Theatre Director Quotes

The Director's Role: You are the obstetrician. You are not the parent of this child we call the play. You are present at its birth for clinical reasons, like a doctor or midwife. Your job most of the time is simply to do no harm. When something does go wrong, however, your awareness that something is awry--and your clinical intervention to correct it--can determine whether the child will thrive or suffer, live or die.

Most of the truly remarkable experiences I've had in theatre have filled me with uncertainty and disorientation

It’s shameful that today’s mouthy political expositors aren’t better versed in Orwell. Can you imagine a theatre director who hasn’t studied Shakespeare?

The era of manufacturing consent has given way to the era of manufacturing news. Soon media newsrooms will drop the pretence, and start hiring theatre directors instead of journalists.

People won’t see you as just another woman any more, but as a white woman who hangs with brownies, and you’ll lose a bit of your privilege, you should still check it, though, have you heard the expression, check your privilege, babe? Courtney replied that seeing as Yazz is the daughter of a professor and a very well-known theatre director, she’s hardly underprivileged herself, whereas she, Courtney, comes from a really poor community where it’s normal to be working in a factory at sixteen and have your first child as a single mother at seventeen, and that her father’s farm is effectively owned by the bank Yes but I’m black, Courts, which makes me more oppressed than anyone who isn’t, except Waris who is the most oppressed of all of them (although don’t tell her that) In five categories, black, Muslim, female, poor, hijab bed She’s the only one Yazz can’t tell to check her privilege Courtney replied that Roxane Gay warned against the idea of playing ‘privilege Olympics’ and wrote in Bad Feminist that privilege is relative and contextual, and I agree, Yazz, I mean, where does it all end? Is Obama less privileged than a white hillbilly growing up in a trailer park with a junkie single mother and a jailbird father? Is a severely disabled person more privileged than a Syrian asylum-seeker who’s been tortured? Roxane argues that we have to find a new discourse for discussing inequality Yazz doesn’t know what to say, when did Court read Roxane Gay - who’s amaaaazing? Was this a student outwitting the master moment? #whitegirltrumpsblackgirl

Kenji Mizoguchi is to the cinema what Bach is to music, Cervantes is to literature, Shakespeare is to theatre, Titian is to painting: the very greatest.

You become a director by calling yourself a director and you then persuade other people that this is true.

Hans Christian Andersen: We co-write them. I just don't do any of the writing. I change the bits I don't like and then erase all the rest from history. I'm more like a German theatre director. Or, y'know, a German generally.

The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.

Literary figures have no pre-history. It is said that a theatre director who was staging one of Harold Pinter's plays asked the playwright for some hints as to what his characters were up to before they came on stage. Pinter's reply was ‘Mind your own fucking business.

Every creative act involves a leap into the void. The leap has to occur at the right moment and yet the time for the leap is never prescribed. In the midst of a leap, there are no guarantees. To leap can often cause acute embarrassment. Embarrassment is a partner in the creative act—a key collaborator.

Life is like theatre. Each new day is a new scene with new acts and roles to portray. The sets always change. You come across new dialogue and lines to exchange between others. Scripts are improvised. But the beauty in it is that everyday, you are constantly learning who you are and how others around you are. Express yourself and empathize. It's okay to wear a mask every now and then but remember that you'll eventually meet fellow thespians who will find a way to break down your walls and barriers. Remember another thing: this isn't a dress rehearsal. And God is your ultimate Director. Let Him write your script and call the cuts. Allow Him to provide you with the applause that truly matters. Let Him open up your heart to real self discovery. He is the best playwright that never dies. He lives. And so do you when you learn to let go and step on the stage of life.

Nature is a cinema. God, the cinematographer.

The life of a play begins and ends in the moment of performance. This is where author, actors and directors express all they have to say. If the event has a future, this can only lie in the memories of those who were present and who retained a trace in their hearts. This is the only place for our Dream. No form nor interpretation is for ever. A form has to become fixed for a short time, then it has to go. As the world changes, there will and must be new and totally unpredictable Dreams.

Anya's final sweep of the bow was as if she had delivered the coup de grâce in a sword duel. The last note reverberated around the empty theatre until only the white noise from the speakers remained, lapping back in like a gentle wave. It was probably the most beautiful rendition I had heard her perform, but there was no applause; there was only silence. I flicked my eyes across to Malcolm, the theatre director, but his gaze was transfixed on a particular seat. Even Anya, rigid and breathless with the violin at her side, was staring at that same seat.

Is the island magic? Felix asks himself. The island is many things, but among them is something he hasn’t mentioned: the island is a theatre. Prospero is a director. He’s putting on a play, within which there’s another play. If his magic holds and his play is successful, he’ll get his heart’s desire. But if he fails…

Pan, The House of Bernarda Alba, Transform Caithness: Hunter, Be Near Me, Nobody Will Ever Forgive Us, The Bacchae (also Lincoln Center), Elizabeth Gordon Quinn, Home: Glasgow, and Black Watch, which toured internationally and for which he won Olivier and Critics’ Circle awards. He was Associate Director of the Traverse Theatre from 1996 to 2001, Paines Plough from 2001 to 2005, the National Theatre of Scotland from 2005 to 2012, and was a Radcliffe Fellow at Harvard University in the 2010–2011 academic year. JACK THORNE writes for theater, film, television, and radio. His theater credits include Hope and Let the Right One In, both directed by John Tiffany, Junkyard, a Headlong, Rose Theatre Kingston, Bristol Old Vic & Theatr Clwyd co-production, The Solid Life of Sugar Water for the Graeae Theatre Company and the National Theatre,

The 8 Play Personalities The Collector loves to gather and organise, enjoying activities like searching for rare plants, or rummaging around in archives or garage sales. The Competitor enjoys games and sports, and takes pleasure in trying their best and winning. The Explorer likes to wander, discovering new places and things they’ve never seen, through hiking, road tripping and other adventures. The Creator finds joy in making things, and can spend hours every day drawing, painting, making music, gardening and more. The Storyteller has an active imagination and uses their imagination to entertain others. They’re drawn to activities like writing, dance, theatre and role-playing games. The Joker endeavours to make people laugh, and may play by performing stand-up, doing improv, or just pulling a lot of pranks to make you smile. The Director likes to plan, organise and lead others, and can fit into many different roles and activities, from directing stage performances to running a company, to working in political or social advocacy. The Kinesthete finds play in physical activities like acrobatics, gymnastics and free running.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

by the second quarter of the twentieth century one in nine German doctors was a Jew, and one in six lawyers. There were also above-average numbers of Jews working as newspaper editors, journalists, theatre directors and academics. Indeed, they were under-represented in only one of Germany’s elite occupational groups, and that was the officer corps of the army. Anti-Semitism, then, was sometimes nothing more than the envy of under-achievers.

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

My high school musical did not offer a shirtless Zac Efron but it did provide me with many lessons. I learned that I loved being in a theatre, attending rehearsals, and building sets. I loved listening to the director and groaning about rehearsing choreography

What miffed Brennan about working with Ford was the director’s lack of respect for fellow professionals. Unlike Howard Hawks, Ford was not much of a collaborator. He never gave Brennan the feeling that they were in a project together. Hawks, on the other hand, treated Brennan as a crucial part of a film’s success. In Red River (September 17, 1948), Brennan gets nearly as much screen time as John Wayne and co-star Montgomery Clift, in the epic story of a cattle drive from Texas to Missouri that is diverted to Abilene during the lawless days following the Civil War. In one version of the film, Brennan actually narrates the story, making it his own by trading on what was now a character that transcended individual films and seemed, in effect, the voice of the West. In another less powerful version of the film, narration is delivered through the rather clumsy device of turning pages in a book. For the Lux Radio Theatre one-hour adaptation (March 7, 1949), not only was Brennan restored as narrator, he also becomes a dominant voice mediating between Dunson and the other characters.

I know that,” he said. “But what are you doing? You’re giving me an actor playing a drunk. I’m paying you to be a drunk. You’re trying to talk slurred and walk crooked. A real drunk is trying to speak clearly and walk straight.” My wise and wily repertory theatre director had summed up movie acting in one line, and I remember it and use it to this day. My

There’s the CAA agent who didn’t want to sign me when I was a theatre director and now calls me every week because he wants me to cast his clients in my movies. He can kiss my Tony-nominated ass.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

Children and adults alike need to experience how rewarding it is to work at the edge of their abilities. Resilience is the product of agency: knowing that what you do can make a difference. Many of us remember what playing team sports, singing in the school choir, or playing in the marching band meant to us, especially if we had coaches or directors who believed in us, pushed us to excel, and taught us we could be better than we thought was possible. The children we reach need this experience. Athletics, playing music, dancing, and theatrical performances all promote agency and community.

It's commonplace to describe theater—the activity underpinning the very existence of this book—as a collaborative artform in which the author's words are shaped, embodied and adapted by actors, directors, producers, designers, musicians and above all, audiences.

Sara Wallace is the Executive Producer at SMUGGLER, a production firm that specializes in movies, commercials, music videos, and theatre. With headquarters in London, New York, and Los Angeles, SMUGGLER is a global production firm. SMUGGLER has an unrivaled pool of best-in-class, award-winning directors and production expertise.

But it wasn’t just Twain and Whitman whispering heresies into my ear, a whole ink spill of geniuses had staked their reputations on the argument that “Will Shake-speare” was one of the hyphenated pen names popular among Elizabethan satirists who didn’t fancy being disemboweled in public. The list of gadflies who questioned the official narrative of Shakespeare included Chaplin, Coleridge, Emerson, Gielgud, Hardy, Holmes, Jacobi, James, Joyce, Welles, and of late even Mark Rylance, the first artistic director of Shakespeare’s Globe Theatre. Collectively they believed the Stratford businessman to be a front and a fraud. Whatever the truth, it’s fair to say the authorship debate had long been divided into two camps, artists vs. academics.

But you know, you worry way too much and allow things to take up far too much real estate in your brain. My advice to you, my sweetheart, would be to get out of your own head and stop overthinking everything so much. And this is not just coming from the man who loves you. I'm speaking as a musician, as your music director, and someone who has taken more trips around the sun than you have. Take it from me, there will always be something to beat yourself up over, and as a performer, you'll come to realize that you'll always have detractors: people who will either look down their noses at you and criticize you because they think they're better than you, or people who will be jealous of you because they know you're better than them. You've already encountered that type with Simone, and I'm sure you've come across it at Carnegie Mellon or in your various regional theatre experience at some point as well. So you might as well just live your life, do the best you can, and stop worrying so much or it will eat you alive. Worrying is like paying interest on a loan you haven't taken out yet.” That's How You Know by Julie Simmons (Chapter 12)