Dancing In The Dark - Couverture souple

Phillips, Caryl

Couverture souple

ISBN 10 : 0099488876 ISBN 13 : 9780099488873

Editeur : Vintage, 2006

A propos du livre

Extrait :

Act One

(1873-1903)

It is February 1903 and at present he is impersonating Shylock Homestead in the musical In Dahomey, but only after dark. He shambles about as though unsure what to do next, as if a wrong turning has placed him upon this stage and he may as well stay put until somebody offers him the opportunity to withdraw. Every evening Mr. Williams wanders aimlessly, but despite his size there is some elegance to his movement. When the audience raises its collective voice and asks him to reprise a song, Mr. Williams acts as though he is first shocked and then somewhat embarrassed that they should be stirring him out of his befuddled anonymity. Of course, this is all the more comical to his audience for they have never before witnessed a Negro performer affecting such indifference in the face of such overwhelming approval. Back uptown in Harlem, few residents have actually seen him perform, but everybody is fully aware of his stellar reputation. However, there are some Harlemites who have sat upstairs in the balcony and looked down at the senior partner in the Williams and Walker comedy duo, who are unsure what to make of his foolish blackface antics. These days Mr. Williams seldom looks up at the parcel of dark faces that stare down at him from nigger heaven, but he is always grateful to hear a good number of these colored Americans applauding enthusiastically as In Dahomey unfolds.

He stares at the contented white faces in the orchestra stalls knowing that he can hold an audience like nobody else in the city. He knows when to go gently with them, and he carefully observes their mood; he knows not to strain the color line for he respects their violence. At other times, when he can sense something close to warmth, he might push and cajole a little, and try to show them something that they had not thought of before; he might try to introduce them to the notion that music and wit are the colored man's gift to America, and then impress them with his own unique style of carefree dancing. All the while he listens closely for a single dull note, and should he detect it he will proceed with caution and neither irritate nor provoke. He is keen that at the end of the evening, they should all leave safely and without either party having broken the unwritten contract that exists between the Negro performer and his white audience. If they can achieve this, then it will be possible for them to come together again in good faith. He cares what they think about him, and he understands that one false step and he risks toppling over into the musician's pit and being replaced by Bob Cole or Ernest Hogan or one of the scores of other colored performers who are keen to usurp him without fully understanding that they do have the choice of offering these white faces in the orchestra stalls some artistic drollery and a little repose instead of clownish roughness and loud vulgarity.

But these days an increasingly impatient George does not share his partner's circumspect feelings with regard to their white audience. Before In Dahomey, neither Williams nor Walker objected to being presented as "The Two Real Coons" on the New York stage. They were young men, freshly arrived in the city and making their determined way in the world of vaudeville, often sharing the boards with acts billed as "The Merry Wops" or "The Sport and the Jew," and when money was in short supply they were happy to play on the same bill with trained dog and monkey acts. But it is now 1903, and times have changed and they are successful, and although Bert does not like to heat up the white man's blood by being flash in his face, George feels differently. George takes the role of the dude of the pair, the Broadway swell with silk cravat and fancy spats who blazes with energy, and who is not afraid to eyeball the audience. He is always pushing and demanding more, and the more George agitates, the more sorrowful his partner becomes both in performance and in person. He thinks, No need to be like that, George, as his gold-toothed partner grins and winks and seems determined to create a palpable flutter of feminine hearts both onstage and in the orchestra stalls, but Bert never says anything to dandy George in his colorful vests. Some days, Bert feels that their act, although seamless and coherent on the outside, is beginning to fracture internally for George has absolutely no interest in going gently with an audience and learning how to seduce them, and Lord help the man, white or colored, who would dare refer to him with an unpleasant epithet. In fact, an increasingly successful, and confident, George is beginning to act as though he doesn't give a damn about white folks.

walker:-I tell you I'm letting you in on this because you're a friend of mine. I could do this alone and let no one in on it. But I want you to share it just because we're good friends. Now after you get into the bank, you fill the satchel with money.

williams:Whose money?

walker:-That ain't the point. We don't know who put the money there, and we don't know why they got it. And they won't know how we got it. All you have to do is fill the satchel; I'll get the satchel--you won't have nothing to bother about--that's 'cause you're a friend of mine, see?

williams:-And what do I do with the satchel?

walker:-All you got to do is bring it to me at a place where I tell you.

williams:-When they come to count up the cash and find it short, then what?

walker:-By that time we'll be far, far away--where the birds are singing sweetly and the flowers are in bloom.

williams:-(With doleful reflection) And if they catch us they'll put us so far, far away we never hear no birds singin'. And everybody knows you can't smell no flowers through a stone wall.

He listens to the applause for his slow and cautious character. He listens to the applause for George's dapper, city-slick Negro dude. Do the audience understand that his character, this Shylock Homestead whose dull-witted antics amuse them, bears no relationship to the real Egbert Austin Williams? Every evening this question worries him, and every evening as he takes his curtain call he tries to ignore it, but he often lies in his bed late into the night trying to calculate where he might force a little more laughter here, or squeeze an inch more room to work with there, and therefore impress them with the overwhelming evidence of his artistry. Every evening he listens to the rainstorm of their applause and every evening he takes his bow, careful to make sure that he bends from the waist in tight unison with George, careful to make sure that the pair of them move and offer their best smile as one. George talks without moving his lips or turning his head. "You want to give them more?" Bert looks straight ahead. "Not tonight." Again they bow as one. "Everything okay?" "Sure, everything is just capital." The band begins to play their number and Bert waves a slow-branched hand to the audience and turns to leave. He holds the curtain open for George and makes sure that his partner passes safely through the velvet drapes. The thunderous applause continues, but Bert does not turn again to look at the audience for, at this moment, he wants something from them that he suspects he can never have: their respect. However, from the very beginning, this reluctant seven-legged word has failed to make an appointment with him.

--Mr. Williams?

He listens to the stage manager hollering out his name in the busy corridor. Why can't the impatient man wait until he has taken off his face?

--Mr. Williams, you'll be wanting me to keep a seat at tomorrow night's performance for your pop?

Every night the same intrusive question, and every night the same polite answer.

--Sure, Mr. Kelly, you keep that seat nice and warm. I reckon he'll be coming back either tomorrow night or some night soon.

He places the newly soiled towel by the bowl of murky water and he stares into the mirror at his fresh, clean face. He knows that his father has no desire to return and witness his son transforming himself into a nigger fool. He knows his father well enough to understand that beneath his placid exterior a quiet frustration burns within him, and he believes that his father does not like to place himself in situations that might cause him to get heated up. Father and son have never spoken of this fact, but since their arrival in America father and son seem to have found it difficult to communicate on any subject.

--Mr. Williams, will you be needing anything else tonight?

--I don't believe so, Mr. Kelly.

--Well, you just remember. I'll be holding that spot for your pop. Tomorrow night, or whenever he's ready to see you perform, you just let me know.

--Thank you, Mr. Kelly. I surely appreciate it.

He averts his eyes from the mirror and listens to the sound of retreating footsteps in the corridor beyond his locked dressing room door. Although no words have been exchanged between them, it is clear that his bewildered father is deeply ashamed of his only son.

The balance has gone. Five years ago, when she first met him, young Mr. Williams was a man with a purpose. Handsome, well dressed, and still in his mid-twenties, he possessed courtesies that belonged to an earlier era. He rose early, and retired early, and drank and smoked only in moderation, and he possessed a fierce ambition and work ethic. And talent. Lord, he had a talent that others could see, but none, she believed, could imagine it in full bloom the way she could. This, she thought, was a man fit for a widow who had already mastered the art of nurturing a man's dreams. This new man had tr...

Présentation de l'éditeur :

'The funniest man I ever saw, and the saddest man I ever knew.' This is how W.C. Fields described Bert Williams, the highest-paid entertainer in America in his heyday and someone who counted the King of England and Buster Keaton among his fans.

Born in the Bahamas, he moved to California with his family. Too poor to attend Stanford University, he took to life on the stage with his friend George Walker. Together they played lumber camps and mining towns until they eventually made the agonising decision to 'play the coon'. Off-stage, Williams was a tall, light-skinned man with marked poise and dignity; on-stage he now became a shuffling, inept 'nigger' who wore blackface make-up. As the new century dawned they were headlining on Broadway. But the mask was beginning to overwhelm Williams and he sank into bouts of melancholia and heavy drinking, unable to escape the blackface his public demanded.

À propos de cette édition

• Éditeur: Vintage
• Date d'édition: 2006
• ISBN 10: 0099488876
• ISBN 13: 9780099488873
• Reliure: Broché
• Nombre de pages: 224