#audra

Ten years leaves a lot to catch up on 💬🩷

Death of The Scene - audra

Sometimes when I want to go to a place to get photos with good lighting, that window is small.

Facial structure identified.

Searching…no results found within criminal databases. Searching…

Scanning CCTV livestreams. Scanning—

Algorithm error. Search failed.

Damn it. Audra’s hands worked quickly, expertly as they always did—she wiped the instructions, pulling up a few examples to refresh the recognition process. She wrote in her notepad, grumbling.

“Need to check the livestreams. See if we can access footage archives, too.”

As her monitor began to run through the program again, she turned her attention to one of the secondary screens. She had been given access to the lab’s entire CCTV network, although she rarely paid much attention to it—why would she? Stark and the man in the mask never said much, and their work was…interesting, but Audra knew she wasn’t supposed to look into that.

That’s how things were, some things weren’t meant to be questioned. Like the man in the mask, or the machine. Or the scar.

“Audra? You seem zoned out. That’s unlike you.”

Shit. It was him. She had zoned out—she hadn’t even noticed him approaching. She had been lost in her thoughts, until the sharp voice and unnaturally wide smile yanked her back to her surroundings. He was close like he always was, nearly pressed against her knees as he stood over her. Was he making himself taller?

“Oh…it—it is, sir. My apologies, I…I lost myself. I was just—waiting for the algorithm to restart.”

“Which one?” He asked, although they both knew he knew the answer. Of course he did.

“The…the facial recognition,” Audra whispered, pushing unruly curls from her face as she wheeled closer to the monitor.

“I may have some targets for you, soon. Is it not working?”

Her stomach twisted. “It is, just…not quite to its full potential, Maker. The connection to external CCTV feeds is still shaky, but that’s fixable…but I’d hope to eventually be able to scan through archival footage, too.”

His smile didn’t falter. Audra was forced to watch herself, staring down her own reflection in his mirrored visor.

“Well, I’m sure I can give you access to archives. Especially in our…problem areas,” He mused, clasping his hands together behind his back. “But it concerns me that you’re encountering errors in the basic process, Audra. Your job is to operate without these errors, isn’t it?”

She felt her heartbeat begin to speed up, that awful feeling of cold dread. “Yes, yes—of course, sir, Maker. I-I believe it was just a fluke in the program. N-not unlike the drone test last week—“

“—The drone test, yes. I’m aware that error was an anomaly that you couldn’t replicate,” As she fell silent, he came to rest a hand on her shoulder, his fingers stretching over it to cover the upper part of her arm.

“Check every step of the recognition program, make sure that error doesn’t occur again. We’ll have you run a few…field tests. Then we can talk about archival footage.”

Audra only nodded, his desire for her silence evident.

“Good. I’m glad you understand. Remember, no breaks until you have results.”

Tonight's fare: Gypsy

I will be talking about this production and these performances for a long time to come. Audra McDonald gives a master class. Danny Burstein is absolutely perfect. Every single performer gives every ounce.

The renovated Majestic Theatre is spectacular as well.

If you are anywhere near Broadway and have the means (discounted tickets, lottery, sneaking in) you must see this. It's historic.

In case you don't know, Gypsy is based on the memoir of Gypsy Rose Lee, a famous and highly successful burlesque performer, writer, etc. With a book by Arthur Laurents, music by Jule Styne, and lyrics by Stephen Sondheim, it ended up being a showcase of complexity for a performer known best for being merely brassy: Ethel Merman. A number of hit songs came out of the show, including "Everything's Coming Up Roses", "Together Wherever We Go", "Let Me Entertain You", "Some People", "All I Need Now Is the Girl", "You'll Never Get Away From Me", and the novelty song "You Gotta Have a Gimmick". The final summation "Rose's Turn" is an early glimpse at Sondheim's musical tone and sensibility, which he stitched together from bits of Styne's score when Styne refused to write any more music. The show is an excellent example of the shift in musical theatre from boppy showtunes to more sophisticated jazzy tunes by the end of the 1950s.