Yeah

... with Likely, it was... what's interesting was that it seemed like the vast majority of, like, I, I counted them.

It was like the first three or four drives, it was like run, run, throw the ball to Likely on third down somewhere where he maybe he gets it, maybe he doesn't.

But it was like a, that little check down over the middle or that little dump pass, and it was like that was the, the sequence.

It was two runs and then a pass to Likely.

So it's, it's clear there's that, that connection between those two, and then Neighbors ran all these, a ton of different routes and usages all over.

Um, and he should have had multiple touchdowns.

Just a great performance.

Yeah.

And this would've been a massive, like, 30-yard throw that would've been an awesome play in the fourth.

Like, they, they did convert on the next play with that draw.

I think it was to Monty.

Uh, but his footwork is just holistically, it's still bad.

He's just way too inaccurate on these off throw-- on these, like, off-platform throws, and, and he does it himself.

And, and the reason why I bring this up is that, that final sack, the fumble, that was 100% on him.

[laughs]

And what was that process like with that play specifically of figuring out kind of what the visual idea would be? The play,

it had a very abstract setting.

It took place in the afterlife.

um and so it was a wonderful opportunity to make a space that um yeah that didn't i mean i i had felt as a young theater director you know at that age quite kind of feisty about how a lot of theater just sort of looked like they were trying to emulate television you know realistic sets and realistic acting.

And I was kind of like, well, why not just do a TV show? Why are you making theater? Why is this theater? And so for me at that age, I was really interested in...

in abstraction and theater as the sort of abstract space and a rhetorical space, space for conversation, debate, ideas.

And so I really wanted to connect the audience and the actors, which is a sort of, running theme in my work, I really like putting the audience and the actors in what I feel is the same space as opposed to there being a fourth wall and a divide between the audience and the performers.

And I wonder, how did you decide to have that concept at intermission of having the audience come up on stage? Any