Diana and I spent almost two years working together developing this play. In our final semester together at UT, we mounted this workshop production. We learned a great deal dramaturgically about the play, and about producing a wildly experimental draft of a work in progress. 

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Educational settings can afford you freedoms difficult to come by in professional theatres and Diana and I leaned all the way into these possibilities: we began the show on the theatre's loading dock and moved the audience from there through the backstage door to their seats. Having an ensemble of 22 meant that we could create a stampede of eager field tripping students, the collective gasp of the crowd watching the noon-time hangings, and a pile of swarthy goldminers enjoying their whiskey at the end of the day. Transformation through time is a big theme in this story, and we had a spectacular chance to embody that notion on stage.