“So, what we got on today?” Max asks in her London cockney. Like me, she’s a mutt; her father is Dutch from Surinam and her mother is from London. The cockney gets stronger when she drinks too much, though when she reads Rosalind, her English goes silky as the British Queen’s.
“They’re going over the fight scene choreography,” I tell her.
“Oh, good. Maybe that ponce will actually get hurt.” She laughs and runs a hand through her spiky hair. “Wanna run lines later? Won’t be much of a chance once we start tech.”
Soon, we move the set out of the theater for the final five days of tech rehearsals and dress rehearsals at the amphitheater in Vondelpark where the show will go up for six weekends. In two Fridays, we’ll have our soft opening, and then Saturday, the hard opening. For the rest of the cast, this is the payoff for all the work. For Max and me, it’s when we cash out, when any semblance of us being in the cast disappears. Linus has told us to make sure we know the entire play, all the blocking, by heart, and we’re to trail Jeroen and Marina through the first tech rehearsal. This is as close to the action as we get. Not once has Linus or Petra given us any direction or asked us to run lines or gone over any aspect of the play. Max and I run lines incessantly, the two of us. I think it’s how we make ourselves feel like we’re actually a part of the production.
“Can we do the Ganymede parts? You know I like those best,” Max says.
“Only because you get to be a boy.”
“Well, natch. I prefer Rosalind when she’s channeling her man. She’s such a simp in the beginning.”
“She’s not a simp. She’s in love.”
“At first sight.” She rolls her eyes. “A simp. She’s ballsier when she’s pretending to have balls.”
“Sometimes it’s easier to be someone else,” I say.
“I should think so. It’s why I became a bleeding actor.” And then she looks at me and snorts with laughter. We may memorize the lines. We may know the blocking. We may show up. But neither one of us is an actor. We are seat warmers.
Max sighs and kicks her feet up onto the chair, daring a wordless reprimand from Petra and a follow-up telling off from Linus, or, as Max calls him, the Flunky.
Up on stage, Jeroen is arguing with the choreographer. “That’s not really working for me. It doesn’t feel authentic,” he says. Max rolls her eyes again but I sit up to listen. This happened about every other day during the blocking, Jeroen not “feeling” the movements and Petra changing them, but Jeroen not feeling the new blocking either, so most of the time, she changed it back. My script is a crosshatch of scribbles and erasures, a road map of Jeroen’s quest for authenticity.
Marina is sitting on the cement pilings on the stage next to Nikki, the actress playing Celia. They both look bored as they watch the fight choreography. For a second Marina catches my eye and we exchange a sympathetic smile.
“I saw that,” Max says.
“Saw what?”
“Marina. She wants you.”
“She doesn’t even know me.”
“That may be the case, but she was giving you f**k-me eyes at the bar last night.”
Every night after rehearsal, most of the cast goes to a bar around the corner. Because we are either provocative or masochistic, Max and I go along with them. Usually we wind up sitting at the long wooden bar on our own or at a table with Vincent. There never seems to be room at the big table for Max and me.
“She was not giving me f**k-me eyes.”
“She was giving one of us f**k-me eyes. I haven’t gotten any Sapphic vibes off her, though you never can tell with Dutch girls.”
I look at Marina. She’s laughing at something Nikki said, as Jeroen and the actor playing Charles the wrestler work some fake punches with the fight choreographer.
“Unless you don’t like girls,” Max continues, “but I’m not getting that vibe off you either.”
“I like girls just fine.”
“Then why do you leave the bar with me every night?”
“Are you not a girl?”
Max rolls her eyes. “I am sorry, Willem, but charming as you are, it’s not going to happen with us.”
I laugh and give Max a wet kiss on the cheek, which she wipes off, with excess drama. Up on stage, Jeroen attempts a false punch at Charles and stumbles over himself. Max claps. “Mind that gout,” she calls.
Petra swerves around, her sharp eyes full of disapproval. Max pretends to be absorbed in her script.
“Fuck running lines,” Max whispers when Petra’s attention is safely returned to the stage. “Let’s get drunk.”
That night, over drinks at the bar, Max asks me, “So why don’t you?”
“Why don’t I what?”
“Get off with a girl. If not Marina, one of the civilians at the bar.”
“Why don’t you?” I ask.
“Who’s to say I don’t?”
“You leave with me every night, Max.”
She sighs, a big deep sigh that seems a lot older than Max, who is only a year older than me. Which is why she doesn’t mind seat-warming, she says. My time will come. She makes a slash mark over her chest. “Broken heart,” she says. “Dykes take dog-years to heal.”
I nod.
“So what about you?” Max says. “Broken heart?”
At times, I’d thought it was something like that—after all, I’d never been quite so strung out about a girl. But it’s a funny thing because since that day with Lulu in Paris, I’ve reconnected with Broodje and the boys, I’ve visited my mother and have been talking to her again, and now I’m living with Uncle Daniel. And I’m acting. Okay, perhaps not acting, exactly. But not accidentally acting, either. And just in general, I’m better. Better than I’ve been since Bram died, and in some ways, better than I was even before that. No, Lulu didn’t break my heart. But I’m beginning to wonder if in some roundabout way, she fixed it.
I shake my head.
“So what are you waiting for?” Max asks me.
“I don’t know,” I answer.
But one thing I do know: Next time, I’ll know it when I find it.
Thirty-eight
Before Daniel leaves, we hang the last of the kitchen cabinets. The kitchen is almost finished. The plumber will come to install the dishwasher and we’ll put in the backsplash and then that’s that. “We’re nearly there,” I say.
“Just have to fix the buzzer and tackle your shit in the attic,” Daniel says.
“Right. The shit in the attic. How much is there?” I ask. I don’t remember putting that many boxes up there.
But Daniel and I lug down at least a dozen boxes with my name on them. “We should just throw it all away,” I say. “I’ve gone this long without.”
He shrugs. “Whatever you want.”
Curiosity gets me. I open one box, papers and clothes from my dorm, not sure why I kept them. I put them in the garbage. I go through another and do the same. But then I come upon a third box. Inside are colored folders, the kind Yael used to keep patient records in, and I think the box must be mislabeled with my name. But then I see a sheet of paper sticking out of one of the folders. I pick it up.
The wind in my hair
Wheels bounce over cobblestones
As big as the sky
A memory rushes back: “It doesn’t rhyme,” Bram had said when I’d showed it to him, so full of pride because the teacher had asked me to read it to the entire class.
“It’s not supposed to. It’s a haiku,” Yael had said, rolling her eyes at him and bestowing upon me a rare conspiratorial smile.
I pull out the folder. Inside is some of my old schoolwork, my early writing, math tests. I look in another folder: not schoolwork but drawings of a ship, a star of David that Saba taught me to do with two triangles. Pages and pages of this stuff. Unsentimental Yael and clutter-phobic Bram never displayed things like this. I assumed they threw it away.
In another box, I find a tin full of ticket stubs: airplane tickets, concert tickets, train tickets. An old Israeli passport, Yael’s, full of stamps. Beneath that, I uncover a couple of very old black-and-white photos. It takes me a moment to recognize that they’re of Saba. I’ve never seen him this young before. I hadn’t realized any of these photos had survived the war. But it’s unmistakably him. The eyes, they are Yael’s. And mine, too. In one photo, he has his arm slung over a pretty girl, all dark hair and mystery eyes. He looks at her adoringly. She looks vaguely familiar, but it can’t be Naomi, whom he didn’t meet until after the war.
I look for more old photos of Saba and the girl, but find just an odd newspaper clipping of her in a plastic liner. I peer closer. She’s wearing a fancy dress and is flanked by two men in tuxedoes. I hold it up to the light. The faded writing is in Hungarian, but there’s a caption with names: Peter Lorre, Fritz Lang—Hollywood names I recognize—and a third name, Olga Szabo, which I don’t.
I set the photos aside and keep digging. In another box, there are endless keepsakes. More papers. And then in another box, a large manila envelope. I open it up and out tumbles more photos: me, Yael, and Bram, on holiday in Croatia. I remember again how Bram and I walked to the docks every morning to buy fresh fish that no one really knew how to cook. There’s another photo: us bundled up for skating the year the canals froze over and everyone took to their skates. And another: celebrating Bram’s fortieth birthday with that massive party that spilled off the boat, onto the pier, onto the street, until all the neighbors came and it became a block party. There are the outtakes from the architectural magazine shoot, the shot of the three of us before I was cropped out. When I get to the bottom of the pile, there’s one photo left, stuck to the envelope. I have to gently pry it away.
The breath that comes out of me isn’t a sigh or a sob or a shudder. It’s something alive, like a bird, wings beating, taking flight. And then it’s gone, off into the quiet afternoon.
“Everything okay?” Daniel asks me.
I stare at the shot. The three of us, from my eighteenth birthday, not the photo I lost, but a different picture, taken from a different perspective, from someone else’s camera. Another accidental picture.
“I thought I’d lost this,” I say, gripping the picture.
Daniel cocks his head to the side and scratches at his temple. “I’m always losing things, and then I find them again in the strangest places.”
Thirty-nine
A few days later, I leave for rehearsal and Daniel leaves for the airport. It’s strange to think that when I come back that night, Daniel will be gone. Though I won’t have the flat to myself for long. Broodje has been in The Hague for most of the summer on an internship, and now he’s in Turkey visiting Candace, who’s on a two-week trip there with her grandparents. When he comes back, he’ll stay here with me until he and Henk move into their new flat in Utrecht in the fall.
Rehearsal today is frenzied and frenetic. The set is being broken down, transported to the park for tomorrow’s tech, and the lack of scenery seems to have unhinged everyone. Petra is a whirlwind of terror, yelling at the actors, yelling at the tech guys, yelling at Linus, who looks like he would like to take cover under his clipboard.
“Poor Flunky,” Max says. “For someone menopausal, Petra seems like she’s on the rag. She smashed Nikki’s mobile.”
“Really?” I ask Max, sliding into our usual seats.
“Well you know how she is if you put your phone on in the ‘sacred rehearsal room.’ But I heard she’s extra uppity because Geert said ‘Mackers’ in the theater earlier.”
“Mackers?”
“The Scottish Play,” she says. When I fail to understand she mouths Macbeth. “Very bad mojo to say it in a theater.”
