Viola 2 - Viola in the Spotlight by Adriana Trigiani

Author:Adriana Trigiani
Language: eng
Format: mobi
Publisher: HarperCollins US
Published: 2011-06-04T07:00:00+00:00

What a relief, I’m thinking, as I pull open the work door to enter the Helen Hayes Theatre. I think I might major in theater when I get to college, because there’s something about working in a cavernous and dark place that makes me feel as though anything is possible, and also, that it’s easy to hide in this big, raw nothingness where plays are born.

I check my BlackBerry.

AB: I don’t know what came over me last night.

Me: Me neither.

AB: Drop it?

Me: Dropped!

Andrew, my BFFAA (Best Friend Forever and Always), has now officially become my BFFAAAOKO (BFFAA…And Only Kissed Once). I exhale a sigh of total and genuine relief.

I wish The Kiss had never happened. But it did. It’s so much better to be friends. Once a boy becomes a boyfriend, you can’t talk to him about what you’re feeling, because he assumes whatever you’re feeling is about him even when it’s not. This was the takeaway from my year of dating Jared Spencer. And I would never want to trade my friendship with Andrew for a rooftop kiss. And once again, I’m going to have to deal with a surprising turn in my life story that I didn’t see coming. (I count attending a year of boarding school as one of the most shocking turns my life has taken, but I survived it, and even ended up better for it.) Just goes to show you, sometimes you have to live in the moment and not worry about the big picture—as long as what happens in the moment doesn’t ruin your life.

I turn my attention back to the task at hand. I’ll focus on the play and let the Andrew thing vanish into thin air like a stage kiss. It happened, but it doesn’t mean it’s real life. Mr. Longfellow is onstage by himself, walking around. He doesn’t look worried, he seems in control and ready for anything.

I’ve learned a lot hanging around this production. Of all the designers, and that would include Julius Ross, Jess Goldstein is the nicest and actually says things about theatrical production that really stick with me. Jess taught me about mounting a revival versus a brand-new play. He likes the historical aspect of researching what the designers invented for past productions and reinventing them for a new audience. Also, when Les Longfellow wants something, Jess delivers.

I spent a day with the costume crew as they distressed the fabric for the dresses that the spinster aunts (Grand and Mary Pat) wear in the play. When Les Longfellow saw the costumes under the light, he felt they looked too new. Also, these are characters of modest means, who have one dress for everyday and one for church, and the one for everyday has been hand washed and pressed and worn for ages, so it should not look new.

Jess chose a deep forest green wool for Mortimer Brewster’s suit. Brings out the hazel in George Dvorsky’s eyes—he’s the leading man and has to look scrumptious. Jess had

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