Sadness

Every good parent has them, I think. Those worst-case-scenario dreams where you wake up sobbing, then have to get out of bed and go check on your sleeping babies to make sure they're still with you. Even when the babies are teenagers. Oh how I wish Mark and Debra could wake up, go check on him, and find him snoring peacefully.

Driving back from Oklahoma yesterday, we were still nearly 90 minutes from home when we received word that a family dear to us had lost one of its own. They were on their way to dress rehearsal for Casa Manana's Twas the Night Before Christmas when, out of the blue, 13-year-old Caleb's heart stopped beating during an apparent seizure (he had no history of seizures).

The rest of the day can be summed up in two words: Shock. Tears.

All three of us have shared the stage with Caleb. He was in Footloose, an animated, goofy part of the core dance crew, who delighted in the fact that he could sing the bass part in Mama Says. He and his brother were the boys Yente brings to Golde in Fiddler on the Roof. "They are wonderful boys, Golde, from good families. Each of them a prize, a jewel." He let me pretend to spit-smooth his hair and straighten his vest every show. He was silly and gracious, exuberant and nearly always grinning, and had a snappy, intelligent sense of humor far beyond his years. This pic is from closing day of Footloose.

Last night we opened A Christmas Carol. Nearly every person in the cast has worked with Caleb. It was probably the hardest show most of us have ever done.

Tomorrow is never guaranteed. Hug your babies every day, and live as though it's your last.

My prayers, my breaking heart, and my tears are with the Midkiff family today and months to come.

I think it's Emma's fault

Not sure what exactly sparked this epiphany. Perhaps it was my use in Real Life a hand movement I created for the character of Yente.  She didn't use a cane, but needed another identifiable 'tick' that the girls could mimic in 'Matchmaker.'

Fact: I honestly had no trouble with the choreography at Dolls callbacks in March.
Fact: I can't nail the choreography for my life now, in May, and it's SO frustrating!!
Question: What happened in the intervening weeks?
Answer: Emma.

At the time of my auditions, Fiddler had been over for more than a week, and The Happiest Millionaire had rehearsed just twice. There had not yet been any character development. I'd not even really begun to find Emma, to figure out how she fit into the family, what character traits she needed in order to stay reasonably sane in the Biddle household dealing with prize fighters and alligators and teenagers on a daily basis.  So it was ME at auditions, with minuscule blips of Yente.

Weeks later, after I'd gotten a good handle on Emma, I remember telling Taffy, our director, that it took me a long time after each rehearsal to unwind from being Emma. She's very high-strung, quite excitable, and even more dorky than I am.  I'm single cast, so now Emma MUST be 'on' for nearly half of my week. I don't truly unwind from weekend to weekend.

Dolls rehearsals are also held in the theatre, on the Millionaire set. On that stage, essentially in the Biddle living room, Emma leaks profusely into my Hot Box Girl (minus the British accent). So my Hot Box Girl has been high-strung, excitable, and even more dorky than I am.

Characters leak. Tragic example: Heath Ledger, very talented actor, couldn't shake the Joker, and died likely as an indirect result. He was filming Dr. Parnassus at the time, months after The Dark Knight had wrapped, but the Joker hung on.

I'm still practicing choreography relentlessly, but will also take time to figure out who my Hot Box Girl is inside, what character traits she needs to be a burlesque dancer in 1949 NYC, friends with Miss Adelaide.

Let's hope some combination of these tactics provides some graceful results...

Three Fiddler pics

I'll admit to being supremely disappointed.

The Fiddler photo CD I ordered before the show closed finally arrived yesterday. (Plaza has an arrangement with a third-party photographer to come in and photograph each show. The photographer then offers photo CDs for sale to the actors toward the end of the show's run.) For nearly four weeks I'd eagerly checked the mailbox, hoping it would come. And when it was there yesterday, I very nearly squealed with glee. I rushed inside and popped it into the computer to pull up the photos...

As my glee deflated and disappeared.

For the Friday/SatMat cast, there were 125+ fabulous photos, including about a dozen of my double CC as Yente.  For the Thurs/Sat cast, there were 46 photos, and many of those near copies of Friday/SatMat photos because they're of single cast people doing what they did every show.  Since nearly all of the principal characters were doubled, there are precious few photos of the people with whom I had the honor of sharing the stage.  And that makes me sad.

The photos were taken opening weekend. If the camera or lens malfunctioned and it was a matter of not being able to get good photos, there were still five more weekends, ten more performances, to get photos.

Now the show is long done, no way to go back and get pictures.

*sigh*  Anyway.  I'll share the two and a half photos that included me.  The first one is from the opening scene, where Yente tells Avram she's found the perfect match for his son.

This second one is from the first scene, where Yente visits Golde to tell her about the match for Tzeitel. I'm stealing a potato.

Finally, the wedding scene, right before intermission. I'm the black-clad one at the bottom. I love the pic, though, because it shows how amazing the set and lighting were...

Fiddler reviews

Whaaat?  I have no ADD tendencies, I don't know what you're talking about. Oooh!! Hang on, I just saw a cardinal out the window--can you repeat the question?

Ohhhh, yeah. *grin*

Yeah, so this is one of SEVEN posts that are sitting in draft mode on my blogger dashboard. I'm aiming to go ahead and post it and trim that number down to a mere six.

I have mixed feelings about sharing Fiddler reviews, because they are all specific to only half the cast. The majority of the principal roles are double-cast, and the reviewers all apparently came to the opening Saturday night show, which featured only one set of principals, obviously.  So the fabulous performances of the Saturday matinee cast: Burl Proctor (Tevye), Judy Keller (Golde), Christia Caudle (Yente), Jessica Astorga (Tzeitel), Monica Music (Hodel), and Julianna Keller (Chava), are barely mentioned, if at all. Which to me is a bit unfair because these actors are every bit as much a part of this production as the Saturday evening cast.

But the reviews are kick-booty, I must say. Not always complimentary of me personally (one reviewer clearly expected the elderly movie Yente, which I'm not even attempting to emulate), but resoundingly gushing over the production as a whole. The headlines probably speak for themselves, but follow the links to see the whole review. For the Texas Jewish Post, the review is a PDF scan of the actual newspaper, so I've transcribed the text into this post.

From the Keene Star
Fiddler may be Plaza's best!

From The Column
Fiddler on the Roof

From the Feb 9th issue of Texas Jewish Post, page 10 (transcribed under link):
Plaza Theatre's 'Fiddler' succeeds in style, song — and authenticity

By Amy Wolff Sorter

Cleburne, Texas, population 29,337, is the seat of Johnson County. It's known for its beautiful state park and authentic and thriving downtown.

Cleburne is not, however, a bastion of Judaism. The nearest synagogues are in Waco (approximately 60 miles to the south) and Fort Worth (approximately 35 miles to the north). There are no hard and fast statistics concerning the number of Jews in Johnson County, but it's safe to say that the number is far less than the 5,000 Jewish souls who inhabit Tarrant County.

As such, it's interesting to watch the Cleburne-based Plaza Theatre Company's production of "Fiddler on the Roof." The show creates a close to three-hour experience during which the audience is immersed in the lives of the characters populating the fictitious Russian village of Anatevka during the turn of the 20th century.

The songs are performed brilliantly--Tzeitel, Hodel and Chava (portrayed by Tabitha Barrus, Katrina Nicholas and Taylor O'Toole respectively) beautifully sing they don't want help from matchmaker Yente in finding their perfect matches. Motel (Jerry Downey), Perchik (Andrew Guzman) and Fyedka (Auston McIntosh) provide the perfect and appealing mates for Tevye's daughters. Samantha Parrish as Golde is the perfect Yiddishe momma, not only nailing the accent to a "T", but thrilling the audience with her pure-as-gold-voice. Meanwhile, Stacey Greenawalt King's portrayal of the constantly complaining but ever optimistic Yente provides a lot of chuckles (not to mention familiarity—we all have Yentes in our lives).

The show is led by the appealing and larger-than-life G. Aaron Siler, who portrays Tevye. For much of the show, Siler's Tevye gives the audience the full range of emotions, from humorous observations, to resigned amusement (living in a household of six women can't be easy); to outright grief a the changes coming his way. Siler's energy in portraying the strong-minded Tevye is matched only be a smooth-as-butter baritone that never falters.

There is no doubt the cast is outstanding. But what is even more striking, is the sheer "Jewishness" of this productions. The costumes, courtesy of Kara Barnes, are as close to authentic as can be (complete with the tzitzit and tallit for the men and head coverings for the women). Certainly the use of modified cowboy hats as head coverings could be considered a stretch. On the other hand (with apologies to Tevye), Anatevka is a poor town, complete with milk cows and horses—it doesn't take much to imagine some of the residents wearing modified Stetsons.

Overall, the focus on the Jewish traditions -- complete with Tevye washing his hands prior to the Shabbat meal, the female head of household moving her hands in a circular motion over the candles to welcome the Shabbat Queen and Tzeitel's circling of Motel during their wedding ceremony, adds wonderful elements.

None of this was an accident. Soni Barrus, who co-directed the show with Jodie Barrus, explained she did a ton of research in preparation. She also grilled her cast throughout rehearsals, showing members Jewish-themed media and giving them Yiddish words to ensure proper pronunciation of certain phrases. "I wanted the cast to understand the characters as real people who understand where they're coming from," Barrus said. "I wanted them to know this wasn't just 'acting,' but sharing an experience with fellow human beings."

Then there are the production's other outstanding attributes. For one thing, the theatre space is in the round--a challenging enough proposition for any play. For this particular production of "Fiddler," during which, at time, there are 45 people on a stage the size of a medium-size living room, the challenges multiply. But Barrus said the cast embraced the challenge of having the audience literally right on top of it. Furthermore, she added, the audience loves it.

"You're sitting 10 feet away from a man who is soulful and expressive about the changes happening to his family," she commented. "He's being asked to change his personal beliefs and, to the audience, it's heart-wrenching as they become emotionally involved."

"Involved" is right; the production doesn't hesitate to break the fourth wall as often as possible. For example, during "Sabbath Prayer," cast members move into the audience to light Shabbat candles. It's a beautiful and moving moment that can't fail to create goose bumps.

Needless to say, "Fiddler" wasn't selected because of its Jewish flavor. The show, by Joseph Stein (the book); Jerry Bock (the composer) and Sheldon Harnick (the lyricist) is based on "Tevye the Milkman and Other Tales" by Sholem Alchiem and has gained a wide following since its Broadway premier in 1964. As such, from a demographic perspective, Barrus said, it's perfect for Plaza Theatre. "There are a lot of older people who come to our shows, and it's a great show for them," she said.

It's also hopeful. Even as the villagers sadly leave Anatevka for unknown realms, there is hope that Tevye will eventually earn his "big, tall house with rooms by the dozen;" hope that Motel and Tzeitel will succeed; hope that Perchik will be freed from his Siberian prison and have a good life with Hodel; hope that Tevye will accept his Chavaleh's marriage to the gentile Fyedka—and hope that Golde and Tevye will live to a ripe, old age in America.

"Though the plot ends tragically, we learn, as we grow older, that we can grow from changes," Barrus said. "There are bad times, but sometimes good can come out of it. That's one of the messages of this show."

"Fiddler on the Roof" will run through March 10 at Plaza Theatre Company, 111 S. Main St., Cleburne. Cost for tickets ranges from $12-$15. Please not the lead roles are double cast. For more information call 817-202-0600 or visit www.plaza-theatre.com.

Annnnd.... down to six draft posts in three, two, one...

What a weekend

Yay! Opening weekend of Fiddler on the Roof was terrific!  If you get my blog via a reader, you may have missed the afternoon update on my last post, wherein my day brightened significantly.  That sunburst set the tone for the rest of the weekend, which turned out to be a good one, Thursday's preview included!

My kiddos were needed on the backstage crew for all this weekend's performances, so I had the pleasure of playing Yente for the volunteers during Preview, madly helping put finishing touches on costumes during the Friday opening, then sitting in the audience to watch and enjoy.  And it really is a good show. Funny, poignant, and hopeful--it's wonderful.  I sat in the lobby for the Saturday matinee and got to talk to people before the show and during intermission (and even received some origami birds as a gift from a preteen audience member). And then I rocked Yente on Saturday night. I love love love eliciting emotion from an audience, especially laughter. The show photographer was there, and possibly a reviewer or two, so I should at least have some pics to share soon. Best of all, I received positive feedback about my interpretation of Yente from several people whom I greatly respect, and I think even our former-Yente director is not at all unhappy. Yay!

This morning, I got up and baked brownies for a bake sale, then Norseman and I went and set up and worked said bake sale for a few hours until relief arrived (after I'd already bought a few items for myself!) before heading out to my folks' house for guitar lessons.

I feel like I need a weekend to recover from my weekend!

That pause at the top of the roller coaster

So tonight is preview night for Fiddler. On Facebook I have to be happy and shiny and enthusiastic, 'cause it really will be a good show and I don't want to cast a shadow for locals. But not many people read this blog, and the only locals who read it are related to me, so I can be honest.

*sigh* Right now I'm weary, eager to get this show on the road already. With Annie I never once considered quitting. I was so excited to be there, I loved every second, and I was kinda sad when the show opened because the process of getting to that point had been so enjoyable and meaningful, and that part of the journey was over. I missed seeing my castmates nearly every day.

With Fiddler I have cried myself to sleep more than once.  I've had to continually remind myself that I LOVE doing this, and that I made a commitment when I auditioned.  And though no one has expressly talked about it, I know without doubt that I'm not the only castmember to feel that way. Which is sort of comforting in a way. To know I'm not the only melodramatic soul.

So, being a proactive person, I'm going to bake yummy mini-muffins or bite-size cookies or something to take to my castmates tonight as a thank you/good will offering.  And I'm gonna do what I can to be a ray of sunshine for a cloudy cast.

***Edited at 3pm to add:
It's very cloudy today.  I mention that because I went to the theatre to help out with changeover however I could. Prayed and went over my lines and prayed and went over my lines and prayed some more on the drive there.  As I got within a few blocks of the theatre, I happened to be asking God to lift my spirits so I could be that ray of sunshine. And at that moment, the sun broke through the clouds and blazed its brilliance right in my face. I had to laugh (and got a little choked up, I admit).  And the sun stayed out, more or less, as I got to the theatre, parked, and walked into the building smiling.  And I had a good day running to get some last minute stuff needed, painting the floor and generally being helpful. And my stress level is markedly reduced! Thanks, Big Guy!

Now I'm about to go pick up my Sunshine from school, then come home and dip some pretzel rods into chocolate and sprinkles to take with me tonight.

It's a good day!

I dream in Yiddish?

My dreaming brain astounds my waking brain on occasion. This is why I have several dozen stories started.  Sometimes I have a dream that is just so vivid, so lifelike, and so interesting that I absolutely have to write it down.  And writing it down engages my waking brain, which is always asking 'why'; answering those whys very frequently creates the bones of a story.

Yesterday, in my effort to be productive without spending money, I worked on various projects at home while listening to one of my favorite podcasts, Stuff You Should Know.  I'm really behind on all my podcasts, so I was listening to October and November episodes.  One episode on antimatter got me thinking about a fantasy story I have in progress (on the laptop that is still comatose), and how antimatter might help solve a technical issue in the story--I like even my fantasy stories to be scientifically feasible where possible.

And last night I attended Fiddler rehearsal where we worked on tightening up the wedding scene.

My dream last night was initially intriguing to my waking brain because it was mostly in Yiddish. And I don't speak Yiddish. But the more I thought about it, the more enthralled I became. My brain had incorporated bits and pieces of several different podcasts (none of them having to do with antimatter) into a Jewish wedding scene, added some hand-to-hand combat (I won), a mysterious person named Crispin, and a cryptic message.  It was like I was watching a good movie and woke up just before it got really good.  And now my caffeinated writer's brain is nearly bubbling over with whys and whos and wherefores and wows.

So today I am going to try to get some housework done amidst making notes and sketching structures.

Some theatre lessons are harder than others

Oy! I need to get my laptop up and running and write on stuff other than this blog!  This is ridiculous!  Updating almost daily!  Unheard of!  But writing is apparently part of my sanity-maintenance self-treatment plan.

Anyway.*sigh*

New theatre experience last night that I need to process (aka write through): I got yelled at by the director.  And most everything she said was valid.  So it was mostly deserved, I guess. We did reach somewhat of an understanding, but I'm still stressing.  Someday I'll have more experience, and I'll know how to avoid situations like this, or at least not take it so much to heart when they arise. But as I'm still very new, still growing that thick skin, it's stressful and disheartening. Which means... I have to write.  Just the act of writing is cathartic, and ordinarily that's all I need, but I'm gonna go ahead and publish this for those who find my blog through google, looking for theatre information. Some lessons are harder than others, and maybe reading about someone else's struggle will help another newbie.

All the things I didn't, couldn't say last night...

Dear Director,
When I first thought about auditioning for Fiddler, and thought about what roles I could write in the "What role are you auditioning for?" spot, I wasn't sure I could even hope to be Yente.  Every production of Fiddler I've ever seen has had a movie Yente.  I figured it was written into the script that Yente was old and hobbling.  So I researched a bit. Google Books has the 1964 script, IBDB has information on the original production. And discovered that the role was originated by a young, able-bodied Bea Arthur and I sang 'Halelujia!'. I could maybe be a younger, brasher Yente!  So I auditioned.

AND I GOT THE PART!  And I sang 'Halelujia!' again because I thought "Hey! The directors are open to a younger Yente! Can I hear a what-what? Woo-hoo!"  I dove into channeling Bea, discovering that young, brash Yente in the 1964 photo. No cane, no age makeup.

And then... before we'd run a single line... you told me I must have a cane.

I was so disappointed.  But I nodded and said okay, and even found a cane to practice with, brought it to rehearsal.  I adjusted the character to accommodate.   Perhaps Yente didn't need a cane, but used it more as a status symbol and sometimes weapon.  Okay, I thought. No big deal.

Then you told me I needed to USE the cane more. Hobble.  And I explained that I thought my Yente didn't need a cane, but used it more as a status symbol and sometimes weapon.  You shook your head and set your jaw. Nope.

So I used the cane more. Hobbled a bit.

You told me I should 'forget' the cane when I stood up.  As directed I 'forgot' the cane when I stood up.  You got frustrated with me and told me I needed to hunch, and grab my back, "Oy, my sciatica!", if I was going to leave the cane behind.  In my head I was thinking, "You TOLD me to leave the cane behind!" as my heart was breaking a little because my Yente, the Yente I had hoped to be, was flushed down the toilet with those words. But what I verbally took issue with was the hunch. Something inane about my height. It was silly, I know. But the hunch was for me the death of a youthful Yente. So I retrieved the cane and tried to at least follow exactly the directions you had given but I was flustered and my lines were shot. You said speak up, I said I'll be miked. And bam. In that moment I could sense that I had just become 'that' castmember. The difficult one. The one who has an excuse for everything, that doesn't want to play well with others.  I choked back a sob when I got off stage. Again, silly, I know.

On Tuesday I did my best to hunch and hobble and incorporate every stage direction you'd given. Then I came off stage and my double relayed to me the message about arriving early on Wednesday to go over Yente stuff. The fact that she told me about it and not you (even though you had opportunity) alarmed me. I stressed the entire drive home. All night long. All morning Wednesday. My thoughts: I'm obviously not hunching and hobbling enough. I can't hunch and hobble and move quickly. I suck at being the 'standard' Yente. I don't want to be the 'movie' Yente!! If people want the movie Yente, they can pull her up on YouTube for free anytime they want!  People come to Plaza to see fresh, innovative live theatre!

So I sent you an email early in the day, asking you to give me the opportunity to play Yente more as I think Bea Arthur did.

And last night you were upset. Upset that I had emailed, rather than talk to you in person. I'm a writer; I communicate best with written words.  Upset that I had thrown history at you. I included some historical information so you would know that I'd done some research into it, and wasn't just asking on a whim or to be difficult, not because I thought you didn't already know.  I apologized rather than explain, because I didn't want to prove right there that I was indeed 'that' castmember.

Yes, I should have talked to you weeks ago, in person.  Should have pulled you aside and fully discussed my view of Yente when it became apparent that our views weren't the same. Instead I tried to meld our views. Because here's the thing: You intimidate me. It's not a usual thing, so I'm a little unsure of how to effectively BE intimidated. You've spent the last 40+ years on stage, running theatres, directing shows, living theatre, and raising amazingly talented theatre kids who in turn are raising amazingly talented theatre kids. You've played Yente!  I've spent most of the last 30 years simply wishing I could be on stage. Wistfully attending plays. Wistfully reading plays. I'm new to this, and still unsure of myself despite outward appearances. And when you yell at others for screwing up, I cower just a smidge inside. Outside of being costumed for Annie and working with your family, I don't know you, what to expect from you. From my view, you have very definite ideas about what you envision and what you expect. End of story. I felt it was my responsibility as an actor to meet your expectations and do my part to make your vision happen. If anything was negotiable, I couldn't tell.

I thank you for allowing me to give a younger Yente a shot, though I can tell through your expressions and body language during rehearsal last night that you are not happy about it. It's not how you envisioned; it's not how you played her. But thank you for letting me try, anyway.  After seeing the daughters mimic Yente in the Matchmaker number, I'm thinking perhaps the cane might be necessary, but more as a scepter for the uncontested Matchmaker rather than a physical crutch. Today I am working on milking the comedy while standing straight and tall. And despite the whiny, high-maintenance tone of this post (I apologize), I'm confident I will succeed, at least for audiences.

Stacey

If Yente had her nose pierced

It could happen.  Though I think if Yente were going to pierce her nose, it would probably be a septum piercing, rather than an ala piercing...  I can see her with a ring through her septum like a beringed bull.

Fiddler opens in a little more than two weeks (I'll be in the preview cast two weeks from tomorrow, and then it officially opens two weeks from Friday).  In community theatre, actors are usually charged with doing their own makeup, so I've been playing around with age makeup for Yente if it's necessary. Hopefully it won't be. My Yente hopefully is going to be an homage to Bea Arthur's original Broadway character.  She was over 5'9" tall, and just 42 years old when she originated the role with Zero Mostel as Tevye and Maria Karnilova as Golde.  You can see all three characters in this image gallery (Bea's Yente is 4th from last). Interestingly, Maria Karnilova was 44 and wore age makeup to look 60-ish.  Bea wore no age makeup.

Now, I say 'hopefully' because the director seems to want the movie Yente, played by then 72-year-old Molly Picon, who was a scant five feet tall in shoes.  As I am nearly 5'8" and nearly 39, not to mention the fact that I hated the movie--the stage version is so much better--, Bea's Yente suits me better.  Besides, anyone can see the Picon's Yente any time--just rent the movie. They can't see Arthur's original Yente.

I'm going early to rehearsal tonight for an apparent Yente-Intensive, and I'm going to present my case for a younger, taller, Broadway Yente. Or at least a compromise, perhaps an older version of the original Yente. I really really really don't want to be the movie Yente, but that's the director's decision.

Anyway, here's a pic of me in age makeup and nose stud, in case you needed a smile.

One more week...

A little melancholy tonight.  Doug (aka Roosevelt) observed that one week from tonight will be our last show.  It's been so hectic lately that I hadn't really thought about the impending close of Annie.  And so I'm a little sad.  Milette (producer) shrugged and said "There's always the next show."  This one is particularly special, though, since it was my first.  And it's gonna be a bummer when it's over.

But then it will be on to Foreigner, and finishing the costumes for that.  And Fiddler rehearsals have already started, so there's that.  Annie details (like dance steps I've done a bazillion times) have already started trickling out of my head, replaced by Yente mini-monologues.

I love it <3

It's a Yente!

I think my disappointment that Sunshine was again not cast is overshadowing my glee at landing the role of Yente, the Matchmaker.

BUT, Sunshine and I got to talking and we noted that pretty much everyone in Annie has theatre training.  All the kids have done Plaza Theatre summer camps at some point, most of the young adults are theatre majors in college. Most of the older adults WORK in theatre, like teaching, opera, etc.  Even I had four years of drama in high school. I started to inquire about theatre as an elective at her school next semester, but she nixed it immediately, said "all they do in there is color." (?) So we looked at the spring schedule for Plaza Academy, and there's an Acting for Teens class on a day and time that's nicely compatible with rehearsals.

And we both feel better.

And I am really super stinkin' excited about playing Yente!  I'm double-cast, which is fine with me.  I didn't have any scheduling conflicts to need a double, but I'm okay with sharing the love. The full cast list will be posted tomorrow.  Woot! An almost-principal, almost-comedic role! 

Show opens February 3rd, so mark your calendars!

I hate wait

This is the excruciating wait.  The time between callbacks and the possible call to offer a role.  Less than 48 hours... Oy!

I feel good about today! So very many ridiculously talented people; it was an honor to be among them.  Although it was only my 2nd real audition ever and I did 6000% better than last time, I could have done better. But nerves and inexperience were very real obstacles (that will diminish with every play). Even so, I think I have a real shot at getting a more principal role.  I'll be happy with nondescript 'Villager', too, just for the experience!

A few other things to note today...  Positive note first: Taylor O'Toole, the actress who plays Annie in my cast, injured her ankle on stage half way through the second act (in the cabinet scene in fact, just feet away from me).  But she got up and kept going, and the audience barely noticed.  Her mom whisked her off for x-rays after final bows (ankle was already swollen and purple--looked really bad), but thankfully it's 'just' a severe sprain, rather than a break.  The grown-up actors in particular were just awed at this young woman's professionalism and grit. Amazing.


Now the crappy note: Found out this morning that my friend Brian Harrington died on Sunday, apparently by his own hand. I last saw him about a month ago--we went to see the Caravaggio exhibit at the Kimball.  He was in good spirits with plans for the future.  He was going to come see me in Annie, and go with me to try the Thai restaurant near the theatre.  He was arrogant and self-absorbed, annoyingly intelligent, but witty and gracious when he wanted to be.  I'm sad, but mad, too. Dammit.

FotR auditions and an Annie pic

This one's the rather easy wait--the wait to hear if we're invited to attend callbacks.  Sunshine and I auditioned for Fiddler on the Roof last night, and I think we both did a good job!  We went armed with CD's of our accompaniment music this time, to avoid another potential piano disaster.  Which was almost a bad call.  The CD player skipped for a few other auditioners.  And the pianist this time was much better.

Thankfully the CD player did fine for both Sunshine and me--yay!  I feel really good about my song (Popular, from Wicked--a tough one because the tune of the song is independent of the music, and because it has several different tempos and a few spoken parts).  It wasn't as good as I sing it in the shower, but it was still really good, especially for being nervous! Sunshine said one of our Annie castmates in the waiting area said 'Wow, she's really good!'

What I heard of Sunshine's Candle on the Water was wonderful, too!  We should hear by 9pm-ish tonight if we'll get to go to Saturday's callbacks.

EDIT 8:30 pm: Got the call! Callbacks are for the main roles (which are all older teens or adults), so Sunshine doesn't have to go but is still being considered for a role. She's going anyway, because we have to be there before 2pm for the afternoon performance, and it's too long of a drive to go all the way home to get her and drive all the way back.  So yay!  Very excited!

Okay, here's a pic from Annie.  This is the Hooverville scene, one of my favorites.  If you draw a big circle in the middle of the pic, I'm at the 3:00 position, in the gray hat and braids, looking to the left (my right).

Photo by Ginny Rodgers