A big goal in the Youngblood year is that you're always writing. You never stop writing. You always have a deadline. You always have something that's going up so in addition to the Oktoberfest and the Bloodworks which are reading series there is the unfiltered workshop productions which get three weeks of rehearsals just like an equity showcase or what have you, and then they get two weekends of performances off book and fully staged. The season starts with a ten-minute play festival that it's one of these where you pull your cast and director out of a hat and you have a short period, a week, to write a play for them and they have a week to rehearse it and just sort of gets you in the mix. And usually that's right after you've joined the group. You get the phone call that you're in Youngblood, you come to the first brunch- the first Youngblood brunch of the season, you get introduced on stage, and then you immediately are picking actors out of a hat so that you're- you have a play due the next week.
As co-director Graeme Gillis explains in this excerpt from the podcast, you don’t just join Youngblood---you jump in with both feet. [00:58]