Anthology of Speculative Fiction, Volume One
Page 122
That age point fascinated me so much that I risked asking her a question. Probably I was figuring that she couldn't do me much damage because of the positions we happened to be in at the moment. You see, I'd started to lace her up and to do it right I had my knee against the tail of her spine.
"How old, I mean how young might your majesty be?" I asked her, innocently wonderingly like some dumb serving wench.
For a wonder she didn't somehow swing around and clout me, but only settled into character a little more deeply.
"Fifty-four winters," she replied dismally. "'Tiz Januarius of Our Lord's year One Thousand and Five Hundred and Eighty and Seven. I sit cold in Greenwich, staring at the table where Mary's death warrant waits only my sign manual. If I send her to the block, I open the doors to future, less official regicides. But if I doom her not, Philip's armada will come inching up the Channel in a season, puffing smoke and shot, and my English Catholics, thinking only of Mary Regina, will rise and i' the end the Spaniard will have all. All history would alter. That must not be, even if I'm damned for it! And yet ... and yet...."
A bright blue fly came buzzing along (the dressing room has some insect life) and slowly circled her head rather close, but she didn't even flicker her eyelids.
"I sit cold in Greenwich, going mad. Each afternoon I ride, praying for some mischance, some prodigy, to wash from my mind away the bloody question for some little space. It skills not what: a fire, a tree a-failing, Davison or e'en Eyes Leicester tumbled with his horse, an assassin's ball clipping the cold twigs by my ear, a maid crying rape, a wild boar charging with dipping tusks, news of the Spaniard at Thames' mouth or, more happily, a band of strolling actors setting forth some new comedy to charm the fancy or some great unheard-of tragedy to tear the heart--though that were somewhat much to hope for at this season and place, even if Southwark be close by."
* * * * *
The lacing was done. I stood back from her, and really she looked so much like Elizabeth painted by Gheeraerts or on the Great Seal of Ireland or something--though the ash-colored plush dress trimmed in silver and the little silver-edge ruff and the black-silver tinsel-cloth cloak lined with white plush hanging behind her looked most like a winter riding costume--and her face was such a pale frozen mask of Elizabeth's inward tortures, that I told myself, Oh, I got to talk to Siddy again, he's made some big mistake, the lardy old lackwit. Miss Nefer just can't be figuring on playing in Macbeth tonight.
As a matter of fact I was nerving myself to ask her all about it direct, though it was going to take some real nerve and maybe be risking broken bones or at least a flayed cheek to break the ice of that characterization, when who should come by calling the Fifteen Minutes but Martin. He looked so downright goofy that it took my mind off Nefer-in-character for all of eight seconds.
His levied bottom half still looked like The Lower Depths. Martin is Village Stanislavsky rather than Ye Olde English Stage Traditions. But above that ... well, all it really amounted to was that he was stripped to the waist and had shaved off the small high tuft of chest hair and was wearing a black wig that hung down in front of his shoulders in two big braids heavy with silver hoops and pins. But just the same those simple things, along with his tarpaper-solarium tan and habitual poker expression, made him look so like an American Indian that I thought, Hey Zeus!--he's all set to play Hiawatha, or if he'd just cover up that straight-line chest, a frowny Pocahontas. And I quick ran through what plays with Indian parts we do and could only come up with The Fountain.
I mutely goggled my question at him, wiggling my hands like guppy fins, but he brushed me off with a solemn mysterious smile and backed through the curtain. I thought, nobody can explain this but Siddy, and I followed Martin.
II
History does not move in one current, like the wind across bare seas, but in a thousand streams and eddies, like the wind over a broken landscape. --Cary
The boys' half of the dressing room (two-thirds really) was bustling. There was the smell of spirit gum and Max Factor and just plain men. Several guys were getting dressed or un-, and Bruce was cussing Bloody-something because he'd just burnt his fingers unwinding from the neck of a hot electric bulb some crepe hair he'd wound there to dry after wetting and stretching it to turn it from crinkly to straight for his Banquo beard. Bruce is always getting to the theater late and trying shortcuts.
But I had eyes only for Sid. So help me, as soon as I saw him they bugged again. Greta, I told myself, you're going to have to send Martin out to the drugstore for some anti-bug powder. "For the roaches, boy?" "No, for the eyes."
Sid was made up and had his long mustaches and elf-locked Macbeth wig on--and his corset too. I could tell by the way his waist was sucked in before he saw me. But instead of dark kilts and that bronze-studded sweat-stained leather battle harness that lets him show off his beefy shoulders and the top half of his heavily furred chest--and which really does look great on Macbeth in the first act when he comes in straight from battle--but instead of that he was wearing, so help me, red tights cross-gartered with strips of gold-blue tinsel-cloth, a green doublet gold-trimmed and to top it a ruff, and he was trying to fit onto his front a bright silvered cuirass that would have looked just dandy maybe on one of the Pope's Swiss Guards.
I thought, Siddy, Willy S. ought to reach out of his portrait there and bop you one on the koko for contemplating such a crazy-quilt desecration of just about his greatest and certainly his most atmospheric play.
Just then he noticed me and hissed accusingly, "There thou art, slothy minx! Spring to and help stuff me into this monstrous chest-kettle."
"Siddy, what is all this?" I demanded as my hands automatically obeyed. "Are you going to play Macbeth for laughs, except maybe leaving the Porter a serious character? You think you're Red Skelton?"
"What monstrous brabble is this, you mad bitch?" he retorted, grunting as I bear-hugged his waist, shouldering the cuirass to squeeze it home.
"The clown costumes on all you men," I told him, for now I'd noticed that the others were in rainbow hues, Bruce a real eye-buster in yellow tights and violet doublet as he furiously bushed out and clipped crosswise sections of beard and slapped them on his chin gleaming brown with spirit gum. "I haven't seen any eight-inch polka-dots yet but I'm sure I will."
Suddenly a big grin split Siddy's face and he laughed out loud at me, though the laugh changed to a gasp as I strapped in the cuirass three notches too tight. When we'd got that adjusted he said, "I' faith thou slayest me, pretty witling. Did I not tell you this production is an experiment, a novelty? We shall but show Macbeth as it might have been costumed at the court of King James. In the clothes of the day, but gaudier, as was then the stage fashion. Hold, dove, I've somewhat for thee." He fumbled his grouch bag from under his doublet and dipped finger and thumb in it, and put in my palm a silver model of the Empire State Building, charm bracelet size, and one of the new Kennedy dimes.
* * * * *
As I squeezed those two and gloated my eyes on them, feeling securer and happier and friendlier for them though I didn't at the moment want to, I thought, Well, Siddy's right about that, at least I've read they used to costume the plays that way, though I don't see how Shakespeare stood it. But it was dirty of them all not to tell me beforehand.
But that's the way it is. Sometimes I'm the butt as well as the pet of the dressing room, and considering all the breaks I get I shouldn't mind. I smiled at Sid and went on tiptoes and necked out my head and kissed him on a powdery cheek just above an aromatic mustache. Then I wiped the smile off my face and said, "Okay, Siddy, play Macbeth as Little Lord Fauntleroy or Baby Snooks if you want to. I'll never squeak again. But the Elizabeth prologue's still an anachronism. And--this is the thing I came to tell you, Siddy--Miss Nefer's not getting ready for any measly prologue. She's set to play Queen Elizabeth all night and tomorrow morning too. Whatever you think, she doesn't know we're doing Macbeth. But who'll do Lady Mack if she doesn't? And Martin's not dressing for Malcolm, but
for the Son of the Last of the Mohicans, I'd say. What's more--"
You know, something I said must have annoyed Sid, for he changed his mood again in a flash. "Shut your jaw, you crook brained cat, and begone!" he snarled at me. "Here's curtain time close upon us, and you come like a wittol scattering your mad questions like the crazed Ophelia her flowers. Begone, I say!"
"Yessir," I whipped out softly. I skittered off toward the door to the stage, because that was the easiest direction. I figured I could do with a breath of less grease-painty air. Then, "Oh, Greta," I heard Martin call nicely.
He'd changed his levis for black tights, and was stepping into and pulling up around him a very familiar dress, dark green and embroidered with silver and stage-rubies. He'd safety-pinned a folded towel around his chest--to make a bosom of sorts, I realized.
He armed into the sleeves and turned his back to me. "Hook me up, would you?" he entreated.
Then it hit me. They had no actresses in Shakespeare's day, they used boys. And the dark green dress was so familiar to me because--
"Martin," I said, halfway up the hooks and working fast--Miss Nefer's costume fitted him fine. "You're going to play--?"
"Lady Macbeth, yes," he finished for me. "Wish me courage, will you Greta? Nobody else seems to think I need it."
* * * * *
I punched him half-heartedly in the rear. Then, as I fastened the last hooks, my eyes topped his shoulder and I looked at our faces side by side in the mirror of his dressing table. His, in spite of the female edging and him being at least eight years younger than me, I think, looked wise, poised, infinitely resourceful with power in reserve, very very real, while mine looked like that of a bewildered and characterless child ghost about to scatter into air--and the edges of my charcoal sweater and skirt, contrasting with his strong colors, didn't dispel that last illusion.
"Oh, by the way, Greta," he said, "I picked up a copy of The Village Times for you. There's a thumbnail review of our Measure for Measure, though it mentions no names, darn it. It's around here somewhere...."
But I was already hurrying on. Oh, it was logical enough to have Martin playing Mrs. Macbeth in a production styled to Shakespeare's own times (though pedantically over-authentic, I'd have thought) and it really did answer all my questions, even why Miss Nefer could sink herself wholly in Elizabeth tonight if she wanted to. But it meant that I must be missing so much of what was going on right around me, in spite of spending 24 hours a day in the dressing room, or at most in the small adjoining john or in the wings of the stage just outside the dressing room door, that it scared me. Siddy telling everybody, "Macbeth tonight in Elizabethan costume, boys and girls," sure, that I could have missed--though you'd have thought he'd have asked my help on the costumes.
But Martin getting up in Mrs. Mack. Why, someone must have held the part on him twenty-eight times, cueing him, while he got the lines. And there must have been at least a couple of run-through rehearsals to make sure he had all the business and stage movements down pat, and Sid and Martin would have been doing their big scenes every backstage minute they could spare with Sid yelling, "Witling! Think'st that's a wifely buss?" and Martin would have been droning his lines last time he scrubbed and mopped....
Greta, they're hiding things from you, I told myself.
Maybe there was a 25th hour nobody had told me about yet when they did all the things they didn't tell me about.
Maybe they were things they didn't dare tell me because of my top-storey weakness.
I felt a cold draft and shivered and I realized I was at the door to the stage.
I should explain that our stage is rather an unusual one, in that it can face two ways, with the drops and set pieces and lighting all capable of being switched around completely. To your left, as you look out the dressing-room door, is an open-air theater, or rather an open-air place for the audience--a large upward-sloping glade walled by thick tall trees and with benches for over two thousand people. On that side the stage kind of merges into the grass and can be made to look part of it by a green groundcloth.
To your right is a big roofed auditorium with the same number of seats.
The whole thing grew out of the free summer Shakespeare performances in Central Park that they started back in the 1950's.
The Janus-stage idea is that in nice weather you can have the audience outdoors, but if it rains or there's a cold snap, or if you want to play all winter without a single break, as we've been doing, then you can put your audience in the auditorium. In that case, a big accordion-pleated wall shuts off the out of doors and keeps the wind from blowing your backdrop, which is on that side, of course, when the auditorium's in use.
Tonight the stage was set up to face the outdoors, although that draft felt mighty chilly.
I hesitated, as I always do at the door to the stage--though it wasn't the actual stage lying just ahead of me, but only backstage, the wings. You see, I always have to fight the feeling that if I go out the dressing room door, go out just eight steps, the world will change while I'm out there and I'll never be able to get back. It won't be New York City any more, but Chicago or Mars or Algiers or Atlanta, Georgia, or Atlantis or Hell and I'll never be able to get back to that lovely warm womb with all the jolly boys and girls and all the costumes smelling like autumn leaves.
Or, especially when there's a cold breeze blowing, I'm afraid that I'll change, that I'll grow wrinkled and old in eight footsteps, or shrink down to the witless blob of a baby, or forget altogether who I am--
--or, it occurred to me for the first time now, remember who I am. Which might be even worse.
Maybe that's what I'm afraid of.
I took a step back. I noticed something new just beside the door: a high-legged, short-keyboard piano. Then I saw that the legs were those of a table. The piano was just a box with yellowed keys. Spinet? Harpsichord?
"Five minutes, everybody," Martin quietly called out behind me.
I took hold of myself. Greta, I told myself--also for the first time, you know that some day you're really going to have to face this thing, and not just for a quick dip out and back either. Better get in some practice.
I stepped through the door.
* * * * *
Beau and Doc were already out there, made up and in costume for Ross and King Duncan. They were discreetly peering past the wings at the gathering audience. Or at the place where the audience ought to be gathering, at any rate--sometimes the movies and girlie shows and brainheavy beatnik bruhahas outdraw us altogether. Their costumes were the same kooky colorful ones as the others'. Doc had a mock-ermine robe and a huge gilt papier-mache crown. Beau was carrying a ragged black robe and hood over his left arm--he doubles the First Witch.
As I came up behind them, making no noise in my black sneakers, I heard Beau say, "I see some rude fellows from the City approaching. I was hoping we wouldn't get any of those. How should they scent us out?"
Brother, I thought, where do you expect them to come from if not the City? Central Park is bounded on three sides by Manhattan Island and on the fourth by the Eighth Avenue Subway. And Brooklyn and Bronx boys have got pretty sharp scenters. And what's it get you insulting the woiking and non-woiking people of the woild's greatest metropolis? Be grateful for any audience you get, boy.
But I suppose Beau Lassiter considers anybody from north of Vicksburg a "rude fellow" and is always waiting for the day when the entire audience will arrive in carriage and democrat wagons.
Doc replied, holding down his white beard and heavy on the mongrel Russo-German accent he miraculously manages to suppress on stage except when "Vot does it matter? Ve don't convinze zem, ve don't convinze nobody. Nichevo."
Maybe, I thought, Doc shares my doubts about making Macbeth plausible in rainbow pants.
Still unobserved by them, I looked between their shoulders and got the first of my shocks.
It wasn't night at all, but afternoon. A dark cold lowering afternoon, admittedly. But afternoon all the same.
It also seemed to me, although Beau was leaning in now and I couldn't see so well, that the glade was smaller than it should be, the trees closer to us and more irregular, and I couldn't see the benches. That was Shock Two.
Beau said anxiously, glancing at his wrist, "I wonder what's holding up the Queen?"
Although I was busy keeping up nerve-pressure against the shocks, I managed to think. So he knows about Siddy's stupid Queen Elizabeth prologue too. But of course he would. It's only me they keep in the dark. If he's so smart he ought to remember that Miss Nefer is always the last person on stage, even when she opens the play.
And then I thought I heard, through the trees, the distant drumming of horses' hoofs and the sound of a horn.
* * * * *
Now they do have horseback riding in Central Park and you can hear auto horns there, but the hoofbeats don't drum that wild way. And there aren't so many riding together. And no auto horn I ever heard gave out with that sweet yet imperious ta-ta-ta-TA.
I must have squeaked or something, because Beau and Doc turned around quickly, blocking my view, their expressions half angry, half anxious.
I turned too and ran for the dressing room, for I could feel one of my mind-wavery fits coming on. At the last second it had seemed to me that the scenery was getting skimpier, hardly more than thin trees and bushes itself, and underfoot feeling more like ground than a ground cloth, and overhead not theater roof but gray sky. Shock Three and you're out, Greta, my umpire was calling.
I made it through the dressing room door and nothing there was wavering or dissolving, praised be Pan. Just Martin standing with his back to me, alert, alive, poised like a cat inside that green dress, the prompt book in his right hand with a finger in it, and from his left hand long black tatters swinging--telling me he'd still be doubling Second Witch. And he was hissing, "Places, please, everybody. On stage!"