Out Lines – Episode 7

Episode Transcript

[music]

0:00:01.6 Chris Weikel as Lane: Might we return to the plot at hand? .

0:00:03.1 Virginia Baeta as Salome: Liberate the libertine.

0:00:04.4 Jay Thomas as Bill: You gotta listen to me.

0:00:06.3 David Leeper as The Prisoner: What’s going on here?

0:00:08.2 Karen Stanion as Gladys: Something tingling with excitement is about to take place.

0:00:12.1 Jordan Schildcrout: Moving right along.

0:00:15.3 VB: Welcome to Out Lines where a few queer theater lovers inspect the foundations we work on today. I’m Virginia Baeta. When I’m not doing this podcast, I am an actor and a playwright.

0:00:26.8 Mark Finley: And I’m Mark Finley, I’m the artistic director of TOSOS, The Other Side of Silence. I’m also a playwright and an actor, and a teacher, and a full-time cat daddy.

0:00:36.4 JS: And I’m Jordan Schildcrout, theater professor and author. Together we’re your guides through Doric Wilson’s Now She Dances!, pointing out what this play reveals about theater and LGBTQ history.

0:00:47.3 VB: In our last episode, we kicked off Act Two of Now She Dances! and took a look at how it bridged the decades of our history.

0:00:53.5 MF: In this episode, we’re gonna keep going through Act Two uncovering even more parallels between, Now She Dances! and Oscar Wilde’s Salome.

0:01:00.7 JS: And we’ll also take a look at the legendary Caffe Cino.

0:01:03.8 VB: Ooh, let’s do it.

0:01:10.0 JS: When we last left Now She Dances! Bill was trying to bring Lane into a scheme to save Salome from certain seduction. He and Lane had assumed their posts for the entrance of…

0:01:22.3 Lane: The Honorable Miss Salome.

0:01:25.0 MF: And her first line is the immortal…

0:01:28.5 Salome: Not a very good dinner, no potatoes.

0:01:32.1 MF: Bill tries to help her out. And instead of running to his side, as he’s expecting, she responds not to Bill, but to Lane…

0:01:41.7 Bill: You’re in danger.

0:01:42.7 Salome: Lane, restrain your minion.

0:01:44.8 Lane: William.

0:01:45.9 Salome: How dark it is tonight.

0:01:48.4 Lane: You gave specific instructions.

0:01:51.7 MF: Meaning that there would be no moon and Salome gets things going.

0:01:56.9 Salome: Let’s get cracking around here. Let us commence the festivities. Let there be music.

0:02:01.6 Bill: No.

0:02:03.0 Salome: Lane, I asked for music.

0:02:06.2 MF: So again, we know that the whole music thing isn’t gonna go well because the wrong music has been brought forward and there’s no way to play it. So, yeah, things are not going well. Consistently though, Salome is spurning Bill’s help, which is significant. It kind of runs very much counter with how we left them at the end of Act One, at least in Bill’s mind. Most importantly, what Salome notices is that the summerhouse is locked.

0:02:35.6 Salome: Why is the door to the summerhouse locked?

0:02:37.7 Lane: Is it, Miss? I haven’t noticed.

0:02:40.8 Salome: I have every confidence in you, Lane.

0:02:43.1 Lane: I have even greater confidence in you.

0:02:45.0 Salome: That’s something a footman can’t be expected to understand.

0:02:49.3 Bill: Psst. You gotta listen to me.

0:02:51.2 Salome: Can you see me?

0:02:53.6 Bill: Yes.

0:02:54.6 Salome: What do you see?

0:02:56.6 Bill: What should I see?

0:02:58.4 Salome: An innocent lamb being led to slaughter?

0:03:00.9 Bill: Yeah.

0:03:02.7 Salome: Never again are you to see me as mutton. Lamb is mutton to be served. I am not a lamb. I am not a seagull. I am not a wild duck, nor a goat named Sylvia, nor the Christmas goose.

0:03:17.1 MF: Which, by the way, [chuckle] is an addition to this version. Because in the original version, Edward Albee’s play Sylvia…, The Goat, or Who Is Sylvia?, would not have been written then, so he put that in for his friend.

0:03:36.0 Salome: I am none of these symbolic animals. I am a little girl, a shy little girl. Unworldly, undemanding, desperately in need of a drink.

0:03:49.8 MF: There you go. I hardly know what to say. [chuckle]

0:03:53.6 VB: Well, there’s so much that happens in those moments.

0:03:57.7 MF: Yes.

0:04:00.4 VB: First, where Salome is finally been able to eat, is fully Salome. And now, wants the moon, wants the music, wants to proceed and absolutely dominates the space.

0:04:12.6 MF: And now that she is completely fulfilling her role as Salome, she can request for the door to the summerhouse to be opened. She has that power now.

0:04:26.2 JS: Absolutely. I think the confrontation that we’re anticipating between Salome and John the Baptist, or whoever the John the Baptist figure is in this particular play, we’re about to find out. That is indeed the central dramatic fireworks that we’re waiting for, eagerly.

0:04:42.5 MF: Indeed. And even then, he is not being straightforward about it. Lane isn’t being straightforward about it.

0:04:48.2 Salome: He’s locked in the summerhouse, isn’t he?

0:04:49.8 Lane: Who, Miss?

0:04:50.1 Salome: Don’t dissemble.

0:04:50.6 Lane: The prophet?

0:04:52.4 Salome: Prophet?

0:04:53.4 Lane: Meant to say prisoner.

0:04:56.1 Salome: Pervert.

0:04:57.1 Lane: Has that been proven?

0:05:00.5 Salome: The alleged pervert, Mama’s friend, the guy with the leaflets, locked in the summerhouse.

0:05:07.3 Lane: I wouldn’t know.

0:05:08.8 Salome: You would know.

0:05:09.9 Lane: Drink your wine.

0:05:11.1 Salome: Let him out.

0:05:12.4 Lane: Impossible.

0:05:13.9 MF: And so Bill jumps in again, trying to save the day.

0:05:16.4 Bill: Forget the fast car.

0:05:18.8 Salome: Liberate the libertine.

0:05:20.5 Bill: A bicycle will do.

0:05:21.8 Lane: Might we return the plot at hand.

0:05:24.6 Salome: Let him out.

0:05:26.2 Lane: No.

0:05:27.8 MF: Poor Bill, he just won’t get it. But maybe that’s the point.

0:05:32.4 JS: And why does Salome want The Prisoner released?

0:05:35.7 VB: For the trial. I think that she knows which direction this is going. She enjoys this. She is, in many ways, all-powerful, and she knows that she has an argument that she is going to win, and she wants to get to it and get to winning it.

0:05:49.9 MF: Yeah, and she asks, “Has he been tried?” So yeah, she’s got a very clear purpose as to what she’s going to do. Yeah, it’s interesting here at this point, before we actually even get to The Prisoner coming out on stage. She won’t do it herself. She has to solicit everybody else on that stage to do it for her, and they each have a reason why they won’t do it.

0:06:16.0 Gladys: Maids never open doors. So don’t ask me.

0:06:20.2 MF: Bill won’t do it because he says that the prisoner is dangerous.

0:06:26.1 Salome: Surely, you can protect me from a sissy. Are you making me wait? I don’t like to wait. When I wait, I become bored. When I become bored, I tend to look less than ravishing. Lane, I am not looking pretty. I’m very insecure, Lane. When I have reason to doubt my allure, I become nasty. Very nasty.

0:06:46.7 JS: I think also the resistance builds the anticipation of the audience that there’s obstacles to be overcome to reach this conflict, this confrontation that we’re waiting for.

0:06:56.5 MF: Yeah, it’s that line from Willy Wonka that was actually stolen from Oscar Wilde, “The suspense is killing me [sic], I hope it lasts.”

0:07:04.0 VB: There’s also something I was thinking about, that you have two relatively high status people on stage, Salome and Lane, compared to Gladys and Bill. And that to actually open the door yourself, to unlock it, is to lower your own status. So Salome must get one of these other people to open the door for her otherwise she loses. So this is a movement of finding the win. Lane knows the door is eventually going to be opened because he knows the story. The question is, how much does Gladys know the story, where this story is going exactly as this one plays out. But Lane’s status is important, so he’s not gonna open the door either. That’s how I sort of see it. Lane doesn’t have any reason to rush this.

0:07:54.1 MF: Right, and also I’m just now thinking that the way these people function is, if you’re going to draw a parallel to the people that deal with the devil in our current world, they don’t do anything directly.

0:08:08.5 VB: That’s right.

0:08:09.0 MF: They have needs, they have things that they want to happen, but they’re not gonna be the one to actually open the door. They’re gonna have somebody else do it, so interesting.

0:08:17.8 VB: They can have their plausible deniability.

0:08:20.6 MF: Absolutely. So in a reflection of the scene from Salome… Wilde’s Salome, I mean, between Bill and Salome, where she essentially gets him to open the door…

0:08:35.4 Salome: Bill.

0:08:36.2 Lane: William.

0:08:37.5 Salome: Brave Bill.

0:08:39.3 Bill: No way.

0:08:40.5 Salome: Manly Bill, tomorrow, at high tea, when I make my humble entrance walking without the benefit of naked trumpeters, I shall smile. That smile, Bill, blue-eyed, blonding Bill, shall be for you.

0:09:01.0 Bill: I won’t open that door.

0:09:03.9 Salome: I might even drop my glove.

0:09:07.2 Bill: Your glove?

0:09:08.5 Salome: You can retrieve it for me.

0:09:11.4 Bill: Her glove?

0:09:12.5 Salome: My white, right glove.

0:09:16.0 Lane: William?

0:09:17.8 Salome: Both gloves.

0:09:20.3 Bill: I can keep them?

0:09:20.5 Salome: You may do with them as you please, whatever you please, wherever you please, with whatever pleases you.

0:09:29.7 Lane: And you’ll grow hair on the palm of your hand.

0:09:32.1 Salome: Butt out, Lane!

0:09:33.4 Bill: Both gloves?

0:09:35.0 Salome: And one stocking.

0:09:37.6 Bill: Oh.

0:09:40.3 MF: The stocking is what does it. It sent him scurrying up the aisle to the summer house so that we know what’s gonna happen, even though Lane yells after him, “Stay away from that door.” And effectively, at that point, The Prisoner enters.

[music]

MF: We mentioned before that Now She Dances! was a child of the Caffe Cino, and that the Caffe Cino was a key birthplace of Off-Off-Broadway. But how did the Caffe Cino come to be?

0:10:10.6 JS: So Joseph Cino is the son of immigrants from Sicily and is growing up in Buffalo and wants to be a dancer, and comes to New York City and ultimately is not so successful as a dancer. But he’s able to take over the space at 31 Cornelia Street to open a cafe. And he really sees it as a haven for his friends to hang out at and be artistic and Bohemian and so forth. And, initially, he kinda conceives of it as an art gallery, and slowly but surely, they then start doing poetry readings. And then other arts start happening, including ultimately theater. Now, the space itself, they’re selling coffee, they’re selling sandwiches, this is how they’re making their money. But when you walk in, it really has just the look of an artistic playpen, for lack of a better term. There’s a jukebox and all of the walls are just lined with photos of mostly old-time movie stars, but also opera posters and original paintings, and there are Christmas ornaments hanging everywhere and tin foil and lots of lights. The best way I can think about this is it’s almost like if an arts and crafts store mated with a thrift shop and then exploded on Christmas. It’s just this wild, visually stunning sort of mini jewel box of a place.

0:11:36.8 JS: And so this place where there was just clearly such creative energy in this sort of off-shoot of Bohemian culture in the West Village, this is where eventually plays are beginning to be produced. And we have some records of initial readings that they would do, mostly of already established plays. A theatrical adaptation of a short story by Dorothy Parker is one of the first things that some people say was produced there. But then slowly and surely, it becomes a haven for new plays. Living playwrights doing original work, and some of the most exciting things happening in the New York theater scene.

0:12:09.1 VB: And there’s the famous wind chimes that Joe would ring before any performance would start. It was really very important to him that there was an element of magic. I understand that even if there was nobody there, a performance would take place with no audience. He was insistent that you would perform to the room…

0:12:29.3 MF: Yep. “Do it for the walls.” Yep.

0:12:30.9 VB: To infuse the room with the magic. In this case, it’s a functioning cafe. They’re serving food, they’re serving coffee, and that the people who were the playwrights or the actors, are taking tickets one night or making salads another night. There is a quote here, “One night you were making the salads, the next night you were shining on stage. But it didn’t end there, two weeks later, you were cleaning a table and folding napkins.” Everybody was playing their part to make this magic happen there.

0:13:01.2 JS: Absolutely. And what I heard you describing really is community. What does it mean to have a community of artists that are not there, strictly speaking, just to have a hit. But that there is almost this spiritual mission of what it means to be an artist and to be doing something in a community of artistic creators. And that’s really what they were able to pursue there.

0:13:20.4 MF: Yeah. And just to listen to Robert Patrick. Doric, of course, and Bob Heide talk about it. There were definitely people there who were there to work the space for what they could get out of it, and there was a tone that Doric had about those people. They weren’t really part of that community. They’re gonna be people that skate through and people that are there, just living there, because that’s their life, and that’s the way they want it to be. I think it’s still the same.

0:13:49.9 JS: Yeah. Another aspect of that sense of community that I think is really relevant to the conversations that we’re having here, is that it was a venue in which, particularly queer people, could have some sense of community. Where they feel that their artistic voices could be heard, where they had a space that would actually have an audience. ‘Cause, again, that’s really not happening in other areas of the culture.

0:14:08.1 MF: Oh yeah.

0:14:08.6 JS: And so it’s true that different people may have had different relationships through that sense of community, but I think that for LGBTQ people in the village at this time, interested in theater either making it or attending it, that sense of community was in fact powerful because it was so rare.

0:14:24.5 MF: And just harking back to what you said earlier about content being key, that there were certain things that you could not have on stage. And if you think about any sort of a Broadway play around that time, any sort of… Even Tennessee Williams, that’s really heavily coded. You really have to be looking for it, and then you can see it. If it’s just downright illegal, you’re not gonna see it at the Lunt-Fontanne, you’re gonna be much more apt to see it at Caffe Cino.

0:14:53.0 JS: You’re absolutely right. And it’s worth acknowledging that there’s something a little bit on the periphery of legal that’s happening at the Caffe Cino. So for example, there are different like New York City licensing laws about what kind of venues can serve food and have performances and crowds and fire codes, and Cino was skirting this all the time. On top of that, definitely there were interviews with people at the Cino that say, “Oh yeah, their electricity… ” That basically, their lighting guy, the electrician hooked them up to the city power lines, and that’s how they got their electricity for the coffee machines and for the theatrical lighting. So there’s definitely something a little bit on the edge of the outlaw happening here, and that’s true both in the actual running of the space and in the work that they were producing. After Joe Cino’s untimely passing, that is when the city started investigating and giving them fines, and it’s part of what caused it to ultimately close.

0:15:45.5 VB: So all good things must eventually come to an end, and the Cino had a particularly dramatic ending. Jordan, you wanna tell us a little bit about it?

0:15:55.0 JS: Sure. So it actually went through a few different stages near the end of its all too brief yet impactful lifespan. In 1965, there’s actually a fire at the Caffe Cino that really destroys the place. But the community comes together and particularly credit goes to Ellen Stewart, the woman that founded and ran La MaMa, which is often used like the other major Off-Off-Broadway theater, so that’s where a lot of the Cino artists were doing their work while the Cino was being fixed back up. It was reopened, and shortly thereafter, they actually had one of their largest hits, a musical called Dames at Sea. And the popularity of this, according to many of the folks that had been there for so many years, changed the nature of it, changed the scene of what was happening at the Caffe Cino. At the same time, a lot of folks reported that harder drugs were being used by folks that were on the fringes of the community and part of the scene as well. And so things got, frankly, a little darker at the Caffe Cino.

0:16:53.2 JS: In Joe Cino’s personal life, his lover died in an accident, and he was, by all reports, just distraught over this. And one particular night… I’ve read different versions of this, some say that he was sort of slipped drugs that he wasn’t aware of. Robert Patrick claims to have seen him that night and that he was just, frankly, a little bit out of his mind. And friends tried to help him, but he insisted that he was okay. He went back to the Caffe Cino, actually to the stage space in the Caffe Cino, and he mutilated himself with a knife. They found him, they got him to a hospital. He lived for three more days, but then he did pass away. And there’s just these heart-breaking stories of the folks at the Cino cleaning the blood up off the stage.

0:17:44.0 VB: And also the folks are massively going to donate blood, like the clean up being one piece, but just that community coming together also to try and save his life.

0:17:53.7 MF: And when was that?

0:17:54.9 JS: ’68 is when it officially closes. He dies by suicide in ’67. And it’s really within the year that the space is closed.

0:18:04.1 MF: Didn’t they try to keep it up for a while, the community members? But again, I can imagine without that kind of guiding star, it’d be impossible to try to keep it going the same.

0:18:18.9 JS: And also the times had changed. Do you know… Certainly… Robert Patrick, who… Just to talk a bit more about him, that he was also a playwright as well as being often the doorman at the Caffe Cino, has done almost more than anyone to preserve the history of Caffe Cino. And to hear him talk about it, the kind of counter cultural scene changed by the time you get to ’66, ’67. There are many more hard drugs flowing through the counter culture, and this changed the nature of the scene. So there may be many different reasons along with the passing of Joe Cino, the crackdown of the authorities, but then also the way that the scene itself just really changed by the time you get to the late ’60s.

[music]

0:19:04.6 JT: Bill brings The Prisoner to Salome.

0:19:07.3 CW: With Lane keeping a watchful eye.

0:19:09.5 VB: Even though I did dismiss you.

0:19:11.8 CW: You wish you could dismiss me.

0:19:14.2 DL: The Prisoner’s hands are bound behind him with rawhide, his shirt is torn. He’s an attractive, personable, gay male, dressed for Saturday night on West Street.

0:19:22.8 MF: There is a little bit of a paradox in here of, “He’s an attractive, personable, contemporary gay male, dressed for a Saturday night on Christopher Street.”

0:19:34.5 VB: Sorry, my script says West Street.

0:19:37.0 MF: Ah, interesting. Not quite contemporary, but even at this update, which would have been the beginning of the 21st century, I don’t even know that it would be Chelsea. Effectively, it would probably be Hell’s Kitchen, at this point. It moved up town in the last 50 years.

0:19:56.9 VB: Casting!

0:19:57.5 MF: Oh golly!

0:20:00.0 VB: Who would you cast as The Prisoner?

0:20:00.5 MF: Who would I cast as The Prisoner?

0:20:02.7 JS: This is a tough one because it says so much about who we think the prisoner is, this is the one unnamed character in the play. We’ll talk a little bit more about names in a bit. But also, he’s clearly meant to represent something more than just himself, and so how the role is cast, I think, really determines what the audience thinks this whole play is about. That we know it’s not gonna be John the Baptist, so who in this playwright’s imagination in Doric Wilson’s re-imagining of this, takes that role, and casting is gonna be 90% of that.

0:20:34.1 MF: He would have to be an out actor.

0:20:36.5 JS: Yes.

0:20:37.3 MF: He would have to be an out actor of some status or some star power, if we’re fantasy casting. So to me, I don’t know. Golly.

0:20:47.3 JS: It seems like part of how the role functions is because, the character remains unnamed. It’s that they’re supposed to be sort of like a gay Everyman. And when I think about other movies, plays, stories that have tried to do that, one of the actors that comes to mind is someone like Jonathan Groff. I could definitely imagine him in the role as Doric has written it. But I’m gonna go out on a limb here and say that actually, that’s not the way to cast this in the second decade of the 21st century.

0:21:15.9 JS: That part of what The Prisoner represents is the persecution of queer people, and if we look around and say, “Okay, who amongst the queer community are really the most likely to face persecution?” It is our trans and non-binary siblings. And so to think about an actor, someone like Elliot Fletcher, that was in The Fosters and Shameless, a trans actor playing trans roles, a non-binary actor like TL Thompson, who was… Did you see this play, Is this a room? They were just great in that, or maybe even a trans fem actress like Indya Moore from Pose, I think that, in terms of not what Doric has written literally, but what he is getting at thematically, I think that would be more truthful to the actual society that we’re in right now.

0:22:05.3 MF: That’s a really good point. I also think it’s key, regardless of casting, that he looks different than everybody else. He’s… Again, and this is another instance of the outside coming in, but I think he’s really gotta be absolutely contemporary and something we haven’t seen up to this point. So, he can’t look like Bill, he can’t look like Gladys…

0:22:32.2 JS: And I think that part of what that does, what you’re describing is that, it does create this sort of like shock that he’s thrust into this world, that he doesn’t even understand what it is.

0:22:42.5 Salome: Hello.

0:22:44.5 Prisoner: Where am I?

0:22:45.9 Salome: Sit down.

0:22:46.4 Prisoner: I’ll stand.

0:22:48.7 Salome: You’ll sit.

0:22:49.5 Prisoner: What’s going on here?

0:22:52.9 Salome: You must be shaky?

0:22:54.5 Prisoner: Why are my hands tied?

0:22:56.1 Salome: You look shaky.

0:22:57.2 Prisoner: What the fuck’s going on here?

0:23:01.3 Bill: Watch your language.

0:23:03.7 MF: It’s almost been like the actor’s nightmare, like you’re thrust on stage, and it’s like, “Wait, what’s going on here? Who are these people? What am I supposed to be doing here?” There’s that kind of rupture and that confusion, that is played for comedy, but also there’s anxiety under that comedy, and I feel like Doric really gets that in this moment.

0:23:19.5 MF: Absolutely, yeah. In a way, this is the same kind of bizarro world that he’s set up for the entire audience, so he’s building in sympathy for this character that we haven’t met yet. This is the second longest scene in the play, it’s the longest, more than one person scene, in the play, and this is why we’re here, on every level. I just don’t even know where to start. [chuckle] There’s just so much here.

0:23:48.2 VB: Well, the phases of this scene, there’s the gentle introduction to the unspeakable situation, right? Just try to imagine being in the shoes of The Prisoner, if The Prisoner actually was pulled in from off the street.

0:24:02.7 Salome: Your hands are trembling. Is the rawhide too tight?

0:24:07.2 Prisoner: Is this some kind of game?

0:24:08.8 Salome: Game?

0:24:09.8 Prisoner: A fantasy trip with me as the sex object.

0:24:13.4 VB: At no point in this beginning part does The Prisoner say, “I’m not going to engage in this.” That The Prisoner is here in this moment and engages and stays in the moment, which seems strange, right? It’s like “I’m curious, I am frustrated, but I’m here.”

0:24:35.3 MF: Yeah.

0:24:35.6 JS: It’s a good point. And what it draws my attention to… The main play I’m thinking of here is Rosencrantz and Guildenstern Are Dead, where they play the game about questions, that how often can you answer a question with a question, and that happens repeatedly it this scene.

0:24:51.1 Salome: You want to play games? Set up the hoops. I challenge you to croquet.

0:24:57.0 Prisoner: Unreal.

0:24:57.9 Salome: Would you prefer badminton?

0:25:00.3 Prisoner: Is this a garden?

0:25:01.1 Salome: Are you a horticulturist?

0:25:03.4 Prisoner: This must be a dream.

0:25:04.8 Salome: Are you asleep?

0:25:06.6 Prisoner: Or a bad trip. Sure, that’s it! You’re one lude too many.

0:25:11.8 Salome: Are you an addict?

0:25:13.1 Prisoner: Not after this.

0:25:14.4 Salome: Already I’ve influenced your rehabilitation.

0:25:18.0 MF: Each of these main characters is basically asking each other, “Who are you? Who are you? What are you doing here? What are you doing here?” And they just kind of… There’s this anxiety of comic interrogation happening between them as they just try to figure each other out.

0:25:30.7 VB: And there’s also a tension that is sexual on the stage, even though The Prisoner is a prisoner, has rawhide, but actually holds the power in this scene.

0:25:42.8 MF: Sure.

0:25:43.3 VB: And this is a scene that is a dance. This is the dance, in many ways.

0:25:48.7 Prisoner: This is a stage, isn’t it?

0:25:50.9 Salome: Are you an actor?

0:25:52.6 Prisoner: I seem to be under arrest.

0:25:54.0 Salome: What did you do?

0:25:55.3 Prisoner: I’m innocent.

0:25:56.6 Salome: Of what?

0:25:58.6 MF: I think this is the real crux of the whole thing and the trial begins.

[music]

0:26:05.9 VB: Coverage of the trial will begin in the next episode of Out Lines.

0:26:09.8 JS: And not just the trial within the drama of Doric Wilson’s Now She Dances!

0:26:13.9 MF: But also an important series of trials that informed, not only this play, but so many others, and the culture itself, the trials of Oscar Wilde.

0:26:25.4 Salome: You disgust decent people.

0:26:27.1 Prisoner: No more than they disgust me.

0:26:28.5 Lane: People only get hurt when they deserve it.

0:26:30.7 Prisoner: Is that so?

0:26:31.5 Salome: Why won’t you tell me your name?

0:26:34.7 DL: Thank you for listening to Out Lines. Subscribe. Get lost in our show notes. And check out some of 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, Karen Stanion, Jay Thomas, Chris Weikel and me, David Leeper. We were asked to say something about cats but I refused to because I’m a dog person. Thanks to Sarah Wardrop for the production magic, to the dastardly Morry Campbell for the theme music, and to Free to Use Sounds. You all are stars.

0:27:17.7 VB: Out Lines is a production of the Weakest Thing.