me of fancy hotel lobbies from the movies, there was so much silk and lace. Mother and I sat on a pleated sofa of pale pink while Mother explained why we’d come. Angie said her daughter had a few dresses that might do.
Mother waited on the pink sofa while Angie led me upstairs to her daughter’s room and laid out an armful of dresses, each so fine, with such intricate lace patterns and delicately tied bows, that at first I was afraid to touch them. Angie helped me into each one, knotting the sashes, fastening the buttons, plumping the bows. “You should take this one,” she said, passing me a navy dress with white braided cords arranged across the bodice. “Grandma sewed this detailing.” I took the dress, along with another made of red velvet collared with white lace, and Mother and I drove home.
The play opened a week later. Dad was in the front row. When the performance ended, he marched right to the box office and bought tickets for the next night. It was all he talked about that Sunday in church. Not doctors, or the Illuminati, or Y2K. Just the play over in town, where his youngest daughter was singing the lead.
Dad didn’t stop me from auditioning for the next play, or the one after that, even though he worried about me spending so much time away from home. “There’s no telling what kind of cavorting takes place in that theater,” he said. “It’s probably a den of adulterers and fornicators.”
When the director of the next play got divorced, it confirmed Dad’s suspicions. He said he hadn’t kept me out of the public school for all these years just to see me corrupted on a stage. Then he drove me to the rehearsal. Nearly every night he said he was going to put a stop to my going, that one evening he’d just show up at Worm Creek and haul me home. But each time a play opened he was there, in the front row.
Sometimes he played the part of an agent or manager, correcting my technique or suggesting songs for my repertoire, even advising me about my health. That winter I caught a procession of sore throats and couldn’t sing, and one night Dad called me to him and pried my mouth open to look at my tonsils.
“They’re swollen, all right,” he said. “Big as apricots.” When Mother couldn’t get the swelling down with echinacea and calendula, Dad suggested his own remedy. “People don’t know it, but the sun is the most powerful medicine we have. That’s why people don’t get sore throats in summer.” He nodded, as if approving of his own logic, then said, “If I had tonsils like yours, I’d go outside every morning and stand in the sun with my mouth open—let those rays seep in for a half hour or so. They’ll shrink in no time.” He called it a treatment.
I did it for a month.
It was uncomfortable, standing with my jaw dropped and my head tilted back so the sun could shine into my throat. I never lasted a whole half hour. My jaw would ache after ten minutes, and I’d half-freeze standing motionless in the Idaho winter. I kept catching more sore throats, and anytime Dad noticed I was a bit croaky, he’d say, “Well, what do you expect? I ain’t seen you getting treatment all week!”
* * *
—
IT WAS AT THE Worm Creek Opera House that I first saw him: a boy I didn’t know, laughing with a group of public school kids, wearing big white shoes, khaki shorts and a wide grin. He wasn’t in the play, but there wasn’t much to do in town, and I saw him several more times that week when he turned up to visit his friends. Then one night, when I was wandering alone in the dark wings backstage, I turned a corner and found him sitting on the wooden crate that was a favorite haunt of mine. The crate was isolated—that was why I liked it.
He shifted to the right, making room for me. I sat slowly, tensely, as if the seat were made of needles.
“I’m Charles,” he said. There was a pause while he waited for me to give my name, but I didn’t. “I saw you in the last play,” he said after a moment. “I wanted to tell you something.” I braced myself, for what I wasn’t sure, then he said, “I wanted to tell you that