And score.....

So today I went to the Kenya National Theatre-- Kenya's biggest theatre just to do some research on the theatre scene in Kenya. I've been trying to visit as many theatres as possible just to get a feel for the landscape.

So I go there wanting to talk to someone in the role of an "artistic director," but it's impossible to find out who such a person might be beforehand and like, make an appointment, so in true African style I just go. I walk in, and just ask the first person I see for the artistic director and they give me a blank stare, so I'm like, "um, anyone who deals with theatre." They point me across the street and say I might find the manager, whatever that means, there. So I weave through a bunch of offices until I find a door that says "manager." I go in, and just say, "Hi, I'm a director from America, and I am directing here and doing some research and I'd like to speak to the manager." See this is my new tactic. Don't say anything about "student," just say "American Director" and see what people do. So the secretary goes in to this office and comes out to say that she will squeeze me in after her meeting. So I wait 20 minutes, which is good because I haven't written any questions for this "interview." Well I scratch some things out and then my turn comes.

I interview her for about 10 minutes about how the theatre works: companies either pay and rent the space (which is expensive), or sometimes they select groups that they give it too for free, but there isn't a residence company, and the season is just decided by what people want to do. She says that there are enough theatre companies who want to rent the space that it's usually pretty full. So we talk about the role of theatre in Kenya and yadda yadda and then she asks me what I'm doing here, and I tell her about how I am directing this ensemble-generated piece with youths in Kibera about issues they face, and without realizing it, I find myself saying "And I think that it would be a really good thing to be performed here." I hadn't even considered that thought before, but there it goes out of my pushy mouth. Well this lady looks me up and down for a minute, and I can tell she is thinking "who is this girl, and how old is she, and what does she really think she's doing..." and then she goes, "Well, why should I let you do that, I assume you can't pay, so why should I give you the space." I take a deep breath and say, in my best sales-pitch, I will convince you voice, "Well I think that this piece is a perfect example of the power theatre can have to educate, which you were just talking about. It exemplifies theatre's ability to create open forums about important issues, it would be an act that would de-stratify this theatre along class lines and I think that performing it here would be an incredibly empowering statement, as well as experience for these talented artists who don't get the recognition they deserve because of their financial status." And she pauses for a looong moment which I squirm and then she starts to laugh. And laugh. And goes, "I like you. You've got some spirit. Okay. When?" And my mouth falls open, and I instantly produce my calender and go, "Friday November 30th." She consults her calender and goes, "November 30th it is. What's this play called?" So I make up a name for our as of yet unnamed and un-started piece, and she goes, "well Ms....." and I go, "Posner, so sorry, my name is Jessica Posner" (I'm like falling over myself I'm so excited, but trying my best to be cool and professional and like this happens to me all the time." She goes, "Well Ms. Posner, come back next week to confirm all of the technical details."

I run out of that office so fast, meet Kennedy who is picking me up, and I tell him and we are just like, WHAT just happened? And I go, "I can't believe I just convinced the National Theatre to let us do our piece HERE!" And he goes, "I can't either!"

So I've got a lot of work to do for the Kenya National Theatre Debut.