Sid’s voice stayed a whisper but went from desperate to ferocious. “You villainous elf-skin! Know you not the Cauldron Scene’s been playing a hundred heartbeats? ’Tis ’most my entrance and we still mustering only two witches out of three! Oh, you nott-pated starveling!”
Before Sid had got much more than half of that out, Martin had slipped around the screen, raced the length of the dressing room, and I’d heard a lusty thwack as he went out the door. I couldn’t help grinning, though with Martin racked by anxieties and reliefs over his first time as Lady Mack, it was easy to understand it slipping his mind that he was still doubling Second Witch.
VI
I will vault credit
Ferdinand
and affect high pleasures
Beyond death.
I sat down where Martin had been, first pushing the screen far enough to the side for me to see the length of the dressing room and notice anyone coming through the door and any blurs moving behind the thin white curtain shutting off the boys’ two-thirds.
I’d been going to think. But instead I just sat there, experiencing my body and the room around it, steadying myself or maybe readying myself. I couldn’t tell which, but it was nothing to think about, only to feel. My heartbeat became a very faint, slow, solid throb. My spine straightened.
No one came in or went out. Distantly I heard Macbeth and the witches and the apparitions talk.
Once I looked at the New York Screen, but all the stuff there had grown stale. No protection, no nothing.
I reached down to my suitcase and from where I’d been going to get a miltown I took a dexedrine and popped it in my mouth. Then I started out, beginning to shake.
When I got to the end of the curtain I went around it to Sid’s dressing table and asked Shakespeare, “Am I doing the right thing, Pop?” But he didn’t answer me out of his portrait. He just looked sneaky-innocent, like he knew a lot but wouldn’t tell, and I found myself think of a little silver-framed photo Sid had used to keep there too of a cocky German-looking young actor with “Erich” autographed across it in white ink. At least I supposed he was an actor. He looked a little like Erich von Stroheim, but nicer yet somehow nastier too. The photo had used to upset me, I don’t know why. Sid must have noticed it, for one day it was gone.
I thought of the tiny black-and-silver spider crawling across the remembered silver frame, and for some reason it gave me the cold creeps.
Well, this wasn’t doing me any good, just making me feel dismal again, so I quickly went out. In the door I had to slip around the actors coming back from the Cauldron Scene and the big bolt nicked my hip.
Outside Maud was peeling off her Third Witch stuff to reveal Lady Macduff beneath. She twitched me a grin.
“How’s it going?” I asked.
“Okay, I guess,” she shrugged. “What an audience! Noisy as highschool kids.”
“How come Sid didn’t have a boy do your part?” I asked.
“He goofed, I guess. But I’ve battened down my bosoms and playing Mrs. Macduff as a boy.”
“How does a girl do that in a dress?” I asked.
“She sits stiff and thinks pants,” she said, handing me her witch robe. “ ’Scuse me now. I got to find my children and go get murdered.”
I’d moved a few steps nearer the stage when I felt the gentlest tug at my hip. I looked down and saw that a taut black thread from the bottom of my sweater connected me with the dressing room. It must have snagged on the big bolt and unraveled. I moved my body an inch or so, tugging it delicately to see what it felt like and I got the answers: Theseus’s clue, a spider’s line, an umbilicus.
I reached down close to my side and snapped it with my fingernails. The black thread leaped away. But the dressing room door didn’t vanish, or the wings change, or the world end, and I didn’t fall down.
After that I just stood there for quite a while, feeling my new freedom and steadiness, letting my body get used to it. I didn’t do any thinking. I hardly bothered to study anything around me, though I did notice that there were more bushes and trees than set pieces, and that the flickery lightning was simply torches and that Queen Elizabeth was in (or back in) the audience. Sometimes letting your body get used to something is all you should do, or maybe can do.
And I did smell horse dung.
When the Lady Macduff Scene was over and the Chicken Scene well begun, I went back to the dressing room. Actors call it the Chicken Scene because Macduff weeps in it about “all my pretty chickens and their dam,” meaning his kids and wife, being murdered “at one fell swoop” on orders of that chickenyard-raiding “hell-kite” Macbeth.
Inside the dressing room I steered down the boys’ side. Doc was putting on an improbable-looking dark makeup for Macbeth’s last faithful servant Seyton. He didn’t seem as boozy-woozy as usual for Fourth Act, but just the same I stopped to help him get into a chain-mail shirt made of thick cord woven and silvered.
In the third chair beyond, Sid was sitting back with his corset loosened and critically surveying Martin, who’d now changed to a white wool nightgown that clung and draped beautifully, but not particularly enticingly, on him and his folded towel, which had slipped a bit.
From beside Sid’s mirror, Shakespeare smiled out of his portrait at them like an intelligent big-headed bug.
Martin stood tall, spread his arms rather like a high priest, and intoned, “Amici! Romani! Populares!”
I nudged Doc. “What goes on now?” I whispered.
He turned a bleary eye on them. “I think they are rehearsing Julius Caesar in Latin.” He shrugged. “It begins the oration of Antony.”
“But why?” I asked. Sid does like
