Oh man do we love stories, oh man do we want everyone to tell one.

When you are afraid of being vulnerable, you go to stories for connection. You go to stories to be less alone.  

You sit in a theater when you’re four and see Peter Pan right in front of you, and you fall asleep and dream of flying. You go to a movie and you see your mom cry for the first time, marveling at the fact that she’s so human and simultaneously so afraid of that fact. 

Stories matter.  And no one needs to learn that more than our two characters, Alan and Jesse.

When we started writing GLOB LESSONS, we had no idea where it was going to take us.  We knew the premise -- two people performing low-budget children’s theatre on a tour across the country.  We knew where -- we desperately want to put the stark beauty of the frozen Upper Midwest on film.  This desire, to capture the barren landscape of our childhood on film, was a cinematic reason enough to make this story a movie.  

We wrote out a hundred ideas on index cards -- everything we thought could be interesting, that we might want to explore in the story.  A line of dialogue.  A question (what does your own butt look like?).  A character impulse (the girl doesn’t have anyone she calls).  A few decisions were made -- they are strangers, not friends; they got names (hello Alan and Jesse).  And we started putting them into situations until we got to know them.  And once we knew them, a story started to form. 

But more importantly, our love for Alan and Jesse started to form. And our desire for them to find what we are hoping to find for ourselves -- or what we find for ourselves, and lose again, and then look for again.  A sense of self.  A sense of acceptance.  A sense of hope.  A sense that what you have to say has value, and if you're lucky, you will find someone who wants to listen.  And then will argue back.  But will listen again.  And that, most of all, you are okay, and that your ugliest parts, if you can be brave enough to make friends with them, can ultimately be the bridge between your humanity and mine.

So: we’ve got a movie. It’s a movie about two people who find themselves touring theatre to places where people rarely get to see theatre. Two people who’ve lost their own story, and find it again -- and two people who, somewhere along the way, gain the courage at last to tell stories the way they want to tell them.

-- Nicole Rodenburg & Colin Froeber

Originally hailing from Fargo, North Dakota, Nicole Rodenburg (Jesse, co-writer) is an actor and writer based in New York City. Her work has been described by the New York Times as "priceless." She recently starred in Annie Baker's Pulitzer Prize winning play The Flick, directed by Sam Gold, and appeared in Baker's newest play The Antipodes at the Signature Theatre. She has an extensive theatre resume, with a career spanning Shakespeare to our most important contemporary playwrights. Her screen credits include the starring role in What Children Do, directed by Dean Peterson, which premiered at the 2017 Cinequest Film Festival, Lifetime's Amish WitchesInside Amy SchumerGood News For Modern Man, and HBO/Cinemax's The Girl's Guide to Depravity. Her pilot Boomtown and her screenplay Glob Lessons, written with her longtime writing partner Colin Froeber, were both semi-finalists for the Sundance Television and Screenwriters Labs.

Colin Froeber headshot.JPG

Colin Froeber (Alan, co-writer) is a New York City-based actor and writer with a particular interest in educational and youth theatre. He has toured the United States and the New York metro area with various children's theatre companies, and has also taught youth acting and theatre classes in New York City public schools, in workshops across the Eastern Seaboard, and in his hometown of Fargo, North Dakota. Colin also maintains an avid interest in new and devised theatre and has appeared in several off- and off-off-Broadway productions of new works. Glob Lessons, written with his longtime collaborator Nicole Rodenburg, is loosely based on his experiences touring the United States with the Hampstead Stage Company (New Hampshire) in various two-actor adaptations of classic literature, including Robin Hood and A Christmas Carol.