It started over a dinner conversation with Charles last fall, when I asked him if he would direct the play. We continued with a heart-stopping, last minute goal reaching Kickstarter campaign, followed by an audition process where we saw the best of the best and we cast the show.
In the meantime, I was thrilled Kim Rosin signed on for set design and Keith Gehrig for lights. After the original costumer had to step down, Kristina Hestenes, costumer and set dresser for Frankie and Johnny … signed on. And of course J.S. Epperson at the helm of sound design. Add Jordan Johansen to the mix as the stage manager, and one couldn’t ask for a better creative crew.
After an intense yet super fun rehearsal period we moved into The Ballard Underground, where we were welcomed right away and made to feel at home.
So how did the run go? On average, we filled 79% of the seats and sold-out three performances, and even had standing-room-only audience on our closing night. For the first time in Arouet’s short history we paid for the production from ticket sales, and as a profit-sharing company we were able to pay our hard working cast and crew.
We heard from people that loved the show, for some it had been the best production of it they had seen. We heard from others that didn’t care so much, but those conversations usually led down interesting conversations that wouldn’t have happened otherwise.
As it is when you have such a great experience, it is difficult to say goodbye to these wonderful characters, not see on a regular basis these 16 marvelous women, and the long chats with Charles in the car before and after rehearsal. Yet we are more energized than ever to continue presenting the works that speak to our soul.