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Movies will make you famous; Television will make you rich; But theatre will make you good.

― Terrence Mann, Actor

Cordelia Thorne had always believed theaters possessed souls, but the Meridian never felt quite right. As the new director, she noticed it immediately---the way conversations died when she entered certain corridors, how the orchestra pit seemed to breathe in the silence between rehearsals.

The previous director had vanished mid-production, leaving behind only cryptic notes about “the true audience” and sketches of geometric patterns that hurt to look at directly. Cordelia found these papers scattered throughout the theater like breadcrumbs leading to some unfathomable truth.

During the third week of rehearsals for Ibsen’s “A Doll’s House,” the actors began forgetting their lines---not stumbling over words, but speaking entirely different dialogue. Ancient phrases in languages that predated civilization itself spilled from their mouths while their eyes remained distant, unfocused.

The worst part wasn’t the unintelligible words or the way the theater’s acoustics seemed to amplify whispers from empty seats. It was the gradual realization that Cordelia understood every syllable, as if something vast and patient had been teaching her this primordial tongue through dreams she couldn’t remember upon waking.

On opening night, as the curtain rose to reveal an audience of perfectly still figures whose faces reflected no light, Cordelia finally comprehended the Meridian’s true purpose. Some stages weren’t meant for human performances---they were audition halls for entities that had been waiting eons for the right cast to tell their story to the world.

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Comments

Christopher DiBella

Great for a performance of Massa di Requiem per Shuggay.