Overheard at the border last weekend....

Canada Customs:  Where do you live?

Roger: Bellingham.

Canada Customs:  What’s the purpose of your visit?

Roger:  I sing in Vancouver Men’s Chorus… 

(Usually my response continues “… and we rehearse on Wednesdays.” But this was a Saturday.)

Roger:  … and I’m going up for the Tenor Section potluck.

Canada Customs:  (Incredulously)  You’re a Tenor?

(I use my “butch voice” with authority figures, even nice Canadian ones.)

Roger:  We have First Tenors, Second Tenors, Baritones, and Basses. I’m a Second Tenor.

Canada Customs:  Did you bring anything?

Roger:  Treats from Trader Joe’s.

Canada Customs:  Are you carrying any firearms?

(Apparently my “butch voice” is extra butch.)

Tickets for our June concerts are on sale at vancouvermenschorus.ca

Un Canadien Errant

The Boys Who Lived

Vancouver Men’s Chorus is busy rehearsing for our June concerts. (Tickets are on sale at the chorus website.) This year’s theme is Totally Awesome ’80s. We will be singing songs by Cyndy Lauper, George Michael, Eurythmics, Madonna, Tina Turner, Erasure, Pet Shop Boys, Whitney Houston, and more. There will be synthesizers, dancing boys, and big hair. 

I spent the 1980s as a clueless high school student in small town Utah; as an earnest Mormon missionary in Korea; as an overachieving student at Brigham Young University; and as a liberated law student at Yale. I’m like an episode of Stranger Things – 80s music is the soundtrack of my youth. 

More than music and mullets, my relationship with the 80s is defined by one essential fact: I came out of the closet in the middle of the AIDS epidemic. 

I recently read a collection of essays with the title Between Certain Death and a Possible Future:  Queer Writing on Growing Up with the AIDS Crisis. These writers speak for my generation:

Every queer person lives with the trauma of AIDS, and this plays out intergenerationally. Usually we hear about two generations - the first, coming of age in the era of gay liberation, and then watching entire circles of friends die of a mysterious illness as the government did nothing to intervene. And now we hear about younger people growing up with effective treatment and prevention available, unable to comprehend the magnitude of the loss. But there is another generation between these two, one that came of age in the midst of the epidemic with the belief that desire intrinsically led to death, and internalized this trauma as part of becoming queer.

I arrived too late for the fun. Instead, I threw myself into activism. I joined the ACLU of Illinois as Director of the LGBT Rights/AIDS Project at the height of the AIDS epidemic. The Project’s founder, John Hammell, had recently died. Many other pioneering Baby Boomer gay activists were dead, dying, and/or burnt out. Stalwart lesbians and unprepared young gay men filled their empty shoes. 

Some people see personality types through the prism of birth order. As the first of four brothers, I exhibit many “eldest child” behaviors. But when it comes to my gay tribe, I’m part of very specific cohort:  the traumatized gay boys of Generation X, stumbling through life as perpetual younger brothers to the men of the Stonewall Generation. 

This photo of San Francisco Gay Men’s Chorus was taken in 1993, twelve years into the AIDS epidemic. The seven men in white are the original members of the chorus. The 115 men in black represent those who had already died. 

Trauma warps memory. As I learn to live with complex PTSD, I’ve discovered a handful of revealin gaps and glitches in my recollection of past events.   

For example, the quietest moment in our 80s concert occurs during “Eulogy.” Seattle Men’s Chorus commissioned this song in 1985. I have sung and heard “Eulogy” countless times since I joined my first gay chorus three decades ago, including at various memorial services. I’ve repeatedly listened to SMC perform “Eulogy” on their classic Pink Album. 

Nevertheless, I have no memory of the song. All I can tell you is that it repeates the word “Onward.” Every time VMC rehearses “Eulogy,” I feel like I’m sight-reading a shocking new testament of grief. By the end of the song I’m silently weeping.

Many of the boys died.

The theme of VMC’s June 2018 concert was Gays of Our Lives. As we read through “I Shall Miss Loving You” at our first rehearsal, I realized the last time I’d sung the song was eighteen years before, at my friend Jim Palmer’s memorial. We sang together in Windy City Gay Chorus during the 90s. The miraculous new HIV/AIDS medications came along too late to stop the disease’s progress through Jim’s body. Still, he wanted to see the new millennium. He barely made it. 

I was thirty-five years old. Jim was thirty. I weep every time I try to sing these words:

I shall miss loving you.

I shall miss the comfort of your embrace….

I shall miss the joy of your comings,

And pain of your goings, and, 

After a time,

I shall miss loving you.

Boys like Jim died from AIDS, suicide, drugs, and other causes. Somehow, some of us survived to tell the stories. 

In September 1914, soon after Britain suffered the first casualties of the Great War, Lawrence Binyon published “For the Fallen.” The poem’s fourth stanza has become known as the “Ode to Remembrance”:

They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them.

Some of the men lived.

In 1981, a pioneering national tour by San Francisco Gay Men’s Chorus inspired gay choruses to form in cities including Chicago, New York, Seattle, and Vancouver. Forty-four years later, our founder Willi Zwozdesky still conducts Vancouver Men’s Chorus. Willi is the senior conductor in the LGBT choral movement.

VMC has never sounded better. We continue to attract talented new singers. At our recent rustic retreat, Millennials and Gen Y gay boys joined in the skits, rehearsals, and comradery. We listened to our elders around the campfire, and serenaded our conductor with his favourite song.  Along with Willi, a handful of other survivors have held the chorus and the community together through five extraordinary decades.

I am growing old. But the men of the Stonewall generation will always be older than me.

Kosher Dogs

I was ten or eleven years old when I saw my first musical. It was a touring show at Vancouver’s Queen Elizabeth Theatre called Saturday’s Warrior. After the Broadway successes of Godspell and Jesus Christ Superstar, a group of musicians from Brigham Young University attempted to translate Mormon culture into musical theater. Saturday’s Warrior is about a family resisting worldly temptation and trying to get back to heaven together.

 

December 2023 found me back at the Queen E. This time I was onstage at the Vancouver Playhouse in front of sold-out crowds, singing carols together with a hundred of my gay brothers in Vancouver Men’s Chorus. And pretending to be Jewish.

Despite three decades in gay choruses, I’m still too much of an introvert to audition for an actual solo. But I have impeccable comic timing and a freakishly expressive face. Over the last few years I’ve confronted my anxieties by volunteering for micro-solos in VMC’s Christmas show. Each occasion involved a primarily dramatic rather than musical role. It turns out the contemporary choral repertoire includes a striking number of holiday songs where a lonely Jewish singer attempts to sing about dreidels before being shushed by Christian supremacists. Despite my Scottish / Mormon heritage, I keep getting faux typecast as the outnumbered Jewish guy.

 

For example, the Midwestern a capella group Straight No Chaser has created a raucous polyphonic “Christmas Can-Can.” It’s a cheery race between the chorus, a small ensemble, the orchestra, and the conductor. I signed up to be part of the small group when VMC introduced the song a few years ago. At our first rehearsal we had to assign a handful of short solo lines. “Not gonna do the kick line” went to the Asian bass. Next we needed someone to tell the audience “It’s not fair if you’re Jewish!” Without thinking, I pointed out I can easily play Jewish, and got the part. Afterwards I remembered PTSD was still a whole new adventure for me. There was a significant chance I would freeze when the time came to sing or say my four nebbishy lines. 

 

Fortunately, my fleeting solo came and went each night without any microphone glitches, wardrobe malfunctions, or PTSD episodes. Unfortunately, hundreds of blue-haired ladies and cute gay guys now labor/labour under the misapprehension that I’m Jewish. 

 

In subsequent years I’ve been assigned similar roles in other holiday songs. After one performance I got a message from a charming stranger who said the concert was “lovely” and I was “cute.” I hope his mother won’t be disappointed to find out I’m not really Jewish. 

Mark Burnham Photography 

 

The theme of this year’s VMC holiday show was “Cheers,” which meant lots of drinking songs. One of our recycled numbers was the “Christmas Can-Can.” I signed up to be part of the small ensemble because I’m too lazy to learn the chorus part. I was ready to let someone else take their turn being Jewish. But at the first rehearsal both the conductor and guy directing our ensemble pointed out “Roger already knows the solo.” I took the hint, and enjoyed being part of a revival. One longtime chorus member told me “It feels like Christmas when I hear you being Jewish.” 

 

However, current events made our repertoire fraught. The festive “Christmas Luau” was pulled after fires devastated Maui. Then war erupted between Israelis and Palestinians. Our perky “Boogie Woogie Hanukkah” number was replaced with a choral anthem in Hebrew. Nevertheless, our conductor chose to keep the “Christmas Can-Can.” He trusted the audience, and had faith in my experience and timing.

 

Each of my beleaguered Jewish lines gets smiles and laughs if it lands just right. Normally a missed landing wouldn’t be a big deal – there are a lot of other things happening on stage, and twenty other songs in the concert. But with the Holy Land in turmoil, I was terrified I would create an offensive distraction.

 

Although it stressed me out every night, I safely landed each comic Jewish line. And then I enjoyed the rest of the show.

Mark Burnham Photography

Rehearsals have started for VMC’s next show, which has the theme “Icons.” Our concerts are in June, so we’re still learning new music. In the meantime we’ve been asked to sing three songs at a fundraising gig next month. Two of the songs were part of our set at the Canadian LGBT choral festival in Halifax last May. I was pleased to discover I still have both songs memorized, including a surprising percentage of the choreography to “Don’t Rock the Boat.” 

The third number is an Irish drinking song from our concert in December. Unfortunately, when the conductor waved his baton I suddenly realized I don’t know “Nil Sen La.” 

One of my favorite psychology experiments tested the intelligence of farmers before and after harvest. The researchers found what they called a “scarcity mindset.” Before the harvest, while the farmers were still worrying their crop might fail, they tested an average of thirteen IQ points lower than their intelligence after a successful harvest. Chronic stress “makes you distracted, defensive, less rational, and effectively dumber.”

 

I have a lifetime of experience as a performer and public speaker. I can handle ordinary stage fright. At our June concert a couple of years ago, I kept my poise while introducing the song “Chosen Family” with a tear-jerking speech about being both a PFLAG son and father. But as a PTSD survivor I’ve learned to recognize the impact of extraordinary triggers and stressors. During our recent concerts, I thought I was phoning in “Nil Sen La” because it’s too high and I was saving my voice. In reality, I was so stressed about the four tiny solo lines coming up right afterwards that I couldn’t remember a word in Gaelic, or even the words “Dum Dee Dum.” Now I’m frantically memorizing “Nil Sen La” in preparation for our gig next month.

Bear and I walk for miles every day along the waterfront. My dog has both an uncanny direction sense and a perfect memory for establishments that offer treats. As I observed in “Fairhaven,” our local gay bar Rumors has the biggest treats, but the kitchen door at Chrysalis Inn has the best:  huge chunks of roast chicken breast diverted from the bourgeoisie’s Caesar salads. Bear will also drag us back to any place that has served him lamb or duck, long after the café itself has been boarded up.

 

When the Chrysalis Inn is out of chicken they usually substitute cheese. Which is fine – Bear loves dairy. The other day they had alderwood-smoked bacon instead, which looked delicious to me. But Bear is meh about bacon and pork.

 

I’m not Jewish. But Bear might be.

Let the World be Kind

The annual Sehome High School yearbook displays free “advertisements” where parents salute their graduating seniors with embarrassing baby pictures and a short message. My daughter Eleanor is on the yearbook staff. She chose our photos, nagged me about submitting my advertisements before the deadline, and lent me a couple of old yearbooks to see examples of previous contributions from parents.

 

“We are so proud of you” and “We love you” were the most common messages. Quotations came from Maya Angelou, Shel Silverstein, Led Zeppelin, John Quincy Adams, and the Old Testament. Several parents loved their children to the moon and back, while others chose to signal their affection with a dense forest of exclamation marks.

 

As a parent and a writer, I had two favorites. The first example was exquisitely succinct:  “Well done – the whole world awaits!” 

 

The second parental advertisement sent a different message: 

 

You came into our lives, and you’ve almost been a son to us. While you may not be our number one child, you at least rate in the top three. When you return home from receiving your diploma, your stuff will be packed up for you to take away to be someone else’s problem. Please don’t try to find us. 

Love, Mom and Dad

 

Here’s what I wrote to Eleanor in the Sehome High School yearbook:

 

You are messy, passionate, determined, curious, sensitive, creative, and kind – all mixed up and baked in a beautiful pie. You’ll be gone, but you’ll always be mine.

Love Papa

 

And my message to Rosalind:

 

You are completely yourself:  brave, loyal, artistic, and kind, with a unique sense of style. Raising you has been the greatest accomplishment of my life. I will always be proud to be your father.

Love Papa

I wrote Eleanor’s yearbook message first. It’s a shout out to Waitress, her favorite musical. Before covid, I took Eleanor to a performance of Waitress at the Queen Elizabeth Theatre in Vancouver. In “She Used to Be Mine,” our inconveniently pregnant waitress lets go of the person she hoped she would become. Like many of the parental advertisements in the yearbook, the song involves a series of revealing adjectives baked together. In Waitress, the list opens with “She is messy” – which happens to fit my daughter.

 

Songwriter Sara Bareilles told the New York Times “the chasm between who we are, and who we thought we would be, is always something we’re negotiating.” New York Magazine offers its “definitive ranking” of YouTube versions of the song. (Bareilles herself only reached Number 6.) For her high school performance competitions, Eleanor chose the accompanying monologue the waitress speaks to her unborn baby. 

 

Other than my decision to describe Eleanor as “creative” and Rosalind as “artistic,” by the time I finished writing my message to Rosalind I’d forgotten which adjectives I used for Eleanor besides “messy” (which Rosalind emphatically is not). After forwarding my messages to the yearbook editors, I was struck to see the repeated adjective in both descriptions:  “kind.” 

 

When Bareilles composed “She Used to be Mine,” “kind” provided a convenient near-rhyme for “mine.” In my yearbook messages, the unconscious repetition is a reminder that my second greatest accomplishment may be raising children who aren’t lawyers.

First year law students are taught to “think like a lawyer.” Legal scholar Anne-Marie Slaughter provides an excellent summary of the concept in “On Thinking Like a Lawyer,” a short essay addressed to new law students. The phrase means, “in the first instance, thinking with care and precision.” But “thinking like a lawyer also means that you can make arguments on any side of any question”:  

 

Many of you resist that teaching, thinking that we are stripping you of your personal principles and convictions, transforming you into a hired gun. On the contrary, learning how to make arguments on different sides of a question is learning that there are arguments on both sides, and learning how to hear them. That is the core of the liberal value of tolerance, but also the precondition for order in a society that chooses to engage in conflict with words rather than guns. It is our best hope for rational deliberation, for solving problems together not based on eradicating conflict, but for channeling it productively and cooperating where possible. 

 

Professor Slaughter ends her essay with optimism about the contribution that lawyers and legal thinking can make to society: 

 

One of my colleagues at Chicago ends her first year civil procedure class by saying: “Sometimes in the first year of law school, people learn to think like lawyers, but to be a little less like people. You’ve learned the first of those things. You shouldn’t let us teach you the second.” I disagree. There is no dichotomy here. Thinking like a lawyer is thinking like a human being, a human being who is tolerant, sophisticated, pragmatic, critical, and engaged. It means combining passion and principle, reason and judgment. 

 

I absorbed a similar idealism about the legal profession when I was at Yale Law School. For me, thinking like a Lawyer or like a Writer means using words to explore and share ideas with other people, including your future self. It turns out that’s the only way I can think clearly. 

 

However, in the last few years I’ve discovered that “thinking like a lawyer” is corrosive when an attorney’s duty to vigorously advocate for the client becomes an excuse to selfishly twist the truth beyond recognition. Since my PTSD diagnosis, I’ve completed an extensive reading list in psychology and neuroscience. In the field of evolutionary biology, “thinking like a lawyer” has a much darker meaning than the ideal celebrated in Professor Slaughter’s essay. 

Humans are profoundly social animals. In particular, we’re deeply concerned about social status within our tribe. Evolutionary psychologist Robert Wright argues consciousness arose in human brains not to promote effective decision making but rather for “image management” – the “hoarding of credit and sharing of blame.” Like Trump University, evolution taught us “shady accounting,” resulting in “a deep sense of justice slightly slanted toward the self.” 

As Wright puts it, the “human brain is, in large part, a machine for winning arguments.” Evolution could have designed us to prioritize finding the right answer. Instead, “like a lawyer, the human brain wants victory, not truth.”

Is selfishness a bug or a feature of humanity? Is kindness?

 

Many atypical traits persist in the gene pool despite their lack of any obvious benefit to survival and reproduction, such as homosexuality, left-handedness, introversion, blue eyes, schizophrenia, and country music. In his recent book Good Reasons for Bad Feelings: Insights from the Frontier of Evolutionary Psychiatry, neuroscientist and clinician Randolph Nesse examines how evolutionary processes can explain various quirks of the human brain, including the persistence and power of altruism: 

 

For most species, close social partners other than relatives are either nonexistent or nearly interchangeable. That was probably the case for our human ancestors until some tipping point in the past hundred thousand years, when selecting especially capable, generous partners began to give advantages. The benefits of having relationships with the best possible partners shaped tendencies to generosity and loyalty.... The resulting prosocial traits are as expensive and dramatic as a peacock’s tail.

 

Common decency makes civilization possible. But no community can be healthy when it reaches the opposite tipping point, with too many individuals defaulting to lawyerly selfishness. 

David Browning, one of the second tenors in Vancouver Men’s Chorus, is a talented singer-songwriter. (In real life he’s just a doctor.) This year David set himself the personal challenge of writing a Christmas song. As any musician besides Mariah Carey will attest, composing a catchy holiday pop song presents a daunting assignment. 

 

David did an excellent job, and VMC was proud to premiere “Merry Christmas” at our recent concerts. The song’s bridge ends with the lyric “Let the anger and the tension unwind – let the world be kind.”

As Bear and I were walking through Boulevard Park last month, we met a young woman who was making a documentary for a college class. She asked if she could film me with Bear as I answered a few questions. After pointing her iPhone at us, the student asked “Are you happy?” 

 

Life has been extra frustrating lately. My family and I are beset with mounting health, personal, financial, and legal challenges. The road ahead is uncertain and confusing. Nevertheless, I am enjoying the best mental health of my life, and The Kids Are Alright. I found myself answering “yes.”

 

After I responded to a few more questions, the student filmmaker asked if I had any concluding message. I said “Be kind. And you’ll be happy.” 

Merry Christmas

Typhoid Merry

I almost got to be a super-spreader. 

 

Instead, I’m isolating in my room with Bear – the first in our family to test positive for covid despite all the social distancing, masks, vaccinations, and dodged bullets. 

I got covid without even noticing it. When Bear and I got home from our usual long walk Wednesday afternoon, I had an email from someone who attended the same festive gathering in Vancouver on Sunday. After feeling a little under weather for a couple of days, he failed a home covid test. He suggested we all check our coronavirus status. Most attendees promptly reported negative results – other than an unlucky few. 

 

I’d taken so many covid tests before. This time I squeezed four drops into the plastic well, then watched the bright red line instantly light up. 

After observing so much suffering during the pandemic, my own experience with covid has been blessedly anticlimactic. I’ve had no symptoms. The kids all stayed virus-free as we finished the last week of school. 

 

However, the December schedule is a mess. And I’m still trapped in “isolation”:  staying at home except for long walks in the woods with Bear; letting the kids feed themselves as the dishes pile up; and either wearing a mask as I try to get work done at my desk, or hiding in my bedroom while Christmas music plays on an infinite loop. 

Before the covid surprise, I was planning to drive back up to Vancouver on Wednesday night to attend a holiday sing-along event hosted by friends at a club downtown. According to the CDC chatbot’s calculations, Wednesday was my most infectious day. 

 

Ironically, I’d already decided to skip the Xmas sing-along and save myself for a New Year’s trip. Instead, I told the kids I was loopy on Theraflu. I hadn’t actually taken any. I just wanted to cover up my decision to take the day off, stay home, and do edibles while pretending to be sick. Still, I’m glad I checked my email before I changed my mind about heading to the piano bar. My boisterous caroling would have contaminated numerous unsuspecting revelers with aerosolized coronavirus.

 

Instead I’m in isolation for ten days. Blame Canada.

This is what covid looks like (Xmas 2022)

Something Rotten

At the end of July each year, my mother and her friend Carolyn spend a girls’ week at a condo in Vancouver’s West End. They watch the fireworks, shop on Granville Island, and walk along the seawall. They also attend the summer musicals at Malkin Bowl in Stanley Park, where the nonprofit Theatre Under the Stars has been producing shows since 1940. 

 

This year TUTS presented two shows in repertory. The first, We Will Rock You, is a British jukebox musical featuring the music of Queen, with a thin plot about a dystopia where music is forbidden. The second show, Something Rotten!, opened on Broadway in 2015. Brothers Nick and Nigel Bottom struggle to find success in an Elizabethan theatre scene dominated by William Shakespeare’s rock star status. Christian Borle won the Best Supporting Actor Tony for his portrayal of Shakespeare as a preening but insecure narcissist. 

Seattle Men’s Chorus singing “A Musical” (2016)

Desperate to get an edge over his rival Shakespeare, Nick Bottom offers his life savings to a soothsayer in return for learning what kind of theatrical production is guaranteed to succeed in the future. The only oracle Nick can afford is Thomas Nostradamus, an undistinguished nephew of the famous French seer. Thomas’s predictions turn out to be accurate but slightly garbled. In Something Rotten!’s show-stopping production number, Thomas convinces Nick he can succeed by introducing the world’s first musical. 

 

In 2016, Seattle Men’s Chorus conductor Dennis Coleman retired after thirty-five years with the baton. That was also my first year in Vancouver Men’s Chorus. Instead of singing with SMC, I drove to Seattle with my daughter Eleanor to see the “Everything Broadway” show. Both of us were riveted by SMC’s performance of “A Musical.”

This summer when my mother mentioned she had tickets to Something Rotten!, Eleanor and I immediately played her the original cast recording of “A Musical,” including this classic excerpt:

 

THOMAS:       Some musicals have no talking at all....
All of the dialogue is sung
In a very dramatic fashion.

NICK:              Um, really?

THOMAS:       Yes, really.
And they often stay on one note for a very long time
So when they change to a different note, [finally changing pitch] you notice.
And it’s supposed to create a dramatic effect
But mostly you just sit there asking yourself
“Why aren’t they talking?”

NICK:              That sounds miserable.

THOMAS:       I believe it’s pronounced Misérable.

Songwriters: Wayne Kirkpatrick / Karey Kirkpatrick        

A Musical lyrics © WB Music Corp., Mad Mother Music

Sure enough, my mother and Carolyn loved Something Rotten. (Mom’s review of We Will Rock You: “It was loud.”) I got a ticket to Something Rotten for the last Wednesday of the summer. As I reported on Facebook, the show was delightful.

The key to surviving Facebook is to remember you’re not the target audience in Facebook’s business model – you’re the company’s product. Facebook’s actual customers are paying advertisers. In a popular and apt metaphor, the rest of us are merely a herd of cattle on display. 

 

I’ve run the numbers, and I’m pretty happy with our bovine arrangement. As far as I can tell, the algorithm has never lured me into buying anything. Instead, Facebook serves as a convenient communication platform and auxiliary memory bank. After posting pictures of children, dogs, and travel for fourteen years, I can now rely on Facebook for daily reminders of happy times.

 

For example, according to Facebook I was at the Saint James Theatre seven years ago waiting to watch the original Broadway cast of Something Rotten!. As I wrote at the time, “Shakespeare has always been my idol.”

I’m lucky I have Facebook to remind me – because I don’t have any memory of being at the theatre in New York. In fact, other than the songs I heard on the original cast album, I didn’t remember anything about the show before I saw it again in Vancouver last month.

The last time I was in New York I was on my way to New Haven for my 25th year law school reunion. This was just a few weeks before my new Bellingham physician told me my weird recent symptoms added up to Post-Traumatic Stress Disorder and serious codependency. My disability diagnosis changed my life – but not as much as the abusive behaviour of my employers. 

 

PTSD is a disease of memory. As Bessel van der Kolk observes in The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, “traumatized people simultaneously remember too little and too much.” Sometimes trauma results in disassociation or repression, leaving no accessible memories at all. More often, trauma prevents key brain modules like the thalamus and hippocampus from integrating our experiences into “normal” memories. According to Dr. van der Kolk, “the imprints of traumatic experiences are organized not as coherent logical narratives but in fragmented sensory and emotional traces:  images, sounds, and physical sensations.”

When I realized I had no memory of seeing Something Rotten! on Broadway in October 2015 – even Christian Borle’s Tony-winning portrayal of my idol Will Shakespeare – I went back to my collection of Playbills to figure what else was missing. 

 

The only other show I saw on that trip was Fun Home, a musical based on lesbian cartoonist Alison Bechdel’s memoir about growing up in a repressed and dysfunctional environment (she was raised in her family’s funeral home). While Bechdel was away at college, her father killed himself rather than come out of the closet. 

In contrast with Something Rotten, I remember seeing Fun Home on Broadway. I’ve also read Bechdel’s graphic memoir. But my memories of both are fragmentary.

Theatre Under the Stars

Early in his career, Sigmund Freud successfully treated hysteria patients who had PTSD-like symptoms. Freud reported his patients could not access traumatic memories because of the “severely paralyzing” effect of strong emotions like fright and shame. Freud concluded “the ultimate cause of hysteria is always the seduction of the child by an adult.” 

 

However, as Bessel van der Kolk observes, when “faced with his own evidence of an epidemic of abuse in the best families of Vienna – one, he noted, that would implicate his own father – he quickly began to retreat.” Freud shifted his emphasis from real-world childhood trauma to “unconscious wishes and fantasies” like Oedipus complexes and penis envy. A century later, the leading psychiatry textbook in 1974 stated that “incest is extremely rare,” while opining it probably “allows for a better adjustment to the external world,” leaving “the vast majority” of underaged victims “none the worse for wear.” 

 

Since then, we’ve learned PTSD is very real, and that it’s not just a soldier’s disease. Here is Dr. van der Kolk’s call to action in The Body Keeps the Score after four decades treating trauma victims:  “Child abuse and neglect is the single most preventable cause of mental illness, the single most common cause of drug and alcohol abuse, and a significant contributor to leading causes of death such as diabetes, heart disease, cancer, stroke, and suicide.”

 

My childhood best friend Paul killed himself a few months after he was diagnosed with Borderline Personality Disorder. In a pioneering study by Dr. van der Kolk and his Harvard colleague Dr. Judith Herman, 81 percent of patients diagnosed with Borderline Personality Disorder also had histories of severe child abuse. On my way to see Something Rotten!, sitting in line at the Peace Arch border crossing, I read more details about the study in The Body Keeps the Score. And I remembered various odd things Paul said or did over the years. Suddenly I made the horrifying connection – my friend Paul likely endured abuse while we were in elementary school together.

Christian Borle and "Will Power" on Broadway

When I visited New York in October 2015, my PTSD diagnosis was still a few weeks away. But I was well on the way to rock bottom. Even after Theatre Under the Stars refreshed my recollection, I still can’t remember seeing Something Rotten!.

 

I can think of several explanations for the memory gap. The first is the general effect of my disability. As a wrote in “Better-ish,” although many of my fuzzy memories from that period finally snapped into place, others never did. Instead my brain concluded the simplest way to adjust my internal clock was to delete two years from the timeline. It was like switching to Daylight Savings Time. Or like when England converted from the Julian Calendar to the Gregorian Calendar, and eleven days were dropped from September 1752. Nevertheless, there’s a silver lining:  I remember half as much Donald Trump presidency as everyone else.

 

Another possible explanation for erasing Something Rotten! is my obsessive relationship with Shakespeare. For example, the best class I took at Yale Law School was Hal Bloom’s graduate Shakespeare seminar. My bardolatry goes beyond ordinary English Major fervor. I was born exactly four hundred years after William Shakespeare. (To the day, after adjusting for the switch to Gregorian calendar). All my life, or at least from 1964 to 2015, I could easily compare myself to where Will was at a particular age:  having his three kids in Stratford during the ’80s, writing classics like Hamlet in the ’90s, retiring to the country in the aughts, and dealing with poor health in the teens. Shakespeare died in 1616, on what would have been his 52nd birthday. On that date four hundred years later, senior managing lawyers at the Attorney General’s Office realized the State’s employment lawyers and their investigator had broken the law and discriminated against me. Rather than correct their errors, they hastily terminated my employment and embarked on the triggering coverup that continues today. My life stalled at age 51. As my health and career unraveled in 2015-16, I felt more doomed that Will Shakespeare. Now it feels like the clock has started again.

But there’s a third explanation for my memory blocking out Something Rotten!. As I sat in Malkin Bowl last month, I recognized some of the characters and plot developments from listening to the original cast album. For example, during Act I, Will Shakespeare’s rock-star narcissism was predictably charming. I was also prepared to see Nick Bottom weave his soothsayer’s misleading fragments of prophecy into the fiasco of Omelette: The Musical. (It’s no Springtime for Hitler, but it’s no Hamlet, either.) What surprised me was Shakespeare’s pathetic efforts during Act II to re-ignite own creative fire. Eventually Will is so desperate he steals Nigel Bottom’s brilliant draft script of Hamlet. After Omelette: The Musical bombs, Shakespeare conspires with the authorities to banish Nick, Nigel, their wives, and the soothsayer to America in order to cover up his own plagiarism.

 

Why did my memory block out the entire show, including the fact I saw it on Broadway? Because Something Rotten! centers on writer’s block. And finding your own voice. Which turns out to be how I finally worked my way through complex PTSD over the last few years. I still don’t remember anything from the first time I saw Something Rotten!. But I’m happy so many of the other rotten things from that time in my life are finally beginning to heal.

Daniel Curalli as Will at Theatre Under The Stars

I'd Rather Be Sailing

S/V Stella Maris, Deception Pass - 2000

The last time I was at showtunes night in Canada, here’s how our piano player Kerry O’Donovan introduced the song “I’d Rather Be Sailing”:

 

“This is one of Roger’s favourite songs. And in the show the song comes from, it’s sung by a character named Roger.”

S/V Reachfar, Elliott Bay - 2007

My recent blog essay “Roger, Roger” described two of the three characters from Broadway musicals who are named “Roger”:  (1) Roger Davis, the rocker bro half of Rent’s straight tragic couple; and (2) Roger DeBris, the fabulous gay auteur who directs and stars in the terrible musical at the center of Mel Brooks’ The Producers, “Springtime for Hitler.” 

 

The third Broadway “Roger” is another gay supporting character. Roger Delli-Bovi is the romantic partner of the protagonist in A New Brain, the 1998 musical William Finn wrote with James Lapine. The show is loosely based on Finn’s own experience at age forty when he was rushed to the hospital for emergency brain surgery, almost died, and slowly recovered.

 

William Finn’s surrogate in A New Brain, Gordon Schwinn, is a frustrated songwriter. Gordon composes songs for children’s television host “Mr. Bungee,” but he’s blocked in his efforts to finish both Mr. Bungee’s frog songs and his own creative projects. Gordon’s long-suffering boyfriend Roger is the one who loves sailing more than anything else in the world. Roger arrives late to the hospital because he had to wait for wind on Long Island Sound.

Gordon hates sailing. Roger still loves Gordon.

 

In the most recent revival of A New Brain, Jonathan Groff played Gordon, not Roger. But here is a link to Groff singing “I’d Rather Be Sailing” on YouTube. 

S/V Reachfar, Admiralty Inlet - 2005

Once upon a time I had a sailboat, a convertible, and a beach house. Seventeen years later, I’m an unemployed disabled gay single dad with three teenagers, two dogs, and an ancient minivan.

 

As Bear and I walk along the Boardwalk, we admire the boats out on Bellingham Bay. I miss my sailboat. It was a beautiful thirty-seven-foot Jeanneau, which I named “Reachfar.” What gets lost in the telling is that I actually bought my boat while we were pregnant with Eleanor.

S/V Stella Maris, Sidney Spit BC - 1995

During the 1990s, one of my gay lawyer friends lived on his sailboat at Shilshole Marina in Seattle. Many of my happiest memories involved the times I spent with friends on S/V Stella Maris. We explored Manzanilla Bay, Lake Union, and the Hiram Chittenden locks. We introduced my roommate Geoff to his husband Mike at a party on Jim’s boat. Even after I moved to Chicago to be a gay rights lawyer with the ACLU, I would regularly return to Seattle and the water, like a homesick salmon.

 

For several years I joined Jim on his annual spring sailing trip from Seattle north to the San Juan and Gulf Islands. We would arrive in Victoria’s Inner Harbour in time to watch our more intense sailor buddies compete in the annual Swiftsure Yacht Race. After a fun weekend in Victoria fraternizing with friendly Canadians, our group would sail off to explore otherwise inaccessible gems like Sidney Spit and Wallace, Prevost, Sucia, and Patos Islands, before returning home to the drudgery of legal practice.

S/V Reachfar - Puget Sound, 2007

Sailing is naturally mellowing.  

For decades, I found every aspect of being a lawyer crushingly stressful, even before I was diagnosed with complex PTSD and codependency. Nevertheless, I could always escape my miserable life by surrounding myself with waves and forests. Sailing offered instant relief. Although I found a similar Zen on chartered sailboats in Belize, California, and Tahiti, I always felt particularly at home on the waters of the Pacific Northwest. 

 

Eventually I became convinced I needed a boat of my own to sustain the magic. So in 2005, I bought a used sailboat. In a rare twist, the economics of boat ownership made sense for me. When I moved back from Chicago, I’d chosen to buy a weekend cabin on Whidbey Island rather than an overpriced condo in the city. Mooring a sailboat at Elliott Bay Marina as a crashpad turned out to be cheaper than renting an apartment in Seattle.

 

As the cliché goes, the two happiest days of a boat owner’s life are the day they buy the boat, and the day they sell it. By 2008, I recognized sailing was not going to be my priority for the foreseeable future. I was happy to find a willing buyer for S/V Reachfar, for two reasons. First, I discovered being in charge of my own boat diminished sailing’s relaxing effects. Being the captain was a buzz kill. Second, I needed a place in the city that would fit my growing family, rather than a lonely pied-à-mer.

One of the poetic epitaphs in Spoon River Anthology by Edgar Lee Masters (1915)

We started the laborious adoption process in Fall 2004 by signing up with an agency and taking thirty hours of parenting classes. A few weeks later, I got a telephone call out of the blue and learned the cousin of a friend of a friend was pregnant. They were looking for a gay couple to adopt the baby, and chose us. 

I bought my sailboat at the beginning of May 2005. All those years of sailing, research, and trips to the Boat Show intersected with the miraculous surprise of parenthood. In hindsight, I think I grasped at the familiar comfort of sailing rather than face the terror of desiring something completely beyond my control. After the ultrasound, I realized our birthmother was just as terrified about us walking away from the adoption as I was worried about her changing her mind. Fortunately, my partner and her boyfriend were able to calm both of us down.  

 

At home on Whidbey Island late one night in June, I got the call saying our birth mother had gone into labor. We caught the last ferry to the mainland and raced to the hospital in Puyallup. Everyone spent the night watching movies in the lovely birthing suite. Shortly before 9 am, the doctor and the baby arrived. 

I watched Eleanor being born. Then we walked out of the room with our daughter, and the world has never been the same.

Bear, Buster, and Schooner Zodiac

“I’d Rather Be Sailing” is the simplest of songs. Gordon’s lover Roger celebrates the joy of sun, wind, and waves. Then he lists some of the things that aren’t as good as sailing, like food, sex, and other people. However, as Roger sings to Gordon, what he loves best about going out sailing is afterwards he can “come home to you.” 

 

Near the end of A New Brain, Gordon and Roger reprise “I’d Rather Be Sailing” as a duet. Gordon will never be a sailor. Instead, he sings “I feel like I’m sailing – holding on for life.” With the right craft and crew, sailing offers the exhilaration of the second-greatest roller coaster in the world. 

 

Sailing [Vancouver, chorus, writing, Bear, whatever] could be the one thing in the world I love almost as much as my children. But the point is I love my children even more. That’s the kind of Roger I am.

S/V Reachfar, Port Townsend - 2006