Mm.

Um, but then kind of functionally, it's been a nightmare to kinda go, how do you make a show that can sort of fit into all these different locations? We started in a space where we were researching and looking at Commedia dell'arte and how kind of traveling circuses or shows and commedia would move and use, um, semi-improvised sort of bits or routines, um, a lot or a lotzi, and then adapt and be responsive to the places they were in.

I think we will continue to do that as we, as we discover them, and this is what I mean by the, the DNA of the work will come out much more as we're more familiar with it to kind of riff and respond and go, "Oh, yeah, when we do it in front of an audience, people don't follow the show." Like- Uh, or this happens, or they do that, or they gasp here, and then maybe we can create a scene out of that and, or in- intersect a thing there.

But the kind of creative process so far, [laughs] which we've been doing a heap of rehearsing down, um, uh, the mall in Footscray, has been, like, not that.

Because people aren't there to see a show.

People are doing their life, and they're going places, which is awesome because they stop, and they look, and they go, "What are you doing? This is crazy."

Where it's not like Cirque du Soleil.

Yeah, I mean, that is definitely the, the, the kind of thing.