Good-news/Bad-news

Good news (somewhat): My first paycheck from the temp job came today. A decent-sized three hundred and forty. Next week's should yield even more, since I only worked about thirty hours two weeks ago (the week I'm being payed for), and worked a full forty last week. So I'm officially out of the hole. How long I'll stay there remains to be seen. I still don't have any official work for when I come up to Saratoga. I want to get a job, and am willing to do whatever to get one, so hopefully that'll be enough.

Bad news (sort of): I am all kinds of bored, and all kinds of jealous of other people who have the time and money to either remain in foreign countries (looking at you, everyone I know in Oxford) or the oppurtunity to dress up like pirates and drink themselves to a god-dammed stupor simply because they want to (looking at you, everyone else). I know I'm doing the responsible thing by staying in Chappaqua and making some money for myself, but the attraction of going on an adult-sized slip-n-slide made out of trash bags would be tempting for anybody...well, maybe not everybody, but certainly for me. And the desire to be back in Oxford, punting and drinking legally and whanot is also great, but a five-hundred-dollar round trip ticket and a very likely five-hundred in expenses is keeping me glued to my plastic little American chair (and away from the great wooden one once used by Ethelred the Unready in doodle-dee-two A.D).

Good news (unabashedly good): (wait, get ready, 'cause it's really good news): Rufio, King of the Lost Boys is being professionally produced. With a decent-sized budget in a huge space. In a few months I will be a professionally produced playwright.

Bad news (only moderately bad): The whole thing needs to be re-worked and re-imagined. We may want to shy away from the whole Rufio thing to begin with, what with it being a copyrighted name and all, and that would obviously change, among other things, the first-act closer where the word "Rufio" is chanted over and over again. But aside from that, the whole thing is just too short, with too much plot and too many songs brushed by indiscriminately in the second act. So even though the first act is strong, it'll have to be changed drastically to accomodate the re-worked second. How will that be done, exactly? I'm not sure. Danny, Matt, David and I will certainly be talking quite a whole lot in the next few months, and we'll probably argue a lot on a number of points.

However, in the end we'll have written a professionally produced musical at age 21, which I think is pretty impressive, regardless of what Mozart may have done (he was an asshole anyway, as can be seen in the film and stage play Amadeus). Not to mention the fact that we'll get paid for it. Paid! For writing a musical! Who thought it could be done? Certainly not me. Paid for writing a few terrible episodes of Boston Legal, that I could imagine. But not a musical. That'd just be too outlandish.