 Good afternoon everybody as most of you know I'm sure I'm Kevin Williams I'm the representative of Talon Books at this year's CATR and I'd like to start off by offering Jen and Graham and the whole team that's put this great conference on congratulations on doing a really really splendid job I've been enjoying myself greatly and yeah I warned Jen that she was in danger of setting the bar too high and maybe nobody else would want to come to the table but she said no no it'll be fine so today we're here to launch a brand-new Talon publication hot off to press as people like to say King Arthur's Night and Peter Pantheese by Dial McNeil and Marcus Yosef and Marcus I know you all know he's the director of the new world artistic director of New World Theater and the 2017 winner of the Simivich Award so yeah whenever we get a prize out on the West Coast us West Coasters whoo trying to tip the balance out there and now McNeil has been no not a chance has been involved with theater from an early age through his long association with the caravan farm theater he performed as a youngster in Romeo and Juliet and bull by the horns and strange medicine in 2011 leaky heaven and New World Theater co-produced Peter Pantheese a play written by McNeil and Marcus Yosef which was performed in the Vancouver Push Festival and won a Jesse Richardson Critics Award for Innovation Theater and McNeil loves researching new ideas writing music writing plays and performing he's got a number of plays in the works right now and has a really aggressive schedule plan for himself over the next couple of years and so without further ado I'd like to present dial and assistant director to Marcus I'd like to turn it over to Nile and Marcus they're gonna do a piece called writing together it's an introduction to how they put together King Arthur's Night Peter Pantheese thanks thanks Kevin thank you very much yes thank you before we start just to clarify now I wanted me to say that he is the assistant finder of New World Theater that set his official title so just so everybody knows that's yes there we go big applause it's been a source of some contention you're the title over the years but we've I think we've settled on it so thanks so much for being here Kevin gave us a pretty good introduction you want to take your bank hey yes exactly we're thrilled to be here on on this territory which was so beautifully talked about in the last panel and Nile and I when we do these kinds of things what we often do is ask folks you know it would be great if it's possible to get just a teeny bit more light on the audience if that's a hassle don't worry about it but if it's possible that would be great is to do at the beginning what we always do when we work together thank you which is a little bit of a warm-up together because something people have talked about in the previous panel today was like about coming present together and being in their space in the room together and that's really important I think in the work we do so what do you think should we do a little warm-up are you guys ready for action let's do it oh no there's no music sorry I didn't have music for the warm-up okay good thinking I went to school UBC I learned all the moves too so bear with me markets can explain what I'm doing so ask everybody to stand up yes it's good for academics to you know get out of the chair okay sorry shouldn't make academic jokes just make sure you guys were left our friend Bob Jack is taking a photo and video of us so let's just move our feet moving the feet and just move your shoulders to shoulders this pretend it's music in here that's my fault that there isn't so generally yeah there we go somebody was snapping can do that and sometimes against not fingers so generally we we sort of focus on following Nile because he's got some sweet moves that's why I learned them from you for city UBC side to side I could but he didn't say that much oh moonwalk Jackson and NASA that's our warm-up for today excellent everybody nice job Nile so yeah this is writing together a brief introduction to our collaboration over the years and well Kevin sort of mentioned this but this story begins many years ago with that guy yeah let me explain I didn't write everything down it's I'm going there this summer as my name is Nile Patrick McNeil McNulty and I'm six years old at the protection of money or Juliet right Romeo Juliet and where where is that happening that production I mean like where was this is at caravan farm theater which is I can show you the bag oh nice right here are people familiar with the caravan farm theater who's not stick up your hand if you're not quite a few people so maybe tell them just a bit about the caravan here's another picture from the caravan okay the caravan you can see it's we did a 350 people came to see anyone everyone that was a show there that's right an audience is from seminar or far very far away and the stain of hotels and tear the place up now the caravan has 85 a anchor farm it's an 80 acre farm in the interior of BC is an outside outside from Armstrong BC which is that go to I'm an entry school a long time ago and not photo which are you talking about this one the next one no no all this one so it's many many places you can before perform we do locations that ones from not really are still more like from Jennifer Burn she's a playwright she's a poet and she likes to feed her a lot that's right and so there's shows all summer there's shows winter shows Christmas show they saw sometimes a Halloween show and that's where Nile grew up and sometimes sleigh rides too that's right it's awesome sleigh rides there's Nile with Colin Heath the Cirque du Soleil actor and playwright what's what do you do yeah he's a Cirque du Soleil actor playwright and he's my son that's right now has a very complicated filial genealogy how's that for academic is true yeah no absolutely I'm his brother-in-law just so folks know so that's sort of what Nile like kind of came from and you know as I already said he's a professional actor in a playwright and his whole life now you wanted to write an adaptation of Peter Pan something you talked about a lot with folks at the caravan and in 2009 Lois Anderson who at the time was co-artistic director of Leaky Heaven with Stephen Hill in Vancouver approached me and asked me if I'd be into considering the two of us working together to figure out how we might write an adaptation of Peter Pan together and I was really really excited about that idea just to finish the thought for a second a because Nile and I have been in shows together and we were friends but also because I've often worked in collaboration with people writing and this felt like a really exciting opportunity for me to see to figure out a process that we could work together and also Peter Pan is a story about a boy who can't grow up who won't grow up well the actual story is from J.J. Berry J.M. Berry and the way he said it he's never ever be a boy he never wants to go up because just a little boy have fun that's right and that seemed like a really provocative and interesting idea to me and I also knew how well Nile you knew the story and so I was really excited about that and we got lucky it was Olympic sorry I know you like to talk but I do like to talk I just to mind you I make it I make a joke once with my half dad I said I said no is Peter Pan these that's right that's why markets are seen as Peter Pan but roughly as Peter Panities right no that's right that yes the title you you wanted who loves Peter Panies who likes the title Peter Panies okay good it's good our demographic our focus grouping is working really well here we got lucky it was the Olympics time and so they were dumping money off the back of the cultural funding truck and we got a very large grant that allowed Nile and I to spend two years figuring out how to write together and working also with Steven and Lois who co-directed the show and the cast workshopping material developing material so the most exciting times of my life that's an early promo shot of us it looks like it looks like a prison for our markets you can tell this is partly improvised that's funny yes I agree it does that's very funny I'm looking very serious sometimes I can make a funny jokes but I know that photo I don't think we should laugh and make it fun I like it because I feel like it's both serious and funny that's why I like that photo the result of that collaboration as Kevin alluded to as we've talked about was the show Peter Panities at the 2011 push festival here and over the course of this we're gonna kind of go from process to product and to showing you stuff but but here's some stills again directed by Stephen Hill and Lois Anderson was at the Colch some pictures show that's when Salsa and Salsa round she's a she's got married to a Steven drover maybe you can explain about that later not now yeah that's sort of their personal life kind of thing yeah yeah yeah so and that show Wendy actually there's a balloon oh you want to show that picture yes Wendy gets pregnant in our Peter Pan and it looks like Jimmy's born but did a tube and you cannot see you cannot see Alan Zinnick he's on what's not going there that's okay no Alan's underneath so well we'll show you the scene and then we'll explain it afterwards because we have it one of my favorite moments when we started writing night when I started going all right like you're you're a brilliant associator and somebody who can riff and improvise ideas in a way that I find really exciting was when you you and I were talking and you were like and you were like and and we just sort of jam and stuff and you were like yeah and then Peter Peter says I really want to have sex with you Wendy yeah and then I was like oh right and then what happens and you were like my favorite word yeah anyway we'll show you a bit of the show you a bit of the that the birth scene from I won't be happy this one is now I'm new and Wendy got married yeah it's a great thing because now you weren't really in Peter panties much you played Banquo's ghost because Banquo appears but you got somebody inside it somebody excited yeah that's John Lazarus he gets excited it's not his fault and but then at the end you came out and you got to get married to Wendy which I thought was awesome like that that it did you just Banquo's ghost suddenly got to get married to Wendy one of the one of the most one of the first things that happened and I when you and I were working together was you looked at me I'll never forget this you looked at me and you went this is a song and I went oh okay and I record and transcribe everything that we when we hang out and write together and you just spoke these lyrics and I just wrote them down and I remember I sent them to Veda Hilly a really terrific Vancouver musician who's are composed the music and songs for out of Niles lyrics set for all the shows both shows and she was like this is she likes working with verbatim material and she was like this is the most exciting verbatim material I've come across and just to give you a sense of that we're just gonna share with you one of the songs from from Peter Panties this is called Mr. Darling McBeth excuse my language managed to we managed to make make a song about your favorite joke which is telling telling people to shut up it's awesome yeah and for me that that song like so many of the songs captures your ability to shift gears from one moment to the other like how brilliant like Mr. Darling works in a bank right for me what you said about Mr. Darling not refusing to come out of his room because he's so worried that his children are gonna starve said more to me in a way about about that character than any other version of it I'd ever seen is yeah which I loved yeah I don't know I put bad words and shut up oh yeah I don't think it's that bad no it's not really bad word yeah I love the lyrics I am five-time playwriter and lyrics 40-time writer right absolutely so after Peter Panties three things significant things happen the first was that now you were like I wanted to work on another show and that was because these are big shows and I'm you know I'm the artistic director and it's a lot of work to raise the amount of money necessary to make this happen and I was kind of like okay maybe and we started kind of writing what my kids and I all and at the same time I started to think of myself and talking with my colleague Jamie Long who Naya wanted to direct the show at the time and I went well hang on when I have success with colleagues almost inevitably the next thing I do is work with them again why is it any different in this case and so we started hanging out writing together and now wanted to do a King Arthur adaptation the second thing that happened was about like literally a week before Peter Panties opened I went oh my god I think I was probably talking to Joan Niles mom who's here I think she probably even was the one who said it and I went oh my god like the Down syndrome community how come we haven't talked we haven't talked to the Down syndrome community which is nuts right and so we managed to communicate with the executive director of the Down syndrome Research Foundation in Burnaby and she managed to get to the show at the last minute her name is Don McKenna and afterwards she invited me in and she said you know this is this is for me a really profound example of inclusion and so if you do ever do anything again please consider partnering with us and the third thing that happened was Jamie and I Jamie Long and I were in Toronto doing our show winners and artistic director of the Luminato Festival there with like the show and invited us in and said what are you guys working on together and we said well we're working on King Arthur with Nile and that led to a commission from the Luminato Festival with a significant amount of money kind of like the Olympics money without which there was absolutely no way we would have ever been able to to actually get to work on this and this that we got to work on it's King Arthur's night from we travel from the workshops and Alberta right at Banff we did workshops we do Banff and I'm the lead and everybody's lead oh that's nice I might say that yeah and my job is to we memorize my lines not by some language but I can really see my neo my lines down or tunnel by the same language too yeah yeah absolutely I had been told there was gonna be an audio describer for this actually that makes me cat anyway I don't know anyway oh you're back there okay that's why hi cat thanks for doing this we appreciate it yes exactly so we got to work on King Arthur's night and here's a here's a few stills from the show you wanna say that's my dear friend and Tom for the last key oh sorry you know what they can't see this one it's a bit confusing they can only see this one so that's what they're looking at okay that's me and that's me and Tiffany King we play in our characters and she is you might see her dance later and I'm not afraid on stage and it was after characters are awesome I admire that that you're not afraid I get it I'm in the show too I play I play Merlin doesn't have enough lines in my view but but I know I was just making a cheap joke but it's true too there now they can see that one tonight so that's Nikki big man that's David Pettiton's partner from studio 58 that's Anton for the for the lip of that ski and some lip of that ski that's right he's playing a role of Mordred Mordred who is yes the King Arthur's enemy yep then there's three more there's Billy Minkowski and no they're looking at that one one that's Anton and Matthew so Matthew it's a dance syndrome and Nicky Nickman again yeah and then there you go there's Lancelot and Guinevere and that's Tiffany and Billy Minkowski Tiffany payers Guinevere so the cast is intersectional so we worked in partnership with the Down syndrome Research Foundation and we'll talk about this in a second but they so there's four actors including now whose lives include Down syndrome in the show and then seven professional neurotypical professionals on stage so it's a completely integrated ensemble and the show other than a line or two there's a line King Arthur says he tells Lancelot not to kiss Guinevere because she has Down syndrome and that's inappropriate which is a great moment and Lancelot's like well he kisses her anyway but the show is not about disability it's the King Arthur it's Niles vision of King Arthur like there's no it's not about anybody having Down syndrome so there's that me and it's you I love that one so sad I'm so sad because I think I will loss of war he lost the war moderate and there's the evil or big evil Saxon does Andrew star Andrew star Gordon is special Olympics that's right he does special Olympics and Matthew Matthew Tommy again who plays mortars assistant and then once again that's me as the war King Arthur's war against Saxon and moderate that's right and so because of Don's interest and I think also like we you know we'd made Peter Panties and the question I had and the question we and I convinced you it was it was a good idea you weren't so enthusiastic at first but was to see does this model that we've developed of working together which will show you eggs or something a bit like can it be extended is this just because I grew up in the at the caravan and it's been in theater his whole life and knows more about theater frankly than anybody I know honestly or is it a model that we've developed that can actually widen the the reach and so Nile and me and Jamie and Veta started teaching classes at the Down Center Research Foundation and that's where yeah the location is at Spurling it's on Spurling in Burnaby that's right in Burnaby and I go there for age colleges for after-school care the teacher is Mrs. Dranstrakten and I've been doing it being there for a number of years and she wants me to go to UBC Euphosity right cool and we wanted to see also like does this way of working where we Nile and I have figured out a way of working mean that we can also like that it can be truly intersectional so that one it's not always the same people leading and not always the same people following and so here's an example of some early process well this isn't so you can boost this is actually sorry this is Nile and I writing The text is good I think Yeah the problem is how Rita is going to do this I sent it to her Oh you did it already? Hang on here's the song Okay that I really like these lyrics It's not just against the power song Exactly I think it's totally related to the power song Yeah I would agree with you like because it's the Grail Journey It's a Grail Journey because it cleans in it right? What do you mean? Because it cleans on a horse, the first song Okay hang on, it means on the first horse for the first song? Yeah Yeah And she's a whole journey about her Yeah Going to the power It's about her going to the power? Yeah And then we'll do the power song Which I think this Grail that here is really good for Yeah That's my house What I'm seeing is between a fine Grail I think it's the goals of Grail The Grail is not going to return And so this model which is that's really just Nile and I working how we work Like we just hang out and we talk and we have ideas and I record everything And then go back and transcribe and organize it We brought into the workshops that we did at the Down syndrome Research Foundation Where we met the three actors who we asked to join our company And this is a video of one of the very early sessions that we did And I said for me a really good example of what happens If we're in a room working together and we just try to pay attention And follow something that occurs And in a way that we wouldn't necessarily If we weren't trying really hard to listen I'm a bully And then I saw the way I believe But have a disability Like Andrew, Tiffany and Matthew and me And some other colleagues We teach them what is theater We teach them what is games And after that DSLF And now they're professionals And also my experience is that like Andrew taught us something there With that poo thing that he started doing That is actually a bit in the show Like that made it in the show which I never would have been able to think of It's more like it's pained out the baby goat When there's a whole thing that happens with this baby goat anyway It's bad, it's bad, it's a goat Because my mum feeds goats Exactly There's a whole bit in the show We don't have time to explain This is another example of the following So this is a video So the next stage was to take that work we were doing at the DSLF Into the professional rehearsal room with the fully integrated with all our Neurotypical professional actors And that was fascinating Because what we found is that all the things that we did in the DSLF classes Circles at the beginning that a warm up now always led Like we did today dancing That doing all those things Made working all of us together possible and fun And it also in my experience made the entire rehearsal room better More attentive, more present We learned that some people For the whole company to learn that some people actually need two minutes to answer a question And that you just wait And if you're willing to wait They'll answer Who's way better than trying to explain how to be inclusive Sorry It's crucified No, no Like Matthew Matthew He goes like this Yeah I'm going to put this finger around his Yeah, he always goes like this But he can't really help it And that's the way he's thinking That's right He is so stationary That's right And he'll always answer And it's frustrating sometimes to wait But he always answers And it's such a dramatic triumph when he does And it brings us all together Which is interesting Anyway, here's a video from the first workshop First integrated workshop we did in 2015 I believe The journey must begin when I open the door And the whole drums and bass kick in And then I say What we do in workshops Energy They've been on the floor There's drums There's a really good drummer His name is Barry Marachnik He's a really good drummer And he plays in All-Nakin And it's him with Vita Vita and I are working On a record Maybe you're not right now We're You'll be right, the King Arthur record We're making the King Arthur record That's absolutely right The next thing I wanted to show just briefly Is another example from that workshop Of what it's meant to us As the neurotypical artistic creators To follow This is Tiffany who plays Guinevere Very early on in working with Tiffany We realized she was an extraordinary dancer And so our choreographer, Josh, built All the choreography for Guinevere's dances Just from her movements And put that on the neurotypical actors And then Tiff was just allowed to dance However she wanted Because that's how Tiff dances Yeah, again Her mother told me and Marcus She likes to dance She closed the door And she danced That's right For a half an hour or more She is a extraordinary woman you ever met And she's really stunning Like I said, she is a Stoinary And she goes to her room And she dances at least Two hours a day She closes the door Starts playing music She's like fluffing wings All that kind of stuff And again, she's Staining, stoinary And being a lot of energy For the next day at the Polk West app That's what we do That's right So as now mentioned Last year in the lead-up To our premiere at the Luminato Festival in Toronto We were very fortunate to have a partnership With the Banff Centre Which allowed us to go to Banff And work for two weeks In the theatre in production And there were two things about that One was being able to make the show In rehearsal in the theatre And the second was allowing us As a company of 25 people on the road To learn how to live together Because that's a whole other thing, right? And some of our actors That never don't travel that much necessarily And certainly hadn't been on tour before And all the protocols And all the... Like that stuff is important Like how to be together as a community Was as important as working on the show So we had a great opportunity to practice that They also made this extraordinary Minidoc of our process Which kind of gives you the sense Of the next stage of the development of the work Which we'll show now If culture is to be any use whatsoever It has to reflect the world We actually are in In all its complexity Culture can bring folks in a room Whose experiences may be very different And who may, as in this case, have been Honestly historically separated from millennia And challenged that That's what culture is for King Arthur's Night Is King Arthur's story through Nile McNeil's Eyes and vision Leave me! As a professional actor Is and shows his whole life growing up King Arthur's Night Is about the kingdom called camera I write it with my co-writer Is Patrick yourself? This is the second show we've written together And it's always a question No matter who you're collaborating with How are we gonna do this? How's this gonna work? Who's gonna write what? So Nile and I just started hanging out And what I did was I recorded Absolutely everything A couple of things came clear from that That I could actually begin to work With the transcriptions of those recordings To shape a script Another thing that came really clear Was there would be times when Nile would just go Hang on, this is a song And he would just speak a song And a couple of times out of five The lyric structure would be extraordinary I'd show it to Veda and she'd go I wanna write music to this In that process that we began to devise Which we were just making up We discovered a few things One, Nile and my pleasure And working and writing and jamming together Two, Nile's gifts as a writer No, you're ready to raise my son And our ability to do that In relationship to each other In a way that seemed fairly productive This particular show's real excited interest From a place called The Down Syndrome Research Foundation In Burnaby, BC Our cast includes three additional actors Who we've been working with for three years To the DSRF Our Guinevere Our Magwitch, whose mortgage assistance And our big evil Saxon are all played By actors whose lives include Down Syndrome As well as cast of professionals So when we started the classes At the Down Syndrome Research Foundation Our Guinevere, Tiffany, terrific actor She and actually Nile were paired up They were doing a Beauty and the Beast adaptation I saw as they started Nile Just sort of clock Tiff and look at her And I could see it I could see it in his eyes going Oh my God, she's really, really good Tiffany, every time Beyond Stage She wants to be herself It's the same thing with me It's Tiffany, it's Tiffany in here But Guinevere's in here And she's really good Tiff's mom, Tony Ann Came up to me and she said She said, you know, this is one of the only Of these kind of classes that Tiff has ever wanted to do And she said, thank God we found you Because Tiff's been doing this alone In her room for 10 or 15 years So she's trained herself But one of the things that happens To open up the access we take for granted Is that folks who haven't had that access Get the opportunity to participate And not just participate as an act of charity Or favor, but to come fully present At what they're really good at And make the whole thing better And that's the real thing about why it's important It's because it makes all of our lives better We're not doing anybody any favors We like to do a really good show It is going to show it out I'm not scared We're ready, we're brave, we're tough And we can do it So it is pretty sad that we're done But who knows? I don't think we're going to Hong Kong I don't know I think we are going to go to Hong Kong But anyway, we'll see what happens Yeah, I can see that too Like everybody's starting to get teary That's what happens with... Actually, this is the background of Banff As we sort of get towards almost the end Of our presentation It's also like... The living together thing was really interesting We were at Banff You want to tell us about that spot in Banff? The Banff Center? The Banff Center I've been in for a second year What about that? That's a table for all artists to sit and eat Hard thing is, it's not just Andrew It's myself and Marcus and Tiff It's getting a big piece of food It's buffet It's buffet It's all you can eat buffet every day for weeks And bar jack Which is hard for all of us And is also an access issue That we didn't have any idea about There's a lot of conflict We had a lot of... A colleague, Joan, you remember A lot of intensity and conflict around the food Like it was intense, right? And when you're going You're going, great, we're going to Banff It's just amazing to me The number of times where we've just been like Oh, right Never even considered that Yeah That's all I'm going to say Yeah So Nile said We might go to Hong Kong And we're in discussions with other people But one of the really interesting things for me About this whole thing From Peter Panties through King Arthur's Night Has been the relationship of what we experience As a company and as an ensemble And what the audience experiences And how... And the work has been always In relationship to the actual show Has been how can we find a way Of dramatically capturing What I experience writing with Nile What we experience as an ensemble When we work together in the room That is meaningful to an audience And I think with King Arthur We're getting there We're getting there And it feels like it's the same kind of principle Like it's about paying attention And just treating the show like any other show Like it's about making the show as good as possible In the context in which All these other things are going on And to give you a sense of the show a little bit For those who haven't seen it I know there's some folks here who have But this is a kind of three-minute kind of promo That's actually pretty good In terms of giving a sense, I think, of the show And it's what it's like to watch it Working in battles for Arthur Yes, my precious, out in the fuck Sure, that's a lot Should I trust We're getting married We're a sister And we made you You made me Sitting in you I will save your people Do I love you? I don't know Are you ready, my love? Leave me This is my anger I want you out of my sight Why won't you listen to me? Thank you Yeah Nice of you It's good to have the applause in there That kind of triggers the audience It's good Well, they're clapping for us That's right I know Well, every single scene Set for the forest I was in the forest And a lot But that's not alone I was not in that mood That's right So I was in it I was in it Every, every, every scene Is I'm not trying to hurt nobody I am playing the lead Marcus and everybody in that So are the lead We're a guy who wrote Me and Marcus I am the first lead And everybody Yeah, you are It's just for everybody Yes, you're definitely the lead There's no question Like you are You play the lead role And so we do in a bunch of Other stuff We've made a show that's actually kind of based on this This is kind of hilarious Called Nile and Marcus Talk about shit Nile likes Which premiered in Vancouver About a month ago And we'll continue on It's just us showing pictures Of things Nile likes You can say that again Yeah, I can And yeah, it's been great Because one of the really terrific things About this process Is that we've also connected outside Of our little theater world And presented at like Health conferences And city-led things And various places So that's been really terrific And because we really are Getting towards the end Now we have a book Yeah Yeah It includes a forward from Al Etmansky Who is a disability activist In Vancouver A really well-known disability activist And the founder of PLAN A disability support organization His daughter Liz has Down syndrome And an introduction That Nile and I wrote That kind of talks about our process A lot like this In some ways I believe it's one of the First publications by a Canadian Artist with Down syndrome Certainly not the only But one of the few Which we're super proud of And we're thrilled to be able To kind of launch it Here today with you So we should tell them To buy the book Those should be Buy a book guys Come on, let's do it And we'll do questions in a second But just given the nature Of the presentation We thought we'd leave you With one more song From our Enveda And Jamie and Steven And Lois' collaboration And this song is called Punch a Heart Punch a heart like that Punch a heart like that Medicine Two trucks in Venice Only your doctors Give you that Thank you Thank you very much Thank you Let's get Kevin out here Oh Kevin We're gonna do questions though I think for a second Sorry Kevin Sorry Kevin I think we're supposed to Ask questions But in a second In a second In a second So we have I think Four or five minutes To take questions If anybody in the audience I think somebody has A mic back there Or around here Hey thank you So yeah we've got A few short minutes Because we don't want to Overrun our conference time Over time Over time Anybody have any questions Just one over there A couple over here I think Well first of us Thank you Those look like two Very good shows And I was wondering If you could speak A little bit more about The dance in King Arthur's Night And the place that dance had In the rehearsal hall But also maybe one moment Maybe one of the moments You find most significant In the show that has dance in it And how that moment came to be How it was choreographed And organized Sure quickly could we get A bit more light on the audience We can't really see people That would be helpful Thank you Dance What do you think about Dance in the show Well see dance Ontario Which is Is under Josh Josh Martin as a choreographer From 605 Collective And somehow if Do anything what Josh taught us Stay on one spot Right there was a Yes there was a big one spot Thing absolutely It was only for Greenivere to dance And she looks Going one of the circles in it And so yeah So I don't know How to describe your question Because A lot of that It was only for Josh Who is a choreographer And we listened to him So we can bring out You know Greenivere and Goats And all that And choreographer And Nile I think also Something you said is actually Exactly right That such like The whole idea Like with Greenivere dancing Was just to let It was actually really Interesting because Josh actually is a choreographer At a hard time at first He was just trying to impose Things on her And it wasn't working Like and Nile alluded to it She was like He would say Don't turn circles And she would just And keep turning circles And then they would Get into a A bit of a tussle And Josh had to learn As a newcomer to the process About like You can try to impose your will Like all you want And there are You know there's discipline And stuff But that didn't work And it actually So he had to actually Kind of reframe his Way of working And I think he'd agree With me if I said that To quickly answer Your other question About a moment in the show And how it came to be Andrew Gordon Who plays the Saxon Teaches the goats Who are revolting Under Mordred Against the king To battle moves And that was just because You saw one You saw it in the early Workshop He was going And so we just Followed that We said great You want to be the guy Doing that stuff Great Teach the goats How to Teach the goats How to To fight He would do four moves They were improvised Every night The incredible dancers We have in the show Would respond To whatever he did It was all to an improvised drum Like a kind of riffy Really intense drum And then at the end He turns around And says show Or the last move he does Is like just a wild improvised Like dance Show me What? Oh show Yeah he goes Yeah he does his Wild improvised dance And then the Neurotypical dancers Have to just Approximate it Like as best they can And for me That's a real Another moment in the show That because it comes Straight from It's Andrew's doing What he loves to do So he kills it every night He just kills it Like he gets a round of applause At the end of it Every night And he's leading And we're following Yeah he Nailed it To that axe Dance Yeah totally Probably we have time for One more question Sorry to cut it short But it's Just after two thirty Is anybody There's one there Okay maybe two more Because it's your John Lazarus So Make it short John No no sorry We're gonna go here first Though you have to wait You do have to wait your turn Thank you both very much I was just wondering If you could talk a little bit About how you negotiate If you ever come into Artistic conflict And how do you work Through that process So do we ever fight And what do Do we ever fight And like about the show About what yes we Anyway and how do we How do we deal with that When we're disagreeing Or fighting Well no not really But Arthur doesn't make me Merlin tells the king what to do Merlin tells the king Or the king tells Merlin What to do I tell him not to do Which is When I said You saw me on a video He said leave me So he did So In a TV show called Merlin He said leave me And now I don't know why I said that No we don't fight We disagree We agree on What the battle is How we Defeat Saxon From my perspective I would say that yes We do disagree Sometimes for sure And that we Not for long Not for long And that we rely very heavily On our support network too Which includes Niles Mom Jones An artist support worker Who we work with By the name of Lucy Carons To My sister Yes your sister I wrote a piece on spiderweb show Actually called Honestly Inclusive Which you can look at It's I think a really good Summary of a time When we were at Banff The first time And I And negotiating conflict In a way in which I negotiated conflict Very badly And what I learned From that I don't really want to Talk about it right here But it is there to talk about Because I think it's in a way One of the most interesting Aspects of this collaboration I think a lot of it has Also has to do with Learning Well this is a good thing To finish on I'll get you there with John But learning One of the things I think the thing I've learned Most about the room That we created In my work with you Nile Is that all of us Are really really good At some things And that's just Universally true For every single one of us And it's indisputable In my view And part of what we're doing Is trying to come to Agreements with each other About what we're really Good at And what we're really Shitty at And as we do that Things get easier And easier Sorry my apologies Are you okay Can we talk after Okay Thanks very much Everybody you've been A great audience Thank you Ladies and gentlemen Our book Kevin Is the guy To publish our book Please take a bow Kevin A wonderful German book Yeah And thank you for her too See you guys later