When Westport Country Playhouse debuted on June 29, 1931, with its production of \u201cThe Streets of New York,\u201d few Depression-era optimists could foresee the fledgling summer theater still at it 90 years hence, much less experiencing its productions on cell phone and computer screens from anywhere except the Playhouse auditorium. Yet that is the reality, however virtual, as the historic summer Playhouse awakens from its Covid-induced dormancy Tuesday with Michael Gotch\u2019s \u201cTiny House\u201d 90 years to the day after its auspicious beginning. \u201cWe\u2019re going forward in a new way, somehow,\u201d said Playhouse Artistic Director, Mark Lamos, who stages \u201cTiny House,\u201d available online through July 18. \u201cIt\u2019s going to be different.\u201d Set during the Fourth of July, Gotch peoples \u201cTiny House\u201d disparately with a young, married couple, eccentric friends and family, and quirky neighbors at the off-the-grid, isolated mountain paradise. It is the theater\u2019s first homegrown virtual production and its process has been an exhausting and revealing journey for the company. \u201cWe always intended to bring \u2018Tiny House\u2019 to Westport because it was a success in Delaware,\u201d Lamos said, referring to the initial, in-person production in 2018 by the Resident Ensemble Players at the University of Delaware, a professional troupe including playwright Gotch and cast members in Westport\u2019s virtual production. \u201cI\u2019m pleased with the results as they\u2019re coming through in post-production, I\u2019d have to say,\u201d Lamos said, who fills out the 2021 season with John Patrick Shanley\u2019s Pulitzer Prize winning \u201cDoubt: A Parable,\u201d directed by Playhouse associate artistic director David Kennedy (Nov. 2- 21); and two archival video productions that will stream on-demand, beginning with its 2018 production of \u201cMan of La Mancha\u201d (Aug. 23- Sept. 5), and not yet announced production (Sept. 13- 26). \u201cIt\u2019s sounding like, and looking like it did onstage,\u201d he said. \u201cIt\u2019s actually a little more beautiful because it\u2019s got this art direction that\u2019s like a film.\u201d While working with his original Delaware cast gave Lamos a head-start, working with actors in their homes scattered throughout the country presented a daunting challenge. \u201cThe actors each received equipment enabling them to create in-home recording studios,\u201d said Lacey Erb, the director of photography, referring to Sara Bues (Sam); Hassan El-Amin (Bernard;) Lee E. Ernst (Larry); Elizabeth Heflin (Billie); Denver Milord (Nick); Stephen Pelinski (Win); and Kathleen Pirkl-Tague (Carol). \u201cWe spent much time helping them set up the equipment and getting familiar with it.\u201d In addition to production designers, Lamos required the additional expertise of Erb and Charlie Corcoran (digital scenic design); M. Florian Staab (sound edit, mix and additional sound design); and Dan Scully (editor). Scully immediately proved himself invaluable by storyboarding the production from a one-camera, archival recording of the Delaware production. A common device in filmmaking, storyboarding graphically renders each scene so the creators can reimagine the performance for digital platforms. Gotch\u2019s overlapping dialogue posed another technical challenge, as Zoom doesn\u2019t handle multiple simultaneous speakers. \u201cThe video editor and sound designer then do the overlapping in post-production,\u201d Lamos said, who would respond to each edit with written notes to achieve the desired snap, crackle and pop of repartee. Consuming over two months from rehearsal to final cut, the process took more than twice as long as it takes to open a live production. Such intense attention one pays night and day to the production tests one\u2019s passion for the project, Lamos agreed. \u201cI think I never had an interest in doing film and TV because you\u2019re sitting with a project for sometimes years in development,\u201d he explained, citing endless script revisions, casting, filming and post-production. \u201cTo do that for so long- I just can\u2019t do that.\u201d Even if \u201cTiny House\u201d arrives to Lamos\u2019 satisfaction, the question remains whether or not the Playhouse\u2019s mature subscription base will enjoy the virtual platform. The prospect of watching their beloved Playhouse productions online can be foreign to many as well as technically intimidating. \u201cWell, yes, that\u2019s true,\u201d Lamos said. \u201cWe\u2019re hoping that people will feel comfortable with it. And if they have problems, there are many ways they can seek help on the website and through calling the box office.\u201d Lamos\u2019 discussions with regional colleagues on this very subject encourage Lamos. \u201cWe were talking yesterday with Roche Schulfer, who is the longtime managing director at The Goodman,\u201d he said, referring to Chicago\u2019s respected company. \u201cThey have had very good luck with their digital content, and it is drawing new audiences that have never been to the theater before. \u201cSo, I\u2019m hopeful that that will happen with ours as well.\u201d E. Kyle Minor is a freelance writer.