Reply To: Cakletown and the Lone Chancers of Custard

Geoffroy du Limon had felt confident that he had the skills to act the new role, considering his notable career in the theatre in the old story. He liked his new name: Miles Fitzroy suited him perfectly; and he anticipated resonating with London (although he would have preferred New Zealand: he’d heard that his old friend Francette Fine had been assigned a new story there). He found himself floundering, however, in unexpected ways.

The most unsettling factor was the absence of a back story. Without associations or automatic habits, he was unsure how to play his personality. Without triggers, where was the humour? There was simply nothing dramatic, comedic or tragic, nothing to make the play thrilling, exciting, or enticing, if everyone was an innocuous beige blob. A present beige blob is still a blob and not very interesting.

Roll up! Roll up! Come and see the show! Watch the cast focusing on themselves and not reacting to triggers! Nothing to judge here, folks, Roll up!

Geoffroy had no idea that having so few limiting guidelines could be so difficult. One had always assumed that it was the limiting guidelines that boxed one in, held one back, he mused, not the other way round. It was indeed a challenge, and he found himself feeling nostalgic for the old story.