Poetic Tragedy-Rehearsal

Good evening. May I present my wife, Kathy. Good evening. I should like to tell you about the play that Kathy and I have selected for this evening. It's a play of New York, of the theatre, and of an actress, and a producer.

The actress is young, very new to the theatre, and as a matter of fact, very new to New York. The producer is, well, a very unusual sort of producer. Elliot, you forgot to say she was from Pittsburgh.

Who? The actress, the part I play. I mean, I think it's important, don't you? The actress is young, very new to the theater, from Pittsburgh. And as a matter of fact, very new to... Have you mentioned about the producer?

Your part? How he makes his money? No, Kathy, I have not. Don't you think it's important? Well, it comes out later in the story. Well, it wouldn't do any harm to mention it now, would it, dear?

Kathy, would you like to take over the introduction? Oh, dear. I think you're doing it beautifully. The actress is young, very new to the theatre from Pittsburgh, and as a matter of fact, was full, it was winter, it was spring, it was New York.

It was Broadway, and Phyllis Randall was an actress. On a successful actress, on a recognized actress, but an actress nevertheless. Sustained by hope and conviction. Convection and hope. Sustained but unoledged that someday... Somehow... I'm sorry, we're not casting today, try later.

We're not casting today, try later. Not casting today, try later. Was summer? It was fall? It was winter. Conviction had long since gone. Hope was about to follow. How long can you wait for a magic word?