|
Date
|
Celsius °
(C*9/5)+32=F
|
Place of run
|
Duration
|
start time
|
8 laps of 9 flights
|
One inside loop
|
9 flights (sec)
|
weather
|
|
22 Mar
|
≈ 4
|
Nizhenskaya,Moscow, Russia
|
≈ 17
|
07:32
|
15:36
|
1:17.82
|
33.18
|
sunny
|
Words: 579
It appears that
with the advent of spring, Moscow has thrown off the winter. Ha. On
Friday morning, it snowed quite a bit, yesterday, I wore a light jacket, and
even then, I carried it through the sun quite often.
On Tuesday, I was
so fortunate as to perform in a play with a host of super-talented Russian
actors. Below are some clips from the
spectacle (the Russian word for play).
The other actors are native Russian speakers.
They have been performing the play since before December, while I joined them in mid-January. Unfortunately, it seems that this is the
final performance. I wrote the following
and posted it to the FB page: (https://www.facebook.com/groups/601759736579185/
)
Dear Cast Members,
Congratulations. You have not done simply a GOOD job; you have
done a FABULOUS job! A MIRACULOUS job!
Your work is something unique.
How many people, simple people, with jobs and families, and all the
typical life demands, can say that they have cooperated to create an experience
that is so wonderful? I have not been with you long enough to know what you all
do, I know only that one of you is a lawyer, one is an advertising something or
other, one is computer something or other, someone else translates documents,
someone else teaches yoga (or something), and others—I have no idea. But the key is that all of you have a passion
for acting, and you don’t let this passion lay dormant—you have searched for,
and found, a place to express it. I will
borrow from the English their excellent manner of understatement when I say,
“Well done.”
I’ve been in other productions that
have a specific time to perform the play, after which we strike the set, put
the costumes away, everyone goes home, and poof! The thing that we created is memory. We, on the other hand, are exceptionally
mobile. There’s nothing to strike because we don’t even HAVE a set. The key is not a set, it’s the actors. Lucy doesn’t need a set to show the
difficulty in opening the wine. Mr.
Acres doesn’t need a set to dance with Mr. Falkland. A set does not enhance that special way in
which he pronounces the name—just this side of obscene. Mr. Fag doesn’t need a set to fumble through
his monolog at 100 miles an hour so everyone can pretend that they don’t understand
him. And props? “There’s no time for trifling” with such details. Not until I
walked on stage did I see that instead of a couch, table and cups, we had no
couch, and some kind of box—“Hmmmm, can I sit on that box? Is it strong enough
to support me? If I sit down, will everything spill all over the floor? I’m supposed
to sleep somewhere. Well, I guess I’ll sleep standing up.” No problem!
The audience WANTS us to succeed.
They WANT to be entertained. It
doesn’t matter that only giraffes and cows are supposed to sleep standing up.
I am fortunate. I view our production of The Rivals from a
unique perspective. I have NOT been with
you for several months. I am coming at
this with fresh eyes, uncluttered by weariness and fatigue. Our lines are memorized! Our costumes are in
place! Make up?!? No big deal. Now we have a production company.
My proposal? LET’S DO IT AGAIN! Never fear! Never fear!
I am, Sir Anthony, your most respectful admirer.
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