Miranda

Meisner was just like the thread through all of this and it allowed him to break each one of us down individually and then be there to put us back together.

I had been able to convince myself that it was something that I was really excited about.

Kato had cast me in this and had made me feel like he thought of me as a sexual being.

I decided to be comfortable with it.

I wanted to be a sexual being.

I don't really, to be honest, remember feeling weird about it either because it was my first play that I was doing at UCO that was different than anything else that I'd ever done.

In my head, it was also like, none of this is real.

I'm just playing pretend because I'm an actor.

And it was around that time when he would get my phone number and

I remember he emailed me and was like, can I get your phone number so that I can text you about the show?

Before this, he would email me way more than any normal professor would email a student back and forth on my school email account.

Once he got my phone number, he would text me after rehearsal and be like, really excellent job.

It's so moving to watch you be so vulnerable.

You brought me to tears with this scene.

So that was all throughout this rehearsal process.

And then at some point during the rehearsal process, he would add me on Snapchat, which was like the next tier of if you are cool enough in this group of Kato favorites, you would eventually get added on Snapchat.

Part of the promotional work of this play was a Snapchat filter.

It's the Snapchat filter where your mouth is open and rainbow spills out of your mouth.

It was so weird that that was our promotional image because it basically resulted in him adding a lot of us on Snapchat so that we took pictures of ourselves with the filter and then sent it to him on Snapchat so that he could screenshot it and then use it as the promotional image.

So that's when like direct communication other than school assisted forms of communication began around this rehearsal process.