Hal-lelujah
From
Things that Happen When Reading Rilke
On
the terrace of Bruno’s bar, Gerald, the Song and Dance man, is still walking
around in mobile hell trying to make a connection. He has received a text
message which says that his aunt, a retired actress, is dying. ‘How she
delighted in my post-cards from Bras de Venus’, he sighs, and tells his
venerable friend, and ex-producer, Big Hal that he must ‘fly to her’.
‘You’re
always flying around, old sport. Stay still and listen to me.’ If Gerald is lightly
pickled, Hal is royally drunk. The magisterial mind rises above the waves of
wine like a ship’s prow, and the procession of words is a state occasion
running to protocol. As usual he sits at an angle to the world, avoiding its
eye. But tonight he repeats himself as though talking to his own echo. ‘You’re
always flying around. Stay still.’
Hal’s
royal decrees are not to be challenged. His eminence as the king of impresarios
in light opera may be over, but he still strives to keep his hand in by slumming
on its fringes with amateur groups in Broadway musicals. Gerald in his
retirement also carries on camping, tinkling the ivories at baptisms, weddings
and wakes. They sometimes collaborate in shows about famous tenors.
‘Listen
to me. You have a gift for stillness, Gerald. When you stopped jumping around
on the stage, the audience was always moved. Moved to stay. You should have
done Samuel Beckett. I would have loved to direct you in a musical version of Happy
Days. Hit-song, ‘Roll out the Barrel’. Don’t waste that gift by flapping
against the windowpane like a trapped bumblebee.’ But by the time Hal concludes
his stately reproof, Gerald has made his connection and is out in the street,
holding on to his mobile like a shipwrecked sailor cradling a theatrical oar.
‘He
is talking to his dead aunt.’ Hal opines. ‘My dear young Augustus, I didn’t
have a gift except for recognising the gifts of others. My fate is to be
forgotten’. Hal chills to the self deprecation with a gentleman’s relish. ‘I
won’t be leaving anything behind. I won’t be leaving anything behind.’ Welsh
staggers into the conversation with a shout from a nearby table. ‘Neither will
I. I want all my paintings sold. I take my cue from Horace. Omnia mea mecum
porto. All’s that’s mine I carry with me. I learned that from the local clochards,
who like snails, move house by wearing
them. And that’s what I do to avoid the bailiffs. I bounce along like my
cheques. Who wants to leave anything behind when you can have it all now?’
‘What
was that?’, Hal murmurs, pretending not to hear Welsh. When his pitch is
threatened he plays it deaf. Welsh, who knows when he’s not wanted, exits,
leaving me to pay his bill. Hal sighs and repeats with a lyric lilt, savouring
every word, ‘My fate is to be forgotten’. He gives me a sidelong glance, as
though initiating an audition. It’s my turn at centre stage.
I
decide to brainstorm him in the nicest possible way. But my problem is I’m
sober. Vichy water has no hidden depths. I tell him the usual things about live
performances being eternal treasures. They live on in the memory and programme
collections. But even Shakespeare and the Bible will eventually die out into
modernised texts. I perform like Job's
Comforters on a bad night. And Hal has already begun to nod off.
Gerald
returns, laughing wildly as he blocks the ear-end of the phone to whisper
loudly, ‘Auntie can’t stop talking even when she’s dying. I can’t get a word
in’.
‘Well,
Augustus, old man’, says Hal, suddenly alert again. ‘Do you have any gifts worth
mentioning? No offence. I mean it kindly. Frankly, I’m a bit of a waste of
space myself’.
‘Most
of the things I’ve done in life, Hal, have been by trial and error. I’ve worked
hard to compensate for my lack of natural talent. But once as a boy I got full
marks in a music exam for ear tests. I was born with perfect pitch.’
Hal
looks at me directly like a hawk whose territory has been invaded. ‘Youngish
Augustus, stay still and listen to me.’ He hums and haws until I realise he is
testing my ear. I hazard, ‘Middle C’, and he nods.
‘You
could have become a piano tuner.
Although no doubt there’s a machine to do it nowadays.’