Out Lines – Episode 6

Episode Transcript

[ music ]

0:00:00.0 Chris Weikel as Lane: You caught the culprit.

0:00:02.4 Christopher Borg as Herod: I caught someone.

0:00:05.0 Jay Thomas as Bill: You cause a diversion, I grab the girl. We make a run for it.

0:00:07.3 Lane: Now, it all begins.

0:00:09.3 Karen Stanion as Gladys: Something tingling with excitement is about to take place.

0:00:14.2 Jordan Schildcrout: Hello, and welcome to Out Lines, the podcast that explores LGBTQ theater. I’m Jordan Schildcrout, a theater professor, scholar, and I know what you’re actually thinking. You’re thinking, “Jordan, why don’t you tell us what your cat, Jupiter, is doing right now?” So, I’ll tell you. Jupiter is staring at me intently trying to use his, kind of like, mental powers to make me feed him. Surprisingly, sometimes this technique works very well. But right now, I’m really committed to this conversation, so Jupiter’s gonna wait.

0:00:45.5 Virginia Baeta: Oh, wow. Jordan, you know what? You read my mind. That’s exactly what I was thinking. I was wondering what Jupiter was doing right now.

0:00:51.1 JS: That’s usually what I’m thinking about when I’m not thinking about theater, so yeah.

0:00:53.9 VB: That makes sense. I would say a similar thing about Meatball, my cat, usually because he is making me think of him, because he is always right there, right there. I’m Virginia Baeta. When I am not addressing Meatball, I’m an actor, playwright, and part-time podcast doer of things.

0:01:12.7 Mark Finley: My name is Mark Finley and I am the artistic director of TOSOS, The Other Side of Silence. I’m also a director, sometimes I’m an actor, sometimes I’m a podcaster. I’m all the time looking after Simon, my cat, my orange cat. Right now, he is doing what he does best, which is sleeping. He does it so well, it’s kind of all I wanna do when I’m here. I loved our last episode about Doric Wilson. Doric has been gone for a while now and I got all misty eyed, and so I’m glad that we did it, and I think we did a damn good job. So, thank you.

0:01:46.6 VB: Nice. I’m hoping that we do an equally damn good job with this episode.

0:01:49.6 MF: Yes.

0:01:50.0 VB: The beginning of Act 2 episode of Out Lines. In the middle of this episode we’re gonna explore how things that were happening in the universe around Doric Wilson affected his rewrites of the play. So we return to our seats and we resume action with our delightful Now She Dances! cast as they perform a ceremony that you might not expect. Are you ready?

0:02:17.2 MF: I am ready.

0:02:18.1 JS: So ready.

0:02:21.0 MF: When we last left Now She Dances!, Salome refused Bill’s heroic offer of rescue.

0:02:27.2 Bill: You didn’t mean what you said.

0:02:29.1 Virginia Baeta as Salome: What did I say?

0:02:30.5 Bill: About…

0:02:31.3 Salome: Liking you?

0:02:32.8 Bill: Yeah.

0:02:34.0 Salome: Dare you say I didn’t mean it. I like you. I like all footmen. And I am grateful you warned me. Although you were mistaken, never was the victim meant to be me.

0:02:50.1 Chris Weikel: And, the lights faded and Salome exited through the French doors. Doric describes the start of Act 2 as follows. “The lanterns are hung, the holy perch strung with Garland, a fake phono sits on a pedestal, a white wicker table waits off to the side. Down the aisle, comes a religious procession.”

0:03:09.9 Salome: Miss Salome leads scattering purple flower petals, she has replaced her pink sash with one of blood red.

0:03:19.6 Gladys: Gladys follows clanging diminutive symbols. She now wears a frilly apronette and frou frou.

0:03:28.4 Lane: Next, comes Lane coped in the ritual robes of the High Priest of Moloch. He wears a mask depicting the more vicious visage of the god.

0:03:38.1 Bill: Bill follows sheltering Lane with the holy umbrella. He wears an altar boy surplice over his Levis.

0:03:45.2 Gail Dennison as Lady Herodias: Last is Lady Herodias, Mater Dolorosa rosary clinched in her folded hands. She has changed into a scarlet evening dress of decadent decolletage.

0:04:01.5 MF: I just love that and no audience will ever hear it, because it’s stage direction. So, that in itself, with all that fantastic alliteration and tongue-in-cheek description is stage worthy, [chuckle] I think. And, essentially what they’re doing, is what they call in the play, Devotions. And, it’s essentially a litany, it’s a call and response prayer with Lane leading the prayer and the others chiming in as scripted, and some in “asides.” But the thing is, it’s meant to be reflective of the devils of the day.

0:04:47.4 Lane: Blessed be Moloch.

0:04:51.8 All: Blessed be Moloch.

0:04:53.4 Lane: Blessed be Bush the Belligerent.

0:04:55.0 All: Scourge of Sadam Hussein.

0:04:56.6 Lane: Blessed be Big Barbara.

0:05:00.1 All: Mother of bionics.

0:05:02.0 Lane: Blessed be their begotten son.

0:05:05.4 All: Little Georgie.

0:05:08.5 Lane: Defender of the profit motive.

0:05:10.2 All: Avenging sword of the oil cartels.

0:05:10.6 Lane: Blessed be the Holy Ghost of the National Rifle Association.

0:05:24.5 All: Bang, bang.

0:05:24.5 MF: If we were to do this now, I don’t wanna really talk about Voldemort, but it would be a whole separate set of people. And, the interesting thing I think, is they’re not being referred to in a derogatory sense. They’re here being venerated, which is key. It really tells us literally, what gods they’re praying to. So, very dated, but very interesting.

0:05:50.3 JS: What I get from the whole procession is really Doric’s most topical statement about who he thinks the ruling class actually is, that obviously with the layers of this play, there’re echoes of the Tetrarch of Judea [chuckle] of Herod from the Bible. Then there’s the Victorian aristocracy from Importance of Being Earnest. What is the equivalent of those people at the top of the food chain, socially speaking, in our present day? And that’s what I really feel like he’s naming here, who are the false gods worshipped by the people in power.

0:06:26.3 MF: Right. Quite literally, making a deal with the devil.

0:06:30.9 VB: And given what we know about Lane and what we continue to discover about him as this play progresses, that him stepping into that role of the officiant of the ceremony becomes very meaningful.

0:06:42.9 Lane: Mighty Moloch of Repression, deliver us from objectivity. Deliver us from self-analysis. Deliver us from secular humanism. Deliver us from retroactive abortion. Deliver the disciples of abortion unto capital punishment.

0:07:06.9 All: For such is the right to life.

0:07:08.2 Lane: Protect and defend family values.

0:07:11.4 Gladys: Praised be the missionary position.

0:07:16.0 JS: Virginia, I wanted to ask you a little bit more ’cause you’ve mentioned Lane. Is there anything specific you’re thinking about in terms of like who Lane is in this scenario and why that is significant.

0:07:25.7 VB: So Lane holds the power in these multiple roles. As the butler. The butler is the most powerful position in the household in general like driving a household. In the play, he also serves sort of a stage manager, making sure things are being set up, etcetera. But he’s also in this position where he’s a closeted homosexual and we have these references to that that keep on poking up through the beginning that is being alluded to. We’re gonna be seeing a lot more of it coming to the surface, bubbling up to the surface in the remainder of the play. But that Lane is the person who steps into the role, officiating the ceremony that is about power and about the darkness of power, is a statement on that as well.

0:08:10.9 JS: That makes total sense to me. And I feel like in so much of Doric’s work, the closeted queer person is actually the one that’s held up for the most scrutiny. That certainly happens, I think, in Street Theater or even in just in interviews I’ve read with him, he talks about what were the biggest obstacles to him sort of like performing queer theater in the 1970s, and he would often say, “Closeted, gay people.”

0:08:32.4 MF: Oh yeah.

0:08:32.9 JS: They were actually the biggest obstacles.

0:08:34.7 MF: That makes absolute sense. And you’re right, that is a common enemy. Yeah, I think it’s in all of them.

0:08:44.0 Lane: Protect and defend thy man-children. Make them strong of limb, red of blood, with narrow waists and broad shoulders and tattoos of panthers running up and down their hairy forearms.

0:08:57.2 Gladys: Lane…

0:08:57.6 Lane: Endow them with bountiful genitalia, straining the seams of their sweat-stained athletic supporters.

0:09:06.2 Lady Herodias: Lane…

0:09:06.9 Lane: What? No. Oh, oh, oh yes, I’m sorry. As for the girls, make them submissive, feminine, and good homemakers.

0:09:17.7 Salome: For Christ’s sake.

0:09:18.4 Lane: The ceremony ends and dinner is served. Salome and Lady Herodias leave Lane, Gladys, and Bill in the garden to wonder aloud about the fate of Sir Herod, KCB.

0:09:32.7 MF: Before we find out what Herod’s been up to, let’s pick up our conversation from Episode 3.

[ music ]

0:09:38.2 MF: We were talking about the cultural and historical milestones along the long development of Now She Dances!. Jordan, Virginia, and I left off in the middle of the 1970s.

0:09:50.4 VB: At this point, just sort of after this or the kind of the hopefulness of the moon landing program, the whole Apollo thing is beginning to die down. And then you’ve got this surge of all of this energy with LGBTQ support, like the establishment of the Lesbian Herstory Archives, removal of homosexuality from the list of American Psychiatric Association disorders, yay!

[ chuckle ]

0:10:13.4 VB: 1974, your first openly gay American is elected to public office. Elected – hadn’t come out after being elected. Yet at the same time, you have another massive cultural event where you have your president, Nixon, resigning after the Watergate Scandal. So just all of these massive cultural changes happening at the same time as we’re having another production of this play that not only is sort of reviving these plays from the Cino, but as Doric is updating them. So it’s a call to the past but also lightening up for the present.

0:10:49.1 JS: Yeah, I think that’s really true, and I think that does change the way that an audience could really understand this play. It’s interesting, with Nixon and Watergate and the Vietnam War, that was there sort of a main streaming of that counter-cultural, anti-authority sort of ethos that we were talking about before? And to me, like one of the great examples of this is that in this production in 1975, the actor that got the best reviews was the woman who played Salome. And this was an actress by the name of Sally Eaton. And Sally Eaton was most famous for being in the original off-Broadway and then Broadway Company of Hair. She played Jeannie. And if you know your original cast albums really well, she’s the one that sings “Air” in the first part of the show. So the fact that they had someone like Sally Eaton who had such mainstream success in a show like Hair, about the counter-culture, now coming to TOSOS, again, this explicitly queer theater company, to play this role was, I think, something of a triumph and also showed the way that the cultural landscape was shifting.

0:11:51.3 MF: Was this also the period when New York City was bankrupt?

0:11:56.8 JS: “Ford to City: Drop Dead.”

0:11:58.5 MF: Yeah.

[ chuckle ]

0:12:00.3 MF: Because I’m thinking, just in what I’ve seen in film and what the city actually looked like and what the crime rate was like, etcetera, talking about Lady Herodias’ entrance about being accosted on the street and the dicey people that you meet, it seems very plausible and fits right into 1975.

0:12:22.3 Lady Herodias: I came the back way through the streets. I felt it best to avoid scrutiny. I cannot with clear conscience recommend the streets. The people one encounters on them are revolting. Actively. Indeed, I have a maxim for you. Curb your every inclination toward pedestrianism, it only puts you in proximity with the wrong people.

0:12:53.1 VB: So, let’s take a step forward in time. There’s a pretty huge gap between known productions of Now She Dances!. Between the 1975-1976 TOSOS production there’s a leap to the next one that we know of, which is 2000. In the interim though, quite a bit happened in the world. And, beyond the AIDS crisis, there was a surge of progress around LGBTQ visibility.

0:13:25.9 MF: Well, because of the AIDS crisis, you know.

0:13:28.2 VB: Yeah, and so you have a whole bunch of bans on sexual orientation discrimination coming through legally, Don’t Ask, Don’t Tell. And then, of course, you’ve got your actions and reactions with Defense of Marriage Act and things like that. It’s hard to forget in 1997, Ellen comes out.

0:13:50.7 JS: Right.

0:13:51.1 VB: Right. So, now you have this larger visibility. Will & Grace is on television and so, people are just like, “Okay. Well, look, here we go. There’s gay people everywhere, right?” But then, the same year that’s when Matthew Shephard is murdered. We have a lot of very public conversation about our lives and this is all happening in this period where Doric is away from the theater and then, returns to it.

0:14:19.3 JS: Yeah.

0:14:21.2 VB: And then of course, 2000 enter the Bushes, right?

0:14:22.3 MF: Oh, God.

0:14:23.0 VB: The 2000 production was in Glasgow.

0:14:26.5 MF: Right.

0:14:27.2 JS: So, the Glasgow production was sort of orchestrated. It was directed by Steve Bottoms and it was done on a double bill. It was done in rep with Wilde’s Salome. So it as far as I understand, that they actually had the same cast doing both plays. So, you could see actors playing these kinds of roles that are echoing each other across the two different nights, but it’s done in 2000, which is the 100th anniversary of Oscar Wilde’s death. He passed away in 1900. It really marked a certain era to go back to the United Kingdom, where he had been prosecuted 100 years after his death to produce both the original version of Salome and then, Doric Wilson’s wild retake on it in Now She Dances!.

0:15:11.3 VB: In my notes here, the 2003, 2004 American premiere? These were the stage readings. Okay I see.

0:15:18.3 MF: Right.

0:15:18.3 VB: And year 2003, that was the year of Lawrence v. Texas, which was the Supreme Court in the United States striking down all remaining criminalization of sodomy laws across the United States. And that also, was where around the same time the national push towards legalization of gay marriage was really beginning to surge. So, these are things that are happening in parallel with our next production of Now She Dances!, which is 2006 in New Orleans.

0:15:53.8 JS: That’s right, it’s at the Marginy Theater in New Orleans produced the play in 2006 and when they advertised it, they said it was the “American premiere of the final revised form.” So, [laughter] take that with a grain of salt. [chuckle] And, the critics quipped with it a little bit, they find it a little bit too “political” for the post Will & Grace era. But, I would be a little bit suspect about that judgement as well that no matter how far we think, “Oh, we don’t need to protest anymore, we don’t need to fight for causes anymore.” Well, I think we’ve all learned pretty quickly, especially over the past four years that we should never make too many assumptions about that. But, it definitely drew an audience, it was written about in the local press, and it really was done by a theater company that was committed to continuing to produce LGBT theater.

0:16:42.8 VB: And, I knew that the 2006 is the last production that we know of, but there was some scholarship that was kind of… Not just kind of, very interesting.

0:16:51.6 JS: One of these is actually a professor at Stanford named Petra Dierkes-Thrun and she actually publishes a whole book called “Salome’s Modernity: Oscar Wilde and the Aesthetics of Transgression”. And, this is published by the University of Michigan Press in 2011. And she actually has a really deep read on the play, much more so than any so-called mainstream critic ever gave it. So, here’s part of what she writes about. It says that, “Now She Dances! Is a good example of an innovative anti-homophobic Salome adaptation that values complexity and pastiche over simplistic sentimentalism, or predetermined story arcs and pro-gay entertainment.” So, in other words, that it’s not just about so-called preaching to the choir, but that there’s actually a complex satire going on here, and that’s part of what I think still makes the play so vibrant no matter what period it’s in. That obviously in each of these instances that we’ve spoken about, the gay world has been transformed. But still, the play has something to say to it, because it’s not just simple sloganeering with this sort of activist character. But really, a closer look at the very nature of activism and what it means to speak up against power. And of course Doric, because he’s a satirist, he does this through comedy. And sometimes satire is what closes on Saturday night, but other times is really what survives the ages. And Doric’s play, I think really has the potential to do that.

0:18:22.9 Herod: Herod returns having successfully captured the alleged offender. Have I missed devotions?

0:18:31.0 Gladys: My Lord, your safe.

0:18:33.1 Herod: Barely.

0:18:34.0 Lane: You caught the culprit.

0:18:35.7 Herod: I caught someone.

0:18:37.2 Gladys: You’re not positive that it’s the deviant in question.

0:18:40.8 Herod: It was getting dark, I had to take what I could find.

0:18:43.9 Lane: He confessed.

0:18:44.1 Herod: Poor chap, he didn’t seem to know what was happening to him.

0:18:48.1 Gladys: I’m off to the ladies with the glad tidings.

0:18:52.9 Gladys: Gladys exits.

0:18:54.5 Herod: Keep an eye on the summer house.

0:18:56.8 Lane: You locked him in there?

0:18:58.7 Herod: You might see that he has fresh water.

0:19:02.8 MF: So the summer house is not only magical, but now has an actual purpose. It’s a virtual jail like in the opera and Wilde’s Salome, where it’s the prison essentially, where you can see part of it. But in here you can’t. I mean, it’s described in the script as a cistern. I always thought it was where you keep your water. But…

0:19:28.0 JS: It’s like a well.

0:19:29.3 MF: Okay, well that would make sense where you keep your water. So when I have seen Salome done, it was exactly that it was essentially a grate, a domed grate, where you could hear John the Baptist voice, but you could not actually see him. So that makes sense.

0:19:45.8 Herod: Herod exits.

0:19:49.7 Lane: Now it all begins.

0:19:52.8 Bill: I don’t understand.

0:19:53.9 Lane: You’re not expected to, now it all begins.

0:20:00.0 Bill: He caught the wrong man?

0:20:03.6 Lane: It is never the wrong man. Now it all begins!

0:20:08.5 MF: Lane says, “Now it all begins.” Bill hears this. And he thinks that means that the seduction and betrayal of Salome is about to begin. So he’s put on guard. It’s clear that that’s not what Lane is talking about, but we don’t really know what he is talking about.

0:20:28.1 Bill: I figured it out all by myself.

0:20:32.5 Lane: Cunning of you.

0:20:32.7 Bill: When I took this job, I didn’t know I’d be implicated in a… in a…

0:20:37.4 Lane: Love scene?

0:20:38.7 Bill: If the folks back home find out, well, it’d kill mom.

0:20:43.9 Lane: It’s not your love scene.

0:20:45.3 Bill: There’s guilt by association.

0:20:47.5 Lane: Nobody invited you to associate.

0:20:49.0 Gladys: Meanwhile, Gladys prepares the scene with great ceremony by bringing on champagne glasses, one by one. And finally the pièce de résistance, a small silver tray holding…

0:21:06.4 Bill: Teabags?

0:21:07.6 Gladys: Champagne bags, deary.

0:21:11.2 MF: Gladys comes on bringing the champagne glasses. But instead of bringing them out on a tray, she brings them out one at a time, because that’s Gladys, and essentially hands them out one at a time, with a quip every time. Then she comes out with the actual champagne, a tray of champagne, but it’s not a bottle of champagne. It’s bags of champagne. I.e. It’s tea bags filled with dehydrated champagne. Which then affords every toaster, their own glass.

0:21:46.9 VB: I just have to ask is dehydrated champagne a thing?

0:21:49.2 JS: Dear God, I hope not.

[ laughter ]

0:21:54.2 MF: It’s like when I was a kid, they had astronaut food, and it was basically that maybe it’s like astronaut food for special occasions. But yeah, I hope not.

0:22:06.6 VB: I mean, this is basically we’re pulling another Earnest reference with bringing the tea in.

0:22:13.1 Gladys: Here are the champagne bags.

0:22:16.0 Lane: Pity. She was a great maid in her day.

0:22:20.5 Bill: You were in show business?

0:22:22.3 Gladys: If only you could have been there for my debut.

0:22:26.5 MF: When Gladys is coming in, and as she brings in the champagne tray, she does share a rather bizarre non-sequitur moment of her life, which we need to share.

0:22:40.6 VB: The moment being…

0:22:41.7 MF: The soup speech.

0:22:42.7 VB: Yes. The soup speech.

0:22:43.9 Gladys: Oh, I had some experience, a bit of dusting in Act 1, answering the phone in Act 2. But this was my big break. My first formal sit-down dinner. There were many, many courses, but the entrance was soup. Back in the wings, I stood soup in hand, pea soup in hand, split pea soup in hand. I tried to concentrate. To prepare. What is soup, what is the essence of soup? What are the social implications? What would Stanislavsky say? I tried to recall my earliest encounters with soup. Soupe du jour, soup kitchens, mother’s soup? This soup now in the terrine I saw before me, how did I feel about soup? How did this soup feel about me? I stepped out into the golden fervent light, I paused, I took one step. My thoughts racing back. Another step, back to years of study. Another step, hard years, step, sad years, step, making the rounds, step. Parts I never got, step. Dinners I never served, step. Years that brought me here, step, tonight, step. Will they like me, step? Will they understand? Step. Would I ever get there? Step. Once I got there, step. Would they like the soup? I put the soup on the table. Next day, I came down with hepatitis, had to leave the show.

0:24:43.8 VB: So can we just take a moment on the soup speech?

0:24:46.5 MF: Yes, please.

0:24:49.5 VB: Why?

0:24:49.8 MF: Yes. Good question.

[ laugh ]

0:24:52.1 JS: So one of the first things I’d point out is that, as we’ve already spoken about, Thornton Wilder is one of the chief influences on Doric Wilson. And in one of my favorite plays The Skin of Our Teeth, there’s the maid Sabina, who also has a sort of break-the-fourth-wall talk-to-the-audience meta-monologue, where she talks about her career in theater and reminiscing about the good old days of plays that you could actually enjoy and have fun at rather than the pretentious crap that she’s currently in.

0:25:20.1 Bill: What happened to theater?

0:25:22.0 Lane: Died in your country from overeating.

0:25:25.7 JS: It’s really a great bit of satire, and of course, I think Doric is doing something completely different here, but the echo to me is really pleasurable.

0:25:33.7 MF: That’s really great. That makes a lot more sense now. That’s awesome.

0:25:37.3 VB: But then when you say that Doric is doing something completely different here, what do you think the completely different thing is that he’s doing with pea soup?

0:25:43.8 JS: To me? Clearly like, it’s a bit like of a satire on the theater itself it’s about method acting and so forth, but because of Doric’s attention here to Gladys’ position within the class structure, we’ve just been through the whole Moloch ceremony, to me there’s something a bit more subversive here. It’s giving her interiority that most maids don’t have. And it allows us to think of her as a person, and in some ways mocking the role of maid, that’s what I hear her doing as if the motivation for bringing on the pea soup were the deepest concern in the world. I think that it’s subverting, the way that the audience understands how maids function in these kinds of plays.

0:26:24.5 MF: And not only maids, actors.

0:26:27.2 VB: I feel like Gladys as a character baffles me in just a lot of ways. I can understand everyone else in this play, in a way as much as you can, with great big huge quotes around it, “understand deeply what’s happening in this play” as far as like, “Oh, I can assign a logic to it.” Gladys is the one that I would wanna really dig into more to really understand, really why is she here in all of the different levels of why she’s here.

0:26:57.7 MF: Well, I think something that we’ve touched on before and not consistently because all these characters are very mercurial, but I think she’s, in a way, the voice of the audience. She’s the one who can lean out and go “Don’t know what the hell is going on? That’s okay. I do, I’m not gonna tell you, but just stick around for more – or less.” Effectively, she’s interlocutor of the whole thing.

0:27:28.1 VB: I get that at a meta level, I just think sometimes when I’m trying to parse a role, I try to understand all the different angles, like why does the playwright put me here, why does the audience need me here? Why do the other characters need me here? Why am I in the room? And there are moments where I’m not sure for myself why Gladys is in the room at one or more of those levels.

0:27:48.5 MF: Makes absolute sense.

0:27:51.2 Bill: All this time, Bill has been working on Lane trying to enlist his help to save Miss Salome.

0:27:58.1 Lane: To no avail.

0:28:00.5 Gladys: And Gladys isn’t helping. Gladys exits.

0:28:05.9 JS: Lane is unable to go further with that exchange with Bill, he’s unable to get him to help him. And Lane’s also getting the sense that things may go awry because things are not proceeding according to plan, which is a stage manager’s worst nightmare.

0:28:28.3 Lane: William, to your post.

0:28:29.8 Bill: Here is the plan. I need a helicopter, a fast car, the kind that converts into a speed boat, some plastic explosives, an uzi, a cigarette lighter that is really a top secret anti-satellite device. You cause a diversion. I grab the girl. We make a run for it.

0:28:44.7 Lane: You’ll do nothing of the sort.

0:28:47.0 Bill: But…

0:28:47.8 Lane: To your post. The honorable Miss Salome.

0:28:54.1 MF: Is going to make her entrance in the next episode of Out Lines. So tune back in for that ’cause it’s gonna be spectacular.

0:29:03.1 VB: Yes, and not only does Miss Salome make her grand entrance. But we have a character entering for the first time, The Prisoner.

0:29:10.3 JS: And we’ll also, we visit the legendary birthplace of off-off-Broadway the Caffe Cino where Now She Dances! was originally performed.

0:29:17.1 Salome: Surely you can protect me from a sissy.

0:29:20.8 The Prisoner: Is this some kind of game?

0:29:22.7 MF: At the Caffe Cino, anything can happen.

0:29:27.3 Jay Thomas: Thank you for listening to Out Lines. Subscribe. Get lost in our show notes. And check out some awfully cute kitty pics at outlinespod.com. Season One of Out Lines features conversations and readings recorded between September 2020 and April 2021. This episode’s selections from Doric Wilson’s Now She Dances! were directed by Mark Finley and feature Virginia Baeta, Christopher Borg, Gail Dennison, David Leeper, Karen Stanion, Chris Weikel, and me, Jay Thomas. There’s a little tidbit I have to tell you. My girlfriend and I, we just put in an application for a little cat named Frisky. That’s right, Frisky. We hope Frisky is with us soon, and we hope you can get a little frisky any time you want. Thanks to Sarah Wardrop for the production magic, to the dastardly Morry Campbell for the theme music, and to Free to Use Sounds. You are all stars.

0:30:18.4 VB: Out Lines is a production of the Weakest Thing.