The Picking of Plays

men in one canister, women in the other. directors come up one at a time to select who the actors are in their play. rehearsal rooms are assigned and the day has begun.

*There is NO trading in baseball! Well, there is, but no trading in 14/48. 

But first: Directors, keep the plays under 10 minutes, even if they are written long. Make the actors talk fast. 

Nards.

Announcement: If security catches you drinking outside, security will take your badge and you'll have to get another one, which will be humiliating and so don't drink outside.

GO!

First Thing in the Morning.

9:05 am. Again, the internet has failed.

 WRITER’S AND DIRECTORS MEET.

 Seven plays were written last ANTHONY WINKLER JUST WALKED IN LATE night, and the writers look tired but relieved. They’ve written two ten-minute plays in the last…36 hours.  There’s lots of “who’d you get” and “tell me what you’re thinking for this part” and “is it too early for a beer?” Everyone is in deep thought in the CHAC lounge, trying to stay away from the open door that’s letting in extremely cold air. Why is it that when you’ve had no sleep and you’re delirious and it’s early in the morning does it always have to be so cold? Someone should shut that door. Oh. I could shut that door. I’ll just move.

 “I’m not sure how to do it, either.” Says a director.

 “I’m not married to the two.” Says a writer.

 There’s quite a bit of silence between pairs scattered around the room, as well.

 Ooh, look there’s coffee.

 

 So the plays are brought in by the writers at 9:00 after having received their topic and assigned number of characters the night before, around 10pm. They bring in their new plays with the theme "A Reason to Believe"  to receive a director. The works are put into manilla envelopes and fanned out to the candidates and chosen blindly. You get what you get and you don’t throw a fit. ALEX JUST HIT MEGHAN WITH A COOLER (NOT DUE TO A PLAY).

 There’s food again. Yesssssss. Donuts and fruit and oatmeal. Cofffeeeeee.

 Writers not presently hooking up with directors are hooking up with designers, who are reading all the scripts too and finding out with they are to create for the day.  There is excitement, but for the most part lots of “well, maybe we can fly to Mexico and be back with the authentic lake water from a remote village and be back by tech…?” I think I’ll talk with a designer today and get the skinny on their situation.

 “You might want to find another option?” says a designer.

“HaHaHaHaHaaaaaaaaaahahahahahaha.” says a writer.

“Ok…how much do you NEED a special?” says a lighting designer.

“Can I sit here?” I am asked by Don, the first actor to arrive. We huddle together by the cold door, having not moved, away from the hubbub, and observe. And drink coffee.

 There is an outburst of laughter. Andy Jensen, a director, is pleased.

 Oh hi, Meghan Arnette! Good to see you too.

 

“I got up this morning and I was all ‘I need some tea’ and I opened the freezer and stood there a while. Then I was like, ‘This isn’t where I need to go!”

 She mimes closing the freezer and doesn’t mime flashing me her boobs before she scampers off to the bathroom. Thanks, Meghan.

 Don asks Troy how his nards are from last night’s show. Troy says they’re swollen and now the right size.

-------

9:42 am  More artists trickle in. Band members, actors, late people. Getting ready for the 10:00 meeting. Actors discuss last night’s show and compare bruises.

 *There is a feeling in the room right now that needs a lot of words to describe it. I’ll try, but it’s hard to know it if you’ve never been a part of the process. I really don’t want to sound like an elitist when I say that. But it is a unique experience. The feeling is carefree, in a way, even though there’s a lot to be done. Happy. Excited. Everyone is glad to be where they are, no matter how tired. It’s a good tired. I suppose the way to describe it is like camp. We’re all kids at camp. Just having a good time. (But there’s no relay race to prove your love) Very positive. Everyone wants to succeed and wants you to succeed.

 Internet is working, and everyone is here for the 10:00 meeting. It’s gonna be a good day.

 

 

in a nutshell --- blogging ERIN and ANNETTE

sad. face. sad. 

no internet for annette n erin.

hello ms word...

LATE

Okay here we are last moments last minutes. Last words.

 

GO BIG

Or

GO HOME

 

Coming in post work.  I strolled in at a clean 6:30pm.  I stood.  I held a bag I sipped some coffee.

 

I got a beer.  I tipped.

 

People were sitting.  Eating Milling.  Trick looked confused.

 

Currently.  I sit I watch.

 

And there is an intense conversation about blood.

 

Where is the blood? Have you seen the blood?

 

Ask Trick.  Trick asked me to ask you.

 

Nope no blood. 

 

Trick comes by “Have I asked you about the blood?”

 

Nope no blood.

 

Ah… blood…

 

FIN

Annette and I are sitting, feeling a bit weird eating the food provided for the actual 14/48 participants, but 

not so bad because it’s all cold and a few hours old.

So either this is going to be a very STRESSFUL next 2 hours or an AMAZING next 2 hours.  The band sounds good from down in the lower space of CHAC. That’s always an exciting thing to see – the music. The BAND. They go off in their own land and learn how to perform toge

ther as a group, which I suppose actors do too, but it’s just different with music. I want “Let’s Get Retarded” to cut out from the speakers and the band to begin.

 And now, we’re up in our perch, the weird balcony thing that you sit up in to watch the show when you’re not performing. Still, the internet does not work. The room is quite full for tonight’s show. It’s 8:01. Everyone involved seems to be pretty relaxed and not running around like…well, like someone who just put up a play in 24 hours. Less than, really.

8:06pm.  Ah. Lights flash. Woos are wooed.  The perch is crammed and a bit scary. No turning back now. Directors, you’ve had 10 hours and now there’s nothing you can do. Actors, got those lines? Writers…oh writers…

 The 14/48 Band has started to rock.  Here comes some Ancient Wisdom.

 9:00pm  Intermission.  4 down, 3 to go. Most of the  audience gets up to get a drink and pee. Actors who just performed breathe a sigh of relief and talk about what to do differently at the 10:30 show. Writers either are very satisfied or hide in a corner.

 

 

Music plays Erin goes to grab a program I dance in place.

Ah! A List Of Who's Involved:

ACT 1 

A Farewell Toast

written by Brendan Healy

Directed by Andy Jensen

Actors: Teri Lazzara, Peter Dylan O'Connor, Nellis, Shawn Law

Contact

written by Scotto Moore

directed by: meghan Arnette

Actors: Juniper Berolziheimer, Tom Jones, Jon Lutyens, Nick DeSantis

Mom's Carpet

written by David Tucker

directed by: Anthony Winkler

actors: Kate Jaeger, Llysa Holland

If You Go Into the Woods Today

written by: S.P. Miskowski

directed by: Mark Jared Zufelt

actors: Audrey Bates, Michael Katt, John Bianchi, Michael Patten, Nick Perleros

ACT 2

Polyfidelity

written by Becky Hellyer

directed by: Aimee Bruneau

actors: Khan Doan, Kate Parker, J.D. Lloyd, Cory Herndon

Look of Love

written by: Brian Neel, Paul Shipp

directed by: Alan Bryce

actors: Morgan Rowe, Erin Kraft, James Wiedman

You Know What They Say

written by: Rachel Atkins

directed by: Kibby MacKinnon

actors: Susanna Wilson, Troy Fischnaller, Galen Joseph Osier, Don Darryl Rivera, Chris Bell.

 

Jen Moon has SARS --- just read her shirt-

 

From a distance.

 

People Mill.  Bathroom Lines are long – the women have camaraderie in waiting, checking for feet.  Laughter.

 

Good crowd good sprits.

 

Second half posed ready to begin.  I saw a little face painting happening – curious about that action.

 

Playing some booty-tastic music.  I approve.  Bass beats are nice to pump a crowd. Serious.

I just scored a beer.

 

Thanks Erin…

 

Still typing into MS Word due to complications with Inter Web Access

 

Much sadness.

 

But on a positive note it checks my atrocious spelling.

 

First half went well – some well timed laughs – some solid acting – great band atmosphere action

 

The plays linked nicely together

 

Which is one thing that I for one am always curious about. How the writers take the suggestion. The theme.  How they deal with it.  If they stray - if they want to stray.  If straying looks too purposefully strayed.  If staying too close looks too close

 

UPDATE – apparently the prop cock used and thrown into the audience ended in the lap of young Zoey Belyea – sorry Shawn.

 

 

9:53 first performance ends. BREATHE. Curtain call. The topic is picked for tomorrow’s show “A REASON TO BELIEVE”.

 

My last post

My friends are sitting in the house but I have to sit with the artists in the loft. The thing I enjoy about the loft is the bird's eye view of the whole space. I see Carl Sander selling tickets to the Valentine's Day show. I see Audrey Bates running lines at a table. I see the lighting gals (I so wish I knew their names) in the booth. I see Matt Richter pacing and preparing the opening speech. I see the bartender working his behind off. I see my friends in the fourth row anticipating my play. Damn, I hope it's good - for them if for no other reason.

At intermission, I end up with two glasses of wine. (A friend bought me one right as I was ordering another!) I throw one in the garbage. I can't risk that level of intoxication tonight. Andy says a woman from the P.I or some other paper is there. I think about how impossible it would be to review 14/48. It's different every night - every year. Sometimes it's works, sometimes it doesn't, sometimes it kicks ass. It's always great.

I love my piece. No messed up lines. Good pacing. Strong choices. They've made it better than it was.

The show is over. I get my next assignment - three men, one woman. The theme is "Reason to Believe." I know it from a song by Rod Stewart about desperate love. Jodi-Paul swears it refers to a Bruce Springsteen song.

The writers head out again. Paul Shipp says, "Good luck!" Brian says, "Don't get too drunk!" My friends congratulate me on the ride home. "Even if you fail tomorrow," says one, "you've had 50% success." It's a great way to look at it.

My blogging duties are offically over. So, I head home and pop some popcorn and think about reasons to believe. "If I listen long enough to you, I'd find a way to believe that it's all true." Rod Stewart. Gotta love him.

Becky Hellyer - 14/48 writer

Before the show

Friends come to my house to have snacks and drinks before the show so, by the time we got to CHAC, my actors have dispursed and I can't find them all. I like to at least wish them luck so I roam around in back cruising for them. I see Llysa Holland covered in stage blood, Peter Dylan O'Connor in some kind of 70's outfit, Ramon Esquivel and Jose Amador each doing volunteer duties, I see the smokers. No, I do not join them but I do take a very deep breath as I pass them. I see Teri Lazarra in a funky cape, Erin Kraft pacing and running lines, Lisa Viertel at the box office, and I find all but one of my actors (Kate).

Aimee is in the bar with Eric Ray Anderson and she tells me the actors have memorized half the lines (not bad!) and she hopes I like what they've done. I tell her I'm sure I will. And I am sure I will.

This is that time that is weird for playwrights - right before the Friday show. Yes, this play is important - we care what happens - absolutely. But we also know we have to do it again tonight - and part of us is already there, writing the next one. So it doesn't surprise me when fellow playwrights Brian Neel, David Tucker, Scotto Moore, and S.P. Miskowski all mention to me that they're thinking about doing it again. We're all thinking about it.

Becky Hellyer - 14/48 writer

No sleep

I should never have plugged in the third season of Six Feet Under while I was trying to sleep. That was the season Lisa disappeared and Ruth met George. I couldn't stop watching and I couldn't sleep through it. The end result is, I've gotten no nap today. Plan for tonight = tough it out. You know, like when those moms lift trucks off their injured children. Like that.

The play must be written by midnight or I'm screwed.

Please let it be a good theme.

Becky Hellyer - 14/48 writer

First Draw: First Show

I pick Brendan Healy's play "A Farwell Toast." 3 men, one woman. I pick Nellis, Peter Dylan O'Conner and Shawn Law. The woman is the REAL MAZEN AWARD WINNER JANUARY 2008 FIRST WEEKEND, TERI LAZZARA. She is sexy and she plays death.

These actors are all great. The three guys play brothers and they're perfect. As long as my blocking doesn't fuck them up, were in good shape. They get to actually drink beer in the show. I am lucky with my draw, these guys can hold their liquor.

Break is over, back to work.

My rehearsal

No playwright can really capture what's happening anywhere else while she's waiting for her cast to be selected. There's just the one question on her mind - who did we get?

So the actor selection process is a blur to me. I do remember noticing again that people applaud the selections which I find supportive and sweet but kind of confusing. We don't know if the script is good - if the actor will fit what the director is looking for or what the playwright envisioned. We don't know. So why are we clapping? I don't know.

Andy Jensen picks his cast. We clap.

So does Alan Bryce. We clap.

It's announced that one of the scripts is a musical and they draw actor names. At this point, I understand the applause. Everyone is clapping because they didn't get selected.

Finally, we get to my script. Aimee chooses two women and two men out of the cans - Kate Parker, Khan Doan, Cory Herndon, and J.D. Lloyd. I'm excited that I don't know any of these actors. But that's also scary. Who are they? Will they get the story? Will they understand their characters?

We're rehearsing in Caution Zero's old office. It's cold and the sound from the band is coming though from upstairs but it's got west facing facing windows so it's light. It's a good place to rehearse, I think.

I meet the actors. Aimee has them read the script silently to themselves first. They laugh aloud as they're reading it. I love them for it.

Aimee has them read it outloud three separate times with a different combination of casting each time. The last one is good. And I'm really happy with these four people. They get it. They're funny. They're making adjustments. This will be good.

And suddenly - in a single moment - I am extraneous, unnecessary. The playwright has done her job and now needs to go home and take a nap. I wish them well - they're going to have a good time, I think.

On my way out, I see Alex Samuels and Annette Toutonghi putting cheese and meat on plates for later in the day. I see Khan going over her lines in the lounge. Michael Patten is yelling, "Look at you!" in the Lower Level while SP watches him. Dante moves quickly through the lounge with her clipboard. Loud voices are coming from the Nave. Shawn Belyea, Jason Harber, and Jodi-Paul Wooster-Brown are working in the back office.

It's naptime, if I'm lucky. If I'm not lucky, it's time to lie awake and fret. Maybe I'll go spend time with my daughter today and blow off the whole sleep concept.

Becky Hellyer - 14/48 writer

So it begins

I am 20 minutes late for the playwright/directors meeting that started at 9:00am. I couldn't find my blood pressure pills - and of all the days, this is not the one to skip them. And then parking... but anyone who's doing 14/48 or coming to 14/48 knows all about parking problem. So the one-on-one meetings are already underway.

Scotto and Meghan Arnette are sequestered in a corner. He looks happy. Brian Neel has a crazed/tired look in his eye that I completely recognize. SP is getting a bagel or something while her director reads her script. I see Alan Bryce going over a script alone at the bar. I'm looking around for someone looking for me but everyone seems pretty much busy. So I find Jodi-Paul and ask him. Aimee Bruneau has been assigned to my script.

I really admire Aimee's work and I'm glad to get her. She is what I would call a serious person. Her questions for me are geniune and she listens to my answers. A playwright is sometimes looking for enthusiasm from a director after the first readthrough. I'm looking for serious and genuine questions. Aimee asks me to sum up each character in a nutshell. She has the most trouble with "Zack." I tell her he's a youngest child which I realize is not very helpful if you didn't have siblings. Then I find myself telling her that the play for me is about the disappointment of discovering that you're traditional and mundane - that you're really just like everyone else. I hate revealing things about myself in my writing or in discussing my writing. I feel like I'm in the middle of the gym shower room and my towel just fell off.

Dante, the prop/set coordinator, comes by to do a director check. She refers to my play as "the one with the house." It's always funny to hear your work reduced to a phrase by someone with a narrow focus. The play with the house. That's what I should have named it.

David Tucker and Anthony Winkler are sitting across the table from me and Aimee as we talk. It's impossible to really pay attention to what other playwrights and directors are talking about but I do see that it's an animated conversation. Later, I'm horrified to see David scribbling re-writes on a scrap of paper. It's one thing I've never done at 14/48. I'd rather have them rewrite it during the rehearsal than try to touch the thing on 3 hours of sleep and half a donut. But David explains the rewrites to me and I see that he's feeling good about it.

Actors are showing up. The drawing of actor names is about to happen. The energy in this room is so different from last night. Where last night felt like the beginning of a fun reunion, this morning feels like lacing up the boots and checking for supplies before heading up the trail. Artists in preparation mode - it's kind of a beautiful thing. And this is where we are when Teri Lazarra is given the Mazen Award for her contributions to 14/48 in the past - it's a lovely moment, especially when she and Shawn Belyea open mouth kiss.

Becky Hellyer - 14/48 writer

Dang, it's early.

So, I'm writing for 14/48 this weekend.

I got home last night with the theme (Ancient Wisdom), my character assignment (2 men, 2 women), and stuff to make a ham sandwich feeling pretty confident. It's my fourth time. I know that it eventually comes and you just have to trust it.

My confidence left me after 90 minutes of flailing. My brain wasn't working well. I had a false start - I headed down the wrong path as far as to start writing some dialogue for a couple named Monica and Brian - only to realize that Monica and Brian had blown out like a match on a windy day. (Monica? and Brian? Even the names sound stupid now!)

(Speaking of a match on a windy day - this is the first year I've done this since I quit smoking. I miss ciggies during this process! Cigarette smoke is a is a great way of dreaming up a world. I'm having to use black licorice. Not quite the same thing.)

I finally got traction at 11:30pm when I remembered about an article I'd read on non-monogamous relationships - committed groups of adults that live together in sexual relationships. I remember at the time I read it thinking it was idealistic and potentially funny. Makng a "marriage" work between two people is really hard - between three? Or four? Are you out of your frigging mind??? Who believes in something like that?

So I re-read the article, did four character sketches, thought about a woman I met who lived in a commune and worked in the kitchen (how traditional for a non-traditionalist, I thought) - and off I went.

Wendell, Julie, Carly, Zack, and an unseen character, Lila and her dog Schnazzy, appeared and spoke to me. Somtimes I pushed too hard and had to retrace my steps to the last time I'd actually seen them alive on the paper - and then I'd start again. At 2:00am, I wanted to just send what I had and go to bed. At 3:00am I finished. My piece is called "Polyfidelity" and ends with a conventional marriage proposal.

How is the script? I've found that when I hate my scripts the most, they're the best. This one is possibly too short - that's a good thing. But, I think it's funny and that's a bad thing. We'll just have to see. Sometimes what ends up on stage surprises the hell out of me.

And 3 hours of sleep? I'll tell you what - this woman needs her sleep. Especially in order to do all this again tonight. I have that too-little-sleep sweaty/shaky thing going on. Basically, this is not good.

Becky Hellyer - 14/48 writer

Video Blog Blog

Pictures of the Evening

here's a few pictures of the night.
there is a video coming but i'm waiting for it to upload onto youtube.

enjoy!

Name tags:

Beer and Suggestions:

A closer look at Suggestions...

A captivated audience:

Writer's get assignments:

Ancient Wisdom: Theme for Friday, January 4, 2008

Chosen from the Ice Cream Cone, written by Tim Moore (Mazen Award Winner July 2007).

As you read this, 7 playwrights are furiously creating a play, one of which I will have to direct in 9 hours. Time for bed. Ancient Wisdom... Thank God I'm not writing...

PS Congrats to Mark Boecker, Winner of the January 2008 Mazen Award for exemplary dedication to 14/48.

the outside looking in

Don't get me wrong - I know I'm an important part of this festival. I do stuff. BUT! It simply fucking feels weird to be at the Thursday kick-off meeting when you know you won't be around this weekend the way that everyone else will be AROUND. It's not the same. They're all gathering their wits & energy for the long haul of what almost always is a gloriously brutal weekend. Me? I'll show up in the evenings and do some important stuff that needs doing. BUT! It's not the same. The festival is its own time zone. Time warp, maybe. And it starts with Thursday night. You can feel folks digging in for the theatre siege. I know; I've done it.

Living in that alternate reality bubble for just about 54 hours is part I miss the most when I don't do the festival.

Have fun, my cupcakes! My important stuff exists to support your far more important stuff!

-Peggy G.

Final Thought?

So. Everyone gets into their groups. Writers in one corner, directors in another, actors, designers. Each category gets a last minute pep talk and clue in. 

NO MORE THAN 10 MINUTES.

DIRECT THE FUCKING PLAY.

LEARN YOUR FUCKING LINES.

And home. For sleep. For slumber. To get rested for the morrow.

Oh, wait. Except for the writers.

The writers go home, go to a late night coffee shop, go to a back alley somewhere to write a play.

A play? 

A play! A 10 MINUTE play. In 12 hours. be back at 9. 

GO!

continued...

okay -- artist deep thoughts 

hear we go...

feeling warm 

feeling fuzzy

WRITERS

6 pages 

6 pages = 10 min

6 pages, friends

give everyone something to do

and

and

if you want people to HEAR your words 

write fewer

DIRECTORS

8min tech = 10min show

14min WILL NOT tighten

No, friends, it will not

and last

"Just fucking direct the play"

applause. 

cheers.

happiness.

ACTORS

um. learn your lines.

learn them

serious.

learn your FUCKING lines

and

GO BIG or GO HOME

MAKE the decision and go for it

BAND

hey, guys, you're awesome,

but -- only rock the scene change

and

you

will 

be heard.

YOU. ARE. the hardest working team

rock on Band.

DESIGN TEAM

props. stuff. things. dreams. desires.

just get it done.

FIN

ah.

fuzzy.

warm inside.

But seriously.

Here is the warmest of the warm.

The Mazin...

A bottle of whiskey makes it EXTRA warm and fuzzy. inside. and. out.

AND NOW.

DRUM ROLL

THE THEME!!!

shake the papers 

shake 

shake (in an empty ice cream cone)

"ANCIENT WISDOM"

and now the writers draw for what number they have 1-7 and how many actors and what sex they are...

cheers. clapping.

shouts. more laughter. 

general mumbling and now...

talking about us

the bloggers.

go us.

I'm confused...but yay!

Ok. So there are lots of rules to this 14/48 thing. 

After getting your beer, getting your bearings and getting nervous, The Slide Show happens.

Wait, getting ahead. 

Let's walk in the door, shall we? Hey look, everyone's name on a name tag! Good, cause I don't remember...that one guy...I always see at Safeway...

Along with your very own name on your very own name tag is one of 2 words:

VIRGIN or VETERAN.

VIRGIN means you are new to 14/48, or at least new to the medium in which you have been assigned. It also means you must fill a beer of a fellow veteran participant, if asked. You MUST!

VETERAN means you've been there. Done that. Stick with me, kid. I'll show you the ropes. 

Oh. And get me a beer.

oh, It's starting. 7:41 pm.

Mr. Shawn Belyea (sp) takes the stage to explain what everyone is doing here. Why 14/48?

SLIDE SHOW.

Why: Invitational on purpose. Based on work you've been doing, not in competition with others. An environment to bring artists together and enjoy each other and have the best time possible. And drink beer.

Introductions. Who's Who and What's What. There's talk of producers and steering committee then -

VIRGINS TO THE STAGE. State your name and purpose here. And get me a beer.

Everyone gets introduced. (Oh that's the guy from Safeway!)

7:59, more slide show.

So we learn in this much needed slide show that plays must not be written more THAN 10 MINUTES long. 

Stick to the schedule of the day, posted everywhere.

You get food! Free! So eat, because you're gonna wear yourself out. And drink water. Lots.

NO MORE THAN 10 MINUTES!!

Drink, but don't drink a lot Friday, because you gotsta do it all again on Saturday.

NO MORE THAN 10 MINUTES!!!

Move your car, you're gonna get a ticket. 

Questions?

Meet + Greet + Keg = Delicious

And it is Thursday.

People trickle in hugs exchanged, kisses on cheeks, handshakes. And. Also.

The awkward.  The unavoidable.

The eye contact.  The brief recognition.  Or. Is it...

Do I... ?  Isn't that... ?  I think I know you ...? Don't we know each other...

Holding eye contact.  A moment too long.  Semi-smile.  And a little laugh.

Ah. Day One.

It's Here! Stay tuned for the drawing of the theme

Complete this sentence: Theater would be so much more interesting IF there were 7 ten-minute plays about _____.


In one hour, 50 of Seattle's most daring and son-to-be sleep deprived artists will complete that sentence and one sentence will be chosen at random from the ice cream cone for tomorrow evening's theme for 7 World Premieres.

What would you write?

What up, kids?

Hello! Erin here. Happy to be blogging about events and the goings on of 14/48, The World's Quickest Theater Festival! This journal will hopefully provide insight to those folks out there asking "But what is 14/48? What goes on over there?"

I will officially start tomorrow, January 3rd, with the Meet 'n Greet at CHAC, or The Capitol Hill Arts Center. The meeting will be attended by pretty much everyone involved in the 14/48 process, from actors to writers to the band to volunteer staff to the mamas and papas who created the weekend festival itself. Everyone gets the chance to meet and greet (hence, the Meet 'n Greet), sip off the complimentary keg and get amped up for the long days ahead.

No more on the Meet 'n Greet today, or I'll run out of things to say tomorrow...

I will be joined for the majority of this blogging time by the lovely Annette Auger, so we will be able to be bloggy twins and take pictures and annoy people twice as much.

Until Tomorrow...
Erin Stewart