And, and Dan, um, from your perspective, what's it like, um, you know, instructing some of these seasoned actors to bring their own style to these, uh, beloved characters?

Well, I, I have to say most of this cast has, uh, resumes, more, more appropriate to call them CVs, um, circumcise of experience that they've brought from all these different theaters.

And it's wonderful to see the growth of the characters over time and to see their interpretation of certain things and, and certain areas, um, where most of the time all I'm doing is looking at a situation and saying, "Hey, it would be funny if this were to happen.

It would be really funny if Colonel Mustard happened to do this little activity while everybody's doing that." And then little, little adjustments, um, to see of, of where the ship is going, and it's great.

You know, you, as a director, you, you, you kind of really hope for those c- those characters and those actors that have the head on their shoulders, that they don't need a lot of direction.

They can grab onto the vision.

And wh- and when I can talk to someone like Mark, I can tell him what I like to call upstream or, uh, upstream questions and say, "Hey, this is what I'm, I'm looking for here, but I'm giving you the ability to, um, to, to move around for this." Uh, one line that I keep on...

So tell me, how does one director, uh, create the aesthetic and the feel of being inside a mansion [laughs] while performing in a 50 seat black box? I'm sure that's a unique challenge.