Category: Pulverbatch

May 5, 2003 /

Ultimate Frisbee is the new running. I get about the same workout, but it takes three times as long, and the whole affair is a lot dirtier. I also get to publicly embarrass myself, in that I (really, seriously) can’t throw or catch. On the plus side, I keep taking my falls on the same two places, so I bleed a lot!

Saturday night was the First Annual Drama Formal, and also the public debut of DJ Jazzy O’Badkins (that’s me). It was mostly cute little froshers, and they only stayed for maybe an hour of the allotted three, but at least they were there for tracks 6 – 18, what I consider the best part of the mix (on which I spent about six painstaking hours). You can see the HTML version if you want. Yes, I started it with Chumbawamba. I was being retro! I make no apologies! Nobody was there yet anyway!

My baby sister Caitlan, who wields the powers of all Adkinses combined, has decided to go to Georgetown, back in the little hamlet where we were all born. I still would have liked it if she’d picked Centre, but now I can say that our family has conquered all three important Kentuckian smallliberalartscolleges. O’Doyle rules!

April 24, 2003 /

Last night was the least stressful opening night I’ve ever been through, thanks largely to the way the stage is set up, I think. The musicians play behind what’s called a scrim at the back of the stage–a very loosely woven canvas that’s semitransparent straight onbut opaque from an angle. Because it makes the audience look fuzzy, it fosters the illusion that we’re behind some kind of two-way mirror and don’t have to worry about being watched. Even though I know consciously that the audience can see us just as well as we can see them, that still put me at ease enough to play as well as I ever have. This is neat!

It seemed to work pretty well for everyone else, too, and the music really sounded great. More credit for that goes to the writer than to us, but hey, he gets his bow too.

This is the big crunch week, in that I have no more free evenings to work until Sunday, and I’ve been struggling to keep up. I did finally get in an appointment to see my career counselor about a resume critique; we’d been having a little difficulty finding a time because, and I quote, “she’s got a mare due.” Only in Kentucky.

Anyway, she seemed to like my resume and my cover letter (the first one I’ve ever written!), so that felt good. It still bemuses me, though, how little one’s qualifications matter compared to the monumental importance of making them all fit on one page. My counselor’s a nice lady, but I honestly think she knows as much about line spacing and margins as she does about, y’know, jobs.

Another thing I’m behind on: sending out graduation announcements. Eek. I went to the library yesterday to copy pages out of my mother’s address book, which is kind of like a library in itself. There are sheaves of apocryphal driving directions, notes and updates, about five different styles of handwriting, and some entries that take up half a page alone because they’ve been crossed out and corrected so many times. It’s a fascinating object, and I feel like I should get a grant and do an archaeological dig on it.

Too many things on my head. Why is everyone getting sick? Should I bleach my hair again? And how the hell am I supposed to wrap up this entry?

April 9, 2003 /

Entry 255! I have almost a whole byte’s worth of journal!

Every time I start to get uppity about something I’m doing at school, dramatic irony thwops me on the forehead. Like, for example, the past couple of weeks have been the beginning of music rehearsals for the spring production of Chalk Circle. That means, thanks to the grand tradition of Brendan’s Roommates Letting Him Pretend He’s A Musician, I’ve been actually reading things on sheets of music and playing them on congas with a band of real musicians. This honestly gives me the shivers.

Then, just as I’m starting to believe something like “hey! this stuff can be learned,” along comes Wynton Marsalis.

I only got to watch the first third of the show (two hours), but everything I saw was… well, pretty much what you’d expect from Wynton Marsalis’s band, assuming you know who Wynton Marsalis is. I don’t even think I enjoyed it as much as some of the other people watching it up on the catwalk with me, because I honestly don’t have a developed taste for jazz. I was still in awe. The talent and skill those guys put on display was ineffable.

That said, today was the first day I ran my whole route–what I guess now is around three miles–without stopping to walk. I haven’t done that since high school, and I did both on rainy days, and there’s really no dramatic irony possible there. No matter how many people run better than me, the fact is that right now I can run as fast as I ever have in my life.

March 6, 2003 /

I got her, Michelle, the director I wanted. My instincts were right, this time: she’s a genius. My director is AMAZING. We (where by “we” I mean “she”) talked about the play for almost an hour, during which she came up with better and more interesting character profiles and staging and motivations than I could have imagined. Her mind moves like water on hot grease. Synergy. This play has the potential to be incredible; I wanted to kick people in the teeth, and that may just be what she’s going to do.

I’m exhausted, ecstatic, emotional. Obviously I’m in a heightened state; I haven’t slept since we left the Days Inn yesterday morning, a low-contrast memory. But I’m excited too, and something in me is trembling. Doing this hurt. Last year I felt fatalistic about what was going to happen that night. This year I feel terrified, and joyful, and I ache.

I’ve written happy and sad before, but I don’t think I’ve ever managed to clearly transmit pain until now. I think The Laramie Project was the most important thing I’ve ever done. I think this was the hardest, and I think I did it right.

Twelve hours of sleep until I watch it come to life.

March 6, 2003 /

Having it read aloud was like being naked.

I’ve never written anything I count as drama before, and this play is dramatic. The cushion of laughter was still there, at the beginning, but it didn’t help because I knew it wasn’t achieving what it could yet. I wanted to make it hurt, which meant I had to make it feel good first. It hurt me. I can’t tell yet if it hurt anyone else.

The directors are picking out plays in the next room, and I’m still nervous, because there are one or two of them I’d love to have pick it and three of them whom I dread. I could babble on here about how I made mistakes for the cold reading and why I want whom I want, but I’m going to turn this thing off. My fingers hurt. My play is done, and it’s barely started.

It’s called “One Eye, One Tooth.”

March 6, 2003 /

I kind of forgot to mention this, but I’m in Virginia. SETC again, and the 24-Hour Playfest again, and I’ve just finished the third draft of my play, which is pretty close to final. I’m an hour early, which may mean that (end-of-the-world joke of your choice).

I’ve got enough caffeine in me to power a small country for a week, so I need to be doing something or I’ll be fidgeting and bothering the senior playwright who’s going over my piece right now: thus the entry. I’m as nervous as I was last year, because there’s no safety net. Doing comedy is hard, but writing tragedy is harder, and I think I wrote a tragedy. Or at least something that hurts.

Tony called me out last year for only writing comedy; he said he thought I had it in me to write deeper, darker stuff. I don’t believe my comedies have any less depth just because their tone is different, but the challenge irked me anyway. They do that. So this year I wrote something with a bite to it. It’s the play I couldn’t write fall term, and if you were around you know what that means, and if you read the play you might figure it out.

Or you might not. I have to edit now, I think. I don’t want the ending to feel tagged on, especially because it wasn’t.

February 14, 2003 /

I’m so tired it should be visible: there should be waves of it rising off me, distorting the air like our old wood-burning stove.

Last night was the second and last public performance of The Laramie Project. The Fellowship of One, the group of (mostly, and oddly, black) local pastors who have been trying to stop us from doing the play at the high school, were in attendance. They’ve never been uncivil, but their arguments at such venues as the DHS parents’ meeting have consisted mostly of things like

Pastor: The play promotes a homosexual lifestyle.
Teacher: The play doesn’t promote any such thing. It shows viewpoints from all sides, including Christian values like mercy and forgiveness, and it shows what happens to people when a crime forces them to confront the issue of prejudice in their community. This is why we’re teaching it as part of our curriculum during Black History Month.
Pastor: The play promotes a homosexual lifestyle!

Last night, they left after the second act. Jeff, our director, ran out after them and asked what they’d thought of the show. Only one of them would speak to him, but what he said was

“This is a play about not hating people. You’ve made your point.”

We did it. We did it right.

Exhaustion, and triumph, and a ring around the moon.

February 12, 2003 /

Collective effervescence.

We’ve started the play, and it’s perfect, raw, gorgeous, exactly everything we wanted it to be.

Afterwards, I walked to the gas station to buy more caffeine (the presentation has yet to be done). I had a flower in my backpack from Deb, and was listening to a Duncan Sheik song, of all things, and I could see the whole scope of it: how last year was home, and this year is setting out away from it. How and why I’ve done what I’ve done, here. How this is the biggest year I’ve ever lived.

January 8, 2003 /

I’m living in a small apartment with some of my best friends, apprenticed in a trade I find fascinating, dating an amazing girl, working with a dream cast on a play that really excites me and playing in one of my favorite bands. It occurs to me that these are probably the best days of my life.