In the prehistoric days of Lexington theater, spring of 1970, to be precise, a new theater entity was born; The Third Floor Theatre.
The Home of the Golden Arches currently on South Limestone was then the site of a Jerry’s Restaurant and in the back corner of the Jerry’s parking lot was a three-story brick building that housed Pasquale’s Italian Restaurant. Pizza had just been invented. Pizza delivery had not. Thus, “Italian Restaurant” meant lots of spaghetti and meatballs and cannoli and lousy brownish Chianti in straw-covered bottles.
<< Side note from the wine guy in the house >>
Those straw-covered bottles actually have a name. They are “fiaschi.” One bottle is a “fiasco.” Cool, huh? Don’t be fooled. The wine inside is far from cool, but the bottle looks great with candle stuck in it.
<< End of side note >>
Pasquale’s used the first two floors for the restaurant, leaving the third floor an empty space.
Nature has nothing on theater practitioners when it comes to abhorring a vacuum.
According to the visionary British stage director Peter Brook, an empty space is a major ingredient for theater. He’ll get no argument from me. I’ve performed on sidewalks, a frigid restaurant basement, two libraries, in front of a movie screen, two big stairways, under a large tree, a church sanctuary, several school cafeterias and gyms, two chapels, a crumbling abandoned night club, and in a park with trains.
Thus, it was no surprise that a couple of UK theater alumni approached the owner of Pasquale’s about using the vacant third floor as a theater. I can imagine the sales pitch.
“Think of the theater crowds…the lasagna you’ll sell!”
The room was tiny. It probably sat 20 folks at most. The stage was a 6-inch-high 4X8 platform. The lighting system consisted of four coffee cans, light bulbs and an on/off switch. It was briefly considered to light the arena (insert <<snort!>> here) with candle-festooned fiaschi, but it was decided that the fire marshal gods had been challenged enough by our mere existence.
Obviously, the roster of possible plays that could be mounted in that empty space was also tiny. “Oklahoma” and “Ben Hur” were scrapped from consideration fairly early. The Third Floor Theatre was pretty well capped at 2-3 performers, no orchestra, and certainly no horses.
It was decided to do a play by Strindberg. The title has faded from my jaded memory through the years, but I recall it was a laugh-a-minute romp (not) featuring two female performers who didn’t like each other (neither the characters nor the performers themselves), of which only one actor actually spoke. What could be more enthralling…a haircut perhaps?
I ran the lights for the show. I bray this fact to refute the calumny I’ve endured for decades about my legendary lack of skill or will on the technical side of theater. Though it’s true that all the tools in our home belong to Janie and the only hammer I own is engraved “This side down,” I’m trainable and perfectly willing to perform simple tasks.
<< Another side note >>
There are indeed dissenters to that last statement. For extra credit, you might read “I Killed Peter Pan” in the archives of this blog site.
<< End of another side note >>
Where were we?
…willing to perform simple tasks.
And running the lights for this Strindberg faux pas de deux was as simple as it gets. When the actors took their places at the beginning of the show, I flipped the light switch “UP.” When the last line was spoken to end the ordeal, I flipped the light switch “DOWN.”
Hold my beer.
Well, the show ran pretty well the first weekend. Of course, there was Saturday night when Pasquale’s was rockin’, and the owner (our landlord, remember) made the executive decision to seat his overflow in our chairs in our theater. But since our chairs were his cast-offs and our theater was his real estate and our rent was zero, we acquiesced and waited until the last chicken marsala left with the last patron. It delayed our curtain for an hour and left a distinct garlic “je ne sais quoi” hovering over our Swedish play.
But it was OK.
I was on top of my game.
Hålla min söl och titta på detta.
The second weekend, however, didn’t fare so well.
I suspect word had leaked that Strindberg was not the Swedish Neil Simon and we were offering no laughs, orchestras, or horses. Our audiences dwindled. By curtain time one night, our audience consisted of one gentleman in coat and tie.
We assembled an impromptu discussion group of the evening’s principals; the actors, the audience, and the lighting guy. We identified two options;
1. We could not perform, refund the gentleman’s money, and invite him to return another evening for free, or
2. We could do the show for an audience of one.
The gentleman explained he was from out of town and only in Lexington for this one night and he’d really like to see the show.
I surmised the gentleman from out of town was more than a little smitten by one of our actors and was hoping to see bit more of her. I longed to explain to him this was Scandinavian drawing room material from the 19th century. The ladies would be wearing dresses that, if they had a headpiece, would be considered a burqa today, and they would retain every stitch until long after the final lighting cue and the gentleman had left the building.
I remained silent.
We did the show.
It occurred to me later, we had twice as many light cues as audience members that evening.
The Third Floor Theatre soldiered on for few more months until they lost the space. Pasquale’s got optimistic after that overflow evening and envisioned vertical expansion leading to riches. Alas, I believe they went out of business within a year. I’ve always blamed their failure on losing the theater crowd.
The Third Floor Theatre moved to St. Augustine’s Chapel on Rose Street, directly across the street from the Guignol Theatre. The name was changed to The Canterbury Pilgrim Players and new legends were launched……sans garlic.