Saturday Morning Post #86: The Freedom of Disguise (Part 3)

In this short story, we visit the world of small theatre in L.A. and one producer/director secretly using the artform to help his actors improve themselves.

Here is the next short story from my collection called 24 Exposures, which I wrote over 20 years ago, the first of three installments. This one is set in the world of small theatre in Los Angeles, something with which I’m very familiar as audience member, writer, techie, and performer. This story focuses on the Gloria O’Ferral Theatre Company in Hollywood, and its owner, Bill, who believes in creating his characters in order for his actors to have huge breakthroughs and learn about themselves. His latest effort involves Max and PJ.

Fifty minutes later, Bill crept back into the theatre, careful not to make any tell-tale noises. He snuck up to the darkened booth and edged to the glass. He looked down at the stage and smiled. He’d gotten the acting breakthrough he’d hoped for.

Max and PJ were on the bed, shirts off, PJ on top, making out like a couple of horny teens. If he could get that onstage, everything would work out. Max started pulling PJ’s pants off and PJ made no objection, but Bill knew they’d had enough rehearsal for today. He snuck back downstairs, opened the front door quietly, then slammed it, making sure it was quite audible. He turned on the lobby lights and dawdled, counting to fifty before he entered the theatre.

Max and PJ were sitting, keeping their distance on the stage, shirts on, although PJ’s was inside-out.

“Hi guys,” he called out. “How did it go?”

“I think I get the scene now,” PJ explained, Max covering a laugh and a glance.

“You two want to try it once, then?” Bill asked as he took his seat in the front row.

“Sure,” PJ replied, moving to the bed, Max joining him.

“Okay. And, lights are off, anticipatory laughter from the audience, cue the maid, she turns the lights on — go.”

Max and PJ looked at each other, startled. Significant comedy pause… and then they vacuum-locked their faces together, PJ wrapping a leg around Max, Max dragging PJ in with both hands and the moment was beautiful. It really would bring the house down, the big revelation when everything else made sense.

The boys finally broke and looked at Bill, who applauded. “Excellent,” he said. “We’ve got a winner on our hands.”

And indeed they did, at least for this third of the cast. All through the rest of rehearsal, PJ was flying, nailing everything, not holding back at all. Bill had broken the wall, freed his talent and he saw that it was very good.

One down, two to go…

* * *

The secret was always discovery, not revelation. With actors, it was like training lab rats. Never show them the cheese, let them wander the maze and think they figured it out themselves. Donna was great at figuring things out, but lousy at letting herself realize she had.

Then Bill saw her walk into a car. She was coming to rehearsal and happened to arrive at the same time as Vince, and they were both crossing the street, talking but not looking at each other, at least not openly. Since they were jaywalking, they had to go between parked cars and Vince lead the way, but Donna was paying no attention at all and — wham!

Right into the side of a big, brown American beast, rebounding, stopping. Bill heard her call out, “God, I am so stupid.” Vince hurried over to Donna, took her arm gently, probably asking if she was all right. He guided her between the cars to the sidewalk, looking very concerned. She kept nodding, looking for the hole to crawl into, but Vince’s concern was completely genuine.

They both spotted Bill, walked toward him.

“You didn’t see that, did you?” Donna asked him.

“See what?” Bill lied. “Hey, guys, you know what? Your director did a stupid thing tonight. Come on inside.”

They entered the theatre and Bill explained his faux pas. He had intended to work with Mark and Donna, but had called Vince instead. It was too late to fix that, and anyway all of Vince’s scenes were fine. But would Vince mind reading Mark’s part tonight, working with Donna?

And of course he wouldn’t, and so they did, Vince reading from the script as Donna played the scene — and played it with something much different than had ever appeared opposite Mark. That was, of course, the plan. Donna’s character was supposed to be madly in love with Mark’s but afraid to say it, until this moment in the play, when she confessed her love. Meanwhile, unbeknownst to her, Mark’s character was madly in love with her, et cetera, et cetera. Each of them was supposed to think they were talking about someone else.

Suddenly, it played beautifully. Donna was a little giddy and shy and hesitant, and so was Vince and the whole thing positively reeked of two people crazy about each other but unable to just say it. Artifice catapulted to reality, and Bill gave himself a mental pat on the back. This show was going to come together like none of the others ever had.

And by opening night, it did. He’d heard rumor among the company that Donna and Vince went out for coffee one night, then dinner and a movie soon thereafter. The grapevine reported that Vince finally admitted he was crazy about Donna but was still in the middle of getting a divorce, something he’d kept secret though, so he hadn’t dared say anything to her. But, as soon as it was final, would she…? And she would and they did, eventually, and on opening night, their acting soared.

So did PJ’s and Max’s. The curtain call got a standing ovation and the opening night party was rambunctious with the joy of success.

Except that Max was standing alone afterwards, PJ nowhere in sight. Bill walked over to him. “Good job, Max. But where’s your leading man?”

“He’s not mine,” Max explained, looking around. “There he is.” He pointed and Bill looked, seeing PJ talking to other cast members, his arm around a young man who wasn’t part of the company.

“He’s got a boyfriend already?” Bill asked, amazed.

“He’s had him for six months,” Max said. “He finally decided to let the big secret out.”

“And you?”

“You cast us on purpose, didn’t you?” Max answered.

“Okay, I confess,” Bill said. “I did. I thought…”

“No, I appreciate it, really. He’s a good kisser. He’s just taken, that’s all.”

Bill smiled, nodding. This play had been more of a success than he could have hoped for. He excused himself, started to walk away when Max continued. “And Vince and Donna. And Mark and Loretta. Funny how every time we do a show, some new couple gets together, isn’t it?”

Bill stopped, looked at Max, wondering if he’d figured it out yet. Maybe, but Bill wasn’t going to tip his hand. “Funny how theatre works that way, isn’t it?”

“Very funny,” Max answered, and Bill was sure his secret was safe. “So what’s next for us, Little Billy?”

“Oh, you’ll see,” Bill replied. “You’ll see.” He made a mental note. Max had mentioned once that he never thought he’d be able to do nudity onstage. That was an actor’s block that needed to be removed, one more step in Bill’s big mission. And removed, it would be.

All their blocks would be removed, eventually, and they would be better people for it. True love would be discovered and true talent revealed and Bill’s company would continue to be one, big happy family. That was the promise he’d made when he’d cashed that big check, the promise he’d continued to keep. It was the price he’d agreed to pay for his windfall, but it was a debt that constantly paid him back with happiness.

His fear had been removed, and he was going to do his best to do the same for others, for this big, wonderful company. His children, his stars.

Because stars were meant to shine, after all, and the show would go on.

Significant dramatic pause, and then Bill exited to his office, already working on his next play, hoping for another rousing success.

* * *

Saturday Morning Post #85: The Freedom of Disguise (Part 2)

In this short story, we visit the world of small theatre in L.A. and one producer/director secretly using the artform to help his actors improve themselves.

Here is the next short story from my collection called 24 Exposures, which I wrote over 20 years ago, the first of three installments. This one is set in the world of small theatre in Los Angeles, something with which I’m very familiar as audience member, writer, techie, and performer. In the first installment last week, we met Bill O’Ferral, owner of the Gloria O’Ferral Theatre in Hollywood, having just opened another successful original play and starting work on his next — but he has ulterior motives, as he believes in creating his characters in order for his actors to have huge breakthroughs and learn about themselves.

The first read-through had been hilarious, with Andy and the actors constantly cracking up. Only a few minor rewrites required, then they were good to go.

PJ was waiting for Bill afterwards, when everyone else had gone.

“Hey, PJ, what can I do for you?” Bill asked, ushering the actor up to his office.

“I like the play, a lot,” he said when they were upstairs. “How are you going to stage the… some of the stuff?”

“You’re worried about kissing Max, aren’t you?”

“Well… a little.”

“Let me tell you my theory of comedy. The more intensely real the actors play it, the funnier it is. The magic word is ‘commitment.’”

“Yeah, but all three times?”

“My other theory of comedy. First time, warning. Second time, reminder. Third time, brings the house down. Fourth time, never.”

“Okay, but… why do they kiss, anyway?”

“Because… your character thinks he’s in the room with Stella, and the other guy thinks he’s with Elaine. This is it, they’re finally alone, or they think they are, with the woman of their dreams, wham. It ain’t gonna be a peck on the cheek. And then the maid walks in and turns the lights on. Boom. Funny.”

“Okay, but the second time — “

“You think you’re with Elaine now, and he thinks he’s with Stella. Only this time, both guys are much hornier, because now they think they’re finally with the women of their dreams, et cetera, et cetera, funnier.”

“Right. So why — “

“And the third time is kind of the point of the play, when the lights come on and the two guys see each other, significant comedy pause… and realize they’re the man of each other’s dreams. Set up, topper, reversal, house down.” God, Bill thought, I sound like some alta cocker ex-Vaudevillian. “Look, it’ll be a riot, people will remember you. You want to get noticed as an actor, this is the perfect part.”

“Okay. But it’s comedy, I’m more of a dramatic actor.”

“Weren’t you the one who told me you wanted to try doing comedy?”

“I… yeah. But I thought more like, you know. Verbal, like Neil Simon, wordy, witty… Comedy. Not farce.”

“Farce is the ultimate extension of comedy. Much more difficult to pull off. If you can do farce, you can do anything.”

“Really?”

“Think about it. How many Oscars does Tom Hanks have? Do you remember ‘Bosom Budd…’ No, of course you don’t. Well, it was a farce, and that’s where he started. And he was wearing a dress.”

“Tom Hanks?”

“Yes.”

“But he didn’t kiss anybody, did he?”

“I don’t remember, but probably. Because it was a farce.”

“They’d never let men kiss on TV.”

“Not in a drama, no, because a drama is all real and serious and scary. But comedy, you can get away with a lot more.”

“Oh.”

“Anyway, don’t worry about it. I’m not even going to get to that in rehearsal for at least three weeks. Maybe four.”

“Okay. Can I think about it?”

“You will anyway. But in four weeks, I think you’ll be ready.”

PJ nodded and left the office. Bill hoped this wouldn’t be a problem. Maybe hearing an audience laugh and knowing he did it would loosen him up eventually.

Bill also wished he could convince him to stop going by PJ and use his full first name, Peter. The initials sounded like a kiddie actor or a porn goddess. Of course, that meant he would absolutely have to change his last name. Or maybe not. Memorability was a plus.

Still. His last name was Packer.

His parents were either incredibly naive or terribly twisted.

His middle name was Johnson.

Twisted.

* * *

Donna was bumping into the furniture again.

Normally, this would have been a problem. However, Bill had written exactly this awkwardness into the part and it was working like a charm. Funny how she didn’t start doing it until Vince was at the same rehearsals. Yes, Donna was doing a scene with Max, Vince wasn’t even on the stage, but Bill knew exactly why she had turned into a fumfering schoolgirl. He made no comments about it during rehearsal, even though he could see that it was annoying the hell out of Max — but that was part of the idea, too. Max was a nice guy, but the part he was playing needed to have the limits of his patience tested. That’s what Bill was seeing on the kid’s face right now and it was perfect.

“I am such a clumsy, big-footed ox,” Donna whined to him afterwards. “I’m sorry, I was lousy up there today.”

“No you weren’t,” Bill said. “You mean you weren’t acting all that stumbling around?”

“No — “

“Well, you fooled me. That’s exactly what the scene needs to work.”

“Really?”

“Yes. Of course Stella is awkward, she’s madly in love with this guy, but she can’t tell him. You see?”

“Oh…”

And Donna smiled, sort of, a rarity, and went on her way. Bill saw Max sitting in the front row, looking at his script, sulking. He walked over to him.

“Hey, Max, nice job up there.”

“Wasn’t easy. She was — “

“All over the place, I know, I told her to do that. And I need you to remember that anger, use it. That’s what makes the scene work.”

“Really? But it’s a comedy.”

“A lot of comedy is really very angry underneath. Remember, you think you’re madly in love with Elaine and you’re trying to go talk to her, and Stella won’t leave you alone. You’re too polite to tell her to go away, but you let just a little bit of your annoyance show. You’re like a teapot waiting to blow its whistle, except that it doesn’t happen until the next scene.”

“Ah…” Max nodded, conviction in his eyes. “Of course. Now it makes sense. Thanks.”

Bill gave him an encouraging smile, then went onstage to work with Vince and Loretta. Vince was staring off into the house. “She’s good,” Vince said.

“You mean Donna?”

“Yeah. I had no idea she was such a natural comic actress. I’m jealous.”

“Well, keep an eye on what she does. Study her, and you’ll learn a lot. Now, let’s get cracking, act one, scene four, Martin and Elaine, you each think the other one is madly in love with you, but you’ve both been misinformed, let’s take it from the top…”

And they ran through the scene, Bill noticing that neither one of them was quite crackling like they should. Loretta never had that problem with Mark onstage. Those two clicked. Of course, they’d been dating since the middle of rehearsal for their last show. Max and PJ had that chemistry onstage, too, more or less, with Max enthralled and PJ distracted, which would make the ending work perfectly. They hadn’t rehearsed any of Vince and Donna’s scenes yet, by design, nor had they gotten to the big moment between Max and PJ. But they were going to, soon, and that particular rehearsal would be crucial to making this whole thing work.

Max and PJ, right. Bill turned toward the house, where the two were sitting, different rows, not together. “Guys,” he called out, “This is going to take a while. Could you two go up to my office and run your lines?”

Max hopped to his feet while PJ dragged his stuff together and stood. Bill watched them leave, then turned his attention back to Vince and Elaine. An hour with them, then it was time for act two, scene five.

That was exactly why PJ was so broody tonight. The kid was still nervous. Bill had assured him many times, “It’s only acting. None of it is real, you’re just playing games up there.” PJ always nodded and agreed, but it hadn’t seemed to have sunk in yet. It had better, tonight, or Bill just might trash this whole project. No sense re-casting at this point. But, as a director, he had a lot of tricks left to use. That was always the secret — make the actor find it in him or herself for real, then remember it, use it, be it.

If PJ and Max could manage their big scene, the others would be easy. If they couldn’t…

But Bill pushed those thoughts from his mind as he worked with Vince and Loretta.

* * *

Act two, scene five. The kiss.

Max was sitting on the bed onstage, PJ on one of the chairs, as Bill explained his approach. They weren’t going to start right in on the scene. Instead, they were going to do some exercises. He had the two actors stand toe-to-toe and hold their arms out, placing their hands palm-to-palm. Max complied like a trooper, but PJ was being sarcastic, making jokes, trying to distract himself.

“Now,” Bill said, “Here’s the hard part. I want you two to look at each other, so the ends of your noses are touching, and stare right in each other’s eyes. And you’re going to stay that way until you can do it for three minutes straight without looking away or losing it. Ready?”

“You better not get snot on me,” PJ cracked.

“Ready…” Bill reminded.

PJ nodded, put his nose to Max’s, then scrunched it up and shook his head to make it an Eskimo kiss, stepping away and laughing.

“Sorry. Sorry…” he called out. “Okay. Here we go.”

They assumed the position again, but after about thirty seconds, PJ lost it once more, letting out a snorted laugh. He apologized again, got back into place, but it just wasn’t working. Bill paced, thinking. After about five tries he’d reached his limit. “All right, all right, let’s try something else.”

“What are we trying to do?” PJ asked. “I mean, if you tell me — “

“It’s called trust,” Bill answered. “You two have got to trust each other completely if this is going to work.”

“I trust him,” PJ insisted.

“Then kiss him,” Bill shot back.

PJ made a face, then planted a perfunctory peck on Max’s cheek.

“Excellent,” Bill dripped out with sarcasm. “When Max plays your grandmother, that’ll be perfect.”

“Can we just try the scene?” Max asked.

“Fine, let’s just try the scene,” Bill gave up. “Max, come here a second.”

He pulled Max aside, where PJ couldn’t hear them, whispered. “Do me a favor, help snap him out of this for me.”

“How?”

“One word. Tongue.”

“You want me to — “

“If you don’t mind.”

Max laughed, smiled. “Okay. As long as you admit it was your idea, because he’s going to freak out.”

“No problem.”

The actors took their places, kneeling on the bed, arms around each other. Bill sat in the front row, called out, “All right, the lights are off, lights off… maid enters, lights on. Go!”

Max and PJ looked at each other, startled. Significant comedy pause… and then nothing, and then Max took the initiative and flew into the kiss and two seconds later, PJ was jumping away, wiping his mouth.

“Hey, hey. Gross. Jesus, he fucking frenched me.”

“I know,” Bill called out. “I told him to, that’s what his character would do. And yours.”

“No one’s going to see that.”

“I can see it fine from here.”

“Can’t we do a stage kiss?”

“Not in a theatre this size, not if you want this to be the funniest moment in the show. Come on, you want the critics to call you a wimp, PJ?”

“Sorry,” Max whispered.

“Not your fault,” PJ replied.

“Okay, let’s try this one,” Bill stood. “No tongues, but do the kiss and I want you to imagine it’s a wrestling match. Both of you try to push each other off the bed. Got it? Take it again.”

They repeated the scene, but this time the kiss looked different, more real, sort of, the two of them locked together in combat. One of Max’s legs slipped off the bed, but he braced himself against the floor, pushed back. The two of them toppled the other way, sliding to the floor, Max on top. He pinned PJ’s arms, lips still together, but then PJ turned his head away.

“Okay, uncle, you win.”

Max sat up, staying on top of PJ, and turned to Bill.

“How was that?” he asked.

“Better,” Bill said.

“Dude,” PJ called out, “Up, up. You’re busting my nuts.”

Max climbed off and they both sat on the floor, looking at their director, who was looking contemplative.

“Well?” PJ asked.

Bill rattled his fingers on his script, other hand pressed to his lips as he thought about it. He couldn’t recast and change Max’s part to an actress, that would undo too many other threads in the piece. He couldn’t replace PJ. Anybody else would be all wrong for this role. But what to do? Finally, he stood up again, grabbing his briefcase.

“I think I might be the problem here,” he announced. “I’m making you both self-conscious, and that’s unfair of me. So, I’m leaving. But — you still have another hour of rehearsal scheduled, and here’s what I want you two to do. Give each other a backrub. Keep the clothes on, it’s just a stress thing. And while you’re doing it, the massagee is going to tell his life story and answer any questions the massager has.”

He walked to the door, Max and PJ silently nodding, watching him. Before he left, he turned back and said, “I’ll be back in exactly sixty minutes. And remember, it’s all about the show. The play’s the thing, and all that.”

He turned off the houselights as he left, then ran up to the booth and adjusted the lights, dimming them and bringing up the blue gels they still had hung. He waved good-bye to them from the booth, killed the work lights up there, then made sure they heard him exit out the front door, then went down the street for a late bite to eat. The rest was up to them.

* * *

Saturday Morning Post #84: The Freedom of Disguise (Part 1)

In this short story, we visit the world of small theatre in L.A. and one producer/director secretly using the artform to help his actors improve themselves.

Here is the next short story from my collection called 24 Exposures, which I wrote over 20 years ago, the first of three installments. This one is set in the world of small theatre in Los Angeles, something with which I’m very familiar as audience member, writer, techie, and performer.

Opening night and the play was working like a charm. Near the end of the first act, Bill knew he had a success on his hands. He’d cast the leads perfectly, and their big emotional scene was dynamite onstage. They had achieved something beyond chemistry, and the entire audience was riveted in dead silence. That was always the measure of the success of a piece — the cough ‘n shuffle factor, Bill called it. Make an audience stop doing both of those things, and you knew you had them in the palm of your hand.

When the moment finally came, the big moment, when Mark and Loretta suddenly expressed their forbidden love and kissed for the first time, the audience gasped. In the world of Bill’s play, the priest and the nun had just crossed a line, broken taboos, connected… And Bill could see from his vantage point in the booth that these two weren’t just stage kissing. As the fade out on the first act came, Bill smiled to himself. Everything he’d just seen onstage was incredibly real.

As the play ended and the audience applauded the curtain-call, Bill left the booth and went down the dark, warm, narrow hallway, down the hollow-thudding stairs and opened the lobby doors. It was a small place but all his, one of hundreds of small theatres scattered all over Los Angeles. He’d been smart enough to pick a place near the great off-white way in Hollywood, along with all the other small theatres, near a subway station. It was named the Gloria O’Ferral Theatre, in honor of his mother. He wasn’t in this business for fame and riches.

The usher opened the theatre door behind him and the flood of houselights poured forth. The small audience snaked out, cigarettes deploying among the few who smoked as soon as they hit the sidewalk. Bill went back into the theatre where some of the cast were already wandering among the seats, ready to party. “Good show, everyone,” he called out. “Excellent work.”

“Author, author!” someone yelled back. It was Andy, the stage manager.

“What’s next, Little Billy?” That was PJ, one of the actors. Everyone called Bill “Little Billy” because he was six-foot-five.

“Oh, you’ll see,” he said with his best enigmatic grin. He did have a very specific part in mind for PJ, and thought he was ready to tackle it. Bill just hadn’t fine-tuned it all yet, so he didn’t want to tip his hand.

The party was as much of a success as the show, with everyone in a great mood. Somebody took over the sound system and kept an endless techno-beat going, and the company were dancing on the stage or schmoozing in the aisles. Bill looked around the room proudly. There were fifty people in the company, and he felt like they were all his children, even though he was only forty and, while most of them were in their twenties and thirties, there were a number of members older than Bill. Of course, the company felt like a family and quite a lot of them literally became family. They’d had eight marriages, all of them still together; half a dozen gay and two lesbian couples that had met here; and one very Bohemian ménage between two straight actors and a goth actress named Brigid. Yes, the place was incestuous, but in a good way.

Then Bill noticed Mark and Loretta, off in a corner together, his arm around her. It looked like the ninth marriage might be on the way. If not now, then definitely by the end of the run. It always amazed Bill how the veneer created by acting could make two people incredibly intimate insanely quickly. That was the truth highlighted by falsehood, the freedom of disguise. It was the secret of all great acting and all great art — revealing everything while appearing to conceal it.

He spotted PJ, sitting by himself on the edge of the stage, watching the dancers. He was an interesting kid, with a lot of raw talent, recently arrived from one of those flat, green midwestern states. But there was something holding him back so far, a certain timidity whenever parts got too intense, especially if they involved any degree of sexual tension. Bill had no idea what the wall was. Maybe it was just the insecurity of youth. But he was determined to crack it and make PJ a great actor.

Insecurity. That was the word for Donna. She was a walking neurosis machine, and she was off in her own corner, too. Bill didn’t even have to follow her eyeline to know that she was staring at Vince, resident young male romantic lead in the traditional mode. Donna was always staring at Vince when she wasn’t asking anybody she could buttonhole, “Do you think… does Vince like me?” It was as annoying as hell, but Bill knew better than to tell her the obvious because she’d crack like an egg. He’d seen the result once when Loretta had finally snapped at Donna.

“Why don’t you just fucking ask him instead of all of us?”

Donna fled the theatre in tears that time. She was a champion at fleeing in tears. Bill would have to write that into a play soon.

He really wanted to do something to help her, but he knew that telling Vince about her obsession would be risky. Then again, how could he not know about it? Everyone knew everything here. Or most everything. But Donna had reached the point in her delusion that she was saying things like, “He’s a Libra and I’m a Cancer. That’s a good match.”

But how would she ever know…?

Maybe that was the problem. People never wanted to know the answers to their most burning questions. Certainty would leave an unfillable vacuum behind, and fire can’t burn in a vacuum. Bill knew that every question answered always led to more, and those often led to interesting adventures, but that was a lesson he preferred not to force on people. Such things were always better discovered than revealed.

But Donna had spotted him and swooped, and now she was standing there, eyes darting to the floor when they weren’t staring at him with bothersome intensity. There was chit chat, mixed with random compliments, then the inevitable Vince question. “Do you think he’d go out with me?”

“Donna,” Bill gave her his most encouraging smile, “Why wouldn’t he? Have you asked him out?”

“Oh, he doesn’t know I exist.” She said more, she always did, but Bill wasn’t listening. He was already working on the next play in his head.

Bill’s eyes wandered and he saw PJ, who had been cornered by Natalie. She was talking and he was mostly listening, often gazing past her at the dance floor, at nothing in particular. But no, Bill knew, it was someone in particular. He could just never figure out whom. PJ was very sly about that — it was impossible to tell which company member had caught his eye, and he was as reluctant to approach as Donna.

Well, at least he didn’t talk about it. But Bill was going to figure it out. And he’d figure out a way to solve that acting problem, too.

But he had half of his next play cast already.

* * *

Gloria O’Ferral was Irish as far back as anyone knew. Her great-grandfather and his brother had arrived in the nineteenth century, via Ellis island. The name had originally been Farrelly, but underwent an immediate metamorphosis upon arrival.

Contrary to popular myth, though, the names were not changed by disinterested employees on Ellis island. Rather, the immigrants self-reported and, depending on circumstances, that could lead to big changes right there. Some were illiterate and couldn’t even spell their names, so you might wind up with Connelly, Conelly, Connelloy, Conley, Coneley, and so on in the same family.

Others wanted to sound less foreign, so a name like Schmidt might become Smith. Still others were proud of their heritage, and that was the case with Gloria’s ancestor, who proudly added the O’ prefix that his family did not have, then simplified the rest. Farrelly became O’Ferral.

Meanwhile, his brother couldn’t spell the name in Gaelic, where it had about four hundred letters, half of them “H,” so he just simplified it and scrawled it out the way he thought it was spelled in English, so he became a Fearl. Of course, they were both dead now…

As was Gloria O’Ferral. That had been thanks to a little sloppiness at the dialysis center she’d been going to, and their failure to completely purge the cleaning fluid out of a machine before jacking it into her. Ironically, she died half an hour before her pager went off announcing a kidney had been found. Bill, only child, widowed, orphaned, had finally been encouraged by his friends to pursue a lawsuit, and the payoff (after attorneys and taxes) had still been like winning the lottery.

He bought his dream, the theatre, and his other dream, a house, and still had enough left in the bank to live like a corporate executive on investment interest alone for the rest of his life. It had driven the dialysis center into bankruptcy, which was only the cherry on top of a sundae whose sweetness could never make up for the bitter dish in which it was served. But Bill could make up for it and would make up for it. His theatre was more than a hobby or a vanity project. It was a mission.

When his attorney had handed him the check and Bill counted the zeroes, an amazing thing happened. All of Bill’s fear and doubt vaporized. He didn’t have to do it anymore, didn’t have to justify himself to the world. He didn’t have to need or want, he didn’t have to kiss someone else’s ass. There was only one thing to do with that kind of windfall. Share it.

He invited his five closest friends to dinner a week after he got the payoff, and under their dessert plates, each of them found a check for two hundred thousand dollars. Two months later, he was showing off his new house and three months after that, was giving a tour of the theatre just before it opened. They were not a huge commercial success at first, but word of mouth started to spread, and eventually they were selling out. The location didn’t hurt, either. It became easy to get actors to join the company. Then again, it was always easy. Bill didn’t charge any dues, and the word “free” was thespian catnip.

And in two years, they had a thriving, happy company and the theatre critics only had to say “at the O’Ferral,” and everybody knew where that was.

Another show over, and Bill was spending his days writing the next one. That was how he liked to work. Concentrate on one project from beginning to end, then let it go after opening night and dive into the next one. He’d have a good first draft finished by the time this six-week run was over, or extend the run if he wasn’t ready yet. Then, he’d work it with the actors for two or three weeks, polish it up and start rehearsal. There would always be another play running during this process, but Bill left those to Andy to choose and direct, reserving only the right of casting approval for himself.

That was the key to it all for him — casting. He’d actually postponed plays if a particular actor wasn’t available. He was always very specific in his writing.

The next play was a romantic comedy. That was also in keeping with his pattern, since the previous play had been a tragedy. It was going to be something of a bedroom farce, involving three couples, lots of entrances and exits and missed cues and misunderstandings, with everything resolving itself at the end. Vince was a natural for the lead, and so was Donna. Anyway, Bill was always encouraging her to do comedy, and this was the perfect chance.

PJ had the doe-eyed innocence that made ribald situations even more amusing. Maybe Mark and Loretta would want to play the other couple. That just left one part open, the role that would be paired ultimately with PJ’s character. At the moment, Bill didn’t have a clue who to pick. He didn’t know enough about how this play would end, and that often dictated a character more than anything else.

He was still wondering about it a week later when they had a reading in the theatre of one of the plays Andy wanted to do. PJ was in the audience and Bill mentioned the role for him at intermission. PJ was excited about it, wondering who he’d be playing with. Bill told him he wasn’t sure yet, asked if PJ had anybody he wanted to work with.

“What about Brigid?” he asked.

“Hm…” Bill pretended to think about it, but Brigid was all wrong. A goth was already comic enough and he was doing farce, not satire. Besides, he was waiting until he could cast her as Lord Byron’s doomed sister, Augusta.

It was after the show, during the milling around time, that Bill noticed PJ off talking to Max. That’s when it hit him, and the play solved itself before his very eyes. Of course. If he matched up two actors as the third couple, then the comic implications multiplied. Suddenly, anybody could be suspect with anybody else. It was perfect. As he wove the knots in his mind, they all collided to form the tapestry with the answer. Yes. Start out with the male couple not knowing they’re gay, and using that complication to drive the other two couples together, apart and back together again.

He rushed out of the party and upstairs to his office, where he locked the door, turned on the coffee pot and started his frantic typing.

* * *