RM: Yeah, the phrase we came up with during rehearsal was "dialogue approaching emotion." [We took] emotions that everyone could relate to and staged them in a way that would be fresh yet identifiable.

THC: Since the completion of the script, how do you feel the project has evolved? What role have your actors played in this evolution?

RM: The first thing we did [with the actors] was have them sit with the script. They brought us up to speed on what we had written, which was a really interesting process.

KA: Yeah, I think it's been very interesting for Christian [Roulleau] and I to see how what we have done affects Sara and Ryan. It's quite wonderful at the end of an evening to have them come and say to us, "That was well done," because it's their work. And yet, we've brought a different dimension to it. It's nice to feel that we've added to it....and it's been beautiful to take it and bring it to life in a way that reflects what they wanted to say.

THC: What have been the most significant challenges to the production and how have you handled them?

RM: For me, not holding onto the script too closely, which we've done remarkably well.

SN: It's tough when you have a specific image in mind and that [image] becomes a completely opposite emotion. But sometimes it works much better than what we had initially intended. You have to really distance yourself from your own writing in order to let that happen--to accept that it's not going to be exactly what you thought, that it's going to be better in the end anyway.

RM: And also, bridging the line between arrogance and confidence. Ultimately, this play is me and Sara--we're putting ourselves very much on the line as well. Having a space like the Kronauer, you really can't hide anything...We have to have confidence that what we're doing is good work and will be well-received.

THC: Finally, of what importance is student-written material to the Harvard theatre community? What unique opportunities does it present both for actors and for audience?

RM: The impression I've gotten from people who've graduated...is that [student-written theatre] used to be a lot more abundant. I think we've seen a little more this semester, but I don't think that it quite plays the role it could. Nor is it always received in the medium it should be produced in. A lot of shows end up in the Loeb Experimental Theatre--but maybe they should end up in smaller places, or maybe there should be workshops. Last year the [Harvard-Radcliffe Dramatic Club] Board staged student readings which was a great start...

SN: It's a shame that more people don't write. I'm not sure whether people are being discouraged or whether there just aren't as many writers as there once were. But people have the means to do it--it's a very unique opportunity, and I encourage people to take advantage of it.

RM: Especially in a space like the Kronauer, which is terribly under-used, but is probably my second-favorite space on campus.