 Hello, and I want to welcome you all to a new format for all things LGBTQ. This is an all video show. And as you can already see, our interview E is in the wings and waiting. But first, we want to acknowledge that we are taping in Montpelier, which is unseated Indigenous land. Our first interview is an old friend that I am so delighted to bring back because we're going to talk about the needs of LGBTQ plus youth in the era of COVID. So this is Mara Iverson, who is the Director of Education for Outright Vermont. Welcome. Hello. So let's start with, you recently were one of the panelists and a UVM webinar on whether the needs of LGBTQ plus youth in the era of COVID. So what do our youth need and what is outright doing to meet those needs? It's a really good question. And I'm so glad lots of different people and lots of different forums are asking it because I think the first most important thing that youth need right now is kind of wrap around all over the place supports, lots of people thinking about the question and trying to do things to help. And then I think the next thing that they need is actually something that's a little bit difficult in the normal times, but is becoming typical of all of us. And that is a little bit of fluidity and a little bit of willingness to change minute to minute if the sudden need is different. So an example would be that for the beginning of the kind of lockdown period, what a lot of youth needed was immediate reassurance that things were going to be okay, that there were going to be systems to catch them right then. And then that need sort of faded a little bit. They still need to know that there are people and that there are organizations and that the schools got them and that family members and friends have got them. But to an extent now they sort of figured out what exists and what doesn't. And then for a while what they needed were supports to help them keep functioning in routines during school. But schools out now. And so really what kiddos need of all ages at this point is a chance to try to do things that are fun and freeing and affirmative. And for the nice thing about summer is that you can imitate normal summer in a pretty typical way and that's a good thing for most of our youth. If you've got a youth who's a skateboarder, that kid should be at the skate park socially distancing from the other kids at the skate park but out and doing that thing. If your kid is a swimmer, you should be at the stream or the river or the reservoir again, socially distancing, taking care of yourself and reminding them to take care of themselves. Because honestly youth are kind of like, they're filter for what's dangerous and what they need to take care of is different. And so sometimes they need their reminder like look I know the mask is uncomfortable and obnoxious and you can't see your friend's face, but do the thing, right? And also I know the temptation to climb all over one another is incredibly intense. People miss human contact and also we've got to have conversations around that. So I think that that's really the big thing that youth need right now is that they need some some attempts at normalcy, maybe even some reduced screen time, which is can be hard because right now if you're not out in the world, there's almost nothing to do but screen time. But it gets exhausting and it gets exhausting on youth the same way that it does on us as grownups. So those of us as grownups who feel like the zoom fatigue, kiddos are actually feeling it the same. Youth are feeling it similarly. So I say that to because I'm about to tell you what outright offers and what outright offers predominantly right now is virtual based is screen based. And so our Friday night group continues every single solitary Friday night at six thirty youth from ages like thirteen up through their teens are welcome to jump on that call and they talk to each other and they even break out into smaller rooms so that they can be in smaller conversations. I know when I facilitated at one point, we decided to have like a light show where the kids all, you know, like flickered on the different kinds of lights they had in their room. And then we played like Bruno Mars and danced around. So there's lots of different stuff that that we're trying to do to to keep the youth connected, but a lot of it is still video based. And the same is the case for our supports for families. So, you know, the transparent group is online. And that's mainly the way that we have pivoted to support is to put everything that we can in people's hands around the state and to lower barriers to the technology pieces and also to try to encourage youth when they are with us. Into those things like I was talking about before, the like go outside connect with people but do it at a social distance. So we're some of what we were provided is a little bit of that kind of like suggesting that when they're not with us, maybe offers them an opportunity to think about something different to do. So, yeah, that's the that's the stick right now. As far as what we're offering and it's also my recommendation on if you can encourage youth to do things like do a craft project. Pick up a new skill that maybe they don't have already, that doesn't involve only being on the computer. It helps to relieve some of the monotony that gets heavy for mental health and helps people to realize that things are still happening in the world and getting outside is just good for your brain right now. A little bit of vitamin D, a little bit of fresh air really can make it possible to get through in a way that is hard at the moment. So if I were an LGBTQ plus youth who is watching this program and I want to access the Friday night group or the other group that you suggested or I'm a family member, how would I do that now? So info at outright dot VT dot org info at outright VT dot org is the email address and you would send an email there and from there we get you access to all of the things. And the reason we do it all through that one centralized area is for kind of like computer security purposes. We don't want youth being in an environment where someone could come in and zoom bomb them and make them uncomfortable or even do harm. So some of the protection that we're offering is that if everything comes in through that central area, we can get info directly into their hands without like posting it on Instagram and Facebook where it's publicly available and people can use it to do nefarious things. So you mentioned that this is summer and there are some. Thank goodness. And there are some of the traditional summer activities that people can still participate in. But what about outright camp? What's happening with that this year? We made the really, really difficult and painful, quite frankly, decision to do an all virtual camp. Now we are all on board and we're excited and we are going to make it the most awesome thing that it can be. But the decision itself required some serious reflecting and even grieving because we know what it is for youth to be physically in space together for a whole week, freed to be who they want to be, to experiment how they want to experiment, to be in an ultra supportive environment connected with peers and get them and grownups who really get them in care. And we know that it's very different to to shift away from being in that place that is a retreat. It's away from the rest of the world physically and other people can't be in the space and other people can't tell them how to dress or tell them how to act or tell them what makeup to wear. And this is different. So we recognize that it's going to be different this year in that you might so have to be in your house in a place where people put limitations on you when you're doing camp things. But we're trying to think of some ways to be expensive. So we'll have lots of workshops. My guess is that we're going to still have our talent show online. And I have now been to several talent shows online and they turn out to work out pretty much exactly the same as in person talent shows, except maybe with less interpersonal sweating. So I actually think the talent shows online are even better. So the youth can have a lot of the experiences that we would have at camp anyway. We're even thinking of doing like a box that will have some of the interactive pieces that make camp what it is and send it out to all of the participants so that throughout the week they can literally physically interact with things that everyone else is also physically interacting with. And they can have some of the symbols of camp available to them so that we can kind of manifest the physical in whatever ways we can. And we'll have some affinity groups, some places for people that have conversations that are deep and to connect with each other. And I think the plan is also to do some encouraging of the being outside to think of some activities that we can do where, you know, maybe maybe it's even something like everybody's going to take their little device out onto the sidewalk and we're going to sidewalk chalk together, something like that. So that's the imagination here at camp this year is provide the same support and love and to provide connection with peers and to recognize also together that we know that there's something that's missing that is irreplaceable and that we're not trying to pretend that this is this is this is a perfect replacement for the irreplaceable. And I think that that's that's how we're going to do camp in a way that is that that most honors the needs that you have right now. Because I also think that a big need that youth and grownups have is constant reminder that we do understand that this is not normal times and that the things that we are doing are not perfect replacements. And so if your spirit feels like it's just not reaching the full tank in the same way that it's a recognition that that's not on you. That's not on your body. That's not on your brain. That's on the circumstances are actually really different. And so we can offer that there is something to mourn. There is something to feel loss about. And since we can then process those feelings together, we can go and then there's something awesome that we can build that's different. And there's cool stuff that we might build that we could keep for when we are back in connection. But we've got new virtual capacities that create connection for people who couldn't get physically to camp before. So I think it's a it's a good place and a good time for opportunity. And while we're we're all going to miss like the kids piling on top of each other in the smallest possible spaces, just for hours on end in a kid pile, we're going to find some other things that are restoring and and beautiful. It's it sounds as though outright is being incredibly creative, resourceful, resilient and looking at this may not be a short term, but a long term kind of response to covid in the needs of our youth. It is without right be able to sustain this on an ongoing basis. And in our last three minutes, what could we do to truly be supportive of outright as it's doing this work? Um, I think that it is sustainable. We can do sustain the virtual pieces that we're doing. The most important thing that we need right now are first of all, LGBTQ adults who are willing to offer a little bit of their time to be people who do that support and facilitation of the groups that we have. And then honestly, we continue to need dollars and cents because there are lots and lots of things that we normally would do that help us to keep those things sustained, help to keep us paid, help to keep us able to figure out the next Zoom project that needs to be purchased that can't be done right now. So the the more support that we have financially, the the less we have to worry about the dollars instead of the creativity. So with that, our time goes too fast. Thank you so much. And I'm going to ask you now. So I've got the commitment from you and let people know I want to schedule another follow up into you with you in the near future so we can talk about the ethnic and social equity standards work group to which you were appointed as working with the Department of Education because I think people have some misconceptions about exactly what you are charged with doing. And then I want to talk to you as a member of the Montpelier Rocksbury School Board. So you will come back. Promise. Pinky promise. And with that, thank you. And I so enjoy spending time with you. Thank you. I would like to welcome Judith Chama to our show for an interview today is very exciting. I haven't known you very long, but what I've known, I've really appreciated. And so here we are. Judith, can you tell us a little bit about your background? Like, you know, how did you start writing and where are you from? And your details about about you? Yeah. Well, I started writing pretty late in life when I was maybe in my late 30. And it really happened kind of serendipitously, you could say, I had at that point thought that I wanted to be a feature article journalist. And I just didn't like it started. And one day I saw this ad for a poetry workshop at a women's center in Montpelier. And I thought, well, you know, I don't know about poetry, but it'll probably loosen me up. And so I went and, you know, I just will never forget going home from that that first day and saying to myself, I've been waiting for this my whole life. And the person who was teaching it, Nadelle Fishman, was so good. She sort of stayed with me after the eight weeks were done. She's now, you know, became a mentor and now is a dear friend. I've remained a dear friend ever since. And from there, I went on to get an MFA at this program that morphed in where it was located from the Vermont College to Norwich University and then to what it is now when I graduated, it was Norwich University. Yeah, is that what brought you to Vermont? Or were you here previous to that? No, I was here for quite a while before that. Again, I seem to bumble my way through into just about everything. So it was the very early seventies and I didn't have a job for this summer. I was going to school at the University of Toronto. I came here, stumbled on a job on the long trail as a caretaker, said to I was married at that point to a man. And and, you know, we just said to ourselves, we just never want to leave here. So, you know, I dropped out of school and came here. So I had been I had then got an undergraduate in the finished my my undergraduate studies at Goddard in their low residency program. And you're married, right? Now, I am married to my darling, Lisa, to whom my book Minnow is dedicated. Yes. Yes. We got together and, you know, oh, approximately two thousand and threeish and have been married since it's been legal to be since it's legal. Very good. So I'm going to I'm going to read what Allison Prine, who is another well established writer in Vermont. And then I would like you to read Minnow, which I really think it's the title and your first poem in here. And here's the book and. Judas poems is sensuous, vivid and richly detailed. Minnow wakes us to the urgency and grace of natural landscapes and intimate connections. And I think Minnow for me really spoke to the times we're in right now, sorrow. There seems to be a lot of real sorrow in the world. And the poem talks about that, but it also talks about how we can uplift ourselves and how we can be positive. So if you wouldn't mind reading that poem. Sure, calm, you know, covered in this cover of night, the serious air, cold fog swirling around us, the minnow that lingered while we talked, dirt surrounding us, soot everywhere, the path fringed with fungus. It takes something serious, something drastic, like leaving your bed, like finding a stick to really change. All night we stayed covered, cold, the path filled with fungus, soot all around us. And still we smelled wintergreen. We smelled apple and berry. We made a bed that was soft in the night, a serious night. We touched hands and our breath was swirling, stick snapped, turtles fled. We looked different to each other and smelled. It was good. It was serious. The path was fragrant with fungus. We slid a stick in the water and talked. The minnow we saw disappearing. Thank you. That's really beautiful. And you have a first collection, too, that people can can still get from you, your first collection? From me. It's out of print. The publisher went out of business a long time ago. But I have some. Yeah. OK, so. Also, books of translation, too. I translate with a with a friend from Ampelio Michiko Uishi, who writes in Japanese and then does the the first translation. And together we work on honing on the on really making those poems into poems in the English language. And we have two books, two books of those that are published as well. Great. And we are always into the natural world. I mean, your poems just are really, to me, like a combination of, you know, talking about real feelings and emotions in the natural world. And so we were always interested in the natural world and how, you know, to interpret that as, you know, into your writing, into your work. I suppose you could say so. I grew up in Buffalo in a very urban setting. But my but actually my favorite place in the entire city was the zoo and that connection with. More than human. And, you know, I have I have memories of places like the side of the railroad. You know, bank where the wild where the milkweed was, you know, of the mud in a construction site. I mean, those are the urban versions. But yes, those are my strong memories. And then, of course, when I came here, it was. Overwhelmingly amazing. I know, I found that, too. So you came directly from Buffalo with your ex to want. Yes. And then I had a series of pretty. I feel like I've had wonderful work in my life. Well, one of the first jobs that I really loved was I was a typist B for the state. And I was working for what this was pre OSHA. I was working for what was then the division of industrial hygiene and working with a bunch of people who were just so labor positive and so proud of making conditions for the dusty trades. You know, granite, slate, marble, best is talc clay. Making that safer for workers. And it was. It was pretty inspiring work to be part of that, to learn how to take X-rays and meet people from all over. And it was in Barry to learn from the person who is supervising me about Barry's rich ethnic heritage. And a bit later after I got my MFA, I became I taught in a number of such a number of circumstances, one of which was an arts based senior center in Morrisville called the Out and About Center. And that was I did that for 12 years, leading first writing workshops. And then as the funding changed for senior centers and people with more profound disabilities were there, we changed to what we were doing to storytelling. And again, it was such deep cultural learning for me in terms of getting to know people who had lived through all the enormous changes of the 20th century and what was essentially Northern Appalachia, making their livings and subsistence farming and logging and mining. And I then I was also teaching non-traditional college age students through a given that set of programs, undergraduate programs that were at Vermont College and then Norwich University and then Union Institute. And and lastly, my such beloved work and such deep learning for me of being the executive director of what was then VSA Vermont and thankfully now has a better name, much better name of inclusive arts Vermont, which is engaged in arts and disability and was just such incredible, joyful work. And I know from talking to you that you know, your Jewish community has always been a big part of your your life and your work and and your being in the universe. How did that have an effect on your writing? I know you had a reading at the synagogue there and and how is all of that influenced you do you feel? Yeah, it's certainly profound. I grew up in a family that not only was highly identified Jewishly and but was part of a really intense immigrant and refugee community. One part of my family were Holocaust survivors and I also experienced some quite a bit of death early on in my life and that led me to, you know, the kind of existential questions that children and people of all ages struggle with. So the combination of sort of the cultural, ethical background that I grew up in, you know, again, highly labor. Positive labor oriented that sort of. Connection and, you know, the spiritual and questioning is in the community. Just just I really love the community. I also love, you know, the same way. I love what people do that is richly engaged, you know, everything from cooking to singing to making beautiful ceremonies. I just it's to me that is just part of the way I love what human beings can do. And so the poems in Mano you know, there's quite a few of them that reference Jewish tradition in one way or another. And yeah, it's just it's. It's part of my. The way I am in the world, you know, your fault. Yeah, your inner self, maybe your yeah. So I would like I would like to request that you read one last poem before we have to leave. And I want to thank you for being here. It's wonderful to see you and you. So. Well, Linda, thank you so much for your wonderful show in the first place and for being your wonderful inquisitive. Positive self, thank you. This is really, it's really fun to be here with you. I'm really honored. I think I'll read the point. My neighbor's footprints frozen on yesterday's path softened today to flush. And even the leash lies slack in my hand. The beach is bare again. The gulping surf testy in its winter thaw. The sand here and there, a sudden soup. Grace and drizzle have left us the place to ourselves. I think I must be late considering death and purpose, the sky and all that's beyond bearing. The dog races to a lingering goal. The clouds begin to break apricot at their evening edges, then deepening to pink. It seems a long wait till spring and the possible. You know how it is each year settling in unfamiliar, uncertain. In a few months, the sun on our arms will shed a layer, put our backs into our paddles. There's always a point, the boat slipping from shore, the air's sharp, the lake's still too cold for swimming, woods full of moss and fungus, when we're tugged into a bewildered hope with nothing beneath us but a whisper. Thank you, Jared, that was wonderful. And we'll see you soon. Take care. Thank you so much, Linda. Bye. Hi, everybody. Welcome to a very important interview with representatives of Vermont Pride Theater at The Chandler. They have been guests before. Andra Kisler and Susan Loinder here to talk about the exciting virtual 10th season of the Vermont Pride Theater. They're members of the Vermont Pride Theater Committee. And also actors who are gonna be performing in one of the shows. So welcome. Thank you. I'd like to start, if I could, by asking you how you happened to adapt to this new moment in our culture. How did you happen to produce a virtual celebration of the performing individual arts since nobody's in the theater, the physical theater these days? Well, I think a number of things came together for us. We were of course watching what was happening around the world and the governor's social distancing policies. We had, I think really how this started for us was we had a fundraiser that was planned. And it became really clear that we couldn't have an audience. So then our fallback position was could we have the singers come in and record it? And then we got all this information from the CDC that singers were incredibly vulnerable because they're projecting. And so we tried to finagle different ways. Could we have people come to the theater an hour apart and just sing on their own and there's no duets. And I think as it became more and more clear as we went down that road, we just weren't gonna be able to do it in a way that made sense. And so as to me personally, as that was happening, I was like, well, there's no way we're gonna be able to do the shows. Like if we can't do our fundraiser and people aren't comfortable. And if anything were to happen to an audience member that would just be horrible for the theater and the community. So I think we had a sense that this wasn't an option. Really, I mean fairly early on. And then it was kind of interesting was that this is our 10th anniversary. And for the last three or four years, we've been sort of girding ourselves up, oh, are we gonna do fun home? What are we going to do for this huge finale? This is wonderful. Is Vermont Pride Theater going to continue beyond this? We've had meetings about it. Who's going to be the producer? What will happen? And then this is what happens. It's like, oh, we should go out with a bang in case we can't sustain this. And it's like, it feels a little like T.S. Eliot, right? Going out with a whimper, you know? But really trying to find a new way to deliver the art form. And that's been, I think, kind of the cool if there isn't upside to any of this is I've been doing some readings with friends on the weekends reading plays and comedies and some Shakespeare. And to be able to interact with people around the country and sometimes around the world and share a piece of art has been super cool. And for me as an actor, and I've done stand-up and stuff to not have the laughter and the applause and the response has been really, really challenging. It's been really tricky. The technology really does put something between you and your audience. So it's been really interesting to adapt. And maybe Andra can tell you a little bit about how to manage props and your lighting and your green screens. It's crazy. It's so ridiculous. So I saw David Zach, who is Sharon Reeves, our producer, Sharon Reeves' brother, was the initial instigator, actually, of Vermont Pride Theater with his sister. He came in from Chicago 10 years ago. And for the first three or four years he was directing our shows. And so I watched, and I think maybe Susan saw it too, a production that David did in Chicago of A Late Snow, which is the show that Susan and I were in last year on the stage at Chandler, but it was done as a virtual show. And it was very simple. It was just the person saying the line was there with a white background, maybe a glass of wine. That was about the only prop I saw. And we have grown exponentially since then. We have backgrounds, as you can see behind me. I'm obviously not really at Chandler, but there it is right behind me with our rainbow flags. So we have various backgrounds, even different places where we're sitting in a truck, depending on which character it is. We have props. We have props that are handed from one person to another. Susan and I wanted to include our cats because we have two almost identical cats. We thought it would be great to be able to pass a cat, but everything has to be doubled. There's another one of these so that the person who is receiving it has one too. It's very confusing. It's been very impressive though. It's been really, really tough, but also really, I think it's gonna lead to a better product. Because I think the people just sitting against a black backdrop with no action is really challenging. The challenge I think on Zoom is to really make eye contact with people and to have the illusion of action. So we're seated virtually most of the play. There's a couple of times where you bend over or you have the illusion that you're standing up, but mostly you're really trying to act. And so to have all these props, I have a steering wheel. I'm in a truck, things are happening. There's sound effects that are gonna be layered in back later. Has been really, really, really adding another layer of I think challenge, but also realism. And we're hoping that putting this all together and recording it in a way where we're recording it so it's gonna feel like it's live, but there's none of the glitches or somebody's internet goes out or that you get frozen. So the idea is to have as close to a live performance as we can have without any of the frustrating moments that you sometimes have in Zoom meetings. Well, it seems like you've adapted and that this might be a gesture of continuity for the Pride Theater Festival at the Chandler if you were speculating about its future. This seems to be a really positive step toward continuing your work in subsequent years. Yeah, one of the things that we talked about with the director there was doing more community outreach and trying to do some educational pieces in the schools, for example. And Zoom would be a perfect way to do that if we could find some scripts that were age-appropriate and go into the schools virtually or maybe even in person with a clip of some sort. I think it would really give us the opportunity to spread that information out across the state. And we're hopeful that this will open up a new audience for us. So again, on the plus side, folks that don't always drive from Burlington or maybe beyond White River Junction or New Hampshire, those kinds of things. We're hopeful that anybody can be sitting at home and click on this. It's not the same as live theater, but it could be a whole new venue. Absolutely. Well, let's talk about your current offerings. We wanna make sure we tell the audience what is in store from July 17th to August 1st are the place, but there's a photography exhibit called at the right place at the right time, which starts earlier. Would you mind telling us a little about that? It's photographer John Gilbert Fox, Hanover resident. And his free, well, I can jump in. His freelance photography has centered on theater and dance. He's also known for his 25 years plus work as a photographer for Vermont life. And so he is going to include photographs of such gay icons as Franklin, Kamini, Gore-Vidal, David Hockney, and Paul Cadmus. And this is an exhibit that opens in advance of the place at the Chandler Theater. Is that right? Yes, and also it will be available in two ways. You will actually be able to go to Chandler, walk into the building and see the exhibit in person with proper social distancing, wearing a mask, letting them know that you don't have any respiratory symptoms, or you'll be able to watch the, see the exhibit online, which will include an interview with a photographer, an interview by David Corville, and that should give some really good information. And Susan, you know a lot about the auction and what he's going to donate. Yes, so he was so grateful from the committee's perspective that he's willing to donate some of his photographs, and those are going to be available online for people to bid on, there'll be an auction. And he also has some signed books where I've been told, including if people wanna feel like this is one of those times where you buy back something just so you can maybe rip it up. So he apparently has a signed book by Anita Bryant. So I think Anne and I will be trying to help bid each other on that book. And what are the dates of the exhibit? It starts early and should I think August 2nd? Yeah, so we'll go through Sunday, August 2nd, which is the end of the theater festival as well. I think it doesn't open on the 10th, it's next weekend. It says it'll open online at 7 p.m. on Thursday, July 9th. Okay, but in person. It's probably that, because we're set with their hand. Okay, I got it, July 11th. Yeah, Saturday, July 11th is in the main gallery and the gallery hours are from one to four on the weekends and all day during the week through Sunday, August 2nd. So let's talk about the plays. Please, please. I'll, Susan, how about if I talk about the homosexuals and immediate family and you jump in for the cloudburst? So the homosexuals is a show that we had done in our, I believe it was our second year of Vermont Pride Theater. And we had a whole lineup of the plays that we were planning to do this year. And then when the lockdown happened, we just kind of backed up a bit and said, what can we do? So the homosexuals was a show. I was in that in our second year, I believe. And it's by Philip Dawkins and it covers 10 years in the life of a young gay man from a small town. And he comes to the city just to find his community. And this year it's directed, it was originally directed by David Zach. Now it's directed by Richard Waterhouse from Newbury, Vermont. And it has cast members from all over. There's a New York city person and there's someone from North Hero in Burlington. There's someone from Provincetown. And it should be a really great show. Actually, two of the actors who were in cloudburst with Susan and me will also be in the homosexuals. It's a fun show, it's a moving show. If you saw it eight years ago, you'll wanna come and see it again. If you didn't, you'll definitely wanna see it. So that's really kind of fun to reprise that. And- Okay. Susan. Cloudburst. So cloudburst, I've been calling it sort of the elderly lesbian, Thelma and Louise. They're basically two older women and one of them is blind and has some physical disabilities and ends up getting put into a home and her partner of many, many years busts her out and they go on the lamb. And it's set in 2010 before the right to marry happened. It's set in Maine and so they take it on the lamb to go to Canada to get legally married so they can't ever be separated again. And it's funny and at times poignant and heartwarming and silly and I get to act up and play somebody who's very crass, who's definitely not me. As the director keeps saying, oh, you're so nice, stop being so nice. Your character's not that nice. So it's been a challenge. And then immediate family is a tale of what transpires when a mixed race group of siblings and have siblings gather for a wedding. And that was written by Paul Oakley Stovall and it's a new play. The playwright also, it's so exciting. If the playwright, if the world were normal right now, the playwright would actually be touring in Hamilton right now. Oh, just learned that today. So he is an actor, singer, dancer as well as a playwright. And that also has a cast, all people of color. And it is a cast from all over as well. Massachusetts, I guess, New York City. And it's being directed by a woman who was in the show that we did last summer. Oh my goodness, how embarrassing to be, just the name is Susan. What was it? Diane C.B. Walters. Yeah, she played the grand mother. All together now, that's right. I just pulled it out of the deep recess. I'm sorry, I wanna give credit to Margo Whitcomb who's our director for Cloudburst for like herding the chickens and taking on this comedian form. And we have some very lovely young people in the cast with Anna and I, I feel quite like an elder state swimmer in this play because we have these young people in the cast with us. We're constantly saying things like, go to file and there's a drop down menu and click on this. Well, this is great, tickets are $10 and you can get them by going to Chandler. We'll put it up on the screen. Chandler-arts.org I think, but we will put the exact link up for you when we air the interview. This time has flown by. Are there any last words? Final farewells before your performance. I would just say the performances are gonna be repeated so that if folks miss the first weekend, there'll be another opportunity. We're spreading this over three weekends. Typically we just do two. So we're having two shows and we're only doing Friday, Saturday night. We're eliminating that Sunday show. So look at your calendars, make that plan. And the idea at the end of each show is to have a mini-life talk back so people could type in chats with questions that they might have for the actors or the director. I love the talk there. We're really looking forward to it and we think people will be intrigued and hopefully we'll laugh and enjoy it and I think it's a new era in filmmaking slash theater. So I hope people will jump on and also share, share, share on Facebook if we could push out links to this. That would be really helpful. So it's www.chandler-arts.org. That's where you get the tickets. Do it friends and thank you very much for joining us. Thank you. Thanks so much. That ends our special interview show. I hope you enjoyed it. Bye-bye.