Hey, if you’re an American, vote.

Unless you’re going to vote for the wrong people, then don’t bother.

But otherwise, vote, vote.

If you’re hearing this and the polls haven’t closed where you are and you’re like, I don’t know, just go vote.

Just go vote.

I think you should vote.

Thank you so much.

Your daily Lex.

I sometimes wonder what the percentage of people is who follow me on places like this podcast or my site or anywhere else who don’t share at least most of my politics, because God, it’s got to be annoying.

Not my problem.

Your problem, I guess.

Anyway, let’s see.

What else can I tell you?

Last night we had another rehearsal for I Know the Name of the Show.

It’s Arsenic and Old Lace.

And right now we’re doing table work.

Not every show does table work.

I think it’s a sign of confidence in the actors and gives me some confidence in the director when you do it.

It’s not to say that every show needs to do it.

They don’t.

But table work is when you kind of sit and read through the script some more and talk about the characters.

Why is this line this way?

What do we think he’s trying to get at?

What’s the relationship?

When did you move out?

Like, what’s the backstory here?

And it involves some, you know, actors pontificating and all that stuff, which can be gross for the actors and everybody else listening.

But it also is really good, right?

Like, giving you more stuff to think about, even if you don’t know the answers.

And obviously there’s no right answer to these things.

Like, you know, when do you think my character is the bad guy?

When do I think John moved out of his parents—Jonathan moved out of his parents’ house?

And I decided as early as he was allowed to.

So that’s probably 16 for the era that this play is set.

There’s a lot of jokes in the show about disdain for the theater, and what do we think that’s going on?

I know how to talk.

What are we really trying to get at?

But anyway, another thing that’s going on with the show is I’m trying to figure out my character’s voice at my audition and at the first table read-through, which was last week, and at last night’s table work read-through, where we focused on Act One.

I was focusing on a very deep voice.

I was pitching my voice down lower.

I was using vocal fry at the end of some sentences, and somewhere like this.

It wasn’t exactly; it was close to that.

But I’m not sure I think that’s the right one.

I think there might be a better version.

I’m trying to think of a way that it shows I’m evil and also a little bit old-fashioned.

I had been thinking a bit about Rod Serling, not a Rod Serling impression, but something about his clipped cadences and his tone of voice, even if I don’t sound just like him.

So I am thinking about that as well.

At one point I thought about going really gruff, but I think really gruff could be too much.

I don’t know.

I am from Brooklyn in this play.

I don’t know if it sounds like I’m from Brooklyn, but still, it’s an option.

So I got to figure out that voice.

I don’t know what it is.

Got to do some experimenting.

I’m a little hoarse today.

I’ll be a human again tomorrow, but I got to figure out what I want to do there, which is fun.

I enjoy that part of the journey.

Anyway, vote, and you are wonderful, and I hope you’re having a great day.

Thank you so much for your attention to this matter.

Goodbye.

Lex.