Letters to Holly

Friday, December 19


The rehearsal between performance weekends is usually a linethrough. You sit, you rattle off the lines. It goes by quickly. But we need more than that. We need to do the entire play onstage. And we do. We skip the makeup and costumes though.

It goes about usual. The attorneys get lost, the judge calls them to the bench and feeds lines, they go back to the play. There are times when we jump ahead a few lines or pages. Early on, the defense attorney blanks while questioning me, and it's one of my rare lines where I can skip his missing question and keep talking. When I'm up as the ghost, he skips a load of dialogue, and the director reels us back in to get those lines in. So, no, I don't think he looked at the script. I know I didn't, but I also haven't blanked in every performance of the show. I just scoot up on the witness stand and open my head and out come the lines. We finish very quickly.

We discuss the review. One actor complains that the first act isn't funny. Another actor counters that it is funny, but the audience isn't laughing. I keep mum. The play is funny. it's very funny. If you know the lines and deliver them properly and understand what makes funny. But we're not performing it as comedy. We're doing it straight. Mostly. Some lines are obviously punchlines. But some situations need to be played for laughs, and that ain't happening. Usually when the audience isn't laughing, that means you're not funny. That's usually a reliable indicator.

The cast party is announced for Sunday night at 6, but I've already made dinner reservations. I might drop in beforehand. Maybe not. If it's a bad show, no. I have no enthusiasm for the last shows. I just want to be done with it.

The keepsake cards are printed, and I'll spend Saturday attaching the magnetic tape.

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