Someone in a Tree (The Room Where it Happens)

I have many actor friends who have been in the business for years.  They tell some great stories about what it used to be like. There were fewer people out there clambering for the same jobs. One friend with Broadway credits talks with fondness about popping into her agent's office and looking through the breakdowns while they enjoyed a glass of scotch!

I was good at climbing trees 
I was younger then 

I saw everything! 

Where they came and where they went 

I was part of the event.

I was someone in a tree!

I was younger then!*

I'm certainly no spring chicken but I came into the business later in life and that, combined with immigration challenges made it harder for me, which as a result made me more determined to do what I could to get in that room.

If I weren't, who's to say

Things would happen here the way

That they happened here?

I was there then.

I am here still.*

"The Room Where it Happens" from "Hamilton"
Music and Lyrics by Lin-Manuel Miranda**

A new year always brings fresh hope, resolutions and commitments to make it a good one. I was lucky enough to return from Scotland to several great cmails and auditions. In fact, 4 days after I got back to New York, I had 3 auditions in one day. Lucky, yes. But also this is not something that happens overnight.

It's the fragment, not the day.

It's the pebble, not the stream.

It's the ripple, not the sea.

Not the building but the beam,

Not the garden but the stone,

Not the treaty house,

Someone in a tree.

I'm a fragment of the day.*

One audition was a Cmail via Actors' Access from a Casting Director for a job neither my manager nor I had even submitted me for. Why? Because she knows and remembers me and my work from several meetings. This takes WORK on your part.(KNOWING ME, KNOWING YOU) Consistency and commitment. If you want to OPEN DOORS, you need to knock on them several times.

The other 2 were the result of knowing HOW to submit to get to the top of the list (S.O.S. SMARTER ONLINE SUBMISSIONS) There are certain tips and tricks that are basically common sense! Casting Directors are busy and you can do them a huge favor by saving them time and NOT wasting their time. You can read more about these tips in GETTING IT TOGETHER IS THE WHOLE TRICK.

It's the fragment, not the day.

It's the pebble, not the stream.

It's the ripple, not the sea

That is happening.

Not the building but the beam,

Not the garden but the stone,

Only cups of tea

And history

And someone in a tree.*

*"Someone in a Tree" from "Pacific Overtures"

Music and lyrics by Stephen Sondheim

** For regular readers of my blog, you know that I always use Sondheim lyrics. Here I also quote the brilliant Lin-Manuel Miranda. Sondheim has mentored him through "Hamilton" and "The Room Where it Happens" is also a nod to "Someone in a Tree".

www.pollymckie.com

www.theactorsfriend.com

Our Time

Something is stirring,

Shifting ground ?

It's just begun.

Edges are blurring

All around,

And yesterday is done.*

100 days ago (give or take a few missed days here and there), I wrote a blog (Not a Day Goes By) and started an idea for The Actor's Friend: #100daysinthelifeofanactor. I started it to help motivate my students and, of course, myself.  I have accountability groups with The Actor's Friend and I love our time together. The most important part for me is to practice what I preach.

Day1: This is where it began,
Being what we can.

Oh boy, am I glad I did it! 

Feel the flow,

Hear what's happening:

We're what's happening.

Don't you know?

We're the movers and we're the shapers.

We're the names in tomorrow's papers.

Up to us, man, to show 'em ?*

For regular readers of my blog, you know that I use Sondheim lyrics as my theme. Often, I use just a few lines from a particular song but, in this case, I think I owe it to Sondheim and to us all to include it all! We all have moments of feeling down and the summer was particularly hard for me after returning from a summer stock gig. There were no auditions and it was so hard to stay positive. Instead of feeling sorry for myself I decided to be proactive.

It's our time, breathe it in:

Worlds to change and worlds to win.

Our turn coming through,

Me and you, man,

Me and you!Feel how it quivers,

On the brink ?

What?

Everything!

Gives you the shivers,

Makes you think

There's so much stuff to sing!*

And you and me,

We'll be singing it like the birds,

Me with music and you the words,

Tell 'em things they don't know!

Up to us, pal, to show 'em ?

It's our time, breathe it in:

Worlds to change and worlds to win.

Our turn, we're what's new,

Me and you, pal,

Me and you! *

I LOVE my actor friends. It is a tough business full of jealousy and competition but, with the right attitude, we can be the best support to one another. Maybe the positive American influence is getting to me, but I feel it. I feel so motivated and excited for others too.

Day 77: celebrating the life of one of my favorite teachers,
Anne Meara

Feel the flow,

Hear what's happening:

We're what's happening!

Long ago

All we had was that funny feeling,

Saying someday we'd send 'em reeling,

Now it looks like we can!?

Someday just began ?

It's our heads on the block.

Give us room and start the clock.

Our time coming through,

Me and you, pal,

Me and you!

Me and you!*

Day 98: When Chris Noth told me I should be on Broadway

Something is stirring,

Shifting ground ?

It's just begun.

Edges are blurring

All around,

And yesterday is done.

Feel the flow,

Hear what's happening:

We're what's happening.

Don't you know?

We're the movers and we're the shapers.

We're the names in tomorrow's papers.

Up to us now to show 'em ?

It's our time, breathe it in

Worlds to change and worlds to win.

Our turn coming through,

Me and you, pal,

Me and you!

Years from now,

We'll remember and we'll come back,

Buy the rooftop and hang a plaque:

This is where we began,

Being what we can.

It's our heads on the block,

Give us room and start the clock.

Our dreams coming true, 

Me and you, pal,

Me and you!*

*Our Time from "Merrily We Roll Along"

Music and lyrics by Stephen Sondheim

www.pollymckie.com

www.theactorsfriend.com

Not a Day Goes By

From left to right: Bartender in Lolo's music video; Jack's Mother in "Into the Woods";
Gertrude Stein in "Little Wars"; Janis in "Composing Life".

Not a day goes by...

Not a single day...
But you're somewhere a part of my life,
And it looks like you'll stay.

As the days go by.

I keep thinking, when does it end?

Being an actor is not a 9 to 5 job. Thank goodness. 

I have just finished a contract playing Jack's mother in "Into the Woods" in a regional gig in Potsdam. It was exhilarating, motivating and thrilling to be working on such a wonderful show with great actors and I have returned to New York with a touch of the post-Potsdam blues. It is very normal for actors to have a rough period when a show closes. But work breeds work and the motivation to audition is stronger.

with Ryan Hook as Jack

That it can't get much better much longer.
But it only gets better and stronger
And deeper and nearer ---
And simpler and freer
And richer and clearer...*









I was lucky enough to return to auditions, a reading of a new play and my regular hosting gig at Polly's Follies, but that is not always the case. I have many friends who have long runs in Broadway shows and then periods of nothing. This is not a steady profession and, even with agents, managers and brilliant resumes, most actors have periods of "resting". 
This is never resting, though, in the sense of a holiday. Often the resting periods are when we have to work harder than ever. It is so easy to be motivated when you have a script to work on, lyrics to learn and an audience to entertain. Not so easy to stay encouraged with the daily grind of submissions, E.P.A.s or, even worse, the days when there are no auditions and nothing to submit for (summer is a typically difficult time in the industry).

I started to think of ways that will help keep the working momentum going. This is important for me as an actor, but also important for me in my role as The Actor's Friend. I run accountability groups and I try to practise what I preach. Yesterday, I went to an E.P.A. and it felt so great to be proactive. And, there I was, in the bathrooms at Telsey and the idea struck me. Do you remember #100happydays? I am starting #100daysinthelifeofanactor. 

And no,
Not a day goes by ---
Not a blessed day ---
But you somewhere come into my life
And you don't go away.

And I have to say
If you do, I'll die.
I want day after day
After day after day after ---
Day after day after day after day
After day
Till the days go by,
Till the days go by,*

Here is how it will work. Post something every day (if you miss a day, no one will punish you!) that is related to your acting. It could be something as simple as updating your resume, submitting for a role on Actors' Access, taking a class or even taking a trip to the theatre. Post wherever you like that suits you (Instagram, Twitter, Facebook) and tag @theactorsfriend with #100daysinthelifeofanactor. Are you ready for the challenge? I am...

Till the days go by...*

Not a Day Goes By from Merrily We Roll Along
Lyrics by Stephen Sondheim

www.pollymckie.com
www.theactorsfriend.com

Opening Doors

If you are seeking representation, one of the first things an agent or manager will ask you is "What casting directors do you know?" If you have representation, you're going to be asked about how you are building on those relationships and what new casting directors are you meeting.

We're opening doors,

Singing, "Look who's here!"
Beginning to sail on a dime.
That faraway shore's 
Getting very near!
We haven's a thing to fear ---
We haven't got time!*

Of course, we all have that movie fantasy that we will be seen on stage, in an audition or more and more now, on youtube, but the reality is that you need to get out there and do some work. We are lucky here in the U.S. that there are open calls for lots of non-union (however hellish those calls can be) theatres. They exist and you can show up and be seen. There are also E.P.A.s (Equity Principal Auditions) and E.C.C.s (Equity Chorus Calls) and, although casting from the E.P.A.s and E.C.C.s is often not the norm, there is still a chance.  Even if you're non-union:
(With So Little to be Sure of) and even if you might not get seen:(Merrily We Roll Along) (...roll along, following dreams), it is ALWAYS worth turning up.

But we are sometimes seen. And those 2 minutes (if you're lucky) in the room are not always enough for a casting director to give you a job or even remember you. And let's face it, we have all had those 2 minutes in the room when we bomb and wish we had not shown up at all. 

They're slamming the doors,

Singing, "Go away!"

It's less of a sail than a climb.

That faraway shore's

Farther every day.

We're learning to ricochet.

We still have a lot to say...*

No matter how many times I am rejected, I still have a lot to say! You are in for so much rejection and you have to accept that or you are not going to survive in this business. Before acting full time, I was a teacher and I got almost every job I applied for. That is certainly not the norm in acting. Looking for jobs and going to auditions does not equal getting a job! It is the norm NOT to book the job. But every audition is a chance to meet a new casting director or remind a familiar one about you and your work.Chances are that you are not going to be plucked from obscurity and rise to fame. So how can you help yourself?

Brette Goldstein chatting about casting. She knows her stuff!

We're opening doors,

SInging, "Here we are!"

We're filling up days on a dime.

That faraway shore's 

Looking not too far.

We're following every star  ---

There's not enough time!*

All of this takes a lot of time. But it is our job. It is part of being an actor. And often we think that when we have an agent or a manger, s(he) will do it all for us. Not true. I happen to be lucky enough to have a wonderful manager, Kathy Olsen: Encompass Arts, and I know she is looking, submitting and fighting for me every day. But we are a team. I have to do my share. She can tell a casting director that I am wonderful, but it will be better for all of us if that casting director has met me. There lies the position of strength (or weakness if I bombed the audition, but let's not dwell on that!).

So, do your share. There are many actors of the old school who are appalled that we pay to meet casting directors. But it is a reality of the business today and when you meet the good ones, not only is it worth meeting them, you are paying to learn something from them too. I am not a Pollyanna (despite my name) and I know there are times when you feel it has been a waste of time or you go to an E.P.A. to perform a monologue for an intern examining his navel. BUT, you take the risks and you have to be in the game. And you do not know where that intern is going next. There is no point bitching and complaining. Do something. Meet casting directors: 

• Pay for classes and meetings at many of the places offering opportunities: The Network, One on One (audition required to join), Backstage University, Actors' Connection, Stagelighter (video or written feedback), Actor's Green Room, The Actors' Loft. There are others too, I am sure and feel free to add in the comments. I go to The Network more than anywhere else. It was the first place I went when I was still a student and I met Paul Michael when he was just opening it and I loved him. So out of loyalty and many good experiences, that is where I go. I have heard good reports from the others too. I suspect that the bottom line is that if a casting director likes you at a meeting, s(he) is not going to make a judgement based on where you met. And yes, the above is going to cost you a few bucks but there are special deals and it is well worth it if you are willing to put in the time and effort.  
• Meals for Monologues (a wonderful FREE event where casting directors give up their time to see actors perform a song or monologue in exchange for donations of food for the homeless.) Last year the lovely Joy Dewing organised an open call and there was another one at Telsey (Tara Rubin herself was in one of the rooms!) There is another one coming up in February. Go!
• Audition update/Backstage University's meet-up. (the next one is on February 5th). This is not strictly speaking free. You buy a ticket. BUT, the way I look at it is, it is a night of socialising with other actors, a chance to meet a casting director and manager or agent and it's an open bar. So, although my ticket cost me $20, I drank enough Sauvignon Blanc and met enough people and had enough fun to make me feel as if I made a profit on that money! And now Tom Lapke's going to pay me for that mention and I'll be in clover.
• Go to the the theatre! Of course, this is not always free but there are many comps if you look and pay attention. And keep an eye on who is casting things. See things that are cast by C.D.s you like and want to meet.
• Send thank you notes, postcards, etc.  Keep in touch (but do not stalk them!) Follow casting directors blogs, their twitter, facebook, etc. (as appropriate i.e. follow but do not poke!). Learn when you meet casting directors what they prefer. Some hate email, others prefer it. Do your homework.
• Keep note of every audition and meeting. I have notebooks with dates and notes and have now discovered the wonder of Casting About: an online record of who is casting what and the option to keep your own personal notes for each C.D.
• I've said it before and I'll say it again: go to auditions!

All of the above seems so simple but often we need reminded. I'd like to share a couple of anecdotes about why and how I think I was lucky enough to be in those situations. In short, I followed the above list.

I first met Judy Bowman at The Network. I liked her immediately and I was able to mention the name of a friend I had worked with whom I knew Judy liked. I then went to see a play Judy had cast at the Mint and when she called me in to audition for a short film, I was able to talk about how much I had enjoyed the pIay. I have kept in touch with postcards or emails (not too many)!  Brette Goldstein (see above video) offers great advice to treat the relationship like dating. We do not want to seem too desperate. Just be sensible and a real person! Don't send emails or postcards if you have nothing to say. And do not add them as a friend on facebook unless you really have a relationship with them.  Katja Blichfeld offered similar advice and was so spot on about being a real person and not going to meet the same casting director every week at networking events. They can smell the desperation and you have to trust that they are good at their job and will remember you. Lucky me that it took one meeting (this is NOT the norm). I met Camille Hickman briefly at The Network and over a year and half later she recommended me to a colleague for a role. Thank you.

Michael Cassara seems to know everybody! He is clearly very, very good at his job. I first met him when my friend Jean Ann Garrish invited me to his birthday drinks. Then NYMF open call, Meals for Monologues and an E.P.A. (by this meeting, I was confident that he remembered me). A couple of months ago, I had a missed call one Saturday night from Michael (that's how hard he works) inviting me to audition for a project he was casting.  I said "I didn't submit." He said "I know, but I thought of you." This is a man who knows his client and knows the actors to call in.

Wise Words from Michael Cassara. The video is a couple of years old but the advice is still relevant.

I first met Holly Buczek when she was working with Michael Cassara (an E.P.A.). Then she called me in for a job I submitted for on Actors' Access. I met her again at Meals for Monologues and then at Audition Update's meet and greet (when certain actors thought I was Joy Dewing, but that's another story). Holly remembered me (and my friend Vanessa Spica who has been called back by Holly before) so we chatted and had a glass of wine. She is definitely NOT A BITCH (all actors should get this inside joke). I also bumped into her on the 42 crosstown bus (but that is not really something you can pursue as with the other examples above!).  A few weeks ago, I returned to New York after a visit to Scotland for the holidays and I saw Holly on facebook looking for a reader for her callbacks (for Joy Dewing Casting) the following day. I offered my services but she already had someone. Then the morning of the callbacks she sent me a lovely message asking me to come in that day to be seen. Again, I had not submitted, but I had come to her mind as being right for the project when I offered to be a reader. I went on to book the job.

We're banging on doors, 

Shouting, "Here again!"

We're risking it all on a dime.

That faraway shore's looking near again.

The only thing left is when,

We know we should count to ten ---*

I'm counting. I'm opening doors. Look who's here!

* Opening Doors from "Merrily We Roll Along"
Music and lyrics by Stephen Sondheim (as per)

www.pollymckie.com
www.theactorsfriend.com

Getting it together is the whole trick!

Here's a little story
That should make you cry
About two unhappy dames.
Let us call them Lucy X and Jessie Y,
Which are not their real names.
Now Lucy has the purity
Along with the unsurety
That comes with being only twenty-one.
Jessie has maturity
And plenty of security
Whatever you can do with them she's done.*

I am Lucy and Jessie, and Polly and Mary, with a touch of a few other dames (certainly my mother) thrown in for good measure.  And how do we show that versatility to casting directors while staying true to what we keep hearing they want: the real YOU. The reality is that these women are all the real me.  It's about choosing what to show and when.

Just when I am finally getting around to getting my reel edited, it seems that might be obselete now.  Everything in this business moves fast. And, if you are looking for work (let's face it, most actors are) then you need to be in the race.

Most actors I know use Actors' Access to submit. And I know I always wondered about how to get noticed.  There is a very simple pecking order if you want to be at the top of the virtual pile.


The pile from top to bottom

1. Actors with headshot, slate and video clip (for so long I thought it had to be a full reel, but it can be any short clip  -  even better actually as you'll see if you read on.)
2. Actors with headshot and video clip (no slate).
3. Actors with headshot and slate.
4. Actors with headshot only.


I recently attended a seminar held by the lovely folks at Actors' Access.  Anything to keep in the loop and up to speed.  And, of course, I always share what I learned.  There were many depressing facts that could make one just want to give up.  We watched a live version of how the submissions work.  Within an hour of a job being posted there were THOUSANDS of submissions.  And the reality is that a casting director will call in around 20 people for the role.

So what can we do to help ourselves? Easy. Look at the list above and if you do not have a manager or agent, there is still so much you can do to help yourself.  Just give the casting directors what they want. Or at least try!

1. Headshot (still the king - or queen - of submissions)
2. A slate (a new addition to Actors Access)
3. A reel (although, that is becoming less important. Number 4 is taking over)
4. Short, specific clips. (more specifics on the specifics later).
5. Cover note: short, sweet and, above all, to the point.

And herein lies one of our major problems.  and it is so hard, as an actor, to step away from the trap.  We want to show EVERYTHING.  If I submit a short clip of a great dramatic scene, how are they going to know how funny I am?  The wonderful Heidi Marshall explains this problem: At Ease, Actors.

Given their advantages,
You may ask why
The two ladies have such grief
This is my belief
In brief:
Lucy is juicy
But terribly drab.
Jessie is dressy
But cold as a slab.
Lucy wants to be dressy
Jessie wants to be juicy.
Lucy wants to be Jessie
And Jessie, Lucy.*

So, given our own advantages, what can we do?  Let's go back to the list.  Headshot. Simple.  It should look like you and be recent.  Latest advice is that it should be no more than two years old. There is plenty of advice on this without me going on. Let's get to the new thing: the slate. Simple, clear. Do not try to be clever or fancy. Just state your name clearly. The way it is set up on Actors' Access is that when a C.D. clicks on your headshot, it comes to life with your slate: almost like a talking headshot. It may seem silly but you'd be amazed how much one can see from a simple slate.It is free to upload one take (under 7 seconds).  A second slate is $5 to upload.  And here's the best news: your submission is automatically higher up the list than actors without slates. The following was taped after I heard about the slate and I rushed to my go to on camera wizard, Heidi Marshall (I think I may have mentioned her before...just once or twice!) and recorded the following.  Obviously, this is before editing for final slate, but it's amazing what you can tell about me just from this little clip.  

Poor sad souls,
Itching to be switching roles.
Lucy wants to do what Jessie does,
Jessie wants to be what Lucy was.

One of the reasons I love acting so much is that I can switch roles.  I can explore all the sides of me.  And a good reel will show that.  But, here is the problem.  Casting Directors simply do not have the time to watch every actor's reel. And in my research for trying to get my own reel done (thanks to a wonderful friend helping me out), I have been watching other actors' reels and frankly, I quit watching most of them after about 30 seconds.  The ones that capture my attention, I might give a minute or two.  If I do not have time to watch them while I am specifically researching reels, how do you think C.D.s feel about the prospect of watching thousands of them to cast one role? 

So this takes us to number 4 on the list.  I had always felt resigned to the fact that I would be on the bottom of the list of submissions on Actors access, unless it was a role that my manager had submitted for me (agent and manager submission still get more attention from C.D.s).  But there is hope, unrepresented actors. Do yourselves a favour! Stop worrying about the reel and showing everything.  Sometimes, we have a great clip but not enough for a good reel.  And without worrying about showing every side of ourselves, every skill, we should just focus on the task at hand.  Specificity helps the casting directors. I had already taken Heidi's advice and posted specific short clips on my website.  And now I know it's what casting directors want and I can post them on Actors' Access.  So when you are submitting for a job, you do not need to worry about showing everything. Just be specific.

Lucy's a lassie
You pat on the head.
Jessie is classy
But virtually dead.
Lucy wants to be classy.
Jessie wants to be Lassie.
If Lucy and Jessie could only combine,
I could tell you someone
Who could finally feel just fine!*

At the seminar, Blair Hickey (actor and co-founder of the wonderful Casting About) told a story about being called in for an audition based solely on the DESCRIPTION of a short clip.  The common thread is that Casting Directors are busy and they want you to be right for the role.  And they can tell so much from so little.  They are seasoned experts and you'd be amazed what a simple slate can tell you.  Watch them.  Pay attention to other actors:  in your classes, in holding rooms. We all make instant judgments on people. Save the casting directors time.  Even if you have an amazing reel, post BRIEF and SPECIFIC clips with descriptions (e.g. White collar professional: procedural interview). This also pertains to number 5: short and to the point cover note.  I used to think I needed to follow my good old-fashioned letter writing skills. Do not waste your time or the C.D.'s time. If the notice calls for Spanish speaking, under 5ft 3 and able to play the piano, the note should read "Spanish-speaking, 5ft 2, proficient pianist." If you spend time writing "Dear Mr. so and so, I was so thrilled to read about this project and would be delighted if you would..." well, they stopped reading long before I got to the elipsis.


Casting directors are very busy people.  They want the right person for the job and they want him or her quickly. I have heard from some casting directors not to use clips from class, but, what can you lose, really?  Of course, we would all love Meryl Streep's reel, but the reality is that, if you're an emerging artist, you are scrambling to get footage from short films you have done and if you have a great clip right now that shows you could play a battered wife or a diligent nurse and it's from a class, USE it.  

Have a website, post a reel, post a slate, post clips, be specific, make it clear and simple. Submit.  

So, let's do ourselves a favour.  Do it all.  Why not?

Tell 'em that they ought to get together quick.
'Cause getting it together is the whole trick!
Yeah!*

* The Story of Lucy and Jessie from "Follies"
Music and Lyrics by Stephen Sondheim.

www.pollymckie.com
www.theactorsfriend.com

Perpetual Anticipation

Perpetual anticipation
Is good for the soul
But it's bad for 
The heart.*



This weekend I drank the bottle of fizz that my friend, Jean Ann Garrish, gave me for my birthday back in April.  I had explained to her that, in the past, I always had a bottle of champagne in my fridge so that I would be ready to celebrate but that, in recent years, I had neglected the habit.  So she gave me a bottle to remind me.  My sister and her husband drink fizz in times of trouble.  As Napoleon said "Champagne: in victory you deserve it. In defeat, you need it!"

It has been one of those weeks.  Victory and defeat.  And waiting.


It's very good for
Practicing self-control.
It's very good for
Morals, but
Bad for morale.*

Being an actor means a whole lot of waiting.  Waiting to be seen at E.P.A. (a whole different level of waiting for the non-union, as discussed in Merrily We Roll Along, and ...roll along, following dreams.); waiting for an appointment after submitting; waiting for your agent to call, waiting for a cmail (not a typo  - an actors' access reference), waiting to hear about a callback, waiting for a job offer, waiting in the wings, waiting for the next season of "Orange is the New Black" on Netflix.

This week has been a week of waiting.


Well, of course, much more than this week!  I have waited since childhood to start following my dream.  Several false starts and deciding to take the plunge in my thirties (Growing Up).


So many status updates on facebook read "I nailed my audition"  "Callback: woot, woot".  What does that even mean?  I am betting 90% of them do not book the job (not based on any scientific facts!)  Actors do not come out thinking they nailed the audition.  Or is that just me?  I ALWAYS think I could have done more, done better, done more and better.  But I do know that I did an acceptable job at this particular audition.  I did my work.  They liked me.  I rarely feel that but sometimes you just know.  And this is a role I want to play.  A job I really wanted.  

And so the waiting started. 

Perpetual anticipation's a
Delicate art:
Playing a role,
Aching to start,
Keeping control
While falling apart.

Perpetual anticipation
Is good for the soul
But it's bad for 
The heart.*

This is when my 'phone becomes an issue.  Did I miss a call?  Double checking. Triple checking.  Posting on Callback Corner on Audition Update.  Going on the subway and praying for a voicemail when you come back up out of the ground.  

Well, after four long days, the waiting was over.  I did not book the job.  At least my waiting was put to an end.  The director was lovely enough to email me and tell me how much they liked my work. That's a rare thing. When I was called back for Mrs. Brill in Mary Poppins, the call came over two months after my first audition.  Four days is nothing.  Even if it seemed like an eternity at the time.

So, that was my defeat.  That accounted for half of the bottle of fizz. 

I have been lucky enough to be in email touch with a wonderful manager.  After several emails and attempts to find time, we finally met last week.  I knew in my gut from the emails that I liked her.  And I was right.  She's even better in person!  Thank you, Kathy Olsen and Encompass Arts!

Now, I'd better go out to Sussex Wines and buy a new bottle of champagne to keep in the fridge so I am ready for the next victory.  Ready to do some more waiting...and grateful for it all.

*Perpetual Anticipation from "A Little Night Music": Stephen Sondheim, of course.

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