Amateur Night Two

by Tabitha12

Carolyn Muir and the town of Schooner Bay put on another benefit for the Schooner Bay Seamen’s Home. Reposted to abide by FF Net's lyrics rule.

1Title: Amateur Night Two - The Diary of a Show

Author: Mary

Rating: PG

Summary: Carolyn Muir and the town of Schooner Bay put on another benefit for the Schooner Bay Seamen's Home.

Disclaimer: The characters from 'The Ghost and Mrs. Muir ' belong to 20th Century Fox and David Gerber productions. No infringement is intended, no profit made, and they will be returned unharmed from whence they came. My story is for enjoyment only. It is based on an idea started in the episode 'Amateur Night,' written by Arthur Alsburg and Don Nelson, and produced by Jay Sandrich.

"All other characters, plots, story-lines and development of GAMM characters belong to the author and may not be used or changed without express written permission.

Special Thanks to: Kathy, editor for this tale, the estates of Alan J. Lerner, George and Ira Gershwin, Cole Porter, Lionel Bart and Sheldon Harnick, talented lyricists all, Susan Griffith, who assembled the Schooner Bay Census, which was invaluable to me while writing this story. and to Amanda, who helped me re-do sections of this story after FF net established the 'no song lyrics rule.' If anyone wants the real version, let me know.

AMATEUR NIGHT TWO – THE DIARY OF A SHOW

(From the Diaries of Carolyn J. Muir)

Dear Diary,

May 12, 1971 - Monday - Evening

I honestly do not know how I let myself get talked into these things! Either I'm gullible, or too soft-hearted for my own good! I drove into town for some office supplies today and as I left the store, Claymore Gregg approached me, said it was imperative that we talk, and offered to BUY coffee if I would just sit down and speak with him. Claymore BUYING coffee is a big event – I figured it was important. I should have paid for my own coffee!

We went to Norrie's and sat in the back – away from the regular crowd. Claymores' idea, not mine. He wasn't up to anything funny though – I should have known! Typically Claymore, it had to do with money, but just this once, it doesn't mean money OUT of my pocketbook!

Claymore didn't pull any punches. He received his property tax notices last month, and of course, his property values have gone up – did he expect them to decrease? Being the major 'land baron' of Schooner Bay, he DID get hit by the increases quite hard! He even brought along the assessment notices he received from the county as proof. The value of Gull Cottage increased by $5000! Can you imagine! The County/Federal Government doesn't take into account leaky faucets or rotting floorboards as liabilities, just what the land and buildings are worth, based on the national averages. He said he felt like attaching a note to the assessment and sending it back to them, saying "Fine – I'll take it. Send me a check." He didn't though. He decided to talk to ME instead.

Surprisingly, the increased valuation of Gull Cottage isn't what was bothering Claymore, and he hasn't mentioned raising the rent again. He just reminded me that he also holds the deeds on the Schooner Bay Seaman's Home, and the Schooner Bay Community Theater, where we did that awful play two years ago, along with several other buildings. Their value, and therefore his taxes, has gone up a lot!

What it all really boils down to, is between the property tax increases on the home and the theater, which he has already forked over, and the required safety improvements on the Seamen's Home, which have to be done inside two months, Claymore needs to come up with $2500 in six weeks! Why, we had to raise $2000 to do the initial conversion only last year! I can't say I blame him for panicking a little – The total maintenance of the Seaman's Home and the Community Theater shouldn't ALL be put in Claymore's lap – they're treated by Schooner Bay as CITY-owned buildings. Actually, what Claymore wants to have happen is that the Schooner Bay Township will buy the buildings. The problem is, they've decided that they can only afford to do that if the money can be raised for the safety improvements first.

He's promised me a notarized statement saying that if I help him shed himself of these two buildings by raising the $2500, he won't increase the rent at Gull Cottage for the next two years, and he will continue to pay for any and all repair's Gull Cottage may need with no static. I imagine he will try and fudge when the time comes, but at least I'll have some legal backup – Not just Daniel Gregg's version of reinforcement!

Claymore has an interesting idea though. He wants to raise the money by doing another variety show. Then he can fix the items the safety inspectors found at the Seaman's Home, the city can buy the buildings and get a tax break on them, and he is free and clear of all future problems associated with the two buildings.

He wants to use local talent for the show, like we did last year, but no professional acts, like Bob Mason and his dogs, and have more of them – acts, I mean, not dogs. We could practice longer; maybe have a theme, like "The Magic of Musicals Night." He's checked already, as long as we don't do an entire Broadway show, like Brigadoon, the rules about royalties are a little more lax – especially if it's for a charitable organization, and raising money for the Seamen's Home falls under that category.

He also said that he doesn't want to be the MC, or direct the show either (thank goodness!) I guess he feels if this show can be put together right, it won't need a MC. The acts can just roll from one act into another. Well, they won't just roll – We know that! He wants ME to put it all together – post the audition notices and hold the auditions, pick the acts, organize all the technical people we need – essentially direct the entire show. I would have five weeks to get it all together, rather than trying to throw it together in a week, like last time though, and it would run for three nights – June 12, 13, & 14 – Thursday, Friday and Saturday.

Anyway, I really did feel sorry for him. Maybe I'm going soft in the head, but I told him I'd do it. I like the idea of not having any rent increases for the next two years and all the maintenance costs covered. I just finished that series of articles for the Boston Herald, the check (a big one, thank-goodness!) is in the bank, and since it's not a full-time thing, and I can pick and choose the talent and the acts, maybe it won't be so bad. The last one WAS kind of fun, and between the PTA, the grade and high schools, and the Elk's Club, and our local members of the Town Council, I should (I hope) have the support I need to get started. Also, since I have more time to do everything, I can still get some writing done – Maybe even start the research for my next book. Claymore has already given me the keys to the theater so I can start scheduling auditions. I'm sort of excited. My minor in college WAS in Drama, and I used to have a lot of fun with this sort of thing – or at least I did until Robert – well, never mind!

Now all I need to do is go home and tell Captain Gregg, Martha and the kids what's happening. I sure hope Daniel's opinion of 'theater people' has changed in the last year and a half! I sort of got the idea it had when we raised the money for the Seamen's Home last year, but . . . well, you just never know with him. I'm not sure what kind of reaction I'll get, but when he hears the 'why's,' I am sure he will understand!

Oh! I really need to ask Martha if she will play the piano, and maybe if she knows anyone else who can, and – well, I know there's more! I knew there was a reason I started this diary again! I don't know whether this is going to be a diary, or a log, as Daniel calls it, or both! I must have some place to keep my thoughts straight!

May 12, 1971 - Monday - (Later)

I take it all back. I don't need a diary. I need a three-ring notebook and about a thousand pages of blank paper. I guess I better start where I left off though! After I left the coffee shop, keys to the theater in hand, I dropped off a pair of Jonathan's shoes at the shoe repair and then stopped by the grocery store. By the time I had made it to the checkout stand, three people had stopped to tell me how nice it was I had volunteered to be the director, and, more important, when could their son, daughter or they sign up to be in the show?

That was fast! I wonder how many people Claymore told about it before he bothered talking to me? I explained to each of them in turn that there would be tryouts and more details would be forthcoming, and I was making absolutely NO commitments about anything right now. That seemed to slow them down a bit!

I made it to the car without further incident and drove home. I really wanted to speak with Martha before she started getting phone calls at the house, but I didn't make it – When I pulled up at the house, Martha met me at the gate and I swear the woman was laughing at me!

"So . . . he talked you into it?" she grinned. "I thought he would!"

"Yes, do I have to ask you . . ."

"No – I'll play the piano!" she said, "But you're the one who is going to have to tell Captain Gregg!"

"Tell me about it!" I said, "How do you think he is going to take it?"

"Take what?" he asked, as he appeared in front of Martha and me.

Gamely, I blurted out the problem, the plan, and Claymore's promise. I'm afraid I got a bit on the defensive – with no need, as it turns out, but Daniel has been rather mercurial in temperament of late – especially since he has learned to take a solid form and our mutual decision to take the 'situation' slowly. He's just been . . . well . . . different.

Much to my surprise, all he did was smile at me!

"I am glad that Claymore took my advice and talked to you. I am sure you will do an excellent job. Good luck, and let me know if you need anything. Good day, my dear!" Then he vanished!

I would have gone looking for him, but the phone rang – It was Miss McManus from the high school. She said that the kids in her band class had heard about the auditions, and wanted to know if she would call and ask me if they could provide some instrumental back-up for the show as an extra credit grade for the summer, and if she could direct them. She was calling asking for specifics. I told her I thought it was a wonderful idea and that I would call her after I was a little more organized. I hung up the phone and called for Martha again. I think I am in for a very interesting month!

May 12, 1971 - Monday - (Still Later!)

I just got off the phone with my old friend Susan, in Canada, who used to be the teacher's assistant for our drama directors in college – I could NOT remember how the tryout system was set up! Susan did though – numbers system. The person's name and length of their act go on a piece of paper and is submitted to the directors, and the directors scheduled the auditions by drawing the cards. Auditions are closed though. The person(s) trying out are the only one allowed in the theater. That way everyone isn't watching auditions and trying to outdo each other. I'm going to do the same thing. Martha is helping me, but I can't overload her – we still have Gull Cottage, and a sometimes-grumpy sea captain to take care of!

May 13, 1971 - Tuesday - 9:00 p.m.

More phone calls today, mostly asking me when auditions will be and do I have any favorite songs in particular, and do they have to be from musicals. Martha has gone through the piano bench looking for any possible show-tune sheet music. I think she just wants to stay even with the madding crowd. I can't say that I blame her! Candy and Jonathan are excited though. They took off for the beach this morning, but didn't take their volleyball or baseball things along with them. They weren't dressed for swimming either. I wonder what they are up to? I trust them, but I must admit I AM curious!

xxx

I was on my way downstairs after getting some writing done this morning and I could have sworn I heard the radio, but when I walked into the living room, the only one there was Candy – back from the beach. She had a magazine in her hand, not music, so I guess I must have been mistaken. I haven't seen Daniel for the last day or so either . . . Well, he did pop in last night to say goodnight, and there has been no untoward thundering, but I still wonder!

xxx

I went into town and posted the notice/rules for the tryouts this afternoon. They'll be for the next three days, or as-needed, from one o'clock until six o'clock at the theater. I wonder how many acts I am going to end up seeing? Oh, please let at least SOME of the acts be decent!

May 14, 1971 - Wednesday - 3:00 p.m. - Tryout Break

I have an awful headache! This may have been a huge mistake. The phone rang off the hook all yesterday evening and started again at seven this morning. Martha has been helping me get the audition schedules set up for the next three days – and the first run of tryouts started at noon. Some of my favorite show tunes have already been BUTCHERED beyond belief!

Speaking of butchering, Danny Shoemaker and his brother were first up. I really wish it could have been ANYBODY but that particular family! His mother Jane tried to sit in on the audition, but I stood firm – no onlookers. The only other people allowed inside are Martha, because she will be playing the piano, and Miss McManus. She's taking notes to see what other music the orchestra might need to review or learn.

Anyway, Danny and his brother Keith did an absolutely AWFUL rendition of Consider Yourself from Oliver! Just horrible. I had to let them get through it though. I can't be accused of playing favorites! Then Mr. and Mrs. Post did a so-so rendition of If I Were a Bell from Guys and Dolls – Well, it's nice to know that there are other people around that know and/or like musicals, but I don't think so. She sings flat – about a quarter tone off. She does sing in the choir at church, so maybe she does better with choral numbers, or she should be singing in another range. She did offer to work on sets and costumes if I needed her to, which was very nice of her.

May 14, 1971 - Wednesday - 6:00 p.m.

Much to my surprise, (and relief!) a couple of really good acts came from some totally unexpected sources this afternoon! Not enough for a whole show yet, but at least I see possibilities! John and Veronica Helmore, Mark Helmore's parents, have auditioned. They did a lovely rendition of What Do the Simple Folk Do? from Camelot, then as luck would have it, Mark Helmore's audition number came up next and he sang Where Is Love? from Oliver! Not only does that little boy LOOK like Mark Lester, he SINGS like him too! Mark was really great, and he doesn't seem to suffer from stage fright either. Strange for someone so young, but on the other hand, maybe kids do better. They don't feel like there is so much to lose.

Those two acts were followed by a few others, then some ladies from the PTA and men from the Elks Club did Shipoopi from The Music Man. That one was okay. Then some of the high school kids did Put On Your Sunday Clothes from Hello, Dolly! They did a good job, but the high school did the whole musical only six months ago, so I probably won't use it unless I get stuck for something to fill space --too recent.

I had two other big surprises today too – I'm not sure how Daniel is going to take it, but Mark Finley auditioned – and he's really GOOD! He's still a true pain to work for as far as I'm concerned, but I can't ignore it, the man has talent. He did a song and dance routine to Put On A Happy Face from Bye, Bye Birdie. The Broadway version, I was happy to see, that he sings to and dances with a grumpy little girl, not the female lead as they did it in the movie, and casting to type he danced it with Penelope Hassenhammer! They both did a wonderful job! I have to wonder how Daniel is going to take it though – He hates Mark for what his grandfather did, but I may have to pull rank on him. I'm the director here, and I'm trying to put together a good show, not cater to everyone else's idea of what I should do.

My other surprise of the day was Seth Jackson. He was the last act to audition for the day and I was really glad – I don't think I could have listened to any more acts after him! He has a BEAUTIFUL bass voice, and sang Ol' Man River from Showboat. It was just wonderful. Just where were these people last year when I REALLY needed them? I've got to get this one in . . . I'm thinking of using it as the last act before the intermission.

May 14, 1971 - Wednesday - 7:00 p.m.

I really need to stop being paranoid. Daniel popped into the car as I was driving home, bursting with curiosity. He wanted to know how the auditions were going! He admitted he peeked in on the auditions this afternoon – Just in time, and long enough to see Mark and Penelope. He assured me that if I picked Mark it was fine with him. He feels totally vindicated now since his name was cleared in the SBB and his re-burial in the cemetery, and says he only wants what is best for the show – and the Seaman's home. I refrained from calling him sweet though – no sense in stirring things up again . . . but he WAS!

May 15, 1971 - Thursday - 3:00 p.m.

The auditions went smoother and faster today, but they seemed to go straight from one end of the spectrum to the other. When they are good, they are very, very good, and when they are bad, they are horrid.

First up, starting at noon were several group acts – all good. I have to remain neutral in my choices though, which will be hard! Jonathan is in one of them! Well, Adam, Quenton, Michael, Suzy, Penelope and Jonathan sang My Favorite Things from The Sound of Music! Martha played piano. They have obviously been practicing hard! I wondered why Candy wasn't singing with them, but I'll get back to that in a minute.

After Jonathan and crew were finished, the next act up was George, Gertrude, Grace, Graham and Gregory Gilbert – Maybelle Gilbert's brood. They did Together Wherever We Go from Gypsy. Very funny and quite appropriate, since they are all related, and really do seem to go everywhere and do everything together. I really want to find room for both of those acts, if I can. We do need variety. As much as I love ballads and love songs, I can't do a whole show of them. We have to keep the show well-rounded! I do hope a few more male singers decide to try out. All female and children's voices get a little shrill after a while.

Then, after a few other acts tried out, Michael Post was back with some of his chums from the high school. They sang Gee, Officer Krupke! from West Side Story, and they did a great job, but if they think they can pull one over on me, they are mistaken – we CAN'T use all the lyrics from the Broadway show – If I end up using it, and I think I might, they may have to learn the alternate lyrics they used in the movie. They are just a little more family oriented!

The two acts that tried out around 3:00 p.m. were an unqualified delight. First up was Deke Tuttle. Of course, I had seen his name on the audition card, but I guess I really wasn't paying attention to what he had planned! His wife Doris played the piano for his audition, and he did a beautiful rendition of September Song. I love that song, but he had to tell ME it was from Knickerbocker Holiday – just a little before my time! I fell totally in love with the song – and him. I just HAVE to find room for that one!

I must say my heart was bursting with motherly pride at the act that tried out right before break – I should have known something was up! Daniel popped in and sat in the back of the theater. After this long I know the drill – 'Only I could see or hear him,' but I did wonder why he was there and didn't say anything to me. I found out! Candy had decided to audition on her own! She had Scruffy with her and went into the spoken intro where Dorothy is talking to Toto and then she started singing Somewhere Over the Rainbow from The Wizard of Oz! I was absolutely flabbergasted – I mean I know she has told me how much she likes her music class, but REALLY! Martha played the piano, so she must have been in on it, and I KNOW she scheduled the audition! Daniel was grinning from ear to ear so he must have known what was coming too!

It was a great time for an audition break though! My eyes were welling up with tears and I was SO proud of her, and Martha and Daniel kept looking at me like the cat that ate the canary! This number has got to go in the show! I know I've said that before, but I'm just so surprised! Here I was, dreading having to find decent acts, and they are springing up out of nowhere!

May 15, 1971 – Thursday - 8:00 p.m.

Good late afternoon and evening! I'm starting to get some repeat acts – not the same songs – the same people trying out. (Well, mostly, but more on that in a second) But then, that was MY idea – draw one number for every act/song a person(s) wanted to do. Next time I'll let people do their auditions all at once. What am I SAYING? Do I really want to go through this again?

Anyway, all the PTA ladies auditioned again! The regular members, of course: Maria Post, Rita Jenkins, Anne Vogel Hazelyn Bennett, and Doris Tuttle – and a Barbershop quartet – Seth Jackson, again, Ed Peavey, Abner Standish and Harvey Dawes, They did Pick A Little & Good-Night Ladies from The Music Man. Claymore filled in on the Harold Hill part – all talking, no singing. They did a good job, and it was another group number, which I wanted to see anyway.

Then something funny happened – George Jones (He tried to take me out once) auditioned with I'll Never Fall in Love Again from Promises, Promises – (totally forgot about that show!) He did a pretty fair job, then his act was followed by Millie Applegate, our telephone operator, doing Everybody's Got a Home But Me from one of Rogers and Hammerstein's few failures, Pipe Dream. Very pretty, and the only really singable song from that show, if I remember correctly!

Then – here's what's funny – Harry Johnson, ANOTHER man who tried to take me out (Daniel made him seasick, I think, or was that George?) auditioned with the same song George did – the one from Promises! I managed to catch George and Harry outside (George hadn't left yet) and told them both that if they wanted to rework the song as a duet, I would listen to it. I still need more male voices! They agreed and I'll watch them again tomorrow. After that, there were several more acts put together by the high school kids, and then the Schooner Bay Oysterssang Food, Glorious Food from Oliver!.

Still another surprise for me with the next act up – Martha auditioned! I was hoping she would, but she hadn't said anything, and I didn't want to pressure her, what with her being the pianist and everything. Anyway, she STILL managed to surprise me! Actually she and Candy did – Martha and Veronica Helmore did Piano Lesson from The Music Man and Candy did the piano exercise/accompaniment for them. The character of Mrs. Paroo is an absolutely PERFECT part for Martha. I'd love to see her play the WHOLE part sometime! All three of them did a really good job!

John and Veronica Helmore were back trying out solo acts this afternoon also. Their voices are so beautiful. I'm surprised they don't do it for a living, but VERY grateful that they want to work on this production! Veronica Helmore sang The Party's Over from Bells Are Ringing, then John Helmore did an absolutely knock 'em dead rendition of If Ever I Would Leave You, from Camelot. Both were just wonderful.

May 15, 1971 - Thursday - 11:45 p.m.

Knocked off the tryouts a little early tonight. One more day of this and I have to start making decisions. I just hope that everyone will understand that the whole town can't be in the show! If everyone in town could be in the show, there would be no one in the audience!

I took a long walk on the beach with Daniel tonight. The last few days have been so busy we haven't had as much time to talk. We talked about the tryouts of course – I could STILL use a couple more male voices – and he talked about some of the plays and other theater productions he had seen at the various ports he visited during his life. That still throws me sometimes. His stories about his life are fascinating – but it's a trip through time. It's like he is talking about a whole different person that the 'person' I see him as!

I got home about a half-hour ago and wrote for a while – now I'm ready for bed. It was a nice break though! Just one more day of this – but somehow I feel the hard part is only beginning!

May 16, 1971 - Friday - 11:30 p.m.

I am in total state of shock. So much has happened today, I'm not really sure where to begin, but I guess I should try to get it all down!

I managed to put all theater-thoughts aside and get some other writing done this morning – I heard the piano in the distance downstairs – Martha has been trying to practice wherever she can. Then Martha, Candy and Jonathan and I made it to the theater about 1:00 p.m. The kids wanted to go to see a matinee while we were auditioning acts. Daniel was fussing about having sea-charts to update, so we left him at the house.

Anyway, first up were George Jones and Harry Johnson, trying out the duet version of I'll Never Fall In Love Again. I'm really glad I thought of that – they did a great job, and it's better now than when either sung it by themselves. George and Harry looked really happy with it too.

The truly BAD act of the day came next. If it had been a longer number, I think my eardrums would have ruptured. Jane Shoemaker auditioned – with New York, New York, from On The Town. I'm surprised she didn't see Martha's and my eyes start to cross – and you should have seen the look on Kathy McManus's face! It was priceless! I knew there was a good reason for keeping the auditions closed! Talk about EMBARRASSING!

Then Veronica Helmore auditioned one last time with Speak Low from One Touch of Venus. Lovely song – lovely voice. I wish this show could run twice as long as it actually can; she and her husband John are really exceptional talents. They could do half the show by themselves. Then I had another nice surprise – Nancy Reed, my babysitter the first year we lived here in Schooner Bay, auditioned with If I Loved You from Carousel. She has a sweet little voice. It could use a bit more training, but she wasn't bad at all!

The next act up has really, really convinced me that this show has a chance – in a way I would NEVER have expected! I should have known it was going to be a good one! Out of the corner of my eye, I saw Daniel 'pop' in and stand in the back of the theater – just as CLAYMORE stepped on the stage!

Oh, no! Was my first reaction – I'm afraid I started to argue with him about us agreeing we didn't want a 'Bob Hope type' MC for the show, but instead all he said was "Oh no, Mrs. Muir, I'm here to audition – I mean with a song."

Claymore? SINGING? My eardrums were buzzing out a protest, especially after Jane Shoemaker's assault, but in my heart, I knew that he had as much a right to audition as anyone, so I sat down to listen – cringing. I couldn't believe it – Claymore launched into If I Were A Rich Man from Fiddler On The Roof – and he was GREAT! Absolutely fantastic! Something happened to him when the music started – He has real stage presence when he sings, and can REALLY carry a tune – Just so totally un-Claymore, I couldn't believe it! Marvelous! For the first time since auditions started, everyone in the theater – that is, me, Martha, Kathy (and Daniel!) applauded like crazy as the number ended. Then Daniel popped out again, and I didn't see him for the rest of the afternoon.

Stuttering like a blasted idiot, I managed to tell Claymore right then and there, how impressed I was – and then asked "Just what else DON'T I know about you?" He just grinned at me and blushed and said that he had another song ready to audition, but it wasn't his turn for the second one yet and he wanted a break between numbers. He needed to change his costume.

I was just ready to call for the next audition when one of the high school kids knocked on the theater door and said that Millie Applegate was trying to reach me. The editor of the Boston Herald, who just bought my last series of articles, had some questions that wouldn't wait. Muttering my apologies, I called a temporary halt to the auditions and ran down to the telephone office to talk to him. Then, on my way back to the theater, Jonah Applewhite stopped me and asked if I had anyone to run the spotlight and did I need any help with sets later on. I told him "of course" and hurried back to the theater.

When I returned, I could hear piano music coming from inside the auditorium. It didn't sound like music I had heard at any other audition, so I opened the door quietly and listened. Jonathan and Candy were back from the movie, and Adam, Quenton, Michael, Suzy and Penelope were with them. Martha was playing the piano and they, with Ed, Peavey in the lead, were singing High Hopes from a Hole in the Head. Great song – Was that a musical? I do so needed another number with kids! Ed and the kids were great! Stepping into the theater, I asked if they were auditioning it, and sheepishly, Ed admitted they were just horsing around until I got back. I told them all to consider it as one more audition piece. I liked it!

After that, Kevin Ferguson and Nancy Reed were back with a really good song/soft shoe number to – You Wonderful You. I love that song – I always picture Rob and Laura Petrie from The Dick Van Dyke Show singing and dancing to it, but Dr. Ferguson reminded me that it was also in the movie musical Summer Stock, with Gene Kelly, so it qualified as a song from a musical. Kevin and Nancy were really good. They look like they really enjoy dancing together. I wonder it they're still dating?

Claymore came back up to the stage to audition his second number after that. He performed that great ballad – Try To Remember from The Fantasticks, and did a beautiful job! I really had no idea the man could sing so well. He's going to surprise a lot of people, I think. I hope I can find room for both of his solos. They really both deserve to be in the show, if at all possible.

Ed Peavey's audition was the last scheduled for the day. Claymore was still hanging around, along with Nancy Reed and Kevin Ferguson. They were peering in the door, and Ed said his number could actually use an audience, so I motioned them to come on in. I was so pleased at what happened next – Martha played the piano for Ed and the minute I heard the opening bars, I knew what it was – one of my father's favorite songs – Once in Love with Amy, Ray Bolger's show stopper from Where's Charley? Ed did a terrific job, and even had all of us join in singing on the second chorus, like on the Broadway recording I have at home. It was wonderful, and a great ending to the day.

By 6:00 p.m., I was exhausted, and Martha looked tired too. Candy and Jonathan were having dinner at Quenton's house, Ed, Claymore, Nancy and Kevin Ferguson had already left, and I was relieved. The day was almost over and I could pick up the kids, drive home, slide into a hot bubble bath, a soft bed, and tomorrow start the 'paring down' process of all the acts I've seen in the last few days.

As it turns out, I wasn't quite done after all!

We were just turning off the lights and making sure all the doors were locked – Martha said she wanted to check the spotlight and see if it was working when Daniel popped back in again. At first, I thought maybe he was going to start fussing at us about not being home yet, then I realized that Martha had turned on the spotlight, pointed it toward the stage, and sat down at the piano.

"I'm here to audition," he stated.

I know my mouth dropped open. I was glad his opinions about the theater and actors had changed, but I certainly never expected ANYTHING like this!

"Martha has been helping me . . ." he said, bowing in her direction. "I have some songs to do for you." He cleared his throat and looked at me; almost nervously, I thought. "Can you spare another fifteen minutes? I know I do not have an appointment with you . . ."

"But you can't!" I blurted out. "Aren't you afraid you'll be recognized or something? What happened to your peace and privacy you prize so highly?"

"The upkeep of the Seaman's Home is just as important to me as it is to you, my dear – I think I have figured out a way around the problem . . ." then he just sort of MELTED into another person – Suddenly his beautiful beard and moustache were gone, his hair was at least two shades lighter than his usual color, his jacket was gone – leaving just his gray turtleneck and black pants, and he was wearing a small knitted cap – the type lobster fishermen wear around the Maine coast.

"Allow me to introduce 'Danny Watchman,'" said Martha dryly. "He'll be here for the next month or so. Lobster season in this area – you know these independent fisherman – they DO move around a lot, don't they . . . 'Danny?'"

"Danny!"

"Yes, my dear! Ryan McNally's 'Danny.' Remember?"

Totally astounded, I sank down into my seat. I never did SEE 'Danny' – I just heard about him from Dr. McNally and Daniel Gregg!

Then'Danny' proceeded to audition three numbers for me. Daniel's voice was just as beautiful as I remembered it being when I heard it this last St. Patrick's Day, if not more so – adding to that, all three of his songs were from Lerner and Lowe musicals – my favorites. He sang There But For You Go I from Brigadoon, the title song from Camelot and I've Grown Accustomed To Her Face from My Fair Lady, and then he disappeared from the stage . . . and appeared next to me in his usual form.

"I haven't heard, my dear – When were you planning on posting the cast list?"

"Monday morning, I hope," I replied, my mouth dry, "I want this weekend to work everything through."

"Fine then." He said, "May I accompany you two ladies home?"

I nodded the affirmative, we closed and locked the theater, picked up the kids and got home about forty-five minutes ago. I'm tired now, but way to keyed-up to even TRY to go to sleep. I need another walk on the beach. Maybe Daniel will join me.

May 17, 1971 - Saturday - 1:00 a.m.

Daniel and I had a glorious walk on the beach last night after everyone was in bed, and we had a chance to really talk to each other for the first time in two days. More than anything else, I must admit I was curious as to why he had invented 'Danny.'

"Maybe because it is a good way to be around you and learn about a part of you I have never seen before," he said.

"And maybe there are reasons I haven't shown this part of me before?"

"All the more reason I should be there now, my dear. Because you are opening yourself up to something new and different. Besides, now that I have learned how to take solid form, it would seem that it is also time I open myself up to something new and different also." he continued, "I think, in time, we can get to know each other in a whole different way. Perhaps in a more HUMAN way."

I blushed, thinking there might be more than one way to take his remark.

"And you aren't worried about exposing yourself as the late Daniel Gregg? A spirit?"

"As long as you and Martha and the children treat me as 'Danny,' and I can function as a solid person, I do not see it as a problem." he said smiling. "I think I will find it much easier than you obviously do."

We continued to make our way along the beach, and I must say I loved being able to take his arm as we walked.

"Have you made any decisions about picking the acts yet?" he asked, after a time.

"You're on my 'good side' at the moment," I told him. "How did you know I liked Lerner and Lowe?"

"I do pay attention to something other that my sea-charts and telescope, my dear." he said, with another smile. "While I do not always understand why these musicals are so popular, I do enjoy the music that comes from them, and I do pay attention and enjoy the ones you listen to – when you get the chance to, that is!"

"Chance, is right!" I told him. "Candy and Jonathan's tastes do go more and more toward rock and roll as they get older! I like to think that at least hearing some of the music Martha and I like will keep them well-rounded!"

"We live in hope!" he chuckled, then paused. "I don't suppose that you can possibly tell me if I . . ." He paused again. "Blast it woman! Have you made any decisions about . . ."

I smiled at him. "You do have an 'inside track' 'Danny!'" I told him with a grin, "But you are going to have to wait, like everyone else, until Monday morning. That's only fair!"

Grumbling his reluctant agreement, he took my hand and we headed back to the house in a companionable silence. At the door to our . . . my room, he kissed me on the forehead and said goodnight – I guess I'm going to have to wait for a few things too!

May 17, 1971 - Saturday - 3:30 p.m.

I woke up early this morning and decided to start work on pruning down the acts for the show right after breakfast. I probably should have thought things through a little more before I started, but Candy, Jonathan and Martha said there had already been several phone calls asking about the results of the auditions, and Claymore had called once asking Martha if I was available, but she said no.

I spent about an hour after breakfast just trying to make sense out of the jumble of notes and audition cards on my desk – finally settling for putting all my show notes in a three-ring binder. I kept hearing the phone ring – Poor Martha! I really think she was tempted to take the phone off the hook, but she's a loyal soul, and just kept saying the same thing into the phone over and over again: Monday! MONDAY MORNING!

After a while, I took all my notes and moved up to the widow's-walk. It was quiet there, and I could really relax and think. I can see why Daniel goes up there when he really needs to get away – very peaceful, and not nearly as dusty than the attic! He popped in long enough to say good-morning earlier, but he didn't ask any questions about the auditions, nor did he peek over my shoulder while I was up there. I can usually sense his presence at close range, and I'm sure he wasn't up on the widow's-walk with me.

A couple of hours later I was pleased about what I had accomplished. Everything was going so smoothly – or so I thought! I had tossed out some of the really un-useable acts, like Danny and Jane Shoemaker, and according to my calculations, I had room for more than thirty-five acts! I wasn't going to have to hurt very many people's feelings at all! There was room for all three of Daniel's songs, both of Claymore's, and all the numbers with the kids . . . I was ecstatic, and in triumph, I charged down the attic stairs.

"Hey Martha!" I called, heading for the kitchen, "I finished it! Look at all the acts! This show is going to be great!"

Martha took the list from my hand and looked at it for a few moments.

"Tell me Mrs. Muir . . . " she said, arching her eyebrow at me, "Are you really planning on a three-hour show? Don't you think that's just a bit long?"

"Long? No – I added up the time for each number," I replied, "These should all fit in a ninety minute show, with room to spare."

"Not very likely!" Martha grimaced, shaking her head. "Tell me something Mrs. Muir . . . " she continued, looking at the list, "Do you think Piano Lesson . . . and thank-you, by the way! . . . is a good number? Are people really going to like it?"

"Well of course!" I said, "What makes you ask a question like that?"

"Well, if they are . . . " she continued, "They might wish to . . . " And with that, she put the list on the table and started clapping her hands together . . . and then I saw what she was driving at – Applause! NO! I hadn't left any time for applause after any of the numbers!

"Don't feel bad Mrs. Muir . . . " she said. "I've seen it happen before. It's a mistake anyone could make." She paused again and patted me on the shoulder. "There is just one other thing, but you probably won't like it –"

"What?" I groaned, dropping into one of the chairs at the kitchen table with my head in my hands.

"Well, it might be nice to give everyone a break about halfway through the show – maybe offer refreshments? Like cookies and punch, or something?"

Intermission. NO! I had forgotten an intermission too? "AGGGH!"

"Twenty minutes should do it Mrs. Muir," Martha continued. "And I would imagine that the PTA ladies could probably be persuaded to bake cookies for the three nights – maybe set up a table and take donations?"

"How did you get to be so smart Martha?"

"Two years hoofing around Vaudeville during my 'callow youth, '" said Martha, "I AM 'The Last of the Red-Hot Mama's.' remember? But don't let anyone in on the secret, all right?" she grinned, "Most people just consider me a miracle worker!"

Sighing, I grabbed a cup of coffee and took it back up to the widow's-walk, thankful that Martha had stopped me from posting the audition results right then and there!

xxx

After doing the math, I faced a few facts. I would have to make some painful decisions – at least ten more acts would have to be cut! I cut one of Veronica Helmore's numbers, two that the high school kids tried out with, then, as much as I hated it, I cut one of 'Danny's' numbers. I decided that of the three songs that Camelot would probably be the best one to eliminate, because I really wanted to have Veronica and John Helmore do Simple Folk and John Helmore sing If Ever I Would Leave You, so having 'Danny' sing Camelot might be overkill . . . I just hope Daniel understands!

I was still working on the list when Martha called to me from downstairs – Claymore was downstairs and said he HAD to see me.

Now what?

It turns out it was nothing earthshaking though. I had forgotten about the notarized statement Claymore had promised about not raising the rent, and covering Gull Cottage's maintenance, but Claymore hadn't!

"I'm really sorry for the delay Mrs. Muir." he said apologetically, meeting me in the upstairs hall, "But I'm the only Notary Republic in Schooner Bay! I can't notarize a document I have to sign! I had to drive up to Keystone to get it taken care of. Anyway, here it is."

He handed me the statement. It was totally legitimate – no clauses, no hands across the page, no flyspecks, no nothing. It was good of him to make the twenty mile drive to Keystone – and he didn't even hit me up for gas money! I put the statement in my desk and walked downstairs with Claymore, where he said his good-byes.

"Well . . ." He paused and gave me a mournful look. I could tell he was itching to ask if I had made any decisions about his solos. "I suppose I'll see you . . ."

I couldn't help myself. He looked so . . . woebegone!

"Tuesday Claymore – You'll see me Tuesday. That's when I am planning to start rehearsals. Tuesday evening."

The sweetest smile broke out over his face. He didn't even ask WHICH number I had picked! (That was fine with me, considering I still hadn't quite decided which one, or both – at that point!) He bubbled his good-byes and practically skipped out to his car.

May 17, 1971 - Saturday - 9:30 p.m.

I spent the remainder of Saturday afternoon ducking calls and visitors. Ed Peavey came by, supposedly to fix the loose linoleum around the stove (we've only been waiting two weeks for him to have the time to do it – guess what he was really interested in?) Then Abner called, saying he had heard we had a stopped-up sink (we didn't, and Martha hadn't called) and he asked how 'things' were going, then five women in the PTA called to ask what kind of cookies I thought would be good to serve on opening night, and oh, by the way . . .

Cookies? I haven't even figured out who's going to be pulling the curtain rope! I know they are all bursting to find out who is going to be in the show, but honestly! I only finished the blasted auditions yesterday, and I DID tell them Monday! Well, at least I can't say there's no interest in the production!

Candy, Jonathan, Martha and Daniel steered clear of the widow's-walk for the afternoon, and they didn't ask about their acts. Awfully nice of them really – if it were I waiting for a call-back or a cast list, I'm not sure I would have been so patient – especially if the person deciding was at such close range!

It was almost dinnertime when I finished making the last of the cuts. I narrowed it down to twenty-three acts – thought about keeping one more, but want to play it safe – better to be short than over, considering I've decided on several numbers with children in them that will probably draw a little more applause than the norm.

I've checked the timing on the remaining songs ten times. I'm happy with my decisions, but still a bit nervous. What if Jane Shoemaker throws a fit? What if people get angry about not getting picked? What if people don't buy tickets? What if I can't find enough ushers and box-office people and stage-hands? The 'what if's' were starting to make me just a little jumpy when Candy, Jonathan and Daniel came up to the widow's-walk.

"Time to call it a day, Mom!" said Jonathan, removing the pencil from my hand.

"Jonathan's right Mommy!" Candy chimed in, taking the notebook from my lap, "No more homework today! Martha's made fried chicken and corn in the cob and we're all going to the beach for dinner!"

"Yes, my dear . . ." Daniel added, pulling me up from my chair, ". . . and then the children are going to show me how to toast marshmallows over a fire, using a clothes' hanger. You don't want to miss out on the fun, do you?"

"No, I really don't." I said. "I also don't need to work on this any more tonight! Now, if you don't mind, I don't want to talk about it any more today – or tomorrow!"

They all smiled at me – and DIDN'T ask any questions, then we headed to the beach for our picnic dinner, and an evening of fried chicken and campfires and marshmallows and stargazing.

May 19, 1971 - Monday - 9:00 a.m.

ATTENTION PLEASE:

Will the following people please report for the first of "THE MAGIC OF MUSICALS NIGHT" rehearsals at the Schooner Bay Community Theater, Tuesday evening from 6:30 p.m. to time as needed. Please bring all your sheet music with you! Please Note: All rehearsals will be closed! Cast members only!

Mary Adams, Millie Applegate, Jonah Applewhite, John Bailey, Hazelyn Bennett, Harvey Dawes, Dr. Kevin Ferguson, Mark Finley, George, Gertrude, Grace, Graham & Gregory Gilbert, Quenton Gilmartin, Martha Grant, Claymore Gregg, Penelope Hassenhammer, John, Veronica and Mark Helmore, Fred Horner, Seth Jackson, Rita Jenkins, Suzy Jenkins, Fred Williams, Harry Johnson, George Jones, William Mc Bean, Candy and Jonathan Muir, Ed Peavey, Adam Peterson, Michael Post, Maria Post, Nancy Reed, Abner Standish, Deke Tuttle, Doris Tuttle, Anne Vogel, and Danny Watchman.

May 19, 1971 - Monday - 1:00 p.m.

I posted the cast list this morning. By noon at least thirty people had called the house – but that was my fault! I realized that if I listed what song, along with everyone's name had been picked it would give the show away. I don't want anyone outside the cast to know all the numbers in the show until opening night. That's another reason I wanted closed rehearsals. Martha and I took turns answering the phone the rest of the day and letting people know which music to bring. I did let Candy, Jonathan, Martha and Daniel know which of their songs "won" as Jonathan put it, in person – they all seemed very pleased.

I figured out yesterday that there are forty-three people involved in this production already! And all of those, with the exception of Jonah and myself are performers! I wonder how many people will be in on this shindig by opening night?

Cleveland Hampton called too – He was out of town last week when the announcement about the show and the tryouts came out (He's a grandfather! His daughter Linda just had a baby boy!) but wants to help in some way, and suggested that since he is free during the day now that school is out that it might be a good idea to have one person act as 'box-office,' and issue the tickets, which have already been printed, thanks to our local office supply store, and collect money. He's totally trustworthy, and that's one less thing I have to worry about.

Michael Post called and thanked me for putting Krupke in the show and mentioned that his group had already learned the lyrics from the movie version of West Side Story and volunteered all the people in his number to be set people and stage-hands. They're getting a kick about being in an extra theater production this year, and he said they could use the experience, before their senior year in high school starts this fall. I'm so glad they want to double! We simply must! Forty people backstage during performances? That's a lot of traffic!

May 20, 1971 - Tuesday Evening - 10:00

We had our first rehearsal tonight. I started them by having a 'getting to know you' meeting. Everyone met at the theater at 6:30 p.m. and exchanged hello's and greetings for the first ten minutes or so. Some people were really surprised at who else was there! Claymore, especially, got several 'What are you doing here?' looks, and the kids told me on the way home that Maria Post and Rita Jenkins thought that Candy and Jonathan were at the rehearsal because Martha and I were at the theater and they couldn't be left alone – not because they had been picked to be in the show.

'Danny' arrived about ten minutes after Martha, the kids and I did. Everyone seemed to accept his story about being a fisherman, and fishing and living on his boat here in the area for the next month or so and wanting to do his part for to support the Seaman's Home. Some people remembered his name in connection with the Christmas Pageant last year, and that added some credibility to his story too.

Martha baked cookies and brought fixings for coffee and Kool-Aid along, and Miss McManus and Mrs. Helmore had thought to bring some refreshments as well, so after all forty-three of us had settled somewhere in the theater with something to eat and drink, I asked everyone to introduce themselves, and briefly tell how they happened to get interested in the theater, musicals, and this production specifically.

"Well, I don't know about anyone else, but I became interested in the theater because of a girl," said Mark Finley with a reminiscent smile. "I met Diana when I was going to Columbia. She was majoring in Drama at another university nearby. We met at a party and I followed her around like a puppy for six months. One evening, she asked if I wanted to come to an audition for a local amateur production with her, and I ended up auditioning. It ended the romance though! I got picked for a part, and she didn't!" He laughed. "Anyway, I was hooked! Dad wouldn't let me change my major, of course, but I had a lot of fun with some off-campus shows there for about a year! Always did want to do it again!"

"Church choirs for me . . ." said Seth Jackson. ". . . Been singing in them since I was eight years old." He shrugged his shoulders, "Anna, that's my wife, said I should try out!"

"Veronica and I met doing summer-stock in England." John Helmore joined in. "I majored in Civil Engineering, but decided to minor in Drama – I wanted something totally different from Engineering as a distraction." He paused. "I fell in love with the theater. I told my Mum and Dad I wanted one summer to see if I could make a go of it – I was all right, some people in the troupe were better . . . some worse, but then I met Veronica." His beautiful blonde wife smiled at him. "We got married, and when Mark came along, I decided Civil Engineering would be just a little more stable." He tousled his son's blonde hair affectionately.

Mark blushed. "Aww Dad!"

"What about you Claymore?" I asked. "You totally bowled me over, you know! I had no idea you could sing so well!"

"Admit it, Mrs. Muir," Claymore grinned, "You just didn't expect it from someone like straight-arrow, stingy, stodgy, uptight Claymore Gregg, right?"

"Well . . . " I said, knowing I was turning red, "Not really!"

"Same as a lot of people, I guess!" he said, letting me off the hook, "College. I was majoring in Business, of course, but happened to be free one afternoon – I walked by the little theater on campus and figured it would be a good place to put my feet up for a little while." He grinned, "They were holding tryouts for Arsenic and Old Lace. By the time I heard ten other people try out and one too many muff them, I got a little carried away – I shouted the right line toward the stage and the director said "If you're so smart, you try out!" Claymore giggled. "I was cast in Arsenic as the police officer, and then their next show was a musical. I can't remember which one now, but I was cast in it also, and the director told me I has a good voice and I ought to major in Drama instead of Business! Well! That wasn't a money making proposition, but I still like to sing a little when I get the chance!"

The children and/or young adults, for the most part had either done something for school or church, and just wanted to be in the show.

Then 'Danny' said, keeping a totally straight face, "I heard about the tryouts – and a very dear friend told me not to long ago that I had a good voice and needed to sing more often." 'A dear friend' meaning ME of course – and my comment to him last St. Patrick's Day – I didn't think he remembered me saying anything!

He DID turn the tables on me though and asked me, in front of everyone how I happened to get involved in drama and theater. I just gave him a look and told him my minor in college was in Drama, and he didn't push the issue. Maybe one day I'll be able to talk to him about what happened back then, but not quite yet!

We started running through the numbers – Not in any order of course. I'm still trying to draft that. I think everyone was delighted with the other acts that were picked. Deke Tuttle, bless his heart, received a HUGE round of applause after singing September Song. He looked so PLEASED! Mark and Penelope's song and dance to Happy Face was received with delight, but I think Claymore and Seth Jackson tied for biggest round of applause for Rich Man and Ol' Man River.

Daniel sang There But For You Go I tonight also – Personally I could listen to 'Danny' sing all night . . . I really do love the way he sings – among other things! I'm starting to think we really have a chance at a really good show here! Tomorrow night we'll run through the other two-thirds of the numbers and start drafting the order of the acts, and seeing what people will need in the way of sets. Costumes won't be too much of a problem as far as I can see, as most came to their auditions dressed appropriately for they type of number they were in – a basic dress outfit for solos – and more 'costume type' outfits for numbers like Rich Man and Piano Lesson.

One other side note – Kathy McManus and Veronica Helmore have both asked me to please stop with the Miss and Mrs. "Call me Kathy," – "Call me Veronica," they said. "Only if I'm Carolyn," I shot back. Their request pleased me very much – first names seem to come easier in a theater-related setting, I think, but I'm flexible! The older women in the company haven't said anything yet, and I don't plan on rocking the boat. Maybe, in time, with Kathy and Veronica taking the lead, they may decide they like the idea too.

May 21, 1971 - Wednesday - 10:30 p.m.

We did a first run-through on the rest of the acts tonight. Again, I think people were pleased, with the songs AND the performers. I overheard Maria Post and Rita Jenkins talking – they seemed especially happy with the children's songs – Together, High Hopes and Favorite Things – and 'Danny's' second song from My Fair Lady was received very warmly. I never get tired of Learner and Lowe! As I suspected, John Helmore's If Ever I Would Leave You took everyone's breath away, and Claymore's Try to Remember turned a few heads, as did Ed Peavey's song and dance to Amy.

I did see a few people's eyebrows go up when I called Candy's name for her Over The Rainbow solo, but they went down again just as fast! She received a lengthy applause when she finished, and Martha and Candy and Veronica did also when they finished Piano Lesson. The only hitch in the evening came when I called Millie Applegate do Home But Me. She wasn't in the theater anywhere! I found her about five minutes later, after she held everyone up. I just hate that! She had ducked outside for a cigarette. So that's where that whiskey contralto voice comes from! I asked her to refrain from smoking during the rehearsals, and she promised me she would.

Kathy caught me after almost everyone left tonight – Our cast and crew now stands at fifty people! There are seven students who want to play as our orchestra! They'll start practicing with us tomorrow. Also, what's even better, Kathy has determined that only ten out of the twenty-three numbers in the show should really need the orchestra, and her group will only need to learn two new songs!

"Of course, that doesn't include whatever you have planned for the group opening and closing numbers," she said thoughtfully, "The sooner you could let me know about those, the better."

"Opening and closing numbers?" I said, nonplused, "WHAT opening and closing numbers?"

"Well, you don't want to open the show with poor little Mark Helmore sitting on a stool, trying to get everyone's attention do you?" she said with a smile. "They don't have to be anything long, or complicated. I can do some easy choreography and blocking for the cast while they sing – it would be more like playing 'traffic cop' really, but I DO need to know what songs."

"Mark as the opening number is a good idea, Kathy," I said. "Where Is Love? Is a very dramatic song – But you're right. We do need numbers to open and close the show, and I have absolutely no ideas at all! Do you?"

"Well . . ." she said, sifting through some of the sheet music she was carrying, "It's a little old, and it's been done before . . ."

"What?"

". . . But not here in Schooner Bay," she finished. "These two might be just the ticket!" she said, triumphantly, pulling out two pieces of music – "What about Another Opening, Another Show from Kiss Me Kate for the opener and There's No Business Like Show Business from Annie Get Your Gun for the close? My kids know those two numbers too – They'll just need to brush up."

I could picture that!

"Sounds like a plan to me! Kathy you are a lifesaver!"

Together, we locked up the theater and headed to our respective homes for the rest of the evening.

xxx

Boy! Am I glad all this is taking place in the summer! Candy and Jonathan were still wound up when we all got back to Gull Cottage . . . we all watched the Mary Tyler Moore Show and went to bed . . . I missed the New Dick Van Dyke Show though . . . too bad, I like that program!

May 22, 1971 - Thursday - 9:30 p.m.

Candy and Jonathan and I went into downtown Schooner Bay early tonight and distributed posters and flyers' advertising the show to all the shopkeepers. There's still a lot of talk going around about who got picked and the cast members' total reticence in naming any acts and songs in the show. That's good for business! Several of the local shopkeepers said that they had already paid Cleveland Hampton for their tickets, which thrilled me – at least I know we won't be opening to a TOTALLY empty theater!

Promptly at seven p.m., Kathy started rehearsing the cast with Another Opening – about half the cast knew the song already – but It was kind of flattering really – some of the grade school kids thought I wrote it. Very sweet of them, but poetry, and definitely not composing music have ever been my forte' – that's why I was so impressed with Tim Seagirt being able to write the music for If Only that one morning that seems so long ago . . .

Kathy was at the theater before I was tonight and blocked where the theater seats would be, (all two-hundred of them, I hope!) using masking tape on the floor, then she started 'playing traffic cop,' and worked the choreography for the opening number with the cast – more or less where everyone will be standing, walking, dancing and which theater door they come in through, and how they get themselves up to the stage – all in the space of two minutes – the length of the number. Candy and Jonathan were cute – they insisted on singing on either side of 'Danny,' who didn't know Opening – all the while trying not giggle at his beardless face (I must say I'm still getting used to that!) or act like they knew him, or slip, and call him "Captain."

Martha and Kathy suggested that I sing the songs with the cast – not by myself of course, but with the rest of the group – just until everyone got the idea. For some reason it kind of loosened everyone up, and it was fun! Even our ever-uptight PTA ladies relaxed, and enjoyed themselves. Claymore, John Helmore, and Daniel are singing some of the solo lines in the opening and close – EVERYONE knew Show Business! I'm sure glad I listened to Martha about leaving more slack when timing the acts!

Kathy started the blocking and I retired to the back of the theater to start plotting the order of the acts. My Drama profs in college maintained variety shows were ten times as much work as a regular play. I see why now – picking the acts was the SIMPLE part! You don't want too many of any one kind of act – male, female, or children back to back, and to get the scenery changed, almost every other song has to be on the apron of the stage. Combining those two elements has been very tricky. I thought I had the order finished a couple of times, only to realize I had done something silly – like schedule two acts back to back with the same people in them! I've started over twice already. Maybe I need buttons to do this right, or small pieces of paper I can move around.

Rehearsal was over about 9:30 – I told everyone to take Friday and the weekend off and relax a little, work on their own numbers if they wanted to, and be at the theater on Monday. The show won't be for a few weeks yet, and I don't need everyone tired and frazzled by opening night!

May 26, 1971 - Monday - Memorial Day - 10:30 p.m.

Quiet weekend – longer than I planned, but quiet. The phone started ringing Friday morning with cast members asking about Monday – Memorial Day! We all forgot! Isn't that ironic? But the word passed quickly to re-assemble at the theater on Tuesday instead.

At church, Reverend Farley made a special announcement about the show. How nice of him! During coffee hour at least fifteen people asked about purchasing tickets – I gave them Cleveland Hampton's number, relieved that there was something I DIDN'T have to do!

I've finished plotting the show order. I think I finally have the acts arranged so that everything will run smoothly, marring national disasters, of course! Unlike poor Claymore's first production, I don't think I will have anything to fear on that account! Not spirit-made disasters anyway! I seem to be working with a remarkably non-temperamental bunch of people. Not one person has asked where their act, or acts are in the show yet.

Daniel, Martha, the children and I took a long drive Memorial Day afternoon and had a picnic. We were back at Gull Cottage before the traffic got too heavy and cuddled in for the evening. Jonathan and Candy played Scrabble with Martha, and Daniel and I managed a couple of games of chess – I won the first game and he won the second. Then after tucking the kids in bed, Daniel and I managed another walk on the beach. You know, when the show is done, I'm going to HAVE to make time for more walks. I've been getting slack lately, didn't realize how much I had missed them! It's kind of like our Madeira Tuesdays. It seems like its been ages since Daniel and I have had a Madeira afternoon! We get busy with other things and something has to give. Sometimes the wrong things. I guess it comes from having my muse bite late at night – everything else goes out the window . . .

May 27, 1971 - Tuesday - 10:00 p.m.

It's been a long day, but a productive one. One of the nicest things about today was Daniel left an invitation for Madeira at four! Maybe he thought about it last night, the same time as I did! I arrived on time, with my shoes on, presentable, but not in granny's earrings and a long flowing gown, as we were going from the wheelhouse to rehearsals, but I did decide that discretion was the better part of valor and did not show up in slacks, which I think Daniel appreciated. (I DID change into Capris before we left for rehearsal!) We had a lovely hour sipping Madeira and talking about nothing in particular. How I've missed it! I appreciated talking to 'Daniel' again too – not 'Danny.' It's not that I don't like 'Danny,' but I miss 'Daniel,' and have been seeing much more of 'Danny' lately it seems! Does that make any sense at all?

When Daniel is 'Danny,' he's less reserved, and seems to have slightly less educated accent – He's a much more casual soul. It may sound silly, but I can picture 'Danny' going out with Seth and Abner for a beer after rehearsals. I can't picture Daniel doing that, even though I know he drinks beer! I don't know – he's just not my Captain – THE Captain, I mean. He did let rip with a BLAST! the other night at practice when he started singing the wrong verse in Accustomed To Her Face – which made me laugh, Claymore snort and the children giggle, but other than that, he keeps pretty much to himself. I mean he talks to people and all, but WE don't really get a chance to talk too much during rehearsals, which makes me sad, but on the other hand I don't need to start up any local gossip either.

Lots of phone calls today. Kathy called – she has the choreography figured out for Show Business – then Mark Finley called and said it might not be a bad idea for Cleveland Hampton to hold ten tickets for the opening night performance for critics, and send pairs of tickets to the local theater critics in Keystone, Bangor, Pripet and Belfast, to promote the show. He also mentioned since he's in the show and can't review it for the S.B.B. that he could send two tickets to the Journalism teacher at the high school – She could pick one of the students who will be on the student paper this fall to write the review – it would give the student some 'professional' writing experience and the show a local review. I called Cleveland Hampton and had him send the tickets over to Mark, who is also going to write a story about why we are doing the show to send with the tickets. I guess Mark is learning to think of other people besides himself after all!

Candy, Jonathan, Martha and I got to the theater a little early – I really haven't had a chance to look at the rest of the building – It occurred to me this weekend that everyone will need a place to change costumes and keep everything together. Since this building was an old cod-liver oil plant, a factory really, I wasn't sure just sort of room we really had! There's one large area behind the stage and no separate areas for changing. Martha suggested setting up Chinese screens for people to change behind. She was pretty sure she saw some in Deke's antique shop that would fill the bill, and I'm sure he'll let us borrow them. We ARE in for a big cleaning project though – the backstage room needs to be cleaned, along with the public bathrooms, and the stage and theater area itself. I hope I can get some volunteers . . . Or a helpful ghost . . . Or both!

Rehearsal went well. I gave everyone the order of the acts, and Kathy gave everyone a list of the songs that would have orchestral accompaniment with their numbers. After we finished the blocking on Show Business, we started doing more run-through's on the individual acts. Seth went first, then Claymore, who did both of his numbers – Rich Man needing an orchestra, but Remember only the piano. But what was really sweet, is Candy, Jonathan and Mark Helmore chimed in on the 'echo' portions of Remember – those three little voices coming in to repeat the word follow three times, was lovely.

May 30, 1971 - Friday - 10:00 p.m.

I think Daniel must have a photographic memory – I've really never thought about it before, but he can spout Samuel Taylor Colridge and other poetry, including Shakespeare at the drop of a hat, and since the rehearsals have started, I have heard him sing along with (softly) or mouthing the words to almost every song in the show . . . and others! Jonathan and Candy have caught the musical bug too. Whenever we're home, that's all I hear. They've been playing all my other Broadway albums also, and I've noticed that whenever he is around, Daniel sings along with the records. I love musicals, always have, and find myself humming along with them too – They are bringing back memories of some very happy times – Times that I had forgotten, or maybe chose to forget! West Side Story was on TV tonight, so we all popped popcorn and settled in to watch. We all cried a few tears at the end – and Candy and Jonathan were really surprised when I mentioned that it was based on Shakespeare's Romeo and Juliet. What ARE they teaching in schools today anyway?

Candy asked if I had a copy of the play, so I showed her the Shakespeare collection Mom and Dad gave me when I turned eighteen – I think she was disappointed at the style of language though! Daniel comforted her and said Shakespeare was easier to understand If you read it aloud and offered to read with her, if she read too. Now THAT is something I would like to see – and hear!

I gave the cast Friday and the weekend off. We start complete run-through's next week and I want to keep everybody fresh and alert. That will give me a chance to get some more work done on my articles and get some mending done. Not as thrilling as the 'world of the theatah dahling,' but necessary!

June 2, 1971 - Monday - 10:00 p.m.

Our first full run-through was tonight! Did it go off without a hitch? No, of course not! But I'm not unhappy by any means! I ended up switching the order of the acts one more time – It helped with the flow more than anything. It's different working with real people up there than with little scraps of paper!

No costume changes Monday, Tuesday or Wednesday this week, unless a particular act wants the extra practice and guarantees that they won't hold up the show. I would rather get everyone used to the order and the set changes first – Everyone is helping out with that! Michael Post has been made our designated curtain-rope-puller for every number but his own, and Mark Finley has kindly offered to fill in for when Michael is on stage.

I was a little worried about the blocking for Piano Lesson at first, but realized as long as Martha and Veronica play the number on the apron of the stage, Candy could play the piano in the orchestra area and it won't hurt at all – also much easier than trying to put a whole extra piano on stage for just one number. Candy is very pleased – she's the only one among the grade school age children who is allowed in the orchestra pit area, and is already making little murmuring noises about wanting to take flute lessons next year.

Two other things came up tonight. First, Jonah Applewhite has started coming to rehearsals. I had seen no reason to have him here before just for running the spotlight, but he seems to have inherited another job too. He was given a list of the acts and the running order for lighting purposes, and just naturally started saying their names as they came on stage. So, after some second thoughts, I guess we WILL have an announcer, just not an MC. I had forgotten that with luck there will be people in the audience that don't know all the people in the show! Jonah really is a natural – He does have a loud voice, the kind that can be heard over any crowd. The theater is not wired for microphones yet, so I think it's a good idea. Claymore didn't seem to be upset either – I think he's happier singing in the show than MC-ing it.

Secondly, I had to talk to Millie Applegate – she held up the show again by running outside for one of her blasted cigarettes. This is the second time, and I warned her I won't tolerate a third. It's simply not fair to inconvenience every one else in the cast. She apologized and promised me it would be the last time it happened.

June 4, 1971 - Wednesday - 9:30.p.m.

Third full run-through – I ran a stopwatch – with no applause or intermission we are running at exactly eighty minutes. Martha was right – I would have been in trouble if I hadn't cut those ten acts! Everyone's getting excited – the Gilbert children said they have cousins coming in from Castine to see the show. Well, not just the show, they are having a family reunion on Father's Day with their cousins. Maybelle's younger sister Mary and husband, and their six children. Quite a bunch staying at the Gilbert house this weekend! With the auditions and rehearsals and all, I totally forgot about Father's Day! I must remember to give Dad a call!

I called it quits a little early tonight on rehearsal. As I said, I have no wish to be a slave-driver! This IS supposed to be fun, after all, and we still have five more rehearsals before opening night. When we got home, Martha, bless her heart, said she simply HAD to get some laundry done, or the children would have nothing to wear next week. So while she started that, I pulled out the ironing board. Jonathan and Candy felt sorry for us for 'toiling away' and enlisted Daniel's help and 'serenaded' us for the next hour or so.

The kids sang a few numbers they had learned listening to my Oliver! record and Daniel played the piano, using the sheet music that Martha had returned to the piano bench. Then Daniel sang a couple of songs by himself – How Are Things in Gloccamorra? from Finian's Rainbow and another of my favorites – even if he did make me blush! – How to Handle a Woman – from Camelot.

He gave me the longest, deepest, most searching look when he finished the song! I must have stared at him stupidly – because he muttered something about needing to check his sea charts (I wonder if he ever really finishes those things?) and vanished. I didn't hear from him again until right before I went to bed, and even then it was just a quick "Good-night, my dear" on his way to secure the house for the night.

I wish he would SAY how he REALLY feels about me – especially now that he can touch me if he chooses to! I certainly want him to! Every time I think I have him even SORT of figured out, he does something totally against-type and I have to start all over again! Men can be so dense – why can't he figure out how I feel about him? Must I clout him over the head with a mackerel for him to get the idea? I feel like a teenager . . . what am I doing? Or not doing? Blast it all anyway!

June 6, 1971 - Friday - 10:45 p.m.

Second night of full dress rehearsals. If I didn't think it would jinx things, I'd say we could be ready to go tomorrow – if we crossed our fingers, that is! What glitches there were tonight could be funny – as long as they weren't happening to you! Mark Helmore couldn't find the stool he sits on for Where Is Love? But, being the son of two pros, he stood for the song instead. It took me a minute for me to notice that there was even a problem. Then Suzy and Penelope BOTH managed to lose their shoes and socks (we found them later) so they sang their parts in High Hopes barefoot. Again, not a huge catastrophe.

In the second half of the show, Harry Johnson had an embarrassing moment. He sung part of I'll Never Fall in Love with his fly open. Haven't seen that happen since college either. Poor Harry got just as red as my old friend Kent did, but I'll give him credit – he caught George's signal, turned his back to the stage, zipped up and continued singing without missing a beat. Martha, Jonas, George and I gave him an extra around of applause when the number finished – He deserved it! Candy had a brief tussle with Scruffy because she lost his 'bribe biscuit' for doing the Toto part in Rainbow, and Rita Jenkins misplaced her hat for the Pick A Little number, but other than that, everyone was perfect.

I am extremely pleased with how the sets have worked out. My idea for using wood cutouts on rollers and simple black and white cubes for seats and stairs, etc. has worked well. There is a lot of dancing on the stage itself, so we might have been able to get by with no sets at all, but visually that would be boring, so some of the numbers using the whole stage have been 'dressed up' with items like cut out 'New York' type buildings for Krupke, buildings, trees and 'rural looking' sets (including a fake town statue!) for Pick A Little and a living room set for the Gilbert's Together, Where Ever We Go number. Doing almost every other act in front of the curtain has made it easy to change sets – Michael Post and his crew are doing a great job with that!

I mentioned at the end of the evening that there would be a clean-up day at the theater tomorrow and tried to get an estimate of people that would be helping, but I am not really sure of the head-count at all! I guess Martha, the kids and I will stay until it gets done. I think I'll make a suggestion at the next Town Council meeting that we hire someone to come in and maintain the theater on at least a semi-regular basis. If the theater is going to belong to the city, they really need to make an effort to keep it presentable at all times. There are lots of events it could be used for besides theatricals.

I'm getting grumpy. It's been a long week, and I just don't have the same energy the kids do. I just don't know how Martha does it! I got a late call from Harvey Peters tonight asking me if anyone had volunteered to be ushers yet and could his Boy Scout troop be useful for that, and I jumped at the chance. All the boys would have to do is collect the tickets and seat people, since their tickets are already paid for, and Harvey said he could sell whatever left-over tickets there are at the door and collect money. One more item off my list!

I need to call Cleveland Hampton and find out how ticket sales are going. Word in town is a lot of people are buying, but I haven't had one harried call from him. He must be a little calmer these days! School is out, daughter Linda had her baby and I heard he is dating Nancy's mother. She's such a nice woman!

June 7, 1971 - Saturday - 8:00 p.m.

The cleaning project turned out fine! When Martha, the children I arrived at the theater, Kathy, Veronica, Doris Tuttle, Maria Post and Anne Vogel were ready and waiting with scrub buckets and vacuum cleaners. 'Danny' showed up about ten minutes later, and by the time ten more minutes had passed, everyone in the cast was there and ready to help!

Cleaning the theater was as bad as the first time Martha, the kids and I cleaned Gull Cottage. At least this time 'Danny' got to assist – Martha I had a private chuckle over that! Even with everyone working, it STILL took about four hours to get everything ship-shape. Personally, I spent about half that time with my hands in ammonia and water scrubbing down all the seats, which were extremely dirty. Time passed quickly – Candy and Jonathan brought along our portable record player and five or six of my favorite musicals and kept them going full blast. We finished about one p.m. and by unanimous decision we all headed for the coffee shop. I'm glad their lunch crowd had thinned to almost nothing by then! Sitting next to fifty sweaty, grimy tired people would not be MY best idea of how to eat lunch, unless I was one of the fifty! We had been there about fifteen minutes or so when Cleveland Hampton walked into the restaurant.

"What in blue-blazes does HE want?" Daniel muttered, sipping his coffee.

"Shh!" I said, "He's been a lifesaver — just handling the ticket sales. Maybe that's why he's here."

"Mrs. Muir . . ." Mr. Hampton began, "I've been trying to reach you all morning . . ."

"How could you miss seeing fifty people walking into one building on a Saturday morning?" 'Danny' grouched, "You couldn't have been trying too hard!"

"What can I do for you?" I asked politely as I kicked 'Danny' hard under the table. 'Danny' had enough sense to keep silent.

"I just thought you might want to know how sales are going." He glanced at 'Danny' with a frown, and then turned back to me. "Thursday night is almost sold out . . ."

Martha interrupted. "We're SOLD OUT? As in all two-hundred seats? That's fantastic!"

Mr. Hampton beamed at her. "Well, actually, it's more like one-hundred and eighty seats . . . "

"But there's two-hundred seats available per night." I said.

"Wait a minute, Miz. Muir," Mark Finley said from the next table, "You have to subtract ten tickets from that – for the critics, remember?"

"Right. So that means – you only have ten tickets to sell to fill Thursday night?" I asked.

"Correct," Mr. Hampton responded. "I'll either have them sold, or turn them into Harvey Peters to sell at the door Thursday night. He called me today to tell me about handling the ushering and ticket sales on show nights . . ."

"I'm really sorry," I said, "I forgot to call you about that – I've been swamped!"

"No problem at all Mrs. Muir," he answered, handing me a small zippered pouch.

"What's this?"

"The ticket money," he replied patiently, "I didn't want to keep it locked up in my desk. There was getting to be too much money in there. Now about the other two nights . . ."

I looked in the pouch and gasped a little.

Mr. Hampton looked at the sheet of paper in his hand. "You have a way to go there – I've only sold seventy-five each night of the two hundred available . . ." He frowned and popped an antacid in his mouth.

I did some quick math. "Then that means . . ."

"At $5.00 per ticket . . ." chimed in Claymore from the booth opposite me . . .

"We only have $1650 of the $2500 we need," said Daniel, with a frown.

"Minus expenses, like cleaning supplies, lumber and paint." finished Martha, ever the practical one.

"That means right now I am holding $1650 in my hand?"

"Mom . . ." said Jonathan, "That means we still need like eight-hundred dollars, right?"

"Eight-hundred and fifty." Piped up Candy.

"Nine-hundred and seventy." I said firmly. "The Magic of Musicals" is picking up the lunch tab today for this little cleaning party!"

"But Carolyn . . ." Claymore started.

'Danny' gave Claymore a fierce look.

"I mean. Mrs. Muir . . ." Claymore argued, standing up and then stopping as 'Danny' scowled at him again. "Whatever you say . . ." He rolled his eyes heavenward and sat back down in the booth he was sharing with Ed Peavey and Seth Jackson.

"I absolutely refuse to let this bother me right now . . ." I looked around at my cast and crew, feeling a little like Mickey Rooney in one of those 'Let's put on a show in the barn' musicals, ". . . and I don't want you to start worrying either!" I raised my voice as loud as I could. "We have a terrific show here and everything is going to work out! Thank-you for all your hard work this morning, go home and rest, relax, have a good Sunday and I'll see you on time Monday night at 6:30! Okay?"

"I could have sworn I heard Daniel say "That's my girl!" but when I turned my head in his direction I saw him talking to Deke and Doris Tuttle, who had stopped at our table.

Everyone cheered and started heading for their own Saturday afternoon activities.

Now, all I have to do, I thought, is get ME to believe what I just said!

xxx

Of course, by the time we got home I had calmed down a little! After all, I thought, whatever money the show makes is money we would not have made if we hadn't pulled together and decided to do something, and if worse comes to worse, Claymore will have to dig a little deeper into his pockets to cover the difference. Of course, If the show doesn't make the full $2500 Claymore might say I haven't lived up to my end of the contract, but . . .

"What did you do with the money?" Daniel asked, having vanished for parts unknown right after lunch.

"It's in Claymore's office safe," I said. "The bank is closed on Saturday."

"Did you count it first?" He looked at me skeptically.

"Yes." I laughed. "But, you know, I'm really not worried. Claymore can be money-grubbing and tight-fisted and greedy maybe, but I don't think he's dishonest, and he has just as much riding on this show as the rest of the town does. More actually. He really wants to sell his buildings to the city, and besides, I've never seen him relax and have as much fun as he has had doing this show."

"You have an excellent point." said Daniel, "And you are right. Never have I seen my supposed great-nephew have such a good time NOT talking about money." He paused and gazed at me for a moment.

"Of course, even with you being the one in charge of this theatrical venture, I don't think I have ever seen YOU relax and laugh and have such a good time as much as you have lately either."

"Well . . ."

He cleared his throat. "So what is the 'Master Plan' for the rest of the weekend, Madam Director?"

"Well, I don't know about you, 'Danny,'" I said, "But first I want a bath, and then I still have two magazine articles to finish by 4:00 p.m. Monday before rehearsal – "

"Daniel . . ." he said softly. "I am back to 'me' again, at least until Monday . . . I look like I normally look now." He gazed at me and said in an even silkier tone, "Besides Carolyn. . . I like it when you call me Daniel . . ."

The way I feel when he calls me Carolyn! . . .

"All right . . . Daniel . . ." I croaked.

He leaned toward me and I held my breath.

"Mrs. Muir?" Martha appeared in the doorway.

"BLAST!" He vanished.

"Did I interrupt something?" said Martha, looking at the spot where Daniel had disappeared.

Blast indeed! "No Martha!" and I know I sighed! "Nothing that won't wait a little longer I suppose! What did you need?"

"I was just wondering if you wanted to take your bath and get cleaned up now, or whether the kids should go first." She grimaced. "The kids use more hot water than you do!"

"I'll go first this time, for a change, Martha. I'm in a hurry – and I really need to try and get my articles finished this afternoon."

"All right – I'll wait until you're done, and then herd the kids in the direction of the bathroom."

. . . Kiss Daniel . . . My thoughts continued as I watched Martha leave the room, How I WANT to! But I can't seem to get the chance to, and I can't take a cold shower in this antique bathroom either! Blast! – Blast, Blast!

Martha headed for the downstairs and I headed for the bathroom – and a hot bubble-bath.

June 10, 1971 - Tuesday - 11:30 p.m.

Busy few days . . . I spent Sunday afternoon and Monday morning finishing my two articles, and mailed them off Monday afternoon. Full dress rehearsals Monday, and again tonight.

I spoke to Cleveland Hampton this afternoon – He's sold thirty more tickets for Friday and twenty more for Saturday, so we are still short of full house by one-hundred tickets per night. I'm getting worried. Only about the money end of it – The show is terrific. Everyone's enthusiasm is still way up, but I think my people are starting to get antsy too. If I could do it over again, I would have either started rehearsals a week later, or scheduled the show a week earlier. Claymore decided on the weekend long before he asked me to direct though. Tonight during the intermission break, I was drinking coffee with Kathy and Veronica and they asked me about the potluck.

"Potluck? What potluck?" I asked.

"It's tradition!" said Kathy, smiling, "At least in Tennessee, where I come from! The last rehearsal before show night there's always a potluck after the final dress rehearsal!"

"Wouldn't that make dinner rather late?" I asked, "I mean, rehearsal doesn't start until six-thirty or seven and then . . ."

"No Carolyn, you don't understand." Veronica broke in. "We start early – run through the show first, say five p.m., providing everyone can break loose from whatever, go straight through the show with no stops one more time, then have a potluck supper and still be able to leave by maybe eight or eight-thirty. I'm bringing Bubbles and Squeak . . ."

"With wow-wow sauce?" asked John Helmore joining the conversation, his handsome face lighting up.

"Yes Darling," Veronica responded, "I won't forget, and Kathy is bringing . . ."

"Really Good Stuff," said Kathy. "That's a dessert, by the way. Believe me Carolyn, the potluck is just what we need. Everyone has a chance to really rest before our big opening night, and we can just talk and have fun with each other . . . just 'find our space,' so to speak. What are you going to bring?"

"Bring Martha!" said John, "I understand you have the best cook in Schooner Bay under your roof!"

"You're right there!" I said, "Okay, I give up. Early final run-through and then dinner. It really does sound like a good idea . . ."

"What does?" 'Danny' asked, coming up beside me.

"A potluck, Danny!" Kathy said brightly. "Any fish, or better yet, lobsters left over on that little boat of yours?"

"How many do you need?" he asked, lifting an eyebrow at me.

Martha, grinned and joined our little group. "Maybe four or five, 'Danny' – I can help you make a nice lobster salad if you like! Personally I'm looking forward to the Bubbles and Squeak – can't wait to find out what that is! A while back Candy wanted me to cook some for her and – "

"Uhh, I think we better get back to the rehearsal . . . " I said, having no wish to embarrass Candy about her crush over Mark Helmore in front of his parents, "Okay, were set. Rehearsal tomorrow at five, then food!"

June 12, 1971 - Thursday - 2:00 a.m.

So much for an early rehearsal and early night home! Nothing wrong with the show – It was letter-perfect. It's everything that happened AFTER the run through that took extra time – and made it IMPOSSIBLE for me to fall right to sleep tonight. But then old memories and opening up old wounds can to that to a person.

The evening started just as we planned. Everyone was at the theater by 4:45 p.m. We started the show at 5:10 p.m. and were done at 6:30. Denise Ferguson and Maria Post giggled like excited teenagers when we finished, and said that we should count on the show running at least another forty-five minutes just for applause, and hugged me and told me what a good job I had done!

After that, we broke out the food and stuffed ourselves. The mysterious Bubbles and Squeak turned out to be salt beef, cabbage, potatoes and sausage, I think. The recipe goes back to Daniel's time! It was delicious, and Veronica offered to exchange her recipe, including the mysterious (and delicious) wow-wow sauce for Martha's recipe for Blueberry Slump.

Then, as I have seen happen so often at theater-type get-together's, the subject turned to past shows that people had worked on, and everyone started talking about songs it would be fun to do next time, and started homing in around the piano. Martha started playing requests, and there were some friendly discussions about doing a whole musical next year, verses a variety show, and if we DID do a whole show, which one would be best to do. Suggestions were being thrown around all over the place, which led to people singing some of their favorite songs from different shows. The only limit on songs seemed to be whether or not Martha could play the song, and in most cases that wasn't a problem either because when Martha couldn't play it, Veronica or Kathy could, so they took turns at the piano, then our little orchestra got into the act too.

Veronica and John sang People Will Say We're in Love, from Oklahoma, Seth Jackson did This Nearly Was Mine, from South Pacific, Deke Tuttle sang More I Cannot Wish You From Guys and Dolls, Kevin and Nancy did You're The Top from Anything Goes then Daniel (who has been practicing again!) chimed in with another Camelot song – I Wonder What The King Is Doing Tonight? Then all the kids sang a GOOD version of Consider Yourself, from Oliver.

My favorite of the evening though, had to be Claymore and Ed's version of Brush Up Your Shakespeare, from Kiss Me Kate. Those two are really a couple of hams! They danced all over the stage, up and down the stairs, and had us all in stitches by the time they had finished. I had to ask Claymore though, only because 'Danny' couldn't, what had happened to him!

"What do you mean, what happened to me?" he puffed, a little out of breath.

"Well, Claymore . . . " I started, "I tried to teach you how to waltz last year for the Centennial Games Gala and . . . well face it Claymore, you can't dance to save your soul!"

"That's WALTZING Mrs. Muir! I STILL can't make my feet and brain count to three in rhythm, but this – " He jerked this thumb at Ed Peavey. This is just clowning to the music. After all, Keenan Wynne and James Whitmore performed it in the movie – you can hardly call them dancers! Besides, you need to scold Ed! HE started this when we were waiting backstage for our numbers! So – can we do Kate next year maybe?"

"Maybe . . ." I said, not wishing to commit myself that far into the future, (and how did I get nominated to direct again anyway?) "We should call it a night though! This was supposed to be an EARLY rehearsal, remember?"

"We haven't heard from everyone yet!" said Nancy Reed, shyly. "YOU haven't sung anything yet Carolyn . . . I mean Mrs. Muir . . ."

"You were right the first time Nancy," I said, "It IS Carolyn, but I'm not a singer . . . I'm a director!"

"You can TOO sing!" Nancy protested, "I came to Captain Gregg's funeral in March – I sort of felt like I knew him after seeing his portrait so often at your house – I felt like I should go – AND I heard you sing! You sang Danny Boy – You have a GOOD voice!"

"That's beside the fact!" I protested again, "I did that . . . well . . . because I had to, that's all. I don't sing in public very well and . . . "

"Yes you do . . . " said Claymore, softly. "I was there too, remember?"

'Danny' looked at me with a gleam in his eye.

"Holding out on us. Mrs. Muir?" He gave me a wicked smile. "We'll just have to fix that!"

"I'm NOT holding out!" I argued, "I . . . I just don't know what to sing, that's all!"

"I heard you singing True Love from High Society when we were cleaning the theater Saturday morning Mommy! piped up Candy.

Why do children remember only what you DON'T want them to remember?

"That's a duet honey!" I objected, "I was humming along with the record. It's not a solo. . . "

"You WERE singing . . . " said Jonathan. "I saw you too!"

"Then, if you will allow me, I will sing it with you," said 'Danny' with a broad smile and a twinkle in his eye, and they all gently, insistently, lead me to the piano.

Well Diary, I sang the song with Daniel – After the first few bars or so, which Daniel sang alone anyway, I started to relax. Then, as I started to sing, my throat opened up, my voice stopped shaking and I began to actually enjoy myself – and in my mind I started questioning myself WHY I ever stopped singing, and being interested in the theater to begin with. The reasons all seem so STUPID now! As Daniel and I sang the last line – Love forever true, the piano music faded away. I could feel myself turning red again (34 year-old women should not blush!) Daniel squeezed my hand, and then everyone applauded like mad!

"Well, I don't know about anyone else, but I feel cheated." said Claymore, when the applause stopped and everyone had begun moving toward their cars, "Why aren't YOU in the show?"

"One, because I don't believe in directors casting themselves in their own productions," I said, "and two, I've been busy enough." And three, I thought silently to myself, I would be way too scared to have tried to sing again . . . until tonight.

"Claymore nodded his head. "Well . . .OK. . . but still . . ." His voice trailed away.

"You're sweet to think of it though," I said, not wishing to seem ungrateful, "Thank-you, Claymore. For asking me to direct the show, and for wanting me to sing tonight . . . It WAS fun!" and I kissed his cheek.

Other people still standing around nodded in agreement.

He blushed, and said, "No Carolyn – I really need to thank YOU. I never could have done the job with this show that you have – I've had a lot more fun singing and well . . . you've really pulled me out of a jam." he stuttered, then blustered as he tried to regain his composure, "Of course, I'll be happier WHEN and IF all the tickets sell!"

Seeing Martha and the kids coming toward us, he gave me a nod and a smile, turned on his heel and left the theater.

We left shortly after that. 'Danny' rode home with us, but disappeared after we arrived home at ten-thirty. I got the kids bedded down about eleven p.m. or so, Martha and I tidied the house a bit and she turned in about eleven-thirty.

I still had too many thoughts swirling around in my head – about the show, about singing, about Bobby – Some 'ghosts' had made themselves extremely visible tonight – and none of them were Captain Daniel Gregg! I needed to think, And since the only place I can ever totally relax and think is the beach, I grabbed my jacket and headed for the shore around midnight.

xxx

I suppose I had been out there walking, sitting, staring at the stars, listening to the waves wash up against the beach, and mulling things over for about an hour when Daniel came looking for me. Different, at least for him though, was that I saw him materialize about a quarter mile from where I was and start walking toward me. The moon was full – I guess he wanted to give me the courtesy of seeing him and take off in another direction if I wanted to.

I didn't, of course. I can't NOT talk to him – not since the first night we met or any time since have I ever wanted to NOT talk to the man – not in a dusty attic, not on the verandah on a starry night, and not out in the fog on a not-so-starry-night! As he came toward me, I saw concern in his eyes, and curiosity, and maybe a little guilt.

"Are you angry with me, my dear?" he asked as he approached, in that low velvety tone I know so well.

"Angry?" I asked, "Why would I be angry with you?"

"I thought maybe you were. After all, I coaxed you into singing with me tonight and . . . "

"You have nothing to do with it . . . I mean, I guess you did, but me being out here has nothing to do with anything you did, I think it has to do more with what I did, or didn't do . . . "

"I do not think I quite understand . . ." he said, in a puzzled voice. "If you aren't angry with me, why this night-watch? Why are you out here patrolling the beach at 1:00 a.m.?"

"Interesting question for you to ask!" I said with a laugh, "Why do you pace in your wheelhouse at three in the morning?"

"Well, it's not exactly like I need sleep . . ."

"No, but you don't have to pace thither and yon either!" I said, grinning at him, "I'm sure there are more constructive . . ."

"YOU are trying to distract me from my original question," he purred. "Are you sure there isn't something you would like to talk about? They say confession is good for the soul . . ."

"I have nothing to confess!" I snapped at him, "Except maybe stupidity."

"Now THAT I do not believe," he said slowly. He lead me over to a nearby beach rock and gently insisted that I sit.

"Now what is the problem, my dear? Are you worried about the show? Because if you are, you shouldn't be – everything is going beautifully and you are a great director . . ."

"For someone who has never really directed, or even assistant directed a show in her life!"

"You haven't?"

"No," I shrugged, "Claymore asked me to be in charge of the show in exchange for not raising the rent. Last year with Bob Mason really doesn't count. We really only had a few acts, besides him. I have had a fair amount of exposure to theater – I just haven't directed a show, but it seemed like a good idea at the time! I'm not worried about tomorrow – the show, not really. That will work itself out. Actually, I'm out here thinking – and ghost-chasing," I said, as I stood again.

I think Daniel looked alarmed for a moment, then he regained his composure.

"Ghost-chasing Madam?" He looked at me, affronted, "Are you chasing ME away? Are you saying you want me to leave you here on the beach? At this ungodly hour? I will not do that. . ." he said, also rising from the rock.

"Poor choice of words," I said. "You aren't the only ghost in the world you know. In fact sometimes I have to remember you are a ghost at all . . ."

"That's very kind of you to say, my dear . . ."

I looked up at his face. There was a look of anxious concern there I had never seen before.

"Will let me tell you without any interruptions?"

"Yes."

"Will you promise NOT get angry over something that happened a long time ago?"

"I will try. I cannot promise, but I will do my best."

"Will you not even LOOK at me or talk to me unless I ask you a question, or until I tell you that you can?"

"Why not?"

"I'll concentrate better."

"Oh very well," he sighed. "Do you want me to dematerialize?"

"THAT won't be necessary." I smiled at him. "Just sit here with me on this rock . . . but . . . just . . . stare off into space, or something, okay?"

"All right."

xxx

We sat down on the rock again. Why do I find things like this so difficult? We must have sat there for at least five minutes while I took the scarf I was wearing and tied it into knots and then untied them again. Daniel, true to his word did not look me in the eye – he watched my hands. Out of the corner of my eye, I thought I saw a strange look come over his face for a moment – sort of a look of surprise – but he said nothing and waited for me to speak.

Maybe confession IS good for the soul . . . I thought, and I began:

"Well, to begin with, I really was telling you the truth at our first rehearsal when I said my minor in college was in Drama. I was getting my B.A. in English, of course, but there was a time, there for a while, that I seriously considered switching it around – that is changing my major to Drama and making my minor English."

"I can't imagine you as anything BUT a writer," said Daniel.

"Thank-you. That just goes to show you how far you've come from your Nineteenth Century upbringing," I said, and smiled broadly at him. "Now may I continue, Captain Sir?"

"I do beg your pardon," he said, contritely, "I was carried away for a moment. Please, go on."

Daniel watched me as I bent and picked up a large handful of sand and let it run through my fingers while I tried to think of what to say next.

"Anyway, I guess Bobby and I had met and been dating about five or six months. Things were going well in that department. He was a BMOC – That's 'Big Man On Campus' to you," I said, responding to his questioning look, "We had met each other's parents, but weren't talking marriage yet, exactly. We were wildly attracted to each other, and seeing each other 'exclusively,' as the saying was back then. That's when I got the job at the coffee house."

"Waiting tables?" Daniel interrupted, in spite of himself, "Why on earth . . ."

"You promised not to interrupt," I reproached him gently, seeing that he WAS interested and DID care about what I was telling him, and I continued. "I was NOT waiting tables Daniel." I was the entertainment!"

"You sang in PUBLIC? In an eating and drinking establishment?" His bushy eyebrows shot up.

"Yes. And don't look so surprised. It was, entirely acceptable even in the late 1950's for people to entertain and be entertained in that way. In fact some of our best known folk-artists – people who are well known and respected today, got their start singing in coffee houses and taverns –"

"In a public tavern?" He knit his brows and shook his head.

"Yes! Pete Seeger, Peter, Paul and Mary, The Kingston Trio – talented, well-known, honored people!" I started to stand up again. "Maybe we better not continue with this . . ."

"I AM sorry, my dear." He grabbed my hands that were playing with my scarf again. "I promise not to say anything else unless you invite me to. Please, continue."

"Well . . ." I began. "I played the guitar and sang for maybe a couple of months at this little coffee shop/bistro about a half a mile from the campus. I was developing something of a 'following' on Thursday nights, and my tip jar was usually full by the end of the evening, and that's when the trouble started."

Daniel looked at me, but didn't say anything.

"Bobby started hassling me about 'how much time' I was spending on the coffee shop gig and 'how much time' I was not spending with him . . ."

"One night a week?" Daniel asked, "That's not really that much time . . ."

I gave him a look. "Well, I did have to practice too, but that really wasn't the problem. You see, I was what they called a 'quick-study' in school. It was handy – I could learn new songs quickly, take occasional parts in plays and keep up with my classes, and Mom and Dad had given me my own typewriter when I started high school, so I was fairly fast typist by the time I started college. That helped me get assignments done promptly too. Looking back on it," I continued, "I'm sure that didn't please Bobby either, because I was not so smitten with him that I helped him with his assignments – you know, typing his papers for him and whatnot. Sorry, I'm getting derailed here." I stopped for a moment and tried collect my thoughts.

"The bistro I sang in was a coffee and beer place – nothing stronger. I had turned twenty-one that November, but I didn't like beer, so I just drank coffee when I was there." I paused and looked at Daniel again at this point. He gave me a tender look in return, which made my knees weak, and I took a deep breath and turned and stared out to the ocean again.

"One Thursday night, Bobby came into the club with two or three of his friends. It was obvious that he and his buddies had been drinking . . . partying the night away. They came in, found a table near the stage and started railing at the waitress because she hadn't brought them their first round of beer yet. All this was happening when I was trying to sing!"

"A few people at another table tried to get them to calm down, but Bobby didn't listen to them. He was obnoxious the rest of the time I was performing . . . he made a couple of silly requests for songs – 'Hey! sing Melancholy Baby!' You know – like that. The waitress tried to quiet him a few times, but you have to remember this was just a little family place. Nobody wanted a scene, and heaven knows, I didn't! I was embarrassed beyond belief, and furious with him."

"As well you might be!" Daniel's eyes darkened. "What happened then?"

"I cut my act short and went backstage and tried to collect myself. I guess it was about five minutes later that he showed up backstage, without his buddies, looking for me."

"You DID give him a piece of your mind did you not? You certainly have no problem telling ME when something is bothering you!"

"Well, yes and no," I answered slowly, trying to keep my thoughts together. "Yes, I told him how embarrassed I was, but, you have to remember Daniel – I was twenty-one at the time, not thirty-four, and at times just – just not very sure of myself! Ten years makes a world of difference!" I shrugged. "For everything I tried to say to him, he had an answer – That messing up my act wasn't important because it was 'just a little local place,' that he was 'just having a good time,' but . . ."

I could see Daniel trying to control himself – and observed him for a few moments as he clenched and unclenched his fists. "What else did he say to you? he asked quietly.

"He said that they probably only hired me because I worked cheap, and I was 'fairly good looking,' which always drew a crowd and because my family was important in the community, and that it wasn't that I had any 'real talent' or anything, that I wasn't really that good . . . "

"Is that all?" His voice was very quiet and restrained, and sounded quite menacing.

"No. . .not quite. He also said he was 'tired of being ignored,' that he 'missed' seeing me – "

"And?. . ."

"Well, he said my voice wasn't that great, not really close to professional caliber, and why was I wasting my time anyway. . ."

"And you believed him? Carolyn, why?"

"Well . . . that's not all that happened." I could see Daniel was losing patience, and continued. "Bobby left with his buddies shortly after we argued. I didn't go back out and sing any more that night. I should have, I think, looking back on it! Bobby and I didn't speak to each other that entire week. He called a few times, but my roommate Debbie intercepted the calls for me."

"Good." Daniel growled.

"Not really," I answered. "I kept replaying everything Bobby said all that week – and instead of . . . of getting 'stubborn and obstinate,' as you have accused me of being so often, and going back and singing the following Thursday, and proving to myself, and him that he was wrong, all I did was start doubting myself more and more."

Daniel took my hands again. "Carolyn, what happened?"

"I got as far as the coffee house and . . ."

"And?. . ."

"All I could hear is Bobby's voice inside my head – and somewhere in there I decided he was right. I got as far as the stage and I . . . I just couldn't do it. I couldn't sing a note. This overwhelming feeling of panic set in. My throat closed up. I started sweating and thought I was going to faint – then I left the stage and apologized to Mr. Griffith, the owner and said I couldn't sing in his club any more. I could NEVER sing in public after that! I found it difficult to even SPEAK in front of a crowd of more than two or three people. I was so mad at Claymore I did get over speaking in public by the time I ran for that seat on the Town Council, but never the singing."

"But you sang at my funeral!" he protested.

"As I told Nancy Reed tonight – That was something I just . . . just kind of forced myself to do. because I lov—" I caught myself, "Because I CARE about you, and because I knew it was something that was important to you. I still don't know how I got through it."

"I am extremely flattered, my dear that you could do that for me . . . I don't think you have any idea how . . . how very touched I am! But . . . I don't understand! What happened with Bobby? You married him, you had Candy and Jonathan . . ."

"Bobby was in the house that night I couldn't sing. He came backstage looking for me. He brought flowers, and lots of apologies, and just kind of . . . of took over. In a totally loving way of course! We collected my things, said goodbye to everyone and just – left. He proposed a week later, and you know the rest of the story. We ended up eloping – again, more his idea than mine, I'm afraid, but I did go along with it – I conceived on our wedding night and I had Candy nine months later."

"There's something else . . ." he probed gently.

Well, I'm afraid I lost it then, Diary! I started crying and Daniel produced a handkerchief from his pocket. Gently, he blotted the tears from my eyes, and then, taking it from him, I blew my nose and continued.

"I realized I couldn't even sing to Candy or Jonathan . . . not even lullabies . . . my own babies! Every time I tried, I heard Bobby's voice saying 'You really aren't that good'. . ." I stopped for a moment. "I really cheated them Daniel – over something I couldn't handle. Of course, thirteen years later, I know better. If Bobby, or someone like him were to try something like that on me now I would throw the flowers back in their face and point them in the direction of the door, but back then . . ." I sighed, thinking to myself that the incident was just a portent of other incidences with Bobby that would come later. I got up off the rock and started walking back toward Gull Cottage.

"YOU didn't cheat them, BOBBY MUIR did." Daniel said, as he caught up with me and then measured his steps to mine. "You need to remember that, my dear. But how are you feeling now? Are you better?"

"Better, yes, I think, for the most part! And tired, and drained and relieved. Like a twenty pound rock has been lifted off my chest." I looked up at him and smiled. "This probably isn't the kind of discussion you needed to take on at one o'clock in the morning . . ."

He stopped me and rested his hands on my shoulders and his beautiful blue eyes gazed earnestly into mine. For a brief moment, I thought he might kiss me, but he didn't.

"For you, my dear, anywhere, any time. I would think you would know that by now." he added, tenderly, "But you must rest now. Your big day . . . our big day is tomorrow. You need your sleep. I'm going to insist on it, my dear."

He took my hand in his and walked back up the beach to the house, where he wished me goodnight and disappeared. (Sigh!) That was about a half an hour ago. Daniel is right though. Suddenly I am VERY tired, and we DO have a big day coming up! I do so want things to go well! Good-night.

June 12, 1971 - Thursday - 5:00 p.m.

Show Night! I asked everyone to be at the theater by 6:00 p.m. for a 7:00 p.m. curtain. I figured that will allow for any minor catastrophes that might come up, and a last-minute get-together and charge-up before-hand. "Magic Circle Time," my college profs called it.

I was just getting out of the bath this afternoon and found Candy waiting for me in my bedroom.

"How do I look Mom?" she asked, as she spun around in the room, her full skirt swirling around her, "Do you like the dress? Martha took that blue one I liked that I was starting to grow out of and let the hem down and took the sleeves off! Doesn't it look cool?"

I looked at my lovely daughter and choked up a little. She was getting taller and more beautiful by the day!

"You look fantastic Honey!" and I gave her a hug, "Marvelous – Mark is certainly going to take notice of you tonight! That's for sure!"

"Who cares?" she shrugged, "He's a really nice boy Mom, but, he's just kinda one of the gang now, 'specially after working with him in the show!" she paused, "Do you think maybe he might grow up and sing like Mr. Helmore? Or Captain Gregg?" She giggled. "I might change my mind if he could learn to sing like them!"

"I don't know Honey," I said, thinking how mature she sounded all of a sudden. I reached for my red pantsuit I had left hanging on the closet door.

Candy gave me a horrified look.

"Mom! You aren't going to wear THAT, are you?"

"Any particular reason I shouldn't? I thought you liked this outfit!" I said, matching her look. "It's dressier than the Capri pants and shirts I've been wearing to rehearsals!"

"But Mom!" she said, "It's opening night! You need something . . . glamorous! EVERYONE will be dressed up!"

"Now just what do you suggest?" I said, half-teasing her.

"Let me check!" she said eagerly, "I know I can find SOMETHING in there!" She made a dive for my closet.

Clothes I forgot I owned started appearing from its nether-reaches.

"You need to wear some of these more often Mom," Candy said critically. She held up a green silk dress that hadn't seen the light of day since we moved to Maine. "I've never seen you wear THIS before! It's beautiful!"

"It's also two sizes too small!" I said with a sigh, "I just haven't been brave enough to give it away yet!"

"What about this one?" she said, holding up a royal blue suit.

"Way too hot for June sweetie!" I said, "But I really like your taste! Care to try again?"

"This!" She shouted in triumph. "This is perfect!"

Candy held up a pair of black velvet palazzo pants, and the matching top. It was barebacked – with a deep V-neck.

This one Mom! This is it! It's just right for tonight! It's super glamorous! You just HAVE to! Now, go try it on! I'll find you some kind of jewelry to wear, then I'll do your hair . . ."

"Since when do I need the whole beauty treatment?" I asked, grinning at her.

"You've been working way too hard Mommy." Candy said in a motherly tone, "Let me help!"

I didn't have the heart to discourage her – she wanted so much to assist me, and to tell the truth, it felt good to be pampered! I must say that Candy made a beautiful choice. Far be it from me to admit it, but the outfit was at the back of the closet because I had put on a little weight and it didn't fit properly – but somewhere along the line, between our hectic rehearsal schedule this last month and some of the extra walks I have been taking with Daniel, I seem to have lost a few pounds! What a nice surprise on such a special evening!

Candy 'did' my hair, and started rummaging around in my dresser drawers looking for the 'right' necklace, as I applied my makeup.

"Here's your lace jacket, Mommy," said Candy, coming up behind me as I applied the finishing touches to my face, "You look really nice! I wish you'd let your hair grow out a little bit more though. I liked it better when it was longer. Here." She handed me a black velvet jewelry box.

I looked at the box, and my heart skipped a beat. "Uh . . . where did you find that?" I asked, trying to keep my voice steady.

"Over there . . . In your dresser . . . In the bottom drawer. They're pearls. I've never seen you wear them before. Did Daddy give them to you?" Candy asked with a troubled face. "Pearls look good with black clothes. Judy . . . She plays the flute in the orchestra . . . told me so. Should I find something else?"

"No . . ." I said, ". . .they weren't from your father, but they WERE a present . . . From someone I . . . I love very much. And you're right! This is the night to wear them!" I fastened the pearls, my present from the Captain the night of my parent's anniversary, around my neck. "I think it's just about time to go! Are you ready?"

"Ready!" Candy said with a grin, "Lets go downstairs and show the Captain and Jonathan and Martha how beautiful we are!"

Candy thundered down the stairs ahead of me. I followed more slowly, feeling rather shy all of a sudden.

"Taa Daa!" Candy said with a flourish as she hit the bottom stair, "Presenting – Our Mom!"

"Mom!" exclaimed Jonathan, as I appeared at the top of the stairs, "You look really nice! You got dressed up!"

"I haven't seen you wear that outfit in AGES Mrs. Muir!" Martha added, "You look absolutely stunning!"

I turned and looked at 'Danny,' who was looking quite dapper in a pair of black slacks and jacket and a white turtleneck. The oddest feeling of deja vu swept over me, and I couldn't help but remember that night over a year-and-a-half ago when Daniel met me coming down the stairs to wait for Claymore to go to the Centennial Dance.

I think just this once I took the wind out of his sails!

"Madam . . . I . . . you . . . " he paused. "You look ravishing, my dear. You are . . . truly a vision. May I have the privilege of escorting you to the car?"

His eyes shifted briefly to my neckline and I could see he recognized the pearls he made Claymore give me the year before, and he said NOTHING about the V-neckline, or my bare back!

"You may, kind sir!" I replied, trying to keep my voice light. "And may I say, you look quite stunning yourself!"

"Thank-you, my lady, but I am no equal to the graceful and elegant woman I see before me. I am honored to be in your presence."

Feeling tongue-tied again, I THINK I said – something . . . then we all got into the car and headed for the theater.

Schooner Bay's First Annual

MAGIC OF MUSICALS!

June 12, 13,14 – 1971

Directed by

Carolyn Muir

Musical Director and Choreographer

Kathy McManus

ANOTHER OP'NIN ANOTHER SHOW

WHERE IS LOVE?

WHAT DO THE SIMPLE FOLK DO?

SEPTEMBER SONG

MY FAVORITE THINGS

THERE BUT FOR YOU GO I

HIGH HOPES

IF I WERE A RICH MAN

GEE OFFICER KRUPKE!

PIANO LESSON

PUT ON A HAPPY FACE

OL' MAN RIVER

Intermission

I'LL NEVER FALL IN LOVE AGAIN

TRY TO REMEMBER

YOU WONDERFUL YOU

IF EVER I WOULD LEAVE YOU

THE PARTY'S OVER

TOGETHER WHEREVER WE GO

SOMEWHERE OVER THE RAINBOW

PICK A LITTLE/GOOD-NIGHT LADIES

EVERYBODY'S GOT A HOME BUT ME

ONCE IN LOVE WITH AMY

I'VE GROWN ACCUSTOMED TO HER FACE

THERE'S NO BUSINESS LIKE SHOW BUSINESS

June 13, 1971 - Friday - 2:00 a.m.

I can't sleep . . . I know I should, but I just can't. Not yet, not after everything that has happened tonight! I just want to make it last a little longer! I'll start at the beginning of the evening though, or I might forget something . . . and I don't want to forget ANYTHING about this wonderful, magical, perfect night!

We pulled up to the theater at about 5:45 p.m. 'Danny,' unlike previous rehearsal evenings, didn't disappear as we arrived at the theater, only to 'officially' show up ten minutes later.

"You aren't going to vanish and then make an entrance?" I asked as I shifted the car into park.

"Gentlemen stay with the lady they are escorting for the ENTIRE evening," he replied, as he opened my driver's side car door with a wave of his hand, "Shall we go inside?"

Kathy was at the theater entrance waiting for us.

"My kids should be here in about fifteen minutes," she said. "You look great! New outfit?"

"Old one! My fashion-conscious daughter insisted!" I said, giving Candy and then Kathy a hug. I eyed the pretty, blue, drop-waist, dress she was wearing. "You look great too! Looks like we all dressed up tonight!" Candy gave me an 'I told you so' look, took my keys and went to open the theater door for 'Danny' who was helping Martha carry in some intermission refreshments.

"Thanks!" She paused, "So . . . Danny came with you? I was wondering when he would get up enough nerve to ask you out!"

"Uhh . . . His lobster boat is anchored out near Gull Cottage at the moment," I ad-libbed, "What ARE you talking about?" I continued, hoping I didn't sound too startled.

"All you have to do is watch him watch you when he's near you Carolyn. I thought you knew!" she grinned, "He's got a real 'thing' for you!" Kathy turned to get her sheet music out of the front seat of her car and added, "I just thought you were taking pity on the poor guy . . . I would, if it were ME he looked at like that!" She smiled again and headed for the door.

Is it that obvious? I thought, following behind her, I mean, I know how I feel but . . . No, she must be mistaken – surely he would have SAID something by now, especially considering his newly acquired solid-ness . . . but yet . . .

"Mrs. Muir!" I turned and saw Cleveland Hampton running up behind me, "Guess what?" he panted.

Please don't let it be bad news! I thought as I turned to face him, Not when everything is going so well!

"Yes?"

"You are officially sold out tonight."

"WHAAATTT?"

"Sold out," he repeated, "Maybelle Gilbert's sister Mary and her family – they're in town visiting – She reserved the last eight opening night tickets last night – for herself, her husband and six kids. What's the matter? You're happy, aren't you? You look surprised!"

"Just . . . startled," I answered weakly. "Sold out! I can't believe it! . . . Thank-you Mr. Hampton!" I kissed him on the cheek and made a run for the theater to tell everyone the good news.

xxx

Martha, Kathy and the kids responded to the news with cheers and hugs, but Daniel just smiled and told me calmly that he "knew there would not be any problems at all." Then he went back to the stage area supposedly to "double check the curtain rope," but when I happened to see him talking to Claymore, Ed and Deke about fifteen minutes later, his voice sounded positively triumphant! So much for my calm, collected Sea Captain!

Everything happened quickly after that! Jonathan and Suzy elected themselves 'audience watchers,' and kept peeking through the curtain and gave us a running report of how many people had come through the door. Michael Post reminded me that I couldn't sit in the audience as I had during rehearsals because there were no vacant seats, and assigned me a stool and a spot to sit, stage left, by the curtain, where I could see everything and still not get in the stagehand's way.

Our greenroom was 'organized chaos'– typical for opening night! John and Veronica were practicing Simple Folk, and ten feet away, Nancy and Kevin were going over their soft-shoe routine. Candy and Mark had their ears covered from all the noise and each were sitting in a different corner, softly singing their respective solos and doing their best to ignore everyone else. Ed Peavey seemed oblivious to the noise and was tipped back in a chair chatting with Deke and Seth, who seemed equally calm. The ladies in the PTA were arranging cookies on trays for intermission, and chasing miscellaneous children darting around AWAY from the cookies.

Mark Finley approached me.

"Miz. Muir?" He gave me a buss on the cheek. "You look great – the critics are here."

"Critics?' I responded, hoping I didn't look as pale as I suddenly felt, "You mean the student from the high school . . ."

"No Miz. Muir. THE critics! The ones from Keystone, Pripet, Bangor and Belfast . . . but yes, Morgan Gilman from the high school is here too."

"I really didn't think they would show up! Are you sure?"

"Of course I'm sure! I color-coded their theater tickets."

"Color-coded?" said 'Danny' curiously, coming up behind me.

"Why sure!" Mark responded, "You mean you've never done that? It's elementary. I sent the critic at each paper a pair of tickets, but I made them four different colors – Blue is Bangor, Pink is Pripet . . . and so on, so we'd know who got here. Harvey Peters says all four sets of color tickets have been collected. They're all here, so I guess we'll have reviews tomorrow." then he added, "The rest of the SBB is ready to be put to bed tonight . . . I'm going back with Morgan after the show to get his review typeset." He paused again, then added, "Well, I guess that's all I needed to tell you Carolyn! Break a leg! See you back here in what? About five minutes?" He slapped 'Danny' on the shoulder. "You too! Break a leg, Danny! I gotta go find Penelope!" and he was gone.

"Why that insolent pup! How dare he?"

"How dare he what?"

"Telling you to break your leg? Telling me . . ."

I giggled. "Guessed you missed that 'Danny!' I forgot to tell you. Traditionally, in the theater, it's bad luck to wish people good luck . . . "

He finished for me ". . . So instead you wish people bad luck, meaning good."

"Right. Also, you aren't supposed to whistle backstage, unless it's a part of your act, like John and Veronica's song, and there is one of Shakespeare plays that starts with 'M' and ends with 'H' that you aren't supposed to mention either, although I really don't know where that superstition came from!"

He nodded. "I understand. Now about this 'Magic-Circle?'"

"You'll see! Come on!" With that, we headed backstage.

Ten minutes before curtain, miraculously, we had all (including the orchestra!) made our way to the greenroom where I instructed everyone to grab the hand of the person nearest them and we formed a circle. 'Danny' ended up on my left and Martha on my right, which I felt was rather fitting! Then I told the cast how happy I was about the show, how much I have enjoyed working with them, what a great show it was, and regardless what the outcome turned out to be, I wouldn't have missed a minute of the last five weeks – Then we treated the circle like a football huddle, and concentrated and focused our energies on the show at hand. I definitely felt an electric thrill of sorts! We all let out a collective cheer, hugged the people nearest us and then made our way to the stage, the theater doors, or the orchestra pit.

From my vantage point, I could watch as Michael opened the curtain, see the house lights dim and hear the rolling thunder of a kettle drum, and the show was underway!

xxx

The ending lines of "Another Opening, Another Show" played --- there was a split second of silence and the audience burst into a thunderous applause! From there on, it was smooth sailing . . . The show ran as effortlessly as if were on greased ball-bearings. The actual numbers started with a real bang – the applause for Mark Helmore's solo Where is Love? lasted almost a minute! The audience laughed along with John and Veronica and Simple Folk, and they stamped their feet and cheered for Deke Tuttle and September Song.

Once again, Suzy and Penelope managed to lose their shoes before they performed with Jonathan, Quenton and crew on Favorite Things, but no one cared, or even noticed! During the song, 'Danny,' who was singing next, came up and stood next to me – I hadn't realized it before, but he was just as anxious as I about Jonathan doing well. He gave me a fast kiss on the cheek, "for luck" and said: "As If Only did at one time, this song speaks to you . . . " and then he left for his entrance, and I stopped, perhaps for the first time in a long time to listen to the words in his song, especially at the last phrases. For a moment, reality shifted, and "Danny" wasn't singing Tommy's lines to Fiona. It almost seemed as if he was telling me that he'd be alone without... me... perhaps it was wishful thinking on my part... or... Maybe I HAVEN'T been alert as I should have been!

Daniel didn't come back and see me after his number, and before I could think about it any more, Jonathan and crew were back with Ed Peavey singing High Hopes. I was right – the numbers with children were receiving a lot of applause – but ALL the numbers were!

The following act – Claymore doing Rich Man was a definite show-stopper! He started singing the opening lines and the audience laughed so hard that the orchestra had to vamp a few bars until they calmed down! I don't know WHY it never occurred to me that Claymore Gregg singing If I Were A Rich Man . . . would be hysterical! I feel positively DENSE. I was so happy knowing Claymore COULD sing, that I forgot about WHAT he was singing!

Michel Post and his group doing Krupke came next. I had been a little worried about that number, but the audience ate it up! Martha, Veronica and Candy followed Krupke with Piano Lesson. The audience loved Martha just as much as they did last year when she sang One Of These Days and Veronica, or course was marvelous as Marion, and I saw that Candy received several ''ATTA-GIRL' thumbs up from the kids in the orchestra as she finished playing the piano. Mark and Penelope's Happy Face number received a lengthy ovation, and as I predicted, Seth Jackson and Ol' Man River knocked the audience for a complete loop. Again, there was this moment of total silence as he finished, and then the audience stood and cheered for a full TWO MINUTES! Slowly, I exhaled, feeling like I had been holding my breath for the last hour. The house lights were brought up, and everyone broke for intermission.

xxx

The energy level remained high during the break – The kids ran back and fourth – alternately saying "Hi" to friends and snatching cookies, and the adults in the first half of the show met briefly with friends and relatives in the audience, who greeted them enthusiastically. Anne Vogel, Hazelyn Bennett, and the rest of the PTA ladies, managed the refreshment table dressed in their Music Man costumes. We were well-prepared for the cookie assault, and collected more donations there. Children and adults in the cast alike were threatened within an INCH if they were not backstage for the second half of the show at the appropriate time!

I did venture out to the intermission area for a while, just to listen to comments about the show and was surrounded by people who congratulated me and telling me what a good job everyone was doing and there were more inquiries about whether more tickets were available!

Claymore and Mark hovered – trying to locate the newspaper critics, but thanks to our successful advertising in the other city papers, there were lots of people that had come in from Pripet and Belfast, etc. Just too many strangers to recognize four critics! In fact, I don't think I have seen so many people I DIDN'T know since the Centennial celebration last year!

At 8:00 p.m., the audience was seated, the house lights dimmed, and the curtain rose on the second half of the show.

xxx

The lights dimmed and there was a deafening applause – In retrospect, I wish we could have put another cast number there, but too late now! Maybe next time! George and Harry did a great job with Never Fall In Love and there were several comments shouted up from the audience – like "You tell 'em brother!" I didn't recognize the voice, but whoever it was added the general tone of the song – and the audience loved it. Claymore was up again with Try to Remember after that – and another buzz came from the audience – more of a "My goodness, he is really good!" I'm so glad Claymore tried out! And that I was able to work both his songs in!

Kevin and Nancy's You Wonderful You received a nice round of applause and John Helmore's If Ever I Would Leave You almost stopped the show. It would be so much fun to do Camelot next year! Daniel would be a great King Arthur, John and Veronica could do Lancelot and Guinevere – Mark could do Mordred, Claymore MIGHT be able to do Pelinore – If we could find a Nimue and had of other good chorus people I'd be sorely tempted to try it! After John's number, Veronica was back with The Party's Over, which went over very well, and of course the Gilbert kids and Together, brought a huge round of applause, lead, I think, by their aunt and uncle and six cousins!

I felt an arm drape over my shoulders as Candy's Over the Rainbow started.

"My dear, we have a problem . . ." It was Daniel. "I regret that I have to drag you away from Candy's big moment, but we need to talk . . . immediately." He lead me from the side of the stage just as Michael and crew started moving the town sets in behind the curtain for Pick A Little/Goodnight Ladies, which came next.

"Oh, Daniel can't it wait?" I started, "I'm trying to hear Candy – It's bad enough I can't see her perform after all – "

"Only if you want people sitting in the dark for four minutes with no entertainment!" he replied.

"Whaaat?"

"It's Millie Applegate," he said testily. "She snuck out the back door . . . had to have one of her blasted cigarettes . . . "

"Well, get her back in here!"

"That is not possible!" he said urgently, "She stepped wrong in the dark and fell – her ankle is broken!"

"That's awful!" I started, not entirely sure who I felt worse for – Millie or us – "We need a song on the apron! Ed needs the whole stage to sing and dance Amy and they have to strip the stage from Pick A Little!" The audience can't sit in the dark for four minutes! It will ruin everything! Where's Millie? Who's taking care of her?"

"Kevin . . . Dr. Ferguson is seeing to her. Nancy just left to get a splint. They will get her moved to the doctor's office shortly. Kevin and Nancy have already sung, so there's no problem there – don't worry about that."

"I am! The show can't fall apart now! What are we going to do?"

"Claymore has an idea . . . " he said slowly, ". . . And, as incredible as it may be, I agree with him." He stopped again, "But it's really up to you, my dear. I happen to think you can do it . . ."

"I'll do anything! What is it?"

"Sing True Love with me on the stage apron instead."

"But I . . ."

"You KNOW you can! You've already PROVED that, my dear! Why not just do it, and chase the last of your late husband's insults away once and for all?"

"But – with no warning? Daniel, I'm scared!"

"Will this help?"

Then, right before my eyes, his face slowly changed back into the familiar bearded face I knew and loved. My Captain was back!

I almost choked. "What are you doing? People will see you!"

"You forget, my dear. I am STILL a master of illusion! Everyone else will continue to see 'Danny' – only you will see 'me.' Now then, will you do it?"

"What about Martha? She's all set to play Home But Me on the piano – "

"All ready taken care of. I popped home and got the music before I talked to you, and spoke to Martha. Invisibly, of course!"

"You must have been pretty sure I would say yes!"

"I know YOU, my dear. You will not let everyone down, it is just not in your nature. And I know you know you are ready to face a real audience again . . . you just need one more little push."

"All right . . . " I said, as the chorus of Goodnight Ladies' started, "I'll do it – but – "

"What is it my darl. . . dear?"

Did he just almost call me 'Darling?'

"Hold on to me – " I grinned, trying to keep the situation light ". . . Just in case I faint? It looks like Claymore is going to get his way after all!"

xxx

We sang the song. I could feel a slight hitch as the lights came up and Jonah stuttered for a moment as he corrected Millie Applegate to Carolyn Muir and Danny Watchman – I could hear a slight whisper go through the audience, and I was deeply grateful that the bright light kept me from seeing any faces!

True to his word, Daniel kept his arm firmly around my waist during the entire number. During the first few bars of the song I wasn't sure I was going to make it, but, as at the potluck, suddenly, about four bars in, I wasn't scared any more, my throat opened up and I could sing.

As we sang the last line, promising to love forever, I was honestly sorry it was over! Then the most wonderful thing happened – as the spotlight slowly faded, Daniel leaned over from his stool and gave me a gentle kiss – My heart started doing flip-flops – then I heard him murmur: "My dear, Ed Peavey will never forgive us if we hold up his song!"

Quickly, while the lights were still down, he took one stool and went stage right and I took the other and went stage left and I watched the rest of the show from my assigned perch in the wings.

Time flew after that. The audience loved Ed Peavey and Love With Amy, especially when they got to sing the second chorus too. 'Danny' received a hearty round of applause for Accustomed To Her Face then, suddenly the cast was singing There's No Business Like Show Business – Where had the evening gone?

I heard a earsplitting roar and more applause from the spectators as Michael Post closed the curtain and then opened it again. The cast started applauding the orchestra, Kathy, Martha, and Jonah who was dancing the spotlight over the whole theater, and I heaved a sigh from the wings – the show was over!

"Carolyn! Carolyn Muir!"

"Mom!" Candy and Jonathan were in front of me, followed by Claymore, Mark and Daniel.

"Come ON Mrs. Muir!" Claymore tugged at my elbow, "Your turn! They're calling for you!"

"Yes, my dear!" added Daniel, "Your public awaits!"

I was tongue-tied. Unlike Claymore, after his dubious directorial debut, I did not make a speech, but instead made a deep bow to the audience and then started applauding my cast and crew. John Helmore gave me a large bouquet of wild flowers – The cast applauded me and I bowed to them one more time, then Jonah brought the house lights up, and the audience slowly started making their way to the exit doors.

xxx

Back in our greenroom, where everyone was kissing and hugging everyone else, I mentioned that I would revamp the act order to cover Millie's absence.

"What ARE you talking about?" Claymore interrupted. "You can't do that! It's only two more shows – You'll be backstage anyway! There's no sense in shaking everything up now!" He looked at Daniel pleadingly, "You tell her Cap . . . 'Danny!'"

"But I . . ." I started.

"Forget it Mrs. Muir!" said Martha, with her 'that's all there is to say' look, "You're elected!"

Kathy and Veronica smiled at me.

"It's not smart to argue with forty-six tired people, Carolyn!" said Kathy, with a grin.

"Face it, Carolyn!" added Veronica, "You were absolutely smashing tonight! You're a star!"

"Hardly that!" I answered, blushing furiously, "But if you insist . . ."

"Oh, we do!" 'Danny broke in, "I have no intention of letting go of my 'leading lady' now!"

I know I turned redder!

"Come on Mom!" Candy pleaded, "You're the only one not in the show . . . Please?"

"Pretty Please?" added Jonathan, giving me his best 'soulful look.'

"Please say yes . . . Please . . . Carolyn?" Daniel added. I realized with a start that I was seeing 'Daniel' again, not 'Danny.'

"Pl-e-e-e-a-a-s-s-e!" Forty-six pairs of eyes were looking at me.

"Okay! Okay!" I raised my hands in surrender. "I'll do it!"

A resounding cheer came from my cast and crew, then we all headed home – with a promise from everyone to be at the theater by 6:00 p.m. for tomorrow's show.

There was general hilarity during our ride back to Gull Cottage – The kids sang numbers from the show and anything else that came into their heads and Martha, Daniel and I sang along with them. It took forever to get Candy and Jonathan bedded down! As Daniel and I tucked them in and kissed them goodnight, I told them again how very proud I was of them, and apologized to Candy for not being able to hear all of her solo.

"Gee, Mom!" she said, "You got to hear me and Jonathan and Captain Gregg about a thousand times during rehearsals!" She gave me another hug, "But Jonathan and I didn't get to see you and the Captain from the audience at all!" She gave me a knowing smile. "Now, aren't you glad you dressed up?" She turned to Daniel. "I had to MAKE her, you know!"

"That's enough out of you!" I gave them both another kiss good night. "Now! Sleep! It's been a big night and I'm tired! You too Scruffy!" I glanced at Scruffy who was at the foot of Jonathan's bed doing his best to look invisible.

"Okay Mom," Jonathan grumbled. He looked at Candy. "Grownups! Mom's tired so WE have to go to sleep!" He thumped his pillow and snuggled in for the night.

"Hey Mom?" Candy asked as I was closing the door.

"Yes Sweetie?"

"Can you and Captain Gregg sing your song for Jonathan and me tomorrow?"

"We'll see . . ." I said, looking at Daniel and remembering his kiss. He hadn't made any further reference to it, but was it only a 'stage kiss?' ". . . Maybe tomorrow, if things calm down."

I closed the door to the children's room and headed for my own . . . I WAS tired. Thoughts were running through my brain, but tired was winning.

Daniel met me at the door to our room and wished me goodnight – After changing into my nightie, I had a second wind of sorts – and suddenly, I couldn't sleep at all. Daniel, however did not reappear, so I started writing about all that happened tonight. It is now 3:00 a.m.! I need to sleep . . . I told Martha to sleep late – and let us sleep late too . . . We still have two more shows to get through!

June 13, 1971 - Friday - 1:00 p.m.

Well! So much for sleeping late! It seemed like it was only five minutes after I finally snuggled under the covers that I was awakened by the simultaneous sounds of car horns, the phone ringing, knocking at my door, Candy and Jonathan shouting "MOM!" from the front yard and Daniel's gentle voice coming from inside my head, saying, "My dear, get dressed – You are needed downstairs immediately!" I glanced at the clock and groaned – 9:00 a.m.!

There was excitement, not urgency in Daniel's voice, so I didn't panic – but quickly threw on some shorts and a sleeveless top and headed for the front door.

My entire cast (minus a few stray children) was waiting for me – they were waiving newspapers, and Kathy, Claymore and John Helmore were carrying bottles of champagne!

"Carolyn!" shouted Kathy, greeting me with a hug, "You have GOT to see the reviews! We're not just a hit, we're a BIG hit!" She looked around, "Is Danny's lobster boat still anchored around here? He's got to see these too!"

"Uhh . . . I think he's down at the beach at the moment . . ." I answered still flustered. "The show's a hit?"

"Like Kathy says, Carolyn," broke in Maria Post, "It's a SUPER hit! Here! Have some champagne!" She handed me a paper cup.

Well! I thought. Two 'firsts!' Maria Post just called me Carolyn, and she is serving champagne, at 9:15 in the morning out of a paper cup! Will wonders never cease!

"Listen to this!" shouted Veronica Helmore, "It's from the Bangor Bugle – 'I have had the pleasure of being a part of a truly legendary evening. 'The Magic of Musicals' is a truly magical way to start the Maine summer theater season, and June 12th, 1971 should be counted as a truly red-letter night for all concerned.'"

"This one is from the Pripet Gazette – " broke in Deke Tuttle, "'The Magic of Musicals is as near perfect a production as human ingenuity and imagination can contrive!'"

". . . The best production I've seen in the last five seasons of local productions!" said Jonathan, reading from the Keystone Sentinel.

At this point, 'Danny' strolled through the front gate with two buckets of lobsters.

"So the reviews are in?" he said casually, (but I could see the twinkle in his eye!) "Here Carolyn – the lobsters I promised you . . . " and he asked Mark Finley politely for one of the papers he was holding.

"Hey, listen to this one!" said Martha, "It's from the Belfast News – 'This production has everything – utterly enchanting melodies, exuberant choreography, and faultless performances, making it the most expert musical variety shows one could hope to see in several seasons of show-going.'

"Veronica! Did you see this one?" shouted Mark Finley, he read, "'Veronica Helmore's rendition of The Party's Over suggests a sense of wistful yearning and creates an emotional pull over her audience that is truly earth-shattering. A remarkable performance."

"It's an all-day lollipop of a show!" Mark Helmore said, reading from the Bugle.

"And this one?" said 'Danny' "It's from the Pripet Gazette."

"Mark Finley and Penelope Hassenhammer performing Put on a Happy Face create a dance routine with a freshness, sparkle and impudence of youth that has not been seen in any local productions in the Maine area for quite some time."

"What's so great about musicals? Go see a musical - better yet, go see this show! Then you will know The Magic of Musicals!'" read Claymore.

"Seth Jackson's Ol' Man River is incredible. He puts so much passion and feeling put into his song, you can't help feeling moved - and awed." Anne Vogel cited.

"The show ignites and builds throughout the evening - A top-notch vehicle - I adored it! A delight to experience!" read George Jones, "You know, I don't think they missed a single act in the show! Listen to this one from the Beacon! 'John Helmore is a most skilled, superb singer - capable of fulfilling every phrase to the hilt, a performer who is always on top of his material, and radiates charisma, radiance, and warmth."

"Hey! And THIS one!" added Candy, "'Claymore Gregg is in knockout form for both his numbers. His voice achieves a resonant timbre that is utterly sublime for Try To Remember, yet the same man manages to deliver Tevye's splendidly dramatic monologue, If I Were a Rich Man, one of the great soliloquies of the musical theater, with ease and confidence. He is masterful at both!'"

"Edward Peavey and a group of appealing youngsters at their very best belt out a gem of a song - High Hopes - from A Hole in the Head, and Mr. Peavey surpasses himself in the second half of the show with Once In Love With Amy - The performance of a seasoned professional.'" Harry Johnson read.

"Listen to this!" John Helmore raised his voice, "The critic from the Pripet Gazette REALLY has good things to say about you Danny!" He read, "'Not since I had the privilege of seeing Edward Mulhare play Henry Higgins on Broadway in 1959, have I seen a better rendition of I've Grown Accustomed To Her Face. Mr. Watchman's performance is truly Broadway caliber.'"

"Who's this . . . Mulhare?" 'Danny' queried, "Does he live around here?"

"I saved the best for last!" Kathy winked, "You REALLY don't have a choice about singing with Danny now Carolyn! Did you see your mention in the Bugle?"

I shook my head - totally overwhelmed.

"Listen:" Kathy read:

"...due to an accident, there was a last minute substitution toward the end of the second act. I know nothing about the act that was supposed to be on stage, other than the song title, but it's replacement was remarkable. True Love is a gorgeous duet with the vocal talents of Carolyn Muir (who also directed this musical masterpiece of a show) and Danny Watchman, who has two other great numbers in this production. Carolyn Muir is a magical creature with whom everyone falls in love, and manages in her all-too-short time on stage with Mr. Watchman to create a character who thaws spectacularly in the warmth of love. She holds the stage with effortless poise. This song reached out to that sentimental side of me, and together Daniel Watchman and Carolyn Muir create a sublime musical masterpiece."

"This is just so unbelievable!" I said, "They're being way too kind! It was all so . . . last minute!"

"Nonsense, my dear!" said 'Danny,' "The applause is well-deserved! You are a natural talent!"

"I couldn't have done it without YOU!" I whispered to him, gratefully.

"...Candace Muir and Mark Helmore give remarkable performances with Over the Rainbow, and Where Is Love?, respectively." Penelope chimed in, ". . . It is apparent that the 'apple does not far fall from the tree' in both cases!; Isn't this all just too groovy?"

"The show has the genuinely satisfying performances of seasoned troupers who instinctively know what it's all about and who have a personality and individuality of style which can't be replaced. The audience gave this show the kind of ovation that performers dream of, and deservedly so. They raised the roof with tremendous bursts of applause after every number," read Harry Johnson.

"After listening to the musical numbers in this show, I have this overwhelming desire to stay up the rest of the night and pull out every cast recording I own," Deke quoted from the Pripet Gazette. "Congratulations Carolyn! How does it feel to have a bonafide hit on your hands?"

"It's . . . remarkable!" I stuttered, "You are all wonderful! Thank-you all so much!"

I was dangerously close to tears when I saw Cleveland Hampton pull up and practically vault out of his car.

"Mrs. Muir! Mrs. Muir!" he gasped, "You simply MUST help me!"

"Hi Mr. Hampton! Have you seen the reviews?" I asked eagerly, "Isn't it wonderful?"

"Have I seen them! Everyone in town has seen them! Everyone up and down the coast has seen them!"

"But that's good!" Claymore interrupted, "That means people will want tickets . . ."

"WANT them!" he shuddered. "Mr. Gregg, my phone has not stopped ringing, nor have people stopped pounding at my door since the papers came out!"

"Does that mean we are sold out for the next two nights?"

"Mrs. Muir, you are way, WAY past sold out!"

"We're doing that well?" asked Veronica Helmore.

"Mrs. Helmore, Mrs. Muir - " Mr. Hampton stopped his ranting for a moment and accepted a small paper cup filled with champagne, "The GOVERNOR called me this morning!"

"But that's marvelous!" cut in Maria Post, "He wanted tickets? How many?"

"He wanted ten! He didn't get ANY," Hr. Hampton replied, "I was already sold out . . . I told you, after the reviews . . . well, they were gone in a half an hour."

"You turned down the GOVERNOR?" More heads turned in his direction.

"I had to! We sold out twenty minutes before he called!" Cleveland Hampton looked at me imploringly, and then around at the rest of my cast and crew. "I've turned down over a hundred people already - and the phone was ringing off the hook when I finally decided to come up here and see you. I was wondering . . ."

We looked at him expectantly. He tugged at his collar and continued. "Would you . . . have you all considered . . ."

"Yes . . . ?" said Daniel, a huge grin on his face.

"Would you all be open to doing the show for another weekend? Another three nights? I can almost guarantee you that you would be running to a full house - or close to it!" He gave me another harried look. "I know it's really not my place to ask, It's the Town Council's call - the city is the one who wants to buy the Seaman's Home and the theater, but Mr. Gregg . . . Mr. Tuttle . . . Mr. Applewhite . . . you all are on the Town Council . . . "Please?"

"Well . . ." I said and stopped. In spite of it all, It wasn't really my call either!

"Do you realize if you came even to 75 percent of selling out it would mean another $2250 free and clear? Or $3000 if you sold out?" He was getting that desperate edge to his voice again.

"Mr. Hampton . . . ?" I broke in on his pleas.

"Yes . . . ?"

"I need to ask my cast . . ."

"YES!" They all thundered.

"I guess that answers your question, Mr. Hampton!" I answered, and smiled at him as 'Danny' popped open the last bottle of champagne, "Can you call people back? Tell them tickets are available after all?"

"I started a list . . ." he said, pulling it out of his pocket to show me, "I'll get back to my house right away and start making calls! But then people can't call in - Mr. Gregg . . ." he turned to Claymore.

Claymore shot Daniel a look and gave a shrug. "I'll make the outgoing calls. You handle the incoming. I need a ride back to town anyway! Come on - we're wasting time!"

So anyway Diary, now we have FIVE more shows to do! That means five more nights I sing with Daniel! I wonder if that means Daniel will kiss me at the end of our number every night? I certainly HOPE so!

June 18, 1971 - Wednesday - 10:00 p.m.

What a marvelous few days it has been! The Friday and Saturday night performances ran like clockwork. There were no more catastrophes, thank goodness, and the only thing really of note that has happened is the length of the show has increased by about ten minutes - due to applause! My cast members have all been true gems - in spite of their sudden fame, no one has become temperamental. They have all continued to behave like professionals - no 'hamming it up' to the audiences, etc.

As far as our audiences go, well, they have been fantastic. Some people that came to the first weekend's performances have booked tickets for the second weekend! Before we sold out, that is! That's right! We're sold out for this coming weekend too! Preston's Office Supply mimeographed new programs for us - My name is listed in the program now, singing True Love with 'Danny.' Mr. Preston said there would be no charge - It's his donation to the show - and the Seamen's Home.

Let's see-what else? Millie Applegate quit smoking! The doctor told her that bones heal faster if you don't smoke (that makes sense!) And her daughter has refused to go buy cigarettes for her. Millie says she is still learning to manage her crutches, and said she can't hold them and a cigarette at the same time!

We had a rehearsal tonight - the only one this week. I wanted one opportunity run everything through before the performances this weekend. There were no problems there - and, like opening night's performance, and the Friday and Saturday night performances that followed, as Jonah dimmed the spotlight and the end of 'Danny's' and my number, Daniel leaned over on his stool and given me a gentlemanly kiss.

Daniel and I haven't talked about what has been happening with US however! I have a feeling that he is waiting for the show to finish, but I'm not sure. Maybe he's worried about not being a man of 'flesh and blood' in a totally 'human' sense. I hope sooner or later (preferably sooner!) he realizes that he is all the man I could ever want or need! Oh well, I've waited this long - I suppose I can wait a while longer!

June 22, 1971- Sunday - 3:00 a.m.

Tonight was our last show. It's hard to believe it's all over! I should know better than to wear eye-makeup on closing night - my tears threatened to fall . . . or fell, after almost every number in the show. Our audience was almost uncontainable with their applause and cheers, and I heard a rumor that Governor Gagne was at the show again tonight!

Singing True Love with Danny . . . Daniel was so hard! One last time, as our number ended, he leaned over and kissed me at the end of the song. I THINK there was a little 'more' there than in our past performances, but we had to leave the stage so fast to make way for Ed, it was hard to tell for sure!

It's interesting. In spite of Daniel having to live behind the persona of 'Danny The Lobster Fisherman' during rehearsals the last five weeks, he WAS right. We HAVE to come to know each other in a whole new way . . . and it HAS been in a more personal way! I'm going to miss that so much! I'm not describing it very well, but I do know it is going to be very difficult to get back to a 'real life' mode (whatever that is) around Gull Cottage!

Lots of curtain calls tonight! As we were all on curtain call number three, out of the corner of my eye I could see John Helmore, Mark Finley and 'Danny' duck back behind the stage and bring out four-dozen American Beauty roses! Mark Finley made a jump to the orchestra pit and handed his dozen to Kathy and bowed to her, and the audience roared their delight. John followed him and handed the ones he was carrying to Martha, who was still seated at the piano, with a bow and a flourish. More applause came from the audience, and then 'Danny' and Claymore presented ME with the rest of them, then the whole audience stood up and cheered again! When the noise died down a bit, Claymore handed me a piece of paper and asked me for my autograph!

"My autograph? Whatever for Claymore?" I asked above the hubbub, applause, and music.

"Just call me sentimental! I want it for my memory book," he explained. "Maybe I'm silly, but this has been a great time for me, and the rest of Schooner Bay, and I want something to remember it by. I've had the best time in my whole life working with you . . . Please?"

I took the pen he offered me and through the tears that were starting to form in my eyes again, I signed my name where he pointed. With a little prance of delight, he took the paper from me.

"Thank-you VERY much Mrs. Muir! Ladies and gentlemen! May I have your attention!" Claymore glanced at the orchestra. "A drum roll please!" The kettledrum rumbled, "I am delighted to announce that Carolyn Muir has just signed a contract agreeing to direct NEXT year's show! Everyone - Another round of applause please for Carolyn Muir!"

Well, the place went nuts after that! I'm flattered, of course, and secretly delighted that Claymore thinks he's tricked me into directing again, even though he didn't have to! To tell the truth, I've been dying to be asked to do it, but a whole year of people trying to audition a song whenever I'm around? Oh boy! Shortly after that, we headed to Norrie's Lobster House for our cast party.

xxx

Norrie outdid himself tonight! He served up fifty of his best Shore Dinners for us this evening and called them HIS donation for the Seaman's Home - How phenomenal of him! He also had his cousin Devon Miles, who lives in Bangor, put together a reel-to-reel tape of show tunes (both vocals and instrumentals) to listen to while we ate dinner and celebrated!

After dinner, the tables were pushed further back and the adults, and teenagers started to dance. We had a ball! The teenagers didn't fuss too much about their not being a lot of 'modern' music to dance to (I think they have become spellbound by show tunes) and they were all very patient about keeping the younger children like Candy and Jonathan and crew included in the festivities. Michael Post was especially good about that. Candy and Penelope both blushed red as a beet when he asked them to dance - BEFORE the girls his own age. Mark, Adam and Quenton took turns dancing with Penelope and Suzy and Candy, and Candy and Jonathan even danced together a few times!

I had a great time dancing too - Deke Tuttle, ever the true gentleman, asked me to dance right after finishing his first dance with his wife Doris, then I danced with, I think, every other man in the show - Seth, George, Harry, Abner, John Helmore, Ed Peavey - Claymore even danced with me sort of - more to the tune of standing up, holding hands and swaying to the music, but his thought was there! I haven't danced so much since the Centennial Ball!

'Danny' was busy too. We - that is, Candy, Jonathan, Martha, Ed, Kathy and 'Danny,' all ate dinner together and then Daniel made it a point to dance with every lady in the place! Maria Post, Anne Vogel, Hazelyn Bennett, Kathy, Martha - he's really a magnificent dancer! I've never really had the opportunity to watch him glide across a room before. Dance with him (as Claymore!) yes - watch him, no!

I was resting my feet for a few moments when Mark Finley tapped me on the shoulder.

"Dance?" he said, holding out his hands.

"Love to!" I replied, "Think you can find something besides this dinner dance music?"

"Already taken care of!" And he grabbed my hands and whirled me onto the floor as a medley from 1930's musicals started pouring out - Rainbow 'Round My Shoulder, Top Hat White Tie and Tails, Puttin' On the Ritz, Swanee, and ending with Alexander's Ragtime Band.

I haven't done any Swing-Dancing in years, and Mark really is a true pleasure to dance with! Dimly, I could hear Candy and Jonathan saying "Mom! When did you learn to do that?" And a "Go Carolyn!" from Kathy and Veronica. Mark swung me around one final time with a wild flourish as the music ended and switched to one of my all-time favorite ballads, Rogers and Hart's Isn't it Romantic? and I felt, rather than saw Daniel tap Mark on the shoulder.

"May I cut in please?" he said politely, and turned to me and gave a slight bow. "I do not believe I have yet had the pleasure?"

I nodded my head.

"Sure Danny!" Mark answered, "Thank-you Carolyn . . . You're a great dancer!" And he shifted me into 'Danny's' arms and left the floor.

"You constantly amaze me Carolyn!" Daniel murmured as he held me closer.

"What - that I can Swing-Dance? I think I surprised Candy and Jonathan too! My father started teaching me to dance when I was Candy's age. I need to try and teach her . . . I think she likes it! Maybe I can figure out a way to pay for lessons . . ."

"I think I can take care of teaching Candy, at least some of the 'old-fashioned steps' that she will find will come in handy in a few years, but that is not what I meant."

"What then?" I asked, looking up at him.

"Everything you do amazes me. I do not think there is anything you could not do if you made up your mind to do it."

"You mean, directing this show? If memory serves, YOU told Claymore to talk to me, remember?"

"Well, yes, but I was under the impression that it would be more like the last time. Four or five local talents, Candy and Jonathan with their magic act, Martha, Claymore being a blazing idiot . . . you found the best talent in Schooner Bay and created a masterpiece."

"Daniel! You know it wasn't my work alone!" I touched his bare 'Danny' face for a moment and looked around the room at all the other people I had spent so much time with the last five weeks. "I couldn't have done it without you - without anyone here!"

He looked longingly (I'm sure it was longingly!) into my eyes, and suddenly I was seeing Daniel Gregg again. He gave a start and 'harrumped' bit, as the tune changed to George and Ira Gershwin's Our Love Is Here To Stay. We continued to dance, and I smiled and thought about the words and how well they fit Daniel's and my circumstances. I really did feel that our love would stay for much longer than a year, perhaps even forever or beyond.

How GLAD I was that just this once, the dance wasn't a dream! I heard Daniel sigh, as I was pulled a little closer . . .and he musically promised to take me a long way in love.

Daniel pulled back for a moment and tried to make conversation as the dreamy music continued.

"Now that the show is over and Candy and Jonathan will be vacationing with your parents and in-laws for the next month, what is your next writing project, my dear?"

"Actually, my dear," I said daringly. "I have a great idea. I'm going to write about the last five weeks - about the show. I think it has a good chance as a feature story for Women's World, don't you?"

"Perhaps . . ."

"Especially if I can work in a romance along the way!" I said softly, and snuggled into his shoulder for the second chorus. If I had my way, our love would be more permanent than the Rockies, or the Rock of Gibraltor.

The song AND the reel-to-reel tape ended - the ticking of the played-out tape brought us back to reality and the mood was broken . . . I looked around. Candy and Jonathan were falling asleep on their feet, Martha looked tired and Norrie was starting to get the look of a restauranteur who wanted to get cleaned up and call it an evening, so with great reluctance my cast and I started hugging each other goodnight - making promises to keep in touch, and slowly but surely we made our way to the exit.

The ride home was quiet - Candy and Jonathan dropped off to sleep in the car, Martha seemed satisfied with all the hard work and the party, and was willing to relax and say nothing. Daniel asked if I objected to listening to the radio. I said no, so we listened to music on the way home and said very little.

In no time at all we were back at Gull Cottage - Daniel helped me carry the children upstairs, and by the time I had them undressed and into their nightclothes Martha was in her bathrobe and ready for bed also. Daniel wished me goodnight at the door to our room and disappeared - presumably for night-watch. Since it is now 3:00 a.m. and I have made what could be the last entry for this 'Diary of a Show,' it's time for me to go to sleep also! What a truly wonderful night it has been! If only the rest of my 'If Only's' would work out as well as those in musicals seem to!

June 22, 1971 - Sunday 3:00 p.m.

Quiet Sunday. I did manage to get the children up and dressed in time to get to the 11:00 a.m. church service. Martha came too. Reverend Farley made mention during announcement time how wonderful the show had been, and asked that everyone who was involved stand up for one last bow. Out of the corner of my eye, I saw 'Danny' in the congregation! He stood and bowed also, but avoided my eye for the rest of the service.

During coffee hour many people stopped and congratulated me and the other cast members who had attended service - including 'Danny' who had stayed for refreshments also. I realized as I saw him talking to Deke and Doris Tuttle why he had come . . . He was saying goodbye! I had totally forgotten that 'Danny' was only visiting the area - and that he 'had a lobster boat to get back to' and he had to 'leave' the area for . . . what? A year? Until we all decided to get together and do another show? Daniel is still at Gull Cottage! What's wrong with me? What is this overwhelming wave of sadness I feel has washed over me since we all said goodbye? It won't go away!

We left for home about a half-hour later. Jonathan and Candy and Daniel have gone fishing, Martha left for a picnic and then a movie with Ed. I am supposed to be working on my feature about the show, but all I feel is drained . . . Not the way I should feel after this 'triumph' everyone says we have produced.

Claymore called about fifteen minutes ago. All together we grossed $6050.00 - including cookie donations. Expenses - our cleaning lunches and supplies, lumber, paint, and the initial cost for printing the first set of theater programs total $650.00. Minus the $2500.00 needed for the improvements for the Schooner Bay Seaman's Home, that leaves us with a net gain of $2900.00, with a promise that $900.00 has already been earmarked toward expenses for next year's show. Even this marvelous news hasn't totally cheered me up. I need to snap out of this mood. I'd just feel better if I knew how I was going to do that . . .

June 23, 1971 - Monday

I spent this morning working on 'Amateur Night' - my new feature story about the show. It was going slowly. Claymore called me this afternoon and told me that the theater has been rented to the Elks Club, starting Wednesday, to hold their annual state convention and meeting, and could I please check and make sure that no-one had left any personal belongings there and drop the theater keys off at his office sometime Monday or Tuesday? A reasonable request, but I feel so strange! I've been carrying those keys around for the last five weeks - they've become a regular part of me. Candy and Jonathan were at the beach with Quenton, Mark and the rest of the gang, and Martha was taking a nap. Daniel didn't answer when I called him - He must be busy too. So I left a note on the kitchen table that I was going to run a few errands and headed into town.

Mrs. Shoemaker stopped me on my way to the theater - She had questions about next-years' tryouts already, and Elvira Grover stopped me to say how much she LIKED the show. Both conversations left me feeling depressed. Blast it, I had almost shaken that feeling of . . . Unhappiness? Lethargy? Emptiness? What? . . . that I was feeling on Sunday afternoon, but now it was back with a vengeance.

The theater was dark and bare and unbelievably gloomy. I remembered, with a start, how incredibly unhappy an empty theater looks - and feels! Theaters should never be without people in them. It's what keeps them alive.

I wandered through our greenroom area first and made a mental note to remind Claymore about Deke's antique screens - they need to be returned. Our sets were all stacked neatly against a back wall and the black and white cubes were all piled up in one corner. I wonder when Michael Post and his crew did that? I found four pairs of children's socks, (not all Candy and Jonathan's!) and a pair of tennis shoes, and threw them into the bag I was carrying. So much for that - the area was clean and ready for next year, or next time. I switched off the light and moved to the stage and auditorium region itself.

I paced the stage first and picked up a couple of empty soda bottles, two coffee cups and several crumpled copies of programs with various stage directions scribbled on them. From the notes I could see that one was Claymore's, one Deke's and the other was Daniel's - his numbers were marked and there were doodles of ships in the margins. I didn't know 'Danny' . . . Daniel! . . . doodled! Another wave of sadness welled over me and I realized with a start how I was going to miss him. 'Danny,' I mean. Well, not just 'Danny' - Everything.

I looked in the orchestra pit area and found a couple of pieces of sheet music that Martha had missed and another program with what looked like the cost for a flute and lessons in Candy's handwriting. I really need to call Judy about that. The kids don't really ask for that much - maybe I can work it out.

Unable to make myself leave quite yet, I turned on the spotlight, pointed it toward the stage and went to stand in it's glare one more time. It had taken so long for me to get back to this point! And now it was all over. Sounds - conversations, memories of songs, and happy chatter and laughter and applause flooded my head and heart:

"I want YOU to handle the show. The whole thing, audition and pick the acts, get set people . . ."

"So when can my Danny audition?"

"So . . . he talked you into it? I thought he would!"

I am sure you will do an excellent job. Good luck, and let me know if you need anything. Good day, my dear!"

"Carolyn Muir? This is Kathy McManus, from the high school. My kids tell me you need a musical director for your show?"

"Of course! Picking the acts is entirely up to you! Mark Finley and Penelope are very good! My name has been cleared of the shame of suicide. I have been vindicated - It is fine with me, my dear. I only want what is best for the Seaman's home . . ."

"No Mrs. Muir, I'm here to audition, I mean with a song . . ."

"I'm here to audition. Martha has been helping me . . . I have some songs to do for you. Can you spare another fifteen minutes? I know I do not have an appointment with you . . ."

"Admit it, Mrs. Muir, You just didn't expect singing from someone like straight-arrow, stingy, stodgy, uptight Claymore Gregg, right?"

"We haven't heard from everyone yet! YOU haven't sung anything yet Carolyn . . . "

"YOU didn't cheat them, BOBBY MUIR did."

"Thank-you my lady, but I am no equal to the graceful and elegant woman I see before me. I am honored to be in your presence."

My memories morphed into music, a melody of songs from the show playing in my mind.

"Sing 'True Love' with me on the stage apron instead."

"Come ON Mrs. Muir! Your turn! They're calling for you!"

" . . . Together Daniel Watchman and Carolyn Muir create a sublime musical masterpiece."

"What's so great about musicals? Go see a musical - better yet, go see this show! Then you will know 'The Magic of Musicals!'"

"Mrs. Muir, you are way, WAY past sold out! The GOVERNOR called me this morning! He wanted ten tickets - He didn't get ANY . . ."

Carolyn Muir has just signed a contract agreeing to direct NEXT year's show! Everyone - Another round of applause please for Carolyn Muir!"

I stood, weaving to the music of Our Love is Here to Stay in my head and the room blurred as the tears flowed unchecked down my cheeks - and suddenly, the light of the spotlight moved from where I was standing on stage to stage left and back again.

"Who's there? There's no show tonight. We closed yesterday . . ." I said, embarrassed at the thought of anyone seeing me sitting in a dark theater and weeping for no reason.

"I know, my dear," came his velvety voice, "But you know, I just thought I might find you here!"

"Cap . . . Daniel? Is that you?" Startled, I tried to wipe my eyes before Daniel could see that I had been crying.

"My dear woman . . . Carolyn . . . what is the matter? Please tell me how I can help you!" he said, and materialized beside me on the stage.

"I just came here to tidy up the theater and give Claymore back the keys."

"You must be very attached to them."

"What - What do you mean?"

"You were crying, my dear. You know I hate seeing women . . . seeing you cry."

"I didn't know anyone was here."

"Obviously! Now what is the matter? You have had a fabulous success. Much better than anyone could have hoped for - a new magazine article planned. What is the trouble?"

"I think it's this blasted show." I said, "I'd forgotten one thing about working on productions and being in plays."

"What is it, my dear? You were crying like your heart was breaking! You know I do not like to see you so upset!"

"Well, It's sort of like . . . like finishing an article or a story I've worked really hard on - I'm happy about the way it turned out, relieved that it's over but I feel all empty inside, because that part of my life is all gone." I said, trying to put into words what I was feeling, " This will probably never happen the same way again. And I'll miss seeing everyone every day - Kathy, Veronica, John, Ed, Claymore, 'Danny'. . ."

"'Danny?' What do you mean - 'Danny?'" He asked, confused, "I am right here in front of you!"

"No . . ." I paused, and tried to explain what had been plaguing me since yesterday's church service. ". . . No Daniel. Captain Daniel Gregg is here. Reachable, now, but still unobtainable it seems. 'Danny' is gone. You said goodbye to everyone yesterday."

"But I AM 'Danny!'"

"All right then, I'm going to miss 'Danny.' I'm going to miss seeing him every day. Seeing him - YOU relax a little and talk to other people and have fun and hear you sing. I'll miss working . . . and singing WITH you. Yes. I will definitely miss performing with you. It's - it's fulfilled a need in me I didn't even know was there, and it's because it was with you. I've gotten to know Daniel Alexander Gregg in a whole new way and now I've lost that . . ."

"Carolyn . . ." He tilted my face up to look directly into my eyes and leaned toward me. "On my honor as a gentleman, and I AM a gentleman, you have not lost me! What can I do that will convince you - help you - ease you through this?"

"Oh, I don't know . . ." I said, trying to joke my way out of a seemingly-impossible situation, "I don't suppose we could sing together once more - just for old times' sake?"

"Easily done!" he said, and waived his hand in the direction of the piano.

I heard the introduction to 'our song.'

"Martha? . . ."

"She is not here love - It's just us. Are you ready?"

So we sang our song one more time - and each line seemed to remind me of how much I loved Daniel Gregg - cared about him - wanted him and needed him in my life. For the last time we sang… promising to give one another true love always.

As he had on the six nights of our show, and one rehearsal, Daniel leaned down and gave me a gentlemanly 'stage' kiss - his lips broke from mine, but he didn't move away - he drew closer and I felt his arms wrap around my waist - they went higher - to my shoulders and I swear I could feel his breath as he leaned his chin against my head and brushed his lips against my hair.

"You will notice I am still here!" he said softly, with a chuckle in his voice. "I would offer you a goodbye hug and kiss as I did to the other cast members, but . . . he shrugged his shoulders, "I'm not planning on going anywhere!"

"I know, Daniel . . . " I looked down at his strong arms wrapped around my shoulders. ". . . It seems you have already managed the hug . . . How about a kiss too?" and I tilted my head up and looked directly into his incredibly blue eyes that were gazing back into mine. He moved his hand to my face and ran his callused thumb along my cheek. Our lips were almost touching now . . . Ever so gently, he started nuzzling my forehead - his lips brushed lower - across my eyes, my nose - I felt his arms tighten around me even more securely and I brought my hands up to caress his beautiful face. We touched lips . . . they were light brushes, like butterfly wings - Dimly then, I felt his lips graze across my ear . . . down my neck to the hollow of my throat, and then shift back up and settle firmly on mine and . . . well, I don't think I am going to write any more! Sufficed to say that after three years of waiting, his kiss . . . kisses . . . were everything I hoped for - expected they would be. Fireworks . . . definitely fireworks!

Reluctantly, we pulled apart. His lips moved sideways to my cheek - allowing me to breathe and I noticed with shock that Daniel's chest was heaving; With breath? Like real human breath? And he looked down at me with pure adoration in his eyes.

"I love you. I've loved you for a very long time - before I knew you, I loved you," he breathed, hoarsely.

"Daniel . . ." I gasped a little, "I love you too, but what on earth TOOK you so long to tell me?"

He took hold of my left hand and pointed to my naked fourth finger - my ring-less wedding ring finger.

"Well . . . " and he chuckled again, "That's really YOUR fault, "I had to wait for THIS to vanish."

And he sighed, ". . . And I couldn't do it for you. It had to come from you. It certainly took you long enough!"

"My wedding ring . . . You have been waiting all this time for me to take off my wedding ring?"

"Yes - It's a connection that no one can break but you. I understand It can be very difficult. Once you broke that connection, I was finally free to act . . . to tell you, and SHOW you how I feel. You DID decide it was time to take it off . . . to break your connection with your late-husband, did you not?"

He looked distressed suddenly, as if I had the power to take something very valuable away from him.

"Yes Daniel. I took it off that Saturday we were all working at the theater, and dropped it off at the jeweler's to be cleaned - "

He pulled back. "You didn't take it off because of us?"

US? What a wonderful word!

"You need to stop jumping to conclusions," I chided him. "I got the ring back the same time I went into town to buy food for the potluck. I just threw it in my purse. No sense putting it back on when I was going to be cooking with Martha, besides, I just . . . didn't feel like putting it back on. After the potluck, and the singing with you and telling you about Bobby and what happened, I - I just couldn't put it back on! I don't even sort-of feel about him that way anymore. It's the end of that part of my life - " I paused. "It was just time, my dearest love. Bobby is over. There's just one thing I don't understand."

"And what is that My Darling?" and he looked deeply into my eyes again.

"Why are we standing here talking about Bobby when there are infinitely more enjoyable activities I can think of that I would rather be doing?"

My hands reached up and found the back of his head and my fingers stopped and played for moment with the lovely curls at the base of his neck - as I had often secretly wished to do, and then trailed across his chest, and down his body as I pulled him closer. The next moment, his long, lean body was pressed against mine - his strong hands pulling me closer and ever closer into him. I could feel his hard arousal against me . . . We kissed passionately, finally letting go of all the longing that had been building for three years . . . three years of knowing each other - loving each other - three years of "If Only's . . ." All thoughts of being a sensible, practical, mature woman, mother, and employer flew up into the rafters of the theater somewhere - and all I could think about was how much I wanted to get to a more secure place so I could kiss Daniel even more soundly - not to mention anything else that might happen!

"Carolyn . . ." His voice came raggedly.

"Daniel, if you tell me you don't love me - don't want me - after all of this! - "

"Oh, my love, my Darling . . ." he spoke softly in my ear . . .

"Yes? . . . " I whispered back.

"I merely think we should we should continue this at home - "

"What about the keys? I came into town to give the theater keys back to Claymore . . ."

"My Dearest Love. . ."

"Yes Daniel?"

"To hell with Claymore . . . Let's go home!"

"You're right Daniel! Let's go home!"

Curtain