Showing posts with label State Theater. Show all posts
Showing posts with label State Theater. Show all posts

Tuesday, October 12, 2010

The Night David Came to Town


I am easily loving. I love too easily. If you put me in a situation where there is anything, anything at all to be ecstatic about, I'm there. My eyes open, and I smile continuously, and I'm willing eager ready to love anything that has to do with that scene. I'm ready for beauty, is all I'm saying.

Tonight, my friend organized a small group of other friends to go to see David Sedaris read at the State Theatre. We drank 3 dollar glasses of wine beforehand, and talked about football players with no boundaries, and then we drove to the theater separately which gives you the added bonus of waiting for someone you already found, and watching the lobby and then finding them. Outcast, and then elation. Never underestimate the meet up. There's this level of anticipation it's always good to keep in your pocket, and this is an easy way to make a girl feel found. If you want to sleep with a girl, make her wait for you in a public place.

The reading was amazing. He, the author, the one everyone was there to see, was amazing. First I sat in the seat, sipping my wine, and thinking how funny it was that everyone was laughing at things I found sweet and right and melancholy, and staring at the grey ghost ballroom dress of a chandelier that sits above the audience, it's crystals lighting up just the edges and the painted ceiling fading into this blue gray olive picture that I wish I could have taken a picture of for you. But I didn't bring my camera. My loss, always. I sometimes feel like I've relied on the camera too much, but that's the point of our digital age, the merging of fact with fiction and documentation. Anyway, he was fantastic. But I sipped my wine, and then I sipped the Johnny Walker that Andrew had brought in his magical flask, and I had to piss. So I waited for an appropriate time to visit the head, and when I couldn't squeeze my thighs together anymore, I walked out.

Into the balcony lobby, and then the girls bathroom, with the chest high radiators and comfy grandmotherly armchairs, where girls should come in scratchy dressed and dry clean only cloaks. I emptied my bladder like a race horse, all tight from its misuse, and walked out to the lobby with a clear head. Where I stood by the marble railing, staring at the lights and paints and chandeliers, the dark audience sitting below me laughing, and I didn't want to leave. So I didn't. I stood there, listening to his words, on the empty carpet. The ushers were below me sitting on the stairs, and everyone was focused on the stage, but I could stand right here, alone and beautiful, hearing everything clearly. I sipped my whiskey, and it burned my throat like a promise of yes, yes this is where you should be. Emily came down too, eventually, and then we sat like urchins on the marble staircase, with a clear wonderful view of the stage, next to the ushers. We stretched our legs on the edges of the staircase, hard and fast, and I ran my hands over the thick industrial carpeting, and looked up at the painted cameos of the ceiling, and the darkened chandelier, and everything was funnier and brighter. We were lawless. We were winning. Everyone was happy and pretty and funny. The ushers always have the best seats, it turns out. Through the marble railing posts, into the darkness, with the sound coming right at you. Against the wooden pillars, with their carefully carved gutters.

I was drunk, and giddy on my own smile. Emily and I stood in line, to speak with the great and powerful author. Our lawlessness gave us the advantage. I may have gushed about things, I don't remember, I was wearing plaid and red lipstick, which leads to forgetfulness and a feeling of your own awesomeness, your own inevitable grandness. Then we went outside and talked to lawyers. Unemployed lawyers. Television producers. City Year alumni. Valets with secret literary ambitions. I stood outside that brightly lit marquee, in the center of people coming and going, and I felt...interested. In everything. In every pompadoured man with a sports coat, and every uniformed employee, and all the shiny cars.

There's that feeling, I could have danced all night. I could have talked all night. To everyone in that place. All I want is to talk to you and know you and have fun. That's the theme right? We go from loss to love and back again, and up and down where sometimes you become aware of the adventure and engrossed in it, and you feel sorry for everyone that wasn't you that night, that wasn't with you on the stairs, feeling the carpet and thinking of all the well shod feet that crossed the very place where your fingers are touching right now.

Saturday, June 20, 2009

The Reason I don't go to the Opera more often is because I hate to wear dresses

I mean, I love dresses. I just hate dresses on me. Right now. Not in the past, and not in the future. See me being *optimistic* and *positive* there, you haters?

But I sucked it up and wore a dress last night when Jere and I went to go see Falstaff at the State Theatre (theater? teatro?). Jere had the hook up with some very nice Opera Girl, and got us free tickets.

I looked dumpy, but Jere was dashing, and some of the other outfits around us were entertaining enough that I mostly forgot about my mom-like dowdiness and concentrated instead on spiky hair, bouffant shoulder dresses and stopping myself from snapping pics. I love when Cleveland gets dressed up.

Falstaff itself was great. Gaetan Laperriere is fantastic as the naughty little fat man, and I loved Anya Matanovic's Nannetta. I kept expecting her and Fenton to break into "I am 16, Going on 17". Sadly, no one else behind the scenes heard my telepathic cries.

The scenery was that intentional minimalistic skeleton boards feel, where they just move stuff around on stage to change scenes, right? I normally hate that schtick, since it throws me back to community theater days. However, the last act, where they lower a tree of chairs over the stage and the lanterns light up? Was my favorite. It actually made me feel for a moment like I felt when I was a 7th grade little urchin in Man of La Mancha at Near West; kind of impressed.

Falstaff is a weird thing, because you know, Merry Wives of Windsor isn't that funny. It's supposed to be, but it isn't. It's the insults that really make this opera, cause they're the only thing that save that play. I know, there's so many more levels you can read it into it, the class system, the hypocrisy, the irony, blah blah blah. Whatever. Shakespeare's comedies all follow the same theme - drunk "wise" fool, man in drag, hidden love, masquerade, double wedding. And seriously, Alice and Meg can suck it. They're just mean.

But this particular play is known for its crassness, a quality that plays really well when you hear it sung in beautiful Italian by professionals. You don't think it's going to be funny, I mean it's theater funny but not really funny. However you find yourself laughing out loud more than you thought you would. With a lot of old people around you. And have you noticed how older folks will repeat things they find funny as they're laughing, like, out loud and loudly?

Afterwards we had some drinks and some eats, and then I drove home in a great lightning storm. I stood outside and played around with my camera's continuous shot feature, trying to catch some lightning in the frame. It worked a couple times, but the problem is that those frozen pictures just look like normal evening blue colored sky. You can't tell it's lightning or even a storm. There's a lesson in there, but I'm going to blissfully ignore it.

And tonight, once again, I'm wearing a dress to the museum. Goddamnit.