Show Boat (11 page)

The band would strike up again. Captain Andy would whisk through the crowd with uncanny swiftness distributing his playbills, greeting an acquaintance met on previous trips, chucking a child under the chin, extolling the brilliance and gaiety of the performance scheduled for that evening. At the end of a half hour the band would turn and march playing down the street. In the dispersing crowd could be discerned Andy’s agile little figure darting, stooping, swooping as he thriftily collected again the playbills that, once perused, had been dropped in the dust by careless spectators.

Dinner was at four, a hearty meal. Before dinner, and after, the
Cotton Blossom
troupe was free to spend its time as it would. The women read or sewed. There were always new costumes to be contrived, or old ones to mend and refurbish. The black-hearted adventuress of that morning’s rehearsal sat neatly darning a pair of her husband’s socks. There was always the nearby town to visit; a spool of thread to be purchased, a stamp, a sack of peppermint drops, a bit of muslin, a toothbrush. The indolence of the life was such that they rarely took any premeditated exercise. Sometimes they strolled in the woods at springtime when the first tender yellow-green hazed the forest vistas. They fished, though the catch was usually catfish. On hot days the more adventuresome of them swam. The river was their front yard, grown as accustomed as a
stretch of lawn. They were extraordinarily able to amuse themselves. Hardly one that did not play piano, violin, flute, banjo, mandolin.

By six o’clock a stir—a little electric unrest—an undercurrent of excitement could be sensed aboard the show boat. They came sauntering back from the woods, the town, the levee. They drifted down the aisles and in and out of their dressing rooms. Years of trouping failed to still in them the quickened pulse that always came with the approach of the evening’s performance.

Down in the orchestra pit the band was tuning up. They would play atop the show boat on the forward deck before the show, alternating with the calliope, as in the morning. The daytime lethargy had vanished. On the stage the men of the company were setting the scene. Hoarse shouts. Lift ’er up there! No—down a little. H’ist her up. Back! Closer! Dressing-room doors opened and shut. Calls from one room to another. Twilight came on. Doc began to light the auditorium kerosene lamps whose metal reflectors sent back their yellow glow. Outside the kerosene searchlight, cunningly rigged on top of the
Mollie Abie’s
pilot house, threw its broad beam up the river bank to the levee.

Of all the hours in the day this was the one most beloved of Magnolia’s heart. She enjoyed the stir, the colour, the music, the people. Anything might happen on board the Cotton Blossom Floating Palace Theatre between the night hours of seven and eleven. And then it was that she was banished to bed. There was a nightly struggle in which, during the first months of
their life on the rivers, Mrs. Hawks almost always won. Infrequently, by hook or crook, Magnolia managed to evade the stern parental eye.

“Let me just stay up for the first act—where Elly shoots him.”

“Not a minute.”

“Let me stay till the curtain goes up, then.”

“You march yourself off to bed, young lady, or no trip to the pirate’s cave to-morrow with Doc, and so I tell you.”

Doc’s knowledge of the gruesome history of river banditry and piracy provided Magnolia with many a goose-skinned hour of delicious terror. Together they went excursioning ashore in search of the blood-curdling all the way from Little Egypt to the bayous of Louisiana.

Lying there in her bed, then, wide-eyed, tense, Magnolia would strain her ears to catch the words of the play’s dialogue as it came faintly up to her through the locked door that opened on the balcony; the almost incredibly naïve lines of a hackneyed play that still held its audience because of its full measure of fundamental human emotions. Hate, love, revenge, despair, hope, joy, terror.

“I will bring you to your knees yet, my proud beauty!”

“Never. I would rather die than accept help from your blood-stained hand.”

Once Parthy, warned by some maternal instinct, stole softly to Magnolia’s room to find the prisoner flown. She had managed to undo the special lock with which Mrs. Hawks had thought to make impossible her little
daughter’s access to the upper veranda deck just off her room. Magnolia had crept around the perilously narrow ledge enclosed by a low railing just below the upper deck and was there found, a shawl over her nightgown, knitted bed-slippers on her feet, peering in at the upper windows together with adventuresome and indigent urchins of the town who had managed somehow to scramble to this uncertain foothold.

After fitting punishment, the ban was gradually removed; or perhaps Mrs. Hawks realized the futility of trying to bring up a show-boat child according to Massachusetts small-town standards. With natural human perversity, thereafter, Magnolia frequently betook herself quietly to bed of her own accord the while the band blared below, guns were fired, love lost, villains foiled, beauty endangered, and blood spilled. Curiously enough, she never tired of watching these simple blood-and-thunder dramas. Automatically she learned every part in every play in the Cotton Blossom’s repertoire, so that by the time she was thirteen she could have leaped on the stage at a moment’s notice to play anything from Simon Legree to Lena Rivers.

But best of all she liked to watch the audience assembling. Unconsciously the child’s mind beheld the moving living drama of a nation’s peasantry. It was such an audience as could be got together in no other kind of theatre in all the world. Farmers, labourers, Negroes; housewives, children, yokels, lovers; roustabouts, dock wallopers, backwoodsmen, rivermen, gamblers. The coal-mining regions furnished the
roughest audiences. The actors rather dreaded the coal towns of West Virginia or Pennsylvania. They knew that when they played the Monongahela River or the Kanawha there were likely to be more brawls and bloodshed off the stage than on.

By half-past six the levee and landing were already dotted with the curious, the loafers, the impecunious, the barefoot urchins who had gathered to snatch such crumbs as could be gathered without pay. They fed richly on the colour, the crowds, the music, the glimpses they caught of another world through the show boat’s glowing windows.

Up the river bank from the boat landing to the top of the bluff flared kerosene torches suspended on long spikes stuck in the ground. Magnolia knew they were only kerosene torches, but their orange and scarlet flames never failed to excite her. There was something barbaric and splendid about them against the dusk of the sky and woods beyond, the sinister mystery of the river below. Something savage and elemental stirred in her at sight of them; a momentary reversion to tribal days, though she could not know that. She did know that she liked the fantastic dancing shadows cast by their vivid tongues on the figures that now teetered and slid and scrambled down the steep clay bank to the boat landing. They made a weird spectacle of the commonplace. The whites of the Negroes’ eyes gleamed whiter. The lights turned their cheeks to copper and bronze and polished ebony. The swarthy coal miners and their shawled and sallow wives, the farmers of the corn and wheat lands, the backwoods poor whites, the cotton
pickers of Tennessee, Louisiana, Mississippi, the smalltown merchants, the shambling loafers, the lovers two by two were magically transformed into witches, giants, princesses, crones, gnomes, Nubians, genii.

At the little ticket window sat Doc, the astute, or Captain Andy. Later Mrs. Hawks was found to possess a grim genius for handling ticket-seeking crowds and the intricacies of ticket rack and small coins. Those dimes, quarters, and half dollars poured so willingly into the half-oval of the ticket window’s open mouth found their way there, often enough, through a trail of pain and sweat and blood. It was all one to Parthy. Black faces. White faces. Hands gnarled. Hands calloused. Men in jeans. Women in calico. Babies. Children. Gimme a ticket. I only got fifteen. How much for her here? Many of them had never seen a theatre or a play. It was a strangely quiet crowd, usually. Little of laughter, of shouting. They came to the show boat timid, wide-eyed, wondering, like children. Two men of the steamboat crew or two of the musicians acted as ushers. After the first act was over they had often to assure these simple folk that the play was not yet ended. “This is just a recess. You come back to your seat in a couple of minutes. No, it isn’t over. There’s lots more to the show.”

After the play there was the concert. Doc, Andy, and the ushers passed up and down between the acts selling tickets for this. They required an additional fifteen cents. Every member of the
Cotton Blossom
troupe must be able to sing, dance, play some musical instrument, or give a monologue—in some way
contribute to the half hour of entertainment following the regular performance.

Now the band struck up. The kerosene lamps on the walls were turned low. The scuffling, shuffling, coughing audience became quiet, quiet. There was in that stillness something of fright. Seamed faces. Furrowed faces. Drab. Bitter. Sodden. Childlike. Weary. Sometimes, startlingly clear-cut in that half light, could be glimpsed a profile of some gaunt Southern labourer, or backwoodsman; and it was the profile of a portrait seen in some gallery or in the illustration of a book of history. A nose high-bred, aquiline; a sensitive, haughty mouth; eyes deep-set, arrogant. Spanish, French, English? The blood of a Stuart, a Plantagenet? Some royal rogue or adventurer of many many years ago whose seed, perhaps, this was.

The curtain rose. The music ceased jerkily, in mid-bar. They became little children listening to a fairy tale. A glorious world of unreality opened before their eyes. Things happened. They knew that in life things did not happen thus. But here they saw, believed, and were happy. Innocence wore golden curls. Wickedness wore black. Love triumphed, right conquered, virtue was rewarded, evil punished.

They forgot the cotton fields, the wheatfields, the cornfields. They forgot the coal mines, the potato patch, the stable, the barn, the shed. They forgot the labour under the pitiless blaze of the noonday sun; the bitter marrow-numbing chill of winter; the blistered skin; the frozen road; wind, snow, rain, flood. The women forgot for an hour their washtubs, their kitchen stoves,
childbirth pains, drudgery, worry, disappointment. Here were blood, lust, love, passion. Here were warmth, enchantment, laughter, music. It was Anodyne. It was Lethe. It was Escape. It was the Theatre.

I
T WAS the theatre, perhaps, as the theatre was meant to be. A place in which one saw one’s dreams come true. A place in which one could live a vicarious life of splendour and achievement; winning in love, foiling the evildoer; a place in which one could weep unashamed, laugh aloud, give way to emotions long pent-up. When the show was over, and they had clambered up the steep bank, and the music of the band had ceased, and there was left only the dying glow of the kerosene flares, you saw them stumble a little and blink, dazedly, like one rudely awakened to reality from a lovely dream.

By eleven the torches had been gathered in. The show-boat lights were dimmed. Troupers as they were, no member of the
Cotton Blossom
company could go meekly off to sleep once the work day was over. They still were at high tension. So they discussed for the thousandth time the performance that they had given a thousand times. They dissected the audience.

“Well, they were sitting on their hands to-night, all right. Seemed they never would warm up.”

“I got a big laugh on that new business with the pillow. Did you notice?”

“Notice! Yeh, the next time you introduce any new business you got a right to leave me know beforehand.
I went right up. If Schultzy hadn’t thrown me my line where’d I been!”

“I never thought of it till that minute, so help me! I just noticed the pillow on the sofa and that minute it came to me it’d be a good piece of business to grab it up like it was a baby in my arms. I didn’t expect any such laugh as I got on it. I didn’t go to throw you off.”

From Schultzy, in the role of director: “Next time you get one of those inspirations you try it out at rehearsal first.”

“God, they was a million babies to-night. Cap, I guess you must of threw a little something extra into your spiel about come and bring the children. They sure took you seriously and brought ’em, all right. I’d just soon play for a orphan asylum and be done with it.”

Julie was cooking a pot of coffee over a little spirit lamp. They used the stage as a common gathering place. Bare of scenery now, in readiness for next night’s set, it was their living room. Stark and shadowy as it was, there was about it an air of coziness, of domesticity. Mrs. Means, ponderous in dressing gown and slippers, was heating some oily mess for use in the nightly ministrations on her frail little husband’s delicate chest. Usually Andy, Parthy, Elly, and Schultzy, as the
haute monde
, together with the occasional addition of the
Mollie Abie’s
captain and pilot, supped together at a table below-stage in the dining room, where Jo and Queenie had set out a cold collation—cheese, ham, bread, a pie left from dinner. Parthy cooked the coffee on the kerosene stove. On stage the women of the company hung their costumes
carefully away in the tiny cubicles provided for such purpose just outside the dressing-room doors. The men smoked a sedative pipe. The lights of the little town on the river bank had long been extinguished. Even the saloons on the waterfront showed only an occasional glow. Sometimes George at the piano tried out a new song for Elly or Schultzy or Ralph, in preparation for to-morrow night’s concert. The tinkle of the piano, the sound of the singer’s voice drifted across the river. Up in the little town in a drab cottage near the waterfront a restless soul would turn in his sleep and start up at the sound and listen between waking and sleeping; wondering about these strange people singing on their boat at midnight; envying them their fantastic vagabond life.

A peaceful enough existence in its routine, yet a curiously crowded and colourful one for a child. She saw town after town whose waterfront street was a solid block of saloons, one next the other, open day and night. Her childhood impressions were formed of stories, happenings, accidents, events born of the rivers. Towns and cities and people came to be associated in her mind with this or that bizarre bit of river life. The junction of the Ohio and Big Sandy rivers always was remembered by Magnolia as the place where the Black Diamond Saloon was opened on the day the
Cotton Blossom
played Catlettsburg. Catlettsburg, typical waterfront town of the times, was like a knot that drew together the two rivers. Ohio, West Virginia, and Kentucky met just there. And at the junction of the rivers there was opened with high and appropriate
ceremonies the Black Diamond Saloon, owned by those picturesque two, Big Wayne Damron and Little Wayne Damron. From the deck of the
Cotton Blossom
Magnolia saw the crowd waiting for the opening of the Black Diamond doors—free drinks, free lunch, river town hospitality. And then Big Wayne opened the doors, and the crowd surged back while their giant host, holding the key aloft in his hand, walked down to the river bank, held the key high for a moment, then hurled it far into the yellow waters of the Big Sandy. The Black Diamond Saloon was open for business.