Before Richard Abbott became an actor with the First Sister Players, the males in our town's little theater were either incoherent mumblers, with downcast eyes and furtive glances, or (the equally predictable) overbearing hams who shouted their lines and made eyes at the easily offended, matronly patrons.
A notable exception in the talent department--for he was a most talented actor, if not in Richard Abbott's league--was my World War II buff grandfather, Harold Marshall, whom everyone (save my grandmother) called Harry. He was the biggest employer in First Sister, Vermont; Harry Marshall had more employees than Favorite River Academy, though the private school was surely the second biggest employer in our small town.
Grandpa Harry was the owner of the First Sister Sawmill and Lumberyard. Harry's business partner--a gloomy Norwegian, whom you will meet momentarily--was the forester. The Norwegian oversaw the logging operations, but Harry managed the sawmill and the lumberyard. Grandpa Harry also signed all the checks, and the green trucks that hauled the logs and the lumber were inscribed, in small yellow capitals, with the name MARSHALL.
Given my grandfather's elevated status in our town, it was perhaps surprising that the First Sister Players always cast him in female roles. My grandpa was a terrific female impersonator; in our town's little playhouse, Harry Marshall had many (some would say most) of the leading women's roles. I actually remember my grandfather better as a woman than as a man. He was more vibrant and engaged in his onstage female roles than I ever saw him be in his monotonous real-life role as a mill manager and lumberman.
Alas, it was a source of some family friction that Grandpa Harry's only competition for the most demanding and rewarding female roles was his elder daughter, Muriel--my mother's married sister, my oft-mentioned aunt.
Aunt Muriel was only two years older than my mother; yet she'd done everything before my mom had thought of doing it, and Muriel had done it properly and (in her estimation) to perfection. She'd allegedly "read world literature" at Wellesley and had married my wonderful uncle Bob--her "first and only beau," as Aunt Muriel called him. At least I thought Uncle Bob was wonderful; he was always wonderful to me. But, as I later learned, Bob drank, and his drinking was a burden and an embarrassment to Aunt Muriel. My grandmother, from whom Muriel had obtained her imperiousness, would often remark that Bob's behavior was "beneath" Muriel--whatever that meant.
For all her snobbishness, my grandmother's language was riddled with proverbial expressions and cliches, and, in spite of her highly prized education, Aunt Muriel seemed to have inherited (or she merely mimicked) the ordinariness of her mother's uninspired speech.
I think that Muriel's love and need for the theater was driven by her desire to find something original for her lofty-sounding voice to say. Muriel was good-looking--a slender brunette, with an opera singer's noteworthy bosom and booming voice--but she had an absolutely vacuous mind. Like my grandmother, Aunt Muriel managed to be both arrogant and judgmental without saying anything that was either verifiable or interesting; in this respect, both my grandmother and my aunt struck me as superior-sounding bores.
In Aunt Muriel's case, her impeccable enunciation made her entirely credible onstage; she was a perfect parrot, but a robotic and humorless one, and she was simply as sympathetic or unsympathetic as the character she played. Muriel's language was elevated, but her own "character" was lacking; she was just a chronic complainer.
In my grandmother's case, she was of an unyielding age and she'd had a conservative upbringing; these constraints led her to believe that the theater was essentially immoral--or, to be more forgiving, amoral--and that women should play no part in it. Victoria Winthrop (the Winthrop was my grandmother's maiden name) believed that all the women's roles in any dramatic performance should be played by boys and men; while she confessed to finding my grandfather's many onstage triumphs (as various women) embarrassing, she also believed this was the way drama should be enacted--strictly by male actors.
My grandmother--I called her Nana Victoria--found it tiresome that Muriel was inconsolable (for days) when she lost a plum part to Grandpa Harry. In contrast, Harry was a good sport whenever the sought-after role went to his daughter. "They must have wanted a good-lookin' girl, Muriel--you have me beat in that category, hands down."
I'm not so sure. My grandfather was small-boned and had a pretty face; he was light on his feet, and effortless at girlish laughter and at sobbing his heart out. He could be convincing as a scheming woman, or as a wronged one, and he was more convincing with the onstage kisses he gave to various miscast men than my aunt Muriel ever managed to be. Muriel cringed at onstage kissing, though Uncle Bob didn't mind. Bob seemed to enjoy seeing his wife and his father-in-law bestowing kisses onstage--a good thing, too, since they had the leading female roles in most of the productions.
Now that I'm older, I have more appreciation for Uncle Bob, who "seemed to enjoy" many people and things, and who managed to convey to me an unexpressed but sincere commiseration. I believe that Bob understood where the Winthrop side of the family w
as coming from; those Winthrop women were long accustomed (or genetically inclined) to looking down their noses at the rest of us. Bob took pity on me, because he knew that Nana Victoria and Aunt Muriel (and even my mother) were watching me warily for telltale signs that I was--as they all feared, as I feared myself--my no-good father's son. I was being judged for the genes of a man I didn't know, and Uncle Bob, perhaps because he drank and was considered "beneath" Muriel, knew what it felt like to be judged by the Winthrop side of the family.
Uncle Bob was the admissions man at Favorite River Academy; that the school's standards for admission were lax did not necessarily make my uncle personally accountable for Favorite River's failures. Yet Bob was judged; by the Winthrop side of the family, he was called "overly permissive"--another reason I thought he was wonderful.
Though I remember hearing about Bob's drinking from a variety of sources, I never saw him drunk--well, except for one spectacular occasion. In fact, in the years I was growing up in First Sister, Vermont, I believed that Bob's drinking problem was exaggerated; those Winthrop women were known for their overstatements in the morally outraged category. Righteous indignation was a Winthrop trait.
It was during the summer of '61, when I was traveling with Tom, that it somehow came up that Bob was my uncle. (I know--I haven't told you about Tom. You'll have to be patient with me; it's hard for me to get to Tom.) For Tom and me, this was that allegedly all-important summer between our graduation from prep school and the start of our freshman year in college; Tom's family and mine had granted us a reprieve from our usual summer jobs so that we could travel. We were probably expected to be satisfied with spending no more than a single summer in that doubtful pursuit of "finding" ourselves, but for Tom and me the gift of this summer didn't seem as all-important as that time in your life is supposed to be.
For one thing, we had no money, and the sheer foreignness of European travel frightened us; for another, we'd already "found" ourselves, and there was no making peace with who we were--not publicly. Indeed, there were aspects of ourselves that poor Tom and I found every bit as foreign (and as frightening) as what we managed to see, in our half-assed way, of Europe.
I don't even remember the reason Uncle Bob's name came up, and Tom already knew I was related to "old Let-'em-in Bob," as Tom called him.
"We're not related by blood," I'd started to explain. (Notwithstanding Uncle Bob's blood-alcohol level at any given time, there wasn't a drop of Winthrop blood in him.)
"You're not at all alike!" Tom had exclaimed. "Bob is just so nice, and so uncomplicated."
Granted, Tom and I had been arguing a lot that summer. We'd taken one of the Queen ships (student class) from New York to Southampton; we'd crossed to the continent, landing in Ostend, and the first town in Europe we'd stayed overnight in was the medieval city of Bruges. (Bruges was beautiful, but I was more infatuated with a girl who worked at the pension where we stayed than I was with the belfry atop the old Market Hall.)
"I suppose you were intending to ask her if she had a friend for me," Tom said.
"We just walked all over town--we just talked and talked," I told him. "We barely kissed."
"Oh, is that all?" Tom said--so when he later remarked that Uncle Bob was "just so nice, and so uncomplicated," I took it that Tom meant I wasn't nice.
"I just meant that you're complicated, Bill," Tom told me. "You're not as easygoing as Admissions Man Bob, are you?"
"I can't believe you're pissed off about that girl in Bruges," I told him.
"You should have seen how you stared at her tits--they didn't amount to much. You know, Bill--girls know when you're staring at their tits," Tom told me.
But the girl in Bruges was of no importance to me. It was only that her small breasts had reminded me of the rise and fall of Miss Frost's surprisingly girlish breasts, and I'd not gotten over Miss Frost.
OH, THE WINDS OF change; they do not blow gently into the small towns of northern New England. The first casting call that brought Richard Abbott to our town's little theater would even change how the women's roles were cast, for it was evident from the start that those parts calling for dashing young men and evil (or plainly bourgeois) husbands and treacherous lovers were all within Richard Abbott's grasp; hence the women chosen to play opposite Richard would have to match up to him.