Most theatrical producers would likely be flattered by such a remark. They would clip
the article for a scrapbook of reviews, quote it for references and referrals.
But not this particular theatrical producer. No, M. Chandresh Christophe Lefèvre instead focuses on that penultimate word. Almost. Almost.
The knife flies again across the room, over furniture of velvet and intricately carved wood, passing perilously close to a crystal decanter of brandy. It somersaults swiftly, handle over blade, and finds itself buried in the dartboard once again. This time it pierces the now nearly shredded paper in between the words “audiences” and “spectacle,”
obscuring the “with” completely.
Chandresh follows in the wake of the knife, pulling the blade from the board carefully but with a fair amount of force. He walks back across the room, knife in one hand, a glass of brandy in the other, and turns swiftly on his heel, letting the knife fly once more, aiming for that horrible word. Almost.
Clearly he must be doing something wrong. If his productions are merely almost transcendent, when the possibility of true transcendence exists somewhere nearby, waiting
to be attained, then there is something else that must be done.
He has been pondering this ever since the review was placed on his desk, neatly clipped and labeled by his assistant. Additional copies have been filed elsewhere for posterity and safekeeping, as the desk copies often meet such gruesome fates while Chandresh agonizes over every word.
Chandresh relishes reactions. Genuine reactions, not mere polite applause. He often values the reactions over the show itself. A show without an audience is nothing, after all.
In the response of the audience, that is where the power of performance lives.
He was raised in the theater, sitting in boxes at the ballet. Being a restless child, he quickly grew bored with the familiarity of the dances and chose instead to watch the audiences. To see when they smiled and gasped, when the women sighed and when the men began to nod off.
So perhaps it is not terribly surprising that now, many years later, he still has more interest in the audience than in the performance itself. Though the performance must be spectacular in order to coerce the best reactions.
And because he is incapable of observing the faces of every audience member at every
performance of every show (shows that range from compelling drama to exotic dancing girls and a few that creatively combine the two), he relies on the reviews.
Though there has not been a review in some time that vexes him the way that this particular one does. And certainly not one in years that provoked knife throwing.
The knife flies once again, this time piercing the word “stage.”
Chandresh goes to retrieve it, sipping his brandy on the way. He regards the nearly decimated article curiously for a moment, peering at the almost illegible words. Then he bellows for Marco.
With your ticket in hand, you follow a continuous line of patrons into the circus, watching the rhythmic motion of the black-and-white clock as you wait.
Beyond the ticket booth the only way forward is through a heavy striped curtain. One
by one each person passes through it, vanishing from sight.
When it is your turn, you pull back the fabric and step forward, only to be engulfed by darkness as the curtain closes again.
It takes your eyes a few moments to adjust, and then tiny dots of light begin appearing like stars, lining the dark walls in front of you.
And while moments before you were so close to your fellow circusgoers that you could
have touched them, now you are alone as you feel your way tentatively forward through a mazelike tunnel.
The tunnel twists and turns, the tiny lights providing the only illumination. You have no way of discerning how far you have gone or which direction you are moving in.
Finally you reach another curtain. Fabric that feels as soft as velvet beneath your hands parts easily when you touch it.
The light on the other side is blinding.
Truth or Dare
CONCORD, MASSACHUSETTS, SEPTEMBER 1897
They sit in the oak tree in the afternoon sun, the five of them. His sister Caroline on the highest branch, because she always climbs the highest. Her best friend Millie perches below. The Mackenzie brothers, throwing acorns at the squirrels, are somewhat lower than that, but not low enough to be considered anything but high. He is always on the low branches. Not for fear of heights but for where he ranks in the group, when he is even allowed to be a part of it. Being Caroline’s younger brother is both a blessing and a curse that way. Bailey is sometimes allowed to join them, but always kept in his place.