SCF Theatre Program Presents "Peter/Wendy," April 15-24 in the Howard Studio Theatre

SCF Theatre Program Presents

The SCF Theatre Program presents its final play of the season, "Peter/Wendy" written by Jeremy Bloom,  April 15 through April 24 in the Howard Studio Theatre on the SCF Bradenton campus.
Join Theatre Assistant Professor Amanda Schlachter as she talks to guest director India Marie Paul and stage manager Madison Swanson about the play, their experiences putting the show together, and the importance of "play" in all of our lives.

Performance dates and times are:
Friday, April 15 at 8:00 p.m. (for tickets, click here)
Saturday, April 16 at 2:00 p.m. (for tickets, click here)
Saturday, April 16 at 8:00 p.m. (for tickets, click here)
Friday, April 22 at 8:00 p.m. (for tickets, click here)
Saturday, April 23 at 8:00 p.m. (for tickets, click here)
Sunday, April 24 at 2:00 p.m. (for tickets, click here)

• SCF Theatre Program Website & Facebook Page & Instagram

• Amanda Schlachter Website & Facebook

• India Marie Paul Website & Facebook & Instagram

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Amanda Schlachter: I am thrilled to be with our guests today and talk about our upcoming SCF theater production of Peter Wendy by Jeremy bloom. Today we have India Marie Paul director of Peter, Wendy, and Madison Swanson, the stage manager for the show. Welcome to you both. 

Madison Swanson: Thank you. 

Amanda Schlachter: Yes. Hello. So before we like dive into everything, Peter, Wendy, what I'd like to start out with is just to get to know each of you a little bit, kind of talk about your backgrounds and. And things like that. So Indie, I'm going to go ahead and start out with you. And I know you have a rich background. You've done everything from directing to writing filmmaking to performance, fight choreography to founding your own company called. Hello Out There. Productions. You have a master's degree from the New School in directing and you were directing fellow with Asolo Rep where I know you also work now, so you have tremendous time. You have multiple credits. So there's a lot. And my listener, she's got a fabulous bio. You can look at as well. Sorry. I'm always, I'm not afraid to sing. People's praises. It's like one of my things. But but before I kind of want to start about kind of the seed, like how did you come into theater? You know, what was it like growing up? So if you could tell us a little bit about that, 

India Marie Paul: of course, to make me sound so cool. You aren't. I actually started dance when I was three. So I've always had that kind of spark of liking to move to music and perform. I think my first theater production was when I was 12. I was a little like one line minion of a witch or something. And I grew up in a very, very small town. So art was really limited. I still really was drawn toward it. And I started at the Richmond civic theater for a little bit, and that really got me to decide to do theater as a career doing a couple of musicals with them. I sat backstage and realized, no, I wanna, I want to do this. And I found my way to directing after failing horribly my first year as a freshmen, in my bachelor's degree at the university of Indiana. cause, I just didn't really have any real training. And so I had to do all the tech side of stuff, and I found that I really, really loved it. I did ASM and lighting and painting and all of that. And I found out that I really loved telling stories and helping to tell stories. And I slowly found my way into directing because that's the person who gets to be a part of all of it. So I probably about my junior year of my bachelor's degree, I decided. That I really, really love directing and I wanted to try and pursue it further. I started writing a little bit and loved telling stories that way to somehow apply it and got in to the New School in New York. And did a couple internships in Chicago while I was in my undergrad and absolutely adored my time in New York. But I found out. The kind of director I wanted to be there. It was a really wonderful experience, but finding the fellowship down here and now finding kind of an artistic home in this area is kind of the trajectory I've had, but it went from wanting to be a performer. And I love that side of it, but learning that I love to help produce and tell stories through failures. It's kind of how I found my way into doing all of the different things that I ended up doing. 

Amanda Schlachter: Yeah. And I know you came down here for the fellowship with Asolo, so what made you stay? You touched a little bit about our community here. So 

India Marie Paul: there was a lot of art, which is really exciting. I always wanted to. And a regional theater area. Cause I think regional theaters are one of the most important structures in the theater community in general. New York is absolutely wonderful and it's a beautiful place to be for a while. But regional theaters are the places where the most people can actually be reached by theater. So I always knew I wanted to. Working in one. And when they offered my husband who works at the Asolo is head of props, the full-time job. We decided to try and make this area, our artistic home. 

Amanda Schlachter: That's amazing. And how are you finding it? You've been here. How many years now? 

India Marie Paul: Ooh, I've been here. I was the 18-19 season fellow. So it's been almost four years that I've been here. And that, I mean, two years of that was when we were shut down. So it, it's nice to start finding a foot with working with you all and working at the Sarasota Opera right before everything shut down as the fight choreographer was really great. And I'm starting to meet and get to know more of the Cedars now that we're getting to do theater again. So I'm really. For the next few years as I get to know the community better. 

Amanda Schlachter: And I will add because of the pandemic. And you've talked a little bit about this, so you, as well as our fabulous Dr. Bell started a podcast. So could you tell us just a little bit about that? 

India Marie Paul: Yes. It came out of my an artistic friend and regular friend really got to know each other a lot better over the pandemic talking every Monday and starting to dive deep into stories and female characters and. What we saw that were really awful stereotypes and started talking about where we hope things get and analyzing them in a way that people probably didn't need to as much as we were. And , we decided to start talking about. And public really is what it came down to. We started with a Disney animation and we've talked about the Harry Potter women. And it's been a really fun time actually analyzing these stories that have touched so many people from their childhood and what those characters teach us and where they lack and how they've grown. So it's been a really fun time to kind of dive deeper into. Female characters and what they're telling us and teaching us and their stories. 

Amanda Schlachter: It makes me think a little bit about, I think it's Gina Davis, who did all of you learned any of that? She did a whole thing of research about like literally Disney characters. And she did like science-based research about how women and young women are portrayed. And because she was watching animation with our kids. So I think that's fantastic. And do you find there's a lot of negative? Do you find like there's a mix? Are you able to kind of parse it out a little bit? 

India Marie Paul: There's a mix. There's definitely it. Why? I love talking about Disney characters and animation characters, because those are our new fairytales. Like we can go back to, we go back to the origins of things as well, but at that time, The ground, floor, everyone understands is like the fairytale itself. So there is a mix. I was actually surprised at some of the older ones that came through and still had some really interesting things to say that are easily passed over when you actually sit down and watch them. So it, it, it was definitely a mix of things. Some of the newer ones still have issues for sure. And so looking at them as an adult, as a whole new world as well. So it's been a really kind of fun project. 

Amanda Schlachter: That's amazing. And can you tell everybody, I'm sorry, the name of it one more time. So people 

India Marie Paul: damsels and dialogue. 

Amanda Schlachter: Wonderful. Great. Okay. Well, I'd like to shift a little bit to Madison, ask you a few questions just to get to know a little bit about you. So Madison has been with us at the State College of Florida. Two years. She's , a scholarship student, a work study student, and has served multiple roles with us. So Madison, can you tell us a little bit about the different roles that you've taken on such as stage management acting you created a film last year with us. So can you talk a little bit about that? 

Madison Swanson: Absolutely. So I started out at. Theater enacting. And that kind of shifted. I did a play reading and fall of 2020 during COVID a mass play reading, of course. And that was where I first kind of figured out this is something I want to pursue. And I stayed on with all of the scholarship kids for the next semester. And that's when we started filming and I had just kind of. Walked into being the writer of the narcissists and echo or the co-writer of the narcissist and echo short-film and mythos. And then the director, which was, I had no prior experience really in theater. So that was a learning curve for sure. But it was once I realized this is something that I can do, I can learn this stuff. I just, I felt like it was a lot more achievable to be able to pursue it as a career. Let's see. Then I did, I was in actor and lovesick. That was kinda where I got my what do they call them? Sea legs on the stage as one. Just learning to be more confident in my acting. And I think that's kind of what pushed me into being a stage manager because I had already started working on the set ever since mythos really. Cause I helped design the set for the short film that I was in and starting from there, you know, I been helping with all of the sets from then on out and. I don't know when it happened, but I just, you know, started stepping into a leadership role with the crew that we had been working with for the sets. And I think Craig maybe saw that. And that's, you know, he was like, I think you'd make a good stage manager. And so I was like, sure, why not? I mean, I, you know, me, I love learning anything I can. So it was so easy for me to just step into that role. So. You know, of course I was going to say yes for Peter, Wendy. It's just every single step in theater that I've been taking. It's been absolutely wonderful so far, 

Amanda Schlachter: With the different roles, because I really do feel like you've done so much in the last couple of years with us. Is there something, is there one maybe you like more or, or something that's taught you something that surprised you. 

Madison Swanson: I would definitely say that each one has its own benefits. As an actor, I feel like there's more of like a freeing aspect to it. But with stage managing, I do still feel like I have like that creative input into the show, but I don't have to have that emotional drain that you do sometimes when you're in like a heavier show.

Amanda Schlachter: Yeah. I always say like the stage management or the directing brain very different from the acting brain. It's like, they're just different parts of our being that we kind of open up, you know? And so, so with that, actually India, back to you, I know you talk about with your directing and your storytelling that you really want to make sure the female perspective is heard. So can you tell us a little bit more about what that means and, and how. How has the director I'm so curious, do you go about making sure that that's present? 

India Marie Paul: Yeah. I discovered that it's really discovering what kind of stories I wanted to be a part of telling. So I don't typically do stories that, or I try not to do stories if I have the choice of, of what story to tell. Where the lead is, or the main leads are all male. I, I really, if if I can, I always pick stories that have the female perspective in the forefront, and if not, sometimes I get to change what gender is in the place. So trying to, what can that, what can I learn from doing that? And I love working with women. I, my thesis in grad school was a completely female cast. I had a female stage management team and it's one of the. Coolest experiences that I've I've had. And when looking at places. Knowing that the female, cause there are also plays that have female leads that are written really two dimensionally. So it's also trying to find plays or trying to find and help actors create performances that are beyond a two-dimensional stereotype and making sure they're fully fledged in the script or in the performance. It's much easier if you find a script that has a little bit more than just even like the typical. Woman in distress or the princess being saved, all the the, or even just the the femme fatale character, like all these different stereotypes that happen in narratives and making sure that they have full ideas and full thoughts and emotions. And also trying to avoid the. Strong woman stereotype. Cause I love women. I think all women are strong, but strength is also used as a way to not have emotions too. So I always love to make sure that if there is a character that is dealing with real things that it's not just trying to avoid emotion, but to also show that strength is, is emotional. And so it's really trying to find those stories with fully complete women to tell. 

Amanda Schlachter: Yeah. How do you go about, and I love the idea of shifting from the two dimensional to fully realizing or flushing out a female character. So if you're given something maybe from the past, that's a bit dated because I know that's something. Here that I look at with the college and when we're screening plays and what we show and how do we update. And it's always a question. Do we need to still keep showing these plays, but they were in a certain time periods. So how do you approach that? Or, or do you take on that kind of work? 

India Marie Paul: I love adaptation. I think it's a really fun thing to write and to also direct, I think there are scripts that need to be put to rest at certain times, but I think you should never change a script that exists unless it's your own or you're fully readapting it because that is the playwright's work. But I think there's a way visually and with performances to sometimes update characters, even by just how you give them space on stage. So there's, there are older scripts that you can. Change a little of intent or a little bit of narrative by the director's vision for the show, whether it's gender bending, some characters, if they let you do that, or it's putting them on stage the whole time or something that where you're giving them visual space, if they're not given the vocal space, it's a one way to kind of think about that, but it depends on, on the story. It's. When I look at older scripts, I lo I love some classics. Like I have, I'm a huge Shakespeare fan. I love a lot of classic work. And when I read them, it's what stories being told. Why is it important today? And if it's not important today, then why are we doing it? So I think a lot of classics doing classics for the sake of classic should be enacting classes where you learn that style, but doing classics for just the sake of putting on a historical piece. Isn't. My forte theater. 

Amanda Schlachter: I completely understand. Yeah. Yeah. And it is, it's always this, this question, even as you're teaching period styles, but yet I do sort of stand by the idea, like you said, in the training, because I think once you understand the different styles, if you can integrate it into the present day, it's always really fascinating. I mean, actors that are classically trained just tend to have, I feel more tools or often have more tools. So 

India Marie Paul: yeah, there's a weird line where if you get far back in. It's all fair game Shakespeare. Meuniere all of these really old classics you can manipulate and change and adapt as much as you want. So in the public domain. And then there's that chunk of stuff that is. Posts that, that you can't really change. That can be harder to make work for them. So it's a fight like classic classic, like Shakespeare, just everyone thing is thrown out the window. You can do whatever you want sometimes, which is great. I did a Tempest that was three people and it was so much fun. So there's a weird balance of what classic means as well. 

Amanda Schlachter: Yeah, absolutely. Absolutely. Yeah. And there's some fascinating women in Greek theater of course, too. But if you can adapt that and re-imagine, and it's very fun. Yeah. I love to tell about Medea when I teach I'm like, let me tell ya they were serious.

India Marie Paul: Some stuff going on. 

Amanda Schlachter: I know, I'm always like, this is every female's dream role and they're like, she does what? Yeah. 

India Marie Paul: That's great. Greek some great stuff. 

Amanda Schlachter: Absolutely. Well, that was, it was funny. The, one of the things with the Greek theater and learning it as an actor, it was like, you don't have to subtext anything. They say every it's all right there. If similar to Shakespeare, you just ride it. So there's nothing left at the end. They've articulated it. So, so with that, actually let's shift a little bit into Peter, Wendy kind of talking about adaptations. And so Indie I'd like, if you could start a little bit to talk about Peter, Wendy end, like how has it structured? And I know the writing having read through. I mean I'm I actually just, I'm so excited. I'll get to see the show next week, but I've yeah, I've just wanted to give space, but I will be seeing through tech and everything, what you guys are doing, but I've heard magnificent things. Oh yeah. Oh, that's the word on the street is spectacular. So 

India Marie Paul: that's some pressure. Good. It's a uniquely structured piece. It's only one act. So it's a little shorter than I usually work. Which is fun. I love one acts. It definitely is meant to be a deconstruction, which is a big word. That can mean a lot of different things, but it's taking a story that everyone knows and assuming you kind of know it because then it interrupts itself to have its own thoughts. So the playwright interrupts the narrative of the story to put in some thoughts about. There's a whole, I call it the symposium section about birds and what it means to be. And when you're a kid, like when you can fly and how you lose it. And so there are these like tangents that we kind of go off to and then return to the story. So it's, it's a fun time. We're not like doing a lecture, but there's a lot of breaking of the fourth wall. Pretty much the, from the get-go the entire show we're breaking the fourth wall and the story still exists in it, but it's definitely a. Someone who thinks, you know, the story and then puts their opinions and kind of some fun, little skits and things in between.

Amanda Schlachter: Yeah. I mean, that's one of the things I'm most interested and excited about seeing is how you staged those interruptions because I was reading them, thinking I don't even, I don't even know what I see here yet. 

India Marie Paul: Oh, it was terrifying when I first. What is the, what am I going to do with this? It's a director's dream and challenge. So I was very excited when I read it, but there was that moment of like, oh, what am I doing with this? 

Amanda Schlachter: Yeah, well, like I said, I mean, those that have seen in our technical team told me very good things about the staging. So 

India Marie Paul: it should be fun. I that's, my, one of my biggest goals is that it should be that sense of fun the entire time.

Amanda Schlachter: Yes. I know. It's interesting how we get so far away from play. We talk about it. We think about it as theater artists, but do we really play, do we? And so this script and this set and the structure seems to allow for that,

India Marie Paul: it does. I was very excited with the playground that they pretty much built for me on the stage. The tech team has been amazing about it. Throwing every idea and then running with it has been great. And I think Peter pan as a character teaches us and reminds us to play, which is where the whole idea for that came from where that theme really kind of stuck out to me, the need to escape from everyday life. Sometimes through stories, video games, films, however you escape. Peter gives you never. So that w I wanted to create a place of escape for us to go to for 70, 80 minutes, whatever this ends up being of a show and to have a place of imagination onstage and escape a little bit before we go out, back into the world.

Amanda Schlachter: Yeah. And that kind of leads me actually to my next question. You've touched on a little bit is the concept for the show. So I don't know how much you want to share with our listeners because of course there's big elements of surprise. 

India Marie Paul: Oh yeah. I'll try to not give everything away, but it, I wanted to create a cozy. That reminds you of being a kid and telling stories to each other and how you used to create things out of just blankets and flashlights, or create fun out of running around and pretending things are chasing that kind of innocent play and fun that we used to do. And that we, we miss and that we long for, which is I think the whole idea behind the novel itself. Cause Peter pan is not a great person than the novel. All, but I think what very is trying to get to is. There's always that, that place of childhood innocence that we need, we, we claim to before we ultimately realized that we need to come back and that's what Wendy always ends up coming back at the end of the novel. And she needs that moment. She needs that escape and that that last moment. Childhood before she leaves the nursery. And I think it's people love the character because that sense of Neverland existing is what we all want. We all want Neverland to be real into a visit. 

Amanda Schlachter: Right. And, and I think about like adults, they have their own little Netherlands. I mean, it continues like the different places we escape or we long to escape to. And, you know, I love to, you brought up this idea of how we played as kids and things became, I mean, I, I go back to, like, I remember making like fake nails out of glue. And for hours like fishing at a, at a S like a stream, we have the soul Crick. I grew up in Ohio and, you know, we've been tired recently. I've been struck by the, the sense of play and play outside and how, again, I don't want to, I don't want to get in my soap box, but just about how you, you know, kids still need to do that. And how do we keep creating spaces for them to do. Because there's more screen time and, you know, just the importance of it because for hours we used to be.

India Marie Paul: Yeah. And that's what I, the lack of technology used in the show is also something that I wanted to do. Like when obviously don't have a flying rig for Peter. So how do we get them to fly and how do we get the stars to happen? And I wanted to create, it's almost a poor, poor theater styled version. Of the show so that we can truly play and have to play in the, in the space that we have.

Amanda Schlachter: Wow. Well, so, Matt Madison, I was going to say, Maddie, I call her Maddie, but Madison. So you've been watching and you've been seeing the process and this kind of leads to opening it up for the actors to play and giving them props and things like that. So you continues, what have you witnessed? What is the experience been like? What have you seen maybe in your colleagues, maybe different things that you've seen.

Madison Swanson: I have just seen everyone kind of loosen up a little bit, I think is the biggest change even just, you know, cause I go in classes with these people too in glasses, I just watched them like stretch all the time and have absolutely no self-consciousness about it because they're used to it now, you know, they stretch before rehearsal obviously. And then throughout rehearsal I've gotten to like watch them just be absolutely like free with themselves. I think with all of like the physical work that we have been doing in this show, it's actually kind of like intellectualizing in the show you know, where some people get in their head when they're acting, I think with all the physical work. Cause you know, we usually start off, we do like a flight call and then a fight call. And between those two things, I think it just kind of like loosens everyone up and they just get out of their heads and you watch them make these creative, unique choices and they're acting and it's just been amazing.

Amanda Schlachter: And what have you taken away stage managing the show? What are, what are you gathering? Do you go home and play after? What are the skills I love this flight call. I just want to come in and see the flight call just because it just sounds cool. 

Madison Swanson: It's cool. Stage managing in general, you learn a few things. I think one of my big thing is, is like you learn just watching one how to take direction a little bit for like when you're looking at someone trying to figure something out. You won, learn how to like, take that direction yourself. And then to if I were to ever be in a director's shoes again, I would know how to give it more effectively as the director to the actor. And then also I think I've learned more about like what kind of. I want to be just, you know, cause like you see things that people do and you go, oh, like that's, it's not necessarily wrong, but like there's a better way to do that. And you can just, you know, kind of keynote that. But it wasn't you who did it. But like, you also see people who are just amazing and you go, oh, like, this is what they're doing. You get to take notes on the people who are doing things. Right. And just key that in for the next time that you have something for acting. 

Amanda Schlachter: Yeah. I know. I always think it's so powerful too. We always say, go watch auditions. If you're an actor, if you can watch a process because when you're in it, it's really hard. Sometimes when you're working through your own. Figuring it out as you know, in your opposite other actors, but when you can sit aside, really great learning can happen. 

Madison Swanson: Absolutely.

Amanda Schlachter: Yeah. So India, why do you think it's important to do this work right now at this time at this place SCF theater? 

India Marie Paul: After the chaos that has ensued in the last few years around the world and is currently happening in multiple places in multiple facets, I think. It was a really wonderful show to pick so kudos to you all, because we need to have a little bit of respite sometimes, and we need to have a moment where we remember. To have happy thoughts. Like that's one of the biggest things in this adaptation that comes forward. As we start with happy thoughts, we end with happy thoughts. It's a constant in the show. And I think positive thinking is so powerful and can be powerful and how we can get through some of the hard times. If you let yourself get a little too far deep into all the bad things that are happening, it can really drag you down and bring you down. And sometimes you just need to run around. Like you're five and not care what you look like or to read a really good story that takes you away for a little bit. And so I think what I hope this play does is give people a little bit of joy or at least experiencing other people, having joy. To have a little bit of respite from the darkness that can really swirl around us during the day. 

Amanda Schlachter: Yeah. And I'm curious not to put you on the spot India, but so you've come in to SCF theater. You're a guest director with us. We're so grateful to have you, what is the sort of experience been like your meeting? You know, we, what we love about. Well, here is we have a very diverse group of students with different backgrounds, different ages, different life experiences. So, and you've, and I know you've been over at Asolo. I know there's students over there with the master's program, but you're kind of back in that world too. What's it been like? 

India Marie Paul: It's been really wonderful. I I've only worked in a college setting. A couple of times. So it's been really, really wonderful to get back at it because what I've found, and especially here with this show with these performers is just how willing and excited they are to be here. Everyone here is here because they want. And that's the biggest difference that I've found between for a professional paid performers and people who are going through the education and outside cause this lesson, everyone here, which is really wonderful. And I didn't know what to expect. That was a little terrifying to me, but I didn't know what was going to show up at auditions. And I was really, really happily. Surprised with what I ended up getting to have in my cast. And I have made these actors crawl and roll and jump in and do all these crazy things. And not once if someone looked at me like I was crazy and they could've very easily at some of the things I was asking them to do. So I was very, I'm very happy and excited about. The amount of willingness and joy that they are bringing to the rehearsal. Especially cause I don't know what's happening otherwise in their lives. All know, I know that they're coming in here and ready to run around. I make them sprint. It is a sprint. So everyone's going to get a good cardio workout, but I've been really excited with the support that you guys have given me an even bringing me. So excited to get to do life theater again. Cause this is my first live show. After everything has shut down, I've done a lot of audio stuff and some readings on zoom, but this, it was really nice to be back into have a group of actors who just come in ready to do whatever has been a realtor.

Amanda Schlachter: Wonderful. Yeah. And we love having you and we love your perspective. And I just think it's so important. And, you know, we all learn. I mean, I learned from, you know, guest directors and people like you in different trainings, so we really appreciate you coming and we hope you'll come back 

India Marie Paul: whenever you want me.

Amanda Schlachter: Okay. Perfect. And Maddie, so I know you're sort of closing out your experience with us. I'm going to try not to cry over our podcast. But I've had the fortune of getting to be with Madison the last two years and, you know, be with her in classes and on shows. And so I'd love first, if you want to tell us a little bit about where you're headed, where your plans are, and maybe kind of, if you were to sort of last two years at SCF theater, what will you take away? What's your, I know big question. I'm putting you on the spot. 

Madison Swanson: So currently. I have been offered two amazing programs, both in London. We have university of west London for the acting and devising program and university of east London for their acting for stage and screen program. Both of which you know, I've, I've had the fortunate ability to be able to just kind of delve into what they do. I have a nice little decision to make. I will wait to visit before making my final choice, but yeah, I, I am leaning towards east London currently just because I love just kind of the vibe, I guess I'll say that the school has, it's a very creative school and the program itself is almost like conservatory training inside a university essentially. And they have all the arts. I even got to like, kind of look into like sound designing and that kind of stuff. So if I do end up there with. You know, am leaning towards, I am very, very excited. But yeah, that's, that's what I'm after I graduate, you know, I'm going to have up until September just to kind of gather myself and then off across the pond, I will be. But I had an, oh my God and SCF. I was just thinking about this the other day, too, because walking into this program, you know, there's going to be a lot of devising And I just had to sit back and think, God, I was so lucky to have been able to come into this program when I did, because I got to do all of that work with mythos, which, you know, I think that's kind of what started sparking the thought for me of devising anything really, but even just in the classes here at SCF, you know, you create scenes in stage movement, you have your own. Choices that you make without a director's input and acting classes and things like that, where you walk in with these choices, just like you would in any professional environment. Without that, I don't know if I would be prepared for that kind of level of training. 

Amanda Schlachter: Yeah, well, we're going to miss you a whole bunch, Maddie, I'm just so proud of you and I'm so impressed that you're, you know, you talk about sort of dreams or following your dreams, or, you know, I remember asking you like, where are you going to transfer? And you're like, oh, I'd like to go to London. I was like, oh, okay. I mean, bold, bold choice. And yet I have no doubt. You, you know, over there. And I think wherever your path leads, whether it's direction, stage management, acting all of the above, kind of being that multi-faceted artist, I just know you'll be successful.

Madison Swanson: I appreciate the vote of confidence. 

Amanda Schlachter: You have it, you have it. So so finally, I just want to ask you each one quick question, because obviously we hope you all were come and see Peter, Wendy. Really? Why should people come and see Peter Wendy? Like one, one big reason that you think is like, you can't miss it. And, and it's, it's fun. It's one act, right? You come in, it's a great night and go have dinner and drinks before or after. So what do you think? 

India Marie Paul: I think for me, what I hope people will enjoy about it and why I think they should come is that I hope that it can spark a sense of imagination. In stories that you had as a kid. And I think through the, the staging that we're doing and the set, I hope it takes you back. Makes you remember those nights reading under a blanket with a flash? 

Amanda Schlachter: Yeah. 

Madison Swanson: For me, I think one of the things just for every audience member they could leave with almost like a light heart. Have, you know, when you were a kid that kind of, you know, that free, nothing in the world can hurt me, youthful, look on the world. And you, you, you feel that in the show with every single one of the characters, and I think, you know, that's something that will go away with the audience when they leave. 

Amanda Schlachter: And what a beautiful way to close out our season and to leave us all with after, you know, a couple years of definitely we've all had our challenges. So I love that. I love like nothing will hurt me. Sounds lovely. And I do want to, just as we're closing out, cause I know India, you have someone who wrote original music for the show. So do you want to give them their name or just so that we know 

India Marie Paul: he's actually local? He he's in Parrish. His name is Nick Stefonic. And I worked with him on my thesis when I was in New York and I worked with him on an audio book composition as well. And he's fabulous, but what I, I wanted to have a little bit of an original, a couple of original pieces to make sure that we get the feel for the flight and how we get to Neverland and how we are introduced to the story and get out of the story to make it feel. Get that coziness and get that escape feeling. And what he's created so far has been absolutely stunning. So I'm really excited for people to hear it and to get his final pieces in. So it's, I'm really excited, but Nick is lovely and I hope that people get to know his work a little. 

Amanda Schlachter: Fantastic. Yes. And of course we have our set and lighting design, Craig Smith. Our program manager does brilliant work. Timothy borne. Of course, our technical director in there overseeing our scholarship and work study. Students who work so hard. I just always say, nobody understands how hard. They work they're in classes. They go and build these magnificent sets and then they're in rehearsal all night and then they go home and try to do homework, I guess, and eat and come back. And 

India Marie Paul: if you need an excuse to come, come see the set it's fun. It is really fun. And it's full of stuff to look at. 

Madison Swanson: We actually had someone who accidentally walked in to rehearsal last night, I'm looking for the jazz show. And as you know, I was walking in. You know, the Neel, he was like, what show is that? And I was like, it's for Peter, Wendy it's, you know, it's coming on. And then a couple of weeks. And he was like, you know, I might come see it. Like, just from one look at the set on accident,

Amanda Schlachter: because I mean, it's magnificent. It's what he, and he always is like, oh, this one again. And I'm always like, you're the one who's brilliant. And you can't help yourself because at least my experience, he always goes above and beyond. And I'm like, okay. I mean, you've built a house you've built, you know, in the last show I was like, you've built three houses. Fantastic. So again, I always say our quality is pretty tremendous here. We're small, but mighty and a yes. So I'd like to thank you both for spending time with us here at the Suncoast Culture Club and becoming. Of the Suncoast Culture Clubs. So welcome to the club. 

Madison Swanson: Thank you very much. 

Amanda Schlachter: Peter, Wendy opens on April 15th at 8:00 PM. It's in the Howard studio theater on the Bradenton campus at the State College of Florida. We have two performances on the Saturday because of Easter Sunday. So there'll be a matinee and an evening show. And the following weekend we'll run April 22nd to the 24th. We'd love to see you. And I'd like to do a quick, special, thank you to Dr. Robyn Bell for creating this podcast. She spends multiple hours of her own time, her own money, her own resources, her own everything, to bring this to the community and to give us a platform to get to discuss our artistic work. So thank you to Dr. Bell and to you, our listeners. Thank you for being a part of the Suncoast Culture Club.