BO: It's like self-referential queer fun. We're really embracing our community, while poking fun at ourselves. We're indulging in being out and being a lesbian, and being the goofy people we are. JB: It's like a soap set in the least soapy place you can imagine. As a premise, I think what's fun is that it's happening in Berkshires and we're trying to tap on little tiny things that happen outside of the city. Delightfully crunchy things happen there, which isn't hip in the city, but that's why this project is fun to do � it lets us indulge in our cornier impulses.

JB: One thing that's really fun is the mistakes you can make and how you can feed off your audience and directly know what's working. If they like what we're saying, something vocal will happen. If a joke falls flat or if our politics are bad, we'll know that too. To be able to come back and return to characters over and over was exciting to all of us as writers, to go back to the space and build an audience.

BO: Definitely Japanese theater and a lot of contemporary artists. Lately, I've been feeling very influenced by David Lynch. He wrote these sitcoms that are amazing and very quirky. They're the way I think the soap opera should become: strange and twisted. It was too out there and strange and perverse for America â�� I was obsessed with them while living in Japan. I want Room for Cream to go there- I want stranger and stranger, more high arty. In my mind, if I would write an episode, it would be like a David Lynch sitcom. Maybe I'll write one, you never know. I'd never acted before the premiere, so maybe I'll write! JB: I feel like soap operas like this draw from pop culture, but I feel like writers have to divorce themselves from pop culture to write a different kind of play. Sam Shepard is one of my favorite playwrights since I started college. I love drama and all its clich�©s: people having arguments and pulling their hair out. I really like all the classical tenants of drama and not necessarily the use of post-modern techniques to achieve an effect. I'm old-fashioned.

JB: It's hard to balance making theater and seeing enough theater. I loved No Dice. It was a thoroughly entertaining three and a half hours. The performers were engaging and seemed really ego-less in a way that was exciting to me. The actors were being guided by the text, which is nice, and had really great onstage chemistry. They'd stop talking about something and then spend ten minutes on a topic and abruptly switch, which gave the audience a feeling of wanting more all the time. I could've heard a million of those.

BO: We'll probably do a season two of Room for Cream. For Two-Headed Calf, we're working on Macbeth at Soho Rep. Jess is playing Macbeth. We're only going to do scenes of two people with intimate moments and power struggles, like Macbeth and Lady Macbeth. Who's more manly? Things often have to do with sex and power dynamics or attraction and disappointment. There may be this big bloodbath, but the nature of the play is how power is connected to sex. Jess just plays Macbeth as very androgynous. It's not drag, but we're just not thinking about sexes - it doesn't matter whether or not she's a man or a woman. It's about the person and the physical chemistry between two kids of people.