Chapter 16

Thursday evening began the string of semi-dress rehearsals wherein the play to be presented with audience on the same day the following week would run straight through sans scripts and in whatever costumes and lighting and set and effects were ready. I hadn't seen Michael's play and Serena's direction of it since the week before. With her skills with language, she had tightened the play considerably, but the physical appearance showed the greatest improvement. Though a better director might have done more justice to Michael's Noel Coward influenced drawing room comedy, blocking no longer weakened the intent.

Having the small audience of the other four playwrights, a couple other directors and the crew taking notes and O'Casey in particular with his loud cackle enabled Serena to learn about pauses needed for the audience to laugh. This had particular relevance to the pace of the play because what made Michael's play reach beyond the derivative was his impressive skill in building the laughter into a sort of crescendo by the end. Too long a delay in letting the laughter die out and the play would lose energy. Too short and the next line would be drowned. Serena actually timed them (probably under Vance's advice; he handled the stop watch after all) and wanted the next line to come a half a beat before the lulls. That came in the notes to the actors after the rehearsal and was the main discussion of the workshop members. Counting beats while remaining in the moment; who said acting comedy is easy?

We still had our separate rehearsals during the day along with the evening rehearsals. It made Thursday and Friday long days of theater and gave us the sense of experience the ACT or any repertory company actors went through when performing a play in the evening while readying another play during the day. At least we didn't need to be memorizing two plays simultaneously, though having two hats, actor and playwright, caused me a weird but heady reaction. It really became three hats when we had our interlocking group and I felt empathetic towards the directors. It's like I got into the heads of the actors and directors, sensing their frustrations or their joys and thus having a profound understanding of how plays worked or didn't work. It's like seeing, hearing, breathing and even eating theater had tuned my mind to such a fine level of insight that I felt on the edge of being overwhelmed. I had to restrain myself from putting my two cents in too often, but I noticed Lindy and Natasha seemed to be hitting on all cylinders as well, so that helped in my restraint. I could trust their insights. They often agreed with mine. That they too had reached this powerful level of insight actually intensified my level. It got very intense. Very heady.

Living at such a high mental level should have been tiring, but after every late rehearsal Lindy and I wanted nothing to do with rest. With the encouragement of Miwa's and Helena's mouths and hands, we fucked each other into exhaustion. And by Friday Natasha needed to join us. Since that meant only one real cock to satisfy them, Naomi added a strap on. But Natasha needed the real thing.

"Fuck my mouth with your big fat cock," she demanded breathlessly while Naomi pounded fake flesh into her pussy missionary style. At that moment my cock jerked inside Lindy's throbbing cunt for its first spurt while I held Lindy's hips in the doggy style configuration with Lindy humming her climax into Miwa's cunt and Helena lying beneath us lapping at my balls.

"Go to her," Helena insisted.

With my cock still jetting cum, I brought it to Natasha's mouth, spurting a shot on her forehead near her eyes, her eyes closing just in time, her wide mouth with narrow lips widening enough to allow my glans inside with just enough room before those lips encircled my glans, gripping tightly. I continued cumming, and with each ejaculation I pressed deeper into her mouth. The pressure around my cock and the lustful expression on her face when she opened her eyes encouraged my cock to stay hard.

"Fuck her mouth, Joe," Naomi ordered.

I felt the rigidness of her palate, bouncing my spongy head against it. Her tongue, after being busy with the swallowing of the remainder of my splooge, laved the underside of my cock right where it was most sensitive. It pressed while I fucked. Somehow my cock became as hard as ever instead of softening.

Her hand pressing on my abdomen and her other hand capturing my retreating cock and rubbing the head vigorously, she moaned, "Fuck me, you fucker."

I knee walked backwards, my head coming down to kiss her mouth and her neck and finally taking the entirety of her smallish breasts into my mouth and slipping the flesh out until I suckled her taut little nipples. By then I found myself between her wide spread legs. They had lowered to allow me to knee walk over them, but as soon as her ever rubbing hand guided me to her cunt and I pushed my glans inside, they lifted and surrounded my butt and pulled me in.

"Fuck me, goddamnit!" she growled.

With back arched to keep my mouth occupied by tit flesh and one hand grabbing the other nipple, I held her shoulder with the other hand and both hands pulled downwards as if pulling her whole body against me as I rammed deep with one stroke. Immediately withdrawing to near exit, I rammed even harder. She was slickened by orgasms and tongueings, but I felt narrow walls impinging. That first thrust had made room. Every thrust after felt resistance. I continued thrusting long and deep and hard and fast and the friction continued throughout the thrusts.

"Yes," she kept moaning. "Yes. Yes." Each thrust brought the word out in a rush of breath. Each "yes" altered by the particulars of her pleasure. They ceased when she shivered and shook in orgasm. I continued my relentless thrusts. The yeses restarted and ended when shaken by orgasms with the gaps between cums narrowing. Finally the orgasm, aided by Naomi pressing at her clit, brought a seizure of near epileptic proportions lasting for several seconds until it stopped abruptly and Natasha went still. The rictus of her ecstatic grimace transformed into the softest smile I ever saw on her face. I ended my thrusts then and withdrew.

"Thank you," she murmured.

I chuckled and kissed her sweet smile and rolled gracelessly onto my back, my cock as tall and rigid as ever pointing at about sixty degrees between ceiling and my head. It only felt the cool air a moment before Naomi, strap undone and phallus removed by Helena, enveloped it in her heat and began a ride as violent as mine had been fucking Natasha.

Miwa sat on my face while Helena straddled my body. My love helped me suckle Miwa's petite cunt while her cunt was being suckled by Naomi. The four of us found orgasms sweeping through us nearly simultaneously. I had so little semen left that it almost felt painful ejaculating the last of it.

The angels tumbled down with Miwa lying with her head resting on my cum slick flaccid penis. Looking to my left, I smiled at Natasha and Lindy cuddled together both smiling sleepily back at me. That's the last I remember of that night.

As expected when I awoke, Lindy and Miwa had left. I didn't expect Natasha to still be there.

"Hey," I said to her.

"Hey," she returned with a half smile. "You're still an asshole."

"And you're still a bitch."

"Hmm?" Helena murmured into my ear as she awakened.

Both Natasha and I laughed without restraint. I couldn't remember witnessing her laugh before. I expected a cackle, but it ended up deep and sensuous.

"I like your laugh," I told her.

"Fuck you," she replied with a smile. Her sensuality continued when her long lean naked body slithered out of bed. "I'm sticky all over," she sighed before slipping out the door to shower. I enjoyed watching her slim butt move.

"Hey lover," Helena said, kissing me. Her morning breath never bothered me, and mine never bothered her. "Lindy wants us to swing by Barny's studio whenever we get up."

"Miwa told you?"

"Through Snake," she shrugged.

We remained in bed, Helena gently tugging on my morning wood while we exchanged caresses and kisses. I needed to piss, but the sound of the shower told me it would have to wait. I think not getting up to shift the urine in my bladder kept it from being urgent, as did Helena's tugs. We didn't make love beyond the kisses and caresses. It was a delaying action more than anything, but we didn't mind in the slightest.

A couple minutes after the shower ended, Helena crawled out of bed and put on my flannel shirt, rolling up the sleeves. "I'll make breakfast," she said. "And I'll remind Tash we only have one bathroom."

"Thanks," I smiled looking at my sexy angel looking sexier in my shirt, her black nest of pubic hair and her dark areolas peeking out.

"It's a sort of triptych," Lindy explained to Helena and me when we arrived at the studio. She exuded confidence and excitement in equal measure.

"You choreographed three dances in one morning?" I asked, amazed.

Shaking her head, she replied, "Just the framework really. Like I said about the pas de deux, they will develop as we learn."

"She's letting me help choreograph Barnaby's solo," Sam exclaimed.

Barnaby chuckled. "And don't forget the pas de deux," he reminded her.

Sam nodded her head excitedly. "That too. She's so cool. She wants our feedback 'cause it shows our feelings for each other. Isn't that cool? It's so deep psychologically and with her gestural style, it's like incredibly realistic in a way I never saw before! Not exactly realistic because there's no park we stroll through hand in hand and there's no bed, just us here, just our bodies and faces, but totally realistic at the same time! And she's got cool music that fits our solo performances. Mine is full of crazy notes. I wonder why." Everyone chuckled. "And Barnaby's is so soft and slow and pretty, just like him." More chuckles.

"They're not exactly solos and the pas de deux isn't exactly just two," said Miwa.

Lindy shrugged. "I suppose I could have expressed earlier relationships they had by gesturing towards unseen figures, but it looked weak, so..."

"It's the one thing I disagree with her about," said Barnaby. "I can see it with Sam, but it trivializes my relationship with Miwa. It's like she was only there to ready me to find Sam. I still love you, Cat."

"I love you too, Barny," Cat replied and approached him. They embraced and kissed. Like a dance piece, when the embrace ended, Cat gracefully swung a smiling, non-jealous Sam into his arms and the embrace and kiss lasted at least twice as long. Both lovers ended the kiss collecting their breath. They remained locked together, groins pressing and subtly shifting. "See," Cat smiled.

"I'm old," Barnaby murmured.

"I don't care," Sam replied. Their mouths met again for an even hotter kiss. Groin movement became much less subtle.

"Get a room," Cat grumbled convincingly. The angels sure could act.

"Do you want to see what I have so far?" asked Lindy. "It's a skeleton without flesh yet, but..."

"Sure," I said.

"We'd love to," said Helena.

"We start with Sam, so Barnaby's excitement can subside," Lindy joked.

"I don't know," said Barnaby without embarrassment. "Sam did say you're into realism."

We chuckled.

Sam danced to a busy avant garde non-melodic synthesizer score. She started en pointe, quite well too, going though her ballet positions which loosened and became more modern. She discovered her breasts and pleasure between her thighs. Cat appeared and they seduced each other without touching, Sam always looking distracted. Cat reappeared in a sports jacket dancing more manly and again they seduced and Sam retained her distraction. When Cat exited, Sam's solo became more energetic and revealed all of her immense talent for movement. Something off stage caught her attention and she moved swiftly and beautifully towards it before disappearing so to speak.

Barnaby, with a new score with a similar synthetic tone but much slower, emerged from the place she exited. I noticed with amusement that like Barnaby when she danced, Sam sat and took notes while he danced.