Saturday, November 30, 2002

HOUSE OF MEMORY, CISSY SPEAKS:


HOUSE OF MEMORY, CISSY SPEAKS:
                        —With thanks to Sebastian Barry’s Steward of Christendom.

Sure, the old man, he was out walking the lunatic meadow again
after telling me you mustn’t be talking to shadows.
Conversing with himself, the trees, and God Almighty.
And the ginger cat followed him like a dog,
her tail in a question mark, listenin’ to every word he said,
stopping to sniff the flowers like a large hairy bee. Silly creature!
She must’ve said something because soon enough he quieted down like a lamb.
And all the birds were madly singing by the hunter’s moon.

Him out there walking like mad Sweeney himself,
morning, noon and night, talking to the birds and the trees.
I couldn’t bear it, seeing his arms raised up to the night sky,
the watery stars weeping. And him keening like Absolom.
It went all wrong when the birds flew into the house.
Or maybe it was the Kiltegan curse taking root after all.
The field belonged to that witch was next door to theirs, you know,
and her washing the milk buckets in the well made us all queasy.
Uisht! Who is it busy walking on my grave, now?
Him and the cat paraded around that meadow until I was dizzy with grief.
Even the small fingers of sunlight couldn’t banish all that fear
rising up from the dark eye of the well.

Funny how the mind plays tricks. Even now.
I kept thinking of Hamlet chatting up his dead father.
No, I said, Thomas, you come in from the cold.
Willie, he’s not coming back. The Great War is over. Sleep.
Sure, it’s your nightshirt all covered with dew, I said.
Sleep, that’s the ticket. But the grief came anew each time
as if it was the first time he’d heard of it.
He just turned his face to the wall. Then, the awful silence. 

Talking to shadows he was. I don’t blame him. Willie’s gone.
But I do blame the hawthorn he slept under all the day,
the bees breaking their hearts over closed flowers in late afternoon.
I was so afraid, I wanted to bring him some tea, but it was no use.
I said to myself, if only we could catch the honeyed words.
Put them in a jar for some creature comfort later.
Ach, I could kill for a good cup of tea, Annie.
Make it strong enough for the mice to skitter across.
Give the cat a fightin’ chance to earn her keep.
Scald the pot! Oh for godsakes, child, that’s a poor way to be making tea!
You’d think you were brought up wrong, but then you had no mother—
or father, for that matter, after he went off in the head.

Do you remember what they say about sleeping under the hawthorn?
I’m sure that’s how it all began. His mind wandered to all sorts of strange places.
Once he said he was with Hannibal crossing the Alps. Imagine that! 
Poor lummoxing beasts climbing mountain passes
with no more understanding of snow than the man in the moon.
And him worried about elephants trembling at the sight of snow.
Wanting me to knit elephant sweaters! Imagine that!
I thought to humor him but then I’d never hear the end of it in the Hereafter.
Should I use the popcorn stitch or a cable stitch like the Aran sweaters?
They were dogtags, you know, for the lost fishermen,
in case the sea returned our treasures.

Sure, I didn’t know what to make of it.
There he was, ranting through the ages,
a fine white snow covering him.
Petals drifting down on him from the hawthorn
until he was blanketed white as snow.
I blamed the hawthorn, I did.
We were told never to pick it or invite trouble into the house.
Thorns into the bed. Or a changeling.
And that he was. A changeling, after they let him go.

Annie, your father was like Hannibal all alone in Abyssinia.
He was leaderless after he turned over Dublin Castle to them.
A loyal servant of Ireland and to the Crown, he was. 
The Crown was good to us. The King, when he came to visit,
it was after Queen Victoria died....
your father called her the Flower of Christendom, he did....
the King, he praised my hair.
Blue-black as the barrel of a rifle it was.
I was wearing a new polka-dotted dress.
And all the little tea cakes staring up at us like Christmas presents.
I wanted to dance. But your father, he stood
like a great tree in the middle of the dance floor.
I was afraid he’s take root right there.
They began to whisper and laugh.
Shame upon us bright as Brigit’s cloak over the land.
I had to coax him off the floor with tea cakes.
And them all laughing at us.

Annie, don’t be so hard on your father.
Was a time he was a different man, he wore invincibility like a cloak,
but after he turned Dublin Castle over to Collins and the like,
he was a changed man. After that, he was dreaming candlelight into song.
He admired Michael Collins, he did. But they called him a traitor.
Blamed him for Larkin’s death. And the others.
He never even carried a gun. Just the billy club was enough.
He kept Dublin orderly and safe. It was his job. Annie, he did it well.
They gave him trouble with his pension, the new government,
and him, Chief Constable working for Ireland and the Crown 45 long years!
And they called him a traitor. It broke his mind, it did.

There’s always betrayal at the heart of it.
They should look to themselves.
Who was it gave the order to kill the Big Fella?
Themselves alone. How he wept when Collins died.
There was real hope for the Big Fella, you see.
Not for “King” de Valera,
him with the stone heart of a mathematician
leading us back into slavery
with rings through our noses like cattle to Rome.
Dev, the called him. More like devolution.
Fine Gael or Fianna Fáil.
Soldiers of destiny they called themselves.
All it brought was more civil war.
As if there wasn’t enough bloodshed already.

It all began with your brother Willie’s death,
it unsettled your father something terrible, it did.
You know, he was never quite right in the head after that.
I remember when he saw God in the face of his newborn son.
That settled him down right enough.
But why is it fathers and sons never see eye to eye until it’s too late?
Poor Willie! All he wanted was a kind word.
And your father, like a big lump of a stone.

Poor tyke. He was only six
when I was with Dolly in the childbed,
my own blood racing to meet Lough Derg.
Such a long night it was.
And I couldn’t stop it, for the life of me.
To let the birds in was to let death come into the house.
When the candle failed, the birds began to sing,
it was my father came to me, but it was so queer,
he was my husband wearin’ my father’s face.
I didn’t know who I was talking to.
He began to keen. Hush, I said.
But the candle guttered.
Him, crying like his heart would break.

’Tis a pity I never got to hold Dolly.
My arms and breasts still ache to hold her.
Where is she now? America? And your sister Maud?
She never comes home. Only you.
Why do you keep returning to this house, empty of memory
with no family of your own to fill it? Poor Annie.
Your back curving like a riverbend of hammered pewter at dusk
that no man would ever set sail on.
Pour us another cup of tea dear, you’ll feel right as rain.

Will this cursed rain never stop? It’s driving me mad.
Poor Willie. In what foreign field does he lie in?
He was so proud to be in the Rifles, he was. Caught in the crossfire.
But you can’t lose a son without blaming yourself, your father said.
You can’t fight a battle without spilling some blood, I said.
They said it was a whole generation Irish blood—not English—
that fed the fallow fields of the Somme. Fodder for the Crown.
That’s all we were good for. Fodder, that’s what your father said.
They say there’s guns and war medals enough rusting on uniforms
in shadowed cupboards of every country of the world.

Willie, he was our own Finn MacCool.
We called him William after your Gran’Da.
But the others, they thought it was King Billy we were referring to.
And they shunned us at the market. Painting the door orange.
Calling your Da a spy for the Crown. We were good Catholics, we were.
Sure, it was the Crown who put the food on our table during the Troubles
when there was little else to be had. What else could we do?
They were jealously counting all our Sunday roasts stacking up into eternity.
Accusing us of putting a little something aside for purgatory.
But jealousy is ever the traitor’s mistress.
The Have Nots hungering after the hard-earned good fortune of others.
I told him it was enough to make any man crazy serving two mistresses:
Catholic Ireland and Anglican England.
But he couldn’t hear me.
Not a single thing I said.
’T’was a pity I was only talking to the shadows.

’T’is such a pity the old man went off his mind like that,
waving that sword and babbling in the grasses
like a babby wanting his mother.
Annie, I swear he wouldn’t harm a hair on your head.
’T’was only his wounded pride speaking in the graveyards of betrayal.
The sword was a symbol of the power he’d lost.
And the crows diving at him like banshees.

When the candlelight fails,
when they’ve killed the heroes,
and the potential of the father’s only son
lies buried in the cold clay,
when that stony love slips down their cheeks
into the glittering face of the well,
what loyalty was left for there to crown?
This coffinship of a house is adrift in a sea of memory
and here I am, talking to shadows.
Sure, it’s a false quiet after a storm.
There’s a good girl now, Annie.
Put the kettle on the hob and we’ll all have tea.

Wednesday, November 27, 2002

Christmas Tree (Monologue)

THE CHRISTMAS WE HAD TWO TREES (Monologue)


I remember the Christmas my grandma dragged home a madrone tree from up the hill instead of a real Christmas tree, and I thought the world was gonna end. As it was, I was having some trouble picturing Santa Claus squeezing his belly down the stove pipe in our new house. Besides, it was a sin NOT to have a real Christmas tree. We could get in trouble for it.

The Christmas before last, my Santa logic was seriously shaken when I saw all those Santas ringing bells over black cauldrons all over the City. Then, one of the Santas dragged me onto his lap. He asked me what I wanted for Christmas. I could see his beard was fake, there was this little bit of white elastic around his ears—like on my underwear, so I peed my pants and cried. Then they took my photo and laughed and put it on the mantle next to the angel.

Early Christmas morning, I tripped down the stairs, my head bouncing on each step did funny things to my vision. But when I rounded the corner and saw the Christmas tree with its glass bulbs and icicles blazing, it was like the sun on our diamond-rainbow glass cabinet, I forgot to cry. Huge piles of presents! All the little presents are mine, ’cause I’m the smallest. But why did Santa give me all these key rings? There must be some mistake. Was he still mad at me ’cause I peed my pants?

After that New Year, we moved, my grandma closed up the house with its diamond-rainbow glass cabinets where the Blue Willow bird bowls lived—I loved eating my cereal out of those bowls—and all the hidey-holes with old shoes and dust. I also loved how the fireplaces in every room whispered—sometimes you could hear cars driving in them.

We moved to the country, Grandma said it was our summer home. But it had a firebox attached to the stove—and it was our only heat. No more fireplace chimneys whispering, only a stovepipe the size of my grandma’s leg.

I remember I was newly five and my momma said I was on temporary loan to my grandmother to keep her company. When we moved, it broke up the family. Only the two of us. The aunts and uncles were all gone. I missed the dogs. Towser was all mine, and Mickey was my aunt Toddy’s. They were boxers. Grandma said that my parents were divorcing, and I knew both my uncle Myles and my grandpa were dead of cancer. But they always whispered that part.

I remember my grandpa standing at the front door, a suitcase in his hand, and he was saying goodbye. I wanted to know exactly where he was going ’cause Uncle Myles went away the same way too and he didn’t return from the hospital, they said that he would never return. I remember how his freckles looked like cereal flecks on his skin—it was all orangy-yellow like my crayons.

My grandpa’s voice was different, it was rough like the cat’s tongue. I don’t remember when it changed. Sometimes he’d whisper. Said his throat hurt too much. Was it the cigars? They made my throat hurt and my eyes too. He whispered, “To the hospital.”

And then I wanted to know when he’d be back. I was not ready for the answer of “heaven,” so I asked where else it was beside in the painted dome of the Star of the Sea church where I was baptized. Grandpa pointed up to the clouds in the blue sky and said something about angels. Sometimes they called me an angel, but mostly I was a little monster; did he find another angel he liked better? Was it ’cause I stamped my foot at him?

Of course I wanted to go too; he’d need someone to blow out his cigar matches there too, I said. They laughed and shuffled their feet nervously. I was born on his birthday, a whole month before Christmas, they said I was Grandpa’s little monster. They said I’d also learned some nasty habits from him—to cuss, and drink stale beer. I remember that I liked the taste of cigarette butts and licking the saltiness off the new red match heads.

I hid in a forest of legs watching the stained glass window spill its red and green light onto the black & white tile floor. If I went with my grandpa, would I see the rest of my family again? Why was everybody leaving? I was relieved when he didn’t ask me along with him. I just wrapped my arms around my grandma’s leg.

I don’t remember my grandpa returning home from the hospital, but they said he did—only to die again on New Year’s Eve. I don’t remember that part either but I do remember the doctor coming over and taking a bit of meat out of the big hole in his stomach. It looked like what they fed the dogs. Or bits of tuna. They said the whole family all returned home from their parties early. No one could exactly say why. Was heaven in the room, in the bed he died in?



Our first Christmas on our own in the country, I was mad ’cause Grandma sneaked out of the house without meearly in the morning before the fire was lit. She hiked up the top of the hill with the saw. I remember when she came home she was wearin’ lots of sweaters, and baggy black pants over her longjohns. She was dragging a bare madrone tree, the only leaves were in her hair—it always smelled of Wildroot—she put it on after every hairwash.

We have to heat water in a big tub, we don't have a hot water heater so she didn’t wash her hair very often. Sometimes she trimmed it herself with small scissors in front of the bureau mirror, with pictures of Jesus and Mary watching on, and there was a crucifix over a small crowd of perfume bottles—unused Christmas gifts. She said she liked the Bushmills better, dabbing it behind her ears.

I just wasn’t ready to let go of the Christmas Tree, so I trudged up the ridge in a drizzle on ly tiny five-year-old legs and dragged home my own tree that I cut down myself—it was a fir that was more sprout than tree. We made another cross for the base and the two trees stood tied side by side, my tree was too weak to hold ornaments or lights, and the one angel we had kept doing swan-dives off the top. But the red-skinned madrone tree, with its lights, silver glass balls and songbirds, was strong enough to hold up the Christmas angel. So I climbed up the ladder and placed her at the crown of Grandma’s tree.

Her madrone tree was beautiful, but at the time, it just didn’t feel right. I remember she told me the story of Rhiannon’s Birds, how their song could make the dead come alive and the living to forget everything. But I didn’t forget. She said we were building a new life, starting with the bones of the tree. And the red-skinned madrone, peeling from the heat of the firebox, showed us the heartwood under it—green with the promise of life to come in spring.



© 2002 Maureen Hurley for Roy Conboy's monologue class. Well, Grandma never said that last part, she didn't articulate feelings like that, she was more private, but it needed an ending...

Tuesday, November 26, 2002

Stanislavsky and Chekhov: A Collaboration


STANISLAVSKY AND CHEKHOV: A COLLABORATION

One of ten children, Konstantin Semiyonivich was born in 1863 to Semiyon and Elizavetta Alexeiev of Moscow. Semiyon was the son of a successful textile merchant who made gold and silver thread for the clergy and nobility. Family folklore has it that Stanislavsky’s grandfather was a serf who made enough money selling peas (or money) to buy his freedom, and by age 22, he was wealthy man. Elizavetta was the indiscretion of a nobleman and an actress of little talent and less intellect. Though tempestuous and neurotic, she lavished attention on all her children and they were all encouraged to develop their particular talents. Konstantin, or Kostiya, as he was affectionately known, didn’t display any particular talent, overshadowed by the talented tribe of Alexeiev painters, writers, dancers and musicians.

The Alexeievs were avid theater-goers and Kostiya was a particular fan of the circus and ballet. His favorite ballerina was Stanislavskayia. Their nanny developed pantomime skits with the children in the small family theater and Kostiya began to show considerable talent in his roles. When he was six, one role he variously refers to in his dairies was of Grandfather Frost, where instead of pretending to light a small fire, he really lit one, nearly burning down the house. Thus the roots of theatrical realism and Method Acting were born. The Alexeiev Circle produced several theatrical productions (as well as notebooks) a year for family and an extensive circle of friends and business associates.

In 1886, the Alexeiev Circle came to a close; siblings married or moved on; Konstantin Alexeiev was involved with several amateur theater companies. He joined the Moscow Amateur Music and Drama Circle where he received favorable notice in Gogol’s Inspector General. Billed as Mr. K A v for his family’s sake, and not to upset their business connections, he resisted becoming a professional actor because of the negative social stigma associated with professional acting. However, he was so badly bitten by the stage bug, he appeared in dicey vaudeville and burlesque productions as well as the State Theater, the Mali—this, after his father spotted him in an unsavory play and gave him an ultimatum: that if he must act, to at least pick reputable theaters. During this time, the State had a monopoly on professional theaters and imposed severe censorship restrictions. There was little more freedom to be had in amateur theatrical circles.

Friday, November 1, 2002

Play outline notes from Roy Conboy

Hi all,

I'm writing to offer some clarification about this  week's assignment.
As I announced in class, the assignment is to write a one-paragraph summation of your project. This isn't an easy thing to do, but it's a useful exercise. Use it to try and clarify for yourself the dramatic nature of your project.