The Greatest Showman #1385 - Make a Fuss

In many large shopping malls in Asia, the same English word, "Restroom," is used to refer to both the lounge and the bathroom. However, this is inaccurate. According to English culture and customs, the lounge and the bathroom are two entirely different spaces. Their functions and roles are distinct, and the terminology reflects that difference.

The lounge is a broader concept that includes both toilets and resting areas. Upon entering, one might find a small rest space, complete with sofas, coffee tables, and dressing tables. In upscale places, high-end cosmetic brands are even available for use, in case a guest's personal cosmetics are lacking.

The rest space is specifically for relaxation and adjustments. Ladies can touch up their makeup, men can straighten their attire, and occasionally, people can sit and chat to unwind before continuing on their way. After passing through this area, the bathroom is typically found.

In other words, the lounge and the bathroom are fundamentally different concepts.

At Lincoln Center, the lounge is an example of the former—a fully equipped rest area. For Renly and Rooney, this was undoubtedly a necessary space.

At this moment, Renly and Rooney were tidying themselves up, having arrived just in time before the show began to join the "Boom Drummers" crew and focus on the jazz recital. Meanwhile, the world outside was in turmoil—a storm was brewing.

What started as a minor incident had quickly escalated. Though initially insignificant for Manhattan, it became a hot topic once Renly and Rooney became involved. The event spread rapidly on social media, igniting discussions about their courage and righteousness, as well as the scandal surrounding their relationship. Both were compelling subjects, and the combination of the two stirred an even greater uproar.

The issue now was that Renly and Rooney seemed to have disappeared, and no one could locate them.

...

"No, I still don't understand," J.K. Simmons said, looking at Renly with confusion. "You mean that, in addition to rhythm, voice, and articulation, a conductor's gestures have other functions? Can you explain what you mean by emotion? And what is reading? I understand all the terms, but right now, I'm still lost."

Renly paused for a moment before responding thoughtfully. "Imagine the same song or movie being experienced by different people. Do you understand?"

Simmons nodded. "Some people cry during comedies, while others laugh during tragedies."

"Exactly," Renly replied. "That difference doesn't come from the comedy or tragedy itself but from the unique life experiences and emotions that each person brings to the table."

Renly elaborated further. "Take Chopin, for example. For many, his music is passionate and joyful. But for some, it's mournful and poetic."

"During a concert, each conductor brings their own understanding of the music. Some conductors may wish to evoke more intense emotions, asking performers to play with greater emotional depth. For instruments like the piano, trumpet, and saxophone, this emotional release is more pronounced."

"On the other hand, a conductor might want to show a different side of the piece, asking for a more melodic violin performance. They may alter the phrasing or interpret the score differently, bringing the orchestra's members into that vision."

"So, while it's the performers who play on stage, it's the conductor who shapes the music. A top conductor can imbue the music with soul, much like a director guiding a film."

Renly paused, then added, "It's the same with jazz."

Simmons fell silent, deep in thought. Renly had delivered a lot of information, and while he'd tried to explain in the simplest terms, understanding the nuances of conducting required more time and experience. It wasn't easy, but over time, a conductor's inner transformation could reshape the way they viewed and interpreted music.

Damien Chazelle, who was standing nearby, was conversing with Rooney Mara and Justin Hurwitz. Both Damien and Justin had a solid grasp of jazz and concerts, which was why Damien had chosen to make "Whiplash."

Melissa Benoist, however, seemed a little out of place and was still getting used to such events.

The jazz concert was at halftime, and after a 15-minute break, the performance would resume at David Geffen Hall.

Simmons, fascinated by the role of the conductor, had been discussing it with Renly. In Damien's script, there wasn't much focus on the conductor's role but rather the pressure exerted by the conductor on the drummer, Fletcher. The tension made the entire jazz band nervous, and no one dared to make a mistake.

As the break continued, Renly added, "The second half of the show is about to start. Pay attention to the saxophone and trumpet performances. They're exceptional today. If you get a chance later, you can listen to other versions of the piece or find recordings by other conductors to get a fuller picture."

Simmons nodded thoughtfully before turning to follow the crew back to David Geffen Hall, while Renly and Damien quietly discussed the highlights of the first half of the show.

In Lincoln Center, all remained calm. But outside, chaos was brewing.

Andy Rogers, Roy Lockley, and Nathan Press were scattered around the lounge, each in different poses, with seven mobile phones arranged on the coffee table.

All the phones were set to silent mode, and though there was no sound, the flickering lights from the devices illuminated the room, mirroring the external chaos while enhancing the sense of tranquility inside. It was as if standing at the finale of Fight Club, watching the world's destruction unfold slowly and silently.

Nathan Press couldn't contain his discomfort any longer. He shifted on the couch, looking at Andy and Roy, incredulous. "Really? You're just ignoring this? Aren't you worried about Renly? Aren't we supposed to handle the reporters?"

Andy shrugged lightly. "Can you get in touch with Renly?"

Nathan was speechless.

Roy chimed in nonchalantly, "Do you think Renly would care?"

Nathan fell silent.

Andy patted his stomach. "This isn't the first time. Do you think it will be the last?"

Nathan had no response.

Roy chuckled. "I'm sure Renly left his phone somewhere and set it to silent. We can't find him, and neither can the reporters. So it's not a big deal."

"And even if Renly is found, so what?" Andy continued. He understood Renly's mindset—though this event was a big deal for the media, it meant nothing to Renly. Much like the Ice Bucket Challenge, if it had been Emma Watson or Angelina Jolie, they might have worked with the United Nations to promote a charitable cause. But Renly didn't care about the publicity.

Roy and Andy exchanged a glance, reaching a silent understanding, but then looked away. They weren't friends, just partners.

As Roy had said, Renly's phone was completely silent—not even vibrating. It was still in his coat pocket, forgotten in the locker near the entrance. While everyone else checked their phones during the break, Renly and Rooney were the rare exceptions.

The world outside was in turmoil, but Renly remained as calm as ever.

After the jazz concert ended, Renly and his friends exited David Geffen Hall, only to be greeted by the chaotic scene at the entrance. Renly glanced at it, lowering his voice with a grin. "Looks like someone important attended today's concert."