I but totally believe if that if your instinct is that she did it on purpose you are probably right. Just that some people are amazingly klutzy in ways other than bumping into things, and Unfortunately I know this first hand.

Someone just around the corner just bought a Mazda2. In black. Identical to mine. At least with the remote entry, you'd know something was up before breaking a key in the lock?

So my neighbor doesn't have to have surgery for her spine (broken in 3 places) but definitely can't work until the new year. I really, really, really hope she's not contract and has short-term disability. (She's a nurse and recently moved from CVICU to a more 9-5 of home healthcare nurse.) I do know now that the guy that hit her? Unlicensed and uninsured. And the bar she moonlights at is doing a tip-jar fundraiser in a couple weeks, which I hope to go to.

And I hated having to dry off with a damp chloriney towel someone else had used. Uhg.

That really is the worst part. Do you think she just went all deer-in-the-headlights when she realized her mistake? My kids do that. Spill a glass of milk and then... stare at it, then stare some more, then look at me, then stare again. Until I point out that said kid should go get a rag and clean it up.

Someone just around the corner just bought a Mazda2. In black. Identical to mine. At least with the remote entry, you'd know something was up before breaking a key in the lock?

Yes.

Yeah, you would. Or at the very beginning of trying the lock. Like the first five seconds.

Do you think she just went all deer-in-the-headlights when she realized her mistake? My kids do that. Spill a glass of milk and then... stare at it, then stare some more, then look at me, then stare again. Until I point out that said kid should go get a rag and clean it up.

I try not to but I've made those mistakes. Not often but it's happened. *Ugh*

I'm canny to those kinds of awkward, I am good at them. Do them often. This was not that.

You know, I think I've adjusted to keyless entry, I don't think I've ever opened this car by turning a key. Wheee, gimme a cookie, I've adapted!

A friend told me a story of seeing her car, a blue Prius, and clicking the key. The door unlocked, so she got in, took one sniff and then realized... it wasn't her car. It smelled too clean.

Well, at least ours are from separate dealers? (And parked close enough at least once that I know this won't be an issue.)

The one thing is it is very frustrating to know what you saw and not be believed. So again this incident inspired a bunch of "awkward" stories but since your instincts say this was not awkwardness but chutzpah, I'm sure it was. I get how without being able to articulate *what* looked different, just as a matter of experience you could see that it was deliberate. I still wonder what went through her mind. Did she think that the towel's owner was in the restroom or the pool? Or that she could brazen it through, and have you just watch as she walked away with your towel?

Re: AEA rules...as also pointed out, while in rehearsal actors are only required to be in the building during scheduled working hours (once into performance schedule it's not unusual to have hair or makeup calls before 1/2 hr if there are lots of ppl wigged and only one staff member to do them all or really complicated makeup that takes more than 30 min). All costuming, hair and makeup has to be scheduled into the beginning of each rehearsal call. That 30 min (or more if there's insane wiggage or costume drama) is a great time (in my SM opinion) for the director and designers to sit around and talk through exactly how that next big transition is going to happen, confirm Q numbers, iron out sequencing, blah blah blah (IF the director actually comes back from break on time. Which is a whole different issue. Many will assume that they aren't needed till 30 past and go AWOL which is really irriating if their Stage Manager has questions for them about, say, tomorrow's schedule....)while backstage crew has a chance to set or re-set. Particularly in theatres where house crews (i.e. the ones who haven't been backstage for the five hours of rehearsal and are thus not inncluded in the break time) work on notes during that 2 hr break so it's not uncommon to come back from dinner and find sets have been moved for focuses, other scenic pieces moved for adjustments or touch up, props relocated, new gel colors in lights....you just never know what yr gonna find after break that needs to be restored/repacked and that takes time

Separate issue: dry techs are a total waste in a professional environment where people actually get paid for their time. Like, I did them in college. Never in professional theatre. Not to say that as an AEA SM I wouldn't ask a lighting or sound designer who hadn't already sent me an email q list to meet up the week before tech and sit down with me to number and discuss cue placement...but that's just a meeting so that I'd have a book to start first tech with. Some SM's would just wing it and book everything as they went (too stressfull for me. I needed a starting point, guidelines.) Sometimes *sigh* some directors *sigh* would force the entire design team to do one of those pre-tech meetings (usually after a run through so they were already at the theatre) which was infinitely irritating and rarely helpful. Poor scenic and costume designers picking at their nails going "yup, that's then that happens. that's how much time SM told us we have to get it in done in." Sound designers thinking "dude, the SM already has the q list and just played more than 1/2 of them at the right time on the rehearsal equipment. let me start programming" and the lighting designer thinking "this is the first time I've seen this staging. I need to go home and re-do the plot now. Don't even ask me about q's yet."

Different shows do have different needs. Sometimes really complicated scenic transitions do need to be run repeatedly with just the stage crew for hours before it's safe to go into show lighting and then put actors near it. There goes an hour or so of tech time where actors can be dealing with first costume issues. Or maybe if the theatre is flush with tech time there's a whole day of just scenery and automation where actors get the day off. Bonus for them. Or maybe the chorus needs hours to practice their enormous assembly-line costume changes multiple times before attempting it with backstage lighting. Costume changes are HUGE part of tech. If you're lucky, the SM and wardrobe teams have already collaborated heavily enough that everyone has stopwatches in hand and knows exactly what they're going into. Or not, and it's a disaster, and you have to re-do every transition twice for scenery, once for lights and sound, and 5 times for quick changes.

ETA: and speak NEVER of a cue to cue. That's just asking for disaster, wasted time, and omissions.