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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 there? Am I REALLY supposed to believe she’s just doing this to help me with my little financial problem, like she says, since people are supposedly going to pay admission to this little nightmare she’s created, and I can use all the money to restore the student government’s diminished coffers?
Yeah. Right.
I fully confronted her as soon as the auditions were over.
“How am I embarrassing you this time, Amelia?” she wanted to know, after everyone had left and it was just her and me and Lars and the rest of her staff—and Rommel and Señor Eduardo, of course. But both of them were asleep. It was hard to tell whose snores were louder.
“Because you’re going to give”—I almost called him The Guy Who Hates It When They Put Corn in the Chili, but stopped myself just in time—“John Paul Reynolds-Abernathy the Fourth the lead in your play just so his dad will feel like he owes you one and possibly drop his bid on the faux island of Genovia! I KNOW what you’re up to, Grandmère. I’m taking U.S. Economics this semester, I know all about scarcity and utility. Admit it!”
“Braid! is a musical, not a play,” is all Grandmère would say about that.
But she didn’t HAVE to say more. Her very silence is an admission of guilt! John Paul Reynolds-Abernathy the Fourth is being used!
Granted, he doesn’t seem to know it. Or, if he does, he doesn’t exactly seem to mind. Strangely, away from the overuse of farinaceous grains in the AEHS cafeteria, the Guy Who Hates It When They Put Corn in the Chili seems pretty happy-go-lucky. “J.P.”—as he asked Grandmère to call him—is almost menacingly large (not unlike the bodyguard, played by Adam No-Relation-to-Alec Baldwin, in the low-budget high school bully film, My Bodyguard) at six feet two, at least. His floppy brown hair looks less shaggy and much shinier when it’s not under the harsh glow of the cafeteria’s less-than-flattering lighting.
And up close, it turns out J.P. has surprisingly bright blue eyes.
I got to see them—J.P.’s eyes—up close because Grandmère made us do the scene where Rosagunde has just strangled Alboin and is freaking out about it, when Gustav comes bursting into the bedroom to rescue his lady love from a ravishing by her new husband, not realizing she’d:
a) already drunk the guy under the table so he couldn’t get it up to ravish her in the first place, and
b) killed him after he passed out from all the Genovian grappa he’d consumed.
But, oh well. Better late than never.
I have no idea why Grandmère made me go through that farce of an audition since it’s clear she’s going to cast J.P. as Gustav—just to appease his dad. Although, truthfully, J.P. was really good, both with the acting AND the singing (he did a totally hilarious rendition of “The Safety Dance” by Men Without Hats). And that she’ll cast Lilly as Rosagunde. I mean, Lilly was clearly the best out of all the girls (her version of Garbage’s “Bad Boyfriend” nearly brought the house down) and has the most experience with the whole performance thing, on account of her TV show, and all.
Plus she was really good at killing Alboin—which is only natural, since if there’s anyone at AEHS who I could see strangling someone with a braid, it’s Lilly. Oh, and maybe Amber Cheeseman.
But the whole time it was my turn to audition, Grandmère kept yelling, “Enunciate, Amelia!” and “Don’t turn your back to your audience, Amelia! Your behind is not as expressive as your face!” (Which caused no small amount of chortling from the side of the room my friends were sitting on.)
And she didn’t seem at ALL impressed by my version of “Barbie Girl” by Aqua (especially the chorus, “C’mon Barbie/Let’s go party,” which, if you think about it, is highly ironic considering my inability to do so. Party, I mean).
Really, what was THAT about? I mean, it’s not as if she’s going to cast me, so why all the yelling? I mean, what do I even know about acting? Apart from a brief stint as the mouse in The Lion and the Mouse in the fourth grade, I am not exactly what you’d call experienced in the dramatic arts.
It was a total relief when Grandmère finally let me sit down.
Then, on our way back to our seats, J.P. said, “Hey, that was fun, huh?” to me.
