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work natter, and some theatre comments
Headhunter.net sent me two job listings this morning. I've sent off a resume and cover letter for one, a medical editing position--and mentioned that, in my current project, I'm consistently finishing things ahead of schedule. That's costing me money (since I'm working by the hour), but maybe it'll help me get an interview here. The other job, at second look, seemed to be something for which I am massively overqualified.
I'm keeping a list of jobs I've applied for, largely in case the unemployment people ask for it; when I put this down, it turned out to be the first resume I've sent out this month. (Asking Tor for their copyediting test doesn't count.) But I've been working, so that's okay. Or will be once I get the checks, which should start arriving very soon. The short-term effect is a gap in money coming in; but if I finish this right away, then don't work for a couple of weeks, I should get checks for the work I've done, and from unemployment, around the same time. It balances, since I'm not broke yet.
I went out last night, taking a spare ticket at the last minute for Albee's "The Goat, or Who is Sylvia?" Last minute because after "The Play About the Baby" I didn't want to see any more Albee. But the reviews persuaded me to give this a try, and I'm glad I did: good repartee, and this time the characters are all likable. In the last one, two of them seemed to have, as their entire purpose in the play if not the universe, torturing the other two for no visible reason. I said, ahead of time, that if I didn't like it, I'd leave at intermission, and then discovered that the playwright was on to me: there is no intermission.
So there we were, in the very last row--which was only a problem when I laughed hard enough to bang the back of my head on the wall behind me. I watched through a slight layer of abstraction, of "that's a marvelous role" and "will those statues survive to the end of the play?" (as one of the characters started throwing things in anger and frustration).
Stevie, the female lead, really is a marvelous role, though not one I expect to see taken apart for those books of monologues for auditions. They're all good roles, even the best friend who decides it's his duty, as a friend, to tell Stevie that her husband is having an affair with a goat.
Albee says (quoted in the playbill) that he's trying to test the limits of tolerance. Well, maybe. If the affair weren't unforgivable, telling his wife that he loves the goat as much as he loves her probably is.
But telling an audience that you're testing their tolerance is going to skew the results, I think. And, given that Playbill features are used for everything on Broadway that month, it may scare away--or lure in--people who read the article before or after another show.
I'm keeping a list of jobs I've applied for, largely in case the unemployment people ask for it; when I put this down, it turned out to be the first resume I've sent out this month. (Asking Tor for their copyediting test doesn't count.) But I've been working, so that's okay. Or will be once I get the checks, which should start arriving very soon. The short-term effect is a gap in money coming in; but if I finish this right away, then don't work for a couple of weeks, I should get checks for the work I've done, and from unemployment, around the same time. It balances, since I'm not broke yet.
I went out last night, taking a spare ticket at the last minute for Albee's "The Goat, or Who is Sylvia?" Last minute because after "The Play About the Baby" I didn't want to see any more Albee. But the reviews persuaded me to give this a try, and I'm glad I did: good repartee, and this time the characters are all likable. In the last one, two of them seemed to have, as their entire purpose in the play if not the universe, torturing the other two for no visible reason. I said, ahead of time, that if I didn't like it, I'd leave at intermission, and then discovered that the playwright was on to me: there is no intermission.
So there we were, in the very last row--which was only a problem when I laughed hard enough to bang the back of my head on the wall behind me. I watched through a slight layer of abstraction, of "that's a marvelous role" and "will those statues survive to the end of the play?" (as one of the characters started throwing things in anger and frustration).
Stevie, the female lead, really is a marvelous role, though not one I expect to see taken apart for those books of monologues for auditions. They're all good roles, even the best friend who decides it's his duty, as a friend, to tell Stevie that her husband is having an affair with a goat.
Albee says (quoted in the playbill) that he's trying to test the limits of tolerance. Well, maybe. If the affair weren't unforgivable, telling his wife that he loves the goat as much as he loves her probably is.
But telling an audience that you're testing their tolerance is going to skew the results, I think. And, given that Playbill features are used for everything on Broadway that month, it may scare away--or lure in--people who read the article before or after another show.
no subject
I've been fond of Albee since taking an undergraduate course in The Theatre of the Absurd in 1990, but I've yet to see his plays well-staged. Maybe someday.
Here's hoping the headhunter listings work out for you.