Lughnasa Harvest Moon
At Tu B’av, a minor holiday, now a celebration of love in Israel and dubbed by its restorers as Jewish Valentine’s Day, unmarried women would come together, all dressed in white, dance, and hope to find a partner. Matchmaker, matchmaker, make me a match.
We celebrated Tu B’av on August 15th at Beth Evergreen and Kate won a silent auction for a backstage experience at a local production of Funny Girl. We went last night. It’s tech week for Funny Girl and our friend Alan Rubin is a player.
I had nearly enough theater credits for a minor and acted quite a bit in high school, college and seminary. After that, nada, but Kate and I were regulars at the Guthrie. When I was in high school and middle school, our parents took us several years in a row to Stratford, Ontario, to the Stratford Shakespeare Festival. A passion, really, but one that has slowly faded.
Just before getting up this morning a strange, but somehow obvious thought occurred to me. While on the backstage tour we visited the dresser, an energetic guy who made or altered 490 costumes for the women in this performance. !. We saw the multiple props, a day bed, a drinks trolley, several doors with wheels, a set of steps for musical numbers, a kitchen table, a dressing table. Downstairs we saw the storage areas for costumes and prop making materials. We spoke with the dresser, the stage manager, the director, the actors, several of them, the lighting and sound people. All, to a person, warm and friendly.
We watched the rehearsal through until intermission at 9:30, then these old folks began to tire and went home.
Here’s the thought. Going backstage, seeing all the accoutrements for staging a play, especially going into the basement area, made me think of id, ego and superego. Of the masks and personas we wear. Of our brain as backstage, where we store props, costume changes, makeup, where we put together the elements of the show that is our lives. The show itself, and its superego, the director, is the life others see, the one we present as we strut and fret our hour upon the stage, then are heard no more.
Let me extend (overextend) the metaphor in one more significant way. All these various elements costumes, props, actors, the stage itself alter themselves for each new script. In other words it is the nature of the theater to be plastic, to use familiar elements for telling unfamiliar stories.
As our life goes on, we often get stuck in Groundhog Day times when we simply repeat the same script over and over. We don’t hear the audience, we don’t see the repetitiveness, are not aware that we’ve been mounting the same play again and again.
Here’s the takeaway for me. Examine the script. Become aware of the lines you’re delivering, the plot you’re pushing forward. Is it still the one you want? Is there another play you can put together with the props, the roles you’ve already played, the stage to which you’re committed? Could be. We can put on new productions, use familiar elements for unfamiliar stories. Might even be fun.
