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I feel every single emotion Melina is feeling when she’s being forced into a marriage she doesn’t want. I can sense her dread as she makes her way down the aisle, and I translate it into my body, every look, every wince, it all says the same: this is not the future I want for myself.
When Melina’s kidnapped, there’s a single moment of surprise. She’s startled, scared. But once she realizes what’s happening, relief washes over her. She’s being freed from a fate she doesn’t want. And even though this isn’t how she imagined it would go, at least now she’s got a chance to choose something else for her.
I understand Melina like I was never able before.
When my part is done, I’m beaming with excitement, and I leave the scene under the admiring applause of my castmates. It feels exhilarating. Emily is nodding approvingly, and at this moment, I feel like there’s nothing I can’t do.
On the side, I watch as the first half of the play unfolds without me. Leon and the King trying to come up with a plan to rescue Melina. Arthur finding out about her kidnapping through town gossip and deciding to look for Melina, the love of his life, on his own.
And then it’s my turn again. I enter stage left, panting as Melina breaks free. I run through the woods on the stage, hitting my mark seamlessly. Arthur reaches me, and that’s when everything changes.
There are many ways to play off this scene. I realize that maybe what we’ve been doing isn’t working and decide to improvise a little, changing their encounter. So, when Winter’s strong hands hold my arms to stop me from running, I don’t fight back. I don’t struggle to break free.
Instead, I lean on to him and let out a loud sigh of relief. I give Melina the hope of finding someone who’s willing to help her.
I wasn’t sure how Winter would react to it. He could freeze and not know what to do. He could follow my lead and improvise the rest of the dialogue. Apparently, he could also push me back and give me a death stare.
“What are you doing?” Winter snaps.
We’re so close I can see the wrinkles in her eyes when he narrows them at me. His chest is heaving, but I don’t know if it’s because of the scene he just interrupted or because he hates me.
“I actually like that,” Emily calls from her place across the stage. “Let’s try this approach because I think maybe it’s the click we’ve been missing in this scene. So, instead of having Melina fight you, she’ll lean on you for help. And Arthur can be a little…”
“What if she’s relieved to find him? Not because it’s Arthur, but just because it’s someone to help?” I suggest. “And then he’s hurt when he realizes that because he thought she’d recognized him. We’d still have that moment of not knowing who he is.”
“That’s perfect.” Emily beams at me, and I feel my chest expand in pride.
Chapter 12
It wouldn’t be an exaggeration to say that for the next couple of weeks, my entire focus is on the play and getting it right. We’re slowly advancing through the script in rehearsals, and the only thing I have in my mind is the need to nail every scene.
If I don’t leave my all on that stage, I’m not doing my job right.
That means I’m leaving earlier in the morning and staying out later in the evening. I’ve barely seen my sisters since rehearsals started, but I’m sure they understand. This is what I’ve always wanted, and now that I have the chance to do it, I have to work my ass off for it.
It’s an unlikely rainy day at the end of August, grey skies and heavy clouds throwing all Angelenos off. I swear, the first drop of water to fall from the sky seems to send everyone in SoCal in panic. Traffic becomes ten times worse, if that’s possible. People get moody. The only good side to a rainy day in the middle of summer is that Movieland gets exponentially less crowded.
And the drought and wildfires, of course. The rain is important for them too.
Olivia finds me at the 441 building right after she clocks out. She’s on her way to wardrobe and I, to one of the rehearsal rooms on the sixth floor. I’m having a hard time with a few lines that I want to go over, so I’m staying a little bit longer for that.
“Good, I was gonna look for you,” she says walking into the elevator behind me.
“What’s up?” Olivia hasn’t looked for me once since she started working here.
“Are rehearsals over?”
“Yeah, but I’m—”
She doesn’t even let me finish. Holding the door to the third floor open, she says, “You’re staying late.”
“Yeah, I need to go over some lines.”
“Can you come over early today? We haven’t seen you in forever.”
“I know, but I can’t.” I look at her hand still holding the door open. I want to tell her to let me go because I have things to do, but I don’t want to start another fight.
“Just once. I know you’re working super hard on the play and all, but just today. It won’t hurt to cut rehearsal short just once, right?”
