So Act 1, Scene 1 is a big scene, first scene of the play, and it's Hortense's story. There are a couple of things to bear in mind when watching the scene, and the first one is the way that we begin it, which is with a cinema screen. And we start by playing Pathe news clips from the time. The reason we did this is to remind the audience. Everybody in the audience would know where Jamaica is and our history of it, but there's nothing like hearing the sound of somebody talking about Jamaica in this way at the beginning of the scene that takes you back to a different age where Jamaica and these far off countries, you know, with palm trees and things like that were talked about in this country. Again, it's part of our history. But we didn't talk about it as a former colony, which had been enslaved for hundreds of years, we talked about it as being beautiful, and here's some beautiful shots of beautiful places. That discrepancy with the reality of the history of it and what we know about Jamaica now is deliberate. So we're absolutely taking the audience at the beginning of the show into an understanding of the perception of that time. It's also really important, because we use a lot of video in the play. And video is really complicated in theater, because it's not emotionally linked to the action. It can give you a nice backdrop, it can give you information, but unless you're careful, it's distanced from the action, and theater is all about an emotional connection to the story of what's going on. But it does appear literally in the story. Gilbert has a fight in a cinema, Queenie and Bernard have a breakup scene in a cinema. So we wanted to start the story by just introducing this language that we're going to use later and later. It thereby gives us theatrical permission to use video wherever we want it, in whatever way we want. It also means that we can set up the storm in a way that doesn't mean we have to have massive fans or loads of furniture crashing all over the place or bits of set falling down. You know, a hurricane is a terrifying thing. To really represent a hurricane on stage, it would be very difficult, and it certainly would be very difficult when you've got another 70 scenes to do in different places. So we started with a way that could both set up some of the language that we're gonna use, and also, introduce the storm that takes us into that first scene. So that's one thing to just bear in mind, is the use of cinema and the use of projection throughout our production. The second thing is the way that Hortense is telling the story. She's talking to the audience, she's talking to the audience in a really, really confident way. If you meet Hortense at the beginning of Scene 1, and then you meet her at the beginning of Act 2, they're like completely different people, because one of them, the one in Act 2, has totally had her heart broken, and the one in Act 1 hasn't. She's still naive, life has not yet dealt her. Well, life has dealt to her a difficult blow, but it's about to deal her a much more difficult one. She was loved by her grandmother, so she survived the loss of her parents, but she's about to have her heart broken. So she's very, very confident and she's talking to the audience. And during the course of Scene 1, the action catches up with her. Michael comes, she thinks to rescue her, but she discovers it's actually to rescue the school teacher, and she discovers that affair and has her heart broken, which leads her in turn to tell everybody what's happened, which again leads to Michael being sort of excommunicated by his family. So the way that direct address is used by Helen and in the production is another thing to keep an eye on. The third thing, I suppose, is really the challenge of how you tell a really complicated story with a million scenes without having 82 tons of scenery and without having realistic sets. And this is, for me, quite important. Theater is a celebration of many aspects of storytelling. The live communication between the audience member and the actor, the live communication between the audience member and the other audience member. This is a communal gathering that we're talking about, but it's also a shared language of imagination. We say to you, "We're gonna bring in three shutters. And there's some chairs and there's a blackboard, and you are going to imagine the rest of the school room." We're gonna play it as if the school room is there, but you can imagine it, which means that when you've got a tree or when we move suddenly to the, you know, the kitchen table, we can do it quite deftly without having to bring on loads of stuff, because we have engaged with our audience in an agreement that we're going to make believe in a way. I think audiences have no problem with this at all, as long as you're clear about it. And actually, they love it, because they understand what you're doing. As long as the actors completely commit, they know that the whole school room is there, so we see the whole school room because they do. And it means that you can tell a very complicated story with a limited amount of set and props. Those props in the school room are principally the chairs, and of course, they are used when the storm happens and they're thrown about and carried off to suggest the wind. This happens in all the scenes, but Scene 1, in a way, is the opportunity for us to lay out the kind of terms of storytelling that we're gonna engage with while telling "Small Island.".