Friday, October 21, 2016

THESPIANA...New Play Festival

I thought I was pretty plugged in to the Colorado Springs theater community.  I was wrong.  

Somehow Thespiana 2016 got by me…it happened last February 27-28 at the Cottonwood Center for the ArtsThespiana is a new play festival of sorts, drawing most of the entries from The Drama Lab, which is calling itself “the best little playwriting group in Colorado Springs.”

I missed the Thespiana 2016 play readings, but I’ve already calendared the 2017 version (with five brand new plays) on February 25-26.  Tickets will be available after December 1.  Both dates will be the same scripts; the Saturday show repeats on Sunday.

Full house at Thespiana 2016.
This early notice may be helpful; the 2016 event packed the Cottonwood with two sold out performances.  Not bad for a “little” playwriting group event with just "word of mouth" advertising (and some email blasts to friends and acquaintances and a couple of radio interiews).  It was listed as a Facebook event, but it never hit my Facebook page.  I think the Cottonwood seats about 75 per show, so it’s impressive that about 150 people turned out for new work by local playwrights with virtually no advertising.

I met recently with Chuck Cabell and Jeff Schmoyer (both of whom had works featured at Thespiana), to discuss their goals for the 2016 event, as well as their plans for 2017.  “There are two goals for Thespiana,” according to Cabell.  “One is to bring focus and attention to local writers, directors and actors, and the second is to have fun.”  The 2016 event was a roaring success for both goals.

The 2017 event is already coming into focus.  According to Chuck and Jeff, the new works have already been selected.  Chuck will be the producer again this year, and will have an entry in the program, as will Jeff.  In addition, plays will include work by Warren Epstein, Phil Ginsburg and the team of Mark & Lauren Arnest,.  The directors will be named in the near future.  The readings will be rehearsed and feature local actors.  Just so you know…one of the goals at the next event will be the same as last year:  HAVE FUN.

Local actors Elizabeth Khan, Greg Lanning, Mike Miller, and 
Sally Walker at Thespiana 2016.
Heads up to all who are interested in writing, producing and seeing new work.  Thespaiana 2017 is headed your way.  I’ll update this post with additional information as it becomes available.  

Tuesday, October 18, 2016

The Elephant Man

Playwright:  Bernard Pomerance

Venue:  Springs Ensemble Theatre, 1903 East Cache La Poudre Street, Colorado Springs, Colorado.

Running time:  2 hours, 20 minutes (includes 15 minute intermission).

Date of Performance:  Thursday, October 13, 2016 (opening night). 

Springs Ensemble Theatre (SET) has a winner-The Elephant Man is a gorgeous script given a sensitive, profound production.  There are many lessons embedded in The Elephant Man, and SET nails the most important one:  beauty is more than skin deep.  

The Elephant Man is the tragically true story of Joseph Merrick, a 19th century British citizen who suffered severe deformities.  Merrick was both a friend and patient of surgeon Frederick Treves, who treated him at the London Hospital.  Treves wrote of Merrick’s deformities:  ”(Merrick is) the most disgusting specimen of humanity that I had ever seen ... at no time had I met with such a degraded or perverted version of a human being as this lone figure displayed."

Despite his hideous appearance, Treves realized that while Merrick looked like a beast, there was a sensitive human being underneath.  Often mischaracterized as an imbecile, Merrick was intelligent, curious, and frightened.  

Bernard Pomerance put Merrick’s story on a Broadway stage in 1979 and won the Tony Award for Best Play that year.  Pomerance’s script was adapted for the critically acclaimed film The Elephant Man in 1980.  There’s a significant difference between the film and the stage play:  the film uses state of the art makeup effects to render Merrick’s physical appearance.  The stage play, in contrast, uses no makeup or effects.  The actor who plays Merrick (done brilliantly here by Micah Spiers) must convey the deformities with his posture and movements.

A hunk of a physical specimen, Speirs would never be mistaken offstage for an introverted, ugly invalid.  Onstage, however, he limps, he shuffles, he’s hunched over, and he uses only his left hand.  His right arm is bent at the elbow and his right hand is useless.  The physical challenge of spending more than two hours in such a posture is a considerable, but Spiers does it with a natural flow that conveys the agony of Merrick’s multiple deformities.  Spiers takes the stage in the first scene shirtless, and one can’t help but wonder how this perfectly sculpted actor can possibly play Merrick.  By the second scene, he has fully captured Merrick’s form and spirit.  

Jude Bishop plays Merrick’s surgeon, Dr. Frederick Treves.  The real Treves was an eminent surgeon, and a friend as well as a doctor to Merrick.  Bishop embodies both the professional and the personal qualities of Treves.  He sees the man beneath the deformed skin, and struggles with his inability to treat Merrick’s crippling disorder.  Bishop is particularly effective as he realizes that by trying to normalize Merrick he has done him no favors.  The realization that “normal” was never a suitable medical goal crushes Treves, and Bishop cleverly makes that moment a profound one.

E. Amber Singleton plays Merrick’s companion and love interest with an awkward understanding that any relationship is doomed from the start.  Singleton is an actor playing an actor.  Her audition for the role as Merrick’s companion has a single line (“I’m pleased to make your acquaintance”).  Singleton reads her line several times until she gets it just right, and then performs for Merrick.  It’s an award winning performance.  She captivates and inspires Merrick, stuffing her repulsion and baring her soul to him.  Singleton makes a difficult transition look natural, as she moves from befriending Merrick and fulfilling his fantasy to abruptly breaking his heart into pieces.  

Taylor Geiman has a dual role, but it is his portrayal of Ross that stands out.  Geiman’s Ross is a cruel, greedy character out to sell Merrick’s hideous appearance in a freak show.  Geiman gets to be both heartless and humble as Ross, and he sells both with a convincing performance.

Director Matt Radcliffe has a clear vision, emphasizing Merrick’s essential humanity despite his grotesque disorder.  The beauty of Pomerance’s script is the connection we should feel with Merrick; Radcliffe gets it and has brought that message to the SET stage.  To expedite costume changes, Radcliffe has put some of the necessary items onstage.  Using projections, Radcliffe sets up each scene with a quote from the script, giving the audience a preview of the action to come.

The staging of Merrick’s death scene is stunning; Radcliffe puts him front and center, stretched out on a bed.  Merrick usually slept sitting up, as his head was too large and heavy to lay down.  Radcliffe and Spiers combine to deliver a visually gripping scene of terminal suffering followed by eternal peace.

Radcliffe uses musical interludes between scenes (music by The Rogue Spirits).  The music enhances the entire production, but one recognizable melody stood out:  You’ve Got to Hide Your Love Away (John Lennon & Paul McCartney).  It was an instrumental, but I could hear the lyrics in my head:

Everywhere people stare
Each and every day
I can see them laugh at me
And I hear them say
Hey you've got to hide your love away

The music perfectly captures Merrick’s predicament.  He will always have to hide himself from others.  Love is a forbidden notion for The Elephant Man.

Sarah S. Shaver’s costumes are magnificent, detailed, and meticulously true to London in the 1890’s.  Two of those costumes stand out:  the London Bobby and Mrs. Kendall’s bustier and bloomers. 

SET’s production is first rate, although there were some fumbled lines on opening night.  The Elephant Man is a true story, and one that speaks eloquently of the human condition.  We are more alike than we are different.  That’s a message that rang true when Frederick Treves treated Merrick, and it rings true today.  

Given the divisiveness of current events, Merrick’s story is perhaps even more urgent 126 years later than it was when he lived.  The Elephant Man still walks among us today, disabled, disfigured, and standing on street corners everywhere.  

I went away from the SET stage, with Pomerance’s words ringing in my ears:

Merrick:  Do you know why my head is so big?

Kendall:  No.

Merrick:  Because it’s full of dreams.

We are more like those people on the corner than we realize.  We are full of dreams.


This show contains brief nudity.

This show is closes on October 30, 2016.

Photo Credit:  Springs Ensemble Theatre Company



Executive Producer/Technical Director/Director:  Matt Radcliffe

Scenic Design:  Brianna G. Pilon

Assistant Director/Co-Producer:  Brianna G. Pilon

Co-Producer:  Micah Spiers

Fight Choreography:  Gregory Farinelli

Lighting Design:  Emory John Collinson

Sound Design:  The Rogue Spirits (Travis Duncan & Jeremiah Walter)

Costume Design:  Sarah S. Shaver

Costume Construction:  Jillmarie Peterson

Special Props Design:  Charles Redding

Projection Operator:  Anthony Grimaldo

Stage Manager:  Rebecca Savage

Dramaturg:  Jessica Weaver


John Merrick:  Micah Spiers

Frederick Treves:  Jude Bishop

Mrs. Kendall:  E. Amber Singleton

Gomm/Conductor:  Richard “Buck” Buchanan

Ross/Bishop How:  Taylor Geiman

Miss Sandwich/Princess/Pinhead:  Danine Schell

Countess/Pinhead:  Alicia Kensington Franks

Duchess/Pinhead:  Hannah McCullough

Snork/Man/London Police:  Emory John Collinson

Prince/Porter/Belgian Police:  Gregory Farinelli

Thursday, October 6, 2016

Theater for the Whole Community

Theater isn't just for entertainment.  It's also a mirror we hold up to ourselves.  It helps us see ourselves as others see us, with all the beauty, inspiration, and the flaws that define our humanity.  Theater inspires us, informs us, and in some cases, shocks us out of our comfort zone.  

That said, though, theater often focuses on a white male content written for a white male audience.  

Bringing more women and minorities into theater production and performance is not just an idea.  It's a small movement gaining momentum in the Colorado Springs theater community.   It started recently with a Town Hall meeting on the subject, and the followup plan is now coming into focus.

Small group brainstorming on obstacles.
How do you get theater types motivated to make difficult structural changes?  For starters, you might bring people together in a comfortable social setting.  That's exactly what happened on Wednesday, October 5.  Meeting at the Gold Camp Brewery, theater professionals brainstormed the possibilities for moving the needle on diversity.

Small group discussions focused on three basic issues:  obstacles to diversity, why diversity matters, and whether theater is relevant to the community in general.  

Obstacles range from the obvious (money) to the practical (child care conflicts).  Diversity matters for many reasons, but particularly because audiences must be able to relate to characters and stories.  Colorado Springs theater is relevant to most of the community, but not to all of it.

Changing our focus...
Bringing about change is difficult, and usually incremental.  Strategies for the near future may include community outreach for partnerships and initiatives with local Artistic Directors. There was also some discussion on establishing a diversity awards program for local companies.

This is the beginning.  Change is coming, but there is still a lot of work ahead.  There will be more meetings down the road, and more opportunities for your input.  You can bring your kids, so no child care is required.  And as a bonus, they will get to see how you were part of a change that will benefit them some day.

If you are interested in diversity in local theater but couldn't attend this meeting, don't despair.  You can email me at with your ideas.  I will pass them on to the group.  I'll also post information about future meetings here on Theater Colorado Springs. 

Wednesday, September 28, 2016

Shear Madness

There are two words you should know about Shear Madness: Nathan Halvorson. Do not miss him. He's a man on fire. He alone gives reason to see the Fine Arts Center's production of the classic play.

The rest of this review can be found on the Colorado Springs Independent website...

Sunday, September 25, 2016

Oddville: Happiness Comes in a Cardboard Box

Playwrights:  Dave Shirley & Robert Dubac

Venue:  Millibo Art Theater, 1626 S. Tejon Street, Colorado Springs, Colorado.

Running time:  1 hour, 40 minutes (no intermission).

Date of Performance:  Friday, September 23, 2016. 

Oddville:  Happiness Comes in a Cardboard Box (Oddville), wastes no time delivering on the title.  Actor Dave Shirley takes the stage and mimes his opening lines.  The audience gets it.  Immediately.  This show is different.  It’s an "odd," touching, and brilliant love story told with video projections, pantomime, improvisation, shadow puppets, magic, juggling and a soundtrack.  From the opening scene to the final curtain, Oddville is a unique theater experience.

Writer/performer Dave Shirley was formerly the artistic director of Denver’s legendary but now defunct Rattlebrain Theatre Company.  In 2013, Shirley appeared on America’s Got Talent (AGT), and Oddville incorporates some of the same techniques he used there.  Shirley’s resume is impressive, and Oddville’s modern love story adds a new dimension to his many accomplishments.

The plot is straightforward.  If you’re lonely and online, there are numerous dating sites to help you find your soulmate.  Shirley’s online choice is, a fictitious website that will deliver a solution to your front door in a large cardboard box labeled “HAPPINESS” (if only that were possible).  Thus begins “Lonely 1’s” search for his tinsel haired true love.

Shirley mimes about 80% of the show.  We discover, late in the performance, that “the cat’s got his tongue.”  Whatever the reason, Shirley is a brilliant mime, and the best parts of Oddville are the ones he does without words.  Even so, pantomime is far from Shirley’s only talent.  He’s a comedian with a story to tell.  It’s a very funny trip from lonely to odd and finally to true love.  Along the way, Shirley plays some hilarious video games, juggles lemons and sabres, plays his guitar, and gets several sets of transplanted hands.

Shirley’s new hands are one of the many clever and creative moments in the show.  He gets a second cardboard box delivery from  This one is labeled “HANDS.”  He puts his hands into the box, prompting some loud construction noise (the drill is particularly effective).  Shirley pulls his hands back out. 

His new hands reveal sequined black gloves, and his “talent” becomes heavy metal guitar. A second trip to the box brings him white gloves for creating (and I do mean creating) some fabulous shadow puppets.  It’s all exquisitely performed, as Shirley lets his hands do the talking for several minutes.

As Shirley bounces around Oddville, he falls in love with “Lonely 2,” a woman both real and digital.  Lonely 2 is a sparkling video vision of the woman Lonely 1 is seeking.  He can only hang out with Lonely 2 in a video format, which makes for some interesting and inventive video projections.  The videos rely on precise timing and poses, and there are a few lapses in both (lightning bolts prove to be Shirley’s biggest challenge).  Even so, the videos work exceedingly well to merge Lonely 1’s fantasy and reality. 

Dave Shirley’s Oddville blurs the line between reality and our online alter egos.  Our reality may be dull, but the digital world has become a place of fantasy, promise and escape.  Lonely 1 finds true love online, as have many others.  Even so, Shirley’s story reflects a cold reality:  the digital world can be an odd, strange place that is difficult to navigate.  We should be skeptical of those who would sell us happiness in a cardboard box.

This script could use some tweaking to tighten up the climax, and the saber juggling scene, which is great fun, seems unrelated to the rest of the story.  Walking out of the theater after the show, the audience will remember how Lonely 1’s love conquered all obstacles.  Juggling sabers was not a talent he needed to win our hearts.

Oddville is an extraordinary theater experience.  Dave Shirley and Director/co-author Robert Dubac have joined forces to create an unusually entertaining story we all know well.  This is a different love story, one that grabs you with a silent charm and engages you with an incisive sense of humor.  We have all been “Lonely1” at some point, struggling to find the person we need in our lives.  Oddville takes an old story and puts it in a new cardboard box.  That box says “HAPPINESS” on the outside, but we all know that it’s what’s inside that really matters.


This show contains adult language and humor.  This show uses audience participation.  You may be asked to appear on the stage.  

This show is closes on October 1, 2016.

Photo Credit:  Millibo Art Theatre and



Producer:  Dave Shirley

Directed by:  Robert Dubac


Lonely 1:  Dave Shirley

Lonely 2:  Jane Shirley.  (Confirmed by Director Robert Dubac, but not credited in the program.)

Thursday, September 22, 2016

CC/FAC MERGER: New "Listening Session" ADDED.

SaGaJi Theater, Colorado Springs Fine Arts Center.  Photo Credit:  Fine Arts Center.

Please note that this post has been updated to show the correct meeting room.


The FAC Theater Company subcommittee has begun work on the strategic plan for the Fine Arts Center at Colorado College.  As part of their work, the subcommittee has scheduled a "Listening Session" to get input from the community in general and the local theater community in particular.

Please NOTE:  This Listening Session is dedicated solely to the Theater Company merger with Colorado College.  It will not address issues of the museum or the Bemis School. 

Put this on your calendar:

Monday, October 10th at 6:00 PM in the SaGaJi Theatre Music Room, Fine Arts Center, 30 West Dale Street.

This is YOUR chance to have input on the future of the Theater Company at the Fine Arts Center.  Members of the subcommittee will be available at this meeting to listen to your priorities and vision for the future of the largest professional theater in southern Colorado.

I will post any additional details as they come available.  

Wednesday, September 21, 2016

EXCLUSIVE INTERVIEW: Scott RC Levy on the merger of the Fine Arts Center Theater Company with Colorado College.

Scott RC Levy.  Used with permission.
The ink is dry on the paper; the merger of the Colorado Springs Fine Arts Center (FAC) and Colorado College (CC) is a done deal.  There are changes coming, although it’s too early in the process to know precisely what those changes will be.  The only thing that is certain is that the merger will result in changes to the Fine Arts Center and to its theatre company.

I sat down with Scott RC Levy on Tuesday, September 20, to discuss the future of the the FAC theatre company.  Mr. Levy has been the Producing Artistic Director at the FAC since 2011, and has an extensive background as a Producer/Director/Actor.  Levy has a M.A. degree in Educational Theater (a very appropriate subject under the circumstances) and a BFA in acting, both from New York University.  He has no crystal ball, but Levy does have some pertinent thoughts on how the merger may (or may not) impact the shows at the FAC SaGaJi Theatre.

Levy is on the theater program subcommittee for the new organization, which will be renamed “The Colorado Springs Fine Arts Center at Colorado College" (CSFAC@CC) on July 1, 2017.  That subcommittee must have a strategic plan for the theater program ready by June, 2017.  Once the three transition plans (one for the museum, one for the Bemis School, and one for the theatre company) are finalized, the FAC organizations will be incorporated into Colorado College over a period of three years (the theater program is scheduled to transition in the 2019-20 season).

As Levy described it, the FAC and its theatre company will still have its own identity, just as it does today.  He compared it to being a stand alone unit of CC.   Much like KRCC, a CC radio station with it’s own identity in the Colorado Springs radio market, the FAC theater company will be a unique part of CC.  

There are already local models for the arts/academics collaboration, and Levy mentioned two of them.  Theatreworks is a program of the University of Colorado, Colorado Springs.  The Colorado Shakespeare Festival is operated by the University of Colorado in Boulder.  Both of those performing arts programs are very successful, demonstrating the value of an academic partner.  Nationally, the collaboration between academic institutions and performing arts organizations is relatively common.

The relationship between the FAC and CC has always been cordial, and at times, very strong.  According to Levy, there was a period in the 1940s and 1950s during which the FAC and CC collaborated on some productions.  The merger makes future collaboration on CC student productions a very real possibility.

While the long term impact on the FAC theatre company budget is far from clear, Levy pointed out that CC has transferred $20,000,000.00 to the FAC endowment.  That additional endowment may benefit the FAC and the theater company in the future, as financial risks have made some programming out of reach in the past.  Levy does not expect any increase to ticket prices at this time, and one price has already gone down.  The FAC has implemented “a Student Rush ticket policy for Colorado College students (with proper ID), giving them free admission on the same day for unsold seats.”  

Unfortunately for those Colorado College students, the rush program may still be a tough ticket to get.  The FAC theater program is very successful.  There are nearly 2,000 season subscribers for the 400 seat theater, and about 25% of the shows sell out.  With total ticket sales nearing 40,000 per season, unsold seats could be difficult to find. 

As for benefits, Levy believes that the merger will produce some opportunities for innovative programming, as well as opportunities for a higher profile in the Pikes Peak region.  As an example, Levy envisions the possibility of bringing in an “A list actor,” who could combine a role in an FAC production with a Master Class presentation at Colorado College.  Could Meryl Streep or Denzel Washington appear on the SaGaJi stage some day?  It’s not as crazy as it sounds.

For Colorado College, the benefits are also significant.  Students working on a major or minor in theater could get work experience in a professional theater on campus (OK...a block away).  The FAC addition may help CC recruit talented theater students nationwide, thus expanding that part of the CC curriculum.  The addition of the FAC theatre company will unquestionably enhance the CC reputation in the national theater community.

If there is concern in the local theater community, and I think there is, Levy says it’s “justified.”  The anxiety that accompanies any major change is expected, but Levy thinks the theater community will be happy with the results.  The FAC theatre company will stay committed to developing local talent, presenting a vibrant children’s program, and staging the high quality productions that keep people coming back to the SaGaJi theater.  

As Levy sees it, “the potential for excellence is strong, and the potential for failure is small.”  The promise is for a better and stronger community presence for both institutions, along with additional value for students, artists, and all residents of Colorado Springs.  That’s a big promise, but one that is backed up with a big commitment from both institutions.  

You can still have input on the future plans for the FAC theatre company (and on the future plans for the museum and the Bemis School).  You can provide your thoughts to the leadership online here (see the red box on the right labeled “Questions and Comments”), or you can attend one of the two remaining “Listening Sessions” here:  

1.  Monday, Sept. 26, 7:00-8:30 PM, in the Fine Arts Center Music Room.

2.  Monday, October 3, 5:00-6:30 PM, at Colorado College's Gaylord Hall, 902 N. Cascade Avenue.

Wednesday, September 14, 2016


 Playwright:  Nick Payne


Venue:  Dusty Loo Bon Vivant Theater, 3955 Regent Circle, Colorado Springs, Colorado.

Running time:  1 hour, 25 minutes (no intermission).

Date of Performance:  Sunday, September 11, 2016. 

Constellations (astronomy):  “a recognizable pattern of stars whose appearance is associated with characters, animals or objects.”  

Constellations is also the title for playwright Nick Payne’s story about recognizable patterns in an otherwise dark sky.  It’s a love story with a beginning a middle and an end, just not in the usual order.  If that sounds like a chick flick, I can assure you that it’s not.  Payne’s story appeals to all of us who have ever stood on the brink of a life changing moment and wondered how it will turn out.  

Carley Cornelius (Marianne) and Patrick Toon (Roland).
Marianne (Carley Cornelius) and Roland (Patrick Toon) meet, fall in lust (and love), and live their lives together.  The twist is that Marianne is a cosmologist, and the story is told in a theatrical version of “string theory.”  I can’t explain string theory; what I know about it wouldn’t fill a thimble.  Even so, it helps to know (thanks, Google) that string theory supports an infinite number of other potential universes where we exist in a similar but alternate reality.  

I know; it’s weird.  Every scene has an alternate version.  Time is not linear; the story goes back and forth in time.  If you’re a theoretical physicist, this is pretty interesting stuff.  Oddly, though, even without knowing string theory, it’s intriguing.  

And it works.  I was surprised to find that Payne tells a coherent love story using such a wildly unconventional device.  Five minutes into the fractured narrative, I was hooked on the characters and the chemistry.

One particular scene stands out for me.  After doing several alternate interpretations, it was replayed one last time in American Sign Language (ASL).  It was extraordinary.  For 3-4 minutes, the actors signed the scene in total silence.  Why couldn’t the characters be deaf in alternate universe?  Although I have not had any ASL training, I have no doubt that Cornelius and Toon were well prepared for this scene.  I recognized enough signs to know that they were not faking it.  

Both actors have a huge challenge; doing multiple versions of a scene with slight variations each time is difficult.  Cornelius and Toon are equal to that challenge.  Their chemistry is palpable; one never doubts that they belong together despite the cosmic variations of their relationship.  

Joye Cook-Levy’s direction is subtle; she has embedded a thousand tiny variations of intonation, facial expression, and pacing into each of the repetitive scenes.  Lex Liang’s scenic design is also subtle; he puts the actors inside a honeycomb, each cell of which represents a similar but slightly different reality.  Mike Woods lights up the stage and the honeycomb, with subtle shifts in light to bracket each scene.  

Constellations is an engaging, compelling, and very different theater experience.  It’s a love story, told in a strangely beautiful way.  You will find yourself emotionally drained at the final curtain; Constellations ends as many love stories do.  I can’t say more without giving away too much, but in my personal universe, Constellations has a ring of truth that will reverberate in my mind for a long time.


Constellations has adult language and adult situations.  That said, however, I think a PG-13 rating would be appropriate.  Theatreworks does not permit children under 5 at any show.

This show closes on September 25, 2016.

Photo Credit:  Theatreworks & Isaiah J. Downing, photographer.



Director:  Joye Cook Levy

Scenic Designer:  Lex Liang

Costume Designer:  Stephanie Bradley

Lighting Designer:  Mike Wood

Assistant Lighting Designer:  Ryan Finzelber

Sound Designer:  Jason Ducat

Master Electrician:  Eric Grossenbach

Stage Manager:  Alexandra Pingrey

Production Crew:  Will Blocker, John Cooke, Jennifer Gebhart, Ruth Geiger, Jonathan Smith.

Production Shop:  Benton Gray, Natalie Keil, Charles Redding

ASL Assistance:  Julie Novak & Cory McCormick, Colorado School for the Deaf and Blind, and James Gardner at Air Rhymes Interpreting.


Marianne:  Carley Cornelius

Roland:  Patrick Toon