Intermission was an experiment for Will and Travis. Could they take they same combination of challenges imposed by the ArtSpark Festival and add the difficulties of a Real World production?

Adding the ArtSpark constraints to a promise made to April Perez (Elektra) that she could sing in the next show, and a declaration (by Travis) at Opal Devine's that, "We should do a show that's like a midnight cabaret where Regina Spektor would play!", there were plenty of challenges to work around.

After six weeks of negotiating the framework of the story in Travis' living room and at various local eateries (Austin Java 95% of the time) and setting composers/songwriters Adam Hilton and Boone Graham to the task of writing a dozen original songs, Travis and Will presented that framework to a cast of eight. That cast then populated the outline of a relationship anthology with very real people through improvised dialogue, combining with April Perez's electric portrayal of Miranda Swain to create a café that we truly wanted to visit. A café named Cambiare.

Intermission went on to be nominated for two B. Iden Payne Awards, Outstanding Original Score (Adam Hilton and Boone Graham), and Outstanding Lead Actress in a Musical (April Perez).

In January of 2007, Megan M. Reilly began collaborating with scene designer Yvonne Boudreaux and choreographer Andee Scott on a new arial dance piece, "Portrait." As a work of designer-driven performance, "Portrait" included many design elements which "performed" alongside the dancers, including the lighting design, projection design, and the structure/scenic design itself. Megan worked primarily as the lighting and projection designer for the project, but in the spirit of this wonderful and unique collaboration she was able to be a creator alongside Yvonne and Andee, and helped shape much of the piece.

"Portrait" was produced as part of the 2007 Cohen New Works Festival, and was received with overwhelmingly positive audience feedback; each of its four performances played to a packed house and it was the hit of the festival. Some in attendance called the work "groundbreaking," "original," and "brilliant." Its creators hope to expand on the concept in the future and produce the piece again.

In 2003, in Will Snider's Directing Practicum class at Texas State University, he created a 30 minute modern dance/theatre hybrid based on Sophokles' Elektra. While he was very satisfied with the final product from that class, he had dreams of expanding it. He used Fronterafest 2007 as such an opportunity. He teamed up with Christine Pasculado to tackle the choreography, and together they set out to create a true dance/theatre hybrid.

The process began in November 2006 with a general framework set by Sophokles' Elektra, with a few key moments that both Christine and Will thought called for an appropriate use of dance. Through improvisation and heavy editing to the script, the final version ending up pulling from four different plays, Euripides' Iphigenia at Aulis, Aeschylus' Agamemnon, and The Libation Bearers, and Sophokles' Elektra.

With a fantastic cast, led by a very talented April Perez, the play ended up incorporating about 30 minutes of dance into an 80 minute piece, becoming much more than Will could've ever dreamed of. Keep your eyes peeled for a complete House of Atreus dance/theatre epic within the next ten years.

Given a "spark" of internet dating, Mars, and Punk/New Wave music, team Sidewalk Chalk led by Will Snider, ended up creating the new play Searching... during the 2006 ArtSpark Festival.

When Will made the decision to apply for the Festival, he wanted to participate in a new and unique way. He didn't want any one person on the team to be the sole playwright. He went into the process bringing in five other individuals that would all share equal parts in the writing process. While this presented many challenges along the way, and according to rumors, almost prevented them from even being in the festival, the process ending up being a complete success.

After spending eight weeks, (of a twelve week festival, of which two were performance weeks), hashing out a solid outline for the play, the team ended up finally writing the dialogue for the play. While this was completely nerve racking at the time, it ended up being extremely helpful to have a very strong backbone onto which to build their play. Not knowing how the audience would react on opening night, and barely off book, the team received outstanding critical feedback that helped the team push on to their second performance with a few major rewrites, which helped them win the grand prize of the Festival (much to Travis' chagrin).