Kestrell

It feels like cheating for the air to taste so much like the sharp tin tacks of snow when the sky is so clear that even through the white noise of the streetlights Cassiopeia comes in like pointillism and Polaris as bright as a planet. I saw none of the phi Cassiopeids, but the Geminids peak at the end of the week, with any luck on a night that cloudlessly doesn't make my teeth feel about to explode in my mouth. On that front, may I commend the attention of people in frozen boat fandom to this early twentieth century hand-painted stained glass window depicting Shackleton's Endurance? I spent my afternoon on the phone making sure of our health insurance in the bankrupt year to come: the customer service representative was a very nice science fiction person who agreed that it was time to reset this worldline on account of stupidity and for whom I apparently made a pleasant change from all the screaming and breaking down in tears, even more so than usual this year that never need have happened. I've been sent photographs of some really neat letters. Two cards arrived in the mail. My digital camera is showing further signs of deterioration, but a few evenings ago I caught one of those scratch-fired sunsets it's hard to wreck. I am aware of the collapses in the world, but I don't know what else to love.

Once again the Malden Public Library comes through with Kate Dunn's Exit Through the Fireplace: The Great Days of Rep (1998), a capacious, irreproducible oral history of repertory theatre in the UK. Its timeline of personal recollection runs from the 1920's into the decade of publication, documenting a diverse and vivid case for the professional and communal value of regional theatre without rose-glassing its historically shabbier or more exploitative aspects; its survey includes the subspecies of fit-up theatre which flourished primarily outside of England and devotes chapters to stage management, design, and directing as well as acting and the factor of the audience. It's a serious chunk of scholarship from a writer who is herself fourth-generation in the theater, which must have helped with assembling its roster of close to two hundred contributors. It's just impossible to read much of it without cracking up on a page-by-page basis. Despite the caution in the introduction not to view the heyday of rep as a perpetual goes wrong machine, the cumulative effect of thrills and tattiness and especially the relentless deep-end pace of getting a new play up every week writes its own Noises Off:

Howard Attfield was another actor who was caught on the hop. He remembers, 'I was playing an inspector, I forget the name of the murder thriller, and it was a matinée day and very hot and I remember standing in the dressing-room and I was having a shave, and I thought I had all the time in the world because my first entrance wasn't until the ending of the first act. The inspector comes in, says his lines and ends the first act. So I was standing there quite happily in my boxer shorts having a shave when I heard my call, which I could not believe, and I went absolutely wild. My costume was a suit, an inspector's suit, and a sort of a trench coat and a hat. Anyway, I thought I'd best put on something, the least possible, so I put on trousers and I remember putting on shoes without socks, then I put on the trench coat, did it all up as I'm flying out the door, grabbed the hat and went charging down the stairs, saying, "I'm coming, I'm coming, I'm coming," and I made it on to the stage just in time, but as I went on someone in the wings said, "Shaving foam, shaving foam!" and I realized that I'd got halfway through this shave and I hadn't wiped it off. Luckily it was on the upstage side, as I was coming on from stage right. So instead of looking at the audience, I did everything looking from stage right to stage left, and the upstage bit was foam in my ears and right round my face. I delivered the line and the curtains came down and I collapsed on the floor half naked and half shaven.'

Persons in this book set themselves on fire, fall out of their costumes, get flattened by scenery, fuck up lines, props, entrances, exits, sound cues, lighting cues, scene changes, the sprinkler system. The number of actors who started their careers as assistant stage managers appears to have been part of the apprenticeship quality of rep; the number of actors who were abruptly promoted because a lead had flanicked screaming into the night feels more telling. "It wasn't till many years later that I got into the truly creative side of acting. In those days it was a question of learn the lines and don't bump into the furniture." It is a tribute to the book's scope that so many of its names are unfamiliar to me when my knowledge of older British actors is not nil; it's not just a skim of national treasures. For every Rachel Kempson, Bernard Hepton, or Fiona Shaw, there's an actor like Attfield whose handful of small parts in film and television has barely impinged on me or even one like Jean Byam who was so strictly stage-based that it would never have been possible for me to see her in anything. At the same time, thanks to its compilation from personal histories, I have been left in possession of some truly random facts concerning actors of long or recent acquaintance during their repertory careers, e.g. Alec McCowen corpsed like anything and at one point became convinced that he could telepathically cause a fellow actor to forget their lines. Richard Pasco had such reliable stage fright that the manager of the Birmingham Rep would knock him up five minutes before curtain to check whether he'd been sick yet. Clive Francis had a stammer so bad it made him the bête noire of the prompt corner at Bexhill-on-Sea. (Robin Ellis did not have a stammer, but found it a lifeline during one particularly non-stop season to play a character with one because it gave him the extra time to reach for his next line.) Bernard Cribbins does not name the production for which he was required to transport a goat—an actual goat, from a farm on the moors—by bus to the theatre, leaving unexplained the reasons it had to be a real one. Of course it was medically possible in the '60's, but it is still n-v-t-s to me that Derek Jacobi got smallpox doing panto in Birmingham. That art was produced by this theatrical system as opposed to merely peerless anecdotes absolutely deserves celebration. As a resource for writers as well as theatre historians and actors, the book is a treasure. Details about interwar digs and mid-century tea matinées would not be out of place in Angela Carter. The less farcical side of all the blowups and breakdowns is the assertion by more than one interviewee that rep provided, if not exactly a safe, then at least a survivable space for a growing actor to fail in ways that were essential to their confidence and their craft: "If you didn't become a great actor in weekly rep, at least you learnt to control your nerves. Despite all the throwing up on a Monday, one seemed to be ice cool on stage, because you knew you mustn't give anything away and you mustn't make your fellow actors look bad." But also one night at the David Garrick Theatre in the late '40's Lionel Jeffries lost hold of a lettuce leaf that sailed out into the stalls and splatted itself dressing and all onto a member of the public and that Saturday a packed house came to see if he'd do it again. Opening the book at random is almost guaranteed to yield a story of this nature. Fortunately I was not onstage at the time, and nobody cared how much I laughed.