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[ Act V ]Cast by figure · Casting notes

Slim and slender: ten names, ordered by the notice they want

Ten women on this note, long lines and clean tailoring, heights between 163 cm and 178 cm. Frame is the only thing being filed, and it is filed without comparing anybody to anybody.

What actually separates these ten is distance in time rather than distance in centimetres. One of them can be in a lobby within the hour. One of them needs the opera tickets settled first. Sorting them that way answers the question most opening messages are really asking, which is whether tonight is possible at all.

01 Scene

Inside the hour

Stacy is the short notice name here and rather enjoys being it. 176 cm, near black hair worn very long, early twenties, dry, and most nights she can be across town before you have finished a second drink. Two hours at £500 buys a bar, a comedy room over a pub and something to eat after it. The room is confirmed while she is still in the cab.

02 Scene

The same day, if you write before three

Samanta would rather have the night settled by mid afternoon than thrown together at seven, and once it is settled she is exact about the hour. Cindy opens her diary early and works best in daylight, an afternoon with room to run into an early supper. Lucy takes the same booking at a slower pace, a museum, coffee made properly and a walk nobody is timing. Three hours at £700 fits all three.

03 Scene

A day is kinder than an hour

Liana is unhurried by nature and a day's warning treats her far better than an hour's does; £700 buys three hours, a bookshop and a long dinner with no clock anywhere in it. Vanessa is best booked for an evening given more time than it strictly needs. Patricia prefers a day or two, a bar, a screening and the walk afterwards, and her evenings through Bloomsbury are the quietest bookings the desk writes.

04 Scene

A few days, because of the seats

Karolina is the one evening on this note built around somebody else's timetable. Weeknights are straightforward, but an opera night needs several days, since the seats have to be arranged to suit her diary, and the shape is nearly always four hours at £900: a drink before, the performance, supper once the house has gone home.

05 Scene

Dates already being pencilled in

Margo and Violetta both work in stretches, and both carry a return date on their pages rather than a standing week. Margo is still in company in a way that slows a room down; Violetta is thirty, precise and exceptionally dry. Evenings after a landing date are held the ordinary way, or on half when the booking runs through to morning, and the desk says which applies before anything moves.

06 Scene

What the note files

A long clean line and the way it is carried, described rather than measured against anybody else. Nothing here comments on anyone's weight and nothing here is a ranking. Six of the ten also sit on statuesque, and the colours divide four to brunettes, three to raven haired, two to blondes and one to auburn and red.

07 Scene

Reading the note against the calendar

Notice is the most useful thing on this page and the easiest to fix. Two dates beat one, an hour range beats a single time, and a sentence about the kind of night you want beats a list of names. Send those three things and the answer names whoever can genuinely do it rather than whoever looks likeliest on a page.

08 Scene

Holding a run of nights

Several of these ten take a stretch of consecutive evenings, arranged in one conversation rather than five, with every night quoted together. Shorter bookings keep the ordinary rail, and a plan dropped with three hours still in hand costs nothing, as booking sets out in full.

// Five minutes to curtain

Call the stage door

One message names the evening you want and the desk answers inside a quarter of an hour, at any point on the clock. Tell us the day, the hour, how long you would like and where she should come, and the rest is written down for you.

Running order

  1. Half hour
  2. Beginners
  3. YouCurtain up
  4. Interval
  5. Final bow