Friday night’s adventure consisted of a theatre outing to the Odyssey Theatre on the Westside with my neighbor/griever-in-common, Marilyn, to see a play entitled Be a Good Little Widow. When I signed up for the tickets, I confess that I thought the title was How to… That sounded incredibly instructive. Then I discovered that two of our current stage management students were working on the show, and it was closing weekend, so I thought it’s now or never for me to get instruction on the new path my life has taken. On closer reflection, I don’t think I need instruction, and if I did, would I want to be a good little widow? Or a raging, bigger than life WIDOW! The latter seems more inviting.
Given the title, I expected that the Odyssey lobby would be filled with lonely hearted and unwilling singles. Partially accurate. What I did not expect was the full on life-force of current and former USC School of Dramatic Arts students clamoring at the gate. The show starred Adrienne Visnic, and was directed by Brendan Baer, both alumni. The lobby was filled with about a dozen young artists, skewing the average demographic by about forty years.
Bekah Brunstetter’s play is technically well constructed, introducing us to the newlywed couple, Melody and Craig, in their first days living in their tidy, tiny new split story home, rendered effectively by Scenic Designer Pete Hickok. Brunstetter fakes us out, by introducing Craig’s mother, Hope, a widow, into thinking she might be the titular tutor. But any self-respecting playgoer knows that the adjectives good and little probably don’t refer to the mother of the young couple, however youthful she looks. It’s with a growing sense of dread that we hear about Craig’s frequent air travel for his work. In spite of their visible affection, we become aware of Melody’s honeymoon jitters about her marriage and her mother-in-law. Visnic aptly captures the shock and entropy of the newly widowed in the aftermath of the inevitable plane crash,. She succumbs to the planning expertise of Hope, who overtakes and executes the offstage funeral for her son, Craig. Melody soon exhibits the expected raw grief of a young and vibrant widow. Visnic excels in physical abandon, beginning with the ragged breathing of her anything-but-flowing yoga practice, to the uninhibited half-dressed dancing, vodka bottle vertically poised over her mouth. I was going to say it was the universal dread of every widow to lose oneself in numbing self-debasement, but I realize that without researching this further, I can only say I dread that image and path.
On the way home from the play, Marilyn and I talked non-stop. She’d joined some of the other audience members in the ladies room afterwards, where she reported the camaraderie of so many widows in seclusion bordered on an open therapy session. Fortified by the dramatization of loss we’d shared, she and I confided the origin stories of our widowhood. The comfort of sharing these intimate details is what happens between widows and widowers, but not generally with the public at large, who frankly, don’t particularly want to hear it.
Keeping these stories contained on a “need to know basis” is part of how our society defines “being a good little widow.” I reject this model. It’s something we all eventually experience and there’s nothing to be ashamed about learning how to grieve. And here’s the thing. As in anything in life, death isn’t only sad. The moments around a loved one’s death can be full of love and laughter, profound feelings, expressions of fear, superficial worries, triumphs of resilience, gestures of trust and faith. I remember the night after my grandmother’s death, my brothers and I were bunked in our childhood beds in the bedroom above the kitchen in our grandparent’s home. In the dark, we lay there exchanging our best recipes, my brother Larry sharing his recipe for macaroni and cheese in minute detail. For a reason I can’t even remember now, though it may have been his serious tone about building the mac and cheese, but we couldn’t stop laughing. We giggled into the middle of the night, relieved from the events of the day by the instantaneous melting away of twenty years – by becoming children again in the dark under the duvets on those big wooden beds up in the attic bedroom. A moment I still remember another twenty-five years later.
Since discovering it, I’ve immersed myself in each episode of the podcast, Terrible, Thanks for Asking. They can’t come fast enough. I’m obsessed with Nora McInerny’s communal platform for not just looking back at grief and its origins, but looking forward to forging new lives.
My new strategy is to “Say yes to everything” but now manifest it in buying airplane tickets. Obviously I won’t be able to go everywhere, given my professorial constraints, both in free time and finances. Last week I booked a trip to the Fall Production Managers’ Forum conference hosted by The American Players’ Theatre in mid-September. Privileged to have been in the Forum for several years I’ve been constrained from traveling to the annual conferences. I’m now actively pursuing professional curiosities and deepening my work in my chosen field of Stage and Production Management.
Today was the day when I was supposed to get everything done for my trip to Italy. On the advise of another widow pal, I went to Michael’s to pick up the tiniest little jar you’ve ever seen so that a little bit of Jimmie can go with me to Italy and ride a vaporetto (water bus) in Venice, or climb a hill with me in Umbria. Nails done, haircut, dinner with friends two nights in a row. I’m making room for life to find its way back in.
Life is good. Be in nature as frequently as you can, see the art, laugh and be as irreverent as you can be serious. Know your foibles. Keep perspective on your strengths and weaknesses. Let those whom you love know it often.
