When: Today at Noon for 10 minutes
Where: The Pool Room
What: A Quick Practice Run of Tonight’s Song & Story
Who: Me and You
Why: Because, hey, it’s the entertainment business
My earliest memories of singing are a collage: bath-time duos with my guitar-strumming dad; "Tomorrow" at the top of my lungs from the balcony at a Broadway show of Annie and, later, from the balcony of my grandparents' highrise; and, in Hebrew at my Jewish summer camp, "I'm Gonna Wash That Man Right Outta My Hair." Sometime between baths and camp, I learned shame and fear of being shamed. I internalized a philosophy that, at its essence, suggested that anything less than perfection was unworthy. Society? Parents? My own nature? Who is to say where I learned it. Stage fright is a bully. But I have songs and stories in my heart, and I am certain that if I don't answer their call, the incessant knocking will drive me mad.
The anxiety was never as bad in orchestra and small chamber groups. I played classical and renaissance music from a young age through my mid-twenties, and frequently sat as first-chair in the college and community groups. In orchestra and wind ensembles, inevitably a solo line popped up here or there. I'd fret over those measures for minutes before they came, but I loved the sound of my singular clarinet soaring over the other winds and strings. Sitting in my formal black and white attire, I could be heard and not seen. When the momentary solo faded back into the wash of music, my nervousness calmed. I was just a vessel for the music amid the other players and a clutter of music stands.
In my last year of college, I won a prestigious competition hosted annually by my university's music department. As the winner, I would be the featured soloist at the spring orchestra concert in an orchestral piece of my choosing: the Weber Concertino for Clarinet. Even more than the honor of winning, as soloist I had, for the first time, the opportunity to perform alongside an orchestra. Whereas in the past I'd only had piano accompaniment, for this I rehearsed alone and, later, in the concert hall with the full orchestra.
In the throes of stage fright, I can never think clearly. I rehearse to perfection beforehand, in the hopes that in the moment I will be able to deliver a large fraction of that excellence. But rehearsal is not fear-proof. On the day of a performance, my stomach churns for hours, my legs feel numb. On stage, I sweat, I shake, I forget how to do the very thing I have practiced to flawlessness. But I fake it in the hopes that one day I will make it without fright.
Unsurprisingly, as the days led up to the concerto performance, I was a wreck of jitters. I knew the concerto competition concert would be the most well-attended of the year. My parents and grandparents, none of whom later attended my college graduation, all flew in. A few days before the concert, I confessed my nervousness to my mentor, Sarah Mead, a beautiful viola da gamba player who had introduced me to Early Music my first semester and nurtured me through all four years like no one ever had. Sarah and I had both skipped grades in elementary school, and bonded over the lifelong sense that we'd missed some essential lesson only taught that particular year. She introduced me to the beautiful music books of the renaissance, with their four lines of music facing the four outer edges so that a family could sit around a table after dinner and play music together. Sarah knew I loved a challenge, and whenever our Early Music ensemble called for a new instrument, she gave me the task of learning: recorders, harp, krumhorns, flutes. Later, after I graduated, I couldn't bear to leave Sarah, so I continued to commute to campus for weekly rehearsals, until I finally moved away.
The week of the concerto performance, Sarah told me about the first time her son Patrick played piano for an audience. He was around seven, and he was to play a solo piece as part of the university's celebration of composer and music department founder, Irving Fine. Sarah had worried about his nerves, but when she woke Patrick on the morning of the celebration, he sat up in bed with wide eyes and big grin. "Mommy," he said, "today's the day I get to play my song for everyone."
That Sunday, while the orchestra played through the first half of the program, I sat in the green room smoothing my dress and repeating Patrick's words. "Today's the day I get to play my song for everyone." I thought over and over, my fingers shaking on my clarinet keys as I ran through arpeggios, my empty stomach clenching. "Today's the day I get to play my song." I heard the applause and walked onto stage. "Today's the day." I nodded to the conductor and he lifted his arms for the string opening.
I am tempted to write more, to tell you how I wet the reed, how my first note rang in the hall, how playful the theme and variations felt tripping off my fingers, how the orchestra buoyed me, how the cadenza I'd written for the near-end felt like a braiding of my own music with Weber's. I am tempted, but I can't, because I don't remember any of it. I only remember feeling a profound sense of shame at the end. Nothing terrible had happened -- I didn't forget a line, my clarinet didn't squeak -- but I remember afterwards wanting to hide from the family and friends waiting in the hallway with bouquets in their arms. For years after that concert, I hid my accomplishment -- the competition, the performance -- convinced that I'd not deserved the recognition. Perhaps that year the competition had been slim. Perhaps I, a far cry from the winners of years past and future, was only the best they had that year. It should have been a glorious moment, a capstone to years of practice and study. But all I could think was that I'd had one chance for perfection, and I had not achieved it. Not long after, I packed away my clarinet.
Meanwhile, sometime in college I started writing and singing songs. I wanted so badly for someone to listen, so after college I met my fright head on. I wanted to capture Patrick's joy at sharing something that he loved with others. Following the footsteps of my juggler boyfriend, I bought a busking permit at the Cambridge city hall and every weekend plugged my two-input amp into a car battery, laid out my guitar case for tips, and played for passersby in Harvard Square. When the air turned cold in early October, I donned a winter coat and fingerless gloves. When the Head of the Charles tourists left town, I turned to open mics at Club Passim, the Kendall Cafe, and other songwriter venues that have since closed. Over the years, I pulled together a band, I recorded, I toured. Stage fright still gnawed, but I fought it with a combination of coca cola and gin, and the frequency of performing forced my anxiety into a tenuous remission. And then, ten years ago, I stopped performing almost entirely, and stage fright became a thing I know about myself but didn't have to face on a daily basis. The songs no longer wanted singing, so I no longer needed a stage. My guitar joined my clarinet, and though I occasionally I strummed some chords, for the past ten years I've not felt any great urge to perform.
Until now. I woke this morning with wide eyes and a smile. I cannot explain this excitement: I haven't felt it in years. My hands are shaking, and my stomach is churning, my legs are numb, and I'm afraid that despite my practice, I won't be perfect. But beyond all fear, tonight is the night I get to play my song, tonight is the night I get to read my story.
Me in the pool room: