Wednesday, 19 April 2017

Founding Father: LaVerne Erickson

This week we talk with local phenomenon and founder, LaVerne Erickson.  LaVerne and his wife, Arlene live in Rosebud, Alberta, where LaVerne founded Rosebud School of the Arts and Rosebud Theatre. He also founded The Canadian Badlands Passion Play in Drumheller, the Canadian Badlands Performing Arts Summer School, and Chemainus Theatre Festival on Vancouver Island. He coined the name “Canadian Badlands” which has become an international tourism icon. In 2010, he was appointed Alberta Tourism Ambassador. He has been awarded honors in the fields of economic development and tourism, culture and arts, and was given a Legacy award as one of Alberta’s 100 outstanding citizens. As an educator he has taught at the elementary, secondary, college and university levels. As a planner he was worked with communities across Western Canada. As an artist, he has composed a great deal of choral music and his paintings hang in public and private collections. LaVerne is an artist, entrepreneur, and visionary, inspired by his love for God and people. In retirement he serves on the boards of a variety of organizations, champions rural development, and loves spending time with his grandchildren.

LaVerne and Arlene Erickson. 
Where did you grow up?
I was born into the homesteading community of North Star, Alberta, one hour north of Peace River. My childhood memories of homesteading life probably played an important role in my development. Then I lived in Edmonton, Rosebud, Lethbridge, Calgary, and returned to Rosebud in 1973.

Were your parents artistic?
My mother was a piano teacher and my father was a pastor who enjoyed woodworking and creating.

What’s your must-have morning ritual?
Morning prayer, scripture reading, and communion.

You’re an ideas man… with the rare ability to execute your visions. Where do these ideas come from and how do you know when you’re really on to something?
My ideas can be categorized as conceptual analysis, problem solving, perceived opportunities, and inspiration. An idea that is a mixture of the foregoing and is welcomed by people with whom I am in conversation gets explored further. Social interaction is often the matrix for the growth of something important.

You’re also a bit of a Renaissance man… and obviously have a passion for the arts. Do you have a favorite artistic expression?
Philosophy is my favorite discipline and aesthetics inform my enjoyment of all art forms.

LaVerne Erickson and his brother, Tim. Rosebud, 1982. Photo courtesy Harry Palmer.
When you dreamed about what Rosebud could be, what did you see?
A rose is God’s botanical love song, abounding in beauty, too soon fading, forever treasured. Its bud holds all the potential of the rose, protected by mothering thorns, rooted in the good earth and nurtured by spring. So it is with this little place called Rosebud. Rosebud mothered native civilizations, provided a community home for settlers, ranchers, farmers, dreamers, captured the imagination of Canada’s Group of Seven, and people of heart. I saw the nurturing potential of Rosebud that could blossom under the loving care of artistic gardeners and waft its fragrance on the wind.

Why Rosebud "Theatre", specifically?
My desire for Rosebud Theatre is for it to tell stories of significance that touch the heart.
Storytelling, like the rose, is woven into our human existence. Stories have been told for thousands of years at campfires in the Rosebud Valley. Theatre is Rosebud’s modern campfire for storytelling.

Why a tiny village in the middle of the prairie?
Rosebud requires one to intentionally travel far into the country to see this bud that blossoms anew every year.
Photo courtesy Bonita Hudson.
What’s something the Rosebud community might not know about you?
My introduction to Alberta political life was through Preston Manning’s invitations to sit with him in the Speaker’s Gallery at the Alberta Legislature while his father was premier.

What’s something people might not know about Rosebud?
The first staff members had to commit to three years of service and pay a deposit $3,000 to the staff association. The early staff shared much in common, including meals.

Is there a particular Rosebud production that has resonated with you over the years?
An Inspector Calls continues to strike me as an important social narrative.

You saw Rosebud Theatre’s latest production, ‘The Skin of Our Teeth’, on opening night. Was there a particular moment that that spoke to you?
I was struck not with a particular moment but with its many relevant insights into contemporary society. It was like watching a Far Side comic that continually delivered punch lines. I think this is one of the most important plays that Rosebud Theatre has presented. Its humour and poignancy are arresting.


LaVerne Erickson, center right, with the cast of The Skin of Our Teeth. 

‘The Skin of Our Teeth’ runs now through June 3. Read more about the story here. Or check out our website, rosebudtheatre.com for tickets, special events, discounts, and reviews!  

Thursday, 13 April 2017

Reviews for Skin are In!

The Skin of Our Teeth has opened on our 2017 MainStage and here's what critics and audience members have to say about this incomparable show!


The Skin of Our Teeth plays March 31 - June 3 at Rosebud Theatre. 

The Skin of Our Teeth Delicious Satire
Louis B. Hobson - Calgary Herald
"Its themes couldn't be more relevant... If you want to know why it is held in such esteem, just drive out and catch Morris Ertman's production of this allegorical comedy at Rosebud." 
"[Heather] Pattengale is a marvel of wit, irony, humour, manipulation, and seduction. She is her own tempest in a teapot.... [Declan] O'Reilly is a beautifully befuddled everyman with [Jeany] Van Meltebeke as a bastion of rigid common sense."


The Half-Step
Stephen Hunt
"The curtain rises on Rosebud's 2017 season with a truly epic production that's ambitious, occasionally bewildering, funny - and ultimately, quite moving." 
"Pattengale's Sabina is willful and funny, a charismatic dynamo... Sabina keeps the pedal to the metal, in a knockout of a performance by Pattengale, who seems to hit it out of the park in every single role she performs. She's matched by O'Reilly... a hugely sympathetic actor who runs the full emotional range, from paternal to scoundrel to fool, across the breadth of time - and somehow makes it all feel plausible." 
"And all of a sudden, you realize that underneath all of the end-of-times scenarios, The Skin of Our Teeth delivers one sure-fire truth that resonated across the stage and into the sold-out opera house Saturday afternoon: when all else is falling apart around you - including the planet - the only safe haven a person can really count on, is family."



The Strathmore Standard
Monique Massiah
"Be prepared to be confused, bamboozled, and have a good giggle when you watch Rosebud's production of Thornton Wilder's The Skin of Our Teeth... [it's] a madcap wild ride."



'The Skin of Our Teeth' a Story of Hope
Sara Dreidger - The Brooks Bulletin
"Rosebud's charm is outdone only by its commitment to excellence...There is a beautiful chaos that emerges, leaving a profound impact on its audience. This is a story of hope - hope for society as a whole to seek the highest good together and to embrace our oneness as a human race."



And from our patrons...

"... One of the best plays I've seen in recent years. It's an honest reflection of the best and worst of humanity: our love, our hate, our ingenuity, our idiocy... it's all there. I felt it was performed with great passion, and I applaud the bold choice to mount this show. Fantastic work, everyone!"
Adam C. Schnell


When my father died, my older brother offered a sermon about who God is not. It was a relevant topic considering the tragedy of the circumstance and the constellation of unanswered prayers. Although there are no cadavers or morticians, theatre is a lot like a funeral. People gather together for a purpose... to see, hear, feel and relate. If the production is of sufficient quality, attendees go away with unanswered questions. The unanswered questions are thought provoking.

...Like a painting by Monet or Pollock, [The Skin of Our Teeth] isn't a linear replication of a particular reality or storyline. Rather, it is an impression. Artistic impressions are challenging because there is no guaranteed transaction in terms of paying money to feel good. The Skin of Our Teeth is a two hour long, subjective (and brilliant) poem about the human condition. It is a superbly acted, Orwellian-like dystopia, that critiques human nature. It should be seen more than once. 

James Westgate Snell




'The Skin of Our Teeth' plays now through June 3. For tickets and information visit rosebudtheatre.com

Wednesday, 5 April 2017

Behind the Seams: Costume Designer Robyn Ayles

Robyn Ayles is a theatre designer and educator currently teaching at Ambrose University and Red Deer College. Recent designs include set for 'Heathers: The Musical' (MacEwan University), costumes and set for 'Nativity in the City' (Fire Exit Theatre), costumes for 'Dr. Faustus' (Ambrose University), and set for 'The Winter's Tale' (The Shakespeare Company). She is a member of IATSE 212, CAnadian Institute for Theatre Technology, and Associated Designers of Canada.

The Antrobus Family, Act 2 set in the Swingin' Sixties. Photo by Morris Ertman.

Where do you call home?
I’ve lived in Okotoks for more than 25 years.

Tell us a little about yourself as a designer. How’d you get started in theatre?
I first got involved in theatre in high school in Vancouver, B.C. It turned out I loved backstage and behind-the-scenes work much more than I liked being on stage. I worked as a scenic carpenter for a few years before I went to the University of Alberta to do a degree in theatre design. I am a production designer, so I design sets, lights projections, and costumes.

How would you describe your process? Is there a best part / hardest part?
The hardest part is putting your pencil on the paper… or in my case, the stylus on the tablet. I love the research and I’m a terrible procrastinator. I could spend all day looking at period photographs or researching the politics surrounding Woodstock or the protests that accompanied the 1969 Miss America contest in Atlantic City… deadlines are my best friend.

Mrs. Antrobus, Act 1. Design by Robyn Ayles.
The Skin of Our Teeth is an epic show that transcends a specific time period, yet seems firmly rooted in certain mid 20th century American dynamics. How did you go about choosing the costume eras for an Ice Age, Flood, and aftermath of a major war?
The Skin of Our Teeth is such an intriguing play. It won the Pulitzer Prize in 1943, but when I read the play the first act just screamed 1950’s. The relationship between Mr. and Mrs. Antrobus and their children seemed like a late 50’s sit-com like Father Knows Best or Leave it to Beaver


Gladys Antrobus, Act 1. Design by Robyn Ayles.
The second act was already pretty firmly in Morris’s mind as the late 1960’s and Woodstock. This really resonated for me, too, as did Mrs. Antrobus’s impassioned speech about women’s rights, which really foreshadows the women’s liberation movement and their activism against the Miss America contests in Atlantic City in 1968 and 1969. The third act for Thornton Wilder takes place both after the Napoleonic wars, for the Antrobus family and in modern day, for the actors in the play. The important situation is the aftermath of war, rather than the specific war. This play was first produced during WWII, between the attack on Pearl Harbor and the bombing of Nagasaki and Hiroshima. It’s important that we, the audience, understand that the human race and the family will survive; will scramble up from the ruins of war, of the apocalypse and begin to rebuild… to have some hope and some plan for the future.
I think time and place for Wilder in this play are fluid: Sabina tells us in the First Act “the author hasn’t made up his silly mind as to whether we’re all living back in caves or in New Jersey and that’s the way it is all the way through.” The catastrophic events are the important thing.


What resonates for you in the story?

I’m drawn to the women in this play: their relationships and their ability to survive. They struggle against each other, but ultimately it is they who come to terms with each other and keep the family together. I tried to reflect that a little in the Act 3 costumes; tying Sabina, Mrs. Antrobus, and Gladys together by shifting and mixing their colour palettes. I also see the fortune teller as Everywoman: a layered wise woman whose silhouette, line, and colour is reflected in the three female family members after the apocalypse. She’s the only character who seems to understand and accept the cyclical nature of the play, although perhaps Sabina is beginning to figure it out. Maybe the fortune teller is a version of Sabina from the future…

There’s a certain silliness to this often serious play. How do you factor humor into costume design?
Sometimes the funniest thing you can do is play it absolutely straight. These characters are all such perfect archetypes my task as a designer becomes finding the right costume archetype to support these characters. In Act 1, Mrs. Antrobus as the perfect housemaker, Gladys as the pony-tailed bobby-soxer, Henry as the disillusioned punk teenager. I also pulled in a little of the theme of the solar system. For me, Mrs. Antrobus represents the sun, Mr. Antrobus represents the earth, and the children are the stars and the moon… well, perhaps Henry is more of a black hole than a star… but that’s the general idea. It’s not something I really expect the audience to pick up on… it’s more an underlying structure that informed some of my decisions.


Mr. Antrobus, Act 3. Design by Robyn Ayles.
Do you have a favorite costume from the show?
Well, no. I’m fond of them all for different reasons… but I’d have to say my favorite character is Dolly [the dinosaur.] She was so patient at her fittings.
The puppeteers did such a wonderful job of bringing her to life. She’s a big beast to manipulate and it takes real team work to move her through the space of the house and the earth dias.
I guess if I had to choose a single favorite costume it would be Sabina, Act 3, in her blanket superhero cape.


Sabina, Act 3. Design by Robyn Ayles.
What’s some of the best advice you’ve received (or given) about design?
One of my university professors told us to ‘design the design approach’… or in other words, find a new way to approach every play. It’s a lovely ideal that I try to follow, not always successfully.

What’s currently inspiring you?
Every show I do seems to spark a new path for me. Right now I’m exploring images of New Mexico and the artists Georgia O’Keefe and Ansell Adams for An Almost Holy Picture. The best thing about research is getting side-tracked into new areas.

What’s next for you, and where?
I’m designing costumes and lighting/projections for Fire Exit Theatre’s production of An Almost Holy Picture that runs at Engineered Air Theatre in Calgary from April 26 -30.


An epic show calls for epic design! Catch Robyn Ayles's vivid and evocative costumes in Rosebud Theatre's 'The Skin of Our Teeth', playing now through June 3. For more information about the story, click here. For tickets and show information, visit rosebudtheatre.com  

Tuesday, 28 March 2017

Resident Company "Snapshot" - Jeany Van Meltebeke

Jeany is thrilled to be back on the deck at Rosebud Theatre. Her previous shows include ‘Doubt’, ‘Treasure Island’, ‘The Diary of Anne Frank’, ‘Lettice and Lovage’, ‘$38,000 for a Friendly Face’, ‘Godspell’, ‘Joseph and the Amazing Technicolor Dreamcoat’, ‘On Golden Pond’, and ‘Fiddler on the Roof’. Before Rosebud, Jeany worked at the Chemainus Theatre Festival, Wisconsin Shakespeare, Western Illinois Musical Theatre, and Eugene Festival of Musical Theatre. She holds an MFA in acting from the University of Illinois at Urbana-Champaign, as well as a BA from Trinity Western University. Jeany enjoys teaching and living in Rosebud with her family.
Rosebud Theatre
Jeany Van Meltebeke and Declan O'Reilly in Rosebud Theatre's The Skin of Our Teeth. Photo by Morris Ertman.
Where are you from originally?
I was born in Eugene, Oregon and moved to Rosebud in 2006.

What’s your must-have morning ritual?
Buttered toast and O.J.

What music have you been listening to lately?
Moana.

In ‘The Skin of Our Teeth, you’re playing Mrs. Antrobus, one of the iconic female roles of American Theatre. Do you approach it like any other role? 
It’s not unlike most roles, I lend her my self and my sympathies and let the playwright do the rest.
I definitely have to take her at face value, and deliver the lines full and true. There are some melodramatic stage directions in the script, and Morris is usually pretty iffy about following those… and yet he keeps asking for ‘the tigress’ whenever I get too reasonable, so the tone of those stage directions are probably being realized in the end.
I can’t plan though. It really has to be moment to moment – play my action and then react to my scene partners. Sometimes Mrs. A cowers, but usually she is straight up and persuasive – for good reason of course.

Jeany Van Meltebeke and Heather Pattengale
First day on set - Jeany Van Meltebeke and Heather Pattengale take a moment with text. Photo by Declan O'Reilly.
What’s been challenging about Mrs. Antrobus?
Her strength, and the technical challenge of being on top of my game and remembering all the exact words and business and details. (Can you tell we’re in tech week?)
This may sound surprising, but it’s actually been important for me to separate myself from my character so it doesn’t become too personal. Ironically, this distinction allows for greater freedom and availability and likely even more of myself to emerge.
Overall, my job is to stay healthy and positive, or as Wilder would say, “Keep my wits about me” and tell the story.

Any other iconic roles still on your bucket list?
Lizzie from 110 in the Shade
Josie from Moon for the Misbegotten
Mother in Ragtime
Richard the Third
Miss Hannigan in Annie
Paulina in Winter’s Tale

Your family recently came back from a mammoth tour to Europe and Africa. What’s something that has resonated with you about the journey?
I loved being with my family. I loved watching my boys make new friends with young and old alike. I loved watching my hosts thrive on lavishing hospitality. I loved seeing new places and eating new foods and experiencing similarities and differences in our cultures. I loved the moments of community, of beauty, and serendipity. I liked getting to stop our routine here and just go… and I loved having little agenda other than what was right in front of us.
Now I think of myself more of a citizen of the planet, and not just a particular country… And I’m grieved by all the plastic waste… And I realize how astounding it is that I live in Rosebud.


What’s inspiring you right now?
Tabata workouts, Artisan bread, and University of Oregon basketball. Oh, and Call the Midwife.

What’s a piece of acting advice that’s stuck with you?
Acting is 90% Audacity, so just commit and “Put ‘em at ease.”

And what motherly wisdom do you think Mrs. Antrobus, the “original” mum, would give in our current turbulent times?
Preserve and protect your own little corner of the universe: your home. Let it be the safe spot where one can be known, and it will be an incubator for potential. Investing in family is the most noble and courageous calling, for it ensures the survival of the human race.

‘The Skin of Our Teeth’ opens this Friday, March 31 and runs through June 3rd. Don't miss this opportunity to marvel at Jeany Van Meltebeke residing as the original matriarch, the ferocious Eva Antrobus. For more about the story, click here. For tickets and information, visit rosebudtheatre.com






Tuesday, 21 March 2017

Wilder "Words to Live By"

Our upcoming 'Skin of Our Teeth' is a wild blend of prehistoric, Biblical, and mid-century American dynamics. A show you have to see to believe, the crazy adventure follows a 5,000 year old family as they navigate apocalyptic and every-day disasters. For more information visit rosebudtheatre.com















Wednesday, 15 March 2017

A Blog Within a Blog Within a ... WHAT?

This week on the blog we’ll attempt what no-one in their right mind would: a satire on the satirical masterpiece, 'The Skin of Our Teeth'. The play plays with a play within a play (Got that? If not, click here). So we'll do our best with a blog within a blog...


Let us know if you find your way out of this. 

THE PLAYERS: 
  • Krista Marushy: the person who came up with this stupid idea
  • Morris Ertman: Artistic Director (Rosebud), Regular Director (The Skin of Our Teeth)
Note: all interview questions are real. Artistic liberties have not been taken with Rosebud’s Artistic Director, just liberties with art, in general.


AN INTERVIEW IN 3 ACTS

*ACT 1: Home*
A woman sits, distractedly, before a computer. The first words appear on the screen: INTERVIEW QUESTIONS FOR THE BLOG. A rewrite looms ominously.

KRISTA: I’m sitting here in my living room, pleased to take you on the artistic journey into this blog process.

Calgary, AB.

This morning was daylight savings, and my children were appropriately unreasonable. In the news, many dispiriting things, mostly coming from the country south of our borders. There is reportedly a wall of ignorance moving northward, but disruptions within our own country’s communications indicate the wall may be surrounding us more closely than first suspected. For further information, see your daily papers, or grossly inaccurate social media feeds.

But let's settle into something a little more comfortable, as in, the actual interview.

She types more words into an e-mail then fires it off to Morris Ertman, Artistic Director, Rosebud Theatre.

KRISTA: I wonder if he’ll hate this idea.

Time passes. Slowly. Later that day...

KRISTA: 6 PM and he hasn’t responded yet! He almost certainly hates the idea. Direct questions would probably be best, but a telemarketer once told me a clear question is the most dangerous thing and should absolutely be avoided at all costs. Oh why oh why can’t anyone respond in a timely manner on their only day off at dinner time?

Every e-mail it’s the same ole thing: will they respond, or won’t they? Will they use words, attachments, emojis? Emojis, by the way, are the only sure way to tell what's really being said and if the Garden of Eden had more emojis in front of that treewe’d all be in a better place.
Of course Morris is extraordinarily intuitive so there really shouldn’t be a problem. Artistic too. He’s been running that Rosebud for so many years, it’s a wonder the theatre’s still standing. But since they’ve rattled along for some time now – my advice is not to inquire why or whither but just enjoy your ice cream while it’s on your plate – that’s my philosophy. (Or rather, a direct quote from The Skin of Our Teeth.)

Oh, look! The e-mail has arrived and all is right with the world.

*ACT 2: The Interwebs*
Krista opens the e-mail and transcribes Morris’s answers into the appropriate places. A blog appears on your screen:









Morris, why on earth would you choose this story at this time? Please keep your answers direct as there is too much artistic freewheeling going on as is. 
Because someone has to do this play in this time! It's all about the state of the world we live in right now - climate change, refugees, what is good in us, how can we survive? What is our place in the Cosmos? It was written in the 1940's, as if it were written for today! And I love Thornton Wilder. And the 1st Act is all about refugees finding safety in an everyday suburban home because it is so cold outside. What are we reading about in the news? Refugees crossing the border from the U.S. to Manitoba, losing limbs because of frostbite and a small Manitoba town of generous people bing overwhelmed by the steady stream of people seeing refuge... Short enough for you? It is a play about the end of the world, you know. 
What’s a question within a question that you have about the play?  
Why is a man's love for his son manifested only in expectation? 

The profundity of Morris’s answer reveals a doorwary. They open it and stand in front of the dawn of creation. The first moonlight blazes like the inaugural launch of a virginal ship. 

 Morris: Always present, some days appearing round, other days a crescent. And never the same for everyone on the planet.
  Krista
: Do you have any snacks, and if so, what would they be?
              Morris: Nuts and mango juice.
              Krista: Do you think we’re meant to sleep under that light?
              Morris: We’re all meant to sleep under that same light.

They close the door.
Some would call this show Metatheatrical. First of all, what is that, and second of all, does it get confusing?
Meta Epic! It’s an epic show about a family spanning thousands of years surviving huge threats to its existence both outside and inside. [Meta = self-referential: the characters in the play are actors putting on a play and they sometimes acknowledge that.] And surprisingly, it doesn’t get confusing. It’s as if Thornton Wilder touched genius and heart all at the same time. It’s so approachable as a story. We know these people. We know their struggles and their triumphs.
What IS confusing about this play?
At the moment, nothing. But that could all change in today’s rehearsal.
What are some of your favorite lines from the script? 
   Mr. Antrobus: Broken-down camel of a pig’s snout, open this door!
   Mrs. Antrobus: God be praised! It’s your father! 
"Pass up your chairs, everybody. Save the human race."
Mrs. Antrobus: I have a message to throw into the ocean… It’s a bottle. And in the bottle’s a letter. And in the letter is written all the things that a woman knows. It’s never been told to any man and it’s never been told to any woman, and if it finds its destination, a new time will come. We’re not what books and plays say we are. We’re not in the movies and we’re not on the radio. We’re not what you’re all told and what you think we are: We’re ourselves. And if any man find one of us he’ll learn why the whole universe was set in motion.
When do you think humanity is most aware of the passing of time?
When we come to an actual understanding that this life is finite. This world is finite.
What’s the best reason to see this play right now, other than it’s profound hilarity and it’s hilarious profundity?  
It’ll make everyone feel again. It will give hope to live and love despite all the turmoil we face in the world. It’s that powerful. It chokes me up just writing this, because I’m thinking about the end of the play and the fact that it feels like beginning again is actually possible.
Discuss the difference between allusion and illusion, and if that matters to this play. 
Allusion is referencing something in passing in a way that gives it substance in the subconscious. An illusion is a trick of the perception. This play is a pastiche of ideas and people and places and literature and imagery that live in our collective conscience. It’s as if they’ve bubbled to the surface – to the lips of characters in the play that have survived thousands of years. Imagine being 400 years old. Imagine all of the reference to life one would contain at that age. All of the allusions that would be part of your life, all of the most important impressions and experiences. They’d be part of your vocabulary. Now multiply that by thousands of years, and what kind of language would one have to draw upon? It’s a staggering idea. And it’s what we as a collection of human beings possess because of literature, oral tradition, painting, theatre, art, movies, architecture, science, the experience of millions of people staring up into the heavens, standing on bluffs looking across prairie grass or ocean vistas, BIG LIFE so precious it can’t help but be noted in some way.


*ACT 3: Infinity & Beyond*
Krista, distracted, imagines Morris interviews her.

Morris: How many times have you read the script, Kris?
Krista: At least once. Twice. I’m gonna go with 4.
Morris: Did this play get your motor running?
Krista: I always like a play with big ideas that you can’t quite “get” until it’s in front of you. It’s very rare to read a play that can’t be done for another medium… i.e., made into a movie. This is a PLAY. Capital P. Hardly anyone does that, but I think it’s what Thornton Wilder did best. He knows what theatre is capable of.
Morris: If you were to ask me more questions, what would they be?
Krista: 
K: Do you have any dialogue swirling around in your head that
you’re just waiting to put into a play someday?
M: An old man in a Massey-Ferguson cap standing on a prairie bluff – the grass around him rippled by the wind, his long white hair blowing, his nose hairs rippling like the grass with every intake of breath.
            K: That’s not dialogue.
            M: It’s more a story idea than dialogue.
            K: Images mostly.
            M: There’s just a lot of swirling.
            K: Do you ever imagine interviewing me?

Morris imagines a blog with questions for Krista.





It goes on and on, like this forever. Just go see the show. It's way better than this. Trust me. 

'The Skin of Our Teeth' March 31 - June 3. www.rosebudtheatre.com