The theatre liaison says he found someone for the role he asked me to do, a guy who will commute from Greenville each night to rehearse and perform. That's a haul. That distance is a crucial reason why I looked for a job nearer Your Sister instead of commuting to my old one. My finely honed and inerrant theatre sense says he'll back out. According to the liaison, he will be leaving a current backstage position (for a play that's just about to open) to take this onstage role. That's not a good sign. He's already backing out of one commitment before taking on a very large one. I hope his withdrawal, if it does happen, occurs early on in the rehearsals. Imagine the meltdown that would ensue if he backed out right before the show opens.
The liaison also asked if I would stage manage this show, and this makes the tenth position I've been offered within a year. It would be easier than the last production to manage, but as I don't know who is tapped to work the sound, I can't agree to it. I'm willing to bet money it will be the same woman, and I will be too tempted to behead her. Again I told him I'd have to see how work and Mom develop over the next weeks before I can say yes to anything. What I really need to say is no to everything. Just the idea of it is exhausting.
I was a zealous theatre worker earlier this decade. I was a bachelor, recently divorced. The distraction of constant stagework helped. So did, it goes without saying, Your Sister. Now we're married. I have to ration out my time for the theatre, and it has to be a project I can feel safe committing to. Everything with this group feels shaky right now. They still don't have a season to advertise. It's this fall show and the Christmas show, and that may very well be it.
We don't have Labor Day plans as we usually do, and I'll pack for the week of babysitting Mom.
Picture of the Day
President Chewie is outta here.
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