Wilma Theatercast

Demi’s Rise – Identity and the Burden of Power with Lindsay Smiling

• Wilma Theater • Season 1 • Episode 3

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What happens when a demigod’s rise threatens the gods themselves? In this episode of Wilma Theatercast, hosts Dwight Dunston and Toby Fraser sit down with Lindsay Smiling, director of The Half-God of Rainfall, to explore the themes of power, identity, and myth in this epic play.

As Demi—born to Modúpẹ́ and Zeus—rises from obscurity to fame on the global basketball stage, his story becomes more than a game. It’s a battle over destiny, masculinity, and the weight of divine and human expectations.

Lindsay Smiling takes us behind the scenes of his directorial debut at The Wilma Theater. He discusses how this production brings poetry to life, how mythology shapes our modern world, and the challenges of directing a story that wrestles with patriarchy, trauma, and power themes.

We also hear from audience members who attended the show, sharing their emotional reactions to this gripping and visually stunning production.

Guest: Lindsay Smiling

Lindsay Smiling is an award-winning Philadelphia-based actor, director, and educator. He has worked with over 20 theater companies and is a Wilma Theater’s HotHouse Company member. Currently a co-artistic director at Wilma Theater, Lindsay has dedicated his career to pushing the boundaries of theater, focusing on bold, innovative storytelling.

A founding member of the Black Theater Alliance of Philadelphia, he has helped create space for Black artists in the region. Lindsay holds a B.A. from Illinois State University and an MFA from Temple University. The Half-God of Rainfall marks his directorial debut at The Wilma Theater, where he takes on the challenge of translating an epic poem into a powerful stage experience.

Resources & References from the Episode:

📖 Learn More About the Play & Its Themes:

🎭 About the Wilma Theater Production:

🎤 Music in this Episode:

  • Original compositions from The Half-God of Rainfall by Jordan McCree & Elle Morris of Ill Doots
  • The Half-God Mixtape by Dwight Dunston & Martronimous
  • Additional music from Epidemic Sound

🎟️ The Half-God of Rainfall is playing at The Wilma Theater live in Philadelphia from February 11th – March 2nd, 2025, and streaming for a limited time in March. Visit WilmaTheater.org for tickets and more information.

📱 Follow us on social media:
@wilmatheater

🎭 The Tony Award-winning Wilma Theater joyfully produces the Wilma Theatercast as part of our Accessible Productions Initiative. This program brings community partners into the rehearsal process and invites them to respond creatively to the work. This program is made possible with support from the William Penn Foundation.

>> Dwight Dunstan:

Welcome to Wilma Theater Cast your backstage pass to the Tony award winning Wilma Theatre. I'm Dwight Dunston.

>> Toby Fraser:

And I'm Toby Fraser.

>> Dwight Dunstan:

In a moment, we're going to share with you a conversation we had with Lindsey Smiling, who directed the Half God of Rainfall.

>> Lindsay Smiling:

So when I read this script, it was this epic poem that felt like there's some embodiment this play can really hold. It's speaking about subjects that are, uh, on the forefront of conversation with masculinity, with patriarchy, with trauma, with hierarchical structures and white body supremacy and mythology and how those all interplay with each other. And it felt like you're dealing with so much and then basketball and sports, which is like I came from a sports background. Theater was something I found later in life. This was like speaking to all these different aspects of, um, my being as an artist.

>> Dwight Dunstan:

Before we do, we want to tell you a bit more about the play.

>> Toby Fraser:

And Dwight, you also spoke with some audience members immediately after the first performance.

>> Dwight Dunstan:

It's true, Toby, it was an incredibly electrifying atmosphere and I just couldn't miss the opportunity.

>> Toby Fraser:

I, uh, bet.

>> Dwight Dunstan:

This play might sound familiar to some of our audience members. One part of it parallels the rise from rags to riches, obscurity to worldwide fame. We are talking about the rise of a demigod. The Half God of Rainfall by Inoue Ellams is more than a play. It's an epic journey that takes us from a small Nigerian village to the world's biggest basketball stage.

>> Toby Fraser:

And Demi isn't just a kid with talent. He's something more. Born to Madupe, a, uh, immortal, and Zeus, the king of the Greek gods, Demi's power is undeniable. But early on, his emotions are uncontrollable. When he cries, the rain falls in torrents. He's banned from playing basketball because his tears once flooded the court.

>> Dwight Dunstan:

But the one thing about greatness, you can't hold it back. And so one day, against all odds, Demi gets his shot. And what happens, Toby?

>> Toby Fraser:

You know, it's a swish, swish, perfect shot, nothing but net, again and again and again until the very boys who mocked him start chanting his name.

>> Dwight Dunstan:

Here's a brief excerpt of the moment that Demi gets his shot on the court. One child named Demi was kept from play. He was banned. He'd crouch on the edge of the court, watching boys turn and glide in the reach towards the rim, a chasm, a cavernous emptiness between him and them. Then one day, the ball rolled towards him. He bent to scoop it up, desperate to Join their lush quarrel. And all he asked for was one shot. The king of the court sneered. You'll miss and cry. Demi fought in their grip, eyes starting to water. Just one shot. Just one shot. Or I'll cry and drown the pitch. He screamed, his voice slicing the sky. Clouds gathering over. The boys laughed, but let him try. And what did he do? Toby?

>> Toby Fraser:

Swish.

>> Dwight Dunstan:

Swish. And from that moment on, everything changed.

>> Toby Fraser:

The rabble grew and swirled around them on the plain of damp soil, chanting again each time, Demi drained the ball down the net. 10 more shots each. Flawless. And they hoisted Demi onto their shoulders, his face a map of pure glee. The name whispered in hope by the townsfolk. A name now shouted across continents. The gods were watching from his throne. Zeus saw it. His bastard son basking in mortal glory. Men worshiping him, calling him a God. And Zeus, the king of all kings. Rage. And that right there, that's the moment that power shifts. Demi is no longer just a boy. He's a legend. And his father Zeus does not like it.

>> Dwight Dunstan:

And that's what we're here to explore today. Demi's rise, identity and the burden of power.

>> Toby Fraser:

And today we have someone who helped bring this vision to life.

>> Dwight Dunstan:

Lindsay Smiling is an award winning Philadelphia based actor and educator. He has collaborated with over 20 different theater companies and is a member of the Wilma Theater's Hot House company. He is also a co artistic director of the Wilma Theater.

>> Toby Fraser:

Lindsay earned his bachelor's degree from Illinois State University and his MFA from Temple University. Beyond his work as a director, Lindsey is a founding member of the Black Theater alliance of Philadelphia, working to create space for black artists in the region.

>> Dwight Dunstan:

And for the half God of rainfall, he's taken on a massive challenge, bringing an epic poem to life on stage. Today we'll hear about his directorial approach, the joys and challenges of this production, and what it means to tell a story about God's power and resistance.

>> Toby Fraser:

Let's get into it.

>> Dwight Dunstan:

Hey. Hey. We're just so grateful that we have here the director.

>> Lindsay Smiling:

Um, excited to be here.

>> Dwight Dunstan:

Yes. And maybe just to start, what's the energy like in the room for you? What's it like for the cast, for all of the different folks helping to bring this play to fruition?

>> Lindsay Smiling:

Uh, yeah. It's wild for you to ask that question just because of the whole journey around this piece. This is not, ah, your typical script. It's really a poem that we're trying to theatricalize. Even in selecting this piece was a little bit like, oh, how are we gonna do this? And I didn't really know and like the pre production process before rehearsals even start trying to frame this epic poem, um, was a challenge. And being so unclear and have so many areas that are not my comfort zone present, it was a big undertaking that caused me many sleepless nights of like, what did I do to myself? What I'm truly grateful for is the people that are in this room are bringing all of themselves. And there's a great openness to conversation, to tackling difficult subject matters. There's still a joy in the room. I'm hoping people still continue to find that they can speak up with whatever is on their mind. Whether that's offering their point of view, something, uh, that is a challenge for them in the moment, or some joy that they want to put into the piece, that there's that avenues in the room and there is a lot of laughter even with, you know, material that is heavy, that feels quite wonderful. And the more we refine the process, the more uh, I see, the more energy people get, even though they're long days and tough. So it's, it's uh, it's beautiful. Pat Adams, who has done over a hundred shows here at the Wilma, is like, this is joy right now.

>> Toby Fraser:

And that's Ms. Pat, the stage manager. Right?

>> Lindsay Smiling:

Ms. Pat, the stage manager who is resident. Yeah, she did every show here for many years and it's kind of, you know, picking and choosing and I'm grateful she chose to work on this show.

>> Toby Fraser:

Yeah. How is this the one that you chose that you wanted to be like this half God of Rainfall is the play that I want to help direct.

>> Lindsay Smiling:

You know, the Wilma's where I got my acting career. My first show ever in the out of grad school was at the Wilma Theater. You know, this is 20 plus years ago. One of the things that kind of excited me about uh, this theater was they were doing theater that was edgy, that was risky, that was adventurous. That's in our mission statement. Things that aren't straightforward and challenging, not, uh, necessarily concerned about whether it's commercially viable or they're really trying to make art here. Uh, they put that at the forefront. And my journey, you know, going to New York and coming back has just reaffirmed. This is the type of work I want to do. I want to do work that challenges me, that has nuance, has difficult conversations in it. You know, I was looking for something that embraced a non Eastern European, uh, lens, which, um, you know, so many of the wonderful work here at Duomo historically has Been with, you know, the founders coming from the Czech Republic. So when I read this script, it was this epic poem that felt like there's some embodiment this play can really hold. It's speaking about subjects that are, uh, on the forefront of conversation with masculinity, with patriarchy, with trauma, with hierarchical structures and white body supremacy and mythology and how those all interplay with each other. And it felt like they're dealing with so much. And then basketball and sports, which is like, I came from a sports background. Theater was something I found later in life. This was like speaking to all these different aspects of my, um, being as an artist. Reading the script, it held all these avenues of theater that this theater specifically feels like. This is where this type of show can happen in a way that has integrity around it and not just about selling tickets. Yeah, I was excited by the script, and then I was like, oh, now I gotta do it.

>> Toby Fraser:

You just gotta make it happen.

>> Lindsay Smiling:

And now I gotta make it happen. Now I gotta put, you know, put money where my mouth is and. Which is an undertaking. But, you know, we have an acting company here, and the fact that we've been able to lean on them throughout this process is such a gift. I really don't know how I would direct the show at another theater.

>> Toby Fraser:

M. Um. Amazing.

>> Lindsay Smiling:

Yeah.

>> Toby Fraser:

Yeah, Right. Because the play deals with, like you said, patriarchy, masculinity, violence, all the things and power. And being the director, you're in a role that has some power over people in this. How has that been playing out for you?

>> Lindsay Smiling:

Yeah, I have my director hat, but I have this long career as an actor. Right. I am, um, keenly aware of what the actor's experience is, which isn't always the case with directors that I have been directed by. They haven't been in the shoes of having to go through things that are difficult subject matter that may hit you personally, and then also having to do that over and over and over again through the course of a run with audiences that might have different individuals acting and reacting to what's being portrayed. I'm trying to just, uh, you know, have a space where it feels like there's freedom, that they have authors over what is being created in the space. My most pleasurable experiences as an actor have been, like, where everybody has a say, has responsibility over the piece. I've been in, certainly some rooms where I feel like I have to just serve the director's vision. And I really am kind of adverse to that. There is a hierarchy, but it feels flattened. It doesn't feel like there is one kind of person that is the voice of everything. This play deals with violence on female bodies. And I'm a male director. I have to listen. I have to make sure I'm listening to what people are saying and what they aren't saying. And I notice if something is uncomfortable or there is a hesitancy and um, trying to just be as much of a receptor as I am, somebody to guide the process. And that's a challenge. That's a challenge because decisions have to be made and those decisions do often land on me. But I want to make sure that those decisions feel like everybody's on the same page with it and willing to buy into what we're trying to create.

>> Toby Fraser:

Right. Oof. Yeah. That's so hard. Cause I know I'll often struggle. Trying to show up in the like good man type of way can then lead to disappearing entirely. Saying, okay, well I shouldn't make any decisions. Uh, let me not. Because I might step on toes if I do. And so it's yeah. Good to hear how you're holding both at once and trying to show up in a listening way but not disappearing, not forgetting about yourself and what you're doing.

>> Lindsay Smiling:

And also knowing that, you know, I'm not perfect with this stuff and like just being just some humility around that. Knowing that, you know, the, the things that I've thought is. The thing is. Is not it. I. I really tend to lead with. I don't know. I really don't know what I'm doing. Yeah. Yeah, yeah. And that's. It's empowering. But it could also be um, it could be destabilizing or it asks for other people to step up in ways that they're not used to doing in situations. I think I'm. I'm inviting people to step up.

>> Toby Fraser:

Yeah.

>> Lindsay Smiling:

And take responsibility for.

>> Dwight Dunstan:

Mhm.

>> Lindsay Smiling:

This piece. As much as it helped me share in the responsibility of this piece.

>> Dwight Dunstan:

Yeah.

>> Lindsay Smiling:

And that's. That's a big ask.

>> Dwight Dunstan:

Yeah. I've now been to a few rehearsals. We. We got to all be in a training together. The way you're leading is grounded, is open hearted, is inviting. It's clear. There's a clarity that even as you make space for folks voices to come in there, there's a culture you've set as someone from the outside from the Masculinity Action Project and being a community partner with you all, it's been such an honor to see you lead Lindsay on and off stage. Truly. Truly.

>> Lindsay Smiling:

Thank you.

>> Dwight Dunstan:

And that ah, feels connected to this conversation we have in map around accountability and how we show up and Toby just mentioned this. We talk about power and what it means not to invisibilize ourselves. How do we both not take up too much space, but also not totally go away and take away our agency or take away our ability to help be a part of co creating that world we want to see. Even as I think about a play that tackles gender violence, right, it might not have been us as we sit around this table, our experience or may have, but there's m somebody in our ecosystem who we know has been harmed or there's someone in our not too far away. And that might be enough to make us say, you know, I see you in a different way. I might not have the answers, but I know there's something here that might want to, to come forward from your perspective. How have you learned to build compassion, empathy around topics like this or other things that just weigh on your heart?

>> Lindsay Smiling:

Yeah, that's a, that's a big question. I can answer it in a couple ways. First, I just want to say, like, this idea of becoming smaller in order to make space and sometimes disappearing into not being present, that's something that is a constant thing in my life that I'm noticing. My habits where I'm like, I'm not actually voicing my emotions or voicing how I feel or taking up space because I want to make sure people are being held and that somehow I feel like there's, um, a trauma that is greater than my trauma that I have to like. And I think that is something to do with being male. Like, well, this is actually more important than what my feelings are part of my journey through acting. There's space for everybody's experience. There's space for everybody's feelings. And because I'm having feelings or they're having feelings, uh, it doesn't place fault on anybody. Feelings are feelings. They're not. They happen. Whether someone believes they should happen or not, they happen.

>> Toby Fraser:

They're there.

>> Lindsay Smiling:

And so like, acknowledging that somebody is having feelings is an important step to not rationalize them away. Uh, is something I'm discovering about both how when I feel like my emotions aren't being taken into account or how I react to somebody saying, you know, this hurt when you did X, Y or Z, um, and say like, oh. Instead of like, well, I didn't mean to do it and get defensive about it. I'm like just holding the other person's emotions. Part of my journey through acting is like, you're constantly Seeing what is the story that these characters are telling themselves, what is their perspective? At least that's been my avenue into acting. There's another way where we're kind of commenting on what this person's life should be and we make judgments about that character. And I try not to judge anybody I'm playing whether they're a villain or a hero. Is. There's reasons why they have. They act the way they did. We did, um, the show Fat Ham a couple seasons ago and I had to play two toxic masculine characters that were brothers. It was, uh, you know, it was based off of Hamlet and one was, mhm, the dead father and one is the toxic uncle. They're both toxic in their own way. Different types of masculinity. And like, it was important for me in that instance to not shy away from how awful these people were. It doesn't mean there aren't reasons for. Doesn't mean that they are not valuable as existence. But I also am. Like, there has to be some accountability for that. And that practice of looking for reasons, but not necessarily apologizing for the events of somebody's life. You can only choose what you can choose. I guess what it comes down to is we're all capable of doing anything. Awful things, good things. Where do we make our choices? If we don't believe we're capable of doing awful things, we'll never take that step of looking at ourselves in an honest way, um, and make sure we're making choices in each moment. You need some grace to do that. Talking about like, compassion. When I've felt, uh, wronged and when I felt there has been harm done to me, I try to remember my acting. There's a reason why they're doing that. I have to have compassion for my enemies. I have to have compassion for everybody. Or else then I become something that I don't want to be.

>> Toby Fraser:

Right. We'll often say curiosity kills conflict. If I can just wonder what's going on with you? Why did you do this to me? It can help.

>> Lindsay Smiling:

I was in traffic a while back with my, my wife and like, there's people that cut you off.

>> Toby Fraser:

Yep.

>> Lindsay Smiling:

And they're like, you want to like, go and cut and cut them off.

>> Dwight Dunstan:

Right.

>> Lindsay Smiling:

And. And they're like, why are you doing that? I'm like, well, I don't want to be that person. I don't want to cut off. I don't want to be the person that cuts off other people.

>> Dwight Dunstan:

Right.

>> Lindsay Smiling:

So I'm just gonna, yeah. Cruise at my speed and do it. You know. Yeah. And I'm gonna choose to do. To move through traffic this way rather than become the people that annoy me. Yep.

>> Toby Fraser:

Right. Yeah. Can we bounce back on the accountability? No, you're doing great. This is perfect. Bouncing back on the idea of accountability and choice. Right. We know at this point when this episode comes out, there's you listening right now. Might have already seen the show and others have not so wanting to be careful in not putting too much of it out there. But there is a moment of sexual assault. I think it's important people know that and that we name it in a, uh, in a clear way, especially as three CIS men talking about this stuff. To be really open and honest about sexual assault is something that happens. It's something that's important to talk about. And often whether it's in the play, which, um, we can talk about because then at least there's a specific. Or in the real world, it can be easy to look at the person who did it.

>> Lindsay Smiling:

Mhm.

>> Toby Fraser:

And the person who it was done to and look at where each of their choices were. Who has responsibility. Often our culture wants to put all the responsibility on the person who it was done to and, you know, forgive and excuse and understand and ah, find empathy for the person who did it. And in this play the sexual assault happens and there are other beings witnessing and not intervening, not making a change. And I am curious about how that has been to. Yeah. Interact just even in your own being with finding the understanding for that. If you have hopes and dreams, you're like, ooh, if I could rewrite this, that scene would go this whole other way. Because we're gods. Why are we following these rules? We're gods. Something could have been done and wasn't.

>> Lindsay Smiling:

Yeah.

>> Toby Fraser:

How has that been? How. Yeah. What does that bring up?

>> Lindsay Smiling:

The moments of sexual assault and talking about it, which is hard in itself, um, within the piece and knowing that there are these gods that are just watching and culpable. To me, that idea, I don't think it should be written another way. I think there is some responsibility as us as a society of allowing things. I mean, you know, look at our election right now. Look who we just elected as president right now. That is a collective effort. That is not a few people. There is a lot of responsibility in that. For me, this speaks to like the power of mythology. Right. The power of things. Of just what we kind of accept as just human nature. The way society is just built as if it is just. There hasn't been choices. Um, for me, it is about taking that and making these really human choices around it. Um, so we'll find through the course of the play, both in presentation and thematically, the gods become more human throughout this piece. There's a kind of, ah, style that they operate in and there's a journey of how actually let's just be all. Let's all be human.

>> Toby Fraser:

Right.

>> Lindsay Smiling:

And we have more. We have more power than as a group. Yeah, yeah. That's the journey of like, how the gods have some accountability in this. If there are gods and those gods are made up by us.

>> Toby Fraser:

Right, Right. Yeah.

>> Lindsay Smiling:

You know, when it comes down to it, whatever your spirituality is, we don't have the. There is no. At least as far as I know. No, they're not on sending us emails, um, directly telling us to don't. That is whatever our manifestations of, um, how we connect to our own spirituality, it is not a direct line.

>> Toby Fraser:

Right.

>> Lindsay Smiling:

That's not to say that there isn't something. But, uh, you know, it's my belief that we have our own narratives that we shape the divine with.

>> Dwight Dunstan:

I guess as a way to close. Would love to just leave it for you to share anything you want the audience to just know as they come to ready their hearts, minds for the half God of rainfall.

>> Lindsay Smiling:

Yeah. There's a wide range of emotions I think that people will go through when they see this show or if they've already seen this show. This idea that it offers of playing with love and playing with pain that I'm gonna keep carrying with me, uh, long after the show has closed. I think, I think even just working on this piece, like, what does it mean to play with love and playing with pain, not ignoring the pain, not ignoring the hard parts of life. And I think that's without acknowledging it. I don't think we can move forward if we can't. If we can't play with. Learn how to play with some pain. We have to be able to heal those wounds. I'm getting older. I'm like nearing 50 soon. You know, I've had two knee surgeries. It's not that, uh, they will ever be what they would be if I hadn't had the surgeries, but I have to find ways to move. And there's still so much I can do and so much lessons I've learned from that. And I think about it, yeah, I had to have those surgeries and I had to be able to walk and run and jump. They still feel it. I still feel the pain. But I've also learned about my body In a way that probably I hadn't been if the pain wasn't there. I hope with, uh, this piece there will be pain. There will. Will be pain with this piece, no doubt. I hope that there will also be love and walk away with a, uh, healing feeling in their spirit. Yeah.

>> Dwight Dunstan:

Well, thank you for not shying away from the pain, going small in the face of the pain. Thank you for amplifying the love through all the gifts you're bringing to this play. And we can't wait for our audience to.

>> Lindsay Smiling:

To.

>> Dwight Dunstan:

If you haven't come see it, to come on in to the Wilma Theater and see the Half God of Rainfall with Lindsay Smiling's directorial debut here at the Wilma.

>> Lindsay Smiling:

Yes.

>> Dwight Dunstan:

Come and check it out.

>> Toby Fraser:

Yep. Yep. Until March 2nd.

>> Lindsay Smiling:

Second. Unless we extend. But March 2nd.

>> Toby Fraser:

Keep buying those tickets. We'll get that extension extended for.

>> Dwight Dunstan:

Come on. Thank you, Lindsay.

>> Toby Fraser:

Thank you, Lindsay. Yeah. Once again, Lindsay is the director of the Half God Rainfall, and he's one of three co artistic directors. We got to speak with Lindsey before the show premiered, before either of us even saw the play in all of its glory.

>> Dwight Dunstan:

And after the play, I had the opportunity to speak with a few folks about their experience of all the love and vision that Lindsey and those actors and so many others put into it. So here's what they had to say. We're here at the end of the Half God opening night and just getting some initial reactions.

>> Lindsay Smiling:

What was that?

>> Dwight Dunstan:

Oh, we're just doing a little interview. Just a little. Just a quick one. Never stops. We on the clock, baby. I'm here with some folks who got to see it and feel free to say your name and just any initial reflections from the play.

>> Speaker D:

Imani, I came in not knowing what to expect, but open, and I am so happy I made that decision because it gave.

>> Dwight Dunstan:

Wow. Thank you, Imani. Thank you.

>> Toby Fraser:

This is the first time I've seen the mortal women of mythology portrayed as people, as full people. There's a monologue in it that might be one of my favorite performed monologues.

>> Lindsay Smiling:

I've ever seen in my life.

>> Speaker D:

M. My name is Sarita Lewis, and I am so excited to be here. This play actually just touched on so many different emotional components, and they brought together flavors that you just don't ever see. Like the fact that they brought together the gotcha all across the different continents and made them a part of the story, as in they know of each other. They had their particular battles and conversations. It was funny as heck. So, um, all of the laughing that I did, I didn't amount of crying because they touch on a lot of really emotional, emotional components of all of our existences. And it was an honor to be here.

>> Toby Fraser:

Yeah.

>> Dwight Dunstan:

Thank you. Thank you so much for being here.

>> Toby Fraser:

This is a show that does not take the easy way out and makes the most interesting, most necessary choices. I felt like I was punched in the chest by my best friend in a good way.

>> Lindsay Smiling:

Um.

>> Dwight Dunstan:

It's awesome.

>> Toby Fraser:

Wow.

>> Dwight Dunstan:

Um, thank you. Thank you. The Half God of Rainfall is playing at the Wilma Theater live in Philadelphia from February 11 through March 2, 2025 and streaming for a limited time in March. Visit Wilmatheater.org for tickets and more information. Follow us on social media. Hewilma Theatre Wilma Theatre cast is joyfully.

>> Toby Fraser:

Produced by Peterson Toscano for the Tony Award winning Wilmer Theatre as part of our Accessible Productions initiative, a program that brings community partners into the rehearsal process and invites them to make creative responses to the work. This program is made possible with support from the William Penn Foundation.

>> Dwight Dunstan:

Music today comes directly from the composers of the Half God of rainfall, Jordan McCree and Elle Morris of Ill Dukes. We also had music from the Half God mixtape, a project by yours truly and Martronomous. Other music comes from Epidemic Sound big.

>> Toby Fraser:

Thanks to our guests, Lindsay Smiling and congratulations on your directorial debut at the Wilmet Theater. And to all of you listening, we'll be back soon with more from the Wilmet Theater cast.

>> Dwight Dunstan:

Great. I think that's how you say your last name, but you'll tell us, Peterson.

>> Toby Fraser:

It'll just be your voice. Otto dubbed um in. On m top of it, Peterson. Gano.

>> Dwight Dunstan:

Yo, there's an episode of Simpsons like that. Uh, I'll show you the clip after this.

>> Toby Fraser:

I can't wait.

>> Dwight Dunstan:

Yo, so funny. I can't get out my head now.

People on this episode

Head Shot

Dwight Dunston

Co-host
Head Shot

Toby Fraser

Co-host
Head Shot

Peterson Toscano, Handcrafted Sound

Producer