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Posts Tagged ‘belatedry’

Setting new records for belatedness (which I almost want to dub ‘belatedry’ in order to, though verbal similarity, create a theme for this blog), I will chronicle a few things that I remember about the last couple of shows of the first leg of the tour, which was over two months ago. Though I recently posted about the Georgetown show, what I wrote about that show has been waiting around in a state of near-completion in my computer since early December, failing to see the light of the internet because a) we had twelve shows of Christmas Carol per week; b) we no longer have internet at the houses; and c) I spent most of my New Year’s vacation out of the country. In consequence, we have a list:

What I Remember About our Pre-Thanksgiving Shows

Fredericksburg, Virginia, November 17:
– On the way to the venue, one of our vans was permitted to pass, whilst the second passenger van and the cargo van were forced to wait as no less than twenty people riding horses merged onto the road. Because the school in which we were performing was also apparently hosting some kind of horse-related event, the latter two-thirds of our vans were stuck behind the horses the entire rest of the way to our joint destination. I was in the first van, and consequently lack the second-and-third-van perspective that would render this account as excellent as it should be.
– The space was about as different from Georgetown as it could possibly be, in that it was cavernous. I clearly remember one lone person sitting all the way in the back, and to the side, for one of the shows, and wondering what could possibly possess someone to decide to watch a show from a different postal code when the tickets were general admission.
– During the afternoon Merchant of Venice, Chris Seiler was so heartbreaking during the courtroom scene that, in simply responding, I felt my own performance achieve a higher level—like being able to turn my amp to eleven. Afterwards, Chris revealed that he was unhappy with his performance, which makes him about as crazy as he is talented.
– During our evening performance of Henry V, Ginna, Alisa and I danced across the back of the stage during the pre-show song “Fortunate Son.” I am not sure if the boys playing the song noticed or not, but the audience certainly did, because they laughed considerably. I could add some revisionary history to this event (enough time has passed, after all), and claim that we danced across the stage because we thought it would be a nice reassurance to the audience that there are, in fact, women in the show, since none of us appear in Henry’s pre-show. However, it was the culmination of about a month of us dancing backstage to the Henry songs. Ginna began the tradition when we were in Sheffield, Massachusetts, doing a little skipping dance to “Fortunate Son.” The very location of this historic occasion can be viewed in the picture The Miracle at Sheffield.

Bethesda, Maryland, November 19:
– We had a full-length performance of Taming of the Shrew at an all-girls’ high school. These girls were AMAZING. They laughed at all the dirty jokes in the text, even the ones college students and adults (two different categories) never get.
– However, because it was an all-girls high school, I had absolutely no one in the audience to flirt with as Bianca. And NO, this is not mere vanity; I actually have two directed moments in which I’m supposed to flirt with people on certain lines (you can read about a great instance of this in my post on Blacksburg). I was not personally pleased by the dreamy business I came up with in order to cover those moments, and consequently learned how important it is to my journey that I get to flirt with audience members. What does it mean, after all, if I say “I never yet beheld that special face / That I could fancy more than any other” when the only boys in our Shrew universe are the ones on stage? And though I have absolutely nothing against the idea of women fancying women, I don’t think Shakespeare intended for Bianca to swing that way. The women are all cross-dressers, but I think men have the handle on the repressed homosexuality market in Shakespeare. I imagine the absence of actresses made the idea of girl-on-girl action less exciting to Elizabethan playwrights, since it would be, like any other conceivable pairing, still two men.

N.B. Not merely a life in the theatre, but only a life with the American Shakespeare Center, can give occasion to such phrases as, ‘I learned how important it is to my journey that I get to flirt with audience members.’ God bless it.

– My mother and my aunt Jan came to this performance, and were brave enough to sit on stage. Hurrah! My mom actually cried SO much from laughing SO hard that she went through two pieces of Kleenex. I’ve raised her well. As my mother and my aunt are not only women but family members, their presence didn’t help Bianca’s All-Female Audience Conundrum much.

N.B. Also, only a life with the American Shakespeare Center would force one to even conceive of a type of “Would You Rather…” question about whether or not you would flirt with a family member in the audience if they were the only gender-appropriate person available.

Conclusion: By applying the scientific method to the question of the relationship between bardolatry and belatedry, we find that the more distant in time a topic, the more likely the author is to bring her semi-topical ramblings to somewhat bizarre suppositions. As a final piece of evidence, I cite this very conclusion, written by something who has not written anything resembling a lab report since roughly the year 2000.

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