Just One Day 02: Just One Year (20 page)

S
o much to do. There’s an all-cast rehearsal at noon. Then a tech run-through. I need to run back to the flat, grab some things, tell the boys. And Daniel. Yael.

Broodje is only waking up. Breathlessly, I tell him the news. By the time I’ve finished, he’s already on his phone, calling the boys.

“Did you tell your ma?” he asks when he hangs up.

“I’m calling her now.”

I calculate the time difference. It’s not quite five o’clock in Mumbai, so Yael will still be working. I send her an email instead. While I’m at it, I send one to Daniel. At the last minute, I send one to Kate, telling her about Jeroen’s accident, inviting her to tonight’s show if she’s at all in the area. I even invite her to stay with me and give her the address of the flat.

I’m about to log off when I do a quick scan of my inbox. There’s a new message from an unfamiliar address and I think it’s junk. Until I see the subject line: Letter.

My hand’s shaking a bit as I click on the message. It’s from Tor. Or relayed from Tor via some Guerrilla Will player who doesn’t abide by the email ban as she does.

Hi Willem:

Tor asked me to email you to say that she ran into Bex last week and Bex told her that you hadn’t gotten that letter. Tor was pretty upset because the letter was important and she’d gone to a lot of trouble to try to get it to you. She wanted you to know it was from a girl you’d met in Paris who was looking for you because you’d dicked her over and pulled a runner. (Tor’s words, not mine.) She said that you ought to know that actions have consequences. Again, Tor’s words. Don’t shoot the messenger.
You know how she is.

Cheers! Josie

I sink down onto my bed as very different emotions battle it out.
Dicked her over,
pulled a runner
. I feel Tor’s anger. And Lulu’s too. Shame and regret well up but then just stop there, held at bay by some invisible force. Because she’s looking for me. Lulu is looking for me, too. Or she was. Maybe just to tell me to piss off. But she was looking for me like I was looking for her.

I don’t know what to feel as I wander into the kitchen. It’s all just too much for one day.

I find Broodje cracking eggs into a frying pan. “Want an
uitsmijter
?” he asks.

I shake my head.

“You should eat something. Keep your strength up.”

“I have to go.”

“Now? Henk and W are on their way over. They want to see you. Will you be around at all before your big debut?”

The rehearsal starts at noon and will take at least three hours, and then Linus said I’d have a break before I go for a run-through at the amphitheater at six. “I can probably get back here around four or five?”

“Great. We should have the party plans well under way by then.”

“Party plans?”

“Willy, this is big.” He pauses to look at me. “After the year you’ve had—the
years
you’ve had—we should celebrate this.”

“Okay, fine,” I say, still half dazed.

I go back into my room to pack up a change of clothes for under the costume, shoes to wear. I’m about to leave when I see Lulu’s watch sitting on my shelf. I hold it in my hand. After all this time, it’s still ticking. I hold it in my hand a moment longer. Then I slip it into my pocket.

A
t the theater, the rest of the cast has assembled. Max comes up behind me. “
I’ve got your back
,” she whispers.

I’m about to ask her what she means, and then I see what she means. For the better part of three months, I have been mostly invisible to many of these people, a shadow-cast member. And now, the spotlight is glaring and there’s no safety in the shadows anymore. People are looking at me with a particular mix of suspicion and condescension, a familiar feeling from when I was traveling and walked through certain neighborhoods where my kind didn’t tend to wander. As I did when I was traveling, I just act like I don’t notice and carry on. Soon enough Petra is clapping her hands, gathering us together.

“We have no time to lose,” Linus says. “We will do a modified run-through, skipping over scenes that Orlando is not in.”

“So why did you call
all
of us in?” mutters Geert, who plays the swing roles of one of Frederick’s men and Silvius; he has almost no scenes with Orlando.

“I know. Sitting around watching other people act is such a bloody waste of time,” Max says, her voice so sincere that it takes Geert a few seconds to have the good sense to look chastened.

Max gives me a crooked smile. I’m glad she’s here.

“I called everyone in,” Petra says, with an exaggerated patience that lets you know she’s reaching the end of her supply, “so you could all accustom yourself to the different rhythms of a new actor, and so we could all of us help Willem ensure that the transition between him and Jeroen is as seamless as possible. Ideally, you won’t even be able to tell the difference.”

Max rolls her eyes at this and once again I’m glad she’s here.

“Now from the top, please,” Linus says, tapping his clipboard. “There’s no set and no marks so just do your best.”

As soon as I step onto the stage, I feel relieved. This is where I’m meant to be. In Orlando’s head. As we move through the play, I discover more things about Orlando. I discover how key that first scene when he and Rosalind meet is. It’s just for a few moments, but they see something in each other, recognize something. And that the spark sustains the passion, for both of them, for the rest of the play. They don’t see each other—knowingly see each other—again until the very end.

Such a dance that Shakespeare wrote into a handful of pages of text. Orlando’s about to fight a man far stronger than he is, but he peacocks in front of Rosalind and Celia to impress them. He’s scared, he must be, but instead of showing it, he bluffs. He flirts. “Let your fair eyes and gentle wishes go with me to my trial,” he says.

The world pivots on moments. And in this play, it’s the moment when Rosalind says, “The little strength that I have, I would it were with you.”

That one line. It cracks open his facade. It reveals what’s underneath. Rosalind sees Orlando. He sees her. That’s the whole play, right there.

I feel the lines like I haven’t before, like I’m truly understanding Shakespeare’s intentions. I feel as if there really was a Rosalind and an Orlando and I’m here to represent them. It isn’t acting in a play. It goes back further than that. It’s much bigger than me.

“Ten-minute break,” Linus calls at the end of Act One. Everyone heads out for a smoke or a coffee. But I am reluctant to leave the stage.

“Willem,” Petra calls to me. “A word.”

She’s smiling, which she rarely does, and at first I read it for pleasure, because isn’t that what a smile communicates?

The theater empties out. It’s just the two of us now. Not even Linus. “I want to tell you how impressed I am,” she begins.

Inside I’m a little boy grinning on a birthday morning, about to get the presents. But I try to keep my face professional.

“With so little experience, to know the language so well. We were taken with your ease with the language at your audition, but this . . .” She smiles again, only now I notice that it looks a bit like a dog baring its fangs. “And the blocking, you have it cold. Linus tells me that you even learned some of the fight choreography.”

“I observed,” I tell her. “I paid attention.”

“Excellent. That’s just what you needed to do.” And there’s that smile again. Only now do I begin to doubt it reflects any pleasure. “I spoke to Jeroen today,” she continues.

I don’t say anything but my gut twists. All this, and now Jeroen is going to lumber back with his cast.

“He’s terribly embarrassed by what happened, but most of all he’s disappointed to have let down his company.”

“There’s no one to blame. He was in an accident,” I say.

“Yes. Of course. An accident. And he very much wants to be back for the last two weeks of the season and we will do our best to adapt to meet his needs, because that is what you do when you are part of a cast. Do you understand?”

I nod, even though I don’t really understand what she’s on about.

“I understand what you were trying to do up there with your Orlando.”

Your Orlando
. Something about the way she says that makes me feel like it won’t be mine for much longer.

“But the role of the understudy is not to bring his own interpretation to the part,” she continues. “It is to play the part as the actor you’re replacing played it. So in effect, you aren’t playing Orlando. You are playing Jeroen Gosslers playing Orlando.”

But Jeroen’s Orlando is all wrong
, I want to say. It’s all machismo and prancing and no revealing; and without vulnerability, Rosalind wouldn’t love him, and if Rosalind doesn’t love him, why should the audience care? I want to say:
Let me do this. Let me do it right this time
.

But I don’t say any of that. And Petra just stares at me. Then, finally she asks: “Do you think you can manage that?”

Petra smiles again. How foolish of me—of all people—not to recognize her smile for what it was. “We can still cancel for this weekend,” she says, her voice soft, the threat clear. “Our star has had an accident. No one would fault us.”

Something given, something taken away. Does it always have to work like that?

The cast starts to drift back into the theater, the ten-minute break over, ready to get back to work, to make this happen. When they see me and Petra talking, they go quiet.

“Are we understood?” she asks, her voice so friendly it’s almost singsong.

I look at the cast again. I look at Petra. I nod. We’re understood.

W
hen Linus releases us for the afternoon, I bolt for the door. “Willem,” Max calls.

“Willem,” Marina calls behind her.

I wave them off. I have to be fitted for my costume and then I have only a couple hours until Linus will meet me to go through my marks on the amphitheater stage. As for what Marina and Max have to say: if it’s compliments of my performance, so Jeroen-like even Petra was impressed, I don’t want to hear it. If it’s questions about why I’m playing it like this, when I played it so differently before, then I really don’t want to hear it.

“I have to go,” I tell them. “I’ll see you tonight.”

They look wounded, each in their own way. But I just walk away from them.

Back at the flat, I find W, Henk, and Broodje busy at work, pages of yellow pad on the coffee table. “That’s Femke in,” Broodje is saying. “Hey, it’s the star.”

Henk and W start to congratulate me. I just shake my head. “What’s all this?” I gesture to the project on the table.

“Your party,” W says.

“My party?”

“The one we’re throwing tonight,” Broodje says.

I sigh. I forgot all about that. “I don’t want a party.”

“What do you mean you don’t want a party?” Broodje asks. “You said it was okay.”

“Now it’s not. Cancel it.”

“Why? Aren’t you going on?”

“I’m going on.” I go into my room. “No party,” I call.

“Willy,” Broodje yells after me.

I slam the door, lie down on the bed. I close my eyes and try to sleep, but that’s not happening. I sit up and flip through one of Broodje’s copies of
Voetbal International
but that’s not happening either. I toss it back on my bookshelf. It lands next to a large manila envelope. The package of photos I unearthed from the attic last month.

I open the envelope, thumb through the pictures. I linger on the one of me and Yael and Bram from my eighteenth birthday. It’s like an ache, how much I miss them. How much I miss her. I’m so tired of missing things I don’t have.

I pick up the phone, not even calculating the time difference.

She answers straight away. And just like that time before, I’m at a loss for words. But not Yael. Not this time.

“What’s wrong? Tell me.”

“Did you get my email?”

“I haven’t checked it. Is something wrong?”

She sounds panicked. I should know better. Out-of-the-blue phone calls. They require reassurance. “It’s nothing like that.”

“Nothing like what?”

“Like before. I mean, nobody is sick, though someone did break an ankle.” I tell her about Jeroen, about my taking on his part.

“But shouldn’t this make you happy?” she asks.

I thought it would make me happy. It did make me so happy this morning. Hearing about Lulu’s letter made me happy this morning. But now that’s worn off and all I feel is her recrimination. How far the pendulum can swing in one day. You’d think I’d know that by now. “It appears not.”

She sighs. “But Daniel said you seemed so energized.”

“You spoke to Daniel? About me?”

“Several times. I asked his advice.”

“You asked
Daniel
for advice?” Somehow this is even more shocking than her asking him about me.

“I wondered if he thought I should ask you to come back here.” She pauses. “To live with me.”

“You want me to come back to India?”

“If you want to. You might act here. It seemed to go well for you. And we could find a bigger flat. Something big enough for both of us. But Daniel thought I should hold off. He thought you seemed to have found something.”

“I haven’t found anything. And you might’ve asked
me
.” It comes out so bitter.

She must hear it, too. But her voice stays soft. “I
am
asking you, Willem.”

And I realize she is. After all this time. Tears well up in my eyes. I’m grateful, in that small moment, for the thousands of kilometers that separate us.

“How soon could I come?” I ask.

There’s a pause. Then she gives the answer I need: “As soon as you want.”

The play. I’ll have to do it this weekend, and then Jeroen will come back or I can quit. “Monday?”

“Monday?” She sounds only a little bit surprised. “I’ll have to ask Mukesh what he can do.”

Monday. It’s in three days. But what is there to stay for? The flat is finished. Soon enough Daniel and Fabiola will be back with the baby, and there won’t be room for me.

“It’s not too soon?” I ask.

“It’s not too soon,” she says. “I’m just grateful it’s not too late.”

There’s a hitch in my throat and I can’t speak. But I don’t need to. Because Yael starts speaking. In torrents, apologizing for keeping me at arm’s length, telling me what Bram always said, that it wasn’t me, it was her, Saba, her childhood. All the things I already knew but just didn’t really understand until now.

“Ma, it’s okay.” I stop her.

“It’s not, though,” she says.

But it is. Because I understand all the ways of trying to escape, how sometimes you escape one prison only to find you’ve built yourself a different one.

It’s a funny thing, because I think that my mother and I may finally be speaking the same language. But somehow, now words don’t seem as necessary.