Wetting my pants
Sure, that goshdanged boyfriend of mine beat me to the only punch I had worthy of livejournal posting. But . . . he left me elaboration room, and I'm about to abuse it to the full extent:
I'm a scenic designer. So naturally I was offered the scenic design position for an upcoming winter-term play at the University of Michigan. Blah blah.
Wanting to branch out of my scenic design cage, I take silly classes such as tap dance, ballet, aerospace engineering, and the very basic introduction course to lighting design. We just had a big lighting project due. The professor adored mine.
Two days later, after he's showed it to another of his classes, and had me perform it for the head of the lighting department, I am informed of a plot to assign me to the play for which I am already doing the sets. They want me to design the damned lights too. After two days of hesitation, I accept, knowing full well that my neck will be the target of at least four other lighting design majors, all who were vying for the assignment -- real lighting design majors, many of which have taken more lighting design classes than I, and who have designed actual shows before.
So, why precisely is this such a hot, hot play of which to design? I will be finding severed horse heads in my sheets because of it. See, there's this world-famous director involved. Mark Lamos . . . I forgive you completely if you've never heard of him. But he's famous, and good, and has directed such people as Pavarotti before. He's returning to Ann Arbor to direct this hot, hot show. The show is hot, not only because of him, but because of who it also attracts. It's a medley of Arthur Miller works, some very old, and one just written and never before seen.
And Arthur Miller will be paying homage to himself by coming to view it.
There, that be the final and un-cut story. Anybody want to come see a play?
I'm a scenic designer. So naturally I was offered the scenic design position for an upcoming winter-term play at the University of Michigan. Blah blah.
Wanting to branch out of my scenic design cage, I take silly classes such as tap dance, ballet, aerospace engineering, and the very basic introduction course to lighting design. We just had a big lighting project due. The professor adored mine.
Two days later, after he's showed it to another of his classes, and had me perform it for the head of the lighting department, I am informed of a plot to assign me to the play for which I am already doing the sets. They want me to design the damned lights too. After two days of hesitation, I accept, knowing full well that my neck will be the target of at least four other lighting design majors, all who were vying for the assignment -- real lighting design majors, many of which have taken more lighting design classes than I, and who have designed actual shows before.
So, why precisely is this such a hot, hot play of which to design? I will be finding severed horse heads in my sheets because of it. See, there's this world-famous director involved. Mark Lamos . . . I forgive you completely if you've never heard of him. But he's famous, and good, and has directed such people as Pavarotti before. He's returning to Ann Arbor to direct this hot, hot show. The show is hot, not only because of him, but because of who it also attracts. It's a medley of Arthur Miller works, some very old, and one just written and never before seen.
And Arthur Miller will be paying homage to himself by coming to view it.
There, that be the final and un-cut story. Anybody want to come see a play?