Thirty-six
A week goes by, I hear nothing. The skinny guy I’d spoken to, Vincent, had said there’d be a series of callbacks before final casting. I don’t get called. I put it behind me and get back to work on Daniel’s flat, channeling so much energy into my tiling that Daniel and I finish the bathroom a couple of days ahead of schedule and get started on the kitchen. We take the metro out to IKEA to pick cabinets. We’re in a showcase kitchen with cabinets the color of red nail varnish when my phone rings.
“Willem, this is Linus Felder from the Allerzielentheater.”
My heart thuds like I’m on stage all over again.
“I need you to learn Orlando’s opening speech and come in tomorrow morning at nine. Can you manage that?” he asks.
Of course I can manage it. I want to tell him that I’ll more than manage it. “Sure,” I say. And before I have a chance to ask any particulars, Linus hangs up.
“Who was that?” Daniel asks.
“The stage manager from that play I auditioned for. He wants me to come back in. To read for Orlando. The lead.”
Daniel jumps up and down like an excited child, knocking over the prop mixer in the show kitchen. “Oh, shit.” He pulls us away, whistling innocently.
I leave Daniel in IKEA and spend the rest of the day in the drizzle at the Sarphatipark, memorizing the speech. When it’s a decent hour in New York, I call Kate for more advice but I wake her up because it turns out she’s in California now. Ruckus is about to start a six-week tour of Cymbeline on the West Coast before coming to the UK in August for various festivals. When I hear this, I’m almost embarrassed to ask her for help. But, generous as always, she takes a few minutes to tell me what to expect on a callback. I might read a bunch of scenes and a bunch of parts, opposite several actors, and even though they’ve asked me to read Orlando, I shouldn’t assume that’s the role I’m up for. “But it’s promising they’ve asked you to read him,” she says. “It’s quite a role for you.”
“How do you mean?”
She sighs, noisily. “You still haven’t read the play?”
I’m embarrassed all over again. “I will, I promise. Later today.”
We talk a little more. She says she’s planning on spending nonfestival weekends traveling out of the UK, so maybe she’ll come to Amsterdam. I tell her she’s welcome any time. And then she reminds me again to read the play.
Late that night, after I’ve read the opening monologue so many times I could recite it in my sleep, I start on the rest of the play. I’m falling asleep at this point and it’s a little difficult to get into. I try to see what Kate means about Orlando. I suppose it’s that he meets a girl and falls in love with her and then meets her again but she’s disguised. Except Orlando gets a happy ending.
When I arrive at the theater the next morning, it’s almost empty, and dark except for a single lamp burning on the stage. I sit down in the last seat, and a short while later, the house lights flicker on. Linus strolls in, clipboard in hand, and behind him, Petra, the diminutive director.
There are no pleasantries. “Whenever you’re ready,” Linus says.
This time, I am ready. I’m determined to be.
Except I’m not. I get the lines right, but as I say one, then the next, I can hear myself say them and then I wonder how they sounded, did I hit the right beat? And the more I do that, the stranger the words start to sound, in the way that a perfectly normal word can start to sound like gibberish. I try to focus, but the harder I try, the harder it becomes, and then I hear a cricket chirping somewhere backstage and it sounds like the lobby of the Bombay Royale, and then I’m thinking about Chaudhary and his cot and Yael and Prateek and I’m everywhere in the world except in this theater.
By the time I finish, I’m furious with myself. All that practice, and it was for shit. The Sebastian monologue, which I didn’t even care that much about, was infinitely better than this.
“Can I try that again?” I ask.
“No need,” Petra says. I hear her and Linus murmuring.
“Really. I know I could do better.” There’s a jaunty smile on my face, which may be my finest acting of the day. Because really, I don’t know that I could do better. This was me trying.
“It was fine,” Petra barks. “Come back Monday at nine. Linus will get your paperwork before you leave.”
Is that it? Did I just get the part of Orlando?
Maybe I shouldn’t be so surprised. After all, it was that easy with the acrobats and with Guerrilla Will and even with Lars Von Gelder. I should be elated. I should be relieved. But, weirdly, all I feel is let down. Because this matters to me now. And something tells me if it matters, maybe it shouldn’t be easy.