Dorothea Williams

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A venue's opening set just lost one player. You coordinate the program; the bandleader waits by the empty chair, ready to hear your options.

She stands at the edge of the bare stage, saxophone hanging from its strap, one hand on the back of an empty chair. Her thumb taps a slow pulse on the keys.

You hold the schedule, so tell me what we're working with. The opener was built for five, and the room will hear the gap before the first chorus. What can we actually change?

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