Okay. I'm going to try to get more than one day into this one, but I can't promise anything. A lot of shit happened on this trip and I can only type so much at once, y'know?
So. Wake up at 8 to getto the first round of workshops and presentations. See some Iowa people at the bagel table and greet them with "So, I'm still a little bit drunk right now," before noticing that the fourth person at said table is not an Iowa person. Heh. Go to a workshop on using TO techniques in scripted shows. The woman running ituses Romeo and Juliet for example, but I don't care because A) stil a bit drunk, and B) I was Paris, and actaully gained significant insight to who he is (certainly not as fullas I'd want for a real production, but still). Oh, and C) the people playing R+J all seemed to agree with me re: their patheticness. Plus, I learned not only that R+J is actually full of some really awesome characters, if you ignore the title, but I learned some very good techniques for getting actors to understand characters.
Then, the improv and PO workshop, which I only got anything out of (and it was good, but...) because I am going to be a teacher. Then, "free" lunch from the conference, which as an actor, I am obligated to take. After lunch, I skipped out on the Katrina panel with Dan and we talked for a while in his room and got into costume for the performance (all black, shoes didn't matter 'cause we'd be barefoot in performance, but I still felt like an idiot in my sandals and long pants). I needed a button-down over mytee because Ann-Elizabeth agreed that I NEEDED something more than just teh character shift I was making from Micheal to John, because of the structure of the show. (Michael = buttondown, John = tee.) I had one, butit was really, really faded, so Dan lent me THE MOST AWESOME SHIRT EVER. He uses it when clubbing, and I covet it mightily. And the fucker got it at an outlet, so I'll never find it. RAGE. (Also, at some point during our talking is when I realized that I kinda like Dan ina "He's taken, so just enjoy the pretty" sort of way. I like that kind of like, because then it doesn't matter that he most likely would not like back if not taken.)
So. Performance time. We're given not nearly long enough to warm up (we BARELY got into the Beth Warm-Up), but that's okay. Damn. There are a lot more people than I expected. Also, I really like how the costumes turned out, because even though everyone's in all-black, nobody is dressed identically. And the floor and acting boxes (which are WOODEN, not BLACK. What the god damn?) are awesome shades to be barefoot on. Show is going well. People are responding to the characters, laughing where we expect them to... I'm done being Michael. I'm just going to slowlyand subtly start unbuttoning Dan's shirt (that I'm wearing! Ye gads!), and I'llneed to do the sleeve buttons too, if I want to take it off without being noticed. Thanks for glaring, Amanda, but Ann Elizabeth told me to do this, so I don't know where you get off. Anyway, sleeve buttons.
Not a big one, just...
The button stayed buttoned. The sleeve is undone. Shit. At least there's another, still functioning button on the sleeve. Oh, and I suppose I should clarify my semantics here: the buttons are snaps. It's a button-down shirt, just with snaps. It's just too ingrained in me that this type of shirt has buttons; plus, Dan, owner fo the shirt, called them buttons, so. Anyway, the still-buttoned "button" can actually sort-of be used like a real button as it is, so the shirt'snot ruined. Doesn't keep me from feeling like shit.
Time to go on as John in the coffehouse scene. Zan finishes the song, aaaaand... I head Maji off at the pass, and pick the guitar off Zan before Maji can throw in her "improv" in which she gives Zan's guitar a name, and calls attention to a real-world event (the pass of the guitar) that is not actually happening in the world of the play. Go on thinking that I just screwed up a bit, Maji, I just fucking saved the integrity of the scene, no thanks to you. And please, like Ginny would name her guitar "Lucy."
And then. Quick stop offstage for teh rest of the coffeehouse scene (and Kat's
dramatic pauses) and then a choral ode. Back onstage for the homophobic dads scene, by first with lines as John. Babcha kills, despite only having one line. I love her, and by extension anyone playingher for that moment. Not that I don't love Rosemary anyway, but... Babcha, y'all. Babcha.
So then, after another choral ode, we come to the party scene. For me, this is the scene to worry about. I've never played it from this side before, just as the man with a cast (who, wisely, was edited from physical presence to abstract for this and future performances). It's a completely new beast, because this is the first real emotive moment I've had to play in this show, and it has to come off right. I totally stop worrying about that as soon as I start the scene and just rock it. Completely comfortable within myself, while being comepltely agitated as John. From what I hear afterward, I'm not the onlyone who thinks I rocked it.
Show ends. Applause. Lindsey and Amanda speak about what WTP has done in the past two years. And speak. And speak. It's impressive, if dull, and in the way of hearing what the audience thought in response to the performance. Open for questions. Yay, compliments. Wow, compliments. Holy shit compliments, because they're also about our organizational skills and our writing and our being out there and doing something as young people and you want us to give advice? Damn... You're impressing me with myself and it's weirding me out, y'all.
I return Dan's shirt. *sigh*
Headoverto Iowa's session on apathy (both audience AND activist). Fun! Learning! running out of time so we don't hear much about how to keep ourselves from becoming apathetic as activist even though that's mostly what we came for! (Everyone'ssad about that one, not just the audience.)
Dinner at teh apartment and talking about WTP's future. Amazing time: free food, free drinks, even for the underaged, from a faculty advisor. Not enough to get drunk, obviously, but that wasn't the point. Good times with everyone. For theone time the whole trip. Afterwards, the three-day workshoppers and the Red Fortress splinter again.
Some of the RF head out for liquor and stuffs to mix it in. Hereabouts, I remember that I have a cooler in which I could put the lunch meats sitting in the ice machine. Zan gets a call. We're now performing again tomorrow at 7 AM! Another call later: sorry, it's 10:05, but it's still early! And we'recalled late enough that we could have already gone out and missed the message! I run into the woman runnign the conference in the hall (she's staying in the room next to Rosemary and Ribar), and talk to her a bit about how holy shit we've been asked to perform again! That's some fucking honor right there! So I say something in passing about how we kinda wanted to be on the stage instead of in the classroom, and the woman says that if nobody is setting anything up on the stage during that time, we can totally use it; I have to talk to her in the morning.
Liquor returns.* Pregaming. We head out, searching for an 18+ bar, which there must benearby, because this is a college town. We find one, Players.
Sketch as fuck.
I stomach it, because the creepy guys are all straight, and for a shallow reason or two involving proximities on the dance floor. Plus, I'm drunk enough to dance, but still sober enough to enjoy it and, y'know, not put someone's eye out. Bar closes. We head out. Zan and Rosemary are both lip humping** guys who, it turns out, are best friends. We feel fine leaving them so long as they stick together, and we head back to the dorm.
Some more drinking, but not much. Mostly just hanging out and waiting for Zan and Rosemary to get back. Tonight or tomorrow night is the night I say something about "Too bad he's taken" in reference to Dan when I think he's out of earshot, having left for the night, but he comes back into the room for something less than five seconds later, so.
Then, bed. Which is where I'm going to stop, because the next day is as much of a fucking novel as today was, and it opens with another performance.
*This particular sentence may be out of sequence, but as far as the story goes, it doesn't really matter. It is important that the liquor return before the pregaming happens, but otherwise, whatever.
**Making out with. It comes from Mad-Libs.