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Forwardby Charlotte Potter,Co-Producer and Glass Studio Manager

After 15 years, I’m stillinfatuatedwithmolten glass. Itsradiance, magical immediacy,its otherworldly state betweenliquidandsolid-thesearethingsthatfirst attractedme to it (andtomycraft).Hotglass issimplycaptivating. It is most alivewhen it is moving and turning,intense, intuitive, and illusive.It is bewitching, it is beautiful,and it is dangerous. As such,it demands your full attention.

Sowillthisevening.Welcometotheinauguralperformanceof The Glass Theater.Thisnewcreation,acollaborationwithartistandco-producerKimHarty,isdrivenbyourpassionforhotglassmakingasperformanceart.WecouldnotbehappierthattheChryslerMuseumGlassStudiohasagreedtosponsorandhostthisexcitingeventasitsfirstThirdWednesdayprogramfor 2013. Each month this Studio series has showcased emerging artists,experiments,andfreshexplorationsatintersectionof glassmakingandotherperformingarts—andtonight’s installmentpromisestobeoneof ourmostmemorablemanifestations.

OurthemeforthisephemeraleveningisPhantom.Ratherthanusingthe StudioHot Shop to create tangible glassobjects, the artists selected toperform tonight will create live glass experiences full of sound, light, andillusion.Artworkswill come to life and deathwithinmereminutes. Like aghostinthenight,glasswillappear,thenvanishbeforeyoureyes.Asbodiesmoveandstrain,asmoansandcracklesechofromwalltowall,asglassglowsandsteambellows,rememberthatyou,ouraudience,havethepowertopropelthisperformanceonward.Weaskisthatyoubecuriousandbebrave—andrelisheachmomentof wonder,anxiety,delight,andmystery.

Charlotte Potter narrates a hot glass dem-onstration at the Chrysler Museum of Art.

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IntroductionbyKimHarty

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Programof Events 5

PsychoSoundsandPseudoSciencebyJonnyFarrow

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Fabricationof theIdeaMachinebyBrittanyScott

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TheHauntedHotShopbyKimHarty

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TheConjurer’sGhost 12

ArtistBiographics 14

Acknowledgements 19

Table of Contents

The Glass Theater: A cross pollination of the ArtsMission Statement

The Glass Theater is a theatrical space for invention, discovery andexperimentation. Using the hot shop as stage, artists, writers, performers,and glass blowers are invited to come together to expand on themes incontemporaryartandculture. The Glass Theater fosters interdisciplinarycollaborationandaimstobreakdownboundariesbetweencraft,performanceandcriticaldiscourse.Theuniquespaceof thehotshopallowsparticipantstobe informedbyhotglass. Likewise, theculturearoundhotglasswillbeinformed,andeventransformedbythiscrosspollinationof theArts.

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Introductionby Kim Harty, Co-Producer

Etherealsounds,opticalillusionand ghostly doppelgangers allhaunt the Chrysler MuseumGlass Studio in tonight’sinaugural installment of The Glass Theater. Phantom, thetheme of tonight’s show, hasinspiredperformanceart,videoinstallation, sounds recordingandwrittenessays that takeonchallenging and illusive subjectmatter.

Thewordphantomisderivedfromthe12thcenturyLatin“phantasma”,meaninganapparition,dream,illusion,ghostorfantasy.Itmightbeanightmarethatproducespalpabledread,phantomlimbwhichinvitesanaggingpain,oraghostlyapparitionthatinspireslongingbutvanishesinstantly.Eachof thesedescriptionsevokeasensationwhichhasbeendistinctlyseen,heardorfelt,but emanates from amysterious, even non-existent source.How does onereconciletheseexperiences,whicharerealtothesensesandyetillusiontotherationalmind?

Theartistsandwritersthathavebeenselectedforthisfirstinstallmentof The Glass Theater: Phantom, seek toanswer thisquestion,andofferthe audience a variety of experimental approaches. As the performanceunfoldstonight,erietones,hauntingfigures,smokeandmirrors,becomethevocabularyof illusion. Imagesandsounds,reoccurandcriss-cross,aseachartistspursuestheirinterpretationof thephantom.Throughthecombinationof performance, art andwriting,wehope to conjure an apparition for theaudience,whichisgreaterthanthesumof itsparts.

A poster from 1885 advertising the Pepper’s Ghost at the Royal Polytechnic.

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Program of Events

Doors Open 7:00pm

Introduction 7:30pmKelly Conway,theCarolynandRichardBarryCuatorof GlassattheChryslerMuseumof Art.

The Journey Robin and Julia Rogerswillconjuretheominousatmosphereof anighttimerainstorminacityof lights.Usingoldradiorecordings,videoprojectionandglasstheaudiencewillgoonajourneythoughtime,andthroughtheirownsubconscious, to unearth a forgottenmemory of the beginning of life onEarth.(20min)

Intermission: TransferenceArecordingof Andy Paiko and Ethan Rose’scollaborativeglasssoundinstallation,Transference (2009),amoderntranslation18thcenturyinstrument,theglassharmonica.(15min)

The Three Faces of Tom PhanBohyun Yoon and Kishi Bashi willunitetheiruniquetalentsandperspectivesinanexperimentalperformanceusingglassinstruments,vocalsandfeedbackloops. As each handmade glass instrument is played, it will feed into anelectronicsystem,whichwillbeplayedback.Alivecompositionwillbecreatedbylayeringdifferentsonicelementsontopof oneanother.(20min)

Intermission(15min)

PhantomJocelyne Prince willrecreatethe19thcenturyillusion,thePepper’sGhost,alongsidetheetherealinstrument,thetheremin.Theaudiencewilllookonastheglowingglassdoppelgangeriscreatedviahotcasting,thendisappearsintodarkness.(20min)

Closing 9:45pmKim Harty and Charlotte Potter,Co-Producers

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Psycho Sounds and Pseudo ScienceJonny Farrow

Mention of the word phan-tomoftenconjuresthesoundof J.S.Bach’sToccataandFugue in D Minor.If you were to close your eyes andpicture a creepymadmanplayingamonstrous organ,this ubiquitoustune would un-doubtedly accom-pany the visual.Owing to Bach’suse of a minorkey and the emo-tive exhalationsof theorgan,Toc-cata and Fugue in D Minor has be-come a leitmotif for horror films(though Bach’s1750 death cap-predates thebirthof film by more than 100 years).One of thewaysBach’s piece cameto be associatedwithhorrorwas itscinematicdebutinthetitlesequenceof thepopular1931filmversionof Dr. Jekyll and Mr. Hyde.Sincethen,ithasbeenused inhundredsof films. It isnocoincidencethatdis-sonantchordsandtheuseof minorkeyshavecome,culturally, tosignify

darkorominousmoods, in contrastto major keys, which are generallyassociated with light and joy. Bachworked in the Baroque Era (1600–1750),whenoneof themaintenantsof musical aesthetics was the theo-ry of affects. The theory is basedonthe notion that just one unified and“rationalized” affect— essentially, a

biologicallydistinctemotion—shouldbe the target of a single piece ormovement of mu-sic. The theoryfurther identifiedthree major pairsof opposing af-fects:loveandhate,joy and sorrow,wonderanddesire.These sonic asso-ciations carry intothe present day,influencing our in-tuitive understand-ings of musicalrelationships and

relatedmetaphorsof lightanddark. Thetheoryof affectsanticipat-edaperiodinthe18thcenturyinwhichthe study of psychology and soundemerged beyond the symphony hallin a tangle of superstition, spiritual-ism,andscientificrationality. Franz Mesmer (1734–1815)wasoneof firstphysicianstoattemptto use sound as a tool for healing.

Grand Harmonicon ca.1820, colleciton of the Chrysler

Museum of Art.

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Mesmer believed that invisible forc-es, such as sound, could affectboththementalandphysicalstatesof hispatients.Onthisbasis,he integratedthe use of a glass harmonica intohealingsessionswithhispatients,be-lievingthatitcouldincreasetheflowof healing energy throughout theirbodies.Madeof aseriesof spinningglass disks, whentouched with aslightly wet fin-ger, the glass har-monica createdethereal tones.The instrumentwas invented byBenjaminFranklinin 1761, and wasincorporated intomusical composi-tionsbyWolfgangAmadeus Mozartand more than100 other com-posers. Thoughnot necessar-ily convinced of Mesmer’s theoryof theharmonica’sability to heal people’s physical ail-ments, Mozart and Franklin sharedMesmer’s belief in the harmonica’sability to promote human harmony.Yet, emerging musicologists warnedof theharmonica’sdangers. In1798physician Johann Friedrich Rochlitzwrote, “Principally the almost uni-versallysharedopinion[is]thatplay-

ingit isdamagingtothehealth,thatit excessively stimulates the nerves,plungestheplayerintoanaggingde-pression and hence into a dark andmelancholy mood, that it is an aptmethod for slow self-annihilation.”Many of Rochlitz’s contemporariessharedhisopinion,andastherumorsof theharmonica’sdestructivepower

spread,sodidpan-icabouttheinstru-ment. In certainGerman states, itwasbannedbypo-licedecree “on ac-count of injury toone’s health andfor the sake of public order.” It islikelythattheglassharmonica’s ethe-real tones helpedcreate its alter-nate ego capableof “disturbing thenervous system.” This phantas-malrealmof these

associations, whether persisting in awavelength, a vibration, a collectiveconsciousness,oras somebiologicalfactor of our emotional mind, re-mainsbeyondthereachof scientificquantification.Theuncannycharacterof theglassharmonica continues tobeunsettling,chargedandmysterious,and capable of igniting the humanmind with wonder and speculation.

A satirical engraving of Franz Mesmer with a glass

harmonica.(1784)

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Fabrication of the Idea Machine Brittany Scott

Frequentlycontemporaryart-ists hire skilled glassmakers by thehour to fabricate their work. Pro-grams such as Glasstress, the Pil-chuckAiRProgram,theMuseumof Glass Visiting Artistprogram, and manymore offer artists anopportunity to workwith glassmakers torealize their ideas.Though this transac-tionislargelyacceptedby the contemporaryarts community, thereis something mysteri-ous and antagonisticabout the artist-fabri-catorrelationship. In the 1960s,boththeStudioGlassmovement and theConceptualArtmovementwere de-velopingasareactiontoModernism.Forthe100yearsorsobefore,Mod-ernismdominatedtheartworldwithits rejection of representational andnarrative work, and its embrace of explorationsintothenatureof mate-rials andof the functionsof art. Inresponse, Studio Glass championedtheuseof glassasanewartisticmedi-um,whileConceptualArtrejectedall

artisticmediumsasasourceof mean-ingandvalue.Rather,conceptualart-ists claimed that ideas and conceptswerethesoleessenceof artwork.SolLeWitt, one of the Conceptual Artmovement’s founders, best knownfor his instruction-based wall draw-ings,famouslyclaimed,“theideabe-comesamachinethatmakestheart”and “the execution is a perfunctory

affair.”For the last 50 years,the Studio Glassmovement has ledto a proliferation of glassschools,studios,galleries, and muse-ums that enable thesharing of technicalknowledge and ideasbased deep in themateriality of glass.Meanwhile, the con-temporary art worldhasbroadlyembracedConceptual Art’s re-jection of the physi-

calityof materialsasasiteof innova-tionandvalue.Theresultingtensionisfeltparticularlyacutelybythemanyglassmakerspaidhourlyfortheirskillsbycontemporaryartistswhoshowatbluechipinternationalvenues. One of the major drivingforcesof theConceptualArtmove-mentwastheartists’desiretosubvertthe galleries,museums, and artmar-ketasdeterminersof art’svalue,and

Dale Chihuly, Campiello Del Remer #2(2006), collection of

the Toledo Museum of Art.

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thetreatmentof artasaluxurygood.Yet, as artists like LeWitt assertedthemselvesasownersof “idea”ma-chines,theygainedlicensetocontractoutthe“making”of theirart.Thatis,ConceptualArtdidn’tleadtorevolu-tionsinartists’relationshipswiththeinstitutions it sought to undermine,butitdidsupporttheinstitutionaliza-tionof anewdivisionof laborintheartistic production process. Distin-guishing between those with “idea”m a ch i n e sand thosewho pro-vide craft-based skilltocompleteinstallationsand fabri-cations of a r t w o r k ,the artis-tic processhas never looked more like indus-trialcapitalist’sproductionof luxurygoods.This isperhapsbest illustrat-ed by the world’s most well knownglass artist, Dale Chihuly who hasfamouslynotblownglasssinceacaraccident in 1976, which injured hislefteye,destroyedhisdepthpercep-tion,andintroducedhissignatureeyepatch. Regardless of Chihuly’s suc-cess, the nature of a craft such asglassmaking is inherently a rejectionof ConceptualArt’s value-determin-

ing principles.Objects produced byglassmakers, familiar with the po-tential for discovery, innovation,and experimentation in the processof fabrication, are testimony to theincomplete nature of purely cogni-tiveplansmadebeforehand.Never-theless, when the contemporary artworldtakesforgrantedthespectrumof decisionsmadeinthefabricationprocess, it obscures, devalues, andeven limits the innovation and val-

ue createdduring thea r two r k ’sp r o d u c -tion. Whenlooking atthe wholeof theartis-tic process,it becomesplain thatthe trans-

lation of an idea into a medium isequallynecessary to the completionof anartwork. For glassmakers to positionthemselvesas“artists,”theymustei-thertakeoverthe“idea”machineandreuniteheadwithhands,oradvancean alternative notion of authorshipthat acknowledges the cooperativecharacter of the contemporary artprocess.Inbothcasestheglassmak-er breaks down the dichotomy of artistandfabricator.

Sol Lewitt, Wall Drawing #280 (1957), collection of the Museum of Modern Art.

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optical illusionfor itsentertainmentvalue, but took the spectacle as anopportunity to explain someof theunderlyingprinciplesof optics. Similar to the Polytechnic,thehotshop isavenuewherepub-liceducationandspectacleoftengohand-in-hand.Glassblowingdemon-strationshave longbeen amainstayof living history events and muse-

ums,manyof whichservedastour-ist attractions and public relationstools for industrial giants, includingCorningIncorporated,WheatonIn-dustries,Jamestown,andFordMotorCompany. In1962,100yearsafterPep-per’s illusion’s debut, the AmericanStudio Glass movement was born,

The Haunted Hot Shop Kim Harty

In1862, JohnHenryPepperdebutedhisfantasticalopticalillusion,whichusedlargesheetsof plateglassat a 45-degree angle to project anetherealreflectionof amanonstage.Pepper’sGhost,asitbecameknown,was employed in astage production of Charles Dickens’Haunted Man, inwhich the maincharacter, Redlaw,is haunted by hisphantom twin, “anawful likeness of himself…with hisfeatures, and hisbright eyes, andhis grizzled hair,and dressed in thegloomy shadow of his dress…” Theperformance tookplace at the RoyalPolytechnic, ashowcaseforinventionandingenuity,whosestatedpurposewastoprovide“an institution where the public, atlittle expense, may acquire practicalknowledge of the various art andbranches of science.” However,Pepper, who garnered the title of “Professor,”wasnotinterestedinthe

Illustration of a science lecture at the Royal Polytechnic.(1855)

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The audience looks on as artist,John Miller, works on a piece at the Chrysler Museum Glass Studio. (2012)

and glass, for the first time, wastreated as an artmaterial and ame-diumforself-expression.Sincethen,a vibrant cultureof studioglasshasgrown,andmanyglassandartmuse-umsalikehaveexpandedtheircollec-tionstoincludeworkbystudioglassartists. Likewise, museums such asthe ToledoMuseum of Art, Chrys-ler Museum of Art, and Tacoma’s

Museumof Glasshavebuiltstudiosand hot shops in their museums infurtheranceof theirpubliceducationagendasandasacomplementtotheircollections. Contemporary glassmakingincludes a huge range of approach-es—vessel-making, conceptual art,

installation, assemblage, new mediaandmultimedia—manyof whichdonotusethehotshopastheprimarysiteof production.Yet, glass artistsareoftenaskedtoput theirprocessondisplayinthemuseum’shotshopas an attraction for the public. Theinstitutional agenda, combinedwiththe artist’sprocesson thehot shopfloor, creates an implicit tension.

This space is si-multaneously in-vigorating anduncomfortable,public and voy-euristic, spectac-ular and suspect.LikethePepper’sGhost illusion, adoubling occurs.A reflection of the working art-ist iscreatedandpresented as acharacter in theinstitution’s nar-rative of con-temporary artandcraft.Thehot

shop floor transforms into a stagewhere the artist is haunted by theirownimage,which,whileresemblingtheir likeness, is only a glancing re-flectionof theirartisticbeing.

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Bohyun Yoon

Bohyun Yoon uses simple prop-erties of glass in conjunction withthe livebodytocreatephenomeno-logicalvideos, installations,andper-formances. His work examines therelationship between how peopleunderstandtheirbodyandhowthisunderstanding affects their identityin a wider context. Recently Yoonhas been researching the simple in-strument of a glass tube to createephemeral compositions of sound.Bydisplayingharmonyandstrugglewithinthesameaction,hiscomposi-tionsrepresent,“adreamof aworldwhere weapons transform them-selvesintomusicalinstruments.” Yoon is a glass professor atVirginia Commonweath University,andhisworkwas recentlyexhibitedatthe40under40showattheSmith-sonian’sRenwickGallery.

Robin & Julia Rogers

At Cloud Gap studio in WesternMontanain2001,thepathsof Julia Boriss and Robin Rogersintersect-edandeventuallymerged.Theybothbecame part owners of the studio,workingtogether,operatingthesmallbusiness,andcreatingglasstogether.In2005,inpursuitof Masterof FineArt degrees, the couple decided toleaveMontana for Southern IllinoisUniversity, re-envisioning their glassstudioas a trailer-mountedportableshop. Educational and professionalopportunities have taken the glassyfamilyfromCarbondale,IL,toBowl-ing Green, OH, Detroit, MI and,currently,Norfolk,VA. After nearly ten years of working side by side on their ownwork,theRogersdecidedtostartcre-atingartworkasaduo.Everystepof theprocess, from ideadevelopmentto finishing touches, is completedbybothartists.Throughthesynergyof their collaboration, the whole ismuch greater than the sum of theparts.

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Jocelyne Prince

Glass artist and sculptor Jocelyne Prince createsquirkyworksinglassusing a variety of unconventionalmaterials and experimental process-es.Hervisualvocabularyisinformedby turn-of-the-century technologyandadialogue that revolvesaroundtheobjectivelensof thecamera,mi-croscope, telescope, and other sci-entificdevices.Jocelyneunderscoresthenotionof technologicalauthorityby combining the scientificmethodwith handcrafted glass traditionsthat usually are read as decorative,personal, and subjective.Her recentwork includes a series of live glassperformances that use the lifespanof glass as anarrative structure.Bycombiningculturalsymbolsandmu-sical elements in the hot shop, Joc-elyne creates poetic vignettes thatdrawonthephenomenologicalprop-ertiesof glass. She iscurrentlyaprofessorat theRhode Island School of De-sign, and has taught and exhibitedinternationally.

Kishi Bashi

Kishi Bashithepseudonymof sing-er, multi-instrumentalist, and song-writer “K” (Kaoru) Ishibashi. Bornin Seattle, Washington in 1974, hegrew up predominantly inNorfolk,Virginia,where both of his parentswere professors at Old DominionUniversity.Hehasrecordedwithandtoured internationally as a violinistwith diverse artists such as ReginaSpektor, Sondre Lerche, and mostrecently, the Athens, Georgia-basedindie rock group of Montreal. Hissololiveshow,KishiBashi,isadaz-zlingarrayof loopingvocalandvio-lingymnastics. K has toured and recordedinternationallyandwasvotedoneof the 50 best new artists of 2012 byNationalPublicRadio.

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Jonny Farrow

Jonny Farrow is an artist work-ing with sound at the intersectionof sculpture, installation, radio, andperformance. His work investigatescultural and architectural spacesthrough interventions createdwithfoundandmadeobjects,sound,andlight.Heisinterestedinjuxtaposingsoundwithobjectstocreateaspacewhere meaningful, culturally criticaldialoguecanevolve.Jonnyiscurrent-lygettinghissecondmaster’sdegreeinsoundattheSchoolof theArtIn-stituteof Chicago.Beforebecomingagradstudent,hetaughtmusic,cul-ture,andsoundartforseveralyearsinNewYorkCity.Hehasshownandperformed at such notable institu-tions as Cabinet Magazine Gallery,TheGuggenheim,ArtinOddPlac-es,ISSUEProjectRoom,MinaDres-denGallery,Schoolof theMuseumof Fine Art, andModernaMuseet,Stockholm.He hosts amonthly ra-dio show,TheDistract andDisableProgram,onwgxc.org.

Brittany Scott

Brittany Scott isahumanrightslaw-yerwhodroppedoutof artschoolin2003.In2010,shejoinedtheNation-alEconomic&SocialRights Initia-tive.HerworkatNESRIfocusesondeveloping human rights approach-es, analysis, and tools for systemichousing reform in partnershipwithcommunity-basedorganizations.Shepreviously worked in support of grassrootscampaignsforbasicwork-ers’ rightsand for thedeinstitution-alization of peoplewith disabilities.In 2010–2011, Brittany coproducedagrassrootsdocumentaryfilm,More Than a Roof,andrecentlycoauthoredherfirstlawarticle,Demolishing Hous-ing Rights in the Name of Market Funda-mentalism: The Dynamics of Displacement in the United States, India, and South Africa(pendingpublicationbyCam-bridge University Press). She has aB.A.fromWashingtonUniversity inSt.Louis,andisagraduateof Ford-hamLawSchool.

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Adrien Broom

Adrien Broomisaself-taughtpho-tographer with a penchant for thebizarreandbeautiful.Sheiscommit-tedtocreatingartthatisexploratory,communicative, and empowering.Her photographs represent a peekintoheraestheticconnection to theworld around her. Her images of-ten tell stories, exploring conversa-tionsbetweenthenaturalworldandWesternculturethroughconstructednarrative scenes. Adrien’s diversebackground has greatly shaped herapproach to photography. She re-ceivedaB.A.in3-Dcomputeranima-tioninBoston,hasstudiedfineartinFlorence,andhasstudiedarthistoryatChristiesinLondon.Theseexperi-encesexposedhertoworksthatcon-tinuetoinfluencethestructure,com-position,andpainterlyqualityof herwork.Sheisgreatlyinfluencedbythedramaticaestheticof artistssuchasJohnSingerSargent,Caravaggio,andGregoryCrewdson.

Andy Paiko & Ethan Rose

Andy Paikoreceivedhisundergrad-uate degree from California Poly-technic StateUniversity in SanLuisObispo, California in 2002 and hasbeenworkingasanindependentstu-dio glass artist ever since. Throughseveralapprenticeships,hehasstud-iedcolorchemistry,hotshopfabrica-tion,historicalreproduction,andVe-netian technique. Andy’s dedicationtosologlassblowinghasallowedhimtodevelophisownmethodof col-lage-styleassemblagethatmergeshisfascinationwithengineering,science,andvisualart.HecurrentlylivesandworksinPortland,Oregon.Ethan Rose is a sound artist andcomposerbasedinPortland,OregonandChicago,Illinois.Hisworksman-ifestinavarietyof forms,includingperformance, installation, and re-cordedcomposition.Throughmeth-ods of reduction and repositioningEthanutilizesmethodsof interactivecomposition to explore qualities of materiality,transformation,andperception.

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Co-Producers Kim Harty and Chartlotte Potter Kim Harty and Charlotte Potterbeganworkingtogetherin2008duringaresidencyatWheatonArtsandCulturalCenter. There they joined with fellowresidentRikaHawestoformCirquedeVerre, a glass performance art group.Combiningcampyhot-glasscircusactswith selections of glass performanceart, Cirque de Verre performed atart centers and museums across thecountry.Whenthegroupdisbandedin

2009,CharlotteandKimchanneledtheirenergiesintotheirindividualstudiopractices,butin2012decidedtoreuniteforanewcollaborativeproject.Theircreation,The Glass Theater,isavenueforartistsandwritersandisfocusedon fostering an interdisciplinary dialogue and cultivating an intellectualframeworkforglassperformanceart. Charlotte isManagerof theChryslerMuseumGlassStudio.Kim isanM.F.A.candidate in theArtandTechprogramat theSchoolof theArtInstituteof Chicago.

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AcknowledgementsThe Glass Theaterwouldlike to thank each of ourperformers, contributingartists, and writers fortheir earnest, thoughtfulefforts and participation.Tonight would not havebeen possiblewithout thecourageous support of the Chrysler Museum of Art, specifically Director

BillHennessey,EducationDirectorAnneCorsowhogentlyacceptedthisasherfate,EditorCherylLittlewhoproofreadmuchof thisplaybillandonlyrewrote some of the copy, Mary Collins whose organization assures eachThirdWednesday’sflawlesssuccess,andtheChryslerMuseumGlassStudioAssistants whose dedication and volunteer hours allow us to educate andentertainourdailyvisitors.

© 2013 The Glass Theater