by Cameryn Moore
Oh, lord. I look back on what I wrote last week, about the value of stillness and intention. All of that remains true, but let’s be honest, it was the calm before the storm, the calm before the tornado. I don’t have time for that shit. I don’t even have time to write this column. I am going into tech week.
Baseline level of “smoothly” is no one has died (knock wood) or injured themselves (knock wood).
There was a small counter-movement afoot, in one of the places where I performed, not to call this week “Hell Week”. People there felt like it was a self-fulfilling prophecy and not very positive. I get where they’re coming from, but it’ll always be Hell Week to me, no matter how smoothly it goes.
Hell Week is feeling like I’ve got it, and then having a rehearsal where OH GOD I don’t have it, and then another one where it’s like that earlier one didn’t happen and I’ve nailed it and I’m not certain what level anymore I should be worried about the show, but the default is KEEP WORRYING, keep running those lines in the shower, doing dishes, driving to rehearsal, keep worrying until about three hours before and then, welp, either you have it or you don’t.
Since I’m a self-produced act—don’t have a manager, yet, or a producer, yet, or a PR assistant, yet—Hell Week means I get to wear my producer hat, which is two sizes too small and screwed on way too tight. It’s giving me a headache, but that’s the way it goes, counting up RSVPs on Facebook and dividing by 10, yeah, that’s the actual amount you can count on, resisting the urge to contact the box office and ask, so how many pre-sold do we have? Resisting that urge, because I know damn well I am not going to like the answer, that at this stage of the game, even a few days before, pre-sold doesn’t mean a damn thing.
Release runs from April 9-13 at Mainline Theatre in Montreal
Phone Whore will be performed in Peterborough, Ontario April 18-20