Recently, while preparing for a trip, an email gives me pause. 

SoHo Rep, a mainstay in the downtown NYC theatre scene, is losing their place, again.  The last time was in 2016 when they were alerted of restrictions on space, both in audience capacity and scenic design.  They were fortunately able to work things out and have been at 46 Walker Street (aka "Walker Space") since 1991, so a lot of memories are at stake.  I still need to pack, but even though I've never really worked with them, they're worth making the time.  I've always been a fan.
 
SoHo Rep consistently presents a diverse array of avant-garde work without poise or pretention.  The staff is always friendly, the talent is top notch and the environment is always welcoming.  One of my favorite experiences was going with a classmate to see our teacher, Reed Birney, as the title character in "Uncle Vanya."  

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Suzanne and I walk into the space, and it's set up like a living room - no chairs and lots of communal carpet.  We find a spot against a wall and watch others navigate the space.  This set up is so intimate - it feels like we're listening in on private family discussions.  Reed's terrific as usual and I'm riveted by Michael Shannon who, as Dr. Astrov, gives one of the most nuanced performances I've ever witnessed, particularly in his scene with Yelena, where he tells her of his affinity for the Forest & its conservation.
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This time, I walk into the lobby alone. 

The staff greets me with a smile and gives me the lowdown - there's refreshments downstairs, artwork for sale on the table, and markers should I wish to write something on the wall.  I thank them and head inside the Theatre.

The space is no longer a Russian Living Room, a Louisiana Plantation ("An Octoroon") or a Workshop for writing ("Writer / Director Labs").  It's just wide open; a tall ceiling surrounded by black walls, with a makeshift stage at the end.  There's plenty of plastic chairs to sit on, and the vibe is, as usual, nice and relaxed.  As someone finishes up a Eulogy, I find a place to stand and watch.

A few seconds later...
Will Davis, from the Rattlestick Theatre, gets up and walks to the stage with a script.  They ask if anyone in the room wants to read with them and I raise my hand.  Will looks around, squinting through the mix of spotlight and darkness, and picks me.  I walk forward.  Once my face hits the light, they recognize me and I smile - what a fun coincidence.  I take off my coat, step on stage and follow Will's lead.

Written by Shayok Misha Chowdhury, this Eulogy is actually a scene between "SoHo Rep" (played by Will) and "Walker Space" (played by yours truly).  I have no idea what to expect but once the 5-minute timer starts, off we go.

Misha's script is so much fun - a "space" having it out vs. its "theatrical" tenant. 
Will gives me plenty to work off of and, while this is a very cold read, people are laughing - it almost feels effortless.  We finish the piece, announce our names and walk out of the spotlight, giving room for the next speaker.  It's a bittersweet moment - as I put my coat back on, I realize that this may be the only time I ever work in this space.  Well, If that's what it is, I'm even more grateful to Will for spontaneously making it happen.

As I listen on, the Eulogies range from funny, to sad, to avant-garde:
Playwright Branden Jacobs-Jenkins' offering is full of random sounds which ends with the phrasing "There are no words;"  Actress Kate Tarker's recalls memorable moments with cast members; and Architect Fred Basche's entry brings it all home.  He mentions how while Walker Space is exceptionally "Unremarkable" in many ways, what happens here is exceptional and will live well beyond its time. 
I can't agree more.

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"Soho Rep. is not a building. It's an artistic legacy and it's the people
---  us and all of you --- 
who now carry that forward."

- Sarah Benson (former Artistic Director)
and Cynthia Flowers (Director),
from a 2016 email.