Connecting to a Challenging Script

Episode 130: Connecting to a Challenging Script

Heather Meeks is a middle school teacher who did not shy away from a challenging script. What can you do to meet a challenge head on? How do you deal with parents or administrators who feel middle school students should not step outside their comfort zone? Listen in to hear Heather’s fabulous story.

Show Notes

• Shuddersome

Episode Transcript

Welcome to TFP – The Theatrefolk Podcast – the place to be for Drama teachers, Drama students, and theatre educators everywhere.

I’m Lindsay Price, resident playwright for Theatrefolk.

Hello! I hope you’re well. Thanks for listening.

Welcome to Episode 130. You can find any links for this episode at the show notes at theatrefolk.com/episode130.

Now, let me tell you, I love a good story and that’s kind of what, well, a lot of these podcasts, they come from somebody telling me a good story, right? They come from somebody simply sending an email and saying, “We did this and it was such a success!” or “Oh, I’m trying this and, boy, is it a challenge!” or “I tried this and it was a challenge and we overcame it!” I love hearing about that and I know that others do, too.

I think and I know that the Drama teachers and Drama educators sometimes feel alone in their journey. Maybe they’re the only teacher in their district, at their school, or they’re in a school where everyone kind of looks at you a little bit strange. I’ve totally been in that position where nobody quite gets what you’re doing and nobody’s quite in the same page. They know you’re doing something good – hopefully – but they’re never quite sure.

Any time that we can share someone’s journey with you guys, with our listeners, that’s what I want to do. I want to let everybody know that they’re not alone and, I have to say, I’m always so pleased to talk to the folks who say yes to my podcast requests because, you know, I just kind of throw them out there. Someone will send me an email and I’ll be like, “Ah! That sounds like an awesome topic! Would you like to come talk about it?” Sometimes people say no and sometimes they’re like, “Okay, but I’ve never done it before.” You know, we’re pretty casual here. We just kind of talk and it’s always a fascinating lovely experience for my end – hopefully on their end, too. (I just realized, oh, that’s only me! I’m the only one having a good time.)

And then, sometimes, I will set it up and find a space to talk. A lot of times, I’m at a conference and I’m like, “Oh, hey, we’re going to be there. Let’s find a corner and just have this conversation.” Sometimes, I think it’s going to go one way and it’s just so much more. I’m completely blown away and, I have to say, this week is one of those talks. We’re talking about connecting to a challenging script with teacher Heather Meeks and I just love this conversation. It made me so happy to write for schools and I got to the end of this and I’m like, “Okay, I’ve got to go write a play. I’ve got to go write a play right now.”

I’ve got to warn you, I was at a conference and quiet space is pretty much a no-go in some of these places and you might hear some weird noises. Just try and focus on the words. Don’t think about the flushing – there might be some, don’t think about it. I know you’re thinking about it; don’t think about it.

LINDSAY: So, I am here at TETA. Do you guys call it TETA or TETA?

HEATHER: No, TETA.

LINDSAY: The Texas Educational Theatre Association Conference in Houston and I’m here with Heather. Hello, Heather, Heather Meeks!

HEATHER: Yes, hello, Lindsay!

LINDSAY: Hi! How are you?

HEATHER: I’m good.

LINDSAY: And what level do you teach?

HEATHER: I teach middle school right now.

LINDSAY: How long have you been teaching middle school?

HEATHER: I’ve been teaching off and on for fifteen years. This is my second year here with middle school theatre again so I have a wide and varied background.

LINDSAY: Why middle school?

HEATHER: Because that was the job that was offered to me and it’s fine. It’s perfect for this season. I was out of teaching theatre for a while, teaching literature, and so it’s a good segue.

LINDSAY: Cool. How does theatre work for you at a middle school context?

HEATHER: We have three levels of classes. We’re fortunate that we have beginning sixth graders, seventh graders, eighth graders in our middle school. I’m teaching the intermediate. We have kids that are in it all the way and we have kids that are thrust in there because there’s no other elective for them to take.

LINDSAY: How is that for you when you have to deal with the resistance?

HEATHER: It can be a big challenge. I find I really have to find things of high interest for them to get them to buy in and to want to be a part of it. And so, you can’t be boring with middle school.

LINDSAY: No!

HEATHER: Simply not allowed!

LINDSAY: They will eat you alive.

HEATHER: Yes, they will.

LINDSAY: So, we came in contact because you performed my play, Shuttersome.

HEATHER: I did.

LINDSAY: With your students. One of the things you said was that you sort of purposely took on this challenge.

HEATHER: Yes.

LINDSAY: Because it’s a challenging play.

HEATHER: It’s a very challenging play.

LINDSAY: For high school students. Why did you choose this play?

HEATHER: I chose this play for a couple of reasons. I needed it to be a big production because we needed this to be across the board. It was our fundraiser so I needed something that I could up to 150 students and I still needed it to have value. I’m very big on finding things of literary merit, even for middle school. And so, many of the things that are written for them are cheesy and cute and fairy tales which is fine but sometimes they need to go deeper.

LINDSAY: It’s funny. When we started getting into middle school plays, that was one of the things that we really purposely decided – no fairy tales unless there’s something that’s really, really different and unique but that there are other places for fairy tales and about how often middle school teachers have come up to us and said, “Thank you!”

HEATHER: Yes, indeed, and I think there’s a lot of value in some of the plays that are written for high school and older, but they’re not appropriate for middle school. They’re not at that level yet. And so, to take something like Poe which is dark and deep and taps into those inner fears that middle schoolers live with on a hour-by-hour basis was a safe way to explore some of those things and introduce them to great literature. And so, when they get to high school and revisit all of these Poe short stories, “Oh, I remember that! Wait, wait, wait, I was a shutter! Yeah, we crawled and killed the guy! That was awesome!”

LINDSAY: I have to tell you, I’ve never thought about equating the darkness with Poe with the darkness that middle school students go through.

HEATHER: Yeah.

LINDSAY: Is that what you saw when you read it or was that something that sort of came out?

HEATHER: Well, when I taught high school theatre, I also taught high school English. And so, I taught American lit and Poe was a big unit of mine so I was very familiar with his writing and his history and things, and I thought, “This will be really cool,” because I know a lot of it is that inner journey, and, when I look around my classroom, I see the struggles and I teach in a really mixed middle school. Like, we have really wealthy students and we have really poor students. We’re a title one school and so there’s people all over the spectrum that our common theme is they’re terrified of trying to become these people who they’re going to be and that’s the whole journey of most of these Poe stories. Where do I fit? How do I fit?

LINDSAY: “I don’t fit.”

HEATHER: I don’t fit. These dark and scary things, is it okay to talk about them? One of the things that my district coordinator came, he came and watched the show and he’s like, “I am impressed that you would tackle Poe with middle schoolers.” I’m like, “It was a really natural fit. They ate it up and, because I trusted them with that, they honored the work and they honored the piece with their very best effort.”

LINDSAY: That’s my next question. Okay. So, that first rehearsal or that first audition when you said, “This is what we’re doing,” what was the response initially?

HEATHER: Initially, it was like, “What? Who? Huh?” and then I was like, “Well, it’s creepy.” “All right. Cool.” And so, we watched some history about Poe and some little snippets from some of Vincent Price.

LINDSAY: Yes.

HEATHER: Because he does such a great thing. And then, we read through – I don’t remember how many but there’s more – I didn’t do them all. But, anyway, we picked six because I had six classes.

LINDSAY: Ah. So, each class got…

HEATHER: Got their own play.

LINDSAY: Ah!

HEATHER: And so, when we read through all of them and then I sorted out how many kids wanted to be onstage because I wanted anybody that wanted to be onstage, I wanted to find a place for them. And so, then I kind of divided up which classes would get which pieces. Now, the people that got The Tell-Tale Heart, I’m like, that’s what they wanted. They were so excited when I said, “This is your play.” They were like, “Yay!” The people that got The Bells were a little, “Huh?” But that one was a beautiful piece once we got into the rhythm. And so, we got introduced to poetry and we got introduced to the short story format. It was a lot of visual things. And so, for some of the pieces, The Raven, the poetry was harder for them. I’ll be honest. It was harder for them and I had to do a lot more work, getting them to visualize. We did a lot more with staging with that for them to understand that.

LINDSAY: It was harder for me, just in terms of, “Here’s the piece on the page, I need more,” there needed to be more. Like, all that stuff in The Raven where the characters are doing here’s a move, here’s a move, here’s a move, I had outline it for myself so that people wouldn’t stand onstage and recite a poem.

HEATHER: Yes.

LINDSAY: We’re not reciting poems.

HEATHER: Exactly, and that one was harder for them. I had to spend more time with the Raven group to understand the move and then we were still making picture and we still had to pull in the audience, that we have a visual audience and we’re performing an auditory piece. So, what can we do? So, we added ravens and we added some black fabric and we did a lot of pantomime and a lot of movement. For some of these kids, this is their first time to be onstage and they didn’t really want a line but they wanted to be a part of it and so that was so perfect with this piece. I could have 25 shutters for Tell-Tale Heart and make this whole sea of writhing people and then I could do the same thing with three or four ravens because that class wasn’t as confident. And then, the sixth graders watched it because we did this in October so they had only been in the campus for two months and a group of them came and said, “We want to do this too. We’ve been seeing you rehearse and we really want a play too.” And so, we opened it up to anybody who wanted to stay after school because I didn’t have those classes and I had fifteen sixth graders do the Oval Portrait so it was a pure pantomime piece and they loved it! They had such a great time and we got to talk about history because we did Lionizing and that class loved it. They thought it was hilarious. A lot of people underestimate what middle schoolers can understand about satire and social – I mean, they live in a caste system.

LINDSAY: Yes.

HEATHER: So, to have that humor of, “Oh, he thinks he’s so good,” it’s like the football player getting to be knocked down a peg.

LINDSAY: Talk about how much middle schoolers are underestimated.

HEATHER: Oh, completely underestimated. Everybody thinks elementary kids are so, “Oh, they’re so cute and sweet!” and “Oh, there’s so much potential!” and “Look! Aren’t they brilliant?” Everything they do is brilliant. Everything they do is hung on the wall. High school is like, “Oh, they’re awesome because they’re going to go…” and middle school is this big gap where they’re awkward and not very confident and they’re annoying because they’re going through a lot of changes and I think even those of us that live with them on a daily basis are like, “Oh, they’re just annoying. Oh, they can’t handle that. They’re not mature enough.” They only see the immaturity. And so, to have the administrators and the parents come up to me after the show, it was like, “I had no idea they were capable of this.”

LINDSAY: What a great feeling.

HEATHER: And it was great for them because they didn’t realize what a big thing they had done until people came up to them after. It’s like, “Oh, you really creeped me out. How did you understand that story? Tell me about that story,” because a lot of the adults were like, “Explain that whole oval portrait thing to me.” My English teachers appreciated it because eighth grade was reading some of the Poe pieces. They had done Tell-Tale Heart, I think, and so they were excited that the kids were excited about it. “Guess what we’re doing in theatre! We’re acting out this play and it’s really neat!” and she’s like, “Well, we just read it in class and it wasn’t neat when we read it in class.” So, it’s like, you have to bring it to life and you have to give them that hook into it. It just empowered them.

LINDSAY: Yeah.

HEATHER: And because of that, the rest of the year has given them so much more confidence to tackle more challenging work and not be afraid and not go immediately for the silly even when we’re doing improvs and, when we’re doing other things in class, it doesn’t all have to be goofy. You don’t have to live up to the expectation that middle schoolers are goofy and silly and aren’t capable of anything.

LINDSAY: Talk about some of the rehearsal tactics you used to tackle some of this stuff.

HEATHER: I used a lot of movement. We did a lot of group building with the shutters so we did a lot of community building exercises and ensemble work. We did the classic sort of games like “who began?” where you’re doing the motion and everybody has to work together because they almost had to be one unit. Tell-Tale Heart in particular because they were the man’s consciousness and so they had to move in sort of as a sea. So, we did a lot of that. I did a lot of breaking the words down for them and we’d sort of rewrite and then put it back into Poe’s language so that they could find, you know, when he’s talking about the voices he hears in his head and not wanting anyone to know and trying to cover up that I’m thinking really horrible thoughts. Have you ever done that in class? Do you ever look at someone, “Oh, I wish I could hurt him. Oh, that’s not appropriate. I’m not supposed to think that,” and they’re like, “Oh, yeah, we do that all the time.” Yeah, we did a lot of movement, a lot of connecting.

LINDSAY: Their world to…

HEATHER: Their world to that, and I think that’s the key with middle school. They don’t have a lot of world experience but they have a lot of emotional world experience.

LINDSAY: Yeah.

HEATHER: Because they’re closer to every emotion on the planet than we as adults can remember. It’s all right below the surface because they don’t have a filter yet, right? So, they can’t rationalize it. They’re just feeling. They’re giant toddlers. “It’s mine! It’s this. Oh, he did this.” Poe was so awesome to connect that because that’s kind of where Poe was. “I’m offended. I’m hurt! I’m in love!” Everything was over the top and they’re over the top so it was really a very natural fit.

LINDSAY: It’s all creepy but it’s all in the surface.

HEATHER: Yeah.

LINDSAY: Well, that’s fantastic! That made my day. What I love about writing for this age group is exactly what you’ve hit the nail on. It doesn’t matter what technology comes along or “Oh, they’re so different than they were ten years ago.” The core of every teenager is exactly the same when I was a teenager, when my mother was a teenager. It is. It’s that terror of not being understood.

HEATHER: Exactly, and, when we give them only fluff to work with, we’re validating it.

LINDSAY: Yeah.

HEATHER: “You’re right. You’re not understood. We still think you’re babies. You can’t handle this. You can’t handle that.” And so, we validate that fear and, by giving them this, we empower them away from that fear.

LINDSAY: What would you say, because what sometimes happens though is that teachers must deal with administrators who don’t understand these kids and will not let them explore and grow?

HEATHER: It’s a hard balance. I think you have to open up that dialogue early. I was a little trepidatious about doing Poe with this group. But, when I found out that eighth grade reads it and I said, “We’re starting with the eighth grade,” and I went in as “I want to include everybody,” this is a great piece to do this. It tied in. We were doing a dinner theatre, it was close to Halloween. I’m like, they watch zombies, and the things that our kids see. I mean, they watch The Walked Dead, they watch these shows that have violence and profanity on daily basis. I’m like, “Let’s channel that into something positive,” and we ended it on a happy note because there’s a big curtain call, there’s a hundred kids going around, “Yay! We did it!” And so, I’m like, “It’s not going to leave on this dark,” and they’re like, “Well, what if we encourage them to think these bad things about the world?” They already think that.

LINDSAY: Yeah.

HEATHER: Give them a voice to express it so they don’t think it’s so awful and weird and dark because they’re going to think it whether we talk about it or not.

LINDSAY: Yeah, and that’s what amazes me when we’re not allowing them to express, what’s going to happen to them? If we have a generation of students who have not been allowed to say a bad word or think a bad thought, when they get out in the world, they’re just going to go crazy.

HEATHER: Yeah, and I think we see some of that.

LINDSAY: With things that happen. We’re like, “Where did this come from?”

HEATHER: Well, we’ve spent the last twenty years dumbing everything down, sanitizing it. We, as educators, are so afraid that, “Oh, we can’t put a gun in their hands because then that’s going to send a message and we can’t use a drug reference even though we’ve got students getting high in our bathrooms.”

LINDSAY: All the time.

HEATHER: We can’t talk about it and it’s just the wrong thing to do.

LINDSAY: I have a play that doesn’t even say the word “suicide” but it’s referenced and the teacher, the administrator said, “This is not appropriate for our students to be talking about during Suicide Prevention Week.”

HEATHER: Ah!

LINDSAY: And you just want to go, “But it’s here!”

HEATHER: It’s here!

LINDSAY: We have to talk about it.

HEATHER: And, yeah, when it happens on campus, because I’ve been on campuses where we’ve lost students to suicide and the grief counsellors come in but everything is hush-hush and it’s a hard topic but you have to talk about the hard topics. I think it’s really important to talk about the hard topics at middle school where they’re still reachable because, when they get to high school, those kids that we really need to help at sixteen or seventeen are dropping out.

LINDSAY: They’re gone.

HEATHER: And, at twelve, they’re still redeemable so let’s talk about it now and give them a tool to use. One of the reasons that I liked Shuttersome and that I try to focus on at least one play that has some sort of social context or exploring some of those darker sides is that then my kids have something to help other kids with so that the kids that aren’t in theatre that they have contact, they can say, “Oh, you know, we did a play about bullying last year and this whole cyber thing, you know, here’s something you can do,” or, “It’s okay to think, you know, Miss Meeks said it’s okay to think dark thoughts because we all do. We don’t have to all act on them but we can do it through our creativity.”

LINDSAY: Yes.

HEATHER: Right? Isn’t that the whole reason we do this?

LINDSAY: Well, you know, this is how we make a human being a successful human being in the world. We know that we’re not Pollyannas. Nobody is! There is not one single person.

HEATHER: No.

LINDSAY: I have an aunt-in-law who is a nun who is amazing in terms of what she does in helping the world and she doesn’t get along with some of her sisters sometimes – her biological sisters, you know? That’s normal and human.

HEATHER: And we’re not alone in that. I think middle school in particular is such an isolating time and you worry about fitting in and you have to change who you are if you decide, “Oh, that’s the group I want to be in. Oh, well, I can’t wear these shoes anymore because that group doesn’t wear these shoes,” and it’s very isolating and I think, especially when you take great literature like this that speaks across generations and across time periods, that everyone has always thought this way. You are not alone in this.

LINDSAY: And isn’t that what theatre does for us?

HEATHER: Yeah.

LINDSAY: I think that’s what theatre does in the school level more than anything. It says to someone, very specifically in the audience, “Look, you’re not alone.”

HEATHER: Yeah. Well, one of the things too that I think is really great about theatre is that everyone is included. For example, in this production, I had super high-level GT, incredibly smart and I had life skill kids and everybody was a part of the same production and we were part of the same family. It broke down some of those barriers. Now, will they keep those barriers broken when they go back out into the classroom off the stage? Maybe not yet, but I’ve planted the seeds, and they can remember that down the road when they are a little bit more confident and older. “Oh, yeah, I don’t have to be afraid of them.”

LINDSAY: Or “maybe I can act in this way because I did it, I modeled it in a show.”

HEATHER: Yeah.

LINDSAY: I’m going to bring it back to just a production because you just talked about having over a hundred kids onstage.

HEATHER: It was insane.

LINDSAY: But I think that’s really important. A lot of our listeners at the middle school level are doing exactly what you did. They have to do it in class. You can’t do it after school.

HEATHER: Right.

LINDSAY: When you got to the point where you were ready to put it all together, how did you organize that monstrosity?

HEATHER: That took a lot of planning and we broke it into bits. I mean, I think that was the key of all of this – a little chunk at a time – because, if I had looked at the whole thing, I would have gotten overwhelmed and like, “No, I’m not doing it.” Two weeks out, we had dress rehearsals to practice transitions. I would have the first two shows meet after school. They would get a full run-through and they would get an audience so it would be the first time that someone outside of their class had seen their work and that gave them that little extra energy and then we practiced the transitions. And then, we did sort of the first three and the second three.

LINDSAY: You were building.

HEATHER: Next week, we’d built, and so it wasn’t until two days before that we had everybody there just wants to go through and it was just a walk-through, marking it because we didn’t have that time after school to do everything. It was like, “Go to your spot. Move your things.” I kept the set the same for every show but, when you just do a basic unit set with levels, none of the shows look the same. One of the parents even said, “It wasn’t until the third one, I’m like, ‘Those are not the same kids.’ Where is she putting all these kids?” because I’m fortunate that we have a teaching theatre behind our stage so we had a big space and we had everything; each cast had a section where their props and it was all taped off so that was Tell-Tale Heart and that was Raven and The Bells out there and everybody had their prop box and I had a stage manager for each show that was in class and then I had one of my eighth grade experienced stage manager. She was in-charge of the overall look of it.

LINDSAY: Yeah, I was going to say, how did you keep control or manage control? You had peers.

HEATHER: Right.

LINDSAY: Peers who were controlling – not controlling – managing peers as opposed to teachers.

HEATHER: Yes, and they were awesome. My stage managers were amazing and they took ownership because I’m like, “I can’t. There’s no way I can be everywhere. You have to talk to your stage manager first and, if they deem it an emergency, then they can find me,” because you cannot have a 148 kids going, “Miss Meeks! Miss Meeks! Miss Meeks!” It sounds like baby birds!

LINDSAY: No, but I like that though because what a great responsibility to give to a student and to tell everyone, she or he, you must go to her first and she or he is allowed to make a call.

HEATHER: And it created some problem-solving ability within themselves because they really didn’t want to go to their stage manager because they knew I would hear from the stage manager. “It was simple and I can’t believe they didn’t do…” so they would be “Okay, where did we put this? Oh, I remember.” And then, it was like, “Where did we put this? Oh,” and then it would be, “Miss Meeks, someone moved our prop!” and then it would be me going to the other stage manager saying, “Okay, these three things are missing. Please go find them.”

LINDSAY: “Go deal with it.”

HEATHER: Yeah, I couldn’t have done it without them.

LINDSAY: Did you have regular meetings with your stage managers?

HEATHER: It was in class. I had a stage manager and an assistant stage manager. The ASM was in-charge of vocal warm-ups and then I would meet with the stage manager while the ASM was warming up the cast.

LINDSAY: These are students?

HEATHER: These are students.

LINDSAY: Oh, that’s great!

HEATHER: And then, I would say, “These are the things, we need to get this scene blocked, we need to get this done, we need these props pulled,” and each class had their tech crew and so the tech would be working on pulling. The other lovely thing about this show is everything was just sort of suggested. We didn’t have full costumes; everyone was dressed in black but we had golden fabric over the gold bells or we had a splash of red was the theme throughout the whole evening so every cast had some element of red something somewhere. And so, my tech crew would have their assignments and then my stage manager would go, “Work with me on the cast and ASM will be in-charge of the tech.”

LINDSAY: Well, that’s the only way to do it, isn’t it?

HEATHER: Oh, yeah.

LINDSAY: That’s fantastic.

HEATHER: This is not something you can do on your own.

LINDSAY: Nor should you!

HEATHER: No.

LINDSAY: What are you teaching them? Like, here are a wonderful bunch of skills. And then, you know, for whatever show you do next year, everybody sees the jobs that they might be able to do.

HEATHER: And I think with middle school too, not all of these kids are going to go into high school theatre and fewer than that are going to go into college and a tiny amount might do this as a lifestyle. But I always tell them. “These skills that you are learning can go anywhere. Any job you go, you will need some organization skills. Any job that you go into, you will need to be able to negotiate and problem-solve with peers that are maybe not your best friends. So, I don’t care that you don’t like him. You have to hold his hand anyway.”

LINDSAY: Yes, that’s the job.

HEATHER: That’s the job, that’s what I’m asking you to do.

LINDSAY: Awesome. Oh, I love, because this is what I do, I sort of go, “Hey, that’s really interesting. Let’s talk about it.”

HEATHER: Yeah.

LINDSAY: Heather, I just think what you’re doing is wonderful.

HEATHER: Oh, thank you!

LINDSAY: I really love when kids are given a chance to show us all that they are more than we have imagined them to be.

HEATHER: Yes.

LINDSAY: And that I was able to put a tiny part in this makes my day.

HEATHER: We thank you. We thank you for writing things that are of value for our kids.

LINDSAY: Well, then I’m just going to keep on doing it. Now, I am literally sitting here going, “Okay, what’s my next middle school challenge?” and how to make it valuable and worthwhile.

HEATHER: Well, thank you.

LINDSAY: No fairy tales for me. All right. Thank you so much, Heather.

HEATHER: Thank you!

LINDSAY: Thank you, Heather!

Okay, before we go, let’s do some THEATREFOLK NEWS.

Okay. So, I talked about people coming on the podcast. Maybe you want to come on the podcast. Maybe you’re sitting there thinking, “I’ve got a story!” Maybe you have a story about a challenge you’ve overcome in the classroom or are you alone on that island like so many drama teachers just trying to make it work? Or do you have a success story you’d love to share? Or maybe a technique or an exercise, a series of exercises that you want to share with your drama teacher community?

Well, we want you and we really do want the Theatrefolk Podcast to be a place where folks can hear something and be inspired or hear something and say, “Hey! That’s how I feel!” or “Hey, I can try that in my classroom.” We really can’t do it without your help. We can’t do it without the wonderful people who agree to come on this podcast. Let me tell you, all you’ve got to do is send me an email. That’s right. I’m the talker. I’m the organizer. I’m trying to think of the jobs that I do and it’s all just basically me. So, you can contact me directly.

My email is lindsay@theatrefolk.com to learn more, pitch a podcast idea. We’ll take it from there.

Finally, where, oh, where can you find this podcast? We post new episodes every second Tuesday at theatrefolk.com and on our Facebook page and Twitter. You can find us on YouTube.com/Theatrefolk and you can find us on the Stitcher app. You can also subscribe to TFP on iTunes. All you’ve got to do is search on that word – what word is it? Oh, yeah, “Theatrefolk.”

And that’s where we’re going to end. Take care, my friends. Take care.

Music credit:”Ave” by Alex (feat. Morusque) is licensed under a Creative Commons license.