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Troupe Talk is a podcast covering the productions of the Berry College Theatre Company. From directors, to actors, to crew members, we will be discussing what it's like being in the company.
Hello. Welcome to Troupe Talk. I'm your new host, Emma Loeslein. In today's episode, we will be talking to the cast and son of the crew of Berry College Theatre Company's upcoming production of Boeing Boeing. We will start off the episode by talking to the characters who try and keep the chaos contained.
Emma Loeslein:Our first guests are...
Jack Anderson:My name is Jack Anderson, and I'm playing Bernard.
Sadie Holmes:My name is Sadie Holmes, and I'm playing Berthe.
Preston Green:My name is Preston Green and I play Robert Lambert.
Emma Loeslein:Perfect. Can you just take a second to, like, explain the importance of your characters?
Jack Anderson:Yeah. I mean, the play would not happen without Bernard. Bernard obviously is the man with three fiances living in Paris, living And the high nothing would happen if it weren't for his situation.
Sadie Holmes:Right. I think Berthe is an important character because she is an extra layer of comedy to the situation. She's having to manage this crisis that's happening and she's important to the plot and relationships between everyone and just just an experience from Paris. She's just raw French.
Preston Green:I feel like the importance of Robert as a character inside the show, it's not him that you, like, have the circumstances of the show coming from but it's kind of him being the lens that you see the show through because he's like... The second that you see him is when the show starts to pick up and you're kind of following him along for the ride of being in this house, being in this situation And it's just... It's good to follow him along.
Emma Loeslein:Yeah. Absolutely. Right. Because, like, the show, it it starts off and you obviously, like, see Bernard and and you pick up on the fact once Robert comes in that he's engaged to three different women. But then Robert really kind of, like, takes the show from there.
Emma Loeslein:And he and he... He's, like, an unexpected main protagonist, and that's something that I just really love because it's you don't really see, I I find. But there are four different crazy intense accents in this show, and all of the lady characters, they have their own individual accents, and Bernard and Robert don't. There are... I mean, obviously, this this show has been heavily translated from French.
Emma Loeslein:So, you know, the the original Bernard and Robert, a different situation. But I would just love to hear the boys' perspectives on how you alter your voice even though you're not doing an accent. And then from Sadie, I would love to hear, like, what kind of prior experience you may have with doing an accent or, like, what kind of challenges you faced.
Jack Anderson:Yeah. I mean, for Bernard, obviously, it's a very big departure from anyone anyone's regular life really, anyone's regular kid into talking. So you gotta really, like, man up. And a lot of the lines, just the way they're written, it's kinda hard not to read them. It's, like, hard not to be very uptight and very fancy about it all as you're describing what is really a dream life going wrong.
Sadie Holmes:Yeah. And I've actually had experience with a French accent beforehand. Berthe is French. I was in a production of Amelie about five years ago, and we worked really heavily with the French accent using the Paul Meyer technique. And it's quite challenging jumping back into it because it's been so long since I've done it.
Sadie Holmes:But I'm fascinated by accents, so it's something that I like to play with quite often. But I've had a great time just jumping back into it and, like, learning all the ropes again and just practicing new things because you can kind of play around with different accents based on how much the character might be familiar with the English language. So I've had a lot of fun playing around on how familiar she is with English and where her accent comes into play more.
Preston Green:Yeah. With Robert, obviously, he doesn't have an accent, but he definitely fits the trope of a very silly character, very goofy, and I feel like I've had experience playing those types of characters before. So I kind of pulled from most of the ways that I would talk in past shows, kind of like the silly goofy type of talk. And there's some moments where he does come in and he tries to act a little bit more serious to impress certain people. So kind of like embodying other people in the show because there are sometimes that we have to say, some words that are in German or in French.
Preston Green:So definitely embodying the other characters in a little bit... In a sense, just to kind of get a little bit more of their feel. So there's some times where, you know, I might have to be a little bit more like Bernard, so I act a little bit more sophisticated, put the voice a little bit deeper. And then there's some times where I have to say some,
Preston Green:stuff like that.
Sadie Holmes:Oh, okay.
Sadie Holmes:Speak French
Sadie Holmes:to me.
Preston Green:So I I I just stare at Sadie and I think about that sometimes.
Emma Loeslein:Absolutely. Oh, that's really cool. I like the way that each of you kind of, like, view it very differently, especially the the show being based in 1964. Like, you you do have to, like, change that cadence of the way that you speak even if there is an accent because you're not gonna be modern French. You're gonna be 1964 French.
Emma Loeslein:Mhmm. And your characters are like the pillars of this production. They keep everything in order, and they try to keep that chaos contained. I would like to know, obviously this is a hypothetical, what each of you would do if you were actually hiding three fiances yourselves. I hope you don't, but I'd love to hear that hypothetical.
Jack Anderson:Where to even start on a deal like that? I mean, all things considered, Bernard's got a pretty good setup for hiding three fiances. Like, having them all have a job that's very demanding while still being very well respected, being, you know, an air hostess in the 1960s. It's not exactly a job you can just come back from anytime. So if anything, that's really the ideal way to hide three fiances is to make sure that they all are on a rotating schedule that they cannot deviate from.
Jack Anderson:And ideally, no developments in aircraft technologies, but what can you do?
Emma Loeslein:Right. I mean, also... It does not help Bernard's case that he's just chosen three very headstrong women to be engaged to.
Sadie Holmes:Hiding three fiances, I think you'd have to start with different apartments, like three different apartments because there is no way or at least thick walls.
Emma Loeslein:Yeah. Those walls aren't thick. They can't hear a thing
Emma Loeslein:in there.
Sadie Holmes:You would think. Yeah. They're set so thin.
Emma Loeslein:Oh my gosh. Yeah. That's a good point. Hey. Honestly, I think...
Emma Loeslein:I don't think I'd be the host in that situation. I know.
Preston Green:I've been considering this
Preston Green:for
Preston Green:a
Preston Green:while. For
Preston Green:a very for a very long time, I've considered this life. And I think it all boils down to kind of like what Sadie said, putting them in different houses or apartments or something like that, making sure that they have jobs that don't line up with the same schedule. So maybe one working like a nine to five, the next one working a five to nine, making sure that they're always out of the house at a certain time and then, you know, maybe one of them works like emergency response so they're out even past then nine to like the next nine. So then each one of them has their own shift.
Emma Loeslein:He would have some timetables for sure. That's what I'm thinking. This show continuously seems to be not what it is. Like, it purposefully leads the audience to believe that a certain thing is gonna happen, and then it kind of goes one eighty, which I I personally really like at least. And I wanted to know if how you would end the show.
Emma Loeslein:Like, if you could just rewrite the ending, what what would you have happen to Bernard? Would he would he be dead by the end
Emma Loeslein:of the show, do you think?
Preston Green:I'll start us off. I I think the ending, it it does a good way of kind of like bringing it all to one point. I just feel like I'd like to see it what would happen the night after or the morning after. Just I need to know what happens after that because I feel like the story is not finished. So probably expanding and like showing that final moment.
Emma Loeslein:Okay. So not not changing what has happened but just like adding a little bit more to it. I like I
Sadie Holmes:keep thinking, like you've asked the question and this is just what came to my head. If all the doors, like, fell down, like, broke, and then they would see each other. I don't know. Like... And that's how it ended, if they all just saw each other.
Emma Loeslein:Berta just takes a hammer and just destroys all of the doors.
Sadie Holmes:You know? Yeah.
Jack Anderson:I would personally think that I want Bernard to... I'm not sure if I would, like, be caught in the same way or, like, be caught in a way where everyone knows about each other, but have it end in a way that he doesn't have the ability to have any of the three fiances anymore. Like
Emma Loeslein:Oh, right. Like he doesn't get to
Jack Anderson:Yes. Having them spurn him. Even if it's not like whether it's figuring it out that he has three fiances or some other reason because he's not exactly a good guy ever. Pretty famous misogynist. Yes.
Jack Anderson:But it would be nice to see him not get what he wants in the end and then have to develop into a better person in a later, you know, obviously not in the story, but like in a different story, having him really just like learn a lesson. I think that's what I would really want the ending to be is having him not win at all in the end and having to learn a lesson about how to be a better person.
Emma Loeslein:Right. Yeah. Now my next question is gonna be pancakes and ketchup or whipped cream frankfurters and sauerkraut and give me a good reason why.
Jack Anderson:I think I might have to go with pancakes. I just like... Frankfurters are... They're good on their own. Sauerkraut is one thing that I've never liked.
Jack Anderson:And then having to combine the, like, the the flavor profile of sauerkraut with whipped cream and, like, yeah, pancakes and ketchup wouldn't be good, but you could eat around it to some degree and at least it's not, like, such a stark contrast in the flavors.
Sadie Holmes:Yeah. I did taste salad clout, so
Sadie Holmes:I'd have to go with pancakes and ketchup just based off that. That makes me sick.
Preston Green:I'm gonna go three for three. I think the idea would be not to just have one pancake and a dollop of ketchup on it, but to layer it so that it's nice and even.
Emma Loeslein:Now this question is the legacy of Troupe Talk. It's life or death. How do you spell theatre?
Jack Anderson:Theatre. T h e a t r e. Theatre.
Sadie Holmes:Theatre. T h e a t r e.
Preston Green:Yeah. There's only one right way and it's T H E A T R E. The other one's not the same.
Emma Loeslein:Yeah. It's not the same? What is it then?
Preston Green:It's a movie theater. Oh. That's not a theatre. That's a movie theater.
Emma Loeslein:Next, we will be talking to the actresses who play Bernard's fiances. Our next guests are...
Ella Campbell:I'm Ella Campbell and I'm playing Gretchen.
Eva Gra:I'm Eva Grace Petty and I'm playing Gloria.
Emma Loeslein:Perfect. Can you just take a second to, like, explain your characters and what importance they bring to the show? So
Ella Campbell:Gretchen is the third fiance, and she's a German. So that's so much fun. I do speak in a German accent the entire show.
Eva Gra:So Gloria is the first fiance that we see in the show. She's from New York, so there's a New York accent, which is really, really fun. Gloria is... She's she's a very independent woman, I would say. She she's very strong in who she is, and she's...
Eva Gra:She kinda she kinda runs things around the house. Yeah. I don't know.
Emma Loeslein:Yeah.
Eva Gra:She's just...
Eva Gra:Yeah.
Emma Loeslein:It seems like all three of the fiances have, like, their own very strong Mhmm. Like, presence. Yeah. And you can definitely tell that Bernard has a type throughout
Emma Loeslein:the show because they're all
Emma Loeslein:so stubborn and it's so funny. This show is very accent heavy, as you guys have mentioned briefly. I just would love to know, like, what the process has been learning a new accent, if you had experience in accents for prior shows or or any prior experiences. Is this, like, a secret talent of yours, like a hobby?
Ella Campbell:So I have a thick accent already. I already have
Ella Campbell:a thick accent.
Emma Loeslein:Yes. Yeah. Very southern.
Ella Campbell:But, No. So for me, German was very hard. Like, had to talk with Ms. Christine, who's our director, all the... Like, I've had multiple sessions with her and be like, please just help me.
Ella Campbell:Please help. And then I also have a vocal coach that helps me out as well. So it's very much... It's not... It did not come naturally at all.
Ella Campbell:I had to work very hard for it, but I think it's come along, but, like, it's it's so hard. It's still so hard. Mhmm.
Eva Gra:For me, I think it's... It could've been so much worse for me. If I... Because going into the show, I knew that it was very accent heavy, especially for the women in the show. And so I I was like, okay, there's four accents.
Eva Gra:There's French, German, Italian, and New York. And for my own. And... It happens. And I was
Eva Gra:like, two two out of
Eva Gra:four I could do. I can do New York and I can do French. German, don't even... Can't even know. And then Italian, can't do it either.
Eva Gra:But accents, I think, for me, have been something that I'm... Have just found fun for a long time. My my dad will, like, switch up his accent and, like, just, you know, just for fun all the time It's
Emma Loeslein:a everyday conversation.
Eva Gra:And so... Yeah.
Eva Gra:And so I thought that was funny when I was little. And so I just kind of would play around with it too. And so I just learned, like, I would like to I would like to think I have a killer British accent, but...
Emma Loeslein:Okay give us some...
Emma Loeslein:Yeah. Go ahead.
Eva Gra:I don't know.
Eva Gra:What's the line? What's the...
Ella Campbell:I'm going to bed...
Eva Gra:I'm going to bed before either of you come up with another clever idea to get us killed - or worse, expelled
Ella Campbell:Okay, Hermione.
Eva Gra:That's fine. Yeah. I
Eva Gra:don't know. I don't know. No.
Emma Loeslein:That's killer.
Eva Gra:Thanks.
Emma Loeslein:Yeah. That's awesome.
Ella Campbell:Okay Emma Watson.
Emma Loeslein:Yes, Emma Watson.
Eva Gra:New York has been
Eva Gra:a little more difficult,
Eva Gra:but I'm... I've I've... I think I'm there. Oh, yeah. Yeah.
Emma Loeslein:Like, the the accent stuff, it's it's just... It's definitely, like, something that I think that every actor needs to to just kind of dip their feet in just as a little bit of a challenge. Mhmm. Yeah. And my next question, think, is a fun one.
Emma Loeslein:Pancakes and ketchup or whipped cream frankfurters and sauerkraut? And why?
Eva Gra:Usually, like, which one? Yeah. Which one would you rather eat? Probably pancakes and ketchup. I hate ketchup with a burning passion, and so that'll be fun.
Eva Gra:But I think I might hate sauerkraut more. So I... Yeah. I would just power through the ketchup, I think.
Ella Campbell:I think sauerkraut and whipped cream. Really? You know how, like, you dip a French fry in, like, your ice cream? Okay. I'm thinking, like, the salty and, like, the sweet.
Emma Loeslein:Okay. I mean, just for a little bit of context, that's... Gloria has, like, these really weird food combinations. We've discussed why that may be.
Ella Campbell:And we've been told no.
Emma Loeslein:Right. Yeah. Exactly. My personal theory on that would be that she's an American and has no taste. Because everyone is from somewhere else.
Eva Gra:Yeah.
Emma Loeslein:Except for... Actually, technically, half of the characters are American.
Eva Gra:This is true.
Emma Loeslein:But Gloria's.
Eva Gra:Yeah.
Emma Loeslein:I apparently...
Eva Gra:Well, because the original show is French.
Emma Loeslein:Yes.
Eva Gra:And so the original show, everybody was...
Eva Gra:There was only one American, and it was Gloria. And so that could have been, like, a play on Yeah. Or being American, she has no taste.
Emma Loeslein:Okay. This question has been carried down from from Roger Thomas, and I'm gonna keep it alive. I'm gonna keep his legacy alive. Mhmm. And the question is, how do you spell theater?
Eva Gra:Okay. It depends. Are you talking about the building, or are you talking about the act? Because there's two different. Okay.
Eva Gra:Okay. There's two different ones. I think I think t h e a t r e is more fun.
Emma Loeslein:It does
Emma Loeslein:look better.
Eva Gra:Yeah. But I've been...
Ella Campbell:That's prettier on a resume. Like Good Theatra.
Emma Loeslein:Yeah. Theatra. Theatra.
Ella Campbell:I I agree. I I've always spealt it like that, but also... Yeah. It's easier to remember.
Emma Loeslein:It is easier to remember, actually. Finally, we will end the episode with discussing some behind the scenes fun with the stage manager and her assistant stage managers. Our final guests are...
Maddie Greene:Hi. I'm Madeline Greene. I am the assistant stage manager for Boeing Boeing, and I also helped build the set.
Grace Robershaw:Hi. I'm Grace, and I am the stage manager for this production.
Ella Hazel Rambin:I'm Ella Hazel Rambin, and I am another assistant stage manager for Boeing Boeing.
Emma Loeslein:Perfect. Anybody can answer this question. If anything, I'd love to hear from Grace and then one of you two. Can you just explain, like, what a stage manager does or what an assistant stage manager does?
Grace Robershaw:Sure. So my job is really to kind of coordinate everything. I am the liaison between the actors and all of the designers and the director. My job is to ensure that rehearsals run smoothly and that everybody is communicating and things are getting done on schedule.
Ella Hazel Rambin:Yeah. For sure. And then us as assistant stage managers, we're really there to kind of be, like, extra limbs for Grace, really, since she carries a lot of the weight of the show on her shoulders. Honestly, we're there to help relieve some of that weight, lift some of that weight off her shoulders. Sometimes that might be just, like, running little errands around the theater, making sure things are set.
Ella Hazel Rambin:I find myself... I'm just like, hey, Grace. What do you need me to do? And I I I do what I'm told. I sit and I do what I'm told.
Maddie Greene:And then also during the actual show, we're gonna be the ones backstage kinda running it while Grace is telling us what to do since she can see everything. Mhmm.
Emma Loeslein:Perfect. Perfect. Now so this next question everybody can answer, and we can start with Maddie and then go to Ella Hazel just like we were doing before. What has been your favorite part of the rehearsal process? I wanna know I wanna know the fun parts.
Emma Loeslein:I wanna know the hard parts. Everything is anything. Anything.
Maddie Greene:Well, I'm kind of a nerd, so I really enjoyed the taping out of the set because it's basically kinda like a puzzle, and you get the measurements of where things are, but the angles aren't given, so you have to use some basic math to figure out how it goes.
Ella Hazel Rambin:I'm glad you love that.
Grace Robershaw:That's one of my least
Grace Robershaw:favorite parts.
Grace Robershaw:I think my favorite part of the rehearsal process in general is just watching the actors slowly gain confidence and, like, seeing it from the very beginning to when we're finished. I think the hardest part of this specific rehearsal process has just been the expedited timeline. Like, it's
Grace Robershaw:been such a short rehearsal process. Such a big
Ella Hazel Rambin:show, honestly. I, similar to Grace, I have really enjoyed just getting to observe. I come from more of a performance background. This is my first time assistant stage managing, has been really cool, I'm so thankful for that opportunity. And so it's been really cool to see it from, like like, an observation point of view and getting to observe everybody.
Ella Hazel Rambin:And I'd say probably for me the hardest part has been, like, biting my tongue when she asks the actor's questions. She's, like, talking about the show and I'm like, I... This is not that's not me right now. I was like, I have to... And I'm like,
Emma Loeslein:I just wanna talk about this show. It's so fun.
Ella Hazel Rambin:But, yeah, it's been great. I've been loving getting to watch the show come together for sure.
Emma Loeslein:Oh my gosh. That's awesome. And I think I think definitely as like anybody in in any sort of theatre background, whether it is technical or or performance, it is really important to see those other perspectives. If you're an actor and you're only an actor, are you really, though? Like, I think you need to experience crew.
Ella Hazel Rambin:I agree.
Ella Hazel Rambin:I think it's especially for, like, the appreciation of it because it's like if you've been in those understand how hard their job is because as an actor, I feel like when you see, like, your stage managers or, like, your dressers and stuff like that, you only see, like, part of their job and, like, how they're serving you, and you don't see how... Like, what they do in the background. And so I think it's another level of appreciation there. And, like, even, like, the ushers, like, they don't really interact with the actors at all during the show because they're front of house while everybody's backstage, it's just definitely a different level of appreciation that I think everybody in theatre needs to experience. You all start somewhere.
Ella Hazel Rambin:You all
Ella Hazel Rambin:start somewhere.
Emma Loeslein:Absolutely. That's such a great point. And you mentioned that this is, like, a really big show, but this is a very small cast. There's only six actors and characters in this production, and I just wanted to know how that, like, differs from different shows that you've done before, if it's kind of similar.
Emma Loeslein:I know there were six actors in songs for New World, which is the most recent episode of Troupe Talk from last semester. So if you feel like you're missing some information viewers, you might wanna go listen to Roger Thomas, host that episode because that one's really good. But, yeah, I just kinda wanna know, like, what does this small cast look like and what does it change?
Maddie Greene:This is... I'm a freshman, so it's very interesting coming from a high school where everybody had to be cast in the show. Oh, wow. And it was slain. And it was also the same at the community theatre I went to where everyone who auditioned pretty much got into the show.
Maddie Greene:So it's just very cool to see how close the cast can get when it is such a small cast. Because when it's a larger cast, everyone kinda ends up feeling like outcast because they're all like, well, people are friends and I'm not part of that group, so I don't have friends, but that's just not the case for a small cast.
Grace Robershaw:I think at least from the stage managing side, I much prefer smaller shows. I'm sure he can do it. Logistically, it's easier, but also it gives you a chance to really form a bond, form a relationship with those people. People in songs and not people in Boeing Boeing, like, I've been able to really build that relationship, build that communication with those people to the point where, like, they're much more comfortable coming to talk with me if there's an issue versus if it's a cast of, like, 20 to 30 people. It can be hard to have that one on one time.
Ella Hazel Rambin:I think, again, this is, like, my first time stage managing, but I will say coming from, like, Songs for a New World with that being a small cast, I do think that a small cast is really great. And especially for a show like this Boeing Boeing, I said it was a big show, a lot of moving parts. And I think the fact of how close, like, the cast is, like, y'all work so well together due to that, like, small size, and I think it makes it all work very well. Very talented cast. Yeah.
Emma Loeslein:Yeah. Aw, that's so sweet. Well, this is a farce, and you guys just did a workshop by the time that this is being recorded yesterday on farces. Can you just explain what, like, the workshop was kind of like if you went?
Ella Hazel Rambin:Yeah. It was it was really interesting. It was with Laura King. She is a published playwright. She writes a lot of comedy, so she's very well versed in farce and just, like, comedic theatre as a whole.
Ella Hazel Rambin:And so she did a lot of, like, exercises with us, which was a lot of fun. So very interactive. Like, people got to go on stage, and she would give us a line. She would make us say it, like, in different intent... Like, intensities.
Ella Hazel Rambin:She would give us different, like, archetypes to act out, talk to us about stock characters. It was really interesting and a whole lot of fun. Yeah, I enjoyed our time spent with her for sure. So glad she got to come.
Grace Robershaw:I think it gave everybody kind of a new lens to look at the show through because we all we all knew it was a farce and we all had a general idea of what a farce was. But seeing it in action, seeing the different intensities and the physical comedy, going straight from that workshop into rehearsal
Ella Hazel Rambin:Oh, yeah.
Grace Robershaw:Like, you could really see the shift from, the previous rehearsal into the one right after the workshop.
Maddie Greene:It was also interesting because she had everyone who was a part of the cast for Boeing Boeing come up and do little scenes together, so I think that was a very clever way for her to let the other people who were there get a preview of it and see how funny it is.
Emma Loeslein:There are so many doors.
Ella Hazel Rambin:Oh my gosh.
Emma Loeslein:So many doors. So I figured it's very, very important we talk about these doors. I would just love to hear about the process behind, like, the timing of it all because it's so... Timing in theatre is so intricate, and it's like it can it can make or break a production. And with so many doors, there are seven doors.
Emma Loeslein:And I just wanna know, like, what your experience has been with coming up with the timing and how you differentiate the doors from one another.
Ella Hazel Rambin:I'm a hand that one off to
Ella Hazel Rambin:Grace.
Grace Robershaw:I think I think the doors have probably been our biggest struggle throughout this production just because in our original script that we have, the doors are numbered differently than how we have them numbered now. And so that did take a bit of figuring out and it does have to be very precise timing because you have one girl exiting at the same time another girl's entering. We actually, as of yesterday, have a new system put in where I, up in the booth, will be able to cue which door the actor is supposed to be coming through, and I can tell them, like, okay, you need to be in place, and now you need to go. Like...
Grace Robershaw:And so that will be very helpful when we start doing tech runs of the show. But that is definitely the timing for that is something we really had to work on. It's definitely gotten a lot smoother. It's gotten a lot cleaner. For sure.
Grace Robershaw:And I think it really does add to the comedy of the show. Mhmm.
Ella Hazel Rambin:And I will say say last night, Grace had me tracking, like, every time somebody entered through one of the doors and so I marked each page that had one, like, with the green sticky note and so there's just, like, tons and tons of green sticky notes hanging out of my script at either end because of how many entrances. And that was just entrances, not even entrances and exits, just entrances. So that'll be... I'm so excited to see it, like, with all with it all finished,
Ella Hazel Rambin:like, set, costume, lights. It's gonna be so good. So good.
Maddie Greene:I'm really excited because I have actually assistant stage managed for a farce before, but this was at a high school with a smaller Oh my gosh.
Grace Robershaw:Which one?
Maddie Greene:Musical Comedy Murders of the nineteen forties. Oh my gosh.
Grace Robershaw:Was so cool.
Maddie Greene:So funny. But, you know, we had to cue the actors ourselves without, like, the cue lights. So that was very difficult. So I'm excited for this cue light system Very where
Ella Hazel Rambin:high-tech. I saw it. I was like, oh my goodness. We got a blue light, a red light, a red flashing light, a green one.
Grace Robershaw:I got to play with it last night.
Ella Hazel Rambin:Yes. Is. So awesome.
Emma Loeslein:Oh my gosh. That sounds really cool. The technical side of theatre coming out to play. Yeah. I do have one last definite question for you, and I'm stealing this from Roger.
Emma Loeslein:No. No. Wrong. I have to... It's the legacy of Troupe Talk.
Emma Loeslein:I have to continue with it.
Ella Hazel Rambin:Yeah. It's true
Emma Loeslein:true. And I will say my opinion has changed since the last time I've been on Troupe Talk.
Ella Hazel Rambin:Let's hear it. Let's hear it.
Emma Loeslein:Just so everybody's aware, this question is how do you spell theater?
Ella Hazel Rambin:My answer has not changed since the first time I have done this. It is theatre with r e at the end for, like, the art of it, like, art of theatre, like, what we practice. Mhmm. Theater e r for the place. Okay?
Ella Hazel Rambin:Mhmm. Okay. And I will die on that Hill. Okay?
Grace Robershaw:Yeah. I mean, I'm with Ella Hazel on this one. Like, it's r e for the for the experience, for where... Like, but the building itself, you know? ER.
Grace Robershaw:ER.
Maddie Greene:Yeah. I couldn't have said it better myself.
Grace Robershaw:Okay.
Maddie Greene:I do usually... When I'm texting people who are in theatre, I do usually do ER.
Emma Loeslein:Yeah. It's just a habit.
Ella Hazel Rambin:Well auto correct be messing me up sometimes. And I'm like, woah, girl. No. I meant what I said.
Emma Loeslein:Thank you for listening to the first Troupe Talk episode of the twenty twenty six, twenty twenty seven show season. For more information on Barry College Theatre Company's production, follow b c t c underscore theatre on Instagram. This is Emma Laceline signing off.