Where We’re Born: Where We’re At

The past is a ghost, the future a dream. All we ever have is now.                                                                                                                 ~ Bill Cosby

From director Lisa Thew:

Right here and now, we are smack in the middle of performances. In the heart of the maelstrom, as it were.

The show opened two weeks ago and has received wonderful reviews from both the Sac Press and the SN&R, and has been earning more positive feedback than any of KOLT’s previous work. Between the gripping material and the phenomenal work of this cast, the show has been capturing its audiences night after night, as we had hoped and intended.  It was, after all, our experience as audience members at a production of this play in Chicago that prompted our desire to produce this work ourselves.

With two weekends left (and only six shows), now is actually the most exciting part of the artistic process, with the most interesting work yet to come. As noted by 5-star review from Sac News & Review, the actors have all sunk wonderfully into their roles. After two weeks of performances, they have now begun the process of letting go, releasing the “acting” and moving into the “being.” Their muscle memory is taking over, allowing the process of play to happen, when everything else goes away and they are experiencing life live on stage. Since they are more confident that they know what to do in the next moment, they are able to free up in this one.

Being “in the moment” is the holy grail of acting and now’s the time when it can truly begin.  This part of process, watching this play between actors evolve, is a large part of what keeps me doing theatre, for I find it to be magic, pure and unadulterated magic.  It makes for so many more edge of your seat moments because the actors have begun to be more comfortable holding time and space and letting words and beats hang in the air. It is dangerous, compelling and electric to be a part of and to witness.

When the cast takes the stage on Friday night, there will be electricity in the air. Things will happen on that stage that you will not expect, that you would regret not having seen. That is why we produced this show and why we’re opening our first full season with it, because it is “…not everyday theatre.” So, if you’re up for the ride, come out and have this experience with us, see this cast at their best and hopefully, be moved. Maybe even to revelation.

Purchase tickets online at http://koltruncreations.com/WhereWereBorn.aspx

*All photos courtesy of TBrindisi Photography

Where We’re Born: REVELATIONS 2012 Begins

There is no coming to consciousness without pain. ~ Carl Jung

This Friday, we open the inaugural show of our REVELATIONS 2012 season, Where We’re Born. Underneath the stress and work, our minds can’t help but revisit memories of our first encounter with this material. Back on Chicago home turf, seeing old friends and reentering old haunts, we were constantly facing the people, places and institutions that gave us our love for honest, gritty theatre in the first place. Although we had grown up doing theatre in other locales, Chicago is where we cut our teeth theatrically speaking and where we learned that theatre was dangerous, compelling and ultimately essential.

Beyond our college instructors, the greatest teacher for this new type of theater for us was a former employer, Steppenwolf Theater Company. And it was in their garage space, nestled in the dark after a long day of memories, that we first saw Where We’re Born. We knew nothing about the script nor any of the performers. We were tired and hungry. We had discussed skipping the show completely. But we stayed. And two hours later, we emerged rejuvenated. We spent hours that evening discussing the show, leading to a wider conversation on home and place, identity and betrayal.

Back home in California, the script retreated in our minds, only to return months later. Where We’re Born refused to leave us quietly. Once we committed to producing it, assembling the design team, casting it and moving through the rehearsal process, we have found ourselves beholden to its demands for the simple (and ugly) truth. For all the challenges and frustrations, this process has exposed our vulnerabilities and forced us to define who we are and the difference between what we want and what we need.

By forging ahead through difficult and provocative material, we emerge stronger. By asking big questions, we define our own desired reality. By wrestling with our faults, we overcome them. KOLT has never promised audiences an easy ride —  and Where We’re Born is no exception — but, in the tradition of our Chicago theatrical upbringing, we promise only a unique and compelling theatrical experience, one that we hope will stimulate, inspire and awaken those who are willing to go through the journey with us.

Where We’re Born opens Friday, Feb. 3rd — get your tickets online HERE!

*All photos courtesy of TBrindisi Photography.*

Where We’re Born: Rehearsing Destruction

A human being is a being who is constantly ‘under construction,’ but also, in a parallel fashion, always in a state of constant destruction. ~ Jose Saramago

Things have been crazy busy for KOLT lately. We held our first non-production event, the REVELATIONS 2012 Season Kickoff Party, which reunited actors from the last 5 years to reprise KOLT highlights. It brought us some wonderful new patrons, extra funds, yummy food from Ernesto’s (courtesy of our amazing sponsor Outword Magazine) and the fabulous Num Nums Baked Goods as well as the chance to not only revisit past triumphs but also rev everyone up for the exciting year ahead.

Primarily, we have been thick in rehearsals for our season opener, Where We’re Born. Opening Feb. 3rd, Where We’re Born is the story of a poor, book-smart girl who returns to her rural hometown on her first break from college. The dichotomy between her new-found intellectual and emotional freedom and the conservative restrictions placed on her by her family and friends pushes Lilly to take some devastating actions that result in the destruction of those she holds most dear. Small town America, economic depression, sexual politics … and lots of sex, drugs and rock ‘n roll.

It is a deceptively simple script that requires investment and commitment from both cast and director. Act One is a marathon and Act Two, a series of sprints that altogether create an exhausting run for the actors. So there was plenty of textwork and tablework, one-on-one conversations between director and actors on character, blocking/logistics (“who has the joint on this line?”) and even fight choreography. It has been a packed few weeks, full of tears, challenges, laughter and frustration.

It has also been a time of destruction, for that is the driving energy of the script. We find ourselves in a cycle of tearing down expectations, fears, assumptions and walls between character and actor — almost all through the minutiae of relationship, breaking every word and action down beat-by-beat. God is in the details, as they say, and every detail of these characters and what they mean to each other demands attention. So we soldier forward, occasionally in darkness but always with the highest of intentions, because we believe in these people and this story. And the journey being created should be nothing short of a unique theatrical experience, an emotional sucker punch to the gut or even … a revelation.

Where We’re Born runs Feb. 3 – Feb. 26 at the Ooley Theater. Get tickets online here!

*All rehearsal photos courtesy of TBrindisi Photography.

REVELATIONS 2012 Season Kickoff Party!

REVELATIONS 2012 is almost here.

Three risky shows — an intense coming-of-age story, a wickedly funny parenting parable and a scathing witch trial play with original music — make up our first full season. Production meetings and rehearsals for our first production, Where We’re Born, are gearing up. Creativity and ideas are flowing in preparation of Smudge. And our music team is already developing the original music for Vinegar Tom.

We are exhilarated! We are terrified! We are potentially going insane! But make no mistake; next year is a whole new ballgame for KOLT.

And as we stand on the precipice of this latest challenge, we can’t help but look back on the journey we’ve taken so far — the shows, the collaborations, the audiences and all the great people who have come into our lives on this artistic path, whether they be designers, performers, landlords, critics, audiences or supporters. We do this because it enriches us as people and artists, because we are enlightened even when we stumble, because we appreciate the quality interaction with our local community about big issues that affect us all. And we need all of those experiences to prepare us for the year ahead.

So we’ve decided to handle this the only way we can — by having a party, albeit a theatrical one.

On the evening of January 15th, KOLT is opening the doors of our resident house, the Ooley Theater, and inviting all our friends and supporters to join us in reliving our past works and peeking at the exciting year ahead. Co-founders Kelley and Lisa, along with our talented Associate Artists (Nastassya Ferns, Brian Rife, Patrick Murphy and Kellie Yvonne Raines), will finally get a chance to thank our wonderful supporters and audience members. Fabulous talent will perform scenes from past and future KOLT shows, we will be raffling off some terrific prizes and there will be refreshments and desserts from the amazing Num Nums Baked Goods. And attendees can even make money at this event!

We hope you can join us. If so, get your tickets online now as seating is VERY limited. As always, thanks so much to this fantastic community. Now, onwards and upwards ….

Where We’re Born: The Image

As we unveil the new marketing image for our season opener, Where We’re Born, we wanted to offer some behind-the-scenes info on how it all came together. (There is background info on our history with KOLT marketing images here, which details the evolution of our relationships with production designer Nastassya Ferns and company sponsors–and rock stars–Uptown Studios.)

What’s the right image to project for this show? A young girl, on her first trip home from college, finds that home is no longer familiar to her newly opened eyes; but she does not yet have a place in the big, new world of her collegiate hopes. As she struggles and fails to find the place she belongs, her naive emotional maelstrom rips apart friendships and lifetime loyalties, exposing everything from class differences to family secrets. Hurricane Lilly has come home.

During meetings between Nas and director Lisa Thew, the ideas coalesced around the image of a young woman (new, fresh, different) standing in front of an old, dilapidated house with the show tagline above the image. Simple enough, right? As the action driver and protagonist (Lilly played by actress Jessicah Neufeld) was the sole human subject needed, we scheduled a shoot while Jessicah was in town from L.A. We asked her to bring clothing that was dark and flowing, almost ethereal. We called upon the fabulous photographer, Terri Brindisi, who sacrificed her own time to make our schedule. We scouted houses throughout Sacramento for a couple of weeks–which was good because our first house choice had owners that did not want their home to be photographed. And the mid-afternoon light was a struggle. And it kept threatening to rain. Always let it be said, planning is everything!!!

Nas, Lisa, Jess and Terri tried a variety of poses, angles and placement for an hour’s worth of shooting, culminating in some lovely photos that Terri turned around incredibly quickly. The winning shot was a surprise to us all, as we thought seeing Jess’ face and eyes would be crucial to conveying the message. But her face looking away, not at us and not at the house, was mysterious and arresting.

And then Uptown did their work. We sent them the picture, a short synopsis to convey the tone of the story, some font ideas and they took it from there. They found a better font and framed the image beautifully. Our favorite touch is the color scheme, a rustic Americana look as the poster descends from red at the top, through the white of the house and down to the dark blue at the bottom–with Lilly, the specter of change all in black, popping from the white middle. A perfect accent to highlight a truly American story. So here it is:

Where We're Born Poster

We are eternally grateful for Jessicah Neufeld’s time and energy, Nastassya Fern’s visual vocabulary, Terri Brindisi‘s incredible eye and Uptown Studios‘ consistently beautiful creativity and professional polish. Working with these folks is such a blessing.

Smudge: The Cast

The general auditions that gave us the gifted talent for Where We’re Born also gave us many wonderful options for our second 2012 offering, Smudge by Rachel Axler. KOLT is truly excited to announce the fabulous cast performing this unique and insightful script.

About Smudge:  When hopeful new parents Nicholas and Colby give birth to a “smudge,” their ambition for the typical American dream gives way to much more difficult realities. Joined by Nick’s aggressively jocular brother Pete, they all soon discover this new addition to the family is more than meets the eye.

“Creepy and funny. Precise and imaginative. Parenthood never looked weirder or more terrifying than it does in Smudge.” ~ New York Times.

“In some sense, Axler’s dark comedy is a horror story: a parent’s nightmare rendered with sometimes lyrical surrealism…A meditation on ambiguity and ambivalence, Smudge also illustrates ambition: a parent’s, thwarted, and a playwright’s, achieved.” ~ Time Out NY

In the role of Colby, KOLT Executive Director Kelley Ogden will be joined by the following talented artists:

Barry Hubbard (Nicholas)

Barry Hubbard as Nicholas ~ An accomplished local talent, Barry is currently performing in Capital Stage’s Superior Donuts and was last seen this past summer in California Stage’s The Diviners. Other performing credits include Julius Caesar at Marin Shakespeare, The Last Days of Judas Iscariot for BPP, and Cinderella and Treasure Island for Sacramento Theatre Company. Barry has a BFA in Acting from UC Santa Barbara and just received his MFA in Acting from UC Davis.

Eric Baldwin (Pete)

Eric Baldwin as Pete ~ Eric has graced many stages in the Sacramento theater scene. Previous credits include: Talk Radio, Burn This (directed by KOLT’s Artistic Director Lisa Thew) and Atwater: Fixin’ To Die with Resurrection Theatre; Its A Wonderful Life: A Live Radio Play (co-starring KOLT’s Ogden) at Capital Stage; Children of Light at California Stage; Angels In America with Lambda Players; and Glengarry Glen Ross and the upcoming Twelfth Night at Big Idea Theatre.

Once again, many thanks to all the great actors who came out to our general auditions. Smudge will play from April 27th – May 20th at the Ooley Theater. Tickets will go onsale February 1 at www.KOLTRunCreations.com.

Where We’re Born: The Cast

KOLT Run Creations is honored to announce the cast for its first production of the 2012 season, Where We’re Born by Lucy Thurber.

About Where We’re Born: A college freshman away on scholarship, Lilly returns to her rural hometown on her first break and wreaks havoc with her family and friends when she discovers that the place she comes from is no longer a place she belongs.

“Thurber’s play is an aching, truthful portrait of small-town volatility.” ~ Time Out Chicago.

“Where We’re Born is set in a familiar state. It’s any Hometown, USA. Childhood chums destined to live a lifetime in repetitive motion. It’s a heartbreaking story of the one who got away. Where We’re Born is an unforgettable poignant dramedy.” ~ Chicago Theater Beat

We are thrilled to tell this story with the following artists:

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Jessicah Neufeld as Lilly ~ KOLT audiences may remember Jessicah from 2010′s Escape From Happiness. An accomplished performer currently based in Los Angeles, she has worked for numerous theaters  in the Sacramento area over the last few years including Imagination Theatre and Main Street Theatre Works. Jessicah also starred in and produced the critically-acclaimed and multiple Elly-nominated Beirut, through her company Mustard Seed Productions.

Brian Harrower as Tony ~ Although this is Brian’s first appearance with KOLT, he is familiar to Sacramento audiences through his work as a performer, director and designer with Big Idea Theatre where he is a company member. Recent performances include The Pillowman, King of Shadows and Measure for Measure as well as an Elly win for his direction of Compleat Female Stage Beauty.

Kelley Ogden as Franky ~ KOLT’s co-founder and Executive Director, Kelley was last seen in the title role in ANTIGONE and Escape From Happiness, for which she won an Elly. Her most recent performances include Leaving Iowa at Main Street Theater Works as well as Its A Wonderful Life and Hunter Gatherers at Capital Stage.

David Chernyavsky as Drew ~ A recent Sacramento State grad with a BA in Theatre, David has been seen all over town in shows such as 11:11 with B Street, The Lady and the Clarinet with Green Valley Theatre, Forever Plaid: Plaid Tidings with Garbeau’s, and Robin Hood with Sacramento Shakespeare Festival.

John Young as Vin ~ John has a diverse acting career working with theaters such as Green Valley Theatre, Amador Theater and Sacramento State, where he is currently pursuing a Bachelor’s Degree in Theatre. His recent performances include Twelfth Night, Metamorphoses, and 1984.

Many thanks to everyone who came out and auditioned! It was a wonderful show of talent and we are so very honored to have each one of these actors along with us on this project.

Where We’re Born will run from February 3rd – 26th at the Ooley Theater. Tickets on sale December 1st at www.KOLTRunCreations.com.

CGA: Getting A Few Things Straight (pun intended)

One of the biggest responses to our season announcement has been surrounding our guerrilla theatre project, Church of the Gay Agenda (CGA). We aren’t surprised by the attention, both positive and negative. After all, we come from Texas and Nebraska; we are quite aware of the thicket we are in by exploring these issues. The speed of the response is what surprises us so, in anticipation of our first full service in November, let’s take a moment to clear up a few things:

#1.  This is THEATRE, not religion. While we are certainly borrowing religious structure, language and symbolism, it is all within an inherently theatrical context. Still feel like there is a blurring of the two? We agree. Since the beginnings of theatre come out of Greek religious ceremonies, since church and theatre tend to resemble each other more than they diverge, one of the alluring parts of this project is exploring the connection between those two conduits of expression. But we do so as theatre people, not as theologians. CGA is a stage, not a church. CGA does not have missionaries nor will it be receiving tax-exempt status as a religious institution. CGA is KOLT’s foray into guerrilla theatre, whose roots go back to the SF Mime Troupe and Abbie Hoffman’s Yippie group in Chicago. It is intended to draw attention to a social or political issue; in this case, the use of religion and God to ostracize and strip civil rights away from a historically oppressed community, LGBT people. Which brings us to ….

#2. KOLT’s mission specifically states that we are here to highlight the dichotomy between the individual and their respective communities, especially those on the fringes of accepted society. Our vision statement directs that we will “use multiple, diverse styles to tell these stories,” including the use of such pointed styles as guerrilla theatre. We are using our abilities as artists to draw attention to an urgent and potent issue within our community. KOLT has produced plays about abortion, poverty, civil rights, violence, murder and redemption. How can we tackle all of those important issues without focusing on one that has affected us (including many in the theatre community) the most directly? Which brings us to ….

#3. We are in this thicket because we were already thrown into it–now we are just choosing to comment on it in our own way and on our own terms. While it is our right, its not been taken lightly. We’ve been batting around this idea for seven years, precisely because we knew it was provocative and potentially explosive. We grew up in conservative communities in the heart of the Bible Belt, surrounded by evangelical mega churches. We have seen good people do and say atrocious, hateful things in the name of God, using scripture to justify the oppression of African-Americans, of women, of native peoples and, yes, of the LGBT population. Spurred by Prop 2, which was voted in and supported mostly by religious “values voters”, we left a home, good paying jobs and family (including Kelley’s disabled father) in Texas to come to California because we had been banned repeatedly from ever having any legal, economic or civil connection to each other as long as we lived in that state. In California, we were ringside as we watched our co-workers, neighbors and friends vote to deny us the right to civil marriage because they felt bolstered and supported by voices from the church. Our lives as individuals have been inevitably effected by the use of religion to denounce us as people, to tell us that we have no place with God as long as we love each other. Now, we watch helplessly as our youth take their own lives time and again because of bullying, of hopelessness, of the belief that even God does not accept them. BUT–and this is truly the point–we have also seen churches provide another sense of community for people, a place for charity and hope, where they can take lessons from their saints, their apostles and martyrs. A place where they are told that, even in their darkest hour, they are not alone. Isn’t that everything the LGBT community needs right now? If the language of God can be used to justify such hate, how can it not be used to justify love, acceptance and empowerment?

Despite this serious talk, we are creating CGA to be uplifting, funny and empowering. (And yes, a bit campy in places, it is gay, after all!) As we develop it, we are driven by a need to celebrate and recognize the gifts, travails and legacy of the LGBT community more than a need to punish or demonize the religious community. Because the great irony is that we are all linked in innumerable ways and need each other to move forward–after all, religious treasures such as The Creation of Adam and The Last Supper were created by two of the most celebrated, talented artists in human history, who also happened to be gay. We also thank everyone for their input; this project was created to encourage conversation and dialogue about these crucial issues. We also invite you to join the CGA Facebook page to keep up on news, new developments and scheduled “services”.

A New Season Begins: WHERE WE’RE BORN and SMUDGE

From private reads on our own to sharing scripts between ourselves and our Associate Artists to scheduled weekend play readings with some of the best talent in town, we at KOLT read scripts nonstop over the course of three months this summer. Of the dozens of scripts we looked at, there were endless possibilities and directions for us to travel. As a company, we held strongly to our mission/vision statement and searched out tales that were little known, unusual but captivating, with our now trademark intensity. We were lucky enough to find three gems, two of which we will discuss here: one is a show that we saw before we read and were blown away by its ruthless honesty; and the second is a script that hypnotized every one we knew who read it, a story that no one could define but that all could identify with.

The first show, Where We’re Born (WWB) by Lucy Thurber, is above all else a “coming of age” story. On one hand, it is a time-honored rite of passage archetype told with a language of immediacy, covering heartache, longing, separation and despair. On the other hand, it is also familiar to anyone who left home to make their way in the larger world only to return to a home they no longer belong to or recognize. Its a story about forging your own identity. We discovered this script when we returned to our old theatrical stomping ground, Chicago, and revisited our former employer, Steppenwolf Theatre, to see a show. It had been a frustrating day with neither of us feeling well. We considered skipping this one show and seeing old friends instead. However, knowing nothing about the script, we went anyway and were drawn in immediately. Based on the reactions around us, the packed audience of sophisticated Chicago theatre goers were too — all of us enthralled by these characters, their heartbreaking dilemmas and the twists and turns of the story. Auditory outbursts — gasps, nervous laughter, cries of “oh no” — became commonplace by the end. Despite our foul moods coming in, we talked about the show for hours afterwards. Upon returning home, we let it go and returned to the piles of scripts on our dining room table. But WWB kept calling to us and, after a full reading, the Associate Artists voiced their approval (even crying out during the reading just as we had witnessed in Chicago). However, we knew we couldn’t produce this play without having the right actress to play Lilly, the protagonist. For us, that actress is Jessicah Neufeld. An accomplished producer in her own right, Jessicah is a beautiful and dynamic performer who was a blessing to work with previously (Escape From Happiness) and with whom we already had a close relationship built on trust, a crucial need for this emotionally demanding and intense play.

Written by Emmy-Award winning writer Rachel Axler, Smudge is an enigma of a script, one of those that affects you and gets under your skin. When a young couple’s first child is born with physical abnormalities, they try to cope with the new realities they are dealt. As their baby continues to defy their expectations in unusual ways, they must decide whether to remain trapped in lost dreams of a “normal” life or to embrace the forever-changed new world in front of them. And its a comedy, albeit a dark one. We were intrigued but nervous about its uniqueness. Would anyone get this? After our reading, we looked for some definitive answers from our Associate Artists. They identified with the script (each in completely different ways) but none could categorize or label what “box” this story fit into. Instead of definition, we were met with more ambiguity but also titillation at the material–which only made us more sure that we needed to produce it. KOLT loves material that excels in asking questions rather than providing answers. As Ric Murphy put it, “you’re going to have to do talkbacks on this one.” In its short life, this script has elicited raves as well as controversy, excitement as well as anger, and we are thrilled and humbled by the challenge of producing it for our audiences.

As these are part of a larger season instead of the usual singular productions, we have taken special care to let these shows be a journey. Where We’re Born will have the gripping intensity and quality performances that KOLT audiences have come to expect but with a heightened focus towards the devastating dilemmas of our most personal need, to belong. Then, with Smudge, we hope to take audiences further down the rabbit hole to the varying gray area between what is actual and what’s imagined, between expectations and realities. Finally, with our season finale of Vinegar Tom, KOLT audiences will truly be through the looking-glass as we experiment with music and changing genres. But that is for another post. For now, the work continues as we audition for WWB and Smudge Monday and Tuesday. We can’t wait to see these shows take shape and to continue this artistic journey into KOLT’s exciting first full season.

Embracing the Fringe

Ophelia (Drowning) by Three Bugs Fringe Theatre Company

Fringe theatre – plays, usually performed in small theatres, that are not traditional in their style or subject matter. ~ Macmillian Dictionary

Fringe theatre is a term used to describe theatre not of the mainstream. ~ Wikipedia

The notion of “fringe theatre” is usually associated with fringe festivals, which are now held in most metropolitan areas, the largest being the Edinburgh Fringe Festival in Scotland. However, fringe theatre can be found anywhere there are artists looking to take big risks with edgy, obscure (and frequently original) material–in storefronts, back alleys, above pubs/bars, even in people’s homes. (KOLT Artistic Director, Lisa Thew, once performed a play in Chicago in the producer’s apartment, with the audience sitting in couches and chairs around the perimeter of the room.) By relinquishing a need for mainstream acceptance, the fringe theatre movement focuses on offering an alternative message to the more typical fare of theatrical programming.

As KOLT worked over the summer to further develop our company identity, we realized that our experiences with fringe theatre tended to be the most influential to us as artists. It was the unknown, the unexpected and the genre-defying that moved and affected us far more than the accepted and applauded standards–as we have written about earlier. To us, fringe represents our favorite type of theatre, when you as the audience have beared witness to something risky and wonderful and scary and human. As we reviewed and critiqued our previous work, we found the hallmarks of fringe theatre already woven into KOLT’s history, from the experiential basement setting of Keely & Du to the improvisational use of underscoring in Crime and Punishment to the conceptual setting of ANTIGONE. We had been flirting with fringe for the last five years; now was the time to embrace it. And it is especially crucial now.

The nature of an innovation is that it will arise at a fringe where it can afford to become prevalent enough to establish its usefulness without being overwhelmed by the inertia of the orthodox system. ~ Kevin Kelly

While most theaters are understandably focused on drawing audiences, there has been additional emphasis placed on more crowd-pleasing fare in order to fill houses. There is NOTHING wrong with this. It is necessary and crucial for survival. The most vibrant metropolitan arts communities treat their theatre communities as buffets, with a little something different for every taste and inclination, and the more variety only increases overall interest in theatre in general. As such, let us not overlook the need for the small theatres, the risk-takers, the outsiders … or the fringe. Beyond gimmicks and tricks, they have a beneficial purpose to appeal to potential audience members who eschew the more traditional theatrical programming. Fringe also reminds us that great theatre doesn’t require big budgets or big stars to make its mark. Its focus is purely on the dynamic and dangerous world that is the theatrical experience.

Future posts will discuss our 2012 scripts more specifically, especially our foray into guerrilla theatre, Church of the Gay Agenda. We are truly thrilled to embark further on this unusual path as a company and hope you will join us as we journey down the rabbit hole.