Party Princess by Meg Cabot

directed them to a spot in front of the long table where Señor Eduardo was dozing, and Rommel was licking his private parts.
    “Gustav,” she said, handing Kenny a sheet of paper. Then: “Rosagunde.” She handed a page to Amber.
    “Now,” Grandmère said. “Scene!”
    Lilly, beside me, was shaking, she was trying so hard not to laugh out loud. I don’t know what she thought was so funny about the situation.
    Although when Kenny started going, “Fear not, Rosagunde! For though tonight you might give your body to him, I know your heart belongs to me,” I could sort of see why she was laughing.
    I ESPECIALLY saw why she was laughing when we got to the musical part of the audition, and Kenny was asked tosing a song of his choice—accompanied by a guy playing the grand piano in the corner—and he chose to sing “Baby Got Back” by Sir Mix-a-lot. There was just something about him singing, “Shake it, shake it, shake that healthy butt,” that made me laugh until tears streamed down my face (though I had to do it super quietly, so no one would notice).
    It got even worse when Grandmère said, “Erm, thank you for that, young man,” and it was Amber’s turn to sing, because the song she chose to sing was Celine Dion’s “My Heart Will Go On,” from Titanic , a song to which Lilly has designed a dance she does with her fingers, based on the Las Vegas hotel Bellagio’s “water dance” to the same song that is performed almost hourly in the huge fountain in front of the hotel’s driveway for the entertainment of tourists strolling down the Strip.
    I was laughing so hard (albeit silently) that I didn’t even hear the name of the girl Grandmère called next to audition for the part of Rosagunde.
    At least not until Lilly poked me with one of her dancing fingers.
    “Amelia Thermopolis Renaldo, please?” Grandmère said.
    “Nice try, Grandmère,” I called from my seat. “But I didn’t turn in a sheet. Remember?”
    Grandmère gave me the evil eye as everyone else sucked in their breath.
    “Why are you here, then?” she inquired acidly, “if you didn’t plan to audition?”
    Um, because I have been meeting with you at the Plaza every day after school for the past year and a half, remember?
    What I said instead was, “I’m just here to support my friends.”
    To which Grandmère merely replied, “Do not trifle with me, Amelia. I haven’t the time nor the patience. Get up here. Now.”
    She said it in her most dowager-princessy voice—a voice I totally recognized. It was the same voice she uses right before she drags out some excruciatingly embarrassing story from my childhood to mortify me in front of everyone—like the time I accidentally smacked my chest into the sideview mirror of the limo while I was Rollerblading in the driveway of her château, Miragnac, and I noticed afterwards it was all swollen, and I showed my dad and he was like, “Um, Mia, I don’t think that’s swelling. I think you’re getting breasts,” and Grandmère told every single person she met for the rest of my stay that her granddaughter mistook her own breasts for contusions.
    Which, if you think about it, isn’t THAT bad of a mistake to make, since they aren’t much bigger today than they were then.
    I could totally see her, however, trotting out this story in front of everyone if I didn’t do what she told me to.
    “Fine,” I said, from between gritted teeth, and got up to audition just as Grandmère called the name of the next guy she wanted to hear read.
    A guy who just happened to be named John Paul Reynolds-Abernathy the Fourth.
    Who, when he stood up, turned out to be…
    …The Guy Who Hates It When They Put Corn in the Chili.

 
    Thursday, March 4, in the limo on the way home
     
    She denies it, of course. Grandmère, I mean. About just wanting to put on this play—excuse me, MUSICAL—to butter up John Paul Reynolds-Abernathy the Third by casting his kid in the lead.
    But what other explanation is