No Great Magic Part 2

The whole thing grew out of the free summer Shakespeare performances in Central Park that they started back in the 1950's.

The Ja.n.u.s-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 h.e.l.l 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 La.s.siter 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 n.o.body. _Nichevo._"

_Maybe_, I thought, _Doc shares my doubts about making Macbeth plausible in rainbow pants._

Still un.o.bserved 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.

Sure, between shows I sometimes forget whether it's day or night, living inside like I do. But getting matinees and evening performances mixed is something else again.

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!"

With a sweep of silver and ash-colored plush, Miss Nefer came past him, for once leading the last-minute hurry to the stage. She had on the dark red wig now. For me that crowned her characterization. It made me remember her saying, "My brain burns." I ducked aside as if she were majesty incarnate.

And then she didn't break her own precedent. She stopped at the new thing beside the door and poised her long white skinny fingers over the yellowed keys, and suddenly I remembered what it was called: a virginals.

She stared down at it fiercely, evilly, like a witch planning an enchantment. Her face got the secret fiendish look that, I told myself, the real Elizabeth would have had ordering the deaths of Ballard and Babington, or plotting with Drake (for all they say she didn't) one of his raids, that long long forefinger tracing crooked courses through a crabbedly drawn map of the Indies and she smiling at the dots of cities that would burn.

Then all her eight fingers came flickering down and the strings inside the virginals began to tw.a.n.g and hum with a high-pitched rendering of Grieg's "In the Hall of the Mountain King."

Then as Sid and Bruce and Martin rushed past me, along with a black swooping that was Maud already robed and hooded for Third Witch, I beat it for my sleeping closet like Peer Gynt himself dashing across the mountainside away from the cave of the Troll King, who only wanted to make tiny slits in his eyeb.a.l.l.s so that forever afterwards he'd see reality just a little differently. And as I ran, the master-anachronism of that menacing mad march music was shrilling in my ears.

III

Sound a dumbe shew. Enter the three fatall sisters, with a rocke, a threed, and a pair of sheeres.

--Old Play

My sleeping closet is just a cot at the back end of the girls' third of the dressing room, with a three-panel screen to make it private.

When I sleep I hang my outside clothes on the screen, which is pasted and thumbtacked all over with the New York City stuff that gives me security: theater programs and restaurant menus, clippings from the _Times_ and the _Mirror_, a torn-out picture of the United Nations building with a hundred tiny gay paper flags pasted around it, and hanging in an old hairnet a home-run baseball autographed by Willie Mays. Things like that.

Right now I was jumping my eyes over that stuff, asking it to keep me located and make me safe, as I lay on my cot in my clothes with my knees drawn up and my fingers over my ears so the louder lines from the play wouldn't be able to come nosing back around the trunks and tables and bright-lit mirrors and find me. Generally I like to listen to them, even if they're sort of sepulchral and drained of overtones by their crooked trip. But they're always tense-making. And tonight (I mean this afternoon)--no!

It's funny I should find security in mementos of a city I daren't go out into--no, not even for a stroll through Central Park, though I know it from the Pond to Harlem Meer--the Met Museum, the Menagerie, the Ramble, the Great Lawn, Cleopatra's Needle and all the rest. But that's the way it is. Maybe I'm like Jonah in the whale, reluctant to go outside because the whale's a terrible monster that's awful scary to look in the face and might really damage you gulping you a second time, yet rea.s.sured to know you're living in the stomach of that particular monster and not a seventeen tentacled one from the fifth planet of Aldebaran.

It's really true, you see, about me actually living in the dressing room. The boys bring me meals: coffee in cardboard cylinders and doughnuts in little brown grease-spotted paper sacks and malts and hamburgers and apples and little pizzas, and Maud brings me raw vegetables--carrots and parsnips and little onions and such, and watches to make sure I exercise my molars grinding them and get my vitamins. I take spit-baths in the little john. Architects don't seem to think actors ever take baths, even when they've browned themselves all over playing Pindarus the Parthian in _Julius Caesar_. And all my shut-eye is caught on this little cot in the twilight of my NYC screen.

You'd think I'd be terrified being alone in the dressing room during the wee and morning hours, let alone trying to sleep then, but that isn't the way it works out. For one thing, there's apt to be someone sleeping in too. Maudie especially. And it's my favorite time too for costume-mending and reading the _Variorum_ and other books, and for just plain way-out dreaming. You see, the dressing room is the one place I really do feel safe. Whatever is out there in New York that terrorizes me, I'm pretty confident that it can never get in here.

Besides that, there's a great big bolt on the inside of the dressing room door that I throw whenever I'm all alone after the show. Next day they buzz for me to open it.