I made my way to my apartment (my apartment!) and unpacked a bit more. I couldn’t really focus on the task, though. I was in a buzz of nervous joy.
Peg came by to check on me as I was hanging up my dresses in the wardrobe.
“You’re comfortable here?” she asked, looking around at Billy’s immaculate apartment.
“I like it so much here. It’s lovely.”
“Yes. Billy would accept nothing less.”
“May I ask you something, Peg?”
“Certainly.”
“What about the fire?”
“Which fire, kiddo?”
“Olive said there was a small fire at the theater today. I wondered if everything is all right.”
“Oh, that! It was just some old sets that accidentally got ignited behind the building. I have friends in the fire department, so we were fine. Boy, was that today? By golly, I’d forgotten about it already.” Peg rubbed her eyes. “Oh, well, kiddo. You will soon enough find out that life at the Lily Playhouse is nothing but a series of small fires. Now off to sleep or Olive will have you detained by the authorities.”
So off to sleep I went—the first time I would ever sleep in New York City, and the first (but decidedly not the last) time I would ever sleep in a man’s bed.
I do not recall who cleaned up the dinner mess.
It was probably Olive.
FOUR
Within two weeks of moving to New York City, my life had changed completely. These changes included, but were not limited to, the loss of my virginity—which is an awfully amusing story that I shall tell you shortly, Angela, if you’ll just be patient with me for a moment longer.
Because for now, I just want to say that the Lily Playhouse was unlike any world I’d ever inhabited. It was a living animation of glamour and grit and mayhem and fun—a world full of adults behaving like children, in other words. Gone was all the order and regimentation that my family and my schools had tried to drill into me thus far. Nobody at the Lily (with the exception of the long-suffering Olive) even attempted to keep the normal rhythms of respectable life. Drinking and reveling were the norm. Meals were held at sporadic hours. People slept until noon. Nobody started work at a particular time of day—nor did they ever exactly stop working, for that matter. Plans changed by the moment, guests came and went with neither formal introductions nor organized farewells, and the designation of duties was always unclear.
I swiftly learned, to my head-spinning astonishment, that no figure of authority was going to be monitoring my comings and goings anymore. I had nobody to report to and nothing was expected of me. If I wanted to help out with costumes, I could, but I was given no formal job. There was no curfew, no head count in the beds at night. There was no house warden; there was no mother.
I was free.
Allegedly, of course, Aunt Peg was responsible for me. She was my actual family member, and had been entrusted with my care in loco parentis. But she wasn’t overprotective, to say the least. In fact, Aunt Peg was the first freethinker I’d ever met. She was of the mind that people should make their own decisions about their own lives, if you can imagine such a preposterous thing!
Peg’s world ran on chaos, and yet somehow it worked. Despite all the disorder, she managed to put on two shows a day at the Lily—an early show (which started at five, and attracted women and children) and a late show (which started at eight, and was a bit racier, for an older and more male audience). There were matinees on Sunday and Wednesday, too. On Saturdays at noon, there was always a magic show for free, for the local children. Olive was usually able to rent out the space for neighborhood usage during the daytime, though I don’t think there was danger of anybody getting rich off dry swimming lessons.
Our audience was drawn from the neighborhood itself, and back then, it really was a neighborhood—mostly Irish and Italians, with a scattering of Catholic Eastern Europeans, and a good number of Jewish families. The four-story tenements surrounding the Lily were crammed full of recent immigrants—and by “crammed,” I mean dozens of souls living in a single flat. That being the case, Peg tried to keep the language in our shows simple, to accommodate these new English speakers. Simpler language also made the memorizing of lines easier for our performers, who were not exactly classically trained thespians.
Our shows did not attract tourists, or critics, or what you might call “theatergoers.” We provided working-class entertainment for working-class people, and that was it. Peg was adamant that we not kid ourselves that we did anything more. (“I’d rather put on a good leg show than bad Shakespeare,” she said.) Indeed, the Lily did not have any of the hallmarks that you would associate with a proper Broadway institution. We did not have out-of-town tryouts, or glamorous parties on opening nights. We didn’t close down in August, like so many of the Broadway houses did. (Our patrons didn’t go on vacations, so neither did we.) We were not even dark on Mondays. We were more like what used to be called “a continuous house”—where entertainment just kept being served up, day after day, all the year round. As long as we kept our ticket prices comparable to those at the local movie houses (which were, along with arcades and illegal gambling, our biggest competition for the neighborhood dollars) we could fill our seats fairly well.
The Lily was not a burlesque theater, but many of our showgirls and dancers had come from the world of burlesque (and they had the immodesty to prove it, bless them). We were not quite vaudeville, either—only because vaudeville was nearly dead by that point in history. But we were almost vaudeville, considering our slapdash, comic plays. In fact, it would be a stretch to claim that our plays were plays at all. It would be more accurate to say that they were revues—cobbled-together bits of stories that were not much more than excuses for lovers to reunite and for dancers to show off their legs. (There were limits to the scope of the stories that we could tell, anyhow, given that the Lily Playhouse only had three backdrops. This meant that all the action in our shows had to take place on either a nineteenth-century city streetcorner, in an elegant upper-class parlor, or on an ocean liner.)
Peg changed the revues every few weeks, but they were all more or less the same, and they were all forgettable. (What’s that you say? You never heard of a play called Hopping Mad, about two street urchins who fall in love? Why, of course you didn’t! It ran at the Lily for only two weeks, and it was swiftly replaced by a nearly identical play called Catch That Boat!—which, of course, took place on an ocean liner.)
“If I could improve on the formula, I would,” she once told me. “But the formula works.”
The formula, to be specific, was this:
Delight (or at least distract) your audience for a short while (never more than forty-five minutes!) with an approximation of a love story. Your love story should star a likable young couple who can tap-dance and sing, but who are kept apart from each other’s arms by a villain—often a banker, sometimes a gangster (same idea, different costume)—who gnashes his teeth and tries to destroy our good couple. There should be a floozy with a notable bustline making eyes at our hero—but the hero must only have eyes for his one true girl. There should be a handsome swain who tries to woo the girl away from her fellow. There should be a drunken hobo character for comic relief—his stubble indicated by application of burnt cork. The show always had at least one dreamy ballad, usually rhyming the word “moon” with the word “swoon.” And there was always a kick line at the end.