Casting Call (A Metaphor)

**WARNING: This post is not what you're used to. Read on and bear with the blacktress, or wait for the next post, which will hopefully be funny. **

So, I've been alluding to a certain young gentleman in a few of my October and September posts. And, as is usual for the blacktress -- and, as the hit song goes -- another one bites the dust.

I take these things harder than one probably should. I agonize in ways that, although can be HI-larious (where's my book deal?!), they can also drive me cray. And, I think I've finally figured out why I freak out. This information is nothing new, but as it goes with Sojo, I need to write out the TRUTH for it to set me free.

I am great on first dates. First dates are, for me, similar to an audition. I walk in effortlessly, taking a shot in the dark, and that energy and devil-may-care attitude is appealing. I play with my lines, I swallow my direction whole and give it back, because...well, why not? This person doesn't know what I've got, has nothing to compare my behavior to, and we're just gonna have fun for a couple minutes. Sometimes it doesn't stick, and I don't get the part. But that's usually okay, because I never knew more than those 3 or 4 pages of dialogue I had to audition with.

But then there are the callbacks. The second, third, fourth--and, if i'm lucky, fifth--dates, where I'm getting to know more about what I'm up against. Where I start to imagine myself in the role, see the possibilities, and get excited.

And I become terrified. The stakes are 40 stories high because I actually have a shot. It means he sees something in me that is better than the majority. So the sweat begins. The pacing, the worrying, the babbling. My lines no longer flow, because I've got one eye on the director, checking his response before I continue. Statements previously made with ease now end in question marks.

"I really like Ani Difranco? [Unless that intimidates you, in which case, I won't bring up music at all, and deflect to your interests.]" Things I know in my heart to be true, I become afraid to say, because in the past, it's been the "wrong direction for that character."

Don't get me wrong. My sense of self is strong. I know who I am, and sometimes I'm a hot-ass R. Kelly-style mess, and other times I'm RuPaul fabulous. I cannot change my core, and I don't aim to when I put myself out there. I just see myself as malleable, able to win over all sorts of people--depending on the order in which I choose to show you my range.

Because, when you're in a callback--when you're really being considered--the difference between scoring the role and not getting a phone call comes down to the minutiae. It's not that you don't fit--it's that you don't slide in effortlessly.

It could come down to your height. Or the way the camera captures you. Or the tiniest tick or gesture that, when magnified, suddenly becomes grating. Or it could be the way you turn a phrase that reminds the director of someone they hated, and now, no matter what, there's that association. Or it could simply be the color of your hair. And, although you could dye it (you'd still be yourself, it'd still be your skill), they don't really need you to when the girl two seats down is a natural. And although you've got the goods, they don't quite see you in their big picture.

Remember that this is a metaphor--forming relationships isn't this simple, and the status differences inherent in a director-desperate actor relationship are not always the way the get-to-know-you phase is constructed. And, as most people know, half the battle of "getting to production" is the deep desire to create something in the first place. It's the desire to put up with the difficulties.

So I know these are broad stream-of-consciousness strokes that don't get at the details. But I find the end emotion is similar because, when you consciously date, you present yourself. You package yourself in the most attractive way. You are a product, and you're trying to prove that product's worth. The frustration for both actors and lovers comes from knowing that you've got the goods, that you are good, and yet you don't have your shot yet. So do you keep on getting up and out there, knowing that all you can do is your best? How do you keep bringing your best stuff when you know that most times your best won't be good enough?

Or do you just stay in the bubble of acting classes and rehearsals, talking it out with friends and doing exercises that strengthen both your skills and your resolve?

I don't know.

So, I guess I don't really have a point. Just a different kind of post.