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<v Speaker 1>Hudson River Radio dot com.

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<v Speaker 2>It beats listening to nothing. My goodness is Frank Being

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<v Speaker 2>Frank right where the only way to be is Frank.

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<v Speaker 2>Hello everyone, and welcome to Being Frank, where the only

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<v Speaker 2>way to be is Frank. I'm your host, Frank were

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<v Speaker 2>going on. I'd like to thank you for joining us

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<v Speaker 2>on what we like to call the Intelligent Conversation podcast,

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<v Speaker 2>where no conversations out of bounds and all points of

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<v Speaker 2>view are welcome. You know, we record live pape. When

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<v Speaker 2>I give you the date so you have context and relevance,

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<v Speaker 2>it is the twenty fifth of June. You know, there

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<v Speaker 2>seems to be no shortage of bad news today. Global conflict,

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<v Speaker 2>political violence at home in an almost unbearable heat wave

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<v Speaker 2>have left many people in a state of shock and

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<v Speaker 2>looking for some kind of relief. Well, we have two

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<v Speaker 2>great guests for this episode of Being Frank will offer

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<v Speaker 2>their intelligent conversation and real alternative with some great diversions

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<v Speaker 2>this summer and beyond. For the second half of our program,

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<v Speaker 2>will be joined by Anthony Marinelli, editor, director, writer, filmmaker

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<v Speaker 2>at an Hill Productions, and he will be discussing his

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<v Speaker 2>role as director for the Center Players of Freeholds production

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<v Speaker 2>of Neil Simon's Barefoot in the Park. But before we

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<v Speaker 2>meet Anthony again, he has been on once before. Our

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<v Speaker 2>first guest may also be familiar with our listeners, as

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<v Speaker 2>he appeared on Being Frank a few times before. Please

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<v Speaker 2>welcome back for more intelligent conversation. The executive director of

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<v Speaker 2>the Phoenix Festival Live Arts in the Hudson Valley and

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<v Speaker 2>Managing director of at Phoenix Theater ensembled mister Craig Smith.

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<v Speaker 2>So all part of being Frank Craig is a complaining

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<v Speaker 2>about the weather and then be stumbling through my intro.

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<v Speaker 2>That's an inside joke between Craig and guys. But anyway,

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<v Speaker 2>now that we've got that out of our system, Craig,

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<v Speaker 2>let's refresh people a little bit. As I mentioned, you

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<v Speaker 2>have been on the four in your role as executive director.

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<v Speaker 2>But tell us a little bit more about Phoenix. What

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<v Speaker 2>is it about, where does it come from, and what

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<v Speaker 2>are you about these days.

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<v Speaker 3>Phoenix Theater Ensemble was started in two thousand and four

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<v Speaker 3>in New York City and we still operate in New

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<v Speaker 3>York City. We are basically a performing arts organization in theater.

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<v Speaker 3>We basically do classical theater or adaptations of classical texts,

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<v Speaker 3>so that's what we do. In twenty eighteen, I moved

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<v Speaker 3>to Nyack and my wife, who was the artistic director

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<v Speaker 3>at lease Stone, we moved to Nayak and we were

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<v Speaker 3>I was considering retirement at that time, but I was

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<v Speaker 3>very taken with Nayak and we started talking about doing

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<v Speaker 3>a festival, and that got postponed because of COVID and

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<v Speaker 3>things like that. And in twenty twenty two we had

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<v Speaker 3>our first Performing Arts festival in Nyack and in twenty

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<v Speaker 3>twenty three, twenty four. Coming up this year will be

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<v Speaker 3>our fourth annual festival, a festival of theater theater companies

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<v Speaker 3>from New York City, independent New York theater companies that

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<v Speaker 3>we maybe wouldn't normally see that are very exciting and

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<v Speaker 3>cutting edge kind of thing about the kind of they

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<v Speaker 3>what they have. And then we also have dance and

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<v Speaker 3>we have music, and this year we have fourteen shows

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<v Speaker 3>over sixteen days from October second to October sixteen, and

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<v Speaker 3>all the venues are within the village of Nayak, So

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<v Speaker 3>we have performances at the Nayak Center, at the library,

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<v Speaker 3>at the upstairs room of the Hudson House, Rose Hall

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<v Speaker 3>at Paradise, at the Prohibition River, et cetera. So it

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<v Speaker 3>really is like a celebration where we want to bring

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<v Speaker 3>in a holistic celebration of the community as well the

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<v Speaker 3>performing arts that we do. So that that's what we do.

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<v Speaker 3>And I can't believe we're we're on our fourth year

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<v Speaker 3>doing this. It's been a lot of work, but it's

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<v Speaker 3>also been very exciting, you know, and.

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<v Speaker 2>I want to talk about how ambitious that is. You know,

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<v Speaker 2>you kind of roll through it, but you talked about

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<v Speaker 2>the amount of performances, and it's one thing to handle

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<v Speaker 2>a single stage and staging area, if you will, that

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<v Speaker 2>presents its own difficulties, but to have all these different

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<v Speaker 2>productions and all these different venues must present a unique

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<v Speaker 2>set of challenges for you, Craig, talk a little bit

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<v Speaker 2>about that and how you handle the logistics must be enormous.

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<v Speaker 3>Yes, well, at least really handles all of that. So

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<v Speaker 3>I know it's a lot of work. You know, women

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<v Speaker 3>do the heavy lift they do, and you know, it's

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<v Speaker 3>about eighteen months of work and we have to we

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<v Speaker 3>have to have all the contracts with all of the

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<v Speaker 3>performance that are coming in and then we the contract

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<v Speaker 3>with each of the venues and all of that, and

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<v Speaker 3>then we have to get the marketing program going and

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<v Speaker 3>things like that. So it's it's extraordinary. But we've been

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<v Speaker 3>doing theater for like a long time, and you know,

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<v Speaker 3>theater teaches you how to handle many things and have

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<v Speaker 3>many balls in the air at the same time, and

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<v Speaker 3>we've adapted to it. So it is an extraordinary amount

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<v Speaker 3>of work we could. We actually got it all buttoned

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<v Speaker 3>up earlier this year than we did last year. We

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<v Speaker 3>were getting close to August when we were dealing with

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<v Speaker 3>our final our final performances and things like that. But

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<v Speaker 3>everything is set now and now all we have to

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<v Speaker 3>do is sell tickets, which is of course a gargantuan

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<v Speaker 3>challenge for us as well.

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<v Speaker 2>Well, you know what, we have to talk about that

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<v Speaker 2>and I'm working on something a separate issue of sustainability network,

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<v Speaker 2>if you will, dealing with all issues sustainable, but we

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<v Speaker 2>have to sustain the network, you know, to be able

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<v Speaker 2>to talk about sustainability. So you know, there's that issue

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<v Speaker 2>of you know, the reality of running these organizations and

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<v Speaker 2>I'm want to get that into that a little bit more,

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<v Speaker 2>a little bit further on in our conversation and how

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<v Speaker 2>you deal with that, especially with the change in climate

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<v Speaker 2>that has been presented by the new administration. We'll talk

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<v Speaker 2>about that in a minute. But there's one really important

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<v Speaker 2>point that you made earlier that I really want to

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<v Speaker 2>get back to, and that's your engagement with the community,

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<v Speaker 2>you know, and that seems to be really one of

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<v Speaker 2>the most the paramount of paramount importance in your mission statement.

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<v Speaker 2>If you will talk a little bit about how that

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<v Speaker 2>drives you in why community engagement is important and how

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<v Speaker 2>you directly engage with the community.

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<v Speaker 3>Yeah, I thank you. The tenets of Phoenix Theater Ensemble

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<v Speaker 3>are artistic excellence company, are ensemble of artists, and then community.

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<v Speaker 3>And when we came to Nayak, we started out early,

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<v Speaker 3>you know, and talking to community leaders and political representatives

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<v Speaker 3>and talking about the idea and seeing if they were

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<v Speaker 3>interested in it, and they thought it would be good

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<v Speaker 3>for the community, and they said yes. And then we

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<v Speaker 3>started talking to the local business owners as well, so

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<v Speaker 3>I feel like it's a unique collaboration between small business

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<v Speaker 3>and the arts. You know, they support us. And then

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<v Speaker 3>we bring in audience members into Nyak and into Rockland,

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<v Speaker 3>and audience members come into Rockland and ninety percent we

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<v Speaker 3>take it. We do a lot of surveys. Ninety percent

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<v Speaker 3>of them said they're going to eat eat in Nayak,

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<v Speaker 3>So where else are they going to eat? They're going

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<v Speaker 3>to be a Niak And eighty percent of them are

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<v Speaker 3>going to shop in Nayak. Twenty four percent of them

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<v Speaker 3>are going to spend the night in Nayak.

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<v Speaker 2>So these are.

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<v Speaker 3>All very important, you know, pieces of data for us,

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<v Speaker 3>and we provide that back to our sponsors. Last year

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<v Speaker 3>we had about twenty five or twenty seven sponsors from

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<v Speaker 3>the local community, and this year we have a lot

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<v Speaker 3>of new spats. And it's surprising because I'm a member

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<v Speaker 3>of Business Network International B and I, and I go

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<v Speaker 3>to these meetings on Friday morning at eight o'clock in

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<v Speaker 3>the morning and a diner, and I'm there with plumbers

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<v Speaker 3>and contractors and attorneys and you know, mortgage people and

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<v Speaker 3>things like that. What am I doing here? You know,

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<v Speaker 3>we're performing arts, but we have really developed amazing relationships.

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<v Speaker 3>And one of the things that we have to do

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<v Speaker 3>that when you're talking about public art and supporting the

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<v Speaker 3>art you have you have to appeal to the higher

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<v Speaker 3>selves of these people and it's not just about selling

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<v Speaker 3>windows or doors or siding or insulation. What we're doing

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<v Speaker 3>is we're trying to make the community a better place,

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<v Speaker 3>a better place to live, a better place to work in,

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<v Speaker 3>a better place to play. And that has Kess catering

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<v Speaker 3>benefits down from real estate and the contracts. People want

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<v Speaker 3>to come. They want to come to nyak in Rockland County.

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<v Speaker 3>They want to live here, they want to develop it,

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<v Speaker 3>they want to have their families here, they want to

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<v Speaker 3>go to school here, and they want to take part

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<v Speaker 3>in the arts. So all of that, if we do

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<v Speaker 3>it correctly, if we have a robust arts program in

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<v Speaker 3>Rockland County, that is going to have benefits all to

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<v Speaker 3>all of these other businesses as well. You know, in

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<v Speaker 3>the nineteen seventies, as I understand, I'm still relatively new

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<v Speaker 3>to Nyakua, in the nineteen seventies, it was antiques. People

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<v Speaker 3>came to niak to do antiques, and then now it's

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<v Speaker 3>mostly the nightlife. But the nightlife isn't necessarily the demographics

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<v Speaker 3>that everybody wants. But what we haven't really really concentrated

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<v Speaker 3>on are the arts. We have fabulous, fabulous arts organizations

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<v Speaker 3>in this county. And if we can start to work

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<v Speaker 3>together and elaborate and you know, work together on marketing

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<v Speaker 3>and all that kind of stuff. Come to Rockland County,

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<v Speaker 3>you know, come and see Arts rock Come and see

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<v Speaker 3>Penguin rep. Come and see Elmwood, come and see us,

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<v Speaker 3>you know, and there's no sense of competition. What is

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<v Speaker 3>good for one is good for everyone, and I think

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<v Speaker 3>that that could be key. We have already had success.

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<v Speaker 3>We have tourists coming. We have sixty percent of other

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<v Speaker 3>people that come in are tourists from outside of Rockland,

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<v Speaker 3>from the Tri State area, but also national and we

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<v Speaker 3>have some international tourists as well. I can tell you

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<v Speaker 3>right now that that's going to stop because of the administration.

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<v Speaker 2>You know.

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<v Speaker 3>It's that we've had a festival coming. Festival attendees come

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<v Speaker 3>from England, from Spain, you know, from Argentina, and all

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<v Speaker 3>that kind of stuff. And that's very, very exciting to

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<v Speaker 3>us because that's the kind of growth that we want

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<v Speaker 3>to do. But right now that that doesn't look so good.

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<v Speaker 3>So we have to really concentrate on the Tri state

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<v Speaker 3>area in the national area. But the arts can be

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<v Speaker 3>an economic driver if we all start working together, if

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<v Speaker 3>we get rid of our silos, every organization has their

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<v Speaker 3>own their own marketing program, their own development program, their

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<v Speaker 3>own production program, and they're all going after the same money.

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<v Speaker 3>If it's easy to say this, but but I think

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<v Speaker 3>that if we can develop a kind of coordination, coordinated

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<v Speaker 3>effort on behalf, everybody is going to gain by it.

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<v Speaker 2>Well, how do you how in a logical sense, how

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<v Speaker 2>would you create that kind of synergy?

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<v Speaker 3>Well, that, of course is the big question I do.

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<v Speaker 2>On the microphone. I get to put the hard questions

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<v Speaker 2>to you, guys.

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<v Speaker 3>I've spoken to some of them, and I think, you know, well,

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<v Speaker 3>we all have galas, we all have fundraising events, UH

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<v Speaker 3>and uh and we're all you know and and and

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<v Speaker 3>everybody is going is it possible for uh Phoenix for

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<v Speaker 3>Phoenix Festival and Bridges for instance, which which deals with

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<v Speaker 3>UHL And they seem like two very divergent ones. But

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<v Speaker 3>could they work together on a single gala and we

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<v Speaker 3>both got our own mainly list, we would we could

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<v Speaker 3>save money on all of this, you know, all all

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<v Speaker 3>of the the event, the venue that we'd have to rent,

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<v Speaker 3>the catering and all that kind of stuff. But we

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<v Speaker 3>could work together and do that kind of thing that

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<v Speaker 3>would work also there could be dual, that could be

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<v Speaker 3>multi sponsored subscriptions to different places. Okay, buy a subscription

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<v Speaker 3>here and that subscription will get you into the Hopper House.

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<v Speaker 3>Buy a subscription here and that will also get you

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<v Speaker 3>to the Brick Museum. Buy a subscription here and that

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<v Speaker 3>will get you to Bridge Music. So that that kind

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<v Speaker 3>of coordination of marketing I think could be very useful

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<v Speaker 3>as well. But it takes a lot of work and

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<v Speaker 3>a lot of you know, cooperation. Uh. And I've been

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<v Speaker 3>talking about this for about the last six months. See

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<v Speaker 3>if people get tired of listening to it. But but

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<v Speaker 3>I think that there are some answers there.

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<v Speaker 2>You know, I noticed, and you have a strong social

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<v Speaker 2>media presence, you know the Theater of Phoenix as well

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<v Speaker 2>as yourself. And I noticed something quite in my eye

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<v Speaker 2>about an acting class that's being offered. I found that interesting.

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<v Speaker 2>Talk a little bit about that. So, in other words,

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<v Speaker 2>you're not just doing theater as an education, and again

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<v Speaker 2>that's part of your community engagement, which I thought it

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<v Speaker 2>was interesting. Give us some more detail on it.

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<v Speaker 3>Yeah, we're gonna have classes at the Angel. The people

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<v Speaker 3>who don't know The Angel is the Reformed Church on Broadway,

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<v Speaker 3>which was purchasing. Now is an event side and it's fabulous.

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<v Speaker 3>It's the kind of thing that I really needs. We're

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<v Speaker 3>doing several of our festival performances there, and we're transferring

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<v Speaker 3>our acting classes to there. We do classical theater. Okay,

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<v Speaker 3>there's been a I go and I see players and

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<v Speaker 3>I can't I can't hear. The people are literally five

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<v Speaker 3>feet away from me, and I cannot hear what they're saying.

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<v Speaker 3>And they're not using their voice. The voice this has

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<v Speaker 3>been lost and and and I'm old school about this. Listen.

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<v Speaker 3>I when I was a young actor and working in

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<v Speaker 3>New York City, we took we took voice classes every week.

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<v Speaker 3>We took dancing classes every week, We took stage stage

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<v Speaker 3>comeback classes every week. And what you have is you

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<v Speaker 3>end up with highly skilled, classically trained actors who can

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<v Speaker 3>handle most of the of any kind of issues or

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<v Speaker 3>challenges that they have. They got the chops, the chops

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<v Speaker 3>to do it. Uh. And what I see right now,

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<v Speaker 3>and I think it's amplification has really caused there are

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<v Speaker 3>shows that we really need to have that kind of energy,

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<v Speaker 3>that kind of sound, that kind of that that is

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<v Speaker 3>coming out of the performer to the audience and that

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<v Speaker 3>that energy will come back to you. But if it

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<v Speaker 3>is amplified and they're talking like this and they're talking

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<v Speaker 3>like this, there's no energy going on. So this, this

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<v Speaker 3>is this is a pet project of mine as well.

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<v Speaker 3>Uh at least is going to be the key teacher

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<v Speaker 3>of this year is a fabulous teacher. So it doesn't

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<v Speaker 3>have to be you know, uh, people who are already actors.

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<v Speaker 3>I talked to my B and I people and I said,

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<v Speaker 3>developing your acting skills are going to help you in

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<v Speaker 3>your business in whatever you're doing, you know, and it's

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<v Speaker 3>it's going to give you a kind of confidence, and

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<v Speaker 3>it's it's and it's also developing the inner self and

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<v Speaker 3>how you can get your your your feeling, your feelings

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<v Speaker 3>and your emotions out to people, whether it's presentations or

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<v Speaker 3>even just sitting back and and and doing your business

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<v Speaker 3>on a data data, day by day process. Theater people,

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<v Speaker 3>theater trained people can do anything because they're smart and

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<v Speaker 3>nonprofit theater people can really do anything because they do

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<v Speaker 3>it with nothing. They do it with nothing. I mean

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<v Speaker 3>when we started this festival, we had nothing. We had

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<v Speaker 3>we had an idea and we had to create it

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<v Speaker 3>out of nothing. And it's still it's it's still a

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<v Speaker 3>tremendous challenge. A lot of people think that because of

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<v Speaker 3>our social media presidence, our marketing presidents, that that the

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<v Speaker 3>Phoenix stated Phoenix Phoenix Festival has money. We don't have money.

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<v Speaker 3>The last year I got seven thousand dollars because of

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<v Speaker 3>acting I did for a Phoenix Festival. That was the

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<v Speaker 3>extent of it, and at least gets about the same

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<v Speaker 3>amount of money. But the rest of it we volunteer.

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<v Speaker 3>We push it out because the engine, the engine that

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<v Speaker 3>pushes us forward is the passion, the passion to do

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<v Speaker 3>bring these pieces of work to a new audience, and

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<v Speaker 3>it can be enormously rewarding.

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<v Speaker 2>Well, with that in mind, perfect segue into this question,

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<v Speaker 2>is local theater still relevant and why is it important

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<v Speaker 2>to continue, especially if it's so difficult.

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<v Speaker 3>Absolutely. I mean when we when we came in here

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<v Speaker 3>one we had connections with Elmwood, h We knew some

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<v Speaker 3>of the people at Elmwood and all of that, and

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<v Speaker 3>we had seen Elmwood and I think Elmwood is just terrific.

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<v Speaker 2>Wonderful guessed on our show a number of times, a great,

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<v Speaker 2>wonderful local.

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<v Speaker 3>There there are two kinds of theater. There's theater that

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<v Speaker 3>is good and theater that is not so good, and

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<v Speaker 3>Elmwood does good theater. So it's it's threefoward. They've been

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<v Speaker 3>around for seventy years, and yeah, it's part of the fabric,

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<v Speaker 3>part of the fabric of our community. It's like you

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<v Speaker 3>go and you have lunch someplace, and then you say,

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<v Speaker 3>then you go and you're purchasing something, and you say,

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<v Speaker 3>what are we doing tonight. Let's go to Elmwood. Let's

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<v Speaker 3>let you know, let let's let's have a subscription and

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<v Speaker 3>go there and then let's go out and have drinks afterwards.

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<v Speaker 3>And that that is part of the whole milieu and

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<v Speaker 3>the environment of a community, and that that that community

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<v Speaker 3>theater is part of of that community and that environment.

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<v Speaker 2>Now we've mentioned to the current climate has obviously changed.

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<v Speaker 2>DEI has been eliminated in many cases, which affects so

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<v Speaker 2>many community organizations, et cetera, funding, National Endowment for the Arts,

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<v Speaker 2>et cetera. I could go on, I don't need to

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<v Speaker 2>just say that it's bad. So within this climate, Greg,

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<v Speaker 2>what what what are you guys doing to try to

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<v Speaker 2>meet these new challenges? Then you know, talk a little

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<v Speaker 2>bit about that what.

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<v Speaker 3>Can These are real challenges. I mean, you know it,

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<v Speaker 3>it's extraordinary. We are living through astonishing times, and we're

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<v Speaker 3>living through astonishing times, and are we going to survive it?

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<v Speaker 3>You know? I wake up each morning and look at

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<v Speaker 3>and say, you know, what happened last night? You know

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<v Speaker 3>what what new challenges are we going to hit?

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<v Speaker 2>Yeah?

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<v Speaker 3>The National Endowment of the Arts is basically gone. The

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<v Speaker 3>National Endowment for the Humanities is basically gone for us.

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<v Speaker 3>That's a loss of twenty thousand dollars plus, you know,

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<v Speaker 3>and we are founded on diversity, equity, and inclusion. I

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<v Speaker 3>do not understand how these words have become so negative.

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<v Speaker 3>It is so wrong. You know, if we hire a

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<v Speaker 3>Hispanic actor, it doesn't mean that that we're pushing white

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<v Speaker 3>actress out of the way. You know. We want to

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<v Speaker 3>level the playing field so everyone has an opportunity. And

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<v Speaker 3>we have a resident ensemble, and our ensemble is incredibly diverse,

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<v Speaker 3>and it is important for us that the work that

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<v Speaker 3>we do is representational of the audience that comes to

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<v Speaker 3>see it. One of the things that is very difficult

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<v Speaker 3>in most of the performing arts is getting people of

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<v Speaker 3>color into your audience to see your productions and everybody thinks, well, yeah,

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<v Speaker 3>they say, well, let's just over the price. Well that

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<v Speaker 3>you know, that's kind of a slap, isn't it that

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<v Speaker 3>they don't have twenty five dollars?

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<v Speaker 2>It's man.

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<v Speaker 3>But what what we have to do is when they

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<v Speaker 3>go to the theater, they have to see their people

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<v Speaker 3>on stage and represented equally. Uh, and that that that

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<v Speaker 3>that has to happen. And when when we start doing that,

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<v Speaker 3>you know, then you start seeing that that audience starts

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<v Speaker 3>to filter in as well. There are barriers. There are

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<v Speaker 3>barriers with underrepresentative, underrepresented communities who don't know about they

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<v Speaker 3>don't know I say, oh, well, how do you order

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<v Speaker 3>a ticket? You know? And and how am I supposed

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<v Speaker 3>to act? You know? And do I do this? So

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<v Speaker 3>all these barriers happen. So when we do plays that

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<v Speaker 3>are outside of a brick and mortar building and they're

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<v Speaker 3>done in a bar, or they're done in a restaurant,

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<v Speaker 3>or they're done in something like that, it gets rid

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<v Speaker 3>of some of those bare So those are some of

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<v Speaker 3>the things we did. And this doesn't happen overnight. You know,

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<v Speaker 3>you don't. You don't you don't start seeing that audience

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<v Speaker 3>come in overnight. You know, it's it takes time. Building

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<v Speaker 3>relationships and building trust is so important.

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<v Speaker 2>Now. I know you mentioned the festival mostly in October,

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<v Speaker 2>but you're busy in the meantime. You mentioned the acting

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<v Speaker 2>class but also mentioned them very necessary fundraiser and you

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<v Speaker 2>have one coming up soon at the wonderful Hand Mansion,

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<v Speaker 2>which is this beautiful uh mansion in Nayak, actually in

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<v Speaker 2>South Nayak. And tell us a little bit about that

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<v Speaker 2>and some of the things you're doing to to keep

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<v Speaker 2>driving things forward.

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<v Speaker 3>Yeah, just one thing going back, just a little bit.

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<v Speaker 3>You know about the loss of the federal funding. What

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<v Speaker 3>we are really doing is we're concentrating on the local

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<v Speaker 3>and the state seems to be stepping up. They seem

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<v Speaker 3>to be you know, and and and having more opportunities

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<v Speaker 3>for us as well. And then and then we're dealing

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<v Speaker 3>with our new sponsors and things like that. Is we

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00:22:03.880 --> 00:22:07.279
<v Speaker 3>made our sponsorship is very affordable, so a small business

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<v Speaker 3>can come in for three hundred and fifty dollars and

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<v Speaker 3>they get a very robust marketing campaign for that, They

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00:22:12.799 --> 00:22:15.039
<v Speaker 3>get invited to the gala, they get free tickets, they

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<v Speaker 3>get all that kind of thing. And for nonprofits in

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00:22:18.799 --> 00:22:21.920
<v Speaker 3>working with nonprofits. The nonprofits, it's one hundred and seventy

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<v Speaker 3>five dollars and then that and our marketing starts as

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<v Speaker 3>soon as we get that and goes through December the

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<v Speaker 3>end of December, so they really get a full package

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00:22:30.279 --> 00:22:33.680
<v Speaker 3>of that. So that and we're looking and saying can

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00:22:33.720 --> 00:22:38.880
<v Speaker 3>we replace what we have lost with volume? And we've

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<v Speaker 3>taken down the prices, you know, the sponsorship, the sponsorship

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00:22:42.319 --> 00:22:45.000
<v Speaker 3>fees from five hundred dollars to three hundred and fifty

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<v Speaker 3>dollars and then we're being successful so far. So that's

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<v Speaker 3>one of the things that we're trying to do. Yeah

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<v Speaker 3>with the hand mansion.

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<v Speaker 2>A hand mansion, yeah from the area if ever. It's

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<v Speaker 2>located on Franklin Street. It's a magnificent building and grounds.

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<v Speaker 3>The grounds are fabulous and Guy and Lucian are fans

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<v Speaker 3>at the festival. They came and saw crime and punishment

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<v Speaker 3>and they've talked to us and they said, what is

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00:23:16.400 --> 00:23:19.079
<v Speaker 3>it that we can do for you? This is all

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<v Speaker 3>again a part of this you know, community engagement. And

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00:23:22.400 --> 00:23:27.079
<v Speaker 3>we said, oh, well you have a beautiful house, beautiful grounds.

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<v Speaker 3>That's and they said, yes, you know, just do what

403
00:23:32.599 --> 00:23:35.119
<v Speaker 3>you need to do. So we're having this. It's going

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<v Speaker 3>to be on Sunday, July twentieth. We decided not to

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00:23:40.759 --> 00:23:44.640
<v Speaker 3>try to promote it today because the temperature is about

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<v Speaker 3>one hundred degrees and you start telling people, Oh, we're

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<v Speaker 3>going to have a lovely outside program.

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<v Speaker 2>And oh please come, you know, so we're going.

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<v Speaker 3>To start that the promotion of that on Thursday. It's

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<v Speaker 3>going to be great. We're going to have we have

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<v Speaker 3>an Irish band that's coming in. We got some catering.

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<v Speaker 3>There's gonna be Prosecca, we're gonna have Bubbly, We're gonna

413
00:24:06.759 --> 00:24:09.119
<v Speaker 3>have some snacks that are there, and then we have

414
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<v Speaker 3>these surprise that pop ups. We have members of our

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00:24:14.319 --> 00:24:17.880
<v Speaker 3>company who are coming in and to be at least

416
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<v Speaker 3>says I shouldn't say this, but there's gonna be a

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<v Speaker 3>thing during the course of the afternoon somebody, somebody's is

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00:24:22.799 --> 00:24:25.119
<v Speaker 3>gonna ring a bell and the people and the person

419
00:24:25.160 --> 00:24:26.920
<v Speaker 3>that you are sitting across from is going to get

420
00:24:26.960 --> 00:24:28.880
<v Speaker 3>up and start doing a monologue or doing the scene.

421
00:24:29.039 --> 00:24:30.759
<v Speaker 3>And then then that's gonna be a two minute scene,

422
00:24:30.759 --> 00:24:32.440
<v Speaker 3>and then that one's gonna get then they're gonna drink

423
00:24:32.440 --> 00:24:34.680
<v Speaker 3>some more, and then you're gonna ring another bell and

424
00:24:34.680 --> 00:24:37.359
<v Speaker 3>then there's gonna be all this this stuff surprises that

425
00:24:37.400 --> 00:24:39.319
<v Speaker 3>are gonna happen. I'm really looking forward to. I think

426
00:24:39.359 --> 00:24:41.519
<v Speaker 3>it's gonna be lots of fun. Uh So, I hope

427
00:24:41.519 --> 00:24:43.759
<v Speaker 3>people will come to that that the tickets start at

428
00:24:43.759 --> 00:24:47.039
<v Speaker 3>one hundred dollars fully tax deductible. I want, you know,

429
00:24:47.079 --> 00:24:49.640
<v Speaker 3>I want the community to please come and see that.

430
00:24:49.720 --> 00:24:51.920
<v Speaker 3>It's going to be a great time. You should come

431
00:24:52.200 --> 00:24:54.960
<v Speaker 3>just to see the hand Mansion, even if you don't

432
00:24:54.960 --> 00:24:57.759
<v Speaker 3>care about Phoenix Festival and you don't care about Poppas,

433
00:24:57.960 --> 00:24:59.759
<v Speaker 3>just come and see the hand Mansion in the grounds

434
00:24:59.759 --> 00:25:03.759
<v Speaker 3>because the views the grounds of spectacular. The views of

435
00:25:04.559 --> 00:25:07.480
<v Speaker 3>the Hudson River from there are also spectacular. So we're

436
00:25:07.519 --> 00:25:12.240
<v Speaker 3>looking forward to. We have a performance coming up on

437
00:25:12.559 --> 00:25:15.960
<v Speaker 3>Saturday's this Saturday, June twenty eighth, of the Forever Walls,

438
00:25:15.960 --> 00:25:21.079
<v Speaker 3>which is the Orpheus and Urbidicy program a myth but

439
00:25:21.240 --> 00:25:25.039
<v Speaker 3>there's a twist to it. It's going to be great.

440
00:25:26.000 --> 00:25:27.000
<v Speaker 2>Where is that? Where is that?

441
00:25:27.599 --> 00:25:30.400
<v Speaker 3>It's going to be a Ripley Greer Studios, the performance

442
00:25:30.400 --> 00:25:33.440
<v Speaker 3>space on It's on thirty eighth Street. It's in Chelsea

443
00:25:33.519 --> 00:25:36.440
<v Speaker 3>in New York City. I'm hoping that we can bring

444
00:25:36.599 --> 00:25:41.319
<v Speaker 3>that to Nayak as well. This is one of the

445
00:25:41.319 --> 00:25:45.440
<v Speaker 3>things that we found. We have reciprocal. We have a

446
00:25:45.440 --> 00:25:47.119
<v Speaker 3>foothold in New York City and then we have a

447
00:25:47.119 --> 00:25:50.519
<v Speaker 3>foothold in Rockland, and both are feeding each other. We

448
00:25:52.119 --> 00:25:55.880
<v Speaker 3>debuted crime and punishment and drinks with dead poets in

449
00:25:56.440 --> 00:25:59.599
<v Speaker 3>the festival last year. Then they were very successful. So

450
00:25:59.640 --> 00:26:01.400
<v Speaker 3>then we took them to New York and we did

451
00:26:01.400 --> 00:26:04.079
<v Speaker 3>a short off Broadway run for them. And then we

452
00:26:04.200 --> 00:26:08.240
<v Speaker 3>have Wind in the Willows, which we started in New

453
00:26:08.319 --> 00:26:12.720
<v Speaker 3>York City, and then we brought that to Nayak to

454
00:26:12.759 --> 00:26:15.359
<v Speaker 3>the festival as well. So this kind of reciprocal kind

455
00:26:15.359 --> 00:26:17.839
<v Speaker 3>of thing between the two things. I don't think there's

456
00:26:17.839 --> 00:26:21.359
<v Speaker 3>anybody else who has this kind of reciprocal thing between

457
00:26:23.599 --> 00:26:26.440
<v Speaker 3>the urban center which is New York City, and of

458
00:26:26.440 --> 00:26:28.799
<v Speaker 3>course everybody in New York City thinks that Nayak is

459
00:26:29.160 --> 00:26:31.960
<v Speaker 3>next to Albany and is way upstate and in a

460
00:26:32.079 --> 00:26:34.799
<v Speaker 3>rural area, and I say, no, it's not really, But

461
00:26:34.839 --> 00:26:36.880
<v Speaker 3>we do draw from what we do have a rural

462
00:26:36.880 --> 00:26:39.000
<v Speaker 3>audience that comes and sees our stuff. But this is

463
00:26:39.359 --> 00:26:44.720
<v Speaker 3>a very exciting person see this as a path forward,

464
00:26:44.880 --> 00:26:48.240
<v Speaker 3>you know, from We have not recovered from the pandemic yet.

465
00:26:48.279 --> 00:26:51.759
<v Speaker 3>When the pandemic happened in twenty twenty, you know, people

466
00:26:51.799 --> 00:26:54.200
<v Speaker 3>think that we've recovered. It's all over. It's not over.

467
00:26:54.279 --> 00:26:59.119
<v Speaker 3>It's not over for ours organizations. We lost artists, artists

468
00:26:59.119 --> 00:27:01.920
<v Speaker 3>who left the profess because they it's based on a

469
00:27:01.960 --> 00:27:04.599
<v Speaker 3>gig economy. They couldn't afford to say around. And then

470
00:27:04.640 --> 00:27:09.119
<v Speaker 3>we lost audiences over that period. And with that loss

471
00:27:09.119 --> 00:27:13.559
<v Speaker 3>of audience, we also lost audience contributions as well. So

472
00:27:13.960 --> 00:27:16.920
<v Speaker 3>we're trying to recover from that. And one of the

473
00:27:16.920 --> 00:27:20.640
<v Speaker 3>things that we are doing is the festival is more

474
00:27:20.720 --> 00:27:24.240
<v Speaker 3>than just seeing a play. It's an event. You're coming

475
00:27:24.240 --> 00:27:28.960
<v Speaker 3>to this beautiful, beautiful river village on the Hudson River

476
00:27:29.000 --> 00:27:30.799
<v Speaker 3>and it's only twenty four miles of New York City,

477
00:27:31.039 --> 00:27:34.720
<v Speaker 3>and you're going to explore the village and you're going

478
00:27:34.759 --> 00:27:38.319
<v Speaker 3>to see productions in the village. And people love going

479
00:27:38.319 --> 00:27:41.240
<v Speaker 3>to like the upstairs room at the Hudson House and

480
00:27:41.440 --> 00:27:45.759
<v Speaker 3>having drinks and seeing a play. Now it's extraordinarily difficult

481
00:27:45.759 --> 00:27:48.000
<v Speaker 3>for us because there are no dressing rooms, there's no

482
00:27:48.519 --> 00:27:51.359
<v Speaker 3>prop storage, and you know, we have to make do

483
00:27:51.480 --> 00:27:53.559
<v Speaker 3>with all of that. But we we're theater people. We

484
00:27:53.640 --> 00:27:54.200
<v Speaker 3>make it work.

485
00:27:55.200 --> 00:27:58.480
<v Speaker 2>Craig. So now and closing, how can people get find

486
00:27:58.480 --> 00:28:01.680
<v Speaker 2>out more information, get in touch with you? Now's the time,

487
00:28:02.200 --> 00:28:02.359
<v Speaker 2>you know.

488
00:28:02.440 --> 00:28:05.680
<v Speaker 3>The easiest thing to do is you go on Google

489
00:28:05.759 --> 00:28:08.880
<v Speaker 3>and you type the word NYAK and you type the

490
00:28:08.920 --> 00:28:12.359
<v Speaker 3>word Phoenix and the festival is going to pop up

491
00:28:12.440 --> 00:28:14.880
<v Speaker 3>right away. That is that's the easiest way to do it.

492
00:28:15.759 --> 00:28:20.480
<v Speaker 3>And our box office is eight three three six eight

493
00:28:20.599 --> 00:28:25.640
<v Speaker 3>one four eight zero zero. We are selling tickets now

494
00:28:25.680 --> 00:28:27.559
<v Speaker 3>that some of these are going to some of these

495
00:28:27.559 --> 00:28:30.240
<v Speaker 3>shows are going to sell out because we because of

496
00:28:30.519 --> 00:28:34.000
<v Speaker 3>the venues. We have Lady Day at the Emerson's Bar

497
00:28:34.079 --> 00:28:39.839
<v Speaker 3>and Grill with his extraordinary, extraordinary actress who's doing Billie

498
00:28:39.839 --> 00:28:43.640
<v Speaker 3>Holiday for us, and that's it. That's upstairs at the

499
00:28:43.680 --> 00:28:46.319
<v Speaker 3>road Vision well it it's about fifty people, you know.

500
00:28:46.799 --> 00:28:48.039
<v Speaker 3>And and if people are going to come to this,

501
00:28:48.079 --> 00:28:50.640
<v Speaker 3>they have to get their tickets early. I keep telling them.

502
00:28:50.960 --> 00:28:53.279
<v Speaker 3>If they're going to wait till, you know, late September

503
00:28:53.319 --> 00:28:54.799
<v Speaker 3>to get their ticket, they're not going to be there.

504
00:28:54.920 --> 00:28:56.319
<v Speaker 3>And it's the same with some of the other ways.

505
00:28:56.319 --> 00:28:59.799
<v Speaker 3>We've got Reggie Wilson doing Sugar Ray. We have this

506
00:29:00.279 --> 00:29:04.400
<v Speaker 3>public works event of of the Crucible, which is going

507
00:29:04.480 --> 00:29:07.440
<v Speaker 3>to have professional actors and then members of the community

508
00:29:07.759 --> 00:29:11.480
<v Speaker 3>all coming together to do this performance of Arthur Miller's

509
00:29:11.480 --> 00:29:15.599
<v Speaker 3>A Crucible and the House on American Activities Committee Larry Parks.

510
00:29:15.799 --> 00:29:20.039
<v Speaker 3>We have a play written about his taken from his

511
00:29:20.160 --> 00:29:23.559
<v Speaker 3>testimony in the House an American Activities Committee and written

512
00:29:23.599 --> 00:29:30.440
<v Speaker 3>by a Hudson Valley playwright, Ron Marquette, who has passed.

513
00:29:30.440 --> 00:29:33.799
<v Speaker 3>But he's from king He's from Kingston. So then we

514
00:29:33.799 --> 00:29:35.640
<v Speaker 3>have we have I won't go through all of the

515
00:29:35.720 --> 00:29:38.799
<v Speaker 3>fourteen shows. So it's it's it's it's really cool.

516
00:29:39.720 --> 00:29:42.640
<v Speaker 2>It's a it's a really wonderful festival. You guys, you

517
00:29:42.799 --> 00:29:45.880
<v Speaker 2>at least do a great job your hopes staff does,

518
00:29:45.920 --> 00:29:49.160
<v Speaker 2>your team does? I highly recommend it. Craig Smith, the

519
00:29:49.319 --> 00:29:53.319
<v Speaker 2>managing director of Phoenix Theater Ensemble at uh in the

520
00:29:53.720 --> 00:29:57.359
<v Speaker 2>Live Arts in Hudson Valley. As always, Craig, we really

521
00:29:57.359 --> 00:30:00.759
<v Speaker 2>appreciate your intelligent conversation here on being Frank.

522
00:30:02.000 --> 00:30:03.759
<v Speaker 3>Well, thank you, Frank, and I'm glad you're going to

523
00:30:03.839 --> 00:30:04.680
<v Speaker 3>do something about the weather.

524
00:30:05.480 --> 00:30:07.960
<v Speaker 2>Yes, I'm working on that. It'll change tomorrow, don't worry.

525
00:30:07.960 --> 00:30:12.519
<v Speaker 2>I put in a special guys, inside the choke. Those

526
00:30:12.519 --> 00:30:15.079
<v Speaker 2>who know will know. Don't go anywhere yet. We've got

527
00:30:15.200 --> 00:30:17.240
<v Speaker 2>a whole half a show coming up with a really

528
00:30:17.279 --> 00:30:23.400
<v Speaker 2>another fascinating interesting guest, Anthony Maronelli, who's with the Center

529
00:30:23.480 --> 00:30:26.720
<v Speaker 2>Players and the Millstone Performing Art Center. He'll be here

530
00:30:27.000 --> 00:30:30.039
<v Speaker 2>to talk about his new play that he's directing, Neil

531
00:30:30.079 --> 00:30:34.119
<v Speaker 2>Simon's Barefoot in the Park. It's going to be challenging,

532
00:30:34.200 --> 00:30:36.160
<v Speaker 2>I'm sure, and he'll have a lot to say with

533
00:30:36.279 --> 00:30:40.240
<v Speaker 2>us when we come back. Right after these brief commercial messages,

534
00:30:40.319 --> 00:30:43.319
<v Speaker 2>This is Being Frank. I'm your host, Frank Lebono. Don't

535
00:30:43.319 --> 00:30:45.079
<v Speaker 2>go anywhere yet. We'll be right back.

536
00:30:45.960 --> 00:30:52.519
<v Speaker 3>Hudson River Radio dot com.

537
00:30:53.799 --> 00:31:01.160
<v Speaker 4>This is Hudson River Radio dot com.

538
00:31:01.279 --> 00:31:07.720
<v Speaker 5>Hudson Riverradio dot com.

539
00:31:07.880 --> 00:31:10.359
<v Speaker 4>This is Hudson Riverradio dot com.

540
00:31:13.680 --> 00:31:19.599
<v Speaker 3>This is Hudson Riverradio dot com.

541
00:31:19.759 --> 00:31:24.079
<v Speaker 2>Welcome back to Being Frank, the Intelligent Conversation Podcast. Thanks

542
00:31:24.079 --> 00:31:25.960
<v Speaker 2>for sticking with us. You know, I'm your host, Frank

543
00:31:26.000 --> 00:31:29.279
<v Speaker 2>Leboro of course, and our engineer is the mailman because

544
00:31:29.279 --> 00:31:32.559
<v Speaker 2>he always delivers. Mister Neil Richter. You know, we bring

545
00:31:32.599 --> 00:31:35.079
<v Speaker 2>our audience a fresh topic just about every week and

546
00:31:35.200 --> 00:31:38.920
<v Speaker 2>stream from Hudson River Radio, which is located in beautiful

547
00:31:39.000 --> 00:31:41.680
<v Speaker 2>and historic Stony Point, New York, and I do mean that,

548
00:31:42.119 --> 00:31:44.880
<v Speaker 2>but you can catch Being Frank anywhere you get your

549
00:31:44.920 --> 00:31:50.000
<v Speaker 2>favorite podcasts, that includes Apple, Spotify, iHeartRadio and the others.

550
00:31:50.160 --> 00:31:53.799
<v Speaker 2>And because every Being Frank is archived, you can listen

551
00:31:53.839 --> 00:31:57.559
<v Speaker 2>to any of our programs anytime you like. Find the

552
00:31:57.599 --> 00:32:01.079
<v Speaker 2>link to Being Frank on the Hudson River Radio Facebook

553
00:32:01.119 --> 00:32:05.079
<v Speaker 2>page or at our website, Hudson River Radio dot com.

554
00:32:05.240 --> 00:32:08.200
<v Speaker 2>Find the icon, just click on it and you're there

555
00:32:08.559 --> 00:32:11.680
<v Speaker 2>listen to any one of our archive programs. All right,

556
00:32:11.759 --> 00:32:15.000
<v Speaker 2>it's a great pleasure to introduce our next guest. It's

557
00:32:15.079 --> 00:32:20.000
<v Speaker 2>mister Anthony Marinelli. He is a editor, director, writer, filmmaker

558
00:32:20.079 --> 00:32:22.640
<v Speaker 2>at an Hill Productions and he's going to discuss his

559
00:32:22.720 --> 00:32:25.480
<v Speaker 2>role as director for the Center Players of Freehold production

560
00:32:25.559 --> 00:32:29.319
<v Speaker 2>of Neil Simon's Barefoot in the Park. Anthony, welcome back.

561
00:32:29.319 --> 00:32:31.799
<v Speaker 2>As I mentioned once before, you have been on the

562
00:32:31.839 --> 00:32:34.400
<v Speaker 2>program in a slightly different role, but today we want

563
00:32:34.440 --> 00:32:37.079
<v Speaker 2>to talk about your role as a director for this play,

564
00:32:37.279 --> 00:32:39.799
<v Speaker 2>Barefoot in the Park. Thank you for having.

565
00:32:39.599 --> 00:32:41.599
<v Speaker 1>Me, Frank, it's always great seeing you and talking to you.

566
00:32:43.279 --> 00:32:46.319
<v Speaker 2>Let's talk a little bit about Anthony first, as I said,

567
00:32:46.319 --> 00:32:47.839
<v Speaker 2>people met you briefly, and we're going to talk a

568
00:32:47.839 --> 00:32:49.920
<v Speaker 2>little bit about an a role as an actor with

569
00:32:49.960 --> 00:32:53.079
<v Speaker 2>our friend Paul Evinson and his book It's Real Life

570
00:32:53.079 --> 00:32:55.359
<v Speaker 2>and you're an actual character. And now we're talking a

571
00:32:55.400 --> 00:32:57.880
<v Speaker 2>little bit about that later and what that's like a

572
00:32:57.880 --> 00:33:00.240
<v Speaker 2>little bit later on in a discussion, and we did

573
00:33:00.279 --> 00:33:02.640
<v Speaker 2>a reading at the Big Read Books here at Nayak.

574
00:33:02.720 --> 00:33:04.039
<v Speaker 2>It was a lot of fun. I did a little

575
00:33:04.039 --> 00:33:07.640
<v Speaker 2>reading with you as well. But anyway, so tell us

576
00:33:07.640 --> 00:33:10.480
<v Speaker 2>a little bit about bout Anthony. How your involvement in

577
00:33:10.559 --> 00:33:13.240
<v Speaker 2>theater began. You know, a little bit of a background

578
00:33:13.319 --> 00:33:13.960
<v Speaker 2>beyond enough.

579
00:33:14.440 --> 00:33:19.519
<v Speaker 1>Yeah, so I'm an editor. I've been editing commercials for

580
00:33:19.559 --> 00:33:24.200
<v Speaker 1>over thirty years, so working on advertising for thirty plus years.

581
00:33:24.480 --> 00:33:29.079
<v Speaker 1>And you know, I filmmaking has always been my passion.

582
00:33:29.119 --> 00:33:31.440
<v Speaker 1>It's what I've always wanted to do, and I was

583
00:33:31.519 --> 00:33:33.400
<v Speaker 1>lucky enough to be able to do that for a living.

584
00:33:34.000 --> 00:33:35.160
<v Speaker 2>And some went along the line.

585
00:33:35.160 --> 00:33:38.680
<v Speaker 1>Maybe about fifteen years ago, I started developing another passion

586
00:33:38.759 --> 00:33:41.160
<v Speaker 1>I had, which was which is theater. It's something I'd

587
00:33:41.200 --> 00:33:45.160
<v Speaker 1>always wanted to get involved in, and I did have

588
00:33:45.160 --> 00:33:47.079
<v Speaker 1>an opportunity in two thousand and four to direct my

589
00:33:47.119 --> 00:33:49.359
<v Speaker 1>first play in New York City, and then a few

590
00:33:49.440 --> 00:33:51.839
<v Speaker 1>years went by and I wanted to do you know.

591
00:33:51.920 --> 00:33:54.799
<v Speaker 1>It was about two thousand and nine and I was

592
00:33:54.799 --> 00:33:56.839
<v Speaker 1>putting together a feature film that I was trying to

593
00:33:56.920 --> 00:33:59.559
<v Speaker 1>raise money for, and during that process, nothing was happening.

594
00:33:59.559 --> 00:34:01.039
<v Speaker 1>So I said, I want to do something. I want

595
00:34:01.039 --> 00:34:03.079
<v Speaker 1>to do something creative with some of the actors that

596
00:34:03.079 --> 00:34:05.480
<v Speaker 1>I'm working with on the film. So I decided to

597
00:34:05.599 --> 00:34:08.679
<v Speaker 1>produce and direct a production of Fool for Love by

598
00:34:08.719 --> 00:34:12.480
<v Speaker 1>Sam Shepherd. So we did that, and it just reignited

599
00:34:12.480 --> 00:34:15.880
<v Speaker 1>this passion, this passion for theater that I had. And

600
00:34:16.039 --> 00:34:18.320
<v Speaker 1>it was then that I decided that at least once

601
00:34:18.360 --> 00:34:20.480
<v Speaker 1>a year, I was going to do at least one

602
00:34:20.760 --> 00:34:23.719
<v Speaker 1>non advertising project a year. It was either be a

603
00:34:23.719 --> 00:34:28.119
<v Speaker 1>film or a play, and sometimes it's both. So so yeah.

604
00:34:28.119 --> 00:34:29.679
<v Speaker 1>So then after that I did a production of I

605
00:34:29.719 --> 00:34:32.639
<v Speaker 1>directed a production of Frankie and Gein and Declared Alone

606
00:34:32.719 --> 00:34:35.079
<v Speaker 1>in the City, and I produced that as well. And

607
00:34:35.119 --> 00:34:40.480
<v Speaker 1>then about twenty ten, I live in New Jersey. I

608
00:34:40.519 --> 00:34:43.679
<v Speaker 1>live in an Allepena Jersey, and a friend of mine

609
00:34:43.719 --> 00:34:47.960
<v Speaker 1>introduced me to a Theosmal Theater Company in Freehold, which

610
00:34:48.000 --> 00:34:49.280
<v Speaker 1>is like fifteen.

611
00:34:48.920 --> 00:34:51.760
<v Speaker 2>Minutes from where I lives, further birthplace of Brooks Springsteen.

612
00:34:51.840 --> 00:34:53.880
<v Speaker 2>All the Jersey boys know that, of which I am on.

613
00:34:54.320 --> 00:34:55.400
<v Speaker 2>You know, Richter is another.

614
00:34:55.639 --> 00:35:01.599
<v Speaker 1>We're everywhere exactly exactly. Ye at a company called Center Players,

615
00:35:02.159 --> 00:35:04.559
<v Speaker 1>and it was always one of it was the small

616
00:35:04.719 --> 00:35:08.320
<v Speaker 1>store front place with a head of an awning and

617
00:35:08.400 --> 00:35:10.159
<v Speaker 1>said Center Players, and I always looked at it and said,

618
00:35:10.199 --> 00:35:11.519
<v Speaker 1>someday I want to work with those guys. And then

619
00:35:11.559 --> 00:35:14.559
<v Speaker 1>I had an opportunity to do a stage reading of

620
00:35:14.559 --> 00:35:17.320
<v Speaker 1>Who's Afraid of Virginia Woolf and that was sort of

621
00:35:17.360 --> 00:35:21.400
<v Speaker 1>my entry into working with them. And then over time

622
00:35:21.440 --> 00:35:25.039
<v Speaker 1>I directed my first production there in twenty fourteen, played

623
00:35:25.079 --> 00:35:28.079
<v Speaker 1>against Sam by Woody Allen, and then every year or

624
00:35:28.159 --> 00:35:30.480
<v Speaker 1>every other year, I was directing a play with them,

625
00:35:30.519 --> 00:35:33.880
<v Speaker 1>and I love working with them. The artistic director is

626
00:35:35.320 --> 00:35:37.960
<v Speaker 1>or was at the time, Bernice Garfield ZTA. She's now

627
00:35:38.000 --> 00:35:40.880
<v Speaker 1>the president. And Michael Toda was a good friend of

628
00:35:40.880 --> 00:35:43.679
<v Speaker 1>mine and also a wonderful actor and director. He's the

629
00:35:43.880 --> 00:35:45.800
<v Speaker 1>artistic director at the theater.

630
00:35:46.679 --> 00:35:50.679
<v Speaker 2>Anthony. You work in many different mediums, you just said, commercials, film,

631
00:35:51.000 --> 00:35:53.719
<v Speaker 2>You act, you direct, you write, you edit, you know,

632
00:35:53.880 --> 00:35:55.920
<v Speaker 2>having dabbled in some of those things, you know, they

633
00:35:55.920 --> 00:35:59.519
<v Speaker 2>were all sometimes they cross over as disciplines and sometimes

634
00:35:59.519 --> 00:36:03.079
<v Speaker 2>they're different. What might you say, you know, is there

635
00:36:03.119 --> 00:36:06.360
<v Speaker 2>a common thread that runs through all of them for you?

636
00:36:06.440 --> 00:36:10.400
<v Speaker 2>And and what what does what particular challenges does each

637
00:36:10.480 --> 00:36:11.159
<v Speaker 2>present to you?

638
00:36:11.599 --> 00:36:13.960
<v Speaker 1>Yeah, I mean you mentioned acting. I only act when

639
00:36:14.320 --> 00:36:17.840
<v Speaker 1>I absolutely have to, like when Paul, when Paul, when

640
00:36:17.880 --> 00:36:23.480
<v Speaker 1>people people, When Paul contacted me and said, you know,

641
00:36:23.639 --> 00:36:25.079
<v Speaker 1>I made you a character in my book.

642
00:36:25.079 --> 00:36:25.840
<v Speaker 2>Are you okay with it?

643
00:36:25.880 --> 00:36:27.760
<v Speaker 1>And I said, of course, you know, And then later

644
00:36:27.800 --> 00:36:29.519
<v Speaker 1>on he called and said, we want to do a

645
00:36:29.519 --> 00:36:31.639
<v Speaker 1>lot of reading with you performing as yourself.

646
00:36:31.800 --> 00:36:32.440
<v Speaker 2>Are you okay with that?

647
00:36:32.519 --> 00:36:34.719
<v Speaker 1>I'm like, yeah, so I'll do it for my friends,

648
00:36:34.719 --> 00:36:36.639
<v Speaker 1>and I'll do it for you know when absolutely half

649
00:36:36.639 --> 00:36:39.000
<v Speaker 1>to my son. You know, he's a he's a young filmmaker.

650
00:36:39.039 --> 00:36:41.119
<v Speaker 1>He's going to the school Girdl Arts, and he was

651
00:36:41.159 --> 00:36:42.840
<v Speaker 1>going to hell A High school. They had a great

652
00:36:42.920 --> 00:36:46.119
<v Speaker 1>film they have a great film program there. And occasionally

653
00:36:46.119 --> 00:36:48.199
<v Speaker 1>I would act for him or his friends and their film,

654
00:36:48.239 --> 00:36:50.639
<v Speaker 1>but definitely only to oh there was another maybe there's

655
00:36:50.639 --> 00:36:52.639
<v Speaker 1>a feature film that I mean, also have one scene

656
00:36:53.119 --> 00:36:58.280
<v Speaker 1>by a filmmaker named Jeff Mazillo. So you know, I

657
00:36:58.320 --> 00:37:02.800
<v Speaker 1>do I act only you know under you know dress

658
00:37:03.840 --> 00:37:09.400
<v Speaker 1>exactly fair. It is fun and it is you know,

659
00:37:09.480 --> 00:37:11.920
<v Speaker 1>it gives me. It gives me the experience of putting

660
00:37:11.920 --> 00:37:14.840
<v Speaker 1>myself as a director into the actor's shoes, which is great.

661
00:37:15.400 --> 00:37:18.119
<v Speaker 1>But as far as crossover goes, what's cool about it

662
00:37:18.159 --> 00:37:21.159
<v Speaker 1>is what's cool about doing having a hand in all

663
00:37:21.159 --> 00:37:26.920
<v Speaker 1>these disciplines is I always find that somehow when I'm

664
00:37:26.920 --> 00:37:32.519
<v Speaker 1>working on a commercial, if I'm editing a commercial, they

665
00:37:33.119 --> 00:37:35.480
<v Speaker 1>feed each other in some ways. This there may be

666
00:37:35.559 --> 00:37:37.719
<v Speaker 1>something that happened in rehearsal. If I'm doing a play

667
00:37:37.800 --> 00:37:40.639
<v Speaker 1>or a film, something that happened, you know, during rehearsal

668
00:37:40.679 --> 00:37:43.559
<v Speaker 1>that I can I can apply in a to a

669
00:37:43.559 --> 00:37:47.679
<v Speaker 1>commercial some way, even if it's finding music for a

670
00:37:47.679 --> 00:37:52.000
<v Speaker 1>film or play. It's it's it's just it just unlocks

671
00:37:52.199 --> 00:37:55.880
<v Speaker 1>so much, you know, you become this this creative tuning

672
00:37:56.760 --> 00:37:59.400
<v Speaker 1>the fork you know for everything, and it's just one

673
00:37:59.440 --> 00:38:02.039
<v Speaker 1>thing just always informs the other. It's really it's incredible

674
00:38:02.039 --> 00:38:03.000
<v Speaker 1>when that happens.

675
00:38:04.719 --> 00:38:07.920
<v Speaker 2>Let's let's talk about your current material this play, Okay,

676
00:38:08.000 --> 00:38:11.320
<v Speaker 2>Neil Simon's Barefoot in the Park. Why why did you

677
00:38:11.440 --> 00:38:16.239
<v Speaker 2>choose obviously you must have a choice of material. Why

678
00:38:16.280 --> 00:38:19.559
<v Speaker 2>did you choose this particular play at this particular time.

679
00:38:20.239 --> 00:38:23.880
<v Speaker 1>So I'll back up a little bit about like Center

680
00:38:23.920 --> 00:38:25.800
<v Speaker 1>Players and what's going on with them, and I'll get

681
00:38:25.800 --> 00:38:29.559
<v Speaker 1>into why I chose Barefoot. So the Center Players, they've

682
00:38:29.599 --> 00:38:32.360
<v Speaker 1>they've been in this space and Freehold for over twenty

683
00:38:32.360 --> 00:38:34.599
<v Speaker 1>five years up until last year when they lost their

684
00:38:34.719 --> 00:38:36.559
<v Speaker 1>lease and a company came in and bought the building

685
00:38:36.599 --> 00:38:38.719
<v Speaker 1>and kicked them out, made it a grocery store.

686
00:38:38.719 --> 00:38:39.679
<v Speaker 2>And they think a.

687
00:38:39.719 --> 00:38:41.760
<v Speaker 1>Year has gone by and I think now they're starting

688
00:38:41.800 --> 00:38:44.360
<v Speaker 1>construction on the grocery store. So it's been empty for

689
00:38:44.400 --> 00:38:48.840
<v Speaker 1>a year, which is annoying. But what we've been doing

690
00:38:50.679 --> 00:38:56.840
<v Speaker 1>this past over this past year is monthly readings play

691
00:38:56.880 --> 00:39:00.400
<v Speaker 1>readings that that we've been doing at the American Hotel,

692
00:39:00.440 --> 00:39:03.000
<v Speaker 1>which is also in Freehold, and that's been great. So

693
00:39:03.079 --> 00:39:05.280
<v Speaker 1>I got the first Monday of every month will be

694
00:39:05.320 --> 00:39:08.719
<v Speaker 1>a play reading and that's been keeping the theater active

695
00:39:08.880 --> 00:39:14.519
<v Speaker 1>and the community active, people participating in keeping the name

696
00:39:14.679 --> 00:39:17.960
<v Speaker 1>out there. There have been a few other venues that

697
00:39:18.079 --> 00:39:20.280
<v Speaker 1>we've been in contact with and have been able to

698
00:39:20.440 --> 00:39:23.920
<v Speaker 1>perform in a black box situation in Freehold, as well,

699
00:39:24.559 --> 00:39:29.199
<v Speaker 1>and while looking for a new home and permanent home,

700
00:39:30.239 --> 00:39:35.840
<v Speaker 1>I stumbled upon the Millstone Performing Arts Center, where a

701
00:39:35.840 --> 00:39:38.960
<v Speaker 1>couple of friends of ours saw a production of Into

702
00:39:39.000 --> 00:39:41.719
<v Speaker 1>the Woods and told we're telling my wife and I

703
00:39:41.719 --> 00:39:44.719
<v Speaker 1>about it, and thought that we should go. I should

704
00:39:44.719 --> 00:39:47.199
<v Speaker 1>go check it out and talk to them about maybe

705
00:39:47.199 --> 00:39:49.079
<v Speaker 1>doing something with Center Players over there.

706
00:39:49.280 --> 00:39:49.639
<v Speaker 3>So I did.

707
00:39:49.679 --> 00:39:51.719
<v Speaker 1>I contacted them, and it ended up being the exact

708
00:39:51.840 --> 00:39:54.800
<v Speaker 1>right time because they were looking for another theater company

709
00:39:54.800 --> 00:39:58.079
<v Speaker 1>to partner with, which is great, and they had an

710
00:39:58.119 --> 00:40:00.920
<v Speaker 1>open slot in October to the the first two weekends

711
00:40:00.960 --> 00:40:06.280
<v Speaker 1>in October. So and this stage, like Center Players the

712
00:40:06.280 --> 00:40:10.840
<v Speaker 1>theater in Freehold, it's a small theater, forty nine seats

713
00:40:11.519 --> 00:40:14.920
<v Speaker 1>maybe you know, seventeen by fifteen or something. It was

714
00:40:14.960 --> 00:40:18.239
<v Speaker 1>a small stage. This place is like triple the size.

715
00:40:18.519 --> 00:40:26.800
<v Speaker 1>So in considering what production might be done there, I

716
00:40:27.000 --> 00:40:31.599
<v Speaker 1>decided that Bearform in the Park by Neil Simon would

717
00:40:31.599 --> 00:40:36.159
<v Speaker 1>would be conducive for you know, the stage and that audience,

718
00:40:36.280 --> 00:40:38.760
<v Speaker 1>and would bring people in and and also sort of

719
00:40:38.760 --> 00:40:42.199
<v Speaker 1>be a tonic, you know, for our time. You know,

720
00:40:42.320 --> 00:40:45.440
<v Speaker 1>it's basically, you know the world is kind of on

721
00:40:45.519 --> 00:40:48.519
<v Speaker 1>fire right now, and I thought that doing something light

722
00:40:48.800 --> 00:40:51.639
<v Speaker 1>and something from a more innocent time in the early sixties,

723
00:40:52.840 --> 00:40:56.199
<v Speaker 1>before the world changed, you know, in nineteen sixty three,

724
00:40:56.320 --> 00:40:59.840
<v Speaker 1>like a week after Barefoot opened on Broadway, JFK was

725
00:40:59.880 --> 00:41:03.320
<v Speaker 1>asassinated and from there on the world just you know,

726
00:41:03.559 --> 00:41:07.719
<v Speaker 1>ignited in flames, like one thing after another. But the play,

727
00:41:08.320 --> 00:41:10.880
<v Speaker 1>to me, it's sort of reflected a more innocent time.

728
00:41:11.599 --> 00:41:15.840
<v Speaker 1>And I chose that because there's there's so many other

729
00:41:15.880 --> 00:41:18.440
<v Speaker 1>Neil Simon plays I could have chosen, but I chose

730
00:41:18.480 --> 00:41:20.920
<v Speaker 1>that one because I just thought it was it would

731
00:41:20.960 --> 00:41:22.760
<v Speaker 1>be an antidote.

732
00:41:22.400 --> 00:41:23.840
<v Speaker 3>To you know, the.

733
00:41:25.559 --> 00:41:28.079
<v Speaker 1>Kind of the way the world we're living in right now,

734
00:41:28.119 --> 00:41:30.280
<v Speaker 1>Like people need that kind of escape, and I felt

735
00:41:30.320 --> 00:41:31.480
<v Speaker 1>that it was the right time for that.

736
00:41:32.599 --> 00:41:34.800
<v Speaker 2>I'd like to hear your perspective on you know, Neil

737
00:41:34.840 --> 00:41:37.400
<v Speaker 2>Simon is extremely well known. Therefore in the Park is

738
00:41:37.440 --> 00:41:40.760
<v Speaker 2>known you mentioned amongst his other works. Is it is

739
00:41:40.760 --> 00:41:44.239
<v Speaker 2>it more challenging as a director to to direct a

740
00:41:44.280 --> 00:41:47.559
<v Speaker 2>play that is so well known, that has been performed

741
00:41:47.599 --> 00:41:50.400
<v Speaker 2>so many times in the in the past. Does that

742
00:41:50.480 --> 00:41:51.760
<v Speaker 2>help or does that hurt?

743
00:41:54.320 --> 00:41:54.559
<v Speaker 3>Well?

744
00:41:55.239 --> 00:41:57.679
<v Speaker 1>I try to look at I try to avoid as

745
00:41:57.719 --> 00:42:00.639
<v Speaker 1>much as possible any like the movie, and then the

746
00:42:00.719 --> 00:42:03.800
<v Speaker 1>other production, that that's that's been done, and I focus

747
00:42:03.840 --> 00:42:06.920
<v Speaker 1>on the script and the text and what the what

748
00:42:06.960 --> 00:42:11.639
<v Speaker 1>the intentions are. So in terms of if if I could,

749
00:42:11.760 --> 00:42:14.960
<v Speaker 1>if I could shut everything else out and forget everything

750
00:42:15.000 --> 00:42:18.440
<v Speaker 1>that's been done and focus on you know, the characters

751
00:42:18.519 --> 00:42:22.199
<v Speaker 1>and the and the you know, the circumstances, then uh,

752
00:42:22.360 --> 00:42:25.719
<v Speaker 1>it's that part of it is is uh that that

753
00:42:25.719 --> 00:42:32.320
<v Speaker 1>that goes away. The challenging part is you know, making it,

754
00:42:32.800 --> 00:42:34.000
<v Speaker 1>making it fresh.

755
00:42:34.519 --> 00:42:35.079
<v Speaker 2>But so.

756
00:42:37.079 --> 00:42:40.480
<v Speaker 1>You know, staying true to the time, to the period,

757
00:42:40.800 --> 00:42:44.599
<v Speaker 1>and you know, and and the you know, the innocence

758
00:42:44.639 --> 00:42:50.480
<v Speaker 1>of it, you know. So yeah, so it's it's it's

759
00:42:50.519 --> 00:42:52.039
<v Speaker 1>sort of it's a double edded sort because I mean,

760
00:42:52.079 --> 00:42:54.880
<v Speaker 1>what's great about it is because it's so well known

761
00:42:55.119 --> 00:42:58.079
<v Speaker 1>that we hope that that's a draw that brings people in.

762
00:42:58.519 --> 00:43:01.519
<v Speaker 1>And I'm hoping, I mean to the actors. We haven't

763
00:43:01.760 --> 00:43:05.920
<v Speaker 1>begun rehearsal yet, but we've been very actively speaking. I said,

764
00:43:05.960 --> 00:43:08.440
<v Speaker 1>you know, my hope is that you know, people say

765
00:43:08.480 --> 00:43:10.280
<v Speaker 1>they've never seen Barefoot like this before.

766
00:43:11.559 --> 00:43:15.599
<v Speaker 2>Interesting, interesting perspective. Now some of the things that Craig

767
00:43:15.639 --> 00:43:21.639
<v Speaker 2>said similar questions obviously, guys in very similar positions in

768
00:43:21.719 --> 00:43:24.800
<v Speaker 2>your mind, Why is it important to have community theater.

769
00:43:24.880 --> 00:43:27.159
<v Speaker 2>I mean people could go to Broadway certainly if they

770
00:43:27.159 --> 00:43:31.719
<v Speaker 2>could afford it. Uh, but yet there there's a thriving

771
00:43:31.880 --> 00:43:37.280
<v Speaker 2>local theater community that persists. Why should it persist?

772
00:43:38.920 --> 00:43:41.039
<v Speaker 1>Well, I mean the word community says it all. It

773
00:43:41.039 --> 00:43:45.000
<v Speaker 1>brings people together, and it gives people a way to

774
00:43:45.039 --> 00:43:48.199
<v Speaker 1>express themselves. Like there are so many people like you know,

775
00:43:48.639 --> 00:43:53.440
<v Speaker 1>everyone with everyone wants an outlet. Everyone needs an outlet.

776
00:43:53.559 --> 00:43:57.159
<v Speaker 1>You know, whether it's it's it's music or or acting

777
00:43:57.360 --> 00:44:00.559
<v Speaker 1>or or you know, painting or drawing. It's like everyone

778
00:44:00.599 --> 00:44:03.079
<v Speaker 1>needs to create an outlet and it makes it makes

779
00:44:03.159 --> 00:44:07.920
<v Speaker 1>us all better as individuals. So I think having a

780
00:44:09.280 --> 00:44:12.800
<v Speaker 1>theater is a community theater is the best of all

781
00:44:12.840 --> 00:44:16.360
<v Speaker 1>worlds because it brings all of those disciplines together. You know,

782
00:44:16.400 --> 00:44:18.079
<v Speaker 1>if you're an artist and maybe you want to help

783
00:44:18.119 --> 00:44:20.400
<v Speaker 1>with set design. If you are an actor, well obviously

784
00:44:20.480 --> 00:44:22.000
<v Speaker 1>want to be on stage if you're there, you know,

785
00:44:22.039 --> 00:44:25.199
<v Speaker 1>so even musicians, if you if you're doing a musical.

786
00:44:25.719 --> 00:44:29.519
<v Speaker 1>So it's the best way to bring you know, people together.

787
00:44:30.280 --> 00:44:32.880
<v Speaker 1>You know in a way that you're all you know,

788
00:44:33.159 --> 00:44:35.679
<v Speaker 1>working towards the same goal. You know, you want to

789
00:44:35.719 --> 00:44:37.960
<v Speaker 1>do something great, you want to share it with an audience,

790
00:44:38.000 --> 00:44:40.719
<v Speaker 1>and the audience, you know, there is this great communal

791
00:44:40.760 --> 00:44:43.000
<v Speaker 1>thing that happens with an audience when you know, when

792
00:44:43.079 --> 00:44:47.639
<v Speaker 1>when actors are performing, it's just it just it makes

793
00:44:47.719 --> 00:44:49.679
<v Speaker 1>it really does make everything better. And what Craig was

794
00:44:49.719 --> 00:44:52.760
<v Speaker 1>saying earlier is is all relevant as well in terms

795
00:44:52.800 --> 00:44:55.920
<v Speaker 1>of like what a community theater does for the community.

796
00:44:55.960 --> 00:44:59.559
<v Speaker 1>In terms of businesses, people go out to dinner, you know,

797
00:44:59.679 --> 00:45:03.480
<v Speaker 1>the there's just so much more that that it brings

798
00:45:03.559 --> 00:45:08.760
<v Speaker 1>to you know, to everyone. So it's it helps everyone drive.

799
00:45:09.360 --> 00:45:12.800
<v Speaker 2>I think you know Craig mentioned and I'm sure the

800
00:45:12.920 --> 00:45:17.000
<v Speaker 2>unique set of challenges. These are not big profit making

801
00:45:18.000 --> 00:45:22.639
<v Speaker 2>organizations and so they've always had challenges in terms of existing. Again,

802
00:45:22.679 --> 00:45:25.480
<v Speaker 2>and I mentioned the idea of sustainability. Even if you

803
00:45:25.519 --> 00:45:28.480
<v Speaker 2>have a sustainability network, it's the key is can you

804
00:45:28.519 --> 00:45:31.679
<v Speaker 2>sustain the network? So you know that that's a big

805
00:45:31.760 --> 00:45:34.800
<v Speaker 2>part of it. But so how do you how do

806
00:45:34.880 --> 00:45:38.360
<v Speaker 2>you deal with, especially now in the changing environment mentioned

807
00:45:38.360 --> 00:45:41.679
<v Speaker 2>already the blow that the theater company took in terms

808
00:45:41.719 --> 00:45:44.760
<v Speaker 2>of losing their actual theater and things are getting worse

809
00:45:45.239 --> 00:45:49.119
<v Speaker 2>not better. Does that failure with trepidation? How will you

810
00:45:49.159 --> 00:45:49.679
<v Speaker 2>deal with.

811
00:45:49.559 --> 00:45:53.559
<v Speaker 1>That yeah, you know, it's it's it's strange not having

812
00:45:53.639 --> 00:45:56.159
<v Speaker 1>a home, you know, because we're always looking for places

813
00:45:56.159 --> 00:46:01.599
<v Speaker 1>to perform and ways of doing what we love. One

814
00:46:01.639 --> 00:46:04.800
<v Speaker 1>of it is, you know, applying for grants. Uh, that's

815
00:46:04.599 --> 00:46:08.599
<v Speaker 1>that's always an ongoing process. Looking for sponsorships, that's that's

816
00:46:08.639 --> 00:46:11.840
<v Speaker 1>an ongoing process right now as well. And for this production,

817
00:46:12.119 --> 00:46:14.840
<v Speaker 1>I decided to launch a go fund campaign. They've never

818
00:46:14.880 --> 00:46:18.760
<v Speaker 1>done anything like that before Center Players, but I suggested

819
00:46:18.800 --> 00:46:21.559
<v Speaker 1>it because it's, you know, this is a it's a

820
00:46:21.639 --> 00:46:25.639
<v Speaker 1>it's the largest production that they've ever done. It's you know,

821
00:46:25.679 --> 00:46:28.320
<v Speaker 1>the scene capacities double the amount of people that they've

822
00:46:28.320 --> 00:46:31.400
<v Speaker 1>they've had, you know, they've had before, and the stage

823
00:46:31.480 --> 00:46:34.280
<v Speaker 1>is triple just just about triple the size of what

824
00:46:34.320 --> 00:46:36.079
<v Speaker 1>they had before. So I want to take as much

825
00:46:36.079 --> 00:46:39.519
<v Speaker 1>advantage of that as possible. So rather than relying on

826
00:46:39.599 --> 00:46:42.599
<v Speaker 1>ticket sales to fund the production, I'm trying to raise

827
00:46:42.599 --> 00:46:46.880
<v Speaker 1>I'm trying to help raise money to augment whatever you know,

828
00:46:47.159 --> 00:46:50.719
<v Speaker 1>comes in from sponsorships or or grants, which may, you know,

829
00:46:51.159 --> 00:46:53.840
<v Speaker 1>may or may not happen. You never know. So I

830
00:46:54.440 --> 00:46:57.280
<v Speaker 1>started a go funding campaign onto the theater. You know,

831
00:46:58.360 --> 00:47:00.599
<v Speaker 1>it's a five to one C three so it's tax deductible.

832
00:47:00.639 --> 00:47:03.800
<v Speaker 1>They'd be tax deductible donations. And actually we started it

833
00:47:03.840 --> 00:47:05.880
<v Speaker 1>a couple of weeks ago when we've already raised over

834
00:47:05.920 --> 00:47:08.280
<v Speaker 1>one thousand dollars, so it's already gotten off to a

835
00:47:08.280 --> 00:47:10.920
<v Speaker 1>really good start, and we're we're trying to raise six

836
00:47:11.000 --> 00:47:14.840
<v Speaker 1>thousand dollars to fund the you know, the production for

837
00:47:14.840 --> 00:47:18.159
<v Speaker 1>for the rights, for building materials, everything that goes into

838
00:47:18.199 --> 00:47:22.599
<v Speaker 1>the physical production. So yeah, money is always the biggest challenge.

839
00:47:22.639 --> 00:47:25.199
<v Speaker 1>It's like, and I you know, I've been dealing with

840
00:47:25.239 --> 00:47:28.800
<v Speaker 1>this for many years because whenever I do a film,

841
00:47:28.800 --> 00:47:32.000
<v Speaker 1>if I'm f I'm directing a film, you know, the

842
00:47:32.039 --> 00:47:35.079
<v Speaker 1>money's got to come first. So as far as like

843
00:47:35.360 --> 00:47:39.119
<v Speaker 1>fundraising campaigns, I've been doing this for for years. So it's, uh,

844
00:47:39.599 --> 00:47:41.519
<v Speaker 1>it's a necessary evil that we have to, like, we

845
00:47:41.599 --> 00:47:42.239
<v Speaker 1>have to deal with.

846
00:47:43.280 --> 00:47:45.320
<v Speaker 2>It's like the big bucks I make for doing this

847
00:47:45.440 --> 00:47:49.719
<v Speaker 2>podcast Anthony, which is which is none but I do Yeah,

848
00:47:49.760 --> 00:47:52.280
<v Speaker 2>but you do that, but it's most serious. Did you

849
00:47:52.280 --> 00:47:54.679
<v Speaker 2>do it because you love it? Very interesting?

850
00:47:54.719 --> 00:47:57.000
<v Speaker 1>It's like people ask sometimes people ask you why, you know,

851
00:47:57.039 --> 00:48:00.360
<v Speaker 1>why do you do this? And I find myself when

852
00:48:00.440 --> 00:48:03.400
<v Speaker 1>when I'm not doing it, there's there's an empty I

853
00:48:03.519 --> 00:48:06.119
<v Speaker 1>have to do it. It's it's like the money is like

854
00:48:06.679 --> 00:48:11.079
<v Speaker 1>the money doesn't matter. It's like it's the satisfaction of

855
00:48:11.280 --> 00:48:15.400
<v Speaker 1>taking something, bringing it to life and sharing it with people.

856
00:48:15.519 --> 00:48:16.440
<v Speaker 1>And that's you know.

857
00:48:17.440 --> 00:48:21.199
<v Speaker 2>Yeah, I was. I was whining to being frank with

858
00:48:20.719 --> 00:48:23.559
<v Speaker 2>an artist friend of mine said, oh, you know, I

859
00:48:23.559 --> 00:48:25.840
<v Speaker 2>wish I had been ratings and it's a lot of

860
00:48:25.840 --> 00:48:27.960
<v Speaker 2>work to put in and just whining away. And she

861
00:48:28.079 --> 00:48:30.760
<v Speaker 2>looked to me very simply and said do you love it?

862
00:48:30.840 --> 00:48:33.320
<v Speaker 2>And I said yeah, kind of dude, She said so,

863
00:48:34.320 --> 00:48:37.360
<v Speaker 2>and that was the end of the conversation. It was

864
00:48:37.440 --> 00:48:43.960
<v Speaker 2>all that was neat. So can you say, uh, I

865
00:48:44.000 --> 00:48:46.800
<v Speaker 2>want to talk a little bit about the production itself,

866
00:48:46.840 --> 00:48:50.000
<v Speaker 2>how people can eventually see and how they can contribute.

867
00:48:50.360 --> 00:48:54.079
<v Speaker 2>But before that we mentioned your role in It's Real

868
00:48:54.199 --> 00:48:56.920
<v Speaker 2>Life and Alternate History of the Beatles, which is our

869
00:48:56.960 --> 00:49:00.960
<v Speaker 2>friend doctor Paul Levinson's novel, which great fun. We did

870
00:49:01.000 --> 00:49:02.760
<v Speaker 2>a reading. We've had him on to talk about a

871
00:49:02.800 --> 00:49:06.199
<v Speaker 2>little bit. So talk a little bit about your experiences

872
00:49:06.360 --> 00:49:08.840
<v Speaker 2>with its real life and what is it? What did

873
00:49:08.880 --> 00:49:13.760
<v Speaker 2>it feel like? Because you're not a fictional characters, this

874
00:49:14.039 --> 00:49:14.440
<v Speaker 2>is your.

875
00:49:14.400 --> 00:49:18.440
<v Speaker 1>Name, all took some liberties, but you know, it was

876
00:49:18.599 --> 00:49:21.239
<v Speaker 1>really it was, it was it was so much fun

877
00:49:21.639 --> 00:49:24.239
<v Speaker 1>to be a part of that. You know, when when

878
00:49:24.239 --> 00:49:29.119
<v Speaker 1>he mentioned that I've known Paul for twenty years at least.

879
00:49:29.719 --> 00:49:32.559
<v Speaker 1>I met him when I was I was writing a

880
00:49:32.679 --> 00:49:36.519
<v Speaker 1>play at the time called Acoustic Space, which is based

881
00:49:36.559 --> 00:49:43.519
<v Speaker 1>on Marshall McLuhan a one of his terms for you know,

882
00:49:43.559 --> 00:49:47.559
<v Speaker 1>for media, and in order to I and I had

883
00:49:47.639 --> 00:49:50.800
<v Speaker 1>just read Paul's book Digital mccluan, which is kind of

884
00:49:50.800 --> 00:49:53.199
<v Speaker 1>what the film is saying. It's like it's it's it's like,

885
00:49:54.280 --> 00:49:57.320
<v Speaker 1>you know, McLuhan's concepts in the in the modern digital world,

886
00:49:57.880 --> 00:50:01.480
<v Speaker 1>and I wanted to I reached down to him to

887
00:50:01.960 --> 00:50:05.280
<v Speaker 1>just really to ask if, you know, if I was

888
00:50:05.360 --> 00:50:09.000
<v Speaker 1>accurate in my in my depictions. And he wrote back

889
00:50:09.280 --> 00:50:11.559
<v Speaker 1>and then, uh, you know, he gave me some of

890
00:50:11.800 --> 00:50:15.199
<v Speaker 1>some feedback and I made adjustments, and you know, years

891
00:50:15.320 --> 00:50:17.320
<v Speaker 1>we've been friends, we stayed in touch, we've been friends

892
00:50:17.360 --> 00:50:21.920
<v Speaker 1>ever since. So he you know, he's come, he's come

893
00:50:21.960 --> 00:50:25.679
<v Speaker 1>to some of our productions, and uh, one day I

894
00:50:25.760 --> 00:50:28.440
<v Speaker 1>knew he had written its real life as a short story,

895
00:50:28.760 --> 00:50:31.400
<v Speaker 1>and he won some awards and he expanded into the novel.

896
00:50:31.920 --> 00:50:34.280
<v Speaker 1>I didn't know he was including me as a character

897
00:50:34.400 --> 00:50:37.000
<v Speaker 1>until after it was done and he wrote to me

898
00:50:37.039 --> 00:50:39.360
<v Speaker 1>and said is it okay? Like, of course, it's okay,

899
00:50:39.519 --> 00:50:42.480
<v Speaker 1>you know. And then and I think it's been it's

900
00:50:42.559 --> 00:50:44.519
<v Speaker 1>been doing really well for him and it deserves me

901
00:50:44.559 --> 00:50:46.519
<v Speaker 1>so because it's a really it's a it's a it's

902
00:50:46.519 --> 00:50:47.440
<v Speaker 1>such a fun read.

903
00:50:47.480 --> 00:50:49.920
<v Speaker 6>It's so it was it is it is really it

904
00:50:50.000 --> 00:50:52.519
<v Speaker 6>is really fun. Uh yeah, I think let's talk a

905
00:50:52.559 --> 00:50:55.239
<v Speaker 6>little bit about how people can get involved. You mentioned

906
00:50:55.360 --> 00:50:58.679
<v Speaker 6>a go fundme campaign. Tell us a little bit how

907
00:50:58.719 --> 00:51:01.840
<v Speaker 6>people can get involved, and a little bit more about

908
00:51:01.880 --> 00:51:04.639
<v Speaker 6>the production and when it's going to be happening and

909
00:51:04.639 --> 00:51:05.880
<v Speaker 6>where it's going to be happening.

910
00:51:06.119 --> 00:51:08.079
<v Speaker 2>You know, we wte people to come up to Nayak.

911
00:51:08.280 --> 00:51:10.360
<v Speaker 2>People from NYA can go down and see great theater

912
00:51:10.480 --> 00:51:13.239
<v Speaker 2>and freehold New Jersey as well. So tell us a

913
00:51:13.239 --> 00:51:15.400
<v Speaker 2>little bit more about the nuts and bolts, if you will.

914
00:51:16.000 --> 00:51:19.639
<v Speaker 1>So, the go fund me campaign is live and it's

915
00:51:20.079 --> 00:51:23.679
<v Speaker 1>if you if you find me on Facebook or or Instagram,

916
00:51:24.440 --> 00:51:26.079
<v Speaker 1>there'll be a link you could you could you can

917
00:51:26.159 --> 00:51:28.920
<v Speaker 1>find it. You can and make it tech again to

918
00:51:28.920 --> 00:51:31.280
<v Speaker 1>a tax deductible donation because Center Players is if I

919
00:51:31.360 --> 00:51:35.960
<v Speaker 1>will one C three nonprofit. The play Bear from the

920
00:51:35.960 --> 00:51:40.159
<v Speaker 1>Park opens this October third and runs the first two

921
00:51:40.199 --> 00:51:43.199
<v Speaker 1>weekends of October, so runs through October, from October third

922
00:51:43.599 --> 00:51:47.719
<v Speaker 1>to the twelfth. And we're just about we're gonna be

923
00:51:47.760 --> 00:51:51.840
<v Speaker 1>starting rehearsals July fourteenth, so pretty soon we'll be starting

924
00:51:51.840 --> 00:51:56.000
<v Speaker 1>rehearsals and a great cast, really good. The two leads

925
00:51:56.000 --> 00:52:00.679
<v Speaker 1>are Olivia are Arendt and Darren Carfano, and then Onetiful.

926
00:52:00.840 --> 00:52:07.719
<v Speaker 1>I actually met them during a reading of Beyond Therapy

927
00:52:08.079 --> 00:52:10.079
<v Speaker 1>at the American Hotel. Like I said, we have these

928
00:52:10.360 --> 00:52:14.599
<v Speaker 1>monthly readings, and I you know, I always love to

929
00:52:14.760 --> 00:52:20.800
<v Speaker 1>find talent, you know, in in the in the situation.

930
00:52:20.960 --> 00:52:24.840
<v Speaker 1>So rather than an audition, I'd rather say from from

931
00:52:24.880 --> 00:52:26.639
<v Speaker 1>seeing a film or seeing a plant. I don't want

932
00:52:26.639 --> 00:52:28.920
<v Speaker 1>to work with those people. And that's exactly what happened

933
00:52:28.960 --> 00:52:30.639
<v Speaker 1>with them. I saw them in this this reading of

934
00:52:30.679 --> 00:52:32.840
<v Speaker 1>Beyond Therapy, and I filed them in the back of

935
00:52:32.840 --> 00:52:34.039
<v Speaker 1>my head. It's at noment of where I had to

936
00:52:34.079 --> 00:52:37.039
<v Speaker 1>work with them one day. So when the opportunity came

937
00:52:37.119 --> 00:52:39.400
<v Speaker 1>up with Barefoot, I offered them the roles and they

938
00:52:39.400 --> 00:52:41.440
<v Speaker 1>were super excited. To be a part of it, and

939
00:52:41.480 --> 00:52:43.159
<v Speaker 1>I'm super excited to have them.

940
00:52:43.199 --> 00:52:44.400
<v Speaker 2>So it's going to be.

941
00:52:44.480 --> 00:52:45.760
<v Speaker 1>It really is going to be a lot of fun,

942
00:52:45.800 --> 00:52:47.920
<v Speaker 1>and it is going to be it's going to be

943
00:52:47.920 --> 00:52:50.440
<v Speaker 1>different from what you might have seen in the past,

944
00:52:50.480 --> 00:52:51.039
<v Speaker 1>that's for sure.

945
00:52:52.119 --> 00:52:54.000
<v Speaker 2>And if people needed to get in touch with you

946
00:52:54.079 --> 00:52:57.000
<v Speaker 2>directly to ask questions, do you have a site or

947
00:52:57.000 --> 00:52:58.840
<v Speaker 2>an email that people might be able to use to

948
00:52:58.880 --> 00:52:59.519
<v Speaker 2>contact you.

949
00:53:00.079 --> 00:53:03.519
<v Speaker 1>Oh yeah, my email is Anthony Marinelli at mac dot com.

950
00:53:04.440 --> 00:53:09.639
<v Speaker 1>My website is Anthony Marinelli dot net. And to get tickets,

951
00:53:09.679 --> 00:53:12.480
<v Speaker 1>actually tickets for Barefoot rou on sale now, you could

952
00:53:12.519 --> 00:53:16.679
<v Speaker 1>go to Centerplayers dot dot org, center players dot org

953
00:53:17.039 --> 00:53:20.480
<v Speaker 1>or tickets Anthony Marinelli.

954
00:53:20.599 --> 00:53:22.960
<v Speaker 2>I want to thank you for your intelligent conversation. This

955
00:53:23.119 --> 00:53:23.519
<v Speaker 2>was great.

956
00:53:24.280 --> 00:53:27.079
<v Speaker 1>It was so much fun to you know, to speak

957
00:53:27.119 --> 00:53:27.599
<v Speaker 1>with you again.

958
00:53:28.039 --> 00:53:30.000
<v Speaker 2>Yeah, well we'll we'll have you come back when when

959
00:53:30.000 --> 00:53:31.840
<v Speaker 2>the play is running and we'll see how how how

960
00:53:32.119 --> 00:53:33.760
<v Speaker 2>how it's rolling and everything. That would be great. It

961
00:53:33.760 --> 00:53:37.519
<v Speaker 2>would be my pleasure absolutely, Thank you. Thanks, of course,

962
00:53:38.119 --> 00:53:41.440
<v Speaker 2>our pleasure. Of course we want to thank Craig Smith

963
00:53:41.559 --> 00:53:45.360
<v Speaker 2>from the Phoenix Theater Ensemble as well for his intelligent conversation.

964
00:53:46.360 --> 00:53:49.920
<v Speaker 2>And remember we offer a special thanks to our listeners

965
00:53:49.960 --> 00:53:52.480
<v Speaker 2>who take time to give us a voice in their lives.

966
00:53:53.000 --> 00:53:55.800
<v Speaker 2>Remember we offer a fresh topic every week. Catch us

967
00:53:55.920 --> 00:53:59.719
<v Speaker 2>wherever and whenever you get your favorite podcasts That includes

968
00:53:59.760 --> 00:54:04.000
<v Speaker 2>all Apple, Spotify, iHeart Radio, and all the rest. Check

969
00:54:04.079 --> 00:54:08.039
<v Speaker 2>us out on the Hudson River Radio Facebook page. Now

970
00:54:08.079 --> 00:54:10.000
<v Speaker 2>you know, I was leave you with two fool things.

971
00:54:10.000 --> 00:54:14.079
<v Speaker 2>A slogan that I think is relative to our conversation,

972
00:54:14.199 --> 00:54:17.519
<v Speaker 2>and then some music which is also relative to our conversation.

973
00:54:18.000 --> 00:54:20.000
<v Speaker 2>And Anthony, I gotta tell you, I stole this from

974
00:54:20.039 --> 00:54:24.360
<v Speaker 2>your Facebook page. It's from John Cassavetes, and he said,

975
00:54:24.400 --> 00:54:26.920
<v Speaker 2>as an artist, I feel that we must try things,

976
00:54:27.199 --> 00:54:30.679
<v Speaker 2>but above all, we must dare to fail. You must

977
00:54:30.719 --> 00:54:33.159
<v Speaker 2>have the courage to be bad, to be willing to

978
00:54:33.280 --> 00:54:37.320
<v Speaker 2>risk everything, to really express it all. I really I

979
00:54:37.360 --> 00:54:40.079
<v Speaker 2>try to. I really try to do that. I risk

980
00:54:40.199 --> 00:54:45.119
<v Speaker 2>being bad and I usually fulfill a weekly bits.

981
00:54:45.440 --> 00:54:46.960
<v Speaker 1>I'm definitely not afraid of failure.

982
00:54:47.440 --> 00:54:52.199
<v Speaker 2>Definitely. That's why we call it being practiced being Frankett.

983
00:54:54.239 --> 00:54:56.800
<v Speaker 2>All right, we've got some closing music from the doctor

984
00:54:56.960 --> 00:55:00.239
<v Speaker 2>Professor as I called Paul Levinson, and of course work

985
00:55:00.320 --> 00:55:04.320
<v Speaker 2>for our engineer mister Neil Richter the Mailman. I'm your host,

986
00:55:04.360 --> 00:55:07.000
<v Speaker 2>Frank Lobono. We hope to have you join us for

987
00:55:07.039 --> 00:55:09.000
<v Speaker 2>the next being. Frank. We're the only way to be

988
00:55:09.800 --> 00:55:10.239
<v Speaker 2>is Frank.

989
00:55:10.480 --> 00:55:36.320
<v Speaker 4>Thanks everyone, love your name.

990
00:55:39.239 --> 00:56:25.280
<v Speaker 5>Jans, the ships, lovelings, Chell dots, French chis it is

991
00:56:25.400 --> 00:56:26.760
<v Speaker 5>a salt silk.

992
00:56:27.000 --> 00:56:38.400
<v Speaker 7>Get enjoy that, Bodkin said to a third son.

993
00:56:38.800 --> 00:56:39.920
<v Speaker 3>It's clean.

994
00:56:46.880 --> 00:56:58.239
<v Speaker 5>Chay chet jams tree Jing.

995
00:56:59.320 --> 00:57:03.760
<v Speaker 7>Chall nine in.

996
00:57:04.119 --> 00:57:05.840
<v Speaker 1>Gent call.

997
00:57:15.639 --> 00:57:17.079
<v Speaker 2>See the nine.

998
00:57:17.760 --> 00:57:23.159
<v Speaker 5>This is not I not see the night. It's broad

999
00:57:23.440 --> 00:57:31.280
<v Speaker 5>on the crowd, got the pass, still play the breezeberd

1000
00:57:32.079 --> 00:57:49.639
<v Speaker 5>is the graft Turkey, sat chaity, cherry per soft wine,

1001
00:57:50.320 --> 00:58:32.840
<v Speaker 5>friend charity, cherry chums to cham.

1002
00:59:00.239 --> 00:59:01.480
<v Speaker 3>Oh so.

1003
00:59:05.000 --> 00:59:10.519
<v Speaker 5>Holidays.

1004
00:59:10.880 --> 00:59:12.400
<v Speaker 3>You your.

1005
00:59:14.360 --> 00:59:19.719
<v Speaker 5>Holloway Holliday.

1006
00:59:20.000 --> 00:59:47.079
<v Speaker 3>So this is Hudson River Radio dot com.
