Built for Others
The ghost light was a lonely sentinel in the center of the stage, its single bulb casting long, dramatic shadows into the empty house. For Jill, it was the truest audience. Every night after rehearsals, she would return, sit on the lip of the stage, and whisper her lines to the hollow dark. It was the only time the words felt like hers. Rehearsals were a different beast. They were a place of direction. Of Roland’s hands shaping the air, sculpting her posture. Of Marcus, the playwright, scribbling in the margins, muttering, “More anguish, Jill. Think of a lost love.” Of her scene partner, Richard, whose breathy intensity demanded a specific, reactive energy. They saw a Jill who was a vesselfor Roland’s vision, for Marcus’s text, for Richard’s performance. They saw clay. In the daylight, she was a collection of reflections. To her mother, she was the “struggling artist,” a fact underscored by every care package of groceries. To her barista, she was “the theatre one,” always ordering...