Lindsay and I had a great chat the other night with on the TheatreCast Podcast. Check out the video below.
We talked about the origins of our company, how we found our niche, and where we get ideas for new stuff for our awesome customers.
Thanks to Nick Cusumano and Danielle Filas for having us!
Nick: Hi! Welcome to TheatreCast, presented by the EdReach Network!
You’ve reached Episode 04 for February 24, 2013.
This is a show where theatre teachers and professionals share a passion for theatre trends, share practical advice and tips, and ask questions of some of theatres most innovative collaborators.
Joining me, again, as always, is Danielle Filas. Say hello, Danielle.
Danielle: Hello, Danielle! Hi everyone! Welcome back! Thanks for coming back!
Nick: We’re excited to start Episode 04 and joining us this week, we have some folks from Theatrefolk. We have Lindsay Price.
Nick: And Craig Mason.
Nick: And I know Lindsay and Craig from Bob and Marti Fowler who was my high school theatre teacher, and also, from eighteen, nineteen Thespian Festivals. Well, maybe not that many, but…
Lindsay: Oh, man!
Craig: It feels like it.
Nick: A fair amount of Thespian Festivals. You see them at least once, twice, sometimes three times a year I want to say. Also, and they were gracious enough to join us so we’re going to spend some time chatting with them about what it’s like to have your own play publishing company.
Nick: Would you tell us the story of how Theatrefolk got started?
Lindsay: Well, that’s a pretty big… It’s a very long journey, and we actually started out as a production company. I would write the plays, and then, Craig and I would present them and tour them. And we did school tours during the school year, and then, in the summer, you can actually tour Fringe Festivals across Canada, and we would start in Montreal in June, and then, you could go all the way out across Canada to the other end of the country till September.
I toured Fringe Festivals for six years and that was really my initiation and my education in writing short plays, writing to limits, writing to a specific audience, and that’s where we started. And we got to a point where we didn’t want to do it anymore and we were burned out in production and producing and doing it all ourselves…
Craig: Yeah, there’s nothing worse than standing on stage and doing a show, and at the time, trying to count how many people are in the audience so, you know, you can figure out how much money you have for dinner that night.
Lindsay: Okay. So, one time in Montreal, we played a midnight show for three volunteers. So, we made that much money.
Danielle: I think that we should have a badge system in theatre and that would definitely be a badge.
Craig: Tuesday midnight show in Montreal for three volunteers.
Lindsay: And so, we had these original scripts – a bunch of them – because we wrote, it was all original material and we thought, very naively, but sometimes that’s the best way to go, “We have these plays. We’re not going to produce them anymore. Why don’t we try and sell them?” And it just so happened that we lived in a town that was rampant with high school theatre. It was, at the time, the Canadian hub or international symbol for hub for thespians. So, that’s how we were introduced to the Educational Theatre Association and the Thespians. And then, in Ontario, we have our own sort of very mini, mini, mini, mini version of Thespians. And then, it was a summer.
So, there was high school theatre going on all the time and I would watch these shows and I would think, “I can do better than this.” And, you know, it was a lot of inappropriate stuff – a lot of, you know, Death of a Salesman in twenty minutes, and that was sort of where the publishing arm of Theatrefolk was born to write and make available for schools and then, eventually, other writers into our company and, slowly but surely, over step-by-step, we went from a self-publishing entity – because the only playwright was me – to having over 100 plays, to having multiple writers, professional writers, teachers – we do a lot of teachers – plays, and being an independent publishing house.
And, going from a lot, we run the gamut, we started out, we cerlox-bound our scripts ourselves. Craig, when we’d be sitting on the floor, putting together A Midsummer Night’s Dream order that had to go out and we had to do 50 scripts, cerlox-binding ourselves.
Craig: Well, at the very beginning, when we first started sending our brochures, we had, like, five plays listed in our first brochure. And, the first time someone bought one, it was like, “Oh, now what do we do?” We actually had to typeset the thing and format it so we were making these mad dashes because we didn’t even know if anyone…
Lindsay: “Off to Staples!”
Craig: Yeah, we’d run to Staples and we’d be handcrafting these things ourselves and it was quite… I would never want to live like that again but it was a great footing for what we do now.
Now, we appreciate every aspect of this business because we’ve done all of the jobs.
Lindsay: Yes, yes. You know, well… We joke at times, you know, because Theatrefolk is the two of us and, you know, people call us and they say, you know, “I’m sending you a fax. Are you near the fax room?” and I’d look to my left, I go, “Yeah, I’m in the fax room!”
But it’s not just the two of us. Now, we have writers and we have, you know…
Craig: Printing company.
Lindsay: Thank you, thank you.
Craig: And then, there’s guys to do the catalogue and the mailing house and all this, yeah.
Lindsay: You’d think I didn’t have an English degree or something. All right.
But, at the very beginning, it was Craig and I, and Craig and I doing absolutely everything. I think it’s wonderful. I think the only way to have that appreciation is to, you know, bind a script yourself.
Nick: I have been down that road before.
Nick: When I started teaching, I had worked with a small professional theatre company – putting those programmes together, making the scripts, dealing with the box office and running tech for the show. Having to stand up when the play’s, like, this big the whole show and reaching up and doing two cues like that.
Danielle: Yeah, running backstage so you could hit the lights for the next scene. Definitely!
Craig: It makes you appreciate everyone’s jobs.
Craig: It makes you appreciate what everyone’s doing.
I studied as an actor and we had to take tech courses. So, I was master carpenter on a show, I did props for a show. I was terrible at both of those things, but I have that experience and I really do appreciate those people who can do those jobs well because I think they’re way harder than anything an actor or a director do.
Danielle: I agree. I think if you have not embraced and cuddled up with a clip lamp at some point then you’re not really an actor.
Craig: I think so, too.
Danielle: So, I have a question for your guys. I am wondering if now the scripts that you have, are they all written in-house or do you commission or solicit scripts from writers outside of Theatrefolk?
Craig: It’s a blend. A lot of them come from in-house – they’re from Lindsay, she’s our resident writer.
Lindsay: Resident playwright.
Craig: But we do accept submissions from outside people and we publish quite a few of them. So, we’ve gotten to that point now where we’ll publish anything that we think is suitable for our audience.
Lindsay: Reading submissions, there are submissions that come in. They trickle in on a regular basis because we have such a narrow niche which makes it really great because we have such a specific guideline so people consent to that specific guideline. But it’s enough that I have to put aside time every month to go through new submissions and respond to them accordingly.
Danielle: Can you talk about that niche? I love that you guys talked about know your audience as a theatre person and as a writing teacher – that’s something my students probably collectively rolled their eyes when they heard you say that because they knew I’d be cheering – but can you talk about what that is?
Craig: Yeah, it’s knowing your audience and what was really, really helpful for us was going to conferences. When we first started going, we had no idea – we knew that some people were buying our books, some people were doing the plays, but we didn’t know exactly why and what was resonating with them.
And, when we first started going to conferences, people would say, “Oh, I did such and such. Do you have anything like this?” and what we found, over and over, if you’re at a conference and you get, like, five different people saying, “Do you have anything like this?” that means there’s a whole in the market and, on the drive home from the conference, Lindsay writes two plays that fill that gap.
I mean, when you’re in Lincoln, we had, for whatever reason, we had five different people ask us if we had a Legend of Sleepy Hollow adaptation. So, there you go! There’s a need for a Legend of Sleepy Hollow adaptations, as many as there are already. So, Lindsay did one for that. It does really well.
So, it really helps to get out there and talk to people and find out what they’re looking for.
Lindsay: Well, listening to your audience is key. It’s key as an actor and there has to be that communication between how you present your work and the response that comes back. You can’t disconnect from them.
As a writer, I have to consider my audience, and as a playwriting teacher, I am constantly saying, “What do you want an audience to get from this? To take away from this?” They are part of the equation in theatre and it’s important to acknowledge and respond.
And so, as a publishing company, our audience is theatre teachers and theatre students. And when a theatre teacher comes up to and expresses an interest in a certain type of play, it’s one of the things I love the most because I love – it’s from my background and writing to limits – I love getting something that is very awkwardly shaped and going, “I can make a play out of this! I can make something theatrical.”
And I think a lot of our top-sellers are requests from teachers that we have heard and responded to. And our most satisfying plays, I think, too, because our customers, our audience is really important to us. We don’t exist without them. So, to ignore them, or to treat them cruelly, or to, you know, not love them with all of our heart – because we know how difficult it is to be a theatre teacher – this is no good. So, it’s a very satisfying thing to be able to provide.
Nick: And, as a theatre teacher, I appreciate that we have plays that are specific for the age group that we teach, and also, that they are well-written because there are a lot of scripts out there – and we won’t name companies – that I go, “Really?” I call them the bubblegum plays.
Danielle: Yeah, and the students see right through that, don’t they?
Lindsay: They do, and it’s very interesting because some of those plays have a place because it’s all about, over time, I’ve sort of learned that the act of being in a play is very wonderful for a student, right? You know, in terms of that, for some students, in terms of building skills, right? So, for those students, it’s the play that matters – the act of the play, not the play.
But I get responses from writers all the time who have sent me something and, you know, half of the cast is adults and I send it back right away and say, “Nope. That’s not what we’re looking for. It has to be the majority of characters must be of teenage age or the main story must be focused on a teenager.” They’ll write back and say, “Oh, but teenagers need to explore everything. They need to be adults, and they can do this, and they can do this, and they can do this.” I’m like, “Yes, and there are other companies who can do that. This is what we do.”
And this is what we think is important – there is lots that a teenager can do within their age range. There’s so many things they can do! And that’s what we want to explore and we can do that lightly and we can do that quite, quite deeply.
And, to that end, I think one of our plays that resonates the most has a character in it who is 85 and in the middle of dementia but sees himself as a teenager and so is played by a teenager, you know? So, you know, we’re kind of looking for the exploratory in that way.
Also, it’s the theatre! So, we want theatricality and new different forms. I think that’s what’s fun to play as opposed to having a teenager wear old-age makeup, why not, you know, make them play a stranded hair, or make them be an emotion, you know? And that, I think, is something to have fun with.
Nick: You know, one of my favourite plays that I use with my students that you wrote is No Horse Town. They have a hoot with that because they just think it’s so funny and you have that stylized theatricality in it which is just so much fun to play with – the whole movement and the flow of it.
That play, either the kids they love it or they hate it. That’s when I know it’s right because it’s polarizing which is good. Polarizing is good.
Craig: And that came out of a conference trip, right? We were traveling to probably Florida State.
Lindsay: We were traveling to Florida State and we tried to cross the streets in a town which they don’t want you to walk so the light isn’t long enough for a human being to cross and we almost got hit by a car. And so, it was this whole notion.
And, we come from a place where – both of us lived in Toronto for many years – all you do is you walk everywhere, you know? We’re huge walkers. So, to be in a place where the light isn’t even long enough to cross the street was just maddening to me. But that’s where most of my plays come from – just the general specific observation of what’s going on around me, and then, taking it to an extreme.
Nick: What is kind of your writing process?
Lindsay: It depends. Sometimes, it’s a play that someone’s been looking for so it kind of forms so I’ll start with that and do some research. Usually, you know, for an issue play, research always comes first and I keep doing research until a character starts to talk to me, and then, I know that we’re ready to move from research to theatre, and when I do that, I take all my research and I lock it in a drawer because I don’t want to write a pamphlet, I want to write right.
Also, it depends sometimes on what I like to do. Like, adaptations are my most favourite thing ever. I get to go see, in the next three months, I get to see an adaptation of mine of Poe stories which was awesome because it was quite the challenge because, even though Poe is vivid, it’s very much literal.
Danielle: Ooh! It’s in his head a lot.
Lindsay: Yes! Like, it’s a bunch of different stories and I tried very hard to get The Pit and the Pendulum to work and it’s just a one-on-one experience. Unlike The Tell-Tale Heart and The Masque of the Red Death which just, psssh, they’d explode on stage.
So, sometimes, I’m working very closely with the text, and then, sometimes, it’s a free-for-all. Observation is my most often used tool for finding play ideas and I always have a notebook with me and I’ll just write it down. Craig has been there when I have literally been walking down the street and he’s trying to make sure that I’m not falling as I am writing in my notebook.
Craig: She does that with names, too. When we’re at a conference, because the kids all wear those badges with their names on them around their lanyards, she’s always, like, surreptitiously jotting a good name down for a character.
Lindsay: Because they’re the best. Conferences are the best place to find names.
And then, I start with pen and paper, and then, I know. Usually, my first draft is all long-hand – I think better that way – and then, we move to computer, and then, I always do a workshop, and then, we move to production and publication. So, there. The nutshell version.
The bottom-line of it is that it’s a lot of writing. I write and I rewrite. A one-act probably goes through three to four drafts. A full-length will take between one-and-a-half and two years from beginning idea to production because it’s just so many puzzle pieces.
And sometimes, sometimes, I start a full-length, and then, we get to the workshop stage and go, “Well, this is not a full-length. This is a one-act,” which happened to me in the fall where I did a very, very extensive workshop and it was just the bits and pieces were brilliance but the whole didn’t come together. But that’s why we do workshops.
Lindsay: That’s why we put it on its feet. Because, if we didn’t, you now, we wouldn’t have any insight. Because it’s theatre, you know? It’s not silent reading. It’s moving and talking and coming to life.
Danielle: Craig, can you talk a little bit about the people who, well, might want to submit? What are some of the rules that you’d like them to follow? Or, some of the niche that you guys talked about? What would that be?
Danielle: Big set, little set, big cast, little cast?
Craig: Okay. Well, if you’re going to write the model successful play for high schools…
Danielle: That’s what I am going to write.
Craig: Okay. All right, perfect.
Now, before I say any of these, we have plays that do very well that follow none of these rules, so…
You want a large cast. You want it to be a comedy. You want it to be a one-act under 40 minutes. You want the casting to be flexible – like, if a kid drops out, it’s easy to replace from an ensemble or something. Gender-flexible or gender-neutral or, if you can’t do gender-neutral, more girls than guys because there’s always more girls than guys.
Danielle: Yes, there are.
Craig: Often, I’ll be at a conference and someone will say, “I need a play. I’ve got ten guys and one girl.” I’m like, “You do not have a problem. The world is your oyster here. You can do plays that…”
Danielle: Anything by Shakespeare, hello!
Craig: “You can do tons of things that no one else can do.”
Am I missing anything, Lindsay?
Lindsay: The thing that a lot of teachers ask us for is stuff they can do with their class. So, vignette plays work really well which are one thing we really specialize in. A vignette play is short scenes on a theme. So, there are a number of small mini-plays that come together they make a play and the reason they work so well in class is that you can have your entire class working. And so, you know, everyone can be doing a scene and then you come together. So, I think those do very well. I think that’s it though.
It’s the only place that you can write a 50-character play these days. Technically, a lot of schools have a cafeteria so…
Craig: Yeah, and not a lot of tech. That’s a good one, too. But you could use tech if you had the facilities.
Lindsay: Yeah, we like plays that, if you have them, you can – the sky’s the limit – but if you did it with one cube, it would work too. I think that where it comes. We’re really looking at the text and how well the text comes to life.
Like, the play that I’m going to be – it’s premiering in a couple of months – has a whole entire class that’s devoted to the tech, and to the set design and to the costumes, you know? And an entire set of costume designs, and there’s going to be levels. It’s a forest and the forest is going to be, you know, multi-coloured, water-coloured trees. This same play could easily be done on a bare stage with kids in t-shirts and tights with a couple of cubes.
So, that’s really important, too. I think flexibility is always what we’re looking for in a play because we just have so many different types of schools and programs who use our material.
Danielle: Thank you. That’s helpful.
Nick: One thing I know – talking about niche – I really appreciate is you all developed emergency lesson plans for theatre teachers and we are an interesting market, especially when it comes to giving subs because, you know, there’s not too many trained subs that have experts in theatre so it’s awesome that you all created that resource.
Craig: It came out of some ideas we had, again, from conferences and listening to people. We started off bringing a few free hand-outs for teachers to use, and then, we thought, “Oh, there’s a huge demand for this.”
We were at one conference, there was a product we were selling, and the bonus was that you got some emergency lesson plans, and people were buying it just to get emergency lesson plans. So, we thought, “Oh, well, we should package up these emergency lesson plans and that should be the product.” And so, that’s where that came from.
Danielle: Maybe we should take a look at your website right now.
Danielle: Let me top that up. There you guys go. Yeah! Look at this.
Lindsay: Yeah. We spent a lot of time.
Craig is the web designer and he is the web master. He’s really put a lot of time into making it user-friendly so that you can just sort of have an idea of what you’re looking for and find it easily on the site.
Danielle: It is really easy to navigate and one of the coolest parts, by the way, if you can’t see it, guys, it’s www.theatrefolk.com – theatre spelled the correct way.
Craig: Yeah! We own the other one, too. We own ER and it’ll bring you there, too.
Danielle: Good. It’ll take all comers.
Danielle: That’s great. I love this button, Free Stuff.
Craig: Yeah, there’s monologues, there’s scenes, there’s some lesson plans on there, there’s some video tips.
Lindsay: We have a huge theatre trivia site, database of theatre history questions from Greek right up to modern plays, playwrights. You can actually get – speaking of lesson plans for subs – you can go there, you can download a page that’ll give you a whole bunch of questions and then it’ll have the answer key.
Nick: Can you all share with us? When I first started my blog, I came across, I think, those emergency lesson plans and then saw how forward-thinking you are with play publishing because you realize that teachers live in the real world and waiting for plays to come in the mail sometimes – because either something’s been sprung upon us or we waited too long – sometimes that happens.
Nick: Can you just share a little bit about that for our audience?
Yup, that’s another thing, again, that came out of listening to people and listening to what they wanted. We would get orders for, you know, someone says, “I need two royalties and 20 scripts.” And I say, “What are the needs of your performances?” “Well, it’s tomorrow.” You go like, “Why am I putting 20 scripts in the mail here?” because I know they’ve already copied them, you know?
And, the same thing too, like, people would need a script in a hurry and they would ask us to, like, rip them apart and put them in a fax machine. The whole thing became absurd. So, we came up with the idea of, for previous scripts, to have the option of getting them as PDF downloads and, as far as production copies are concerned, having a photocopy license for people to copy the script.
I mean, like, I’ve worked in the theatre. I know that, most of the time, you’re working with photocopies of scripts, so why not find a way to still let the authors make the money that they should make off of the scripts but allow the teachers and the producers to use the scripts the way that they would like to use them and access them the easiest way they can.
Lindsay: We’re very lucky in that. It’s one of the things that – being a small company – has been very helpful in this regard because we have a small number of authors. Once we decided to do this, we were able to jump on it right away, talk one-on-one with all of our authors, and we’re very lucky that most of our authors – well, all of them, because they all signed up readily – are very forward-thinking themselves, and that we were able to move quickly and efficiently with this plan.
It’s a hard thing for writers to grasp because there’s that whole notion of, “Oh, they’re going to photocopy my work and they’re going to steal it.” And yes, they may, but they may buy your book and photocopy it and steal it, too. The wonderful thing about dealing with teachers is that, you know, if they’re going to perform it for an audience, in a festival, for example, you have to give proof and we have found that, by and large, you know, most teachers are wonderfully honest and they want to do the right thing and they want to pay what they need to pay.
And, just as in every industry, there are problems and to not do this punishes the mass for the few who want to bend the rules. We just felt that why not give a method which is easy to do and helps the teacher? And we’ve just had so many teachers come up to us and say, “I’m so grateful. I needed a play in five minutes. I went on your site. I read the sample pages. I downloaded a script. I read it, and then, five minutes later, I had the royalty in my hands, and I had the photocopy license in my hand, and I went in to auditions the very next day.”
So, everybody’s happy and we can, yeah, make teacher happy, we can make the authors happy. It was the same thing with our videotape license. You know, you just see one after another of these little grainy things on YouTube and, you know, we have teachers who are like, “My parents want to videotape for prosperity,” instead of punishing, how can we make it so that it works for everyone?
Nick: Yeah, that’s a great thing that you all offer.
Danielle and I, especially in our first show, dealt with the world a little bit with social media and I know that’s a big thing that’s part of your company now. Can you tell us about your adventures into the social media world?
Craig: We’re good on Facebook. We’re not so good on Twitter.
Lindsay: We have pith helmets, and we have flashlights, and we’re sort of navigating.
Nick: Well, it’s nice to know that we’re not alone. There’s at least a handful of us out there blogging, and sharing, and podcasting about theatre.
Lindsay: There’s just not that many of us. We had to do a lot of experimenting. Like, we started on MySpace and that went away side, and we have a Twitter presence and we’re still sort of figuring that out.
Facebook works the best for us and our customers. We’re just about up to 7,000 – I don’t know what they call them these days – are they followers?
Craig: Followers, likes.
Lindsay: Followers, likes.
Danielle: Likes, yeah.
Lindsay: Peeps, and we find they’re very interactive, and it’s a good place. We find a good interaction which, I think, that’s the key of social media. Where can you interact?
And then, we have a blog also that we update seven days a week. We take December off and in July. Also, we’re doing a podcast once a week, too. It’s a lot of social media balls, I guess, in the air. Hmm?
Craig: Yeah, I guess it is, isn’t it?
Lindsay: When you start to go, “Oh look! All those thing!”
Craig: Yeah, but you blog every day and that gets put on Facebook and Twitter and yeah, it just keeps going, doesn’t? It’s a lot of work.
Lindsay: If you schedule it, that’s all we do. Like, I do three days, Craig does three days, and then, the podcast is one day, and then, Craig does this every day. It’s just an organizational thing.
Nick: And I want to thank you for your podcast because I listened to one episode, I think it was talking about Pixar and Brave which I agree with you on that, and talked about the animator, and then, the animator talked about, I guess, a story guru from Hollywood, her name’s Bobette Buster which is just such an interesting name.
Nick: Maybe that should be in your plays. But she has some information I’ll share with our listeners about the story and I just found that really interesting and I wouldn’t even found that if I hadn’t listened to your podcast.
Lindsay: That’s lovely. That’s awesome!
Craig: You didn’t have to sit next to her when we watched Brave. That was not a fun evening.
Lindsay: I’m somewhat expressive when it comes to poor story-telling and characterization. It’s helpful in my job!
Danielle: That sounds like a fantastic missed opportunity for live streaming. I would love to see that.
Craig: No, you wouldn’t.
Lindsay: I would have to censor myself!
Craig: No, when we see something, well, especially with theatre, if we see something that’s not so great, I always walk away blaming the actors and she always walks away blaming the writers. So, we usually argue over who is the contributor to the badness of what we say. So, when we saw Brave, it wasn’t so bad for me because, you know, it was…
Lindsay: It’s animated!
Craig: There’s no actors there.
Lindsay: Yes. Ugh! Oh, that script. Ugh! Sorry, flashbacking!
Nick: Sorry, I didn’t mean to bring up bad memories! But, just like if there was a nice positive that came out of it and I’ll share that link with you…
Nick: …about that Bobette Buster. It’s really interesting too how she looks at story-telling and story-telling in the big picture of the world.
We need to now switch to our tech segment, and so, can you share with us your little tech tip or any tech tips? We do a little bit with EdTech.
Danielle: Yeah. Let me see. I can… Did you mean me? You didn’t mean me, did you?
Nick: You can go ahead and take yours and then I’ll give a chance for Lindsay and Craig to highlight something before we sign off.
Danielle: Okay. So, this is a cool little site that I found. I’ll share the screen with you here. It is a site called ipl2 and it’s got a bunch of stuff on it – or Pathfinders it’s also called – and, well, the part that I loved is this Stagecraft and Technical Theatre resources. It’s got all kinds of information on here – Glossary of Theatre Terms, Stagecraft Questions, Drama Department Links, all kinds of good stuff. BackstageJobs.com is on here, too. I just thought this might be a really great resource for teachers and for anybody who’s doing the whole theatre thing. We’ll pop the link up there on Show Notes for you guys so you can go play with it yourself.
Yeah, it looks like it’s part of The iSchool Drexel College of Information Science and Technology with support from Florida State as well. It’s a pretty neat toy to go play with there.
What did you guys have? Is yours on your site? Can I pull that up for you?
Lindsay: Are we talking about our Free Play Sunday?
Lindsay: Yes! Awesome! There’s a wonderful site, wonderful, smooth, you know. We’ve got a… You should join our Twitter which is basically just @theatrefolk, or our Facebook and you just need to go on Facebook and search for Theatrefolk. And, we offer this once a month. It’s called Free Play Sunday. It’s the last Sunday of every month – so, that would be today – where you can go and get free downloads of two or three of our scripts and they’re there all day so it’s not any time. There’s not any time limit other than the end of the day.
We have three of our new scripts. Two of mine – one called Backspace and one called Chicken Road – and then, one of our other writers, Clint Snyder – a loose adaptation of The Lord of the Flies that takes place in a bakeshop and it’s called Lord of the Pies. It is awesome. It’s lovely and dark and filled with lemon meringue.
Craig: So, if you’re watching us live, they’re up there now till midnight Eastern. If not, then, the last Sunday of next month there’ll be some more new free plays up on that page.
Nick: Well, go ahead and put that on your calendar now for March…
Lindsay: We have teachers who do!
Nick: …so that you can partake of, you know, you can’t beat free.
Craig: The teachers like free stuff.
Nick: Yes, we do.
Craig: Yeah, they’ll take anything with a free sign on it.
Nick: Yes, free, free, free, that’s always, as dealing with budgets and taking care of our own gate receipts most of the time. We try to stretch our budget as best we can.
So, we’re going to wrap up our show right now. Lindsay, can you tell us how to follow you and different places to catch your stuff.
Lindsay: Yes! We’re at theatrefolk.com, and yes, you can get us RE or ER, theatrefolk.com, and you can find us on Facebook, again, you just search for Theatrefolk, and you can find us on Twitter @theatrefolk, and then, you can also follow me, I’m @lindsaywriter.
Is there anything else, Craig? I think those are our places on the web that you can find us. Our podcast is always going to be on our blog every Wednesday. You can also subscribe to us on iTunes, it’s the TFP podcast.
Nick: Great. And, Danielle, how can we follow you?
Danielle: You can follow me on Twitter at @msfilas, M-S-F-I-L-A-S, or you can find on Google+, on gplus.co/daniellefilas, or you can come here next week!
Nick: Yes. Be sure to join us for next week. We should have a great show then for you.
You can find me at @edtech4theatre on Twitter and edtech4theatre.com on the web.
Be sure that you check out EdReach. We have other shows that are appearing out there. The aRTs Round Table is a great one to check out for your other music and art teachers out there.
EdReach appreciates your support. One of the ways you can continue your support is rating us on iTunes – iTunes love goes a long way. Go to edreach.us network and find your favourite shows, or simply follow EdReach on Twitter @edreach.
Once again, we want to thank you for your support and we will see you next week!
Danielle: Bye everybody!
Lindsay: Thank you!