Okay, here's a very rough and crude question. When did your GPS of your career sort of settle into the great classical direction? Because there you are seeing the farm show, there you are coming in seeing this Higley Piggley, your first, you know, the Macpaps and George Luscom and you know My first show is a live. I mean, when I was in theater school, Robin Phillips offered me a job here at the Stratford Festival but I wanted to graduate. So I declined. I didn't know at that time that you could actually even still graduate because I think Martha Henry did not finish her last year. She came to Stratford, right? I didn't know you could do that. I didn't even ask. I just said, no. I want to graduate from something. So I didn't come. And it was a full company membership. It was not an apprenticeship. I think we could come down and see in the show. I think we did ladies and retirements or something at school. You know, something, I don't know. And instead... There's a creaky ladies and retirements that creaky were the men. Oh yes, creaky old melodrama. Yes. Hatchand or director, Daniel Blanc was in. And so I declined. Instead, my first job was at the Blive Festival. And I found myself doing collective creations, just like I had seen at the Farm Show in Under the Grey Black. And then I thought I was two seasons of Blive. And then I did new plays at 25th Street House and the Globe. And it was new plays. I don't think... I did so many accents that first year. I don't know if I ever used my own. I was, you know, I was a creaky immigrant. I was a Dutch immigrant, German immigrant. I was Dolores de Barrui. Then I did Spokesong. It was, you know, Northern Irish. So it was a real mixed bag. And did you think that was going to be your career then? I never thought about a career. I sort of thought about what interests me right now. I sort of see a career as something I've looked back on as an accumulation. But I never had a career path. All I do know about that is that if I walked into a theater, I'd go, I'd like to work here. I felt that at Blive when I did a puppet show through there with, no, it was a second puppet show, by work. I did a, you know, in the 70s was the day of OFY Grants, Ontario for Youth Grants and LIP Grants. And the one year I did one with Jimmy Rankin and Mary Haney. And we did a puppet show and we toured around Toronto areas. And then the next year, after my first year of theatre school, I did another troupe with Hydro because it was about conservation of electricity and water. That's right. It was a conservation. We called it the Wiser of OFF. And it was a take off on the Wizard of Oz about, you know, OFF OFF, you know, turn off your lights and everything. For Ontario Hydro. I think it was with Ontario Hydro, but I think about it. Isn't that funny? When it was still a public, you know. And did you play an electron? I played Dorothy, who was going through the land of the wicked waste of the West. Haha, played by Lily Sandel. So anyways, we went to Blive. And we did an afternoon show in the basement of the hall, Memorial Hall. And because I think that was the first time I'd been there, because the first time I went to Blive was actually when I went to visit Kate Trotter, who was doing her first season there, and I was in school. And it was only a year or two old then, Blive. So I knew I wanted to work in that theater. And what sense about that? When you came out, not to belabor the GPS question too much, but when you came out, there was all this frenetic creative activity, you know, Blive, the 25th Street Playhouse, Pess Marae, Toronto Shirt Workshop Productions. And there is Shaw Festival, Stratford Festival, sort of, and then there's the commercial, the Mervish, the Alex, whatever, and the three kind of pillars. Did you sense the big festivals as being an idea for you, or was it just one job at a time? Oh, I knew as a kid, when I first came to the festival over there, in grade nine, to see my first Shakespeare play. When I sat there in that space, and after the trumpets had gone, and I'd heard the cannon go in the bell, and I found myself, I think it might have been the merchant of Venice. Having, I think, probably my first cathartic experience when Antonio was standing alone on stage, might have been the O'Chitri, although it might have been after he was killed in an accident that summer. I remember being so moved by that. And to me, it was history coming alive. Not only was I involved in the story, but I was seeing something that people had seen 400 years before, and I felt this extraordinary, like I was fascinated by museums as well, not because they were old, but because I felt that human beings were not that different, and how extraordinary that we all felt that so long ago, and we're still grappling with these issues, and these feelings and these passions. So, I remember going, oh, this is a wonderful theater. So, I had that feeling again, that one day, maybe, but it wasn't like I have to be there. I have to work there. Didn't feel bad. I just said this would be a wonderful place to be.