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      For nearly an hour and a half I talk. Well, with a bit of help from some audience members. Then the play ends. And we all talk. Conversation. Dialogue. We've had talk-backs following every performance of EVERY BRILLIANT THING and they have been meaningful and honest and safe. People have shared their stories regarding depression and suicide and connection and community, and as we sat together in a safe space we connected. At least I did. And I sensed that many others did as well.

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      I began the journey of living in another's skin a year ago. After we decided to program EVERY BRILLIANT THING in our 2019 Season and that I would play the one role in the play, I began the process of memorizing. I began with random sections, writing them out on cards, recording them on my phone, rewriting them in a more visually accessible format. For the first few weeks I simply read and got it in my ear.

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      In both the pieces I am directing for the Hamilton-Gibson Women's Project, my characters are uncomfortable - pushing their limits in some way. In Precipice, a man and woman are stuck on a cliff with an impossible decision to make - jump into the fog to cross a chasm without being positive what is on the other side or try to weather a dangerous storm on the side of the mountain. They are uncomfortable - with each other, with the situation, and at times with their own thoughts. In Where Do the Mermaids Stand?, the main character is uncomfortable in a different way. A young child poses a question to her that has both real and metaphorical significance, and she steps out of her comfort zone to be able to answer that question in the way the child needs.

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