Paint, Rattle and Rollers

The powers of paint never cease to amaze me.  It has transformed our living room, jazzed up the library circulation area and has made foam insulation board into countless theatrical settings.  Beginning this semester I am taking on a larger role at the Houghton Movement and Art Center.  After a year of teaching acting, Sarah Badger asked me to come on as a regular employee in the role of assistant director of the studio.  One thing that has sprung out of my increased roles was the idea of giving the studio a new look.  So, last week while HMAC was on break, Sarah and I rid the inside of the building of that minty green color.  (The outside is another story.)  Extreme Makeover: HMAC edition, as Sarah called it, sprung out of a meeting we had several weeks ago.  We were looking at the studio trying to find was to maximize the available space and really get the most out of the building.  Our initial plan was to organize the back rooms, consolidating like materials and making each one a dedicated storage area for different things (including a home for the ever growing collection of props, costumes and set pieces for The Valley Theatre).  As the gears began turning on how best to do this, we started to consider other little improvements:  getting curtains to cover the mirrors in the studio, rearrange the lobby and adding some color.  With the February break looming we decided that would be the perfect time to dive in.  After an eventful trip to thrift and home improvements stores we found a few new furniture pieces and eventually settled on paint colors. 

                When break rolled around we gathered our supplies and a collection of CDs (my retro tunes vs. Sarah's hipster jams) and got to work.  We started with painting so that while it was drying we could work on other things in between coats.  However, we were quickly reminded just how time consuming painting projects can be.  First there is the taping process.  We were working with two colors, so not only did we have to tape around trim, windows and ceilings, but we had to tape the corners of the walls where the paint would transition.  Then we had to fill the holes in the walls.  There were a lot of holes.  This took a long time, a very long time, but eventually we got down to painting.  We finished with the nice dark blue we selected and then moved on to purple.  We couldn’t tape along the blue sections because the paint was still drying so we did as much of the purple as we could then called it a night. We had originally thought we could do this in a day.  That was not to be.  Day 2 we moved on to purple.  In theory this should have taken less time, and I suppose it did, but it certainly wasn’t quick.  Augustus was no help at all.  He just played with his elephant rattle and tried to roll of the couch, leaving all of the heavy lifting to us.  Kids today... Regardless, it was an informative few days.  I learned about Graham's prolific fan-fiction career, the difficulties in getting dark blue paint out of tan carpet, and what passes for snacks in vegan/woodlands creature communities.   

                When the painting was done we were both surprised by what a difference it made.  We knew it would look better, but it made a big impact.  Sarah made the comment that it felt modern and that pretty much sums it up.  Now the studio feels like a vibrant, active place.  Switching the desk and the sitting area helps to delineate the office section from the lounge.  It makes for a better flow when people are arriving for or departing from class.  It looks great, it’s more practical and adds a much needed flare to an otherwise drab building.  Projects like this are rewarding, because they provide so much bang for the buck.  Plus, it was a lot of fun to do.  We never got around to organizing the back rooms, which is ironic since that was the catalyst for this project.  I guess I know what we’ll be doing next break.

Script Selection

I have a love/hate relationship with script selection.  It's just so intricate.  As a director, I gravitate towards two types of shows: emotional roller-coaster dramedies and suspenseful mysteries.  I like to work in these genres, but it gives me a lot to do - with mysteries, you constantly have to plant little clues and subtleties to help move things along and make the resolution believable and layered, and with dramedies it's all about finding the transitions from happy to sad, making the characters believable and relatable. In order to keep Valley Theatre fresh and interesting for our audience, I have to fight the urge to just alternate between these two genres.  

Right now we are looking to find a straight-up comedy; something that is just fun and enjoyable.  We are having a particularly difficult time finding something that seems right.  So much of stage comedy relies on physicality and delivery that it's difficult to get the full effect from a dry reading.  We've taken to reading them out loud to get a better idea of what we have to work with.  Typically I read 6 or 7 new scripts each time I sit down to select a show (and that's not including the stockpile of scripts I've read that are already clunking around in my head).  It looks like I'll have to double that this time around.

There are a lot of criteria to consider when it comes to settling on a script.  Obviously, the first question is whether or not we like it.  If the answer is yes, we move on to content.  Is it too racy for the audiences we tend to get?  If not, we move on the cast breakdown.  We can't do anything with too large a cast, and we have to pay attention to the gender breakdown.  If it requires a lot of men, that may be a problem.  Next comes set requirements.  Will it involve a lot of scene changes, and, if so, can we make that work given our limitations?  Then there is tech stuff to consider.  Does the script call for specific/elaborate lighting and/or effects.  If so we may have to reconsider given our current limitation in that area.  We also have to consider how physical the show is; if it requires a lot of running or action, that could wreak havoc on our regular stage set up.

Finding a script that will fit all of the criteria is always a challenge.  In a way, it's a blessing because it requires us to really dig to find a script that is just right.  We have to be very purposeful about the shows we choose.  That means we sometimes have to reject scripts that we love, but it also means we discover new shows and delve into plays we might not normally have considered.  We've already blown through half a dozen scripts and have several more on the way.  Hopefully Valley Theatre's spring comedy is somewhere in the stack.

Back in the Saddle Again: The Dial M Debrief

If you've read any of my last few posts you already know that directing Crimes of the Heart was an intensely emotional experience for me.  I always invest a lot of myself into productions, but the depth of the script as well as the fondess and pride I felt for the actors involved took me to a new level.  Afterwards, I needed a break from directing and decided to get back on stage, doing a few local productions back to back.  I left those with new perspectives both as an actor and director. 

After a few months' break I began the process of choosing Valley Theatre's fall play.  CotH was a female-driven drama, so I wanted to go in a different direction. After reading several scripts, I finally landed on Frederick Knott's Dial "M" for Murder (made famous by the Hitchcock-directed film of the same name).  Dial M required a simple set, had a relatively small cast and is in a genre that I've always loved.  (Thanks, Peter Falk, Angela Lansbury and Dick van Dyke!)  The male-heavy cast was daunting, but we took a gamble, and it paid off.  We held open auditions and had a great turnout.  On the downside, this meant that I had to pass on several very talented actors. 

Casting was difficult, but we hammered it out and landed with a group of actors that were mostly new faces.  Of the eight-member cast, I'd only worked with Ben Layman more than once.  This presented a new challenge.  Particularly on the heels of CotH, I was used to having a certain shorthand with actors.  I could say things like "You're coming across a little bleh.  I need you to be more WhizBang!" and they'd be like "I understand completely."  And they did.  This was back to basics, and it was fun... most of the time.

One of the unique challenges presented by Dial M was the fact that there is no mystery.  You watch the events unfold.  You know who the villian is.  You understand the motive and crime.  The suspense lies in the question: Will he get away with it?  In that way it's very much like the classic series TV Columbo.  The script essentialy turns the whodunit formula on its head.  This means that the actors under my direction had to convey a sense of urgency and suspense without the tools usually associated with this kind of story.  That's what hooked me.  While there is an element of casual fun directing easygoing shows (I'm looking at you, Father of the Bride), for me to really feel engaged as a director I need something to play with. 

Dial M  provided multiple opportunities for me to roll up my sleeves and tinker.  The scene with Swann (Dan Buckley) and Tony (Ben Layman), for example, had so much going on under the surface.  The guys really got into it, and we were able to map the changes and really emphasize the undertones of the scene.  The struggle between Swann and Margot (Sarah Badger) was intense.  Both actors really went for it, and the end result was uncomfortable, difficult to watch and completely perfect.  Then the noose-tightening third act with the underestimated Inspector Hubbard (Aaron Arber) laying the trap alongside Max (Clayton Danner) really pulled the audience in.  The brilliance of the show lies in the fact that you want Tony to get caught, but at the same time you secretly hope he manages to escape.

All in all, Dial M was a success, ending with a sold-out crowd.  For me personally, it was a satisfying experience.  I enjoyed working with the cast.  It is always rewarding to watch actors steadily sharpen their performance over a rehearsal period and, in the case of those I've worked with before, to see them come into Dial M as stronger actors than they were the last time we were together.  Ending a production is always bittersweet.  It's nice to see my house again, but I miss the challenge of putting a show together.  I suppose that's why I've already started reading scripts again.

Press Release: Dial M for Murder

Here's the press release for our 2012 production of Dial M for Murder.  It's always a challenge to make this interesting without giving too much away.

This November, The Valley Theatre of Houghton, New York, presents Frederick Knott’s Dial M for Murder.  Don’t miss this classic thriller made famous by Alfred Hitchcock, the master of suspense.  When aging tennis pro Tony Wendice (Ben Layman) saw the end of his career on the horizon he did the sensible thing.  He married a rich woman (Sarah Badger), an arrangement that has worked well for him for many years.  That is, however, until Tony finds a letter from the charming Max Halliday (Clayton Danner) in his wife's purse. Tony quickly realizes that once again he is at risk of losing his posh lifestyle, a prospect that is unacceptable to him.  Once again, he does the sensible thing.  With the help of an old college acquaintance (Dan Buckley), he arranges for Margot's untimely death. Unfortunately for Tony murder isn't as neat as marriage, and things go horribly wrong.  Now Tony has to think on his feet and stay one step ahead of Max, a nosy reporter (Hannah Mills Woolsey) and the police (Aaron Arber, Josiah Parlett & Joe Perrotti).  Here's hoping the old tennis pro still has the reflexes to play the game.

The show will be performed at the Houghton Fire Hall on Rt. 19 in Houghton, New York, on Friday, November 2, at 7pm and Saturday, November 3, at 2 and 7pm.  Tickets are just $5.00.  For more information or ticket reservations contact director Nic Gunning at TheValleyTheatre@gmail.com or find them online at www.facebook.com/valleytheatre.

Act like you belong.

     For as far back as I can remember, I've been active in the theatre.  I was always game to participate in the skits or holiday musicals in church and school.  I played Clifford the dog in my kindergarten graduation.  I was "Blunder" Watson in a horribly cheesy Christmas themed Sherlock Holmes spoof.  I was Tex the singing cowboy, Josiah the young Biblical king (twice, actually) and a talking donkey.  I liked doing it and found early on that I had a knack for it.  I continued on through high school getting involved in several local youth and community theatres, did shows throughout college and even worked professionally for several years.  I like theatre.  It's fun.  It's a good outlet.  It's worthwhile. 

    In recent years I've turned my attention to directing.  Directing calls on a lot of the same skills, but even so, it's a whole new ball game.  I thought for sure I would miss being on stage, that when it came time for the show I'd feel depressed sitting in the dark on the side lines while the cast takes center stage.  I was completely wrong.  I actually think I enjoy directing more than acting.  (I doubt I could ever choose definitively.)  I take more pride and satisfaction in the finished product, due in part to the fact that I'm extremely critical of my own acting.  When it's me, I rethink everything and nitpick for years.  With my actors on stage I can just sit back and enjoy.  (Though truth be told, I always find one or two things that I wish I'd had them do differently.)

   Back in my golden years of acting I'd do 2 or 3 plays a year.  I realized in the 9 years I've lived in New York I'd only done 4 total.  I didn't want my acting talents to grow stale or my lack of recent on-stage credits to have a negative impact on my directing so I decided it was time to get back in the saddle again.  I did two shows back-to-back and it was intersting because I found I wasn't able to just sit back and soak up the experience like I used to.  While I enjoyed the challenge of becoming an actor again, I couldn't quite shake the director mind set.  I realized that even though the various aspects of the production weren't my responsibilty, I still thought about them. I got in the way of my own enjoyment, a habit I hope I can shake.  In the end, the good with the bad, it was nice to be back on stage again.  It was exciting and worthwhile.  I learned things.  I gained new insights.  I remembered things I'd forgotten.

     I think the most valuable realization I've had in recent years is that the director sets the tone.  As an actor, that's a concept that I may have known but wouldn't been able to put into words.  As a director I may have thought that, but not truly understood the importance of it.  As both, I see that a truly good final product takes a collaboration of intentional and thorough directing combined with skillful and committed acting.  And when I say truly good, I mean intelligent and thought-provokingly good.  If the goal is to make people laugh or even just enjoy themselves that's something different.  You can do that with relatively little thought.  Banana peels come in all shapes and sizes.

   I've been in a lot of different type of productions and worked with a variety of lousy directors; kind-souled artists, ham-fisted tyrants, melodramatic hot messes and every other stereotype out there.  It takes the joy out of the whole process.  Luckily, along the way I've had a lot of good directors too; those that challenged me and  guided me, those that gave me the freedom to explore but knew when to pull the rope taut.  The director sets the tone and that's a responsibility that shouldn't be taken lightly.  Theatre can be a powerful tool; one that needs a steady hand to weild.  It has taught me much over the years.  My experiences, whether positive or negative, have been beneficial and I wouldn't change them even if I could.  I plan to continue to act and direct and I hope to continue to learn and grow as well.  I can't imagine stopping.

Mark was 29

This is just a little nugget of a story I was playing with.  I like it.  I might attempt to finish it someday.

Mark Noonan was not a young man.  Clocking in at just under thirty, the realization hit him that he was no longer young.  It hit him harder than he would have expected.  He never gave much thought to aging and certainly did nothing to cling to his wonder years.  He looked forward too, even embraced change, but something about turning 29 just wasn’t sitting right.  And it bothered him.  Was it vanity?  No.  If that were the case he’d be able to stick with his resolution to exercise more.  No, it wasn’t physical issues that gave him pause; though he did wonder if the corners of his hair line had always gone back that far.  It was something else.  Something he couldn’t define.  Most of the time he could wave these thoughts away, but on that day they were showing him a persistence he hadn’t yet seen.

The morning in question began like any other.  Seven minutes before 7:00 his phone lit up and whined a greeting.  He reached over to snooze the devise, taking care in his sleepy state not to accidentally dismiss the stalwart alarm thereby making him late.  Mark wasn’t too concerned about rolling into work a few minutes late, but it wouldn’t do for Mallory.  She wanted to be on-time, early if at all possible. (It wasn’t.)  He found her earnestness in this matter cute, if not a little out of character.  Alliteration aside, Mark and Mallory were an excellent couple.  Though their differences were legion, they struck a balance that worked wonderfully.  They put up with each others malfunctions and not only were they in love, but they liked each other too.  In Mark’s mind they had the kind of marriage and partnership that was to be emulated.  While Mallory’s parents, grandparents, aunts and uncles were all still happily married to their original spouse the only stable marriage in Mark’s family was his own.  He grew up knowing exactly what he didn’t want out of life and against the odds had thus far managed to avoid it.  He loved his wife.  If that was all he had, it would have been enough.  It was not all he had.  As his whining cell phone was quick to remind him, he also had a job that he was now 10 minutes closer to.  As if on cue, the playful combination of barks and scratches let him know that he also had a dog.  Archibald knew that the second time he heard the high pitched sound his living room banishment would soon be over and his two favorite people would soon scratch his head and let him out to bound in the new-fallen snow.  Mark was tempted to gingerly hit snooze one more time, but knew it would prove futile.  Arch was ready to play and Mallory was reluctantly stirring in preparation to move to her closet and hate all of her clothes.  It was a new day. 

Arch was in rare form.  Mark had barely opened the door and Arch was already on the bed making sure Mallory knew he was there. He bent down to stroke Troy, Arch’s brother from a feline mother.  As he surveyed the living room it became clear that while the Noonan’s slept Arch and a reluctant Troy had turned the pleasant room into some sort of Speak-easy.  The couch cushions were escew, dog food was scattered all over and the latest issue of TV Guide was now a festive confetti.  It must have been a hell of a night.  Mark’s first instinct was to be mad.  They knew the rules.  But, boys will be boys.  No harm no foul.  He knew Mallory would be less understanding.  As Troy cozied up on the windowsill, Mark quickly tidied the room and jumped in the shower reminding himself to sit the boys down and give them a stern talking to.  This kind of behavior would not be tolerated.

Arch knew he was in trouble.  He knew that the look-how-cute-I-am gambit would fail, but he also knew he had to try.  He was laying it on thick with Mallory. Putting his head on her stomach and looking up at her with his precious little eyes.  Licking her hands as she tried to scratch behind his ears.  Ultimately it would prove futile.  Mark would fall prey to his roguish charm.  Mallory saw right threw it.  He knew this and yet he pressed on.  It was now a numbers game.  Sooner or later the kitchen floor would dry and she’d never know that had grown impatient in the night.  He had to keep her in the bedroom for as long as possible.  Unfortunately for Arch, Mallory’s suspicions and punctuality gave her the strength to get out of the warm bed and tramp to the coffee maker.  Arch had to act fast.  He knew  his cuteness alone wasn’t enough to stop her, but if he could coax Troy into playing along…  His scheming was interrupted by her exasperated call.  “Achibald come!” Mallory beckoned.  He pretended he needed to do some scratching, but even he knew it was weak. “Archibald! I said come.”  Reluctantly he did so.   As he trotted into the Kitchen he could have sworn he caught a smirk of satisfaction on Troy’s feline lips, but he knew that was absurd.  Troy was just a cat.

As Mark turned off the shower he heard Arch being scolded, but he couldn’t make out specifics.  He was certain Arch would rat him out.  Mallory walked in to brush her teeth.  Mark expecting an accusation gave her a smile and casually dried himself.  She smiled back and loaded her tooth brush with paste, giving him a lecherous glance in the mirror.  He returned the look and gave her cute little butt a pinch as he passed, thinking he’d gotten away.  As he turned the turned the corner Malloy, betraying nothing, said “You forgot the kitchen.”  Check and mate.   Yes, it was a morning like any other, and Mark was 29.

Mark and Mallory lived in a small town.  Not small as in “We only have one movie theatre, can you believe it?” but rather small meaning “Let’s take a day-trip to Wal-Mart.”  One of the perks of small town living was that their house was in walking distance of their jobs.  In this morning, like any other, they drove.  Though she avoided it in most other situations, Mallory was behind the wheel for the morning commute.  This allowed her to drop Mark off at the library then park nice and close to her office building.  Mallory worked as the registrar of a small college, the same college where she and Mark had attended.  They had been college sweethearts and were married during her senior year, much to the panic of her parents.  To say that Mallory enjoyed her job, might be overstating things just a bit.  She was good at her job.  She enjoyed aspects of her job.  But as a whole, there were about a million other things she’d rather do.  As usually Mallory was the first of her office mates to arrive.  She traced the familiar pattern of opening the office, then sat at her desk, turned on her computer and began her day.  A day that would include stretches of busyness, followed by endless patches of boredom, intermixed with worrying about the Noonan budget and scattered trips to the coffee shop to load up.  While Mallory’s job had its share of stress, she was able to leave that on her desk when 5:00 hit… a skill Mark had yet to master.

And that's a wrap.

After six weeks of rehearsals and two well-received performances Crimes of the Heart has wrapped production.  As with the close of all shows, I'm left feeling bitter/sweet. CotH was great to work on (which you'll know if you've already read my last gushy post).  Even so, putting a show together is a burden even in the best of times.  So while I miss the people and the sense of satisfaction theatre gives me, it's nice to have some free nights.  My DVR isn't going to clear itself off.  Still, the end of this play had more significance than I realized.  As Hilary and I were walking home after the set strike she said something along the lines of "It's sad because this is the end of an era." It was the end of an era.  I was just so consumed with bringing the show together that I never had the chance to think of that.  She was absolutely right... 

I started directing for the college back in the fall of 2009.  For my first show I wanted something small and simple.  I wasn't sure what kind of turnout I'd get for auditions, though I knew I'd be low on men.  George Batson's House on the Cliff was exactly what I was looking for.  The script was fun and surprising, there was just one setting and only six characters (2 guys, 4 girls).  After an extra audition and a fateful 11th-hour cast change (Thanks Michael) I ended up with Eric, Rachel, Carly, Michael, Alice and Amy P. plus Hilary and Kara in the tech booth (a tradition that would continue through all of my college plays and even some of my Valley Theatre shows).  I've certainly done better shows in my life, but nothing will ever be able to kick House on the Cliff out of my heart.  I loved it and would do it again in a heartbeat.  The final cast was great. The show was cool and original.  It was a success.  I loved that set.

For spring of 2010 I took on Rachel as a student director and eventually settled on Jake's Women.  HotC was retro and classic, so I wanted something modern and unique for my spring endeavor.  I've always been a fan of Neil Simon, so when we stumbled on this lesser-known gem, I was hooked.  Jake's women was trippy and unlike anything I've ever done.  The cast was made up of 7 women and one guy.  The Jake character is the driving force of the show.  He never leaves the stage (except for a quick potty break).  A role like that requires a very strong actor.  It was a gamble.  I'm just going to go ahead and say it:  Eric shocked me.  It never crossed my mind that he could pull out a performance like that.  But he did, and the show was great.  In fact I was convinced I could never top it, and I was okay with that, because it was that good.  Carly and and Amy P. came along for the ride as Jake's therapist and sister, respectively, plus a new gaggle of talented actresses.  The DVD of this show is good (again, thanks Michael), but I would love to see this live one more time. 

That brings us to fall of 2010.  I wanted to work on a classic cops-&-robbers type.  HotC had mystery elements, but it's a thriller at heart.  I wanted something a little more straight-forward.  Somehow I stumbled on Dragnet, a forgotten stage adaptation of Jack Webb's classic radio & TV show.  Dragnet was an old-school favorite of mine from Nick-at-Night.  Its quirky pacing and setup really puts it in its own genre.  This involved a cast of 10 (5 & 5).  Unlike the previous shows this had the action divided between the Hamlin residence and the Police Station.  Rather than having big scene changes I made the decision to stage it like a TV set with the Hamlin residence using most of the space and setting aside a portion to be the police station.  It worked very well.  Once again this boasted a great cast with some familiar faces including Michael as Joe Friday, Eric as Frank Smith and Carly as Nora Hamlin.  Dragnet also introduced me to Ben and Amy C.  Despite a hoarse voice due to illness Michael was a pitch-perfect Friday.  This was his last production as a student and he went out with a bang.  The show was cool, off-beat and exactly what I wanted.

After the larger cast of Dragnet I wanted to go back to a small cast show for spring '11.  Instead, I went bigger.  Father of the Bride had a cast of 15! I had been in a professional production of Father of the Bride ten years earlier, playing the role of Ben Banks.  For the first time I was directing a show that I had once been in.  It made for an interesting experience.  The production I was in cut out most of the supporting cast, for this production every role was cast.  It was both daunting and challenging.  The cast included Eric and Rachel together again as the father & mother of the bride.  Amy and a few of the Dragnet cast returned, but this was primarily made up of all new people, including Tricia and Chris as the happy couple.  Both had been around Houghton for years and finally decided to try out for FotB.  Tricia was a fun and wacky Kay, maybe not the obvious choice but definitely the right one.  Her energy made the character more believable and likable than a traditional straight-laced Kay.  Eric & Rachel handled the chaos of the large cast like pros and deftly managed the curve balls and responsibility I threw their way.  Though we didn't know it at the time, this would be their last run in a Houghton College production.

My next production was Cinderella with Valley Theatre in September of 2011.  Though not a college production nor part of this narrative, I mention it because Ben, Eric and Michael stepped in to make up for my lack of guys. Having them on board was a big help to me.  They were steady, reliable and made good use of the minor roles they were given.  Little did they know they would be returning to Valley Theatre in a handful of months.

Fall of 2011 saw what may go down as the best production of my career, The Glass Menagerie.  Like Jake's Women before, if this is my peak then so be it.  It was an amazing experience and an even better production.  I was hesitant to do GM. It isn't the type of show I'd normally consider, and I was concerned that the audience turnout would take a hit.  But, I liked the script and it was more in line with what the college was looking for in terms of notoriety. It is a show of 4 characters; an intense show, where each character has to give a gut-wrenching performance.  The cast was set with Carly and Ben as mother & son with two new-comers (Amber and Dan) as the daughter and her gentleman-caller.  Rehearsing with that small of a cast was a wonderful experience.  It was a true collaboration.  I couldn't be more proud of the cast.  I absolutely loved the atypical set design.  The show managed to be fresh, modern and emotionally raw.  Though the turnout was predictably low the people who were there had an unforgettable experience.  Despite the aftermath, I would change nothing about this show.  It was great.  Though I didn't know until after, this would be my final production directing for Houghton College.  Had I known, I probably would have gone for a bigger show to give more people a chance to participate.  The abrupt cancellation of college productions was jarring... and personally upsetting, but in the end I look back with fondness and pride on those three years.  I could do worse than having The Glass Menagerie as a swan song.  At least we went out with a bang.  But, I couldn't let it end there.  With the Spring of 2012 quickly approaching, I felt an obligation to, both those students who had grown to depend on the play, as well as the community who had made it a tradition to attend.  Thus, Valley Theatre's production of Crimes of the Heart was born.

While I couldn't go out and do a giant show with every student I've ever worked with, Crimes of the Heart gave me a chance to have a proper goodbye with those students I'd worked with the most... Eric, Rachel, Carly, Amy & Ben (plus Michael and Kara as crew).  Having those who founded Valley Theatre with me along for the ride made it that much better (Amanda in the cast, plus Mike and Hilary as crew).  Our final performance of Crimes of the Heart was a sell-out success and made for a great epilogue to this story.  What started back in 2009 with House on the Cliff at Houghton College was brought to a proper close in Valley Theatre's 2012 production of Crimes of the Heart.  And while I know we'll still see each other and most likely work together again we are now taking our first steps into a new era.

In all honesty, I wouldn't change a thing.