The Back-Handed Compliment

I thought when he said we could talk about it at the show that night it would be to ease my pain with a friendly hand on the shoulder and a few soft pats laced with the undertone that I was never really ever considered for the part, so it shouldn't be a surprise he had to email me with negative results.

And not negative in medical terms, meaning the disease isn't present. Not negative that way. Not really.

You can understand my surprise when the producer of the black box at the local community theatre approached me with a hesitantly sorrowful face that night and mouthed "Did you get your email?" before sweeping me into a gentle hug upon my Yes.

He started talking. Said after Saturday she was in first and I was in second, I listened, my mind remembering the four other girls up for the part at callbacks, but he was only talking about me and one other. Just two of five. "After Tuesday it all swapped. Your readings were so solid." My brain started to make sense of his monologue.

It was between me and one other. Just two.

"I was pushing for you but [the director] was pushing for her. And you were so close in everything that we had to go with looks. And I hate that because I've lost parts that way."

But she looked more like Thomas More's daughter than I did.

I don't have enough English blood for English looks.

I was chipper, I was flattered, I was understanding. It was enough to know I'd been considered. Especially so closely. I felt good about my callbacks, but I had no idea I was near the head of the group after that terrible first audition. But he looked at me and told me several times that I'd been good. I'd been really good. And so had she. So they had to go with who looked more familial.

And it was her.

But you can see how, letting it sink in further, I realized how disgruntling a situation this was. I'd been so close. I was so close. And I lost it for looks. I lost it for being blonde and blue eyed. I lost it for being round faced, not narrow faced. I'd lost it for factors beyond my control.

Don't get me wrong, I'm not angry and making voodoo dolls of the other girl. Nor am I curled up with the pint of ice cream my mom bought me for my birthday. I'm taking it with a grain of salt: a back-handed compliment of sorts. Knowing that I did my best, and that my best is better than I give myself credit for. I just wasn't meant for the role. Not this time.

There's a line in Tom Stoppard's Rosencrantz and Guildenstern Are Dead that keeps coming to mind: "Which is a kind of integrity, if you look on every exit being an entrance somewhere else."

I'm not meant to enter the role of Margaret More. I'm exiting from the stage for a while, metaphorically and literally, the enter into something else. Something that's more suited for me at this point of my life. It would have been amazing to do a beautiful drama like A Man for All Seasons. It would have been delightful to work with a different director and several new-found, good theatre friends. It would have been fun to wear those heavy, authentic 1600's costumes. It would have been, it would have been, it would have been.

But it won't be. Not for me. I don't need to be Meg. I don't need to enter here. I'm needed somewhere else.

I'm just waiting for the cue.

A little thing called courage.

It's been a while, and having just updated my personal journal I decided to delay studying for my chemistry test/sleep a little longer by updating this.

For the sake of congruence, abide by the convention that one day doesn't actually end until you've gone to sleep for the night, so while the clock says it's November 14th, I'm still awake on the 13th. Otherwise the post is pointless.

A year ago today I auditioned for the Improvables.

This was a big deal, for reasons that can be revisited in a post from back in March, but it was also a big deal because that one choice led my life to what it is now.

Let me elaborate. The decision to meet Jason Mraz was a huge, obvious choice, but had I happened to miss the VIP memo, or been unable to get tickets before they sold out, or been unable to travel to see him in concert, I would for the most part--as far as hindsight lends me to see--be the same person with one less amazing story and one less glorious profile picture.

Now this isn't 100% true, but I'm using it on the basis that when I returned from Colorado I was the same girl with a new experience under her belt. I still went to Weber, I still lived at home, I was still badgered with existentialist notions...

Auditioning for improv changed me.

I didn't want to go. It had been years since I'd regularly done improv, and I'd gone to a troupe workshop once during my first year at college and had felt like a child and moron the whole time. I didn't go back. I couldn't stand the idea of being inadequate. And as I walked through my house to the door into my garage, dressed in my jeans and a purple shirt and my new purple boots from that trip to Colorado, I told myself no. Turn around, go back upstairs, get in your pajamas and get on the internet. Don't even bother. You're not going to get in anyway. You don't need to leave the house.

And a small, weak, uneducated voice told me "Then what have you got to lose?"

We've recently been counseled to doubt our doubts. Elder Holland gave a talk a few conferences back about clinging to what we do know, not dwelling on the gaps in our faith or understanding. Doubt your doubts and draw faith from the things that are solid enough to hold on to. Build up the others as you may, but don't let them be the focus.

That little voice has grown, strengthened, become a regular occurrence in my head. I'm not that girl anymore. I'm not that girl that doesn't talk, that doesn't contribute, that sits back and wishes life would happen to her. I'm not that girl that hides in words. I'm not that girl. I became something else last year, and it wasn't meeting my idol that did it. It wasn't having his arm around my shoulder or his gaze locked in mine. It was girding up my loins, grabbing my jacket, and getting in my car on a chilled November night, driving to a theatre I'd never be a part of, to audition for a troupe that would never recognize me as more than a patron, to an audition that would prove fruitless, to return home and amble back into my life of nothingness; that endless staircase to nowhere because I don't have enough stars yet to get to Bowser.

But by leaving the house, by enduring that audition, I was doing something besides scaling a staircase. I was earning stars. And a few months down the line I'd have enough.

I wanted to write tonight because of something that it's becoming clear to me I've already said a million times on this blog. But I'm saying it again anyway, so just deal with it. Everything happens for a reason. I can't see myself as anything but what I am now. I'm so grateful this person has been formed from the ashes, and that I gave myself the opportunity to burn up the old me and rise again. I'm grateful for the trial and error, for the experimentation, for the heartache, for the patience, for the surprise, for the friendships, for the revelations, for everything that's happened to me in the past 12 months, because I can attribute it--all of it--to one day in November. One ordinary day that brought forth everything but ordinary outcomes.

Here's to another year. Here's to earning more stars and fighting more bosses. Here's to a little courage.

I'm so incompetent I can't even compose a post about how I'm incompetent. So forget the theatrics, forget the prose and poetry. It's time for raw words.

I knew I wouldn't be able to audition with that song. I've tried it three times and it just never works the same in front of the panel as it does at my piano. But I did it anyway.

And I HATE feeling so... You have to understand when you're best friend's in musical theatre and the majority of community shows they put on are musical theatre, and all of the freshmen in the theatre department are doing musical theatre... singing is a big deal. And every time I fail at it I feel like I'm a five-year-old again. An incompetent five-year-old that maybe someday will get better but for now she's just a dumb little kid and doesn't know better.

I feel like my confidence and my ability to perform in sync with that confidence determines my intellectual standing with people of this crowd. So when I stumble or reveal a short-coming I lose a few years and become the 19 year-old that doesn't know any better. They 19 year-old who is obviously a five-year-old on the inside because if she wasn't she would have gotten better at this by now, or learned to never EVER EVER rear her ugly head in this direction again.

And it's stupid but it really does shatter me immensely. I avoided singing in high school because I thought I could get around it, but if I ever want to perform again I have to learn to sing.

And it's shit. It's ridiculous that my self-worth is determined by whether I can control my singing voice in a public setting.

I don't want to sing. I hate musical theatre for the sole purpose that to participate I have to sing. It was okay in high school when I could get the old lady parts that don't sing, but in community theatre there are real old ladies to get those parts.

What do they need a 19 year-old for?

But the thing that's bugging me the most is that I felt I was making a decent impression on this brutally attractive man.

And then my voice cracked.

And who would ever be impressed by a 19 year-old who confidently sings like she's five?