UrbanArias Blog


Art is Political


dwb (driving while black)

“Driving while black”

One is the title of the opera by Susan Kander and Roberta Gumbel that we are presenting at the end of the month. The other is a phrase Black Americans have used for years to encapsulate the injustice, fear, and danger they encounter on a regular basis while simply going about their lives.

Susan and Roberta wrote the piece in 2015, inspired by their conversations surrounding their own sons’ coming of driving age and by the general awareness of Black parents of what it means to put their child behind the wheel of a car. They were making an artistic and political statement by writing the opera on this subject.

UrbanArias Founder and Artistic Director Bob Wood programmed dwb into the 2020-2021 season because it is an excellent work which tells a story of today’s America (and, of course, it is short and new). He was making an artistic and political statement by including the work in our season.

George Floyd's face projected onto Confederate monument

Soprano Karen Slack and filmmakers Du’Bois and Camry A’Keen were making artistic and political statements by signing on to star in and create a film version of the opera.

All these subtle political statements happened before Black Lives Matter exploded in mid-2020, becoming a global movement fueled by the collective outrage surrounding the murders of George Floyd, Breonna Taylor, Ahmaud Arbery, and so many others. Artists and companies around the country and around the world came forward with written statements speaking out against the unjust fears our Black and Brown colleagues and friends face daily.

And now, just this week, we have seen two more horrific examples of this fear, the fear of Driving While Black, come to life. Army 2nd Lieutenant Caron Nazario, pepper-sprayed after being pulled over in his new car, and Daunte Wright, killed when a police officer used her gun instead of her taser.

As the director of a company presenting an opera entitled dwb (driving while black) in this moment, I am keenly aware of the line we are walking between art and politics. Toni Morrison once said “All good art is political! There is none that isn’t. And the ones that try hard not to be political are political by saying, ‘We love the status quo.’”

As we present this beautiful film, we are saying loudly and clearly that we do not love the status quo. We do not love seeing yet another “beautiful brown boy,” as The Mother in dwb calls her son, killed in an act of senseless violence. We do not love a system which routinely thwarts justice by allowing perpetrators to go largely unpunished while the lives of innocent people are destroyed.

Art is political, one way or another. We are choosing to be political on the side of change.


Anne-Carolyn Bird
Executive Director

Our favorite Musical and Operatic Fools for April Fools Day

Robert Wood, Founder and Artistic Director

This April Fool’s Day, I am choosing Rigoletto to illustrate the dark side of practical joking and fooling. It’s all fun and games until your daughter falls in love with a gigolo and karma takes your assassination plot and bites you in the ass with it.

More seriously, many of my favorite operas are works that examine humanity and don’t shy away from the ugly parts.The audience both pities Rigoletto and is disturbed by him. Verdi’s incredible music elevates this character into a deeply flawed man full of pathos. Rigoletto is a joy to conduct from start to finish – as is all of Verdi, really. 

Anne-Carolyn Bird, Executive Director: 

My favorite opera “fool” has to be Figaro from Le nozze di Figaro. Throughout the opera, Figaro willingly acts a fool, turns the tables to make his master look a fool, and in the end is completely fooled by Susanna, who is his equal in every way (although maybe not so foolish). We first meet this character being a “fool for hire” in The Barber of Seville, using his smarts to create a foolish diversion in order for his master to sneak away with the girl. 

By the time we get to Nozze, however, Figaro’s stakes are higher and his foolishness – intentional or otherwise – almost gets in the way of his marrying his match. In Act IV, he recognizes Susanna’s trick at the very last minute, turns the tables once again and fools her back. After a wicked fight, they end in perfect harmony – “La commedia, idol mio, terminiamo” “My love, let’s stop this foolishness!” It is a beautiful moment of reconciliation, and will always be my favorite moment in this perfect opera. 

NB: I sang Susanna many times and am married to my very first foolish Figaro… Smartest decision I ever made. 

Paul Peers, Artistic Administrator

As a director I have always loved the archetypes from Commedia Dell’Arte; Arlequino, Il Capitano, and Pucilnella to name a few. So when given the opportunity to direct opera from the Baroque period I jump at the chance. Elviro from Handel’s Xerxes was a lot of fun to collaborate on with a singer. He is a Basso Buffo role, a Zanni who is a fool who plays the astute servant. Although I would not call Elviro astute, his heart is always in the right place no matter what crazy situation he finds himself in.

NB: My wife and I first met working on a clown show titled Love is in the Air. Five years later when we married, we had all of our guests wear red clown noses during the reception.


Susan Derry, Board President 

Ah the fool.  She’s in a million love songs: fools rush in, so I’m a fool, but falling in love with love is playing the fool. I’m a fool to want you, fool that I am. Weren’t we fools? April has her fair share of songs too and as an April baby, I love them all – give me half a chance and I’ll even work spring songs into a Christmas show. But there aren’t that many that put the two together. One that I love: Jerome Kern and Dorothy Fields’ “April Fooled Me.”

Once April Fooled Me

With an afternoon so gold, so warm, so beguiling

That I thought the drowsy earth would wake up smiling

But April Fooled Me then

The night was cold

Jerome Kern wrote some really famous music: the luminous “All The Things You Are” has been called the perfect song, and of course his music for Show Boat completely changed how we integrate story and song in the musical theatre.  But it’s the tunes he wrote with Dorothy Fields that are among the most-performed in his canon.  The two began writing together in the 1930’s, penning such hits as “The Way You Look Tonight,” “I Won’t Dance,”  “Remind Me,” “A Fine Romance,” and the musical A Tree Grows In Brooklyn.  By all accounts they were great friends.  

They were slated to start work on Annie Get Your Gun when Kern suffered a stroke on a New York street and later died.  Fields was heartbroken to lose her friend. Kern’s wife Eva sent Fields a wordless melody Kern had written, “one of his treasures – and I simply had to write a lyric to it.”  And so she did – it’s a lovely tribute.

Once someone fooled me

With a kiss that touched my heart beyond all believing

But like April that sweet moment was deceiving…

It was not really spring nor really love

You were alike, you two

Restless April Fooled Me

Darling, so did you.


Musical Holiday Traditions in 2020

This holiday season has looked a lot different. While some traditions remain unchanged – trimming the tree, making latkes and gingerbread houses, lighting candles – others are just not possible. Getting together for concerts, services, and caroling will have to wait until next year, but thankfully there are many virtual options. These creative alternatives can all be enjoyed from the comfort of your couch, Christmas jammies on and hot chocolate (or hot toddy!) in hand. 

Below, the UrbanArias team shares some of our holiday traditions and ways that we will be celebrating this year. What are you missing this year? If you’ve found a good virtual replacement, let us know about it! 

Robert Wood, Founder & Artistic Director:

“I listen to different recordings of the Messiah and carols while decorating the tree. (The John Eliot Gardiner recording with the Monteverdi Choir is a good one.) This has not changed. What was different is how early I put up my tree this year (December 3!). I needed the holiday energy. So I started my rotation with King’s College Advent Lessons and Carols, since it was, you know, barely Advent. For the purists out there.”

Susan Derry, President:

“In a normal year I’d be gearing up to pinch hit with my childhood church choir – a super-fun group of folks with whom it’s always a pleasure to spend a very long Midnight Mass.  But that’s not possible this year.  So I’m getting my holiday musical kicks by doing a solo show – it’s a lot more work but it’s also safer. I’m excited to spread some holiday cheer, Derry-Christmas style.”  

For a beautiful online Christmas Eve service, sign up to view mass at the Washington National Cathedral! And you can watch Susan’s delightful cabaret through the end of the month: Buy tickets here: Holiday Cabarets from Creative Cauldron.

Paul Peers, Artistic Administrator:

“Here in Australia, we celebrate our summer Christmas by listening to Carols (generally my family lean toward the crooning versions of Sinatra or Dean Martin) while eating chilled cooked prawns (shrimp) and the dessert called Pavlova or commonly known as ‘Pav’. Pavlova is a popular summer dessert of lightly baked meringue topped with sweetened whipped cream (Or Creme Chantilly) and fresh fruit (generally various berries of some sort), very delicious and cool in the summer heat. The ‘Pav’ is named after Anna Pavlova, a Russian ballet dancer who toured Australia early last century.”

Alysa Turner, Marketing Director:

“Every year I get dressed up with friends and go see the NSO’s Messiah at the Kennedy Center. That can’t happen this year unfortunately but I am loving all the new streaming options and am looking forward to enjoying some of them over the Holidays! As a marketer, I’ve also been fascinated by the rise of the crowd-sourced TikTok musical based on Pixar’s Ratatouille – which has a benefit concert performance to support the Actor’s Fund on New Year’s Day!”


Anne-Carolyn Bird, Executive Director:

“My favorite traditions have always been home-based, so this year isn’t much different: making cookies, watching holiday movies, decorating a Gingerbread House that we will smash on New Year’s Day… Christmas Eve for me has always included a listening of Menotti’s Amahl & the Night Visitors. Thankfully that isn’t a tradition impacted by the pandemic! I always listen to the 1951 NBC Television recording. The Mother’s music used to always bore me a little when I was a kid; now that I’m a mother, I recognize it as the real meat of the opera. “Have You Seen a Child” makes me cry every time.”

However you celebrate this year, we hope you are healthy, safe, and surrounded by music! We look forward to seeing you – online and in person! – at the opera in 2021! 


Happy Holidays and Happy New Year,


Composer’s Gift Guide

The final installment of the UrbanArias 2020 Holiday Gift Guide features Gifts for Composers!

We really like the simple, modern look of this Piano Keys Sound Wave T-Shirt and a classic piece of Instrument Art.

Or, gift your favorite songwriter with Chasing Chopin, which explores when, where, and how the composer created his most famous works.

Still need a few stocking stuffers? Grab UrbanArias’ recording of Paul’s Case or this fun Piano Key Bottle Opener!

And don’t forget,  you can support your favorite Contemporary Opera Company while you shop! Simply click here and for every purchase you make on Amazon, a portion of the proceeds will come directly to UrbanArias!

Singers Gift Guide

Next up in our Holiday Gift Guide, find the perfect presents for Singers!

It might be a cliché, but any singer based in the Northeast will agree you can never have too many Oversized Blanket Scarves!

And, while we’re all performing in the digital space, no at-home workspace for singers is complete without a quality Ring Light!

After the show, cozy up with a good book like The Inner Voice: The Making of a Singer or pour yourself a cheeky glass of wine and listen to Si by Andrea Bocelli 


Opera Kids Gift Guide

Looking for the perfect gift for the Opera-Loving Kids in your life? Check out our Holiday Gift Guide for Kids:

Try this subtle but stylish famous composers T-shirt for the teens in your life, while school age children might be ready to start their own orchestra after receiving an 18-Piece Orchestra! For the littlest ones, spark an interest in classical music with the adorably musical Mozart Bear.

For an introduction to some of the World’s most famous operas, gift Sing Me A Story: The Metropolitan Opera’s Book of Opera Stories or get the whole family in on the fun with Spontuneous – The Song Game!

And the best part is you can support UrbanArias while you shop! Simply click here and for every purchase you make on Amazon, a portion of the proceeds will come directly to UrbanArias to support our mission of exposing DC-area audiences to Contemporary Opera!




Support Contemporary Opera with Amazon Smile!

Doing a little Black Friday shopping for the Holidays?

Did you know you can support your favorite Contemporary Opera Company while you shop? Simply click here and for every purchase you make on Amazon, a portion of the proceeds will come directly to UrbanArias to support our mission of exposing DC-area audiences to Contemporary Opera!

Struggling with what to buy this year? We’ve got suggestions!

Let’s start with the perfect gifts for the Opera Lover in your life…

A simple and understated Piano Pewter Cuff Bracelet is a perfect daily musical reminder! Or gift your Opera Fan a pair of stylish Symphonized Headphones to upgrade their Zoom call game or enjoy a recording of their favorite opera!

Speaking of albums, no Opera Lover’s collection is complete without
UrbanArias’ original cast recording of Paul’s Case!

For some social distancing reading material, we recommend Alex Ross, Wagnerism: Art and Politics in the Shadow of Music.

And for the Opera Fan who has everything – you can be pretty sure they don’t already have an Opera Singer Sponge Holder!

Don’t forget to type smile.amazon.com into your browser before purchasing to make sure you’re supporting UrbanArias while you shop!

Get to know our new Executive Director, Anne-Carolyn Bird!

Where are you from? 

This is always a tricky question for me: I’m an Air Force Brat! Oddly enough, that itinerant childhood prepared me for the life of a professional opera singer in many ways: I can be instantly at home anywhere and with anyone, I love travel but am also a homebody, and I learned German at an early age. I have lived in Utah, Washington, New York, Georgia, Illinois, and Maine – to name a few!

What was the first opera you saw or experienced?

My first experience with opera was probably the recording of Amahl and the Night Visitors that my father played around Christmas time. We were more of a folk music family than classical, but quotes from Amahl were always part of our daily life. First opera I saw live: something dark and gloomy at the Atlanta Opera circa 1993; clearly I wasn’t ready to discover opera. First opera the made me fall in love with opera: the Zeffirelli film of La traviata with Teresa Stratas and Placido Domingo.

How did you know you loved performing/opera/classical music?

When I was 10, I played the Maud, the no-nonsense cleaning lady, in a performance of The Capricious Pearls with the Loring Air Force Base Children’s Theater. At one point, something I said made the audience laugh – and I was hooked! After being part of the theater and music crowd in high school, I truly discovered opera in college when I realized that opera combines all the arts that I love – music, dance, theater, visual art, storytelling. It’s an incredible art form, truly boundless in its scope and reach.

What were your favorite roles / performing experiences?

Susanna in Le nozze di Figaro is hands-down my favorite role (See next question!). As for experiences: sharing the stage of the Metropolitan Opera with Anna Netrebko in Manon and L’elisir d’amore and with Bryn Terfel for his final Figaro; premiering John Musto’s Inspector at Wolf Trap; and working with director RB Schlather on David Lang’s Little Match Girl

Passion.  Meeting David Bowie after a performance of Golijov’s La pasion segun san Marcos was also a highlight! For the past several years, I have enjoyed learning the role of supporting and creating opera from the other side of the stage. I look forward to building on everything I’ve learned and experienced in my career to help UrbanArias grow into its next decade – and beyond.

Tell us about your family!

I met my husband, Matt Burns, when we were singing Figaro and Susanna in Le nozze di Figaro at Grand Rapids Opera in 2007 – and we were married within the year! In non-pandemic times, he is on the road performing about 60% of the year. In addition to his operatic talents, Matt discovered a passion and penchant for the finer points of the wine business several years ago, and when not performing he works at Total Wine and is the founder of Magnum Opus Tasting Concerts. We have two precocious children: Henry, age 10, and Gloria, age 5. Henry loves dinosaurs, dragons, music, magic, and being silly with his dad. Gloria (aka GG) loves sparkles and frills and unicorns, getting dirty, being in kindergarten, and snuggling with her mom.

What song do you have on repeat right now?

It is an eclectic mix at our house! We love piano-based songwriters, so lots of Billy Joel, Ben Folds, Regina Spektor; also early 00’s pop like The Shins, New Pornographers, Feist, Sufjan Stevens. Of course, the Beatles! The soundtracks to a dozen animated films, and my guilty secret: Harry Styles.

Sharin Apostolou and Ryan MacPherson: On lip-synching, trust and a full life.

It’s a special time for soprano Sharin Apostolou and her husband, rockstar development director and tenor Ryan MacPherson, and UrbanArias is thrilled to get to be part of their joy.  They chatted with us about making art and having a life in the pandemic. 

Your special circumstances make you ideal for this project.  How did we get so lucky?

Sharin: John De Los Santos and I were chatting months ago and he brought it to me. He and Bob Wood are two of my absolute favorite collaborators so I jumped at the idea (after I warned him that I might look quite different when we’d be filming.) Also, getting to perform with my husband is always such a treat!

How has the pandemic been for you guys?

Ryan: As I’m somewhat “retired” as a performer, and now working in Arts administration as the Director of Development for the Charlottesville Symphony, it was a welcome return to singing and performing. It was also wonderful to work with a lovely small group – one that included many friends that I have known over the years.

Sharin: I won’t sugar coat it- it’s been HARD. Many of us are afraid. Months of work and income vanished overnight and it keeps coming in waves. And that’s only the practical part. We prep for months for our engagements and we want to create something amazing for the audience. That’s all gone, too. Everything has been so uncertain. It still is, really. It’s exciting to be a part of projects like this that are thinking outside the box! 

You play a married couple, expecting their first child.  Obviously, you relate!

Ryan: While based within a pandemic, I felt a wonderful connected honesty with regard to the relationships. Many of the struggles and comforts found with Ricky and Kat are reflected in my everyday life within our marriage. 

We all are experiencing this frustration of being locked in one environment that is limiting, but never changes – like the movie “Groundhog Day” with Bill Murray. It just takes one person to help you change your perspective and make it all ok.

Sharin: Kat and her partner Ricky have both lost their jobs and are staying at her parent’s house. She and her mother happen to also be on opposite sides of the political ideological spectrum. It’s also the dead of summer and the A/C is broken. And she’s pregnant. She’s very frustrated with her set of circumstances, to say the least. How do I relate? While my husband has stayed employed (thank goodness!) and we stayed in our own apartment, I tick the rest of the boxes- preggers and all! I think many of us are going through this pandemic with loved ones who feel or think differently about it. I’m sure there will be many moments that you can relate to. 

Was this your first opera-on-film? What was it like to make The Roost

Ryan: I’ve recorded quite a few albums, and have been in a couple of movies – but the way that we put this together was completely different. We recorded the music in our own home, without rehearsal, and in a very short amount of time. There is an incredible amount of trust that allows all of us to do this. They trust we will learn it and do our best, and we blindly give tracks that are dry, without music in the background, and completely out of context to the action that we would be shooting later. As we submit those tracks, we put our trust in the music staff and audio personnel to make us sound great!

And lip-syncing to your own voice and cadence is another completely bizarre challenge. At the end of the few days that we had to shoot, we were utterly exhausted. It felt like we exercised a muscle that had never been used. 

Sharin: I mean, I’ve done recorded auditions and self tapes but this was TOTALLY different and unlike anything I’ve ever done. It was incredibly eye-opening and MUCH harder than I was expecting. I’ve been performing on stage professionally for over 15 years and I felt like such a neophyte. I feel SO fortunate that I knew and loved everyone involved in this project because they all received at least one text or email that started with “this may be a stupid question but…” There was a steep learning curve, to say the least! 

It’s pretty unusual to have so many companies working together on one project. Your careers are so wide-ranging – have you worked with any of the other Decameron artists in other settings?

Ryan: I met Bob Wood at the Santa Fe Opera when I was a young artist in 2003. Bob was our chorus master for some incredibly difficult pieces – I was so impressed with his professionalism and musicality. His vision and talent have not only grown but provide a true gift to the DC community through Urban Arias.

I’ve known Emily Pulley for about 17 years, and have had the pleasure to share the stage with her about as many times. From Opera Omaha to Central City Opera, to Virginia Opera – working with her is like coming home to a cherished family.

Sharin and I celebrated our seventh wedding anniversary Sharin Apostolou and Ryan MacPhersonthe day after we wrapped shooting. We met on the job eleven years ago and love every chance we have to sing together. To have the gift of a piece that reflects our time and celebrates the real-life joy of expecting our first child is a gift that we will always treasure.

Sharin: Yes! Emily Pulley, who plays my mom, and I have known each other since my first professional job. I was lucky enough to do Florida at Urban Arias with Bob a few years ago and this is my fourth project with John De Los Santos (Le Comte Ory at LoftOpera and South Pacific and Camelot at Charlottesville Opera.) And, Ryan and I have been together for 11 years and married for 7. I hadn’t worked with Marc Migó but I LOVE singing his music. 

As for other companies, yep! Michael Ching, who wrote Dinner 4 3 for Fargo Moorhead Opera, conducted me early in my career and we’ve stayed friends ever since. Peter Hilliard and Matt Boresi and I met when I was still in grad school and I performed a piece of theirs and, thanks to social media, stayed friends through the years. As for the other singers, we’re a small community and like a family. For purely selfish reasons, I hope we get to do these in person just so I can see Jorell Williams, Briana Elyse Hunter, Kate Jackman, Josh Kohl, and Katie Henly.  It’s going to be one heck of a party! 

And a special word from Ryan:

I’m now a development director so I want to make sure that everyone out there knows that we can’t do this without their support. Great cities have great art and we have a duty to keep them going. Fill your life with music and support your local arts organization!

Thanks Ryan – we couldn’t agree more!

Get your tickets for The Roost here and join us on October 16 for the premiere!
Tales From A Safe Distance will be available on-demand until December 31.

John de los Santos and Marc Migó: On collaboration and finding artistic joy in lockdown

Director and libretist John de los Santos and composer Marc Migó collaborated to create The Roost.  John’s steady vision and Marc’s gorgeous music really gives buoyancy to the inner worlds of the characters while clearly propelling a taut and sexy storyline. The two discuss collaboration, working with old friends and staying inspired in quarantine.

How did you two come to write The Roost?  What spoke to you about the project?

John De los Santos, Director

John: Bob Wood first contacted me about writing a piece for the Decameron Opera Coalition in May. He had produced another piece of mine called Service Provider in 2017, and wanted to see if I could write and direct another operatic comedy about the difficulties of modern quarantining. I had worked with composer Marc Migó at Juilliard the previous year, and thought he would be an excellent partner in this new collaboration. I’m happy to say that despite the difficult times we are in, working on The Roost has been a career highlight that I will never forget. 

Marc: My good friend and librettist John de los Santos suggestedComposer Marc Migó the idea to me, and I found it really appealing! Not only did it present a rare opportunity of working on a commission during the pandemic, but the subject of the Decameron that John chose was irresistible. I don’t know what I would do if I could not create, especially in the context we are living in. Working on The Roost allowed me to channel a much-needed optimism, a message of enduring love and understanding. Writing this work and collaborating with the librettist, conductor, singers, etc., was truly a therapeutic and unforgettable experience.

We love that sense of optimism, especially since the performing arts are taking such a beating. What’s it been like being an artist during a pandemic?

Marc: Technically speaking, quite the same; being a composer is quite a reclusive occupation per se. However, emotionally it has been very different, for obvious reasons.

John: It’s been disappointing in many areas, but has also presented challenges that have resulted in tremendous artistic growth. While many jobs have been lost or postponed, there have been several new connections made with other artists who are all dealing with the same uncertain situation. All of this unforeseen networking will undoubtedly yield a number of unique pieces to premiere once it’s safe to perform live again.

Describe your work on The Roost (without giving away too much!). What do you want the audience to gain from your choices or perspective?

John: When I began to write the libretto for The Roost, I set three goals. First, I had to find a story within the one hundred contained in the Decameron that would translate to a modern audience in a digital format. Next, I needed to create comic potential in not just the narrative, but equally in the capacity for the music. And finally, I wanted to touch on the interesting relationships COVID has forged within our politically divided country. Whichever side we are on, we must ultimately rely on and work with each other to beat this pandemic and rebuild.

Marc: In this very unusual and troubling time, I wanted to provide the chance for the audience to laugh, to feel accompanied by some very relatable characters, and to experience the terribly missed “being outside” feeling. I think of The Roost as a nurturing experience, a chance to cleanse our distress through the beauty of music, along with the wit and warmth of the story.

We’re grateful the two of you had worked together previously!   Do you know any artists in either The Roost or the other nine Decameron Opera Coalition companies? 

Marc: I know very well John de los Santos, the wonderful librettist for the Roost! I have been very lucky to get to know him during my first year of Doctorate at Juilliard. I feel we immediately connected, and I hope this will be the first of a series of fertile collaborations!

John: I had directed Sharin Apostolou in three productions prior to The Roost, and was friends with her husband, Ryan MacPherson. The most interesting thing was staging intimate scenes for a husband and wife team, while we were all masked and trying to remain as distanced as possible. I’ve also directed Katie Henley (The Sky Where You Are, An Opera Theatre) and Briana Elyse Hunter (The Late Walk, Bare Opera), and worked with conductor Eiki Isomura (Seven Spells, Opera in the Heights.)

Was this your first opera-as-film project? What was it like?

Marc: It definitely was! However, the only way it has been different from other operatic projects I have undertaken is in having to work with a very visual libretto, which in the end is quite a subtle difference. I believe the score must incorporate all essential stage directions, so that music and image really go hand by hand. 

John: This was the first time I had written and directed an opera for film. The turnaround for the entire project was very quick, so we all had to learn as we went and trust that our expertise in performing and producing opera would carry the process. Our amazing team of sound engineer Gordon Nimmo-Smith and film editor Tom Rubeck was essential in navigating the learning curve. The trickiest parts were synching the recording with the singers’ lips and filming outdoors in the cold without shivering on camera. The best parts were laughing with the cast and crew at all the bloopers and getting to film for a week in beautiful Charlottesville. 

Get your tickets for The Roost here and join us on October 16 for the premiere!
Tales From A Safe Distance will be available on-demand until December 31.