Sidenote: I saw the first staging of Touch at Humana, and I really wish I could have seen yours. ATL chose to put it on their largest stage. I can see an argument for that in terms of, as you say, setting it in a huge lonely void, but for me it didn’t generate a sense of void so much as a sense of separation from this extremely intimate, vulnerable story. Based on watching Dan in the trailer, and based on my desire for that intimacy, I’d bet I would have enjoyed your production more.

Anyway, yeah, the legal issues of packaging projects are definitely a big hurdle even (especially?) for small, young companies. As you say, creating your own stuff from scratch certainly does give you a lot of power in that regard. At the obvious expense of effort, and at the potential (though less obvious) expense of more risk.

This is a great example of what frustrates me hugely about the current approach to intellectual property. The restrictions are in place to protect value and the power of a creative worker to make a living from their hard work. I get that and appreciate it. But what value exactly is being protected, and what is the opportunity cost? I think the definition of that “protected value” is tragically fuzzy, whereas the opportunity cost is much easier to define: “here are the things intellectual property restrictions prevent me from doing in my attempt to support your intellectual property financially by getting BUTTS IN THE SEATS.” All I want to do is get more bread on the table for everyone, not steal from the mouths of other hardworking artists.

The tricky thing is that if New Leaf is doing its job, all our shows are a little different from the last one because we’re a process-based theatre. The process leads the strategic decision making. Our shtick is re-imagining what is possible in weird historical buildings like this and stretching our artistic reach with each project. Touch was a heart-smashing tragedy set in the infinite void of outer space. Thursday is a Chestertonian Theme Park Ride.

There are problems – legal problems – with packaging projects like Six Years, the Dining Room or Touch (Humana Festival play, we’re now good friends with the playwright but the rights are tied with Dramatists). Which means you, Cashworth as web patron, don’t get to see that significant side of New Leaf. But we want to show that side as well. Chesterton is public domain, and Bilal, being our friend, is able to personally negotiate the complex intellectual property minefield that is involved in doing something like this. But this would be valuable with nearly any show, done properly, wouldn’t it? Backstage tours don’t have to be invasive and awkward and god help us unsafe. They can be revealing without being spoilers or turnoffs.

I wonder what kind of intellectual property structure would support collective artistry like this – support the playwright, support the performers, support the producing companies. And the easiest answer on the table may be: be a company that can write it all from scratch. Daunting, but promising.

To answer your badassery question: An over-the-top comic one. I got to use KMFDM in 2 shows this month. Legitimately. Me = Happy Boy.

Seriously, though, speaking as someone who knows you almost entirely from your online presence, I can confirm that my mental “map” of New Leaf and this particular show has evolved considerably just from this one exercise. Things that were affected:

- who are the people involved?
- what is their style and personality?
- um, what the hell kind of parade of badassery goes with that music, and can I please see it?
- etc

I mean, obviously only the tickets will do the final talking, but my personal reaction is that this kind of stuff absolutely lures me closer to New Leaf and a desire to experience what you’re making. I’m looking forward to how you increase your surface area on future shows.

God, man, you’re getting me excited about this. Watching people experiment with the forms of packaging and exposure? Equally importantly, watching a young company that has almost complete freedom to try anything their creativity might suggest? Color me totally stoked.

I’m so freaking jealous of you guys and gals. You actually have an experimental laboratory to try these ideas. I’ve got a laboratory for software ideas, but not for theater company ideas. I’m jealous.