Short Fiction, Fritz Leiber [great books for teens txt] 📗

had, now it was over), I’d also missed the short witch scene with its famous “Fair is foul and foul is fair,” the Bloody Sergeant scene where Duncan hears about Macbeth’s victory, and we were well into the second witch scene, the one on the blasted heath where Macbeth gets it predicted to him he’ll be king after Duncan and is tempted to speculate about hurrying up the process.

I sat up. I did hesitate a minute then, my fingers going back toward my ears, because Macbeth is specially tense-making and when I’ve had one of my mind-wavery fits I feel weak for a while and things are blurry and uncertain. Maybe I’d better take a couple of the barbiturate sleeping pills Maudie manages to get for me and⁠—but No, Greta, I told myself, you want to watch this show, you want to see how they do in those crazy costumes. You especially want to see how Martin makes out. He’d never forgive you if you didn’t.

So I walked to the other end of the empty dressing room, moving quite slowly and touching the edges here and there, the words of the play getting louder all the time. By the time I got to the door Bruce-Banquo was saying to the witches, “If you can look into the seeds of time, And say which grain will grow and which will not,”⁠—those lines that stir anyone’s imagination with their veiled vision of the universe.

The overall lighting was a little dim (afternoon fading already?⁠—a late matinee?) and the stage lights flickery and the scenery still a little spectral-flimsy. Oh, my mind-wavery fits can be lulus! But I concentrated on the actors, watching them through the entrance-gaps in the wings. They were solid enough.

Giving a solid performance, too, as I decided after watching that scene through and the one after it where Duncan congratulates Macbeth, with never a pause between the two scenes in true Elizabethan style. Nobody was laughing at the colorful costumes. After a while I began to accept them myself.

Oh, it was a different Macbeth than our company usually does. Louder and faster, with shorter pauses between speeches, the blank verse at times approaching a chant. But it had a lot of real guts and everybody was just throwing themselves into it, Sid especially.

The first Lady Macbeth scene came. Without exactly realizing it I moved forward to where I’d been when I got my three shocks. Martin is so intent on his career and making good that he has me the same way about it.

The Thaness started off, as she always does, toward the opposite side of the stage and facing a little away from me. Then she moved a step and looked down at the stage-parchment letter in her hands and began to read it, though there was nothing on it but scribble, and my heart sank because the voice I heard was Miss Nefer’s. I thought (and almost said out loud) Oh, dammit, he funked out, or Sid decided at the last minute he couldn’t trust him with the part. Whoever got Miss Nefer out of the ice cream cone in time?

Then she swung around and I saw that no, my God, it was Martin, no mistaking. He’d been using her voice. When a person first does a part, especially getting up in it without much rehearsing, he’s bound to copy the actor he’s been hearing doing it. And as I listened on, I realized it was fundamentally Martin’s own voice pitched a trifle high, only some of the intonations and rhythms were Miss Nefer’s. He was showing a lot of feeling and intensity too and real Martin-type poise. You’re off to a great start, kid, I cheered inwardly. Keep it up!

Just then I looked toward the audience. Once again I almost squeaked out loud. For out there, close to the stage, in the very middle of the reserve section, was a carpet spread out. And sitting in the middle of it on some sort of little chair, with what looked like two charcoal braziers smoking to either side of her, was Miss Nefer with a string of extras in Elizabethan hats with cloaks pulled around them.

For a second it really threw me because it reminded me of the things I’d seen or thought I’d seen the couple of times I’d sneaked a peek through the curtain-hole at the audience in the indoor auditorium.

It hardly threw me for more than a second, though, because I remembered that the characters who speak Shakespeare’s prologues often stay on stage and sometimes kind of join the audience and even comment on the play from time to time⁠—Christopher Sly and attendant lords in The Shrew, for one. Sid had just copied and in his usual style laid it on thick.

Well, bully for you, Siddy, I thought, I’m sure the witless New York groundlings will be thrilled to their cold little toes knowing they’re sitting in the same audience as Good Queen Liz and attendant courtiers. And as for you, Miss Nefer, I added a shade invidiously, you just keep on sitting cold in Central Park, warmed by dry-ice smoke from braziers, and keep your mouth shut and everything’ll be fine. I’m sincerely glad you’ll be able to be Queen Elizabeth all night long. Just so long as you don’t try to steal the scene from Martin and the rest of the cast, and the real play.

I suppose that camp chair will get a little uncomfortable by the time the Fifth Act comes tramping along to that drumbeat, but I’m sure you’re so much in character you’ll never feel it.

One thing though: just don’t scare me again pretending to work witchcraft⁠—with a virginals or any other way.

Okay?

Swell.

Me, now, I’m going to watch the play.

IV

… to dream of new dimensions,
Cheating checkmate
by painting the king’s robe
So that he slides like a queen;

Graves

I swung back to the play just at the moment Lady Mack soliloquizes, “Come to my