During the winter of 2003......

Rosie and Lou were taking an intense acting class downtown.  An alumnus of the class was directing a show at the Union Square Theatre. The play, Our Lady of 121st Street, written by Stephen Adly Guirgis, was a transfer to off-Broadway from an impassioned theatre company called Labyrinth. The director was a guy named Phil Hoffman. RosieLou got free tickets through an audience filler program and, on a cold Saturday that was to become memorable, they headed downtown for some live theater inspiration. When the lights dimmed and the show began, a fierce magic swept the stage, and the audience experienced groundbreaking theatre born of a company’s uninhibited commitment to their work.  Finding that kind of acting is rare, even on the NYC professional stage.  RosieLou found this bold and daring work comparable to the electric performances they experienced in the suburbs of Chicago by a group called Steppenwolf.

A memorable moment from that day’s performance still chills them to this day. In an early scene, a character played by Liza Colon-Zayas was arguing with a girl and at a given moment she stormed across the stage and slapped the other actress. The force of that blow was felt all the way to the back row where RosieLou were seated.  Five hundred people GASPED while watching a group of committed actors play, and RosieLou knew that type of acting was what they dreamed live theatre could be. After the show, there was a talk-back with the cast, writer and director and RosieLou were front and center. To get an artistic opportunity to dive into the world of these fearless masters was like icing on an already frosted cake. Audience members were soon raising hands and asking insightful questions about the story, characters and acting process. The writer and director talked in depth about working together on what was a labor of love. They spoke about what inspired them to work on such a personal piece and explained the value of an ensemble of players who worked together continuously to commit to the fullest was always going to be more interesting to experience, as opposed to a group of strangers coming together to play. And then she raised her hand to speak… a woman…beautiful with cascading red hair whose shadow-embraced locks twisted and danced down her back.  All eyes were drawn to her as if we were in the presence of a star. The red haired beauty’s hand stayed up until Phil called on her. Her question was not about the play. Her question was not for the actors. Her question was not for the writer. Her question was.......

“How do I become part of your company?”

When Phil responded, “We’re full!” everyone laughed. He then looked at her and engaged. “Do you really want to know how to become a member of Labyrinth?” he asked. “Yes, yes, yes," was her breathless response.  “Do you REALLY want to know?" Phil again asked."Yes," she replied a bit uncertain.  Phil looked at her, took a moment, then said, "You show up and do what we do!” RosieLou sat thinking, “YES, that’s it. It's so simple, not at all complex. That's exactly what defines an ensemble. The red haired beauty sat down confused.  She asked of anyone and anyone who would listen, “What? What’s he saying?” She didn’t get it.  Ensemble acting is not an agent or a casting director; it’s not an audition  or even a class. Ensemble is showing up, picking up a broom, mopping a dusty stage. Ensemble is coming early and staying late.  Ensemble is picking up a paintbrush or helping build a set. Ensemble is ushering and selling refreshments. Come and get to know us at Open Hydrant. Stop by and say hello, It's that simple.

"Just show up and do what we do." Thanks, Phil.