No Great Magic

Excerpt

The troupers of the Big Time
lack no art to sway a crowd—
or to change all history!

I

To bring the dead to life
Is no great magic.
Few are wholly dead:
Blow on a dead man's embers
And a live flame will start.
—Graves

I dipped through the filmy curtain into the boys' half of the dressing room and there was Sid sitting at the star's dressing table in his threadbare yellowed undershirt, the lucky one, not making up yet but staring sternly at himself in the bulb-framed mirror and experimentally working his features a little, as actors will, and kneading the stubble on his fat chin.

I said to him quietly, "Siddy, what are we putting on tonight? Maxwell Anderson's Elizabeth the Queen or Shakespeare's Macbeth? It says Macbeth on the callboard, but Miss Nefer's getting ready for Elizabeth. She just had me go and fetch the red wig."

He tried out a few eyebrow rears—right, left, both together—then turned to me, sucking in his big gut a little, as he always does when a gal heaves into hailing distance, and said, "Your pardon, sweetling, what sayest thou?"

Sid always uses that kook antique patter backstage, until I sometimes wonder whether I'm in Central Park, New York City, nineteen hundred and three quarters, or somewhere in Southwark, Merry England, fifteen hundred and same. The truth is that although he loves every last fat part in Shakespeare and will play the skinniest one with loyal and inspired affection, he thinks Willy S. penned Falstaff with nobody else in mind but Sidney J. Lessingham. (And no accent on the ham, please.)

I closed my eyes and counted to eight, then repeated my question.

He replied, "Why, the Bard's tragical history of the bloody Scot, certes." He waved his hand toward the portrait of Shakespeare that always sits beside his mirror on top of his reserve makeup box. At first that particular picture of the Bard looked too nancy to me—a sort of peeping-tom schoolteacher—but I've grown used to it over the months and even palsy-feeling.

He didn't ask me why I hadn't asked Miss Nefer my question. Everybody in the company knows she spends the hour before curtain-time getting into character, never parting her lips except for that purpose—or to bite your head off if you try to make the most necessary conversation.

"Aye, 'tiz Macbeth tonight," Sid confirmed, returning to his frowning-practice: left eyebrow up, right down, reverse, repeat, rest. "And I must play the ill-starred Thane of Glamis."

I said, "That's fine, Siddy, but where does it leave us with Miss Nefer? She's already thinned her eyebrows and beaked out the top of her nose for Queen Liz, though that's as far as she's got. A beautiful job, the nose. Anybody else would think it was plastic surgery instead of putty. But it's going to look kind of funny on the Thaness of Glamis."

Sid hesitated a half second longer than he usually would—I thought, his timing's off tonight—and then he harrumphed and said, "Why, Iris Nefer, decked out as Good Queen Bess, will speak a prologue to the play—a prologue which I have myself but last week writ." He owled his eyes....