Drama Teachers: Theatre is Community

Episode 165: Drama Teachers: Theatre is community.

Michael Wehrli thought he was going to be an actor.  Then he thought he would be a director.  And finally found a love for teaching and educational theatre – Theatre is process. Theatre is collaboration. Theatre is community building. There is nothing better than the ability to give somebody a community and the ability to provide tools for a student to build their own community. As an example Michael talks about creating a show in which students are not along for the ride in putting on a play, they are active participants in the process.

Show Notes

• Theater Company  – www.newmoonproductions.org
• Personal – www.michaelwehrli.com
• We Open Tomorrow Night

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

This is Episode 165.

You can find any links to this episode in the show notes which are at Theatrefolk.com/episode165.

All right, my friends. Today, today, we’re going to talk about…

I was going to say favorite buzzword. But then, when I formed the word “buzzword” in my head, I’m like, “Well, that’s not my buzzword,” because I think “buzzword” and I think negative marketing connotation and that’s not what I mean at all because buzzwords are slick. I think we can share with one another that I am not a slick person unless there is an oil spill in which case I would be the one who would slick into it. Of course, right? My world is filled with all that kind of slick.

I’m talking about a word that I like to hang my hat on, that I like to use, that when I think of this word, the images that come to my mind give me all the warm feels. I think it’s just wonderful and I really think it’s important to use in an educational realm – an educational theatre realm – and that word is “community.”

I love the title of this particular podcast. “Theatre is Community.” I love thinking of a production, of a drama club, of a drama class as a community.

Our guest today, Michael Wehrli, also loves the word community. When he creates work with students, that’s his keyword or hat-hanging word or his word of the day.

You know, the brain goes in weird places. Does Sesame Street still do a word of the day or was it a letter of the day? Oh, you know, maybe I’m just too old to remember the structure of Sesame Street. Let’s go with that one. Too old!

Anyway, podcast and community, let’s get to it!

LINDSAY: All right, I am talking to Michael Wehrli.

Hello, Michael!

MICHAEL: Hello, Lindsay!

LINDSAY: How’s it going?

MICHAEL: All is well. All is well.

LINDSAY: Excellent!

Tell everybody where in the world you are.

MICHAEL: Portland, Oregon!

LINDSAY: I love Portland, Oregon. Organ and orligan.

MICHAEL: Or again.

LINDSAY: Or when the tongue just… Don’t you love it when the tongue gets tripped up? My favorite is I’m a real pro at taking two words in my head and then smashing them together to make something.

MICHAEL: Lovely! I do the same thing and they come out.

LINDSAY: Awesome! So, now that we’ve established all the things that we do wrong with our pronunciations, let’s start over again.

So, Michael, you have a lot of hats.

MICHAEL: I do, indeed. My theatre company is twenty years old. What we specialize in is bringing programs to organizations and schools and community centers and that’s what we do.

There are a couple of schools that I’ve been personally working at for a long time but I am very fortunate in my career now that I, as a teacher, get to pick and choose places that I want to work at and then just hire teachers for all the other things that New Moon Productions does.

LINDSAY: Yeah, and we know you because you have written a lovely play – We Open Tomorrow Night?!

MICHAEL: Oh, thank you.

LINDSAY: We have a full-length version and a one-act version which we’ll talk about in a bit.

So, you work a lot with students. How did this come about? Like, when you started in your career as a theatre person, what did you think you were going to turn out to be?

MICHAEL: Oh, what a lovely question!

Well, like most theatre people, coming out of college, I thought I was going to be an actor and primarily do stage Shakespeare.

LINDSAY: Yeah, me too.

MICHAEL: I realized fairly quickly that I just didn’t like what I had to do to make it as an actor, particularly in the Dallas-Fort Worth area which is extremely competitive. Plus, I, by that time, was much more interested in directing and producing and writing.

So, I formed a theatre company and the idea was that I would get the chance to do some of my plays, I would get a chance to do funky and alternative theatre. Strangely enough, that didn’t go anywhere either.

During all this time, to make a living, I was doing children’s theatre – both as an actor and as a teacher. That’s where I started to fall in love with teaching. So, we completely retooled the theatre company and made it a children’s theatre company.

While we were in Texas, we did full seasons. We would do four shows a year, all youth casts, had classes going all year around, did lots of outreach. It was wonderful and amazing and brilliant and that’s where I really got the bug of wearing all the different hats.

I enjoy the administration, I enjoy producing, I enjoy grant writing.

LINDSAY: You must be the only one!

MICHAEL: I also enjoy the benefits of all of that – like, getting to do plays that I wanted to do – and that got me on the path of playwriting.

When I moved to Oregon, I wanted to simplify, not wear as many hats. That’s where I honed it down and decided, “All right, I’m not going to have a theatre space any longer. That’s just too much work. I’m just going to concentrate on bringing programs to organizations.” And then, slowly, after about six years of living here, I was able then to finally just pick and choose exactly the projects I personally wanted to work on and then just administrate everything else.

That’s where I’m at now and I’m loving it. I really am very blessed to make a living in the biz this way.

LINDSAY: What is it about the teaching aspect that caught you?

MICHAEL: I think it was simply the joy of seeing the kids get the realization – to really get it – that theatre really is about collaboration and listening to your partner. I enjoy directing so that was another avenue for it. But, for me, it was the realization that once a child is able to get to the point of just either getting their role, understanding what they’re doing, pretty much any realization that they come across during the rehearsal period gave me as big a thrill as I had ever had as an actor.

Also, experiencing – I can only, of course, speak to the Dallas-Fort Worth area – witnessing teaching methods that I’ll just say were not effective. We’ll just leave it at that. And how passionate I am, because we have such a small audience out there, that we don’t ever want to turn kids off to theatre and some teaching methods tend to do that and that’s another thing I’m very passionate about. I want them to walk away loving the medium, whether they decide to pursue it or not, at least enjoying the fact that theatre is wonderful and cool and brilliant and that they can participate in any way, shape, or form, as an audience member or as an actor or any of the above.

LINDSAY: Well, there’s so many things that they can learn, you know? Like, just as you say, just a simple realization. There’s no greater exclamation than a young person realizing that they get something or that they have a community.

MICHAEL: Yes.

LINDSAY: I totally agree with you that there’s no greater joy, I think. Whether it’s seeing a student do that or having a student interact with one of my plays, it’s a great realization for me to go, “You know, I don’t need the big production. I don’t need Broadway. I need this wonderful exploration,” and seeing a student realize something for the first time is pretty awesome.

MICHAEL: Very well-said, and I’d like to speak to the community aspect of it, too, because that’s equally important to me – even more so now but it definitely was in Texas.

But, the community building, to back up a little bit, my theatre company was in the south of Dallas – an area back then, twenty years ago, that really had no presence. It certainly had no theatre presence and it definitely did not have a youth theatre program of any way, shape, or form.

I watched families come together from all economic levels, all ethnic, and come together for communal cause and forge new friendships, understand that all points of view are welcomed and that we can accept them al and understand them all. I’ll just say, again, that’s the thrill I got from bringing theatre through my teaching. It’s even stronger now because a lot of the schools we serve are Title I schools and very, very high poverty families and a lot of the schools simply would not be able to afford arts other than our theatre company coming on in. We supplement a lot of what we do with grant money. So, we can offer very low-cost – or, in some cases, no cost – theatre programs for schools.

The turnaround in behaviour in the schools, the acceptance of other cultures and understanding – and, of course, Lindsay, you know all of this – it just makes a huge difference for that community and that school – having a theatre program of some form in the school.

LINDSAY: You know, it’s so funny. I think it’s the thing, you know, when we’re involved in theatre, it’s sometimes the thing we don’t think about consciously – that community thing, particularly when we get out into the world, when we’re all alone.

MICHAEL: Oh, yes.

LINDSAY: Because we’re trying to make a living as an actor alone, we’re trying to make a living as a playwright alone, and that, when you get right back down to it, I think that all of us who circle back around into education is that the ability to give somebody a home and the ability to provide tools to have a student be a part of a community and then go out and build their own community, it’s astonishing.

MICHAEL: Yes, yes, and yes.

LINDSAY: Yeah. So, let’s talk about that.

What are the things that, when you’re working with students and when you are going into some of those schools which might not be able to avoid… avoid? Provide! “Avoid the arts, avoid the arts…”

MICHAEL: Oh, my god, not the arts!

LINDSAY: Not the arts! Who aren’t able to provide arts programs. You’re working with students who don’t have a lot of exposure, I’m guessing, to the arts.

MICHAEL: No, that’s very true.

If they had been exposed to theatre, it’s been a teacher that has begrudgingly taken on doing, well, here, they teach the Oregon Trail and also the history of Portland so there are some dreadful plays they force kids to do with minimal rehearsal.

LINDSAY: What do you mean? You mean there isn’t great theatre in exploring the Oregon Trail?

MICHAEL: I work with a group of kids that wrote their own play about the Oregon Trail.

LINDSAY: And so, they should.

MICHAEL: It was really charming. It was lovely.

But, when I come into a school, the first thing for me is to show them my passion about this art form and I tell them a little bit about myself and that, here I am, 52 and I’m still as passionate, still happy, still as excited and thrilled about every new theatre project that I get.

From there, I also put down my guidelines for what I’m intending to bring to the class. A lot of what we do are production classes so I’ll go down, “This is my expectations of how rehearsals are going to run, when lines are going to be learned, et cetera, et cetera.” And then, I tell them, “Here’s what I’m going to bring to the table. You guys can have costumes and props and I’m going to do my best to encourage you guys and your creativity and to solicit your opinions on things.”

Right from the bat, they know that they are not just passive in this; that they are participants – full participants in the end product – and that the end product is what all of us are working towards. The ancillary benefits of that are that we have this great experience, we are making friendships, we get to express ourselves. And so, basically, I’m going over all of that with the students and then I’m very firm about enforcing an environment that will be conducive to that.

LINDSAY: Hey, you know what? I wanted to reiterate one thing that you just said which I think is really great in that you’re explaining to them what they need to bring to the table but you’re also telling them what you are going to bring to the table.

When you’re talking about a community, it’s not just “you guys are going to do all the work.” “I’m going to do work, too.” Does that help? I’ve just never heard it expressed that way. I think it’s really great that it’s “we’re all going to work together.”

MICHAEL: Absolutely. I want them to know what my participation is going to be. I don’t want them to simply think, “Well, it’s Bossy Michael telling us what to do” – that I am as invested in this process and the outcome of the process and the experience itself as they are. I want to have a good time. I want to enjoy this. I want you to walk away, as a student, as a cast member, thinking that theatre is a wonderful, cool, and magical process.

I would like you to walk away thinking that you did the best job you could possibly do and that you contributed to the whole and that people are walking away not just saying, “That was a good kids’ play,” but they’re walking away saying, “That was a good play!” Let’s take the word “kid” out of it. they just enjoyed it because it was a good story and these cast members rose to the occasion.

Again, I’m just showing them my passion and I’m also showing that I am equally committed.

LINDSAY: You’re also making sure that there are some rules enforced.

MICHAEL: Oh, absolutely. In fact, I make them sign a contract. I call it a heart contract and I basically go over it with them. On the contract, it states what the goals are.

Typically, the goals are that we have fun, that we are working towards a wonderful play, and that everybody in the play is having a good experience. And then, I put down what my guidelines and the rules and the rules are all positive. There’s not a single “don’t” or “do this” on the rule list. It’s typical stuff like, “Respect each other. Respect the space. Learn your lines on time.” If it’s elementary kids, “Keep your hands and feet to yourself.” Stuff like that.

And then, I actually go over the consequences as well because, again, when I am in the school, they have to understand that this is also a privilege to be a part of this and that, as part of that privilege, you get to experience the magic but you have to contribute to the whole. So, I outline what the consequences are if the rules are broken and then they all sign it as if it is a contract.

Typically, I post that around – at least for the first week or two – just in case we have a minor violation – and I say that deciduously – but I use the term “reminder.” “Oh, there’s Rule #1. What were you thinking about?” “Oh, yeah, I guess I was going to mess around.” “Great. Let’s move on.” They know exactly through signing the contract that I’m serious about my contribution and I’m serious about what they’re going to bring to the table.

LINDSAY: Yeah, I like your use of “reminder” as opposed to “violation.” You know, in the end, the whole point of this is that we establish that, yes, this is supposed to be fun, but that there is a structure and about how much safer it all feels when there is a structure in place.

MICHAEL: Absolutely! Again, that was a bad joke.

LINDSAY: Of course, not.

MICHAEL: Again, the term “reminder” is important to me because I can continue to reference what the goals are. If I have to give a reminder, it is because what they were doing was not helping us towards our goals of having fun, having a wonderful play, and everybody in it feeling good about their participation.

I also reference to sports because they almost invariably are playing some sort of sport and they understand, in a sport, that it does take discipline and it does take commitment. There’s no way you learn how to dribble a basketball unless you practice dribbling a basketball. So, I like to use that reference a lot, too. Certainly, in a school situation, that is something they can definitely understand.

I’m also a big one always catching anything positive that I can immediately point out during the classroom and, if it takes just a private little thing of saying, “Wow! You did fantastic!” But, generally, I like to have public declarations of when I see things going wonderful or even just a little thing, “Thank you for holding the door open! Thanks for remembering your script!” Little things like that that I can point out. Sometimes, I’m as anal as to actually keep a list so I can make sure I’ve given compliments to everybody in the class.

LINDSAY: Well, they’re not stupid and they notice everything and they remember everything.

MICHAEL: Yes, and that is the biggest lesson I’ve had over the years of doing it. They remember everything – something that I may have said off the cuff a year ago. It’s like, “Oh, yeah, I did say that, didn’t I?”

LINDSAY: It’s something that I have to constantly – and I’m not very good at remembering this – it comes back time and time again where someone will come up and say, “You said this to me a year ago and it’s kept me going for a whole year.” I’m like, “Holy cow! I said a tiny little thing that I could never possibly remember,” and that student has kept that one sentence. It goes the other way, too. If you think you’re being flippant and giving a joke, they take that to heart just as much as the good things.

MICHAEL: Oh, yeah. In fact, I kind of like it when they call me on that, too. If I had done a joke that somehow was misinterpreted and they say, “Well, you said this.” It’s like, “Yeah, you’re right!” I’ll either apologize or own up to it or at least share with them, “Well, here’s my thought process there. Obviously, I didn’t bring that across.”

LINDSAY: Well, if you want them to come to the table and bring everything to the table, it’s the same thing. You have to do the same.

MICHAEL: Absolutely.

LINDSAY: What are some exercises? If we’re talking about building this community and building ensemble, what kind of work do you do throughout? Is it with warmups? Do you do a lot of gameplay before rehearsal?

MICHAEL: I do gameplay generally the first couple of classes. A lot of the stuff that we do, we’re very limited on time. So, rehearsals are anywhere from thirty minutes to an hour. If I get an hour and fifteen, I’m jumping for joy. But, generally, it’s between thirty to sixty minutes.

LINDSAY: Do you have to have a pretty – rigorous is not quite the right word – disciplined, I guess? Do you get into a discipline and a routine so that they respect the time as much as you do?

MICHAEL: Absolutely. I mean, they know from the minute they walk through the door, we get in our circle, we do our warmups, and the first week or two, we probably will play a focus game like Popcorn or Woosh. Again, you probably have different names for the games.

LINDSAY: I was just about to say, I don’t know either – I probably do, just not by those names.

MICHAEL: Well, Popcorn is also called Pass the Clap. It’s where you’re in a circle and you look at your partner and you’re both clapping at the same time and then you send it around the circle.

I‘ve got three or four of those games like Pass the Clap where, when they know it well enough, then you can play all three at the same time or you can start with Popcorn and then go to Zip Zap Zop or go to Woosh. Again, it’s just a great tool for getting them focused.

Generally, with my classes, time is a little bit of an issue but it’s definitely at least warmups, a very good firm physical and vocal warmup, and then a focus game – definitely in the first couple of weeks. And then, towards the end of the rehearsal process when they’re really more solid with lines, we can again bring the focus games back into the fold.

But then, again, I’m also extremely organic in the classroom and, when it’s one of those days when there ain’t nothing going right, I’m perfectly fine to stop and play a game because continuing to pound away at something that is just not going to happen that day is just not conducive for anybody to be happy. So, I’m okay with stopping what we’re doing and taking a minute, playing a game, focusing, sitting down, even – if necessary – having them sit down during the rehearsal and take some time to learn lines.

Again, I just base it off of where they are. Where are they at today? I got what I would like to do but, sometimes, that’s not going to happen and I need to honor that as, again, part of my commitment.

LINDSAY: Sometimes, they are not going to do what you would like to do.

MICHAEL: Exactly.

LINDSAY: It’s important to be flexible. Well, because that’ll help in the next day even if it doesn’t get done today. Exactly as you said, by honoring where they are, they’re going to see that and you’ll be able to move forward on another day.

MICHAEL: I’ve got a little story about that. Can I share it real quick?

LINDSAY: Yes, please.

MICHAEL: It’s the caterpillar story. This is, oh, fifteen years ago.

I’m in the classroom and this is fifth-graders. We’d just got finished with warmups and were starting to go up onto the stage and this little fuzzy caterpillar – and one of the kids notices this fuzzy caterpillar. For whatever reason, I had it in my head, “Okay, there is this caterpillar, but let’s get up onstage.” Every two seconds during the rehearsal, they were like, “Oh, well, where’s the caterpillar? Is the caterpillar still down there? Oh, can we go look at the caterpillar?”

Unfortunately, I was all like, “Okay, guys, stop thinking about the caterpillar. Let’s rehearse.” Obviously, I completely wasted my time because they were much more interested in the caterpillar than anything that I had to offer. I realized that, unfortunately, after the 45 minuets that I was with them. From that moment on, if a caterpillar appears, we’re going to take five minutes and deal with the caterpillar and enjoy the caterpillar and maybe bring the caterpillar outside or just at least have an acknowledgement that caterpillar does exist and I can put aside what I need to do.

So, any time I’m dealing with a fire drill or somebody’s got crazy hair or something silly happens, we acknowledge it and we enjoy it and then we move on as opposed to that horrible rehearsal where I did not want to acknowledge the caterpillar.

LINDSAY: Well, it was a fuzzy one. You really couldn’t win.

MICHAEL: The funny was that that class then told the next class about the caterpillar. So, they all came in.

LINDSAY: “Where’s the caterpillar? Where’s the caterpillar?”

MICHAEL: “Where is it? I don’t know.”

LINDSAY: It’s gone! Don’t know where it went!

MICHAEL: That’s my story.

LINDSAY: The fuzzy caterpillar is so many things. It could be that fire alarm. It could be something much more serious where something happened out of class and everyone’s minds are elsewhere.

MICHAEL: Yeah, I’ve had that experience too where I’ve had literally an entire class for thirty minutes crying because of a big fight prior to coming to me. That was our rehearsal.

LINDSAY: Sometimes, it needs to be.

When you were working on We Open Tomorrow Night?!, did you work from a school from the beginning?

MICHAEL: Yeah, I worked with the school doing a celebration of their fifth- and sixth-graders moving on and they wanted to do a talent show but they didn’t want it to be a standard talent show because they had all these kids who just wanted to do a play and it was to accommodate all the classes. There were basically four classes worth of students.

We talked a little bit about it and I chatted with the teachers and they wanted memories of their time in the school – maybe slightly exaggerated but they wanted memories of their time in the school. A lot of the characters that are in the play were sort of based on some of the students. Like, there was a British girl and she tended to use British slang and there were a couple of boys I remember who just had all these great ideas of what they wanted to do in the talent show.

And so, while I was trying to cull all this information down, it just kind of struck me. “Well, why not let the play itself be the talent show?”

LINDSAY: It’s a very unique piece in that it has the theatrical shell and it’s very specific to a journey and yet there are also these opportunities for students to do their own thing. It comes up a lot. We get calls all the time – you know, where so and so is like, “Such and such a play was so inspiring,” and they want to add and they want to do this. It’s like, “That’s not there.” How awesome where to have a play where you can go, “Yes, here you go. You want to add? There’s your slot for your own thing.” Actually, it’s really interesting that you talk about listening to the students. It’s all about listening to the students and sort of having them come to the table and then you’re going to sort of meet them halfway to sort of make this process.

MICHAEL: I love doing that because their creativity has no bounds. I mean, for those of us, like you, who have been in the business a while, I mean, sometimes, that producer brain wins out over playwright brain, right? Especially if I know I’m going to produce this work.

But the kids come in there, the sky’s the limit. “Why don’t we put in this? Why don’t we put in that?” That’s where all the nuggets and jewels came from any time I created a play with the students and somewhat from that situation, too. It was just mainly pulling nuggets as far as personalities and characters from the kids as opposed to so much of the structure. But, in other things I have done with students, the jewels have always come because there’s no boundaries with them. Anything is possible onstage to do and to tell and I love that. I love, love, love them coming to the table with a clean slate like that.

LINDSAY: It also means that they could say anything because they don’t always feel that. They learn quickly when they’re going to be shot down.

MICHAEL: Right, and I’m very careful with that, too. when I’ve got a classroom full of kids, it’s one of those things we’re setting down boundaries. The first thing I say to them is, “We’re not going to say the word ‘no.’ Whatever you offer, even if it’s to have the Eiffel Tower onstage with elephants, we’re not going to say no to that. We’re just going to simply accept that everybody is sharing their ideas and then we’ll go from there.” That definitely opens the door. I also actively solicit the kids who are not as comfortable with sharing in front of their peers, too, just to have a moment or a possibility of sharing. If they’re not comfortable with that, they can write it down and give it to me.

LINDSAY: That’s a good idea, actually. That’s a great idea. It’s really important to make sure because those are the students who, it’s not that they don’t have the ideas. They have the ideas; it’s the scenario or the situation which might not be comfortable for them.

MICHAEL: And that was totally me when I was in school. Even in high school when the theatre bug had already bit me, I still had those moments of raising my hand and giving my opinion in front of my peers was still very challenging for me. There are even times today that creeps up – not as much, thank goodness. But, certainly, when I was in school, that was a tough one. I know exactly what it feels like.

LINDSAY: Yeah, you never forget what it’s like to be laughed at.

MICHAEL: No.

LINDSAY: No. Never.

How long did you work on the show with the students?

MICHAEL: That was like a three-month process because I remember – let me see – I’d started before the holiday break and that’s where I talked to the classes, kind of felt them out as far as what they wanted to do, and then they kind of formed a committee of kids that wanted to give their ideas as far as the show itself, wrote all that down, and did the writing process over the holidays and then I think we started the rehearsals towards the end of January. That sounds right.

We rehearsed for about eight weeks which sounds like a long time but it was these one-hour chunks, three times a week. It was actually kind of a long process and even while we were doing it, we were changing and fixing things and invariably more acts wanted to be added. So, there was just a lot of adjustment as we were going along.

LINDSAY: We’re going to put a link to We Open Tomorrow Night?! in the show notes.

As we close up here, do you have a favorite part of the play? Or which is your favorite part? Of course, you have a favorite part.

MICHAEL: As a Doctor Who fan, I kind of like him.

Of course, I didn’t want to use the actual Doctor Who in the play but that’s clearly what it is and I just like the silly references and I love wordplay so I loved being able to put in all the British slang into it.

My next favorite character is Ian, the one with the big ideas. I love that because that was me when I felt comfortable with my friends as a child and just coming up with crazy, wild ideas and being enthusiastic.

But I love them all.

LINDSAY: Love it. Also, I spent many a day watching Doctor Who as a teenager so, whenever there’s a spanner in the works, I’m right there.

MICHAEL: Ah, excellent!

LINDSAY: Awesome. Thank you so much for taking time out and having a great conversation with me. As always, we’re here for the students and I think that anything we can do to make their time onstage and offstage memorable and enjoyable is something that we can do, right?

MICHAEL: Absolutely. Well-said, Lindsay!

LINDSAY: Awesome. Thank you very much!

MICHAEL: Thank you. Bye-bye.

LINDSAY: Thank you, Michael!

Before we go, let’s do some THEATREFOLK NEWS.

As we mentioned, Michael has a play in the Theatrefolk catalogue. We Open Tomorrow Night?!

We have a full-length version and a one-act version. It’s an amazing opportunity for students because it’s an open script in the sense that there is a story shell of a scripted talent show with really amazing characters but the individual acts of this talent show are completely up to you.

You have singers? Sing away. You have dancers? Great. You have pogo stick experts? You know, fill the slots.

We so often get emails from productions where teachers are like, “Well, the students have been so inspired, they’ve written their own monologue or they’ve written their own scene. Can we just go ahead and add it in?” The answer is, “No, you can’t.” You can’t just insert something like that into an existing script – even if you’ve been inspired.

So, we’re really happy to have a script like We Open Tomorrow Night?! where we’re telling you, “Put in your own material. There is a place for that.”

Go to Theatrefolk.com to read sample pages for We Open Tomorrow Night?! Or click in the show notes at Theatrefolk.com/episode165.

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 on the Stitcher app. You can subscribe to TFP on iTunes. All you have to do is search for the word: “Theatrefolk.” That’s what we are, right?

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.