Goodnight Children Everywhere and Other Plays

by Richard Nelson

  (Mrs. Forrest’s crying is louder for a moment.)

  RYDER: Maybe we’d better . . . (Beat) If I’m going to be ready for rehearsal. (Tries to smile)

  FORREST: I was good as Othello tonight. They got their money’s worth.

  (Short pause. Ryder doesn’t know whether to leave or not. Blackout.)

  SCENE 3

  2 A.M.

  Parlor of Macready’s rooms at the New York Hotel. Miss Wemyss sits alone. Ryder has just entered.

  RYDER: I’m sorry, I— Is Mr. Macready . . .?

  MISS WEMYSS: He’ll be right out. He’s just in there.

  (Ryder nods. Pause. He paces, not knowing whether to stay or go; she watches him, smiling when she catches his eye.)

  RYDER: He left me a note. (Beat) Downstairs. When I came in they gave me the note. (Beat) It said he wanted to see me as soon as I . . . (Beat) I just got in. It’s probably too late.

  MISS WEMYSS: I don’t know.

  (Short pause.)

  RYDER (Putting on his hat): Tell him I—

  (Macready enters in his dressing gown.)

  MACREADY: Come in, John, please come in.

  RYDER: It’s very late.

  MACREADY: Thank you for coming. Sit down. I’ll fix us a drink.

  RYDER: I’ve had plenty tonight.

  MACREADY: A nightcap never hurts. (Pause. Pours them drinks) You’ve met Miss Wemyss?

  RYDER: Tonight. At the tavern. With her father—

  MACREADY: Of course you have! Of course! Where is my head? (Laughs to himself. To Miss Wemyss) And what about you, my dear, what may I get you?

  MISS WEMYSS: I don’t wish anything, Mr. Macready. I am content as I am.

  (He suddenly bursts out laughing.)

  MACREADY: I don’t know what it is about her, John, but everything she says makes me laugh.

  (Miss Wemyss smiles at Ryder.)

  RYDER: I think we should talk in the morning.

  (Wemyss enters carrying a teapot.)

  WEMYSS (While entering): This is all I could—from the kitchen. They insisted they put it in a teapot though. I don’t understand this thinking. (Beat) I had to stand down there and watch them pour a whole bottle into a teapot. (He shakes his head)

  MACREADY (Holding up the decanter): Now pour it into here, Mr. Wemyss. (Turns to Ryder) We were beginning to get a little low.

  (Wemyss pours the liquor out of the pot and into the bottle. He is a bit drunk.)

  Your daughter just said something very funny. Very funny.

  (Wemyss turns to his daughter and smiles. He continues to pour.)

  (To Ryder) What did she say?

  RYDER: I don’t know. Why is Mr. Wemyss—? What’s he doing here?

  MACREADY (To Miss Wemyss): What is it you said?

  MISS WEMYSS: I don’t remember anymore.

  (Macready bursts out laughing, then turns to Ryder patting Wemyss on the shoulder.)

  MACREADY: Frederick here wanted a little advice, didn’t you?

  WEMYSS: You’ve been very helpful, William.

  MACREADY: His daughter— This is his daughter. She wishes to become an actress. Isn’t this true, my dear?

  (She smiles.)

  WEMYSS: She has the looks for it, I think. Look at her.

  (She smiles again at Ryder.)

  MACREADY: And— (Beat) You— What? You wondered, correct? If there might be some place in London—to learn. He thinks she should learn in London. That says something, does it not? (Beat) Someone to learn from.

  WEMYSS: Someone to even befriend . . . (Turns to his daughter) You don’t know what can happen when a young woman is that far away from her family. (Turns to Macready) She has a lovely family. Five daughters. They take care of each other.

  MACREADY (To Ryder): I am going to look into matters for her. I shall see what there might be for— I don’t know. (Beat) Perhaps an apprenticeship? (Beat) Perhaps at Drury Lane? How would that strike you, my dear? (Smiles)

  WEMYSS: Drury Lane would be excellent.

  MACREADY: I cannot promise of course.

  WEMYSS: No one is asking for a promise, William. No one. Are we?

  MISS WEMYSS: I’m not.

  (Macready looks at her, smiles and finally sighs a drunk sigh. Pause.)

  RYDER: What did you want to see me about?

  MACREADY: Drink, John. We have a whole new teapot full of drink.

  (He gestures for Ryder to take his drink. Ryder doesn’t move.)

  Oh yes. That. (Turns to Miss Wemyss) What would you do, Miss Wemyss? Would you ignore the threats?

  RYDER: What threats? What are you talking about?

  (Macready laughs and nods at Ryder.)

  MACREADY (To Miss Wemyss): Now everyone is getting worried. Don’t panic, Mr. Ryder, please. (Laughs. Pause. Stops laughing and turns to Ryder) Mr. Wemyss has been telling me that we are under threat. Or do I exaggerate?

  WEMYSS: No. (Beat) Mr. Macready’s life is, I believe, in some danger.

  RYDER: For what? Who—?

  WEMYSS: There have been letters. I have one here. (Takes out a letter and hands it to Ryder) I didn’t want to mention it at the tavern, with—

  (Ryder holds out the letter to Macready.)

  MACREADY: I’ve seen it, John. You read it. See what you think.

  WEMYSS: Though most in the company have been—are aware at least that something . . . You feel it in the air, I suppose. And we’ve all heard I guess that there are persons who are upset—

  RYDER: For what reason?!

  MACREADY: Because I dare to perform the noble Thane on the same night in the same city as does the sainted American, Mr. Edwin Forrest! (Turns to Wemyss) Is that not the true reason?

  WEMYSS: I don’t know. (Beat) Maybe. I know it’s what you think.

  MACREADY: Of course it’s the reason for these attacks! A perceived competition with their idol, their native idol! (Beat) Ridiculous. (Beat) Sheer effrontery—on my part. This is how they see it. Pure gall. And of course it would be upsetting. On the same night! For all to compare! Of course they are worried! (Laughs) And an Englishman, no less! Look at the spelling. The illiterate bastards. Probably Irish.

  RYDER: I don’t understand what they’re demanding.

  MACREADY: Short of a complete surrender and my going home immediately, you mean. (Laughs to himself) All in good time. All in good time.

  (Beat.)

  WEMYSS: The letters are meant to frighten—

  RYDER (To Macready): And you take the threats seriously?

  MACREADY: I don’t. (Laughs) I don’t. But others may. (Beat) So I am suggesting that we contact Mr. Forrest, present him with this irksome situation we, as guests, now confront in his homeland, and no doubt he shall do the honorable thing and see fit to perform some other of his multitude of roles that evening. (Beat) Let’s say Metamora. (Beat) I understand he is especially convincing as an Indian. Americans can be, you know. An Englishman would be hopeless as a savage. A pity I will not be able to see this performance myself. (Beat) John, I think I am asking you to do this.

  RYDER: I doubt if Mr. Forrest will change his repertoire at this late—

  MACREADY: He has to! (Short pause) He has many plays—they are cast—they can be mounted. I have scheduled only Macbeth. I have only a company for Macbeth. It would be impossible for me to do anything else. (Beat) Besides, I understand after the accident tonight he doesn’t even have a Macduff. So if he needs to explain to the public—

  RYDER: He has a new Macduff. (Pause) He asked me. (Beat) You have Clark. You wanted Clark. I didn’t have anything to do. I know I’m here to help you, but I can do both. I know the role for Christ’s sake! (Beat) I told Forrest I would have to speak with you first. And if you objected . . . (Beat) He was desperate. But . . . Do you object?

  MACREADY (Without looking at him): We are a fraternity, John—the acting fraternity. We know no borders. Have no flags. (Beat) So how can I object to helping out Mr. Forrest. Wouldn’t he do the same for me? I’ll get someone else to speak with him.
Someone with less to lose.

  RYDER: That’s not fair.

  WEMYSS: I’d be happy to.

  RYDER: Forrest’s performance is sold out. It would be nearly impossible at this point to change the schedule.

  MACREADY (Suddenly turning on him): Men and women are being threatened with violence, John, and you talk about an inconvenience?!! (Beat) I do not say this for myself. Do you understand? (Beat) But these actors work under my protection. I have their safety as my responsibility. (Sips his drink) We have not yet sold out. (Beat) Two Macbeths in one evening may be too much for New York to bear. (Beat) I cannot change. I have told you why. If he does not, these scoundrels, these ignorant hooligans have the guts, I’m afraid, to attempt what they have threatened. Does Mr. Forrest realize what he will be instigating? Consciously or not. Will he alone accept the responsibility for our well being? (Short pause) I’m sure we’ll be fine. (Shrugs) I’m pleased you found work. I truly am.

  RYDER: He asked me. I didn’t seek it. I must have said no ten times. (Laughs)

  MACREADY: So—what else could you do? (Reaches for the letter, takes it from Ryder, and looks at it again) I knew nothing of any problems. Any such—tensions. Where did they come from? I should have been warned. To hate one simply because one is accomplished. (Beat) Had I known . . . (Shakes his head)

  RYDER: You knew—I knew that there’s some resentment when any English actor—

  MACREADY: I am not any English actor! (Beat) And I knew of no such resentment, John!! (Sits and sighs) Such incidents make one long for home even more.

  (Miss Wemyss begins to stand.)

  Please everyone, there is no need to hurry off.

  (She sits. Short pause.)

  RYDER: It’s very late.

  MACREADY: Yes it is. Yes. (Pause) I wrote Mrs. Macready. (To Ryder) This was where I was when you came in. (To Miss Wemyss) You didn’t mind, did you? Being left on your own? (Short pause) I spoke of this loneliness. Being away from home. (Beat) She must be getting tired of such letters. (Laughs to himself) But it is like being suspended upon the edge of a cliff. This is how much of your country feels to me, Mr. Wemyss. As a cliff.

  (Wemyss nods.)

  I try to go to sleep and a hundred devils attack me. (Beat) And tie me up. (Beat) Little devils. (Yawns) If I did not know how important what I bring is. (Beat) The need. When one is hearing Shakespeare spoken correctly for the first time. (Smiles) It is an honor. And it is a burden. One I shall gladly pass on to younger men. (Beat) When they emerge. (Beat) I’m tired. Don’t go yet.

  (Pause.)

  WEMYSS: I have been to Drury Lane myself once. This was years ago when I was a much younger man. (Beat) I think my daughter could be very comfortable there. I have told all my children—there is nothing like England. Nothing in the world.

  MISS WEMYSS: Mr. Macready has not offered to . . .

  (Beat.)

  MACREADY (Looking at her and smiling): I shall. I do. (Beat) But will I remember I’ve offered in the morning? (Laughs) Let me think about it.

  (Pause. Macready sits, staring at nothing. Miss Wemyss smiles. Wemyss stands behind Macready’s chair and sips his drink. Ryder doesn’t know whether to leave or not. Blackout.)

  SCENE 4

  THE NEXT DAY, THE AFTERNOON

  A bare stage, representing the stage of the Astor Place Opera House (Macready’s company) and the Broadway Theatre (Forrest’s company), during rehearsals of the two Macbeths.

  Broadway Theatre, Act I.iii

  Drums. Then thunder. The Three Witches (Misses Bass, Burton and Holland) are on.

  1ST WITCH:

  . . . nine times nine,

  Shall he dwindle, peak and pine.

  Though his bark cannot be lost.

  Yet it shall be tempest-tost.

  2ND WITCH: Show me, show me.

  3RD WITCH:

  Here I have a pilot’s thumb,

  Wrecked as homeward he did come.

  (Drum within.)

  ALL:

  A drum! A drum!

  Macbeth doth come.

  (Macbeth [Forrest] and Banquo [Jones] enter.)

  MACBETH:

  So foul and fair a day I have not seen.

  BANQUO:

  How far is’t called to Forres?—What are these,

  That look not like th’inhabitants o’th’ earth

  And yet are on’t?

  MACBETH:

  Speak, if you can. What are you?

  1ST WITCH:

  All hail, Macbeth! Hail to thee, Thane of Glamis.

  2ND WITCH:

  All hail, Macbeth! Hail to thee, Thane of Cawdor.

  3RD WITCH:

  All hail, Macbeth, that shalt be King hereafter!

  BANQUO:

  Good sir, why do you start, and seem to fear

  Things that do sound so fair? To me you speak not.

  Speak then to me, who neither beg nor fear

  Your favors nor your hate.

  1ST WITCH: Hail!

  2ND WITCH: Hail!

  3RD WITCH: Hail!

  1ST WITCH:

  Lesser than Macbeth, and greater.

  2ND WITCH:

  Not so happy, yet much happier.

  3RD WITCH:

  Thou shalt get kings, though thou be none.

  So all hail, Macbeth and Banquo!

  MACBETH:

  Stay, you imperfect speakers, say from whence

  You owe this strange intelligence, or why

  Upon this blasted heath you stop our way

  With such prophetic greeting. Speak, I charge you.

  (Witches run off, Macbeth and Banquo give chase.)

  Astor Place Opera House, Act I.iii

  The Three Witches, all male (Bridges and two older men: John Sefton and Chippindale), Macbeth (Macready) and Banquo (Bradshaw).

  1ST WITCH: Hail!

  2ND WITCH: Hail!

  3RD WITCH: Hail!

  1ST WITCH:

  Lesser than Macbeth, and greater.

  2ND WITCH:

  Not so happy, yet much happier.

  3RD WITCH:

  Thou shalt get kings, though thou be none.

  So all hail, Macbeth and Banquo!

  MACBETH:

  By Sinel’s death I know I am Thane of Glamis,

  But how of Cawdor? The Thane of Cawdor lives,

  A prosperous gentleman, and to be king

  Stands not within the prospect of belief,

  No more than to be Cawdor.

  (Witches run off, Macbeth and Banquo give chase.)

  Broadway Theatre, Act I.vii

  Out of the shadows enters Macbeth (Forrest).

  MACBETH:

  If it were done when ’tis done, then ’twere well

  It were done quickly. If th’assassination

  Could trammel up the consequence, and catch

  With his surcease success: that but this blow

  Might be the be-all and the end-all, here,

  But here upon this band and shoal of time,

  We’d jump the life to come. But in these cases

  We still have judgment here, that we but teach

  Bloody instructions which, being taught, return

  To plague th’inventor. This even-handed justice

  Commends . . .

  Astor Place Opera House, Act I.vii

  Macbeth (Macready) alone.

  MACBETH:

  . . . Will plead like angels, trumpet-tongued against

  The deep damnation of his taking-off,

  And pity, like a naked new-born babe,

  Striding the blast, or heaven’s cherubim, horsed

  Upon the sightless couriers of the air,

  Shall blow the horrid deed in every eye

  That tears shall drown the wind. I have no spur

  To prick the sides of my intent, but only

  Vaulting ambition, which o’erleaps itself

  And falls on th’other.

  (Pause. Finally Macbeth [Macready] turns toward the wings and gives a sm
all nod. Lady Macbeth [Mrs. Pope] enters.)

  How now? What news?

  MACREADY (To Mrs. Pope): Closer. Closer. There. Now look at me. (Beat) I look at them and you look at me. Thank you.

  (Beat.)

  MACBETH:

  How now? What news?

  Broadway Theatre, Act II.i

  Macbeth (Forrest) enters with a torch.

  MACBETH:

  Is this a dagger which I see before me,

  The handle toward my hand? Come, let me clutch thee.

  I have thee not, and yet I see thee still.

  Art thou not, fatal vision, sensible

  To feeling as to sight? Or art thou but

  A dagger of the mind, a false creation

  Proceeding from the heat-oppressed brain?

  I see thee yet, in form as palpable

  As this which now I draw.

  Thou marshall’st me the way . . .

  The Broadway Theatre and Astor Place Opera House, Act II.i (continued)

  Both Macbeths (Macready and Forrest) now continue the speech together, though not necessarily in sync.

  BOTH MACBETHS:

  . . . that I was going,

  Mine eyes are made the fools o’th’other senses,

  Or else worth all the rest. I see thee still,

  And on thy blade and dudgeon gouts of blood,

  Which was not so before. There’s no such thing.

  It is the bloody business which informs

  This to mine eyes.

  (Lights begin to fade on Forrest at the Broadway Theatre.)

  Now o’er the one half-world

  Nature seems dead, and wicked dreams abuse

  The curtained sleep.

  (Macready is alone now, the stage representing only the Astor Place Opera House.)

  MACBETH:

  Thou sure and firm-set earth,

  Hear not my steps which way they walk, for fear

  The very stones prate of my whereabout,

  And take the present horror from the time,

  Which now suits with it. Whiles I threat, he lives.

  Words to the heat of deeds too cold breath gives.

  Broadway Theatre, Act II.iii

  Very loud pounding or knocking is suddenly heard. Porter (Tilton) hurries on.

  PORTER: Here’s a knocking indeed! If a man were porter of hell gate, he should have old turning the key.

  (Another knock.)

  Knock, knock, knock. Who’s there, in th’other devil’s name?