Distant Parallels

The first foreign language I tried to learn was Russian. I studied four years in high school and became good at reading and writing, and in certain controlled academic settings, I could speak fairly well, too. Friends of the family were born in Russia, and one evening at supper we gave conversation a try. The effort was brief as they didn’t want to embarrass me – which to a 16 year-old was highly embarrassing. I never tried again.

Five years after high school, I visited our family’s ancestral villages in Croatia. Croatian is a Slavic language and shares some grammar and like-sounding words with Russian, but it is heavily influenced by its historic (and many) occupiers, so is also laced with Latin grammar on top of the already complex Slav, and carries a huge vocabulary of object names derived from Italian, German, and Turkish. In short, my Russian almost made trying to learn Croatian more difficult. My oh-so-patient cousins struggled with me through tortured sentences frequently interrupted by my pulling a dictionary out of my back pocket. After a couple of weeks, we breathed a collective sigh, and I returned to California.

Three years later I stayed in Firenze for a few winter and spring months, and made a feeble effort to learn the language. I was generously accommodated by an American friend, who, when we were together (which was almost daily), used his fluent Italian while I pretended to understand what was going on. In an effort to catch up, I read comic books. I must have learned something because I vividly recall giving a young Italian couple directions to Palazzo Pitti (a triumph!), and I was able to order coffee and buy groceries, but I had not a clue as to grammar or structure.

At the end of that trip, I revisited Croatia. On the train from Trieste to Dubrovnik, I shared a compartment with a scholar. She spoke literary Croatian, but used a less-educated form so I could understand her, and somehow I did, and somehow we managed a simple conversation.

In Dubrovnik, I was met by a cousin who drove me directly to Zuljana where most of my mother’s family lives. We arrived at Veronika and Marko’s house quite late. Fifteen cousins were waiting in the kitchen. Everyone had questions. I was too excited and too tired to be intimidated, so I answered them. This went on for some time when someone finally said, “You must have been studying these three years! You speak so much better.” I’d not uttered a word since my previous trip. The difference was that at that moment I had simply stepped out of my own way and allowed myself to function at whatever level I could. That sudden facility for Croatian waxed and waned during my three weeks there, but the good days were always better than the last good day.

A year or so later, that same friend from Firenze and I wrote and produced a play in Santa Cruz, California. It was a large-cast affair, and I asked everyone I knew who could walk and talk at the same time to audition. One workmate at Caffe Pergolesi was perfect for the male ingenue, but when I offered him the role, he declined. Then stuff happened, and for reasons later forgotten he did the show anyway.

Last March, the male ingenue – a bit older now – and his wife decided to spend a couple of weeks in Orvieto. In preparing for the trip, he mentioned something about my basically having saved his life all those years ago in Santa Cruz. When he arrived in April, I asked him about that remark; I had no recollection whatsoever of being in any way heroic, then or ever. He explained that he had been depressed. He had turned down the role I offered because he felt that before he could bring anything of value to the community, he had to clean his own psychic house. I apparently read him a riot act, told him that the only way he was going to spruce up his emotional life was in the midst of contributing – he just had to jump in and do it. So he did. We ended up creating a theatre workshop together that lasted three years.

I have a small community of people from various backgrounds, skills, and associations assisting me with my recent journey through the hills and valleys of physical health. I have a larger community of loving friends and familiar strangers greeting me daily with smiles and unspoken encouragement. I have a world-wide community of friends and family who have been present, in one form or the other, throughout these trials and confusions – you, dear reader, are notably among them.

A few weeks ago, one of my far-away friends wrote in response to my recent blog that I seemed “obsessed”. The word played through my mind. Suddenly, today his comment made sense, and all the elements listed above snapped together. I had fallen into the trap I most wanted to avoid from the beginning; I had, on some level, accepted the role of a PD victim. The oft repeated monologue goes, “Oh dear, I must be so careful, the situation is so delicate, what if I’m doing too much or too little, or what if..?”

In the past few days my Italian has gained in fluidity, if not fluency, to a surprising degree (depending somewhat mysteriously on who I am talking to). This happens periodically, and is always connected to my giving up exaggerated notions of having to speak correctly – to my not getting in my own way.

With the health adventure, it’s past time to relax and let the body play through both its problems and triumphs, and most particularly, through its responses to the treatments I’ve been given, however twisty and unpredictable that path might be. As in learning a language, there needs to be space granted, notions dropped – not every grunt, nor every hour, nor every rebound must be perfect or lasting. Every good day tends to be better than the last good day, and so long as that is the case, it will sustain me. This is not unknown territory.

Because I stepped out of my own way, the day was wonderful. Whether I feel better and therefore stronger, or I feel better because I am acting stronger, is a question for the ages. Or perhaps there is no question at all, and it is as the old Shaker song says, “By turning, turning we come ’round right.”

The Cavalcade of Symptoms: A Review

Readers have been clamoring for this critic to publish an update on that unlikely hit, The Cavalcade of Symptoms, PD Edition (producer, director, playwright, and most reliable spectator, David Zarko). I’ve been resisting, having seen (and reviewed) the show several times since its very quiet off-off-off Fringe premiere in 1998. But despite my well-known distaste for pressure from the reading public, my sense of the ridiculous prevailed and today I revisited the spectacle.

A famous quip by Haywood Broun springs to mind: “The play opened at 8:40 sharp and closed at 10:40 dull.” The sentiments expressed by Mr. Broun generally apply, here. There are, however, caveats. Many of them, in fact, but I shall limit myself to two.

One, the play never opens sharp at any time of the day, it rather sneaks up on you. The curtain always rises without warning, catching everyone off guard, sometimes embarrassingly so. What’s more, there is no telling how long a performance will last, nor what acts may be featured.

Two, it closes as spontaneously as it opens. Just when you think the performers have finally found some pizzazz, the lights dim, the curtain falls, and the music ceases, leaving Mr. Zarko – and whomever else may have wandered in to watch – in the dark and peacefully bewildered.

It’s hard to imagine in its present state, but The Cavalcade of Symptoms was going strong as recently as July. Back to back shows all day from wake to sleep (except for naps) kept the producer busy and guaranteed a brisk turnover. There were The Goofies and The Slows doing their famous semi-comic dance routines that always seem a little inebriated (and often are). There were the ever-popular Hoarse Whisperer and his sidekick, Little Miss Malaprop. There were the co-stars Tremor Rightly and Rightly Claw, symptomatically conjoined twins, and the bill was suitably rounded out by Shamus Shuffler and the Four Stumblers. Those and a host of supernumeraries – it was quite a show. But its glory days are waning.

I spent all day as a spectator, endeavoring to observe in as unbiased a manner as possible (especially as Mr. Zarko was always present, and frequently looking my way – I suspect out of boredom) so I could present an accurate report. The Goofies are as ridiculous and disorienting as ever, but take and leave stage with no pattern whatsoever. And as their partner team, The Slows, seldom show up at all, expectations fall on the Rightlies to take up the slack. Tremor is clearly losing his spunk. He wanders on, shakes for awhile, takes a nap, disappears. (The stage manager was several times seen crossing back and forth looking for him, calling his name with increasing irritation.) Claw is only reliably entertaining when Mr. Zarko has grown so restless as to pace between rows, but even then she lacks the old spirit, only does what she has to (according to contract?) and without commitment.

Hoarse Whisperer and Little Miss Malaprop were never really of star quality to begin with, nor are they disciplined performers, but at least when they’re on, they’re on. They come from a different angle each entrance (kudos for creative staging); from stage right, stage left, flown in on pipe three, swung in on a loose line, down the center aisle, up through a trap door. Sometimes they’re in the spotlight, other times upstage in shadow. They show up for cameos lasting no more than thirty seconds, and deliver soliloquies that seem to go on forever. I have to applaud their unflagging commitment to giving the spectator his dollar’s worth.

Shamus Shuffler and his close-harmony backup group, however, start strong but you can rely on their losing energy ten or fifteen minutes into the act. Shamus shuffles and weaves like a pro at first, but soon loses concentration, drifts, and eventually abandons all effort at disambulation, especially when faced with a downwards hill. The Stumblers, deprived of a strong lead, chime in randomly with an equally random riff or two, but may as well retire.

The supernumeraries are a chaotic, directionless mess. They come and go as they please, often leaving the theatre for days at a time. Were I Mr. Zarko, I’d can the lot of them.

I spoke to Zarko during one of the longer periods of the performers’ mystifying inactivity. He’d like to close the show, but says there are contractual arrangements he’s been unable to break. A friend Down Under is looking into loopholes and alternatives, a union rep near Allerona (Italy) has been trying to negotiate a clean closing (that she ominously implies may involve eradication of “certain parasites”), and a local singer/composer has been prodding and poking at the acts, trying to make his point that sticking around for their pathetic paychecks is not worth the damage done to their reputations. All the while a Slovakian cartel has been threatening to “kick their a**es outa da ballpark”. Zarko is seriously considering the offer.

But momentum is a great sustainer, and even as its influence wanes, the company still adheres to the maxim “the show must go on.” And on, and on, and on.

I ask Zarko why he doesn’t let the performers run out of steam on their own, suspend their pay, neglect the bills, and leave the theatre. He looks stunned. “What, and give up show business?”