At a rehearsal for the witch trial reenactments this fall, six of us got to talking about October dates. Taking note of the director’s and actors’ mentions of “Indigenous People’s Day,” I waited for an opening.
Trying to sound apologetic: “Um, I need to tell you that, as a member of a Renaissance faire, I am contractually obligated to call it ‘Columbus Day’.”
What I thought would be an explosion of laughter was a implosion of shock.
You could hear the brakes screech on five brains when responses burst into the room as if through a windshield: “What?” “Really?” “They can do that?”
This time I really was apologetic, without trying, profusely so, almost begging them to recognize my attempt at a joke. Call it a bad joke. Call it a dad joke. I’m twenty years older than the director, and older than any two of the other four actors combined.
Earlier in the rehearsal, we were going through the paces of a new scene. This is called “blocking” where we position ourselves on stage (“hitting our marks”) as we read the lines. The new scene is quite ambitious with enough movement by four of us–on the stage and down to the front of the stage and back–that I’d say it qualifies as choreography.
To go from on stage to before stage in Salem’s Old Town Hall, there are three permanent steps built into the left side near enough to the wall that can be used for balance. The right has a portable set of three steps close to four-feet wide tucked between the stage and a railing for the flight of stairs down to the front door. That railing is within easy reach.
Oh, the memories! Last part I had in a play was on this very stage some 50 years ago, a children’s play based on a Hans Christian Andersen story in which I was type-cast as a wild and wacky wizard who in one scene was thrown off-stage by an impatient king. In my 20s and much thinner, I actually went over that rail and down the stairwell crashing with a loud noise and a howl.
It was a stunt. During rehearsals I was able to practice going over the rail and, well out of audience-sight, grabbing the bottom of two spokes to pause the fall and land easily–until the last show when one spoke snapped and made the trip down in my hand, but that’s another bloody story.
Today I could no more go over that rail than I could pull it apart with my bare hands and snap all the pieces in half. This week, after a few runs with the two side paths for our circular on-off-and-in-front-of movement, we thought we’d try a variation. The portable steps were moved to the center of the stage facing the audience with nothing to put a hand on.
You can likely guess where I’m going here, or, in this case, where I couldn’t go there. It was all working quite smoothly until it was my turn to get off the stage. I went to the edge, began to say my line, looked down, and froze.
This was far from the first time these six words were in my head, spoken–at times yelled–just to myself. I didn’t want to say them right away because I did not want to draw pity. For that matter, I didn’t want to say them at all, but the time had come. I had no choice:
Trying to sound funny, I looked up, right at the director just 15 feet away: “I am too old for this.”
As with my attempt at politically correct humor–now there’s a contradiction in terms!–no one laughed. This time, in lieu of shock, the sympathy that I hoped to avoid was unanimous, and it was palpable.
After one of those pauses when even the atheists pray that someone else will speak first, the director thanked me for my honesty. She then got up, walked to the steps, looked down, and announced to the company: “This is a bad idea.”
Whether I was let off the hook just for my own sake hardly mattered. The others soon chimed in that, not only was it risky, but it obstructed the smooth, circular motion that went from side to side.
Back the steps went stage right, and just like that, it was as if my late-life crisis never happened. Still, I couldn’t help but worry that my sense of humor had passed its expiration date. As fate would have it, I had a last chance just before the session ended.
We were entertaining ideas for the arrest scene which opens the play outside the hall when we villagers, including one manic piper, draw and work a crowd. Bridget Bishop, the accused witch, resists, argues, and runs from the constable into the crowd while the rest of us corral her. Today someone proposed that she sit down on the bricks.
The director enthused: “Like in the Sixties! Protestors sat down so they could not be picked up.”
I held my tongue and again awaited an opening: “Um, about the Sixties: I was there…” Must have been the Cheshire Cat smile that got the first laugh.
“And I was picked up more than once.” Another chuckle. “They always did it with a cop on each side and had a fairly easy time packing us into their wagons.” This gained smiles of appreciation that I’ve seen on young faces many times hearing about anti-war demonstrations. But I needed a punchline:
“And, yes, I was so much thinner then…”
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