This story was related to me by my daughter (I’ll call her “What’s That You Say,” WTYS for short, pronounced “wits;” the “y” is silent.) over dinner at the Cheesecake Factory on November 19, 2007:
A fellow musician complains on the regular–about the venue, the stage space, the lighting. Earlier in the day, the salon orchestra of which WTYS is a member, had performed a benefit at a small, partially renovated theater in a riverside town near a small city known for its civil war battlefield and antebellum houses. This town, like many Southern tank towns, has not even a glint of its grandeur, much of which it lost “when integration came.” What it does have are several unused elegant, architecturally imposing buildings. In this case, the town is revitalizing a once-grand theater and ballroom. What was once a racially segregated “centerpiece” movie theater is being re-purposed as a performing arts theatre for all citizens’ use. There being a mega-complex of movie theaters located at a mall within thirty minutes of the town, it would not make sense to compete. Hence, performing arts theatre, not movie theater.
The musician was upset that a fellow player’s instrument impeded, though did not prevent, his entering and exiting the stage by the route he chose. Reports WTYS, he could have stepped gingerly around the instrument. And, she says, he seemed purposely to kick it both times he passed it.
WTYS observed him during intermission gesturing wildly, glancing towards the stage as he spoke animatedly to his wife who offered comfort by gently stroking his back and shoulder in an oh-it’s-all right-let-it-go manner. As she stroked, she smiled.
“She has one of those smiles,” WTYS notes, “that could be concealing anything. She probably went home and beat him.”