…and this time I’m siding with The Old Man. But I’m writing this for you, John.
Let me start off with a little story. It’s a true story, and it’s one of the reasons I’m here doing this thing right now.
(I mean, the rest of you didn’t really think this entire blog was just about bonny John Wilson, did you?)
But bear with me a moment. I have to go back in my memory to forty, forty-one years ago, to that sad shabby house up on Schuyler Road in Beverly Hills which I’m not really rarin’ to do, but here goes.
It was a late morning about six weeks into my work assignment and The Old Man hadn’t arisen yet, so there I was in the salon with nothing to do except quietly wait for his appearance and his orders for the day (which letters to answer, which bills to pay, which people to call, etc) before getting down to the primary purpose of my being there, which was, in the agency’s words, “to assist Mr Mamoulian in the writing of his memoirs”. None of that memoir writing actually did transpire in the nearly nine months I was with him—other things did—but let’s not jump ahead. Unsupervised, I was forbidden to handle/read books from his voluminous library, but you know what? He never expressly told me not to play the piano, that big black shiny intriguing baby grand in the middle of the room, and I couldn’t resist. Could you?
There wasn’t a sound coming from any part of the house, although I could faintly hear Henry the daily handyman moving his wheelbarrow out in the yard. I’d had enough of examining in painstaking detail the boring watercolors and Russian icons on the wall. I sat down on the bench.
Sense memory kicking in… At that point it was the closest I had gotten to this humongous piece of furniture. I remember the smooth feel of the wood as I ran my fingers on it, gently lifting up the fall board to get to the keys. The piano was a Steinway. That is, I remember it as a Steinway, because I don’t remember it not being a Steinway. I put the fingers of my right hand down in place and began, ever so softly, to tap out the first tune that came into my mind, which happened to be the waltz from Carousel. Three, four bars in I thought I heard a rustle from the back of the house and stopped cold, put the fall board down and stood up.
This was the first time my eye was caught by something on the right side of the music rack, some sort of writing actually carved into the wood of the music shelf that lay flat in the cabinet of the piano. It was in cursive—and it was a name:
It still gives me goosebumps to remember (like remembering what it was like to handle a saint’s bones): sitting on the same bench Richard Rodgers sat on, putting my fingers on the same keys… When The Old Man finally did get up an hour later, I was sitting back at my desk in his alcove-cum-office, pretending to read one of the cheap Hollywood magazines I brought to pass the time, although my mind was still on the bars I’d played and where the bars were going musically, and I think I was humming. I must’ve been humming. Because as he came into the alcove I heard Mamoulian exclaim, “Hey, that’s from Carousel.”
I looked up. Caught! I was about to apologize when he spoke again, this time it seemed almost wistfully. “You know, I directed that.”
I said softly, as if it were an apology, “I know.”
At that moment our relationship started to take a different turn.
Part Two here.
Part Three here.