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Some were marked
for the girls and boys facilities. Others were labeled for props and costumes. All
locked. Which I knew because I’m snoopy.
Someone should have drawn me a map. Or Laurence should have been more obliging. If
he was indeed Tara Mayfield’s brother, Tara must have hoarded all the helpful genes
in that family.
And why wasn’t Laurence in class? As I pondered the differences between my own and
a Peerless education, I found the back entrance to the stage.
Hearing voices, I followed them until I encountered Tinsley holding class. With the
cape draped around him, he sat cross-legged on a table, in cool teacher mode. Below
him, the students adopted his cross-legged stance on the floor of the stage, gazing
up at the Dali Lama of Theater.
He descended from his table to introduce me with grand, sweeping gestures that put
Vanna White to shame. “Ms. Tucker will design our set and assist our set technicians
in creating our underwater alien planet of Verona.”
I smiled and waved. The students flicked an unimpressed gaze on me, then switched
to adoration for Tinsley.
“The back drop’s been delivered. Primed, flameproofed, and ready to paint.” He pointed
to draped fabric attached to a thick metal rod spanning the back of the stage. The
drop had been suspended by wire from ceiling rigs, but lowered to my approximate height,
puddling the extra length of fabric on the floor. “However, I’ve been thinking that
we should also use periaktoi. I’ve eight prisms constructed from our production of Lysistrata . I feel Shakespeare would approve of our Greek scene device.”
The students nodded.
I felt as sharp as a bowl of J ell -O . “Do you paint these periaktoi? I don’t know what they are. Sounds like some kind
of dinosaur.”
Two students rolled their eyes and one snickered.
“But if I can paint them, I’ll figure it out.” I eyeballed the snickerer.
“Of course . ” Tinsley waved a hand at a group of tall, flat sided pillars. “They are placed together
to create a backdrop. Each one rotates for three easily interchangeable scenes. You
just need to paint over them.”
“I can do that.” I walked over to the prisms and pushed on one. Moving on wheels,
it turned to reveal two more painted sides. “Painting these will be faster than building
a set.”
“Excellent. We will have some side sets, but I also have the stairs and balcony pieces
from previous plays.”
I strode to examine the backdrop, moving around a caged lightbulb hanging from an
upright stand with a heavy, ornate base. “Is this a prop?”
The students sucked in their breath, and Tinsley calmed them with a gesture.
“You have much to learn about the stage and we look forward to teaching you, don’t
we, darlings? That, my dear Miss Tucker, is our ghost light. We use it to light the
stage when the theater is blackened ,” Tinsley said.
“Ghost light?”
“One of our many superstitions. We always leave a light on for our theater ghosts,
who detest the dark. And it prevents us from tripping backstage. See, fantastical
and practical, just as theater should be.” Tinsley stroked his beard and rocked back
on his heels. “Now my puppets, we have visualized our concept of Verona as a beautiful
water world divided between the antagonism of two houses. Capulets to be represented
in blues and the Montagues in greens.”
Eager to have the limelight off my ignorance, I pulled a sketchbook from my messenger
bag, noted the colors, then moved to sit with the students.
“Mr. Tinsley, I don’t understand this setting.” A slight girl with straight blonde
tresses stood and pushed her glasses up her nose. “Two ruling houses at war in an
underwater planet doesn’t make sense. There would be no family loyalty in a water
world. The species only instinct would be survival.”
“Tell that to Aquaman.” I leaned toward a nearby student. “How does she know this
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