A lesson to be learned: Gone, but not forgotten

By now, it's likely word has spread far and wide that Michigan's most honored non-profit professional theater has closed its doors - for good this time.

Yes, despite the shedding of much blood, sweat and tears these past 17 months, Ann Arbor's Performance Network Theatre metaphorically lowered its curtain for the last time yesterday afternoon following a bittersweet performance of "Dickens: An A Capella Carol," never to be raised again. And no, a third act - yet another chance at revival - is not likely waiting in the wings.

And that's a damn shame. A closure such as this is a major loss - not just to the community of artists who depended on the Network for work, but also to the broader community who attended their shows, sold them products used to create their art and manage their business, and to the area parking lots, restaurants and shops that were visited by the Network's patrons. The impact is significant and will be felt for weeks, months and years to come.

Reactions to the closing have been mostly ones of sadness and regret. Facebook has been filled with many recollections from appreciative patrons and artists who worked there over its 34-year history, recalling highlights of favorite shows, careers that were launched there, and relationships that were forged while creating memorable art. And it was those tight bonds that drew a sold-out crowd of past patrons and artists to the final performance who wanted to be there to console one another and celebrate the past.

(It must also be noted that unlike the Network's shocking closure in 2014, there's been little snark, vitriol and glee expressed in public forums this time around, which are often a by-product of controversial and hotly debated events such as this. If there's a high point with this closure, I think that's it!)

With a strong and loyal fan base, a quality product, and significant recognition for its accomplishments, Performance Network was envied by many of its peers for much of its existence. It was also the place where artists both new and experienced wanted to work, as the environment there fostered creativity far more often than not - and having a credit from the Network on your resume seemed to have cache in the outside world.

But that's over now; all that's left are the memories. Performance Network has now been added to the ever-increasing list of once-important theaters that have been swept into the dustbin of history. The Attic Theatre? Gone! Actor's Alliance Theatre Company? Gone! Actors' Renaissance? Gone. Fourth Street Playhouse? Gone. BoarsHead Theater? Likewise. The list goes on and on.

So what went wrong - and what can we learn from it?

To lose a major institution such as this after more than three decades of quality programming is truly sad - especially when much of the cause was seemingly self inflicted. (For complete details regarding the closure, read Jenn McKee's story for MLive.)

I don't pretend to know all of the details, of course; I never worked there. But numerous off-the-record conversations I've had and media interviews make it pretty clear that the death march of Performance Network Theatre began long before the most recent management team took control, and was primarily the result of two things: (a) a board of directors that was asleep at the wheel and failed in its responsibilities to keep the Network financially healthy and stable; and (b) the initially believed debt of $250,000 (which grew to be nearly double that thanks in part to the May 2014 closure) leads one to believe one or more administrators over the years were one or more of the following: incompetent, malfeasant or misguided. (It's safe to assume that one neither accumulates nor hides such a mountain of debt, fails to file required annual reports, and doesn't bring such matters to the immediate attention of the board by accident. But I could be wrong.) *

The devil is in the details, of course, and proving one way or the other who to blame is neither my intent nor desire. Rather, it's to use what happened at Performance Network as an important lesson to both those currently running a professional theater company and those planning to open one of their own sometime in the future. To forget the past dooms one to repeat it, and there's much to learn from the Network's closure.

So - as one former non-profit theater executive to another - here's what you may want to consider as you dive into the wonderful world of theater management:

• When putting together a board of directors - especially if it's your initial board - make sure you include a CPA and an attorney familiar with corporate or business law (not a divorce attorney, a family attorney, an estate lawyer, a personal injury lawyer - you get the point; you want a specialist familiar with the minutia of running a business). These two roles are very important in keeping your company out of legal and financial trouble - especially since they'll have a vested interest in it!
• When choosing board members, make sure they are fully aware that their primary role and responsibility is financial - that they are required to raise the funds required to keep the organization running (or donate it themselves; it's their choice).
• While it's tempting to do so, a board made up of your friends will likely cause you more problems and troubles than they're worth. Your goal is to have a diverse group of people with a diversity of skills and assets - and you want at least one or two (or more) who aren't afraid to ask you the tough questions when they are needed.
• And it should be made quite clear that the board is not responsible for the day-to-day operations of the organization. Instead, they are the goal setters, and they hire the management team to implement those goals. Then, they hold that team's feet to the fire to make sure those goals are met! (In other words, they shouldn't be picking your shows or poking their noses into the artistic areas of the business.)
• For the day-to-day administrators, one law supersedes all others: Federal, state and local taxes are to be paid first; everything and everyone else comes next. Why? Because Uncle Sam and his cohorts expect and demand to be paid first, no matter how big or small your organization may be - and they have the power to shut you down and fine the hell out of you should the mood strike them! Trust me: The doom clock begins ticking with your first missed payment!
• Also not to be missed are the various federal and state filings that are required of your organization. Remember: Theater may be fun, but running a business is complicated and full of necessary evils. Forget one of these, and you may find your organization unintentionally dissolved!
• Hire the right people for the right jobs. People who don't like working with numbers - or don't like spreadsheets - shouldn't be in charge of the books. (I've often said - based on what I've observed over the past 40+ years in the business - that artists should never be given the keys to the checkbook. In such cases, when it comes to deciding which to pay when money is tight - the IRS or Home Depot for the paintbrush needed to complete the set - Home Depot almost always wins. And therein begins the slippery slope to extinction!)
• Always use standard accounting practices for keeping your books; everything you do should be above board and audit proof (meaning that every expense should be track-able and explainable so that audits can be passed with little fuss).
• Should your company find itself in trouble, don't cover it up, lie about it, or hide (and hope it goes away). Instead, communicate with your various constituencies - and communicate often and in as much detail as you possibly (and legally) can. It's best to stay in front of the story instead of reacting to the narrative someone else puts out first!
• Finally: Issue and analyze financial reports monthly. Yes, that's a royal pain, but it's well worth the effort - especially when money is tight. This allows you to quickly identify and track potential problems, which can then be discussed with the board president so that a joint plan can be put into place to ensure the long-term survival of the organization. (It pays to have a good working relationship with the board president!)

A toast to the artists who made the Network great

No matter who or what is responsible for the Network's downfall, one thought should always be first and foremost in any future discussion: The level of work produced by its many artists was of the highest quality. Sure, the theater produced a handful of shows throughout its 34 years that everyone would rather forget - which happens at every theater, of course - but the overall success rate cannot be disputed. Nor can the long list of awards that were bestowed upon it.

And so I want to acknowledge the hard work put forth by artistic directors Johanna Broughton-Walker, Carla Milarch and David Wolber, whose passions ignited the flame that burned so brightly on stage for much of the theater's existence. The many memories they shepherded will long be remembered.

Not many people would gladly walk into a situation as dire as it was at Performance Network in July 2014, but that's what John Manfredi and Suzi Regan did. Little did they know, however, the situation would be far worse than anyone realized at the time. Yet work hard they did - their recent "Who's Afraid of Virginia Woolf" was a masterpiece - but the listing ship was too deep under water to be rescued. Kudos to them (and the board) for knowing when to pull the plug for the final time.

And I salute the hundreds of actors, directors, designers, technicians and others who pulled together to create magic night after night, season after season. Your hard work and dedication is duly noted, and the results of your fine efforts are now a major part of our industry's collective memory and heritage.

In short, then, everyone involved in the creation and execution of work that appeared on the Performance Network stage should be proud of their accomplishments. It was a job well done!

So what happens now?

Will John and Suzi move on to other projects and endeavors now that Performance Network is reduced to nothing more than a mark on their resumes? Of course they will; their resumes speak for themselves.

Will area actors, designers, technicians and directors be able to find work elsewhere? Yes, but the number of opportunities long term is now reduced. And many who committed themselves to projects now canceled may have limited or no opportunities till next summer or fall.

Will someone else - another producer, troupe or young thespian with an itch to create his or her own work - appear and fill the void left by the Network's closure? Maybe; new companies pop up all the time.

And if that happens, will the Ann Arbor community - patrons, donors and funders alike - be willing to step up and support such a venture when the city already is home to Theatre Nova, Pointless Brewery & Theatre, Kickshaw Theatre, UMS, the University of Michigan's graduate and undergraduate theater programs, Ann Arbor Civic Theatre, Arbor Opera Company, The Penny Seats Theatre Company and Wild Swan Theater - and with The Purple Rose Theatre, The Encore Musical Theatre and The Dio - Dining & Entertainment all within spitting distance? It's doubtful, I think. But only time will tell.

If nothing else, change is constant. And that's what keeps life interesting.

(* paragraph updated for clarification purposes Dec. 22 at 6:56 a.m.)

* * * * * * * * * *

The Wilde Awards

Since its inception in 2002, the theater with the most Wilde Awards is Performance Network. Here is a complete list of winners through 2015:

	Year	Category	Winner	Production
1	2002	Best Local Professional Production – COMEDY	Carla Milarch, director	Special Relativity
2	2002	Best Performer in a Local Professional Production – DRAMA	Michelle Murphy	Stop Kiss
3	2003	Favorite Local Professional Production – MUSICAL / MUSICAL REVUE	Malcolm Tulip, director	Man of La Mancha
4	2003	Favorite Performer in a Local Professional Production – MUSICAL	Robert Grossman	Man of La Mancha
5	2004	Favorite Local Professional Production with LGBT Themes or Characters	James Posante, director	The Home Team
6	2004	Favorite Male Performer in a Local Professional Production – COMEDY	David Wolber	The Home Team
7	2004	Favorite Performer in a Local Professional Production – MUSICAL	Rochelle Rosenthal	The Threepenny Opera
8	2005	Best Female Performer in a Local Professional Production – COMEDY	Gillian Eaton	Humble Boy
9	2005	Best Supporting Female Performer in a Local Professional Production – COMEDY	Laurel Hufano	Boston Marriage
10	2006	Best Lead Actor – DRAMA	Ray Schultz	Take Me Out
11	2006	Best Lead Actress – DRAMA	Carmen Decker	Moonglow
12	2006	Best Supporting Actor – DRAMA	Darrell Glasgow	Take Me Out
13	2006	Favorite Local Professional Production – COMEDY	Tony Caselli, director	Jacob Marley’s Christmas Carol
14	2006	Favorite Local Professional Production with LGBT Themes or Characters	Jim Posante & Tony Caselli, directors	Take Me Out
15	2007	Best Actor – DRAMA	Malcolm Tulip	Amadeus
16	2007	Best Local Professional DRAMA	Malcolm Tulip, director	Amadeus
17	2007	Best Local Professional Production with LGBT Themes or Characters	Gillian Eaton, director	I Am My Own Wife
18	2008	Best Actor – DRAMA	Jon Bennett	Doubt
19	2008	Best Actress – DRAMA	Jan Radcliff	Doubt
20	2008	Best Actress – ORIGINAL / IMPROV / LGBT THEMES	Carla Milarch	Dirty Blonde
21	2008	Best Local Professional DRAMA	John Seibert, director	Doubt
22	2008	Best Local Professional Production with LGBT Themes or Characters	Jim Posante, director	Dirty Blonde
23	2008	Best Technical Design - Set	Monika Essen	The Baker’s Wife
24	2009	Best Actress – Drama	Inga Wilson	A Feminine Ending
25	2009	Best Improv, Cabaret or Original Production	Malcolm Tulip, director	The Day Everything Went Wrong
26	2009	Best Performer – Play with LGBT Themes or Characters	Roxanne Wellington	The Little Dog Laughed
27	2009	Best Production with LGBT Themes or Characters	Ray Schultz	The Little Dog Laughed
28	2010	Best Actor - Comedy	Jacob Hodgson	It Came From Mars
29	2010	Best Actress - Comedy	Suzi Regan	The Blonde, the Brunette and the Vengeful Redhead
30	2010	Best Design - Lights	Andrew Hungerford	K2
31	2010	Best Design - Props	Charles Sutherland	It Came From Mars
32	2010	Best Drama	Tim Edward Rhoze, director	K2
33	2010	Best Musical	Carla Milarch, director	Little Shop of Horrors
34	2010	Best Production of a New Script	Tony Caselli, director	It Came From Mars
35	2010	Best Support - Musical	Aaron T. Moore	Little Shop of Horrors
36	2010	Best Teamwork	James Bowen & John Michael Manfredi	K2
37	2011	Best Comedy	John Seibert, director	Circle Mirror Transformation
38	2011	Best New Script	Kim Carney	The War Since Eve
39	2011	Best Performance, Actor - Musical	Phil Powers	The Drowsy Chaperone
40	2012	Best Design - Sets	Monika Essen	Red
41	2012	Best New Script	Joseph Zettelmaier	Dead Man's Shoes
42	2013	Best Music Direction	R. MacKenzie Lewis	A Little Night Music
43	2013	Best Musical	Phil Simmons, director	A Little Night Music
44	2013	Best Performance, Actor - Comedy	John Seibert	In the Next Room or The Vibrator Play
45	2013	Best Performance, Actor – Musical	John Seibert	A Little Night Music
46	2013	Best Performance, Actress – Musical	Naz Edwards	A Little Night Music
47	2014	Best Performance, Actor - Drama	John Manfredi	An Iliad
48	2014	Best Performance, Actress - Comedy	Maggie Meyer	Venus in Fur

Convincing? Of COURSE they were!

"They're so convincing," said the woman sitting somewhere behind me after the performance this past Friday night of "Kalamazoo" at Tipping Point Theatre in Northville.

Apparently, she hadn't read the program.

You see, "Kalamazoo" is the story of a widow and a widower, both in their 70s, who sign up for an online matchmaking service at the behest of their kids. She's Catholic and a bit old fashioned, he's Jewish and open to a shiksha, and each is intrigued by the other's profile. And so they arrange to meet. What follows, then, is a series of  scenes in which their budding relationship is explored - the ups, the downs, the fears, and the joys.

Which brings me back to the beginning: Yes, the woman behind me was indeed correct. However, there's a really good reason why the actors were so convincing: Arthur J. Beer and Mary F. Bremer-Beer are married in real life, and - to the best of my knowledge - are still quite in love with one another after quite a number of years together. (Plus, they're damn fine actors - so even if they hated each others' guts, they'd still pull it off quite magnificently!)

But no matter, Art and Mary's performances seemed to speak volumes to the almost-sold-out crowd that surrounded me, the vast majority of whom looked to be at or near the age of the characters. They laughed at all the right places, and knowingly nodded to one another when situations seemed familiar. In fact, it felt as if many in the audience weren't watching a play, but were instead revisiting bits and pieces of their own past - which means they identified with the characters and with the emotional roller coaster on which they were riding.

And that begs the question: Was it the script or the performances that drew the audience into the lives of Irving and Peg?

A bit of both, of course; without the words by Michelle Kholos Brooks and Kelly Younger, there'd be no reason for Art and Mary to be on stage in front of the audience.

But words can be interpreted a number of ways - some good, some not so good. Under the careful eye of director Christopher Bremer, however, Art and Mary found all of the nuances hinted at in the text and breathed life into the words - so much so, that instead of two actors, the audience observed two "people of a certain age" taking baby steps together into an uncertain future. And while each of us experiences uncertainty, loss and a desire for companionship as we walk through life, the older we get, the scarier that journey can become. That, I suspect, is part of what rang so true to many in the audience.

Plus, the fact that is was done so well - so truthfully - by these two longtime beloved veterans of the stage means this: that what could have been an entertaining, but not-so-special production was transformed into a visceral experience that seemed to resonate on a deep level with many who were in attendance.

So yes, Art and Mary were convincing.

The bottom line: Tipping Point is batting two for two in what's shaping up to be a mighty fine ninth season!

(One last thing: In case you're wondering, Chris Bremer is Mary's son, and he serves as the executive director of The Jewish Ensemble Theatre Company in West Bloomfield where "Kalamazoo" is scheduled to return this coming May.)

"Kalamazoo" continues at Tipping Point Theatre through Dec. 20, with a special performance on New Year's Eve. CLICK HERE for times, dates and complete information.

Not Your Parents' 'Streetcar' (It's Better!)

You know an audience is fully engaged in the drama unfolding before them when nary a sound can be heard throughout the house - not a cough, not a sneeze, not a sniff, not a whisper, not the crinkle of a candy wrapper, not the rustling of a program, and not a body shifting on a seat. Nothing!

And that's pretty much how the entire third act of "A Streetcar Named Desire" played out at Ferndale's Ringwald Theatre this past Monday night - and for good reason: It's a damn fine show that brought tears to the eyes of at least two people I talked to following the performance.

The classic drama by Tennessee Williams is familiar to most theatergoers, as many actors want to tackle Williams' meaty characters, and theater companies are sometimes compelled to add such important works to their schedule. But be forewarned: Travis Reiff's production is unlike any you've likely seen before.

How so?

For starters, Reiff - who is no stranger to the show - lets us know right from the opening lines that his production will explore the deep and often ugly corners of his characters. These aren't actors playing make believe, but real people with real emotions we're observing, both in the happy moments and the dark. And he's not afraid to examine the brutal violence in the script - both the physical and the emotional - which often is underplayed by squeamish directors fearful of shocking or offending their patrons.

The result, then, is that the complexities of human nature are laid bare for all to see, and - just like in real life - the results are not always pretty. In other words, Reiff's production isn't afraid to get down and dirty with the rough stuff.

Also no stranger to the show is this cranky critic, who has seen "Streetcar" and/or reviewed it more times than I can possibly remember. And where productions either fail (horribly, I might add) or succeed is how effective the actors are at bringing to life two of the most significant characters in the pantheon of modern American drama: Blanche DuBois and Stanley Kowalski. If there's no sizzle between them - if animal magnetism isn't apparent from the get-go - then "Streetcar" is reduced to nothing but three hours of sheer boredom. Equally important is this: Stella - Blanche's sister and Stanley's wife, and the centerpiece (and hoped-for prize) of their battle - must also be carefully constructed, as a portrayal too strong or too weak will ruin Williams' story.

So casting is important; so, too, is the interpretation by director and actors alike. And here, Reiff's eye is spot on.

Michael Lopetrone, a sweet, good-looking and very personable young actor, has certainly stepped up his game in the role of Stanley. In many (if not most) productions of "Streetcar" you'll see, Stanley is played by a beefy or muscular actor, or someone who looks physically intimidating. Not so, in Reiff's production; instead, he shatters stereotypes. Lopetrone - while nicely built and trim - looks more like the cute guy next door who every mother wishes would marry her daughter, and that makes Stanley's flash-quick temper and violent outbursts even more powerful and unexpected as the story unfolds. Add Lopetrone's acting skills to the mix, and the result is a performance that's both scary (domestic violence can happen at the drop of a hat) and complex.

Also complex is Meredith Deighton's Stella. She's the pawn in the battle between Blanche and Stanley, and the tightrope she walks between the two is plainly visible. Watch her face throughout the show; it reveals everything you need to know about what Stella's thinking at any given moment.

And together? This is a married couple you can believe has the hots for one another - and whose sex life is the tie that binds them together despite their significant differences. (I've been told the two actors have "a history" together, and that likely contributes to the realism of their performances. Or if I'm wrong, maybe not.)

Ultimately, however, the show's success depends on Blanche - that is, how believable is the actress who plays this complicated (and delicious) character. This is a very difficult role to play - and play well - as there's a fine line between drama and melodrama that must not be crossed. Jamie Warrow - an actress known for numerous kick-ass roles over the years - understands that Blanche is a master manipulator, and so every gesture, every expression and every line she delivers is deliberately crafted to convey what Williams intended. Doubters will only have to endure the emotional third act to fully appreciate the work of this fine actress.

Also well crafted are many of the supporting characters. If I didn't know better, I'd assume Keith Kalinowski (Steve) is a good ol' Southern boy. As Mitch, Brandy Joe Plambeck's three years in the Hilberry graduate program continue to serve him (and theatergoers) well, as recent performances exhibit a sharpening of skills that had already been noteworthy. And Lauren Bickers tackles Eunice, a role that many might dismiss as simply one to help drive the plot forward, with a gusto that truly makes her a memorable character.

Even the technical aspects of the show are top notch, especially Alexander L. Carr's set design, which creatively flows across the space in a manner I've not seen there before. (But then again, I have missed a handful of shows over the years...) And lighting by the aforementioned Plambeck is complimentary to both the set and the plot.

The bottom line is this: In a season filled with "must-see" shows, "A Streetcar Named Desire" ranks among the best.

"Streetcar" runs through Dec. 7. CLICK HERE for complete times and date.

Playing catch-up: Two posts for the price of one!

With other long-delayed projects not related to theater or journalism now underway, I've gotten a bit behind in my blogging. So with a few minutes to spare, I guess it's time for a little catching up - on two recent shows I've seen!

I'll never look at my local Subway quite the same again...

Last weekend I was finally able to catch "American Hero," the debut production of the Detroit Public Theatre, and if the sold-out house is any indication, founders Courtney Burkett and Sarah Winkler have launched an endeavor that will certainly help increase the city's reputation as a destination-spot for arts and culture - especially along the busy Woodward Avenue strip that ties Midtown to Downtown. Housed in the Max M. and Marjorie S. Fisher Music Center, home of the Detroit Symphony Orchestra, parking is nearby and plentiful, with numerous dining and refreshment options throughout the area both before and after a performance.

In short, it's the perfect place to launch a new theater!

For its inaugural effort, the co-founders chose a rather unusual script - one that has no name recognition, as few people outside the industry have ever heard of it. While that might seem counter-intuitive, their decision is actually a smart move, as it signals their intention to be "fresh and fearless" in their choices - in other words, different from what one might expect from a company that's partnered with a world-renowned institution whose patrons are often unfairly stereotyped as old, white and rich. (The DSO audience on the night I was in the building was anything but, thanks to successful outreach efforts by the orchestra's excellent marketing team. It had one of the most diverse crowds I've seen at any cultural event in recent months.) And isn't it a standard belief that this type of crowd tends to prefer the tried-and-true rather than programs that push boundaries?

But I digress.

"America Hero," then, is the story of a Subway-like sandwich shop whose owner abandons it after its grand opening, leaving its three employees high and dry with no one to lead them. (Or pay them!) Bess Wohl's script, then, is a study of human nature - and in particular, when faced with lemons, do the three lost employees step up, take charge and make lemonade? Or are they squeezed dry by their predicament and fold along with the business?

That's for me to know and you to find out. (But you'd better hurry, as "American Hero" closes Nov. 22.)

What I will say, though, is this: After a long (but very smart) birthing process, Detroit Public Theatre should be proud of its first outing. What was once a rehearsal hall has been transformed into a gem of a black box theater, with perfect sight lines and great acoustics. (One complaint I heard multiple times throughout the performance, though, should be fixed by the next show on the schedule, I've been told: The stadium-style seating isn't raked enough; most people beyond the first level had problems seeing action that took place whenever the actors weren't standing. And with this show, that happened quite a lot!)

The stage for this production is well served by set designer Monika Essen - one of Detroit's crown jewels - whose work is so real that it could almost be moved directly to an available downtown storefront and used to serve hungry customers. And its complimented quite nicely by Neil Koivu's lights.

Burkett's direction kept the show moving, and each of her actors - Milan Malisic, Maggie Meyer, Lisa Michaels and Lynch R. Travis (in multiple roles) - created unique and engaging characters. And while I laughed - a lot - throughout the show, I had trouble hearing one of the actresses, who talked very softly at various times. And I suspect this might have been a slightly "off" night, as it appeared actors were arriving on stage a little behind schedule at times (one actor, for example, was still changing costumes when he entered following a scene change - and the lights had already come up), and there were a few times when the flow of the dialogue didn't seem to gel as it should.

All told, however, I'd give "American Hero" a very solid "B" - a notable grade for a first effort. And the rest of the season - three shows beginning in January with Eric Gutman's "From Broadway to Obscurity" and ending in May with the much-anticipated "Detroit '67" - promises to live up to the founders' goal of offering theatergoers a great variety of programming.

The Detroit Public Theatre has the potential to grow and mature into one of Detroit's leading arts organizations. And I can't wait to be along for the ride!

CLICK HERE for complete show information!

No fear here: Only masters at work

Although the show has been closed for a few weeks - I attended its final performance - I wanted to acknowledge the superb work of Sandra Birch and John Seibert in the best-I've-ever-seen production of "Who's Afraid of Virginia Woolf?" at Performance Network Theatre.

This is a script that's not for the easily intimidated, as author Edward Albee's play is a roller coaster ride of emotions for actors to travel - and one false step can bring down an entire production. But director Suzi Regan had two aces up her sleeve - namely the multiple award-winning chops of Birch and Seibert - and each proved why they sit among the upper echelon of Michigan-based talent.

At first I felt bad for the other two actors in the play - Nick Yocum and Victoria Walters Gilbert - who, initially, must have been intimidated by the two powerhouses. But they, too, were along for the ride, and guess what? Rise to the challenge they did!

Together, then, the four served audiences with one of the finest nights of theater I've experienced in a while. (Jennifer Maiseloff's fine set deserves accolades, as well!)

Whether or not the production will become a catalyst for audiences to return to the financially ailing Network in greater numbers than in recent times isn't yet known. But if quality matters, it should - and I'm keeping my fingers, toes and eyes crossed that the Network will be here for years to come!