Sitting down with the Director
Artistic Director Sean Murray shares his thoughts on our upcoming Sam Shepard shows – Fool for Love & True West
Cygnet is continuing it’s tradition of plays performed in rotating repertory. What’s different about this rep?
This season we are focusing exclusively on the work of a single playwright. Each play stands on its own and you don’t need to see one to appreciate the other. However, when you are able to experience these two different plays side-by-side, one begins to recognize common themes between them. Both plays explore a crisis of identity and betrayal. Characters in both shows experience an existential soul searching and a feeling that their lives are inauthentic. They also are pretty funny people as they grapple with essential issues such as disconnection, empty searching and a deep sense of betrayal.
When did you first become aware of Sam Shepard’s work?
I first became aware of Shepard’s work in the early 80s when I worked as an actor for the San Diego Repertory Theatre. At an early age, I was cast as Crow, the punk-rock-pirate from The Tooth of Crime. I worked there when they presented the San Diego premieres of True West and Fool for Love, again in the early 80s. Additionally, while I was in school at the North Carolina School of the Arts, I played Weston in Curse of the Starving Class, a show I later produced at Cygnet Theatre.
What are the challenges you face when staging True West?
On a purely technical level, the script has the two brothers literally destroy the suburban kitchen that is the set. We have fifteen toasters, that all have to make real toast, a typewriter that is literally pounded into pulp by a golf club wielding character, the contents of kitchen cabinets thrown across the floor, a wall-phone that become a weapon after it is torn from the wall! The actual aftermath of all of this chaos has to be carefully considered.
The acting challenges are also vast. Each character goes on an existential journey from the quiet, tension-filled first scene to the all out chaotic war of the final scene. Pacing this progression is important. Finding the way into the levels of envy, threat and betrayal that these characters must portray is a frightening and exciting process for the actors.
Fool for Love is both arduous and physically challenging. What’s your take on this play?
The biggest challenge we’ve experienced in getting into the depths of Fool for Love has been in determining what is true and what isn’t. The characters accuse each other of lying throughout the play. There is a layering in this play that conceals the actual truth that they are running from. Like Austin in True West, May is attempting to recreate herself anew. She is trying to escape what she was and forge a new self. The sudden reappearance of Eddie, like the reappearance of Lee in True West, forces a confrontation between one who wants to hold the other to who they have been, and the other who is trying to break with their past. As we explore what is actually happening between these characters, and we continue to raise their stakes in the play, that informs the level and veracity of the physical actions.
Can you share some of your thoughts about deciding to take on these plays?
These two particular plays are rooted in a sort of realism. I say “sort of” because on the surface they take place in a kitchen or a motel. There are real props, etc. The character dialogue sounds like a realistic conversation on the surface. However, there is a very strong poetic quality to the language and imagery. Finding actors who can develop these characters to the marrow and handle the heightened poetic language is not always easy. In addition, when you are trying to cast actors who have to also be ‘right’ for not just one role but two different roles, this adds a new challenge.
Don’t miss Fool for Love and True West Sept. 24 – Nov.2.
7 Things to Know: Fool for Love & True West
As part of our goal to help you understand the thought-provoking work of American playwright and icon Sam Shepard, we’ve put together 7 things you should know about Fool for Love and True West. If you don’t already, follow us on Facebook for daily “fun facts” about Sam Shepard, the plays, as well as behind-the-scenes info and pictures.
3 things worth knowing about Sam Shepard’s Fool For Love:
-First performed at the Magic Theatre in San Francisco on February 8th 1983 with Kathy Baker as May and Ed Harris as Eddie.
-It was nominated for the Pulitzer Prize for Drama in 1984.
-The play was turned into a movie in 1985, for which Sam Shepard also wrote the screenplay and starred as Eddie opposite Kim Basinger as May.
4 things worth knowing about Sam Shepard’s True West:
-First performed at the Magic Theatre in San Francisco on July 10, 1980.
-It was nominated for the Pulitzer Prize for Drama in 1983.
-It was nominated in 2000 for the Tony Award for Best Play.
-The play was turned into a made-for-TV-movie in 2002, which starred Bruce Willis and Chad Smith.
Why this play?
In assembling a season of plays, we definitely try to select scripts that portray a diverse and wide range of issues and styles. This has always been the case. It’s true that we offer up plays that are family-friendly, but they also run alongside plays that are most assuredly for a mature or adult pallet. This is why we put labels and warnings on those plays, so that we don’t inadvertently or accidentally offend anyone who comes to one of these plays without proper knowledge of its content.
Our theatre’s mission is this:
Believing in the power of theatre to startle the soul, ignite debate and embrace the diversity of the community in which it serves, Cygnet Theatre Company is fearlessly committed to the dissection, examination and celebration of the human story through the medium of live theatre.
The Motherf**ker with the Hat certainly fits squarely within this mission, and I can explain my thinking in selecting it.
This play has and will “ignite debate,” it surely delves into the diversity of our community and is an excellent example of the examination and celebration of the human spirit.
There is a prevalence of profanity, violence, drug use in our society. I don’t even have to watch actual television shows for this: it’s in the commercials for them! And while it is true that profanity is a strong way to express a weak mind, in a way, ironically, I feel that presenting this play illuminates the kind of people who rely on this kind of language to express themselves. These characters are people who are, for the most part, trying to clean themselves up, trying to create better lives and fighting to leave behind those habits and addictions that keep them from achieving that. Once the language of these characters is not the issue, the play presents some of the most beautifully rendered characters I have come across in a contemporary play. There is a reason that this script is one of the most frequently produced plays at regional theatre across the country, including last season’s production at the South Coast Repertory Theatre in Orange County. By presenting this show we don’t feel we are contributing to the desensitization of America to the issues, but quite the contrary: this play shines a harsh spotlight on the problems in this country that we’d rather turn our backs from and not acknowledge.
The title of this play boldly announces what kind of language may be in this play, and that is good, but it doesn’t indicate how simple and honest the story under that title can be. Judging it from the title alone does the play and the playwright a disservice. These characters lack the ability to express their emotions. They depend on this kind of profanity to protect themselves from being emotionally hurt by each other and, although it’s pretty profane, under that language beats the frightened hearts of a couple who are deeply in love with each other, hope for a better future for themselves and are constantly trying to overcome the many addictions they have and the emotional scars that come along with them. In the end, this play is a celebration of a deeply strong love that fights to conquer those obstacles and gives the couple hope.
We will continue to offer plays that you will be happy to bring your family to and are happy that you do. We will also continue to present plays that are more stimulating of discussion, like this one, as part of who we are and what we do. (For the record, my mother has no problem with us doing this play!) Art is something that most definitely can entertain, but art also is a means into seeing the world from another’s perspective, witnessing how other humans get through lives that are different from our own, and ultimately celebrating what we have in common and not just our differences.
– Sean Murray, Artistic Director
Bringing back the 50s with director Igor Goldin
Thanks to the miracles of modern technology, last month we were able to Skype with Maple and Vine director Igor Goldin from his New York apartment where he was working on a new musical. He provided some very interesting insights about the process of bringing the new comedy to the Cygnet Theatre stage. Maple and Vine by Jordan Harrison, runs January 16 through February 16.
CT: This is your first time directing at Cygnet Theatre. How did you get connected?
I was in San Diego directing for Diversionary Theatre and had a chance to see several productions and fell in love with Cygnet. I saw Cabaret and It’s a Wonderful Life: A Live Radio Play and loved the creativity and specificity in which they were performed and directed. I also had seen a Caryl Churchill play produced years ago at the Rolando Stage, A Number, and was extremely impressed with the texture and gray areas in the piece and how it didn’t spoon feed the audience, but trusted them to come up with their own answers. Sean [Murray] and I went to North Carolina School of the Arts together. He saw my production of Yank! and thought of me when they put Maple and Vine on the season. We had both wanted to work with each other for some time so I’m thrilled that it worked out with Maple and Vine.
CT: Maple and Vine is about a modern day couple who choose to leave the big city and move to a gated community where the residents live like it’s 1955. How will you present these opposing settings?
I’ve been skyping with set director Sean Fanning and we are both excited about the addition of a turntable to the Cygnet stage. The structure of the play is very episodic with short scenes involving quick scenic, costume and lighting changes. The turntable provides an opportunity to shift eras and locations quickly and keep the show fluid. It’s a dark comedy that deals with important social issues and I’m certain audiences will debate them after the show, but during the performance, it’s important to keep things moving, with each scene flowing seamlessly into the next.
CT: What about the look and feel? How are you working with designers to create both eras?
We are limited by the resources and economy of a nonprofit theater, but that is a challenge I rather enjoy. I’d much rather solve problems creatively within constraints than have a bloated budget and throw everything at the audience. We’ll be working with simple iconic set pieces that are clearly grounded in the era they represent. In fact, the concept of limited resources is one that resonates within the play because going back to the 50s means we don’t have everything at our fingertips as we do today
I’m also working with costume designer Jeanne Reith to capture the quality and specificity of each era. The 1950’s Ozzie and Harriet/Leave it to Beaver look has a warm and cozy feel, while the urban sleek style of today’s New York has a totally different feel. We’ll also be working with a variety of rigging solutions for quick changes. The lighting and scenery will define the 2 eras with a sleek, angular, urban starkness for 2011 to a saturated, warmer and softer look for 1955.
CT: The comedy looks at attitudes about gender, race and sexuality. What is it “really” about for you?
It’s a light but penetrating comedy that explores what happens when we are stripped of the liberties of this world and forced to live within the narrow social structure of 1955. In the 50s there is a veneer of contentment that cloaks what’s lurking underneath. It’s about what we are hoping to reclaim within ourselves by living in a world with less freedom and equality, what we are willing to walk away from and what we lose and gain through the process. It about what it means to live your life authentically.
CT: What would you miss most if you had to return to the 1950?
My freedom as a gay man.
CT: What would you miss the least?
The constant bombardment of information and the false sense of connectivity and accessibility that we get with our hand held devices and social media.
What the Dickens?
This holiday season, Cygnet Theatre is excited to bring back our live radio version of A Christmas Carol. We’ve been doing a bit of research on famed British writer Charles Dickens, author of Oliver Twist, Great Expectations, David Copperfield, The Life and Adventures of Nicholas Nickleby, A Tale of Two Cities and of course, A Christmas Carol and what we found was pretty interesting.
Photo by Daren Scott.
Despite being one of the very first-ever literary superstars, most people don’t know many details of his life. For example, you may be aware that Dickens grew up poor, but did you know that he was mostly self taught? After his father was jailed for having “bad debts,” Dickens was forced to leave school and start work in a blacking factory (a boot polish factory). What about the fact that he knew shorthand? Indeed, his first business card, which he got made at some point between 17 & 19, had his occupation listed as “Short Hand Writer.”
Photo by Daren Scott
Dickens also suffered, at least in childhood, from epilepsy. Having described three of his characters as having epileptic seizures, or ‘The Falling Sickness’ (Edward Leeford in Oliver Twist, a headmaster in Our Mutual Friend, and Guster in Bleak House), modern doctors find his descriptions of the disease remarkably accurate for a period when little was known about it. He probably had OCD as well, and reportedly had a habit of rearranging furniture whenever he stayed in a hotel room having to sleep with his head pointing north, and would inspect his children’s bedrooms every morning, leaving behind notes when he was not satisfied with their tidiness. And those notes were more often than not addressed to “Chickenstalker,” “Skittles,” “Plorn,” or one of the other many nicknames he had for each of his 10 children.
To learn more about this intriguing author, join us on December 8th after the 7:00pm performance of A Christmas Carol: A Live Radio Play for a talkback with Dickensian expert Dr. Edith Frampton, professor of Comparative Literature at San Diego State University. Hope to see you there!
More Split Personalities with Maggie Carney
This week we sit down with another actor to talk about her roles in The Importance of Being Earnest and Travesties.
Who are you playing in both shows? What are their similarities, and what are their differences?
I play Miss Prism in Earnest. Prism is Cecily’s governess and companion… she also harbors a deep dark secret. In Travesties I play Nadya, a Russian revolutionary and the wife of Lenin. Nadya came from an upper-class but impoverished home, Prism is middle working class. Nadya and Prism are approximately the same age. Prism has a streak of Socialism and an interest in “causes” compared to the committed Marxism of Nadya, though they are both very passionate about their beliefs on all subjects. They are approximately the same age. Nadya is taller and slimmer than Prism and less fussy. Prism has accessories and tchotchkes that Nadya would never have. And finally, Nadya speaks with a slight Russian accent and Prism is British through and through. These are just some of the similarities and differences.
What is the funnest part(s) of playing multiply characters in Rep?
I love playing multiple characters in any situation, and in rep it’s even more fun. I get to play with the same creative team in 2 different plays! We know each other very well, after rehearsing since the end of July. The real challenge will be remembering what show I’m doing on a given night. I’ve done rep before and there’s nothing like getting dressed for Lady Percy in Henry 4, Part One and realizing at 15 minutes to the top of show I should be in Calphurnia for Julius Caesar! I’ve never gotten undressed and dressed faster in my life.
What are some of the challenges you are facing?
As a supporting actor in both shows, my greatest challenge is to keep my energy level up for my entrances. I must be fully present when I hit the stage to meet the energy level of my scene partners and increase the level with my presence and new information. I fill my down time backstage with crossword puzzles, crocheting and chatting with the other actors who are offstage. And Facebook, too!
If you are able to see both shows, I would highly recommend seeing Earnest first…there are so many echoes in Travesties it is fun to find them after seeing Earnest. Of course, these are stand-alone plays, so however it fits with your schedule, come and see us!
Split Personalities with Jordan Miller
Cygnet’s current production is not one, but two plays, The Importance of Being Earnest by Oscar Wilde and Travesties by Tom Stoppard, performed in rep by the same company of actors. We sat down with Jordan Miller to learn a little about performing in these two classic comedies.
Who are you playing in both shows? What are their similarities, and what are their differences?
I’m playing “Algernon” in The Importance of Being Earnest, and “Henry Carr” in Travesties. The character of “Henry Carr” is inspired from the real life Henry Carr who fought in WWI and who played “Algernon” in a production of Earnest that was produced by James Joyce. The duality of the role in the play is taken from this real-life experience and forms the basis for the nods to The Importance of Being Earnest by Tom Stoppard. Both characters exemplify the “dandy” and boast very elevated and witty language, but “Algernon” is everything “Carr” wishes he was! While “Algernon” is always debonair and relaxed, “Carr” is self important and haughty, “Algernon” always wins in the end, and “Carr” is always left holding the bag. “Algernon’s” opinions and platitudes are always lighthearted but true, and “Carr’s” are always deeply passionate but often one-sided and flawed.
What is the funnest part(s) of playing multiply characters in Rep?
I don’t know if “funny” is how I would describe it but something that has been a delightful frustration for everyone is when the dialogue from one show creeps into the other, especially when the lines are so similar! And what is a great reveal in one show is played upon in the other, often with the substitution of a single word, and when in the moment you forget which show and line it is, it can make for some panic moments inside your head and for your scene partners!
What are some of the challenges you are facing?
With “Algernon” the biggest challenge (as Sean warned!) is constantly eating all the cucumber sandwiches and muffins and still speaking your lines eloquently! The text of both plays is a huge part of what makes them so wonderful; however, the language in both, once it finally gets into your memory, has a tendency to run away with you because it is so musically structured, and while it may be fun for the actor to rip through the dialogue it can become far too fast and clipped to be comfortably followed. With “Henry Carr,” he is more demanding because in addition to his substantial and complex “Old Carr” stream of consciousness memory monologues (Stoppard’s nod to “Ulysses”), he has several heated and impassioned scenes which can, like the dialogue, engulf you in the emotion and suddenly the scene becomes too heated and real and loses its comedic elements. Both characters are delightful to play, and tackling both at once has been an artistically rewarding challenge!
Are their any Rules of Etiquette from the era of Earnest that you wish were still around today?
I think basic rules of etiquette and manners are things which could stand to be reinforced today! Oh, and modern fashion could take some lessons as well.
Meet Braxton Molinaro
Katie Harroff sat down with Braxton Molinaro, who is currently playing John Wilkes Booth in ASSASSINS at Cygnet Theatre. Braxton went to school in North Carolina and currently lives in New York.
Hi Braxton, Welcome to San Diego! How are you enjoying working with Cygnet Theatre? How did you become connected to us?
Oh man, Cygnet Theatre is an absolutely stellar company. They are as pro as it gets. I believe the designers, the cast, and all of the work that has gone into Assassins is inspiring. The actors are remarkably talented! Sean does such a great job casting unique people who bring a lot to the table. You can’t overlook the weather out here too. It’s pretty ideal to get notes in the sun. I get to smell flowers and see palm trees. San Diego has become an amazing retreat.
As far as how I became connected to the company- I was in a production of Oklahoma directed by Terrance Mann at my now alumni school: The North Carolina School for the Arts, where Sean Murray had also attended. In the production I played Judd. Sean came out to NC to see the show and we became friends. When the season was announced at Cygnet I saw that they were doing Assassins so I reached out to Sean and asked if I could send him a tape and he said sure. I was fortunate to get an offer!
Who are you playing, and what is your character like?
I’m playing the infamous John Wilkes Booth- the very first presidential assassin. Obviously he is deeply flawed, but he loves presentation. Booth was the bastard son of a famous acting family. He had a good career as an actor- sometimes 9 different pieces of material in a week. He had a plethora of opportunities to get on the stage, and probably what would be considered a very admirable performance career to most people. Comparatively, however, to other members of his family he was not successful. This made him very desperate when he came into adulthood. He wanted to live up to the fame his father had succeeded in achieving. As far as motives to killing Abraham Lincoln- Booth had strong ties to the south, and had slaves. He believed it was an important part of being an American.
As an actor, I’ve had to find empathy for a man that is truly full of hate. While very challenging, finding the theatricality in that has been fun. Booth has this daring, unapologetic outward buffoonism to him.
Why should people come see this production of Assassins?
I’m biased because I’m so happy to be here. But I can’t say enough about the importance of this piece. I believe Assassins is such an important play to be performed right now. It will inspire theatre goers to have a conversation- which is what theatre is about. This play gives us the opportunity as a society to look at the people that are causing a lot of turmoil in our country. The message of Assassins is to listen. The Assassins aren’t being heard and they think killing is the only way to make that happen. I think that scary sentiment is shared with a lot of people that live in this country today, and we need to take a look at this. We need to become aware of the possibilities of the things we don’t want to address.
I think a musical-format in expressing this idea is brilliant trickery that allows audiences to see this message while being wildly entertained.
Assassins runs through April 28th!
Playing a ‘pretty crazy guy’
Photo by Rich Soublet II.
We recently sat down with Geno Carr, who is appearing in ASSASSINS at Cygnet Theatre, to get his impressions of the musical, his character and Stephen Sondheim…
Who are you playing and what is your character like?
I’m playing Charles Guiteau who assassinated President James Garfield. In this piece Sondhiem wanted to explore who are these people, these “Assassins” and why they did what they did. What drove them to this magnitude? What motivates a person to assassinate one of the most powerful people in the world? It’s been a great challenge to find empathy for this character, and try to make people feel something for this horrible person.
Charles had a very interesting life; he was a pretty crazy guy. He believed that after he delivered a speech he had written in favor of Garfield during Garfield’s campaign for presidency, that he was responsible for Garfield’s victory. This wasn’t true; however Charles believed that he was entitled to things, like becoming the Ambassador of France, but obviously this didn’t happen. And then Charles went crazy. However, I can’t play him crazy- that’s not something an actor should do. It’s our responsibility to understand the mentality of our characters. I’ve been working on his eccentricities and finding out what makes him tick, which is a lot of fun as an actor.
What do you enjoy about Sondhiem what’s special about Assassins to you?
I was fortunate to perform in Cygnet’s production of Sweeney Todd two years ago, but also when I was in college, I directed Into the Woods – which was incredibly cool and really fueled my deep appreciation for him. Somehow Sondheim is able to take subject matter that no one would ever imagine being a musical, and allow audiences to become invested.
His music is brilliantly difficult- it’s not something you might hum walking out of the theatre, but it’s so smart. He writes his music to inspire the characters and the story. Assassins is a musical about America- and so much ‘American’ music pops up throughout it. John Phillip Souza, a 70’s pop ballad- he draws from American music throughout history, and turns it into a Sondhiem masterpiece. Like the song ‘Another National Anthem’. It’s indeed this rousing anthem, but with a twist. There is this group of people in this country that have a different idea of what it means to be American. Sondhiem takes something familiar, like a ballad or an anthem, and twists the knife- adding layers and all these intricate elements that tell a story.
It’s fun to sing, and fun to act- it’s music that’s ‘performable’. His characters have thematic melodies that track throughout his productions. Sondheim does this throughout his work- he provides layers to a character, and that gives an actor and an audience a clear definition to the voice of these people.
Why do you think people shouldn’t miss this production?
I love working at Cygnet. Sean and his team take the work very seriously. Sean approaches musicals as though they are plays with music. I think in some crowds, musicals get a bad rap that it’s not as fulfilling as say, a Checkov play- but Sean picks musical that are for actors. Coming to a Cygnet musical means you’re not going to something fluffy. You’re going to leave wanting to talk about it, you’re going to think of something differently- it will have an effect on you.
Sometimes theatre should be passive, but Assassins will make you think.
I think it will be a huge conversation starter. This is a fascinating, interesting, fun night of theatre. You will laugh, you’ll be shocked, and you may cry. Assassins is one quality evening of theatre.
Cygnet’s Eleventh Season
Here we are, halfway through our tenth anniversary season, and we are already getting fired up about our next season. Artistic Director Sean Murray and Executive Director Bill Schmidt have assembled a package of plays and musicals for the 2013-2014 season that we feel just may be our most exciting yet. Cygnet’s eleventh season will feature seven productions including two plays performed in a rotating repertory, two musicals, two San Diego premieres and a holiday revival. “The scripts that we have assembled all went through the ‘is-this-exciting?’ filter!” says Murray. “We feel that we have put together a line-up that continues to serve our eclectic, artistic-whiplash tastes here at Cygnet. All of the stories in next season’s list concern relationships, love and the challenges of making personal connections.”
Ok we admit it. We love Stephen Sondheim. A Little Night Music, Sweeney Todd, and the upcoming Assassins. Not to mention the concert readings we have done of A Little Night Music, Assassins (twice) and Passion. To launch our next season we present Company, with music and lyrics by Sondheim and a book by George Furth. The Tony Award-winning musical is an exploration of marriage and commitment.
In the fall, we offer up a creative treat for theatre-philes: two very different comedies, linked together through a playful twist, playing opposite each other in a rotating repertory: Oscar Wilde’s classic comedy, the delicious The Importance of Being Earnest and Tom Stoppard’s wilde [sic!] take on it, Travesties. Earnest, a comedy of mistaken identities and surprising twists, is a mash up of Downton Abbey style and Oscar Wilde’s wit. Paired with the vaudeville-style of ideas, wit, revolution, politics and history that is Travesties, both plays will be performed on alternating nights throughout the run.
It wouldn’t be the holidays at Cygnet without a 1940’s style live radio program. This seven-year tradition continues with the return of the WCYG Playhouse of the Air production of Charles Dickens’ A Christmas Carol, adapted by Sean Murray with an original score by Billy Thompson.
2014 kicks off with Southern California premiere! We have snagged the rights for Jordan Harrison’s Maple and Vine, a sensation last season Off-Broadway at New York’s Playwrights Horizons. This comedy focuses on a couple who have become allergic to their 21st century lives and decide to move into a closed-community of 1950s re-enactors who forsake their cellphones and sushi for poodle-skirts, milkmen and Tupperware parties. They are soon surprised by what their new neighbors––and themselves––are willing to sacrifice for happiness.
Cygnet loves to mount exciting musicals, and in the first local professional production, we bring Spring Awakening to the Old Town stage. The youth-inspired rock musical is an eight-time Tony Award-winner with an electrifying score by Duncan Sheik and book and lyrics by Steven Sater. The show is an intoxicating story of youth, sexuality and self-discovery that is sure to awaken passion in the heart. Contains mature themes, sexual situations and strong language.
And then there is the last show… without a doubt, the most provocative we have ever announced, possibly the most hilarious, and definitely one that we jumping up and down with excitement about. Our eleventh season will conclude with the San Diego premiere of The Motherf**ker with the Hat by Stephen Adly Guirgis (The Little Flower of East Orange). The “high-octane verbal cage match about love, fidelity and misplaced haberdashery,” is set smack in the center of New York’s Hell’s Kitchen. A Broadway hit that is exhilarating, hilarious and totally irreverent, this comedy is also, surprisingly, an examination of acceptance, loyalty and above all, love. This play contains drugs, violence, sexual situations and, in case you haven’t figured it out, a lot of strong f**king language.
Current Subscribers can renew their subscriptions now by contacting the box office at 619-337-1525 or returning the renewal forms that are being sent out. Sales for New Subscribers will begin March 1st.
It’s going to be an exciting season, thought provoking season, one that we can’t wait to share with you.