Interview with Martha and David Cull, April 23, 1989

Teka Ward: Today is April 23rd, 1989. My name is Teka Ward. I'm with Martha and David Cull. We are at 1408 Cherokee Road, Louisville, Kentucky. Our topic is Actors Theatre of Louisville. As we begin, tell something about you all's backgrounds.

Martha Cull: We have a grandchild in the background. If you all hear noise.

David Cull: Well, I'm a Presbyterian minister and a counselor. We came to Louisville 22 years ago from Rochester, New York where I'd been a minister. I was born in Indianapolis and have not been back to Indianapolis since graduation from high school. 1:00What else to say?

MC: Where'd you go to school?

DC: I went to Worcester College in my undergraduate work in McCormick Theological Seminary in Chicago, and I've had other training and counseling in between. My business is counseling business located in Old Louisville on Third Street, Third and St. Catherine and was formerly the minister before I went there almost 10 years ago at Central Presbyterian Church, which that Fourth and Kentucky.

TW: What about you, Martha?

MC: We moved here to this house with five children in October of 80 or 67, 2:00and so now they're all gone. But anyhow, we had children in first grade, third grade, sixth grade, eighth grade, and 10th grade. And we became very fascinated with Louisville because we really hadn't expected to come to live in this part of the country because we'd been in upper New York state and felt that's where we would probably spend the ministry. We had a lot of adjustments very early, getting acquainted with the schools and with the city and the church. But very soon after we arrived we started attending Actors Theatre on Seventh Street in the old train station and DC: That was not the first place that it was, but that was on Fourth Street. We 3:00weren't here then.

MC: No, but this was about 22 years ago. We did go that first year.

DC: And every year since.

MC: But then we didn't subscribe until about, I think it was two years after that, when we became subscribers and we'd been continuous subscribers ever since.

TW: Martha, you do work today, don't you tell what you do today?

MC: Yes. I worked for Preservation Alliance. I've worked there for 10 years on Main Street and went there as office manager and now I'm the manager of the bookstore and do tours and always take people into Actors Theatre and talk about Actors Theatre.

TW: And prior to that, to this job at Preservation Alliance, you were very active in the church, MC: Right. Yes, we had a luncheon series that I organized and we had speakers from different parts of the city, we called it The Old Louisville luncheon series, and then I worked with the inner church office with an educational project called Community for Educational 4:00Excellence. It was the second year of desegregation and it was a federally funded project and I worked with them for about three years and before that I worked at the Baptist Seminary for, they have a publication called The Review and Expositor and I was the coordinating secretary of that.

TW: I didn't realize you all had gone to the plays at the old railroad station. What do you remember about that?

DC: It was cold.

MC: That's the first thing I remember in, we used to go to dinner at the restaurant across the street. Normandy and then go over there, but I remember some February and March and January 5:00plays that just seemed very drafty and cool.

TW: Do you remember the play selection at all? Do any plays stand out in your mind MC: Season? Think that early one Samuel Beckett, weren't there some of those, DC: I can't remember MC: We have a list here TW: I just remembered if any, I wondered if any stood out in your mind.

MC: Rhinoceros remember that, and Uncle Vanya and the Imaginary Invalid and now what was the year they moved?

TW: So you were there the last season of probably a Richard Blocks tenure.

MC: He was here. I think we saw Endgame too the year before and Miss Alliance, I'm sure we did and probably The Hostage.

TW: And then in the summer of 1969, Jon Jory was named producing director and they were still in the railroad station. Do you remember any of those? 6:00MC: Right. See How They Run. Remember that one and Under the Milk Wood tree and The Killing of Sister George, I remember that. And Cat on a Hot Tin Roof.

TW: What made you all become subscribers? You said those first two seasons.

DC: We've had an interest in the arts and drama for a long time because when we lived in New York, we would go up to New York City each year, sometimes twice a year and see plays, musicals, mostly plays. And then we had a community theater there that we subscribed to and attended.

MC: It was not very successful.

DC: It was not successful to the extent that Actors has been. Although when we first went to the railroad station, my memory where it was that Actors was, it was always good, but it was a little more like a community theater then kind of MC: Small.

DC: Semi-professional and while I don't recall any bad performances, 7:00there were sometimes questions of things and the sets were nothing then like they are now. It was more improvisational. I think maybe MC: We also, we used to go to a place in Chicago when we were DC: In, well, when we were in MC: 40 years ago DC: When I, some graduate school we'd, we'd go to Chicago to plays and the symphony MC: And then my parents, we would go to Cleveland when I was very young and go to plays. And in fact, I remember on my 16th birthday that we went to see Philadelphia Story, Katharine Hepburn and Joseph Cotton, and then one of the really outstanding plays we saw in Chicago was Death of a Salesman, the very early production.

DC: It's original cast. We've seen several plays in the early years, the original cast.

MC: Oh, and one of the plays we saw in New York was J.B. 8:00and loved that.

TW: How did you feel, did you all consciously or unconsciously compare the early Actors Theatre with the plays you'd seen in the past, either as graduate students?

DC: Not really at all. Not really, no, we just accepted it, what it was. I think we realized fairly early that it was a serious endeavor that we enjoyed it. We've enjoyed it ever since. You always hear people saying, well, this wasn't a very good season, or I didn't have anything that we liked. We always remarked well, we liked almost everything and I don't remember seeing real, real bad play. I've seen some that I could forget, but I mean they weren't ever badly done. I don't think MC: We always learned something about it.

TW: Did you all go to any of the coffees or anything that Jory had? Do you remember any of the MC: We've stayed for some of the discussion, DC: Yes. Early, well since 9:00too, MC: And then we've gone to some of the ones in the fall. The, what do you call that?

TW: You mean the post show discussions or the DC: When they had the Pirandello MC: Oh the Classics in Context TW: What I was wondering was if the reason you ended up subscribing was maybe because Jory made such a push to reach subscribers.

MC: No, we had already decided, DC: We had just subscribed MC: The early years. Some people in the church would give us tickets and invite us to go with them, and so we got started, but we knew we were going to subscribe.

TW: Did you all ever take your children to see the Christmas Carol MC: Yes.

TW: Did the kids like it?

MC: In fact, one year, the church, DC: We got blocks, MC: Got a block of seats for our church. 10:00DC: We did that several times. I promoted that MC: And people enjoyed that lot.

TW: Did you all ever go to the lunchtime theater or the Monday Night Adventure Theater series?

MC: I did go to the lunchtime theater DC: Paper bank MC: Downstairs DC: Lunch twice, but I never from work was able to do that. We've gone upstairs too a couple of times, MC: But not as often DC: But not as.

TW: So you all subscribed to the Pamela Brown. And then sometimes you go to the Victor Jory and then they moved. It was in 72, I think that they moved to the Main Street location DC: From that point on. I think that I remember the plays more and become more so I think TW: Yeah, I DC: as the years go by, TW: Yeah. I wanted to ask you all, do you think that Louisville is rich in cultural activities? 11:00MC: Oh, definitely. I think in the last, what, 5, 6, 7 years, 10 years, it's just grown and grown in its depth and really fine programs that I think we were very fortunate for to have so many good things. I remember when the ballet was, well, we went to the ballet one year, DC: We went to the Ballet MC: Memorial Theater DC: Didn't have MC: Subscribers, tickets, memorial auditorium. But then when Baryshnikovov came, it seems that everything took off.

DC: Baryshnikovov was the turning point of The Louisville Ballet and seems to me in popularity it was after that.

MC: Well I be, DC: People became more interested in it.

TW: And then do you all go to the ballet or the opera or the orchestra or the Speed Museum DC: Very seldom go to the opera.

She has gone.

MC: So when we first came, we had a lady in the church who we always had two tickets and I think for three or four years I went to the opera Opera 12:00with her during the week. And so I did see it quite often. But the ballet, we had season tickets and then we now go to the noon time series on Friday noon we go to four, but we don't have very many evenings and now we're full subscribers to the symphony, the Masterworks.

DC: Well, for several years we have.

TW: When you all go to the theater, what do you anticipate? What do you hope for? What kind of play do you enjoy or not enjoy?

DC: Well, we like at least I like everything but, the classics I think I particularly 13:00like, but you just get yourself in a different mood. For the French bedroom comedies, it's one mood and mystery stories. We like mystery stories. I like mystery stories. Well I said that we like different things and mysteries one, I like the classical things like Shakespeare and other Chekov and other classicals. I'm less interested in musicals, but we usually attend them and I think we like modern things, new things. We've gone to the new play series, we haven't seen all of them, but usually at least two of the seven, sometimes more. This 14:00year we had difficulty getting the tickets at the last minute for those. We would've gone to more this year you see one in your series and then see extra ones. We saw one extra this year. I said I am not as fond of musicals as I am of drama TW: What kind of plays do you like, Martha?

MC: Well, I really don't stop and say is this going to be entertaining or what? I'm just always interested in seeing what they do and I've been taking a course this semester in reading plays and it really has made me appreciate it so much more as I look back and some of the plays we have seen, we've been reading and so I'd just like to see what's been chosen and how it's done and what the story is.

DC: We never leave the old thing in intermission. 15:00You see people leaving and MC: If they don't like it DC: The empty seats afterwards, but we always stay through. I don't think we've even attempted. Maybe MC: One time we did DC: One time MC: That was the, it was the Nazi?

DC: No, remember, wasn't the Nazi, TW: You mean recently?

MC: No, it was very long time ago and I don't even remember what the name of it was, but it was, we just said, really we don't care about this. But that is the only time in 22 years that we left at intermission.

TW: When you all subscribe, do you like to get the same location every season?

DC: Yes. One year for whatever reason, several years back what? Three years back, we got a seat we didn't like and I didn't like it at all. We went, but then we requested to get our preferred seat. I like to sit on the aisle along legs and I was by a post that made me feel claustrophobic. 16:00Well, MC: We have very good seats DC: Now. Well we, we've essentially had good seats.

TW: Now where do you all stay?

MC: Well, it's DC: What's near the front, right MC: About the middle DC: Downstairs, MC: Right on the aisle. On the DC: Aisle MC: And it's good.

TW: Did you call up and say, we're subscribers, we don't like where you've MC: Put us? Well they tried very much to help DC: I dunno what happened that one year. Maybe we sent our thing in late MC: Or we might have, DC: It couldn't have happened MC: But they were on the aisle, but it was right next to the post. No problem.

TW: Since you tend to go the same time, sit in the same place, do you notice familiar people, people you're used to seeing DC: Well, we did. We've just recently made another change and that is we used to go on Friday nights and that fit our schedule then. And then we've gone to Saturday matinees and that seems to meet our needs now because we're freer.

MC: We like that a lot.

DC: We like that now. We don't see as many people. We used to see a lot of people we knew. Now we see more people Martha knows because I'm not as out in the community 17:00as I used to be, but on Saturday we don't see as many there that TW: I was just wondering if you tend to see the same subscribers and then can tell if these people react in expected ways?

MC: I haven't really been aware of that.

DC: Well, when we went on Friday and we knew people from season to season and then we would hear their comments, but most of the people that we knew felt, I guess I say similarly as we did, they liked the place they stuck through and we didn't hear from them what Martha and I have occasionally had you run into somebody and say, well, we just didn't subscribe this year because last year they didn't have one single play that we liked and so we were just not going now. But most 18:00of the people we know are not in that category.

TW: Working at the bookstore on Main Street, sometimes people from Actors Theatre come down. And you said that you do tours there when you do your walking tours with Preservation Alliance.

MC: Even the school children, I take them in the lobby and point out. Of course the building is so beautiful by itself. It's one of the finest examples of Greek Revival architecture and one of the oldest buildings on Main Street and it is a national landmark. So this is one reason I make it a point of pointing it out and taking people in there and especially school students. I did tours. We had tours with about 700 to 800 school students last spring. And each one we tiptoe into the lobby and really we point out the details there and where the theater 19:00is and where the box office is.

TW: What kinds of details?

MC: Well, the dental work around the top and the columns and the fact that the box office is the old vault and that this was a bank and how important it is that the old buildings can continue to serve in new ways, which of course is what the Preservation Alliance. Our goal is to preserve the old buildings and there's what they call adaptive reuse or new uses for old places. And of course Actors Theatre is one of the finest examples in the country.

TW: Now I do know that I've been down in the bookstore a couple of times this year and seen people who've come there. So do you believe that Actors Theatre serves a purpose in the community 20:00as a result of people coming here seeing Louisville?

MC: Well, I try to help these people who are very busy, probably rehearsing, but help them enjoy Louisville too. And then Actors often calls me and comes down and gets my walking tour naps, which are a good help. But then I also have brochures that they can use and many people take advantage of that, but they're happy to talk about Louisville and about what they're doing and well, last week I had this young man who's from Toronto, but originally from England and he had a friend from England and he's in the Tempest coming up. And then of course we met a number of people from the play festival.

TW: Didn't you take some young people on a tour and you said, let's go in here and maybe 21:00we'll see William Buckley.

MC: And we did TW: Tell about that.

MC: Well, these were college students and so we, of course we knew that William Buckley was in town rehearsing for Stained Glass. And so just before we got to the theater I said, well, let's go in and see. Maybe we'll see William Buckley. We walk in and he was right there.

TW: What was he doing? What did he have on?

MC: He was talking on the telephone and had white slacks and a sweater I think on, but he looked very nice.

TW: Did he smile at you all?

MC: I think he sort of looked our direction once, but not much.

TW: Which plays did you all see in the Humana Festival this time?

MC: Okay, we saw God's Country and Stained Glass.

TW: What'd you think of it?

MC: God's Country.

DC: Well, I think God's Country was mostly intellectual, MC: But also it was like a harrangue, DC: It's a important issue I think. But it was almost like it was a polemic, 22:00it was a presenting argument. We weren't, I mean I think ideologically we probably agreed with that. We weren't put off by the reason.

MC: I just felt that it could have been handled a little less forcefully. I mean it all seemed to be in the same tone just hitting you over the head. That was interesting.

DC: But it's kind of like an issue unless you are of a particular political or emotional persuasion that you would agree with the thesis of it that these fanatics are out of control. Then you get that argument in front. You say, I give up, I surrender. I agree with that. Buckley's playing. Of course the set 23:00again was extremely beautiful and good, effective. I think his play probably, and I'm not an expert about this, probably needs some revisions and need work, but essentially it was a good play and I think it ended good. We thought you say of a lot of plays that they kind of start slow. And at the intermission, remember we said, is this effort going to get going here? I think that was the impression I had. The first act was awfully slow and then the second act MC: Well, but the second act had a lot of suspense and I thought that it moved along very well. It was interesting, we had a young couple sitting next to us from South Carolina, they were just new to town.

DC: They just didn't come to town MC: And they were really quizzing us, asking us why we, so David, 24:00he says, seemed to be so enthralled or really listening so carefully to the play and they were asking us about it and about the plays and we were giving them a lot of positive feedback, but they were very new to Louisville and it was on Easter Sunday and I think they really didn't know quite what to make of that play, especially the first act. But TW: I know one day, Martha, you and I were talking about this article by Bill Mootz concerning the evolution of what's happened with the Festival of New American Plays. That it's gone from new plays, now to commissioning known people, and that opening, the opening two paragraphs about all the people who were bused in to see the DC: We discussed, Martha and I discussed that article, but do you have an opinion about that? Well, the opinion, I mean the issue is if you bring in names 25:00that changes the dynamics of the unknown. New authors I guess cited the fact that they brought in 50 people on the bus and they marched off from New York City and it was just a little bit different than what the normal new play with normal new authors are.

MC: I think in part it's exciting to have these named people. We made an effort to see Jimmy Breslin's fly last year and liked it.

DC: Yeah, I don't have any negative feeling about, I know if he developed a thesis that's changing the concept, I don't think we have a negative feeling about known people, MC: But if the play festival can bring out new plays as it has in the past, even though other people are trying this, I think our concern isn't it that continue 26:00to bring forth new plays and new play to them an opportunity.

DC: My own feeling is that when you have a new play festival, you're going to have some that come off and some that don't come off and to expect every play to be brilliant or wonderful. I mean Marsha Norman's success probably is the exception. I think some of these plays will not go to Broadway. They will not be classic plays, but it's like music the same way our orchestra here is known for new American music and some of it I don't assimilate with, but out of that comes some possibly good new music. So I think the same has to be said for the drama and for the theater, MC: But evidently it's more popular because if David 27:00says we had a hard time getting extra tickets to the different plays, DC: Well overall MC: We were really scheduled.

DC: Overall it's more popular because a couple of years back we kind of casually said, oh well maybe we'll go to this play. We'd call up and get tickets this year for any tickets. So that seems to indicate and the fact that we got tickets this year and large part was because they put on more, they scheduled more performances later.

MC: Well Easter Sunday was not very crowded and then that last one was not was an extra one.

DC: Yeah, hardly, so which is unusual. We remarked about that. They put on this extra performance and there was only about a half a theater and almost every time we go, every seat is taken with the people standing in the back coming down.

TW: You did see Jimmy Breslin The Queen of the Leaky Roof Circuit? 28:00You liked it?

MC: I really did. I felt that he had addressed some problems probably that need to be addressed.

TW: Have you all been to see Steel Magnolias yet?

DC: Not yet, no. That's our next plan schedule and that's a week from now we go to that.

TW: Do you have any resident company members who stand out in your mind? Say Victor Jory, Susan Kingsley or Ray Fry or Adale O'Brien or Ken Jenkins?

DC: We remember all those people. Adale O'Brien MC: Michael Gross. Michael Gross was, we saw so many of his, frankly everyone he was in. And of course Ray Fry and DC: Well, Adlae and Ray, a couple of the people that have been there throughout.

MC: I think Ray's the last one 29:00that he was in. He was so good.

DC: Who was the man that did Fly Over the Cuckoo Nest?

TW: Was that Ken Jenkins?

DC: I think we followed him and liked him. He's gone on to other places.

TW: Did you all see Getting Out?

MC: Oh, I was so impressed with that. Here was the first play and all the levels of involvement and I just couldn't believe that that was a first play for anyone. It was just so well developed I think.

TW: Did you all see The Gin Game?

MC: I'm sure we did, but I can't remember.

TW: How about Crimes of the Heart? You remember that one? Do you remember seeing Extremities?

DC: It didn't strike me.

MC: Can you tell me what's it's about?

TW: That's the one that's been made into a movie by Farrah Faucet and I just wondered if you all remembered seeing that one. What about, what else can I ask you all about 30:00this? In terms of what I've asked you. You've mentioned the sets, you've mentioned the costumes.

DC: I didn't mention the costumes, but I wouldn't mention TW: How about the costumes?

DC: Well, I think the costumes and the sets are always high level. High level.

MC: I always think that the people are cast so well in their part. I mean they seem to fit. I just enjoy going and each time you have a new experience and are introduced to something new or an old one that you've seen before, it's just a very fine experience.

DC: We most often read the reviews and look at the actors and symphony and then compare our feelings and experiences with the review. 31:00By and large, the reviews are okay. Every once in a while I feel the reviews get off a little, but sometimes they're right. And I think of course with the Humana Festival, they got so many plays. They got a lot of people writing reviews. Not the regulars but some of the regular reviewers. I think they're mostly on. Of course there's a whole argument about critics a little off. It sounds like they were there and we can go along with it, but mostly they're on, don't you think?

MC: Well, but it never turns us off.

DC: Oh no, we go anyway. I mean it's not that we read reviews and if it's bad, which they aren't very bad anyway, that we don't go. The only time we haven't gone is it some, well I guess in 22 years we've forgotten once or twice, but it's that we just couldn't go. But that's been very infrequent. 32:00TW: We were talking about the sets and the costumes.

DC: Well there they're high level. They have consistently been, I raised the question in kind of my own personal non-professional way as if the sets ever overshadowed the drama. I really haven't observed that or whether the sets pull the drama to them at that level. That's kind of a philosophical observation, but I think the sets and the costumes and Martha mentioned the appropriate casting, which I think is always seems good. And the sets sometimes are so powerful, there's no question about it. In that case, maybe sometimes 33:00the sets pull through a marginal play and give it power that it needs. But from the drama point of view, I mean it's a whole, isn't it? I mean the sets, the costumes, the actors, and then you get a sum total all of 'em at the end and you say that was an effective play. It touched me emotionally, intellectually. And then I don't think you say, well, there was something wrong with the sets. They were too good or they were not good enough or they weren't appropriate. Now from my point of view, and I think Martha and I discussed that is sometimes the sets surprise me. I wouldn't have thought of doing it that way, but then I'm not into this. I'm not artistic, nor am I into the theater in the technical 34:00sense, but that's the pleasant surprise. You go in there and this set and then you see the play. It MC: All works together to make a very fine evening. I think.

TW: You had said something about Victor Jory in terms of the sets.

DC: I said something about Victor Jory? Oh, I said that. Well, in view of all of that, that he had such presence and power and no set intimidated him. I mean, which I'd say is the case with many of the actors. I don't think they get lost in the set or they're an appendege to it or anything of that sort of thing.

TW: And do you all are members of Angels?

MC: Well, I guess we are.

TW: Explain what that is. Explain what that is.

MC: Well, we contribute each year so that do our bit in trying to, DC: No, we're not level of some givers, MC: But we feel it's important to invest and we think it's an important thing to Louisville. I think.

TW: As a member of an Angel, 35:00what do you get something in return for that? What is being an Angel? You donate outside of your subscription MC: And I guess we do get a free poster at the Humana Play Festival and then there are some wine and cheese things, but we've not never been able to go, I don't think.

TW: Now is the free poster, the cover of the program?

MC: Right and this year we didn't care for it that much, so we didn't pick it up.

TW: You sell some of those, MC: Right. I do. And I've sold the one from 87, the Mime on the Subway, which speaks to people who, especially New Yorkers or professional actors, people interested in theater. They like it so much. So I'm still selling that one poster.

TW: And did you tell me you all did go to the 25th celebration? 36:00MC: Yes, we did. We enjoyed it a great deal and it sort of gave us the, we remembered a lot of the things through the years and appreciated hearing many of the things.

TW: Did you all think it was entertaining? Did you think it was good? Did you think it was things that they did or did not cover or covered too much?

MC: Oh, I think they covered it pretty well. I don't think we realized the financial problems that were there, how severe they were. But we're glad that they were surmounted because we're still going.

TW: In addition to attending Actors Theatre. Do you go to any of the other theaters here in Louisville?

MC: David has known one of the people that's involved in the Bunbury Theater. So we have gone to a number of those productions for the last several years. Haven't we?

TW: Who's that?

DC: Well, she was one of the directors and is an actress, Karen Browning. 37:00MC: And so we went to a number of those down at the London House. Then we see things in the paper and really want to go and we went to see the White Hall, the Marcellus play from the one man play. Then I saw we saw another play, another one in the paper, and we probably would go to those when DC: we saw Cats.

MC: Yes. Well that's the Broadway series. Broadway series. We went to that.

DC: Which belays my saying, I don't like musicals, MC: But it was fun. And we'd been to some other things at the Broadway series too. But if we're able to go and we're interested, we do try to go to other theater groups.

TW: Do you think having these other theaters here has had to change the kinds of play selection 38:00Jon Jory chooses? Have you seen a change in the last few years?

DC: Well, there've been some changes. I really haven't analyzed or I suspect that that's a factor.

MC: But I also say that there's continuing attempt to build see our audiences and to help people grow and become subscribers, I think. So you have these a very appealing place like the one with the big plant that kept growing and growing from Little Shop of Horrors, Little Shop of Horrors, which people just loved and then they loved Quilters and they loved, I think Steel Magnolias seems to be going to be very, very popular.

DC: I suspect that that's a reality that the orchestra and the ballet and the actors and others 39:00have to, if you can't sell tickets on a broader scale, I guess we go to whatever they present. And I don't think that's necessarily not being discriminating, but there are some things that people just rave about and we say, well, it was fine. But that seemed to be the things that a lot of people like. Whereas we like a lot of other things. So that's just the difference I think that are, we notice the same thing at the symphony and intermission. I listen to what people are saying and they'll say, oh, this is awful, and so on. Well, I think some people just don't have broad interests and maybe a broad experience and those like the administration of Actors that have to decide 40:00how to please a lot of people, the old axiom, you can't please everybody, but they have to really in a sense, I guess try to please a large spectrum of people just as the orchestra does and the ballet does.

And I guess the bottom line is if you don't fill your receipts now, I guess that can go too far and be a prostitution. But I mean it is in some ways. I mean not in some ways it is a commercial enterprise, right? I mean if you don't sell tickets, you don't stay in business. But I think there's enough evidence both in all of our arts, the major arts groups, that they don't do this just to sell tickets. I think they do other things so that, I mean, if you look at the orchestra, I just saw this thing on the orchestra on Channel 32 on Friday night, and Smith, 41:00the conductor was being interviewed and they were viewing lots of things they've been doing and are doing and they're doing lots and lots of things just as Actors does. They tour the schools, they tour the state, they have things upstairs, they have different things and try to meet the needs of children, which I think is tremendously important because if you get children interested in some of these things and educate them, then they're going to be the subscribers of tomorrow.

MC: Are you all looking forward to going to The Tempest?

DC: Yes, definitely. Yeah, because the primary kind of thing that we like and yes, we are definitely.

TW: Is there anything you all would like to add?

MC: No, I think we've said pretty much everything, but we still enjoy it very much.

TW: I want to thank you all for your time.