you so much, and thank you to all of the actors and everyone working on prelude. I hope that you're going to be with us for the next two days. We have four more studio visits. We have 12 works in progress, three new dramaturgy presentations on everything from specific theater to cognitive theory and casting. We have a performance around food and eating together. We've prelude our tape, which is artists. Sarah's also part of that. Artists who work in technology and other mediums besides live performance. So anyway, there's a lot to come. It's all free. I hope to see you for the next two and a half days and to celebrate Daniel Alan Dader-Jones on Saturday night at our closing night party. So thank you again so much.