I dipped through the filmy curtain into the boys' half of the dressing room and there was Sid sitting at the star's dressing table in his threadbare yellowed undershirt, the lucky one, not making up yet but staring sternly at himself in the bulb-framed mirror and experimentally working his features a little, as actors will, and kneading the stubble on his fat chin. I said to him quietly, "Siddy, what are we putting on tonight? Maxwell Anderson's Elizabeth the Queen or Shakespeare's Macbeth? It says Macbeth on the callboard, but Miss Nefer's getting ready for Elizabeth. She just had me go and fetch the red wig." He tried out a few eyebrow rears—right, left, both together—then turned to me, sucking in his big gut a little, as he always does when a gal heaves into hailing distance, and said, "Your pardon, sweetling, what sayest thou?" Sid always uses that kook antique patter backstage, until I sometimes wonder whether I'm in Central Park, New York City, nineteen hundred and three quarters, or somewhere in Southwark, Merry England, fifteen hundred and same. The truth is that although he loves every last fat part in Shakespeare and will play the skinniest one with loyal and inspired affection, he thinks Willy S. penned Falstaff with nobody else in mind but Sidney J. Lessingham. (And no accent on the ham, please.) I closed my eyes and counted to eight, then repeated my question
