Closing Night of Sugar Babies. Been a fun ride, backstage pushing sets and pulling ropes. Mostly it's been work. I did meet Striking Southern Gentleman, who I'm obviously quite smitten with. I did talk with a couple people I admire, like Bob Edes, an actor I would enjoy working with on stage some day. And I made at least one new friend, Ed Bishop, a newbie in town like me, a director who's relocated from D.C. And it's been fun listening to crew gossip on the headset.
My earlier complaint about poor backstage behavior still stands though, slightly tempered. The principal actors have warmed up to the crew finally. They talk to us and some even address me by my formal name, Mister Mead. Somebody must have read my blog. Now it's only the hot, young male tap dancers who cringe at eye contact. I said hello directly to a boy last night, and he turned his face away, playing the "I don't hear you," game that used to push my buttons in Seattle. I repeated, "Hello! I said hello to you!" but he kept walking.
Tonight is my last time backstage with Dane Rhodes, who still says nada, nada, y pues nada about Pillowman, although posters have gone up. At this point I assume I did not get a role, but he says nothing, which is DRIVING ME CRAZY. Tonight I'm going to ask. Not letting this last opportunity to talk to the director pass without closing the loop. If I don't get a role, at least I'll know. I'm also curious to know how Dane can rehearse and play the lead in a Southern Rep production while also directing a Le Petit production simultaneously. And why 2 plays by the same playwright, over the same weeks?
Mark my words: I'm going to appear on the Le Petit stage some day. Soon! It's good to have goals.