I’m standing on a stage in a converted Vaudeville theatre. The house is empty. It’s the final week of dress rehearsal for The Drowsy Chaperone and I am belting out one of my favorite songs I ever got to sing on a stage, “As We Stumble Along.” In my teal flapper dress, black bobbed wig, and feather boa I glide with ridiculously exaggerated fluidity, then I plant my feet to get ready for the next phrase. I take a deep breath, open my mouth, and …nothing. Just a choked wheeze. The director’s face freezes in horror as I cough and gasp, follow spot illuminating my panic in all its weird glory. The stage manager runs toward me with a bottle of water and I drink, but I still cannot squeeze a sound out of my throat. I end the song with tears streaming down my face. There’s no voice singing ridiculously hilarious lyrics, just a pitiful actress with drooping shoulders shuffling off the stage. The vocal cord damage I had labored so hard to overcome, had undergone prosthesis surgery to replace, was my undoing, just two days before opening night.
I’m standing on a stage in a church auditorium. I am flanked on both sides by middle-aged men, and I clasp my husband’s hand tightly as he bares his soul to the congregation, laying down his ministry, our mission, and our livelihood for a crowd of over 1,000 church members. Their eyes are wide and my spirit is shattered; the only sound in the room is my husband’s broken and trembling voice as he confesses his sex addiction for the whole world to see. I have nothing to say, and wouldn’t be permitted to speak anyhow. My church preaches and practices the silencing of women.
I’m standing on a stage in another sanctuary, an earlier one, clad in white satin. It’s a different brand of church that allows my voice to speak not only my wedding vows but also to sing all the love I feel for my new husband that day. We sing “One Hand, One Heart” from West Side Story. We mean it. My voice rings clear and true that afternoon, it is quite beautiful. As I sing, I trust that my uncle and grandfather will keep my mentally ill and drug-addicted mother calm. She has hinted at a scene in my dressing room and again as I hand her a rose during the processional. For a few minutes, I stop worrying about her to bask in my husband’s blue-eyed adoration.
I’m standing on a stage in my senior year of high school, performing the song “Memory” from Cats for the Senior Farewell Talent Show. My accompanist is absent, having not found the sheet music in her bag. I sing a cappella after the speech teacher gives me a pep talk just before the lights turn on my frightened face. I haven’t yet learned that my voice is resonant and strong enough to make a melody without the help of a piano, without the crutch of another person on stage with me. I stand in the spotlight all alone and sing of moonlight and beauty, skipping the final verse when my nerve abandons me. After the talent show, my mother slaps me in front of what feels like the whole school, and I sense the heat of all those curious, sympathetic eyes as I flee to the shared dressing rooms, where my friends form a barricade to protect me from my own mother as she rages.
I’m standing on a different sort of stage, not a stage really, but oh-so-exposed anyway. In my own backyard, between the side of the house and the neighbor’s fence, my six-year-old self pulls down my pants and allows a little boy to put his tiny erect penis in between my legs. He sticks his tongue in my mouth, his friends watch, and I can utter no sound. I am silent. When it’s over, I hide in my room and cry. He does it again, then again, and I never speak a word. I stay silent and I suffer shame.
But my first time on a stage is joyous, though still quiet. My beloved Uncle Steve, who performs at Six Flags Over Texas in the early ’70s, invites me to sing with him at the final rehearsal of the amusement park’s Crazy Horse Saloon. Only six years old, I never utter even a peep. Yet it is so profound a moment that I will always know that I was wearing my white tennis dress that had red and blue edging and looked just like something Billie Jean King would wear. I will always recall the encouraging expressions of the invited audience as I gape and stare. No trauma, just stage fright and an introverted little girl.
So quiet. In so many key moments of my life, I have locked my heart, soul, and voice up tight. Lips compressed. Spirit screaming, though. Screaming, wailing, thrashing, and hurting. No more. No, no more. I am learning to speak my truth, from the small honesty of what I do or don’t want to eat when with my family to calling congressmen to press for justice; from expressing, rather than clutching, hurt feelings to setting a boundary to protect myself from a tyrannical boss. And when the spoken word is not sufficient unto the task, I write my soul’s truth, pouring heart and mind into words that I sometimes share.
I am discovering that being quiet is okay. Quiescence is beautiful, it implies a hush that is grounded in rest. But healthy tranquility is not the same as resentful placidity. Living quietly, in a place of hope, requires muscular work. Diligent mindfulness. Rigorous self-examination. The Divine Creator, She who holds our hearts and minds in such compassion, is present in our quiet; is heard best when we are still. And it is Her voice that can either sing, whisper, or roar through me if I will but avail myself of Her power and courage.
My voice returned in time for opening night, by the way. I belted about bluebirds and “dawn’s blinding sunbeams” as though I’d never known a day of vocal cord paralysis in my life. But underneath my voice was a support network not just of muscle and lung, but of love from family and friends, and the breath of the Creator.