 My name is Kristin Greenwich. I'm in residence at Company One Theatre. And I think my presence at Company One Theatre has changed the theatre. Well, first of all, I think my presence has maybe alerted the theatre about how idiosyncratic and quirky writers really are in all the wonderful ways that that is and can be. And hopefully gotten the theatre to know more local playwrights and work with more local playwrights. And where I think that we are in the process of outreaching, reaching more local playwrights that the theatre maybe wanted to reach in the past and hasn't had the opportunity to do. I think the answer could go on for a long time, but because theatre has already done a lot of new work, I think that's a road that we're going down together now. I'm Sean LaCount. I'm the artistic director at Company One Theatre. And how has Kirsten's work changed since working with Company One Theatre through this residency? The true answer is I don't know that I know the answer, but if I was to guess at a few things, I'm thoughtful of a conversation we had talking in early stages about the play you're developing right now, The Great or Good, where you were starting to talk about maybe taking some of your aesthetic, which I think often kind of explodes and has big ideas. And you were like, I want to kind of refine it and keep it tight for this play. Those weren't your words, but that's kind of what I heard. And I remember thinking like, oh, interesting, is that something that you want to do for your own work? Is that because you're paired with Company One Theatre? And what is that about? So that's something that I'm watching a shift in your writing. I don't know if it's because of the company or your residency, but that's something that I saw you. And I think I'm watching you out of wrestle with trying to do, actually, which is interesting. And I think during the time you've been here, we as a kind of a collective have been trying to figure out what makes a Company One play. I think there's been a lot of, like, in our hearts and our audiences kind of know when they see it. But we haven't been great at articulating it, and I think we've made a much greater effort to articulate it. And I think you've been part of that articulation. And I wonder if, by being part of informing kind of the refining of that mission, if your work has shifted at all in terms of what it means to write a Company One play versus some of your other kind of really wonderful commissions of larger spaces or spaces in different cities. So I don't know. I think that's the best I could do right now. Yeah.