Chapter 3

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 reassured 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.

It worried me a bit at first and I had asked Sid, “But what if I’m so deep asleep I don’t hear and you have to get in fast?” and he had replied, “Sweetling, a word in your ear: our own Beauregard Lassiter is the prettiest picklock unjailed since Jimmy Valentine and Jimmy Dale. I’ll not ask where he learned his trade, but ‘tis sober truth, upon my honor.”

And Beau had confirmed this with a courtly bow, murmuring, “At your service, Miss Greta.”

“How do you jigger a big iron bolt through a three-inch door that fits like Maudie’s tights?” I wanted to know.

“He carries lodestones of great power and divers subtle tools,” Sid had explained for him.

I don’t know how they work it so that some Traverse-Three cop or park official doesn’t find out about me and raise a stink. Maybe Sid just throws a little more of the temperament he uses to keep most outsiders out of the dressing-room. We sure don’t get any janitors or scrubwomen, as Martin and I know only too well. More likely he squares someone. I do get the impression all the company’s gone a little way out on a limb letting me stay here--that the directors of our theater wouldn’t like it if they found out about me.

In fact, the actors are all so good about helping me and putting up with my antics (though they have their own, Danu digs!) that I sometimes think I must be related to one of them--a distant cousin or sister-in-law (or wife, my God!), because I’ve checked our faces side by side in the mirrors often enough and I can’t find any striking family resemblances. Or maybe I was even an actress in the company. The least important one. Playing the tiniest roles like Lucius in Caesar and Bianca in Othello and one of the little princes in Dick the Three Eyes and Fleance and the Gentlewoman in Macbeth, though me doing even that much acting strikes me to laugh.

But whatever I am in that direction--if I’m anything--not one of the actors has told me a word about it or dropped the least hint. Not even when I beg them to tell me or try to trick them into it, presumably because it might revive the shock that gave me agoraphobia and amnesia in the first place, and maybe this time knock out my entire mind or at least smash the new mouse-in-a-hole consciousness I’ve made for myself.

I guess they must have got by themselves a year ago and talked me over and decided my best chance for cure or for just bumping along half happily was staying in the dressing room rather than being sent home (funny, could I have another?) or to a mental hospital. And then they must have been cocky enough about their amateur psychiatry and interested enough in me (the White Horse knows why) to go ahead with a program almost any psychiatrist would be bound to yike at.

I got so worried about the set up once and about the risks they might be running that, gritting down my dread of the idea, I said to Sid, “Siddy, shouldn’t I see a doctor?”

He looked at me solemnly for a couple of seconds and then said, “Sure, why not? Go talk to Doc right now,” tipping a thumb toward Doc Pyeskov, who was just sneaking back into the bottom of his makeup box what looked like a half pint from the flask I got. I did, incidentally. Doc explained to me Kraepelin’s classification of the psychoses, muttering, as he absentmindedly fondled my wrist, that in a year or two he’d be a good illustration of Korsakov’s Syndrome.

They’ve all been pretty darn good to me in their kooky ways, the actors have. Not one of them has tried to take advantage of my situation to extort anything out of me, beyond asking me to sew on a button or polish some boots or at worst clean the wash bowl. Not one of the boys has made a pass I didn’t at least seem to invite. And when my crush on Sid was at its worst he shouldered me off by getting polite--something he only is to strangers. On the rebound I hit Beau, who treated me like a real Southern gentleman.

All this for a stupid little waif, whom anyone but a gang of sentimental actors would have sent to Bellevue without a second thought or feeling. For, to get disgustingly realistic, my most plausible theory of me is that I’m a stage-struck girl from Iowa who saw her twenties slipping away and her sanity too, and made the dash to Greenwich Village, and went so ape on Shakespeare after seeing her first performance in Central Park that she kept going back there night after night (Christopher Street, Penn Station, Times Square, Columbus Circle--see?) and hung around the stage door, so mousy but open-mouthed that the actors made a pet of her.