Singin' and Swingin' and Gettin' Merry Like Christmas (20 page)

I prepared for bed after examining each object in the small bedroom and bath next door. Touching the wash-stand, the walls and the fine cotton curtains assured me that I was indeed out of the United States. I slept a fitful sleep, longing for my son and feeling nervous because the next evening I would debut in the role of Ruby.

The interior of the Teatro la Fenice was as rococo as the most opulent imagination could have wished. The walls were paneled in rich red velvet interrupted by slabs of white marble and gold mosaic. Heavy crystal chandeliers hung on golden chains. The rounded seats were covered in the same velvet and the wide aisles were carpeted with a deeper red wool.

The dressing rooms had been designed and built by people who possessed a great appreciation for singers and actors. They were large and comfortable to the point of being luxurious. The smaller rooms were furnished with a small sofa, dressing tables and a wide lighted mirror and a washstand. And the stars' quarters could have easily passed for superior suites in a first-class hotel.

Irene Williams and Laverne Hutchinson had not been seen all day. In the manner of operatic stars they had been in seclusion. However, singers of the less strenuous roles had walked along the canals and shopped in the small stores. Ned Wright had met a gondolier and arranged a late-night boat ride on the Grand Canal for a few friends. He invited me. I had seen posters of John McCurry and me posted around the city, and as I walked alone in the streets, small boys followed me chanting
“La prima ballerina,” “La prima ballerina.”
The children's pale-gold complexions and their joyful spirits reminded me of Clyde.

The stars materialized and dress rehearsal began. I was in costume and in place. There was a marked difference between observing the play—carefully scrutinizing each move, paying the closest attention to every note—and being a part of it and having some responsibility for the drama. The poignancy of Porgy's love for Bess and the tragedy of his fate brought tears to my eyes and clogged my throat, so that I could barely push notes out of my mouth. I was certain that in the course of time the play would become stale to me and I would become partially indifferent to its pathos. Over the next year, however, I found myself more touched by the tale and more and more impressed by the singers and actors who told it. The actual performance put dress rehearsal in the shade. The singers sang with fresh enthusiasm as if they had been called upon to create the music on the spot and were equal to the challenge. When Dolores Swann sang “Summertime,” the audience was as hushed as the plastic doll that lay in her arms, and when she crooned the last top note the theater exploded with the sound of applause. Serena's lament and the love duet brought the audience to its feet. In the second half, when I finished my dance, the audience cheered again; as I followed the singers to the wings I received kisses and hugs and pats on the back.

Martha caught my hand and said, “Oh, Pavlova, I knew you were the one.”

Lillian gave me a grin and said, “You danced your tail off, girl.”

The curtain opened and revealed the theatergoers standing in the brightly lit auditorium. They clapped their hands and shouted up a pandemonium: “Bravo,” “Bravo.” During rehearsal the theater had been like a large inverted
rococo snuffbox, but now, filled with beautifully dressed people screaming their appreciation, it was warm and rich and nearly too gorgeous to behold.

The curtains opened and closed and opened and closed and the audience refused to release the stars. Flowers were brought to the stage. I watched from the wings as Irene received bouquets gracefully in her arms until they piled up, threatening to obscure her face. Laverne bowed and smiled, holding on to her hand, then left her alone to take the kudos. When the curtain closed again, they exchanged places and he stood in the center accepting the applause. When the curtain closed for the last time, we hugged each other and danced with ecstasy.

The opening night of our European tour was a smash hit. The Italians were the most difficult audiences to sing for. They knew and loved music; operas, which were mainly for the elite in other countries, were folk music and children's songs in Italy. They loved us, we loved them. We loved ourselves. It was a certainty: if Italy declared us acceptable we could have the rest of Europe for a song.

We stayed in Venice for one sold-out week. During that time the stars were feted by city officials and the well-to-do, while the chorus was adored by the ordinary folk. We were hailed in the streets like conquering heroes and given free rides on the canals by gondoliers, who sang strains from
Porgy and Bess
. One owner of a glass-blowing factory presented us with delicate figurines, which we stowed in layers of cotton for our imminent trip to Paris.

I bought a French-English dictionary and packed it with the Italian-English phrase book and other belongings and had them taken to the bus which waited in the square. Fans
crowded around us, offering cheeks to be kissed, hands to be shaken and flowers. We exchanged hugs and some tears with people who hadn't known of our existence only seven days before.

When the bus drove toward the station where we were to take a train to Paris, I thought of the city as a larger replica of some of its museums. Venice was itself an object of art, and its citizens and artists who had created it and were constantly re-creating it. I waved my hands, wagged my head and made sorry, sad faces to the well-wishers, as if I was being carried off against my will. Loving Venice and Venetians nearly made me Italian.

The Blue Train sped through Italy. I sat in a compartment with Lillian, Martha and Barbara Ann, listening to them talk about recital salons, and concert halls. Lillian mentioned a voice teacher whom someone in New York had recommended. Martha drew herself up and said the greatest voice teacher in the world was her teacher, in New York, and she wouldn't stand for anyone else messing with her voice. (Operatic singers are fiercely loyal to their teachers.) Lillian told her that was stupid: “Your teacher couldn't be the best vocal teacher in the world because I've heard some terrible stories about her.” An argument grew and thrashed around the small space between us. I had nothing to add, since Wilkie was the only voice teacher I'd ever met, and I didn't want to mention his name in case I'd be obliged to defend him. I kept quiet. Barbara Ann said conciliatingly “Well, you know, it's hard to say who is the best voice teacher in the world. That is until you've heard everyone. There are teachers in Texas no one has ever heard of who are very good.” That was for Martha. She turned to Lillian and said, “Just because a person is gossiped about doesn't
necessarily mean that the person is guilty.” She looked at me for confirmation and added, “I mean, look how they talked about Jesus Christ. Am I right or wrong?”

I said I didn't know, and all three singers turned to me, their questions pouncing on my ears.

“What do you mean you don't know about Jesus?”

“They talked about him like a dog.”

“Don't you remember about the Philistines and the Pharisees?”

“Your grandmother would have been ashamed of you.”

“What about the money lenders in the temple?”

Martha said, “What about 'buked and scorned?” and then she began to sing: “I been 'buked and I been scorned.” Her voice was the most perfect I had ever heard in my life. It was like hot silver being poured from a high place.

Lillian laid her full contralto under the glistening sound:

Barbara Ann wedged her clear soprano between the other voices, embracing first one tone then the other, getting so near the other trills that her sound almost melted into theirs. The music written hundreds of years before soared in the Italian train, erasing the dispute, and placing us all somewhere between the agony of Christ and the ecstasy of Art.

As the train pulled into the Gare du Nord I heard my name shouted above the clamor of luggage carts and the calls of porters: “Maya Angelou,” “Où est Mademoiselle
Maya Angelou?” I knew I shouldn't have left my son. There was a telegram waiting for me to say he had been hurt somehow. Or had run away from home. Or had caught an awful disease. The train ground to a halt and I forced the conductor aside and opened the door.

Five feet away stood the handsome and rugged Yanko Varda and Annette March, as svelte as a model. They were searching the train and yelling, “Maya Angelou,” “Mademoiselle Maya Angelou.”

I felt weak with relief. “Yanko, Annette,
je suis ici.”

We caressed one another like lovers. Annette handed me a basket that held cheese and fruit, a bottle of wine and a loaf of bread. They motioned to me to look back along the track. Victor Di Suvero, Mitch Lifton and Cyril March were handing out similar baskets to some of the singers as they detrained. They said, “Welcome to Paris. This is in honor of Maya Angelou. This is in honor of Maya Angelou. Welcome to Paris.”

Yanko called to them, and when they saw me they ran over. Mitch and Victor hugged me and grinned. Cyril, who was always more reserved, gave me the European embrace.

I asked what they were doing in Paris, and they asked me to go with them for a glass of wine. They would explain everything.

I went to Bob Dustin to get the name and address of my hotel and an advance in francs. He agreed to send my baggage along, and my San Francisco friends took me to a sidewalk café.

They had not come to Paris together. Yanko was returning from a trip to Greece.

“Maya, I have found the only beautiful brunette in the world,” Victor said. “She is a sculptor, a Greek, a goddess.
You will meet her here. She will come to Sausalito. She will light up San Francisco with her black eyes and the men will fall at her feet like Turks. She is Aphrodite.”

Victor was en route to Italy on family business. Mitch was on a visit, and the Marches had moved to Paris, where Cyril was practicing medicine. San Francisco papers had run a notice that I had joined
Porgy and Bess
. My friends in Paris had read the company's advance publicity and found when and where we were due to arrive.

I described the fabulous success in Venice, giving myself a little more credit than I deserved. We drank wine, talked about San Francisco and they promised to attend opening night.

Paris loved
Porgy and Bess
. We were originally supposed to stay at the Théâtre Wagram for three weeks, but were held over for months. After the first week I discovered that I couldn't afford to stay in the hotel that had been assigned to me. The policy of the company was to pay the singers half their salary in the currency of the country we were in and the other half in dollars. I sent my dollars home to pay for Clyde's keep and to assuage my guilt at being away from him.

I moved into a small pension near the Place des Ternes, which provided a Continental breakfast with my tiny room. There was a cot-sized bed and just space for me and my suitcase. The family who owned the place and my fellow roomers spoke no English, so perforce my French improved.

One evening after the theater a group of Black American entertainers who lived in Paris came backstage. They enchanted me with their airs and accents. Their sentences were mixed with Yeah Man's and Oo la la's. They fluttered their hands and raised their eyebrows in typically Gallic fashion, but walked swinging their shoulders like Saturday-night people at a party in Harlem.

Bernard Hassel, a tall nut-brown dancer, worked at the Folies-Bergères, and Nancy Holloway whose prettiness
brought to mind a young untroubled Billie Holiday, sang at the Colisée. Bernard invited me to see the night life of Paris.

“Alors
, something groovy, you know?”

We went to the Left Bank, and he showed me where F. Scott Fitzgerald and Hemingway did some flamboyant talking and serious drinking. The bareness of the bar surprised me. I expected a more luxurious room with swatches of velvet, deep and comfortable chairs and at least a doorman. The café's wide windows were bare of curtains and the floor uncarpeted. It could have been the Coffee Shop in San Francisco's North Beach. High up over the façade hung a canvas awning on which was stenciled the romantic name
DEUX MAGOTS.

L'Abbaye was a bar owned by Gordon Heath, a Black American who provided his own entertainment. He sang in a weak but compelling voice and projected an air of mystery. After each song the audience showed their appreciation by snapping their fingers. Heath did not allow hand-clapping.

The Rose Rouge on the Left Bank was closer to my idea of a Parisian night club. It had velour drapes and a uniformed doorman; the waiters were haughty and the customers well-dressed. Acrobats and pantomimists, magicians and pretty half-naked girls kept up a continuous diversion. Bernard introduced me to the handsome Algerian owner, who I immediately but privately named Pepe Le Moko. He said if I wanted to do an act in his club, he'd find a place for me. I said I'd keep it in mind.

Around three o'clock in the morning my escort took me to the Mars Club, which he pronounced “Mairs Cloob” near the Champs-Élysées. It was owned by an oversized American man from New York and specialized in Black entertainment.
Bernard pointed out the names printed on the door of people who had worked in the smoky and close room. The only one I recognized was Eartha Kitt. Ben, the owner, repeated Pepe Le Moko's invitation. I said I was flattered and I'd think about it. I knew I wouldn't. Where would I find a musician in Paris who could play calypso accompaniment?

Ben asked, “Why don't you give us a song now?”

I looked at the pianist, who was white and thin and had a long sorry face. He sat playing a quiet moody song. When he finished, Ben called him to the bar and introduced us. “Bobby Dorrough, this is Maya Angelou, she's a singer.”

He smiled and his face was transformed. His cheeks bunched under sparkling eyes and his teeth were large and white and even. He said, “Happy to know you, Maya,” and the drawl made my skin move along my arms. He couldn't have sounded more Southern white if he had exaggerated.