Performance Anxiety. Betsy Burke
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to get my ticket.”
I was tempted to stay and tell her about the other things that were taking me to London. Like my father, the baritone Sebastian Lyme. And Kurt Hancock, the conductor/composer who was suddenly cutting into my practice time.
Kurt hadn’t been part of my strategy, but when he’d strolled into the rehearsal hall two weeks earlier to conduct the Madama Butterfly, all the chorus women were immediately in heat.
To be honest, he wasn’t really my type. I prefer darker, heftier men. Kurt is slim, blond and blue-eyed. But there were women in that chorus ready to poison their families and run away with him, and I guess, in trying to figure out what it was about him that was making them all unhinge, I let myself be carried away by the Kurt Hancock psychosis, too.
After that Butterfly rehearsal, everybody went out to Mimi’s, a Gastown restaurant where opera singers often showcase their talent. The place is decorated in Chocolate Box Gothic with rich dark heavy drapes and tablecloths edged with a fatal amount of flounce. It’s a home away from home for the opera bunch. Sometimes the singing is really fantastic, the performances glow, and sometimes the singers leave you feeling that it might be more fun to be slapped in the face over and over with a fresh cod than to have to listen to their talent. But I guess it’s a question of how everybody’s feeling.
That night was a fresh-cod night at Mimi’s, my fellow chorus singers all trying too hard to impress Kurt.
My defective tights had been slipping down all evening and eventually were clinging to my knees. I wanted to yank them up again without doing a striptease in front of the entire opera company, so I went looking for a private place to sort out the matter. The tiny bathroom was occupied but I opened the door next to it, which was a big broom closet, and stumbled onto Kurt.
He froze like a startled deer caught in headlights. I’m not sure what he was doing in there all by himself before I came onto the scene, but I’d heard a series of rhythmic thuds just beforehand, and now I thought he might have been punching or hitting something or someone. So I said (I was a little drunk), “Don’t mind me, Mr. Hancock. This won’t take long. You can go back to whatever it was you were doing in a second. I just have to take care of something.” And then I hitched up my dress and tugged everything into place.
He stared at me the entire time and I stared back. Then I noticed that the wall near his foot was covered with little black crescent-shaped marks. It wasn’t the first time I’d seen this sort of thing. Music training had taught me early on that pianists never use their hands when they have to punch something.
But then Kurt started to smile. And appreciatively, too. He looked quite sweet, even a little forlorn, and I began to get a glimpse of his charm.
I smiled back. He smiled even more broadly, then sat down on a bucket and started asking me all about myself. I told him the basics, that my name was Miranda, that I was a lyric mezzo-soprano from the illustrious cow town of Cold Shanks, B.C., and that I’d done my voice degree in Vancouver but was going to London in December to do an ENO audition. And then I added that my father also lived in London, and was a well-known baritone.
“Oh, really?” asked Kurt. “What’s his name?”
“Sebastian Lyme.”
Kurt stood up. “Sebastian Lyme? I have a Don Giovanni recording with your father singing the Don. A fine voice. A very fine voice indeed. I’ve seen him perform. He had great charisma on stage.”
“Really?” My heart began to race.
“Yes. He did a stunning Figaro in the Barber. Apart from his technical ability, the man had wonderful presence. Quite exceptional acting. He had the audience in stitches. Not an easy feat.”
I was nodding vehemently. More. I wanted him to tell me more. I wanted to kidnap Kurt Hancock and make him tell me everything he knew about Sebastian Lyme.
Kurt went on, “And he did an impressive Rigoletto for the Royal Opera, but that must have been a good ten years ago. It’s a pity we haven’t crossed paths… Oh, Good Lord! You’re not about to cry, are you?”
I laughed, shook my head and wiped my damp eyes. “It’s just that hearing about my father like that…out of the blue…”
“Heavens. It usually takes me at least a week to make a woman cry.”
We both laughed and then he said softly, “So you’ve followed in his footsteps. Marvelous. May I ask you a question?”
“Shoot.”
“May I kiss Sebastian Lyme’s daughter?”
I didn’t expect it but I let him because he’d really earned it. And it was a nice kiss—not too sloppy or dry, nor too deep or shallow. Maybe Kurt would never have taken notice of me if my father hadn’t exalted me like that. I was no longer a nameless chorus singer but Sebastian Lyme’s daughter. And I began to fall a little in love with Kurt that night because he’d said such nice things about my father. Something my mother rarely did.
We stayed in that broom closet for a very long time. He turned out to be an amazing kisser, and I started to imagine the possibilities, to think that maybe he could be my type after all. I guess he thought so too because every day for the next week there was such a huge delivery of flowers from “Admiring K to Beautiful M” that my roommate, Caroline, said our apartment was starting to remind her of a funeral parlor.
But I didn’t tell any of that to the travel agent. There wasn’t time. And Kurt didn’t want me to broadcast our relationship. If you could call it that. After two weeks, we still hadn’t made it past the intense talks and eager groping in the darker corners of the theater.
After the travel agent’s, I had to get to the supermarket to buy the fruit for the dinner party I was throwing on Tuesday night, and then to work. The unpaid ninety-nine percent of the plane ticket was now hanging over me.
I admit I was very hyper and distracted that Monday after buying my ticket. My mind had also been zooming around all the other executive decisions I still had to make. Such as: should I buy the out-of-season strawberries and out-of-country mangoes and risk having Caroline rant about the exploitation of Mexican field workers? Because there was no way I could avoid inviting Caroline to the party. She was my roommate. She was three years older than me, which made her twenty-nine and on the edge of Thirties Purgatory. Apart from her political zeal, she was an okay roommate, but she did tend to hold those three extra years over my head sometimes, to polemicize everything, especially when my opera friends were around.
Caroline has a degree in poli sci. She works as a Jacqueline of all trades at the Student Union Building, but sometimes, to hear the way she talks, you’d think she were an indispensable cog in the wheels of international relations.
And she loves parties. She can sniff them out the way a pig sniffs out truffles.
Was it better to leave the pretty and exorbitant fruits and have pale, sensible and boring local varieties? The party was going to be the next evening and it was really important, a celebration of sorts, if you took the Kurt factor into account. So the dessert had to be perfect. Well, it was a cake really, but a cake that didn’t look like a cake once you dressed it up with all that fruit.
The whole idea was that it had to drip with every possible tangy, sweet, sensuous decadence, the fruit literally tumbling over the whipped-creamy edges. The dessert had to look baroque and scream sex from its rum-and-cream-filled center. Because Kurt had told me he was definitely coming to the party. Definitely coming. And I’d decided it was worthwhile to impress him a little.
So I had to have those crazy-ass foreign fruits on that cake.
On the other hand, there’d been that dinner party six months back when Caroline had ruined everything because I’d bought a few freshly imported lychees and she didn’t approve; she’d gone on and on about the oppression of Chinese growers by the new wave of pseudocapitalists, which was nothing more than a devious form of superslavery to Western consumption. There in the supermarket I started to get so anxious just thinking of that evening. It was the