"What are you going to do if he says no?"
"Be devestated, of course."
"And then go home and over-eat?"
"No, I think I'll try a new destructive behavior. Maybe drinking?"
Here's to having a drink as soon as I get home. Preferably whiskey.
Friday, December 14
Sunday, December 9
Friday, December 7
Stillness/Silence
There is a lot that goes on backstage at Sherlock Holmes and the Case of the Christmas Carol. A fog machine the size of an oil drum rolls around, we have over a dozen quick changes, props are tossed, belts are thrown to the ground. There are conversations and clanking costumes and the occasional accident, when a rolling trench runs headlong into a ladder and the collision rings out like an alarm. Amidst all this, Kristen and I try our hardest to keep the audience from hearing anything but the words spoken onstage.
At the end of the play, when Spirit Three exits, I quick change Tim into a nightgown and robe. The Spirit Three coat is huge: knee-length, flared, made of a raincoat material. And let me tell you: that material is LOUD. Anytime it rubs up against itself, it rustles like cellophane.
So: Tim exits, removes his hat and mask and gloves, while I take his nightgown off the hanger and sling it over my arm. All the while: crinkle, crinkle, CRINKLE, crinklecrinkle.
Then he turns around, I place my hand on his collar, and he rips open the coat along it's snaps: crinkle
CRINKLECRINKLE, crink.
Then he takes his arms out of the sleeves: crIIIInkle.
And then the coat is my hands: (silence).
I know that the soul of a quick change is speed and efficiency but I always pause there and relish this moment. Tim is busy taking off his pants, so he never notices when I just stop and look at this coat, this loud, obnoxiously huge and impractical coat, now completely silent. Of course, it goes back to crinkling as soon as I move to put it on the hanger, but for that split second something wild and noisy goes still and mute in my hands.
I like to feel like I have the power to bring that stillness.
At the end of the play, when Spirit Three exits, I quick change Tim into a nightgown and robe. The Spirit Three coat is huge: knee-length, flared, made of a raincoat material. And let me tell you: that material is LOUD. Anytime it rubs up against itself, it rustles like cellophane.
So: Tim exits, removes his hat and mask and gloves, while I take his nightgown off the hanger and sling it over my arm. All the while: crinkle, crinkle, CRINKLE, crinklecrinkle.
Then he turns around, I place my hand on his collar, and he rips open the coat along it's snaps: crinkle
CRINKLECRINKLE, crink.
Then he takes his arms out of the sleeves: crIIIInkle.
And then the coat is my hands: (silence).
I know that the soul of a quick change is speed and efficiency but I always pause there and relish this moment. Tim is busy taking off his pants, so he never notices when I just stop and look at this coat, this loud, obnoxiously huge and impractical coat, now completely silent. Of course, it goes back to crinkling as soon as I move to put it on the hanger, but for that split second something wild and noisy goes still and mute in my hands.
I like to feel like I have the power to bring that stillness.
Sunday, December 2
My Jam
There a lot of words in my head, pretty much always. What I've read, what I've heard, what I think, what I say to both others and myself.
Right now, these two things are my jam.
"I'm sugar for sugar, salt for salt: if you don't like me, it's your own damn fault."
- August Wilson, Gem of the Ocean (and passed along to me via the new best friend crush at work).
Also- Beyonce.
Right now, these two things are my jam.
"I'm sugar for sugar, salt for salt: if you don't like me, it's your own damn fault."
- August Wilson, Gem of the Ocean (and passed along to me via the new best friend crush at work).
Also- Beyonce.
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