1
There had been five years of planning and discussion, two years of architects with sample sketches that were scrutinized by a newly selected board of directors, and a full year and a half of bidding wars between a variety of contractors before the ground was broken for the Sheridan Center for the Performing Arts. But as is the case with most construction in Chicago, once the first shovelful of dirt had been limply tossed by the mayor in a ceremony widely covered by the media, the building seemed to erect itself overnight.
The site chosen for the new center was the slightly shabby stretch of Kingsbury Street, approximately half a mile north of the centermost armpit of the Chicago River, where Wacker Drive turns south and the river turns north. With primary funding coming from the wealthy and prestigious Sheridan family, who were endowing the center in memory of Edwin Sheridan, their late, great patriarch, it was not difficult for the already occupied land to be bought and cleared of buildings that would've deterred the march of progress. The faceless warehouses that had once stood on the bank of the river were replaced by a giant stone edifice fronted by a soaring colonnade. A broad staircase, bordered by twin ramps for easy wheelchair accessibility, led to a wide entryway and massive glass doors. The foot of the staircase was flanked by a pair of large stone lions resting on their haunches and brandishing shields carved with the family crest of the Sheridans.
Along the riverside of the building was a tree-lined promenade spotted with cement benches where early theatergoers could enjoy a quiet liaison during warmer weather. And the perennial parking problem was resolved by the addition of a sprawling, multilevel lot at the rear of the building, exclusive to the use of the center's patrons.
Edward Carnegie stopped at the foot of the stairs as he did every morning on his way into his office. He drew a deep, satisfied breath and exhaled with pride. It had been six months since he'd officially assumed his duties as director of the Sheridan Center, before construction on the interior had been completed, but still he could barely believe his good fortune. Of course, he never would have openly admitted that fortune had played any part in his capturing this important position, but he couldn't deny that at the age of thirty-three he might be considered a bit young to be appointed head of a venue that many in the city hoped would gain national recognition. But Carnegie had presented the board a comprehensive plan for the Center's future, and the board was forced to believe that what he lacked in practical experience was more than made up for in energy, enthusiasm, and direction. Carnegie's detractors maintained that it hadn't hurt that he had the full backing of the Sheridan family.
However, even his detractors couldn't deny that Carnegie had delivered on his promise. In a move that stunned the arts community, he announced upon taking office that he'd secured the Santa Marta Opera Company for the Center's opening to perform their Carmen, a production that had appalled classical critics, thrilled popular ones, and dazzled audiences on the West Coast, garnering headlines in national trade and arts publications. Even one of the local Chicago papers had done an article on the "upstart opera company." Nobody would dare question Carnegie's abilities after that.
He closed his eyes and inhaled deeply again. The air was scented with grass, water, and a tinge of dead fish, but there was something clean and real about it. He let his eyes open, adjusted his tie, and mounted the steps.
"This place is a disaster! It's a sty!" Maria Cortez said as she threw her oversized leather shoulder bag onto the counter.
"What's wrong with it?" David Cunningham asked with no inflection. He was the manager of the Santa Marta Opera Company and had dealt with Maria long enough to know the importance of responding to her without any implied partisanship.
"Just look at it!" She gesticulated broadly.
The dressing room was not large but was pleasant and serviceable. The requisite makeup table and light-encircled mirror were offset by deep carpeting, creamy white walls, and a pair of round easy chairs that were more comfortable than they looked. The wall directly opposite the door was covered floor to ceiling with mirrors that added depth to the room, as well as hiding the closets. To their left was a private bathroom, which might not have been very big but made up for it in convenience.
"It's a sty!" Maria repeated.
"Hardly that," David replied affably. "This place is brand new."
"Brand new." Her lips were so full that when she tried to pout they wrinkled like a circular accordion. "I know it's brand new! It smells of carpet and paint! It's revolting!"
"I don't smell anything."
"Of course you don't! You have no nose! You have no eyes, either! You can't see how small this room is! I don't know how I'll be able to dress in here."
"There are no hoop skirts in Carmen," David said somewhat wearily. "You'll be able to slip into your dresses without banging into the walls."
Maria threw herself onto the chair at the table. She leaned her right elbow on top of it and rested the side of her face against her hand. "I suppose I'll have to manage, won't I?"
David studied her in the glass. Despite her frequent, childish outbursts, Maria Cortez was almost hypnotically exotic: a perfectly oval face, skin the color of suede, and large, hooded eyes. Her hair was long and dark red, and the haphazard way she kept it pinned up made her look like a high-class slattern. The only thing lacking to complete the picture was a rose in the décolletage of her rust-colored dress.
"Why did you bring us to this place?" Maria said to his reflection.
"You know why. All of the critical acclaim in the world isn't going to make up for what it cost us to mount this thing to begin with. We're played out in California. This offer was a godsend. Bill and I can use the two months you're here to prepare the next production. Look, when we were offered this engagement during our ‘hiatus,' I couldn't refuse."
"I was supposed to have a vacation." She ran her slender fingers along her throat. "The instrument needs to be rested."
"The instrument needs to be used or you'll lose it!"
"I need to rest!"
He placed his hands on her shoulders and looked at her in the mirror. "Maria, you have a beautiful voice, but you don't understand the economics of this business."
"Business!" she hissed.
"We've had one hit, which didn't even pay off the original investment. And like most new companies, we are one miss away from disaster. If our next production isn't as big a hit as Carmen, there's every chance that the company will be no more."
She narrowed her eyes. "That would be terrible, wouldn't it?"
His hands seemed to rise from her. "I wouldn't set too much store in the press. They can be very forgetful . . . and very un-forgiving."
"And insightful. Evidently, they can recognize where the real talent lies."
"You've been lucky so far in the amount of press you've gotten, and that this has turned out so well for you. You have the Santa Marta Opera Company to thank for that."
She glared at his image in the glass. "I have nobody but myself to thank for my success. All you did was provide the package!"
David was on the verge of injudiciously losing his temper when they were interrupted.
"Did I hear the tender tones of our diva lodging a complaint?"
Riccardo Nuevo appeared in the doorway, leaned against the jamb, and folded his arms across his broad chest. He was clad in a white shirt and white pants, a combination that made his olive skin and black hair look even darker.
"Riccardo!" Maria exclaimed, the right corner of her mouth crooking upward. "I didn't know you were here."
"I didn't have to wonder about you, though," he said. "I could hear you through the wall. I'm right next door."
"You see?" Maria said, turning to David's reflection. "The walls are paper thin!"
Riccardo laughed. "They don't have to be thin to hear you, my darling. Your voice could pierce concrete. What are you complaining about now?"
"Riccardo, you're a bad boy," she said lushly. "You shouldn't take that tone with me. You make it sound as if I'm a small girl who never has her way."
"Not at all. You complain like it's been your way of life for a very long time. Now what's wrong?"
Maria looked away from him and didn't answer.
"Maria just thinks the dressing rooms are a bit small," David explained.
"Small? Really?" Riccardo said with a faint smile. "The dressing rooms are much smaller at the Met."
David braced himself for the coming explosion and looked at Maria. She let her hand drop to the tabletop and her eyes glared upward at Riccardo from beneath half-closed lids.
"Are they really smaller there, Ricky?" she said in a measured sneer, placing special emphasis on the corruptive of his name.
Riccardo's naturally dark complexion was marred by an ugly red flush. He turned to David with elaborate refinement and said, "The dressing rooms are perfectly acceptable to any rational person. You have no need to apologize."
With this he pushed off from the jamb and disappeared down the hallway.
David looked at his own confused reflection. "I wasn't apologizing for anything."
Maria erupted into unrestrained laughter.
The Sheridans lived on Astor Street in a mansion that had been built in the 1930s by the late Edwin Sheridan's father, Jeremiah, a self-made millionaire whose fortune had come from the manufacture of machine parts. Like many of the homes built by the nouveau riche, Sheridan House was designed with more money than taste. It was an oblong, dusty-bricked, three-story cracker box with small, evenly spaced windows that gave it the appearance of a railroad mausoleum.
The interior of the house was a study in musty opulence: heavy furniture and hardwood floors, both thick with layer upon layer of varnish, walls covered with endless coats of paint, and stagnant air. These things all conspired to make the infrequent guests feel as if the house was closing in on them. The small rooms with their rectangular portholes, coupled with the fact that the house had long since been hemmed in by other homes, left the interior in a perpetual dusk, so that even on the brightest days lamps had to be lit.
Steven Sheridan, Edwin's only son, stood in front of the full-length mirror on the door of his wardrobe, his chin raised as he knotted his pin-striped tie. He was about as comfortable in business attire as he was in the family home, both of which had been forced on him by the misfortune of birth. Even his own bedroom felt to him more like a museum than a refuge from the rest of the world.
He tucked the thin end of the tie through the label loop, then smoothed the tie against his chest. He paused to check his general appearance in the mirror.
He didn't consider himself bad looking: His dark hair could've been straighter and he wished that the tone of his skin had been either ashen or olive, rather than falling into the murky area in between. And there was a sadness about his eyes that had settled in at childhood and deepened with age. But he mitigated any minor flaws by carrying himself with a confidence that he didn't necessarily feel. He slipped into his suitcoat, straightened the lapels, and gave a single tug to the hem, then left his room and went down the narrow, curved staircase to the first floor. He found his mother seated at the head of the long mahogany table in the dining room.
"Good morning, Steven," said Margaret Sheridan as she spooned some of the contents of her fruit cup into her mouth.
"Morning, Mother." He pulled out the chair to her right where his breakfast had already been laid out, unfolded the cloth napkin, and placed it in his lap.
"You're a little late this morning," his mother said in a toneless way that implied disapproval.
He sighed inwardly. "The foundation can operate on its own for a little while without crumbling."
Mrs. Sheridan gently ran a hand along the side of her head, careful not to dent her coiffure. Her hair was lacquered to the consistency of cotton candy, and was far too golden for her age. "It's important to set a good example. If you're lax, the employees will believe that the only reason you have your position is that you're family. It's up to you to prove to them that you're not only capable, you're the best man for the job."
"It's father's foundation," Steven replied as he poured himself a cup of coffee. "No matter how well I administer it, everyone will believe that the only reason I'm in charge is because I am his son." Mentally he added, So why bother?
She laid down her spoon and looked at him pointedly. "People may believe anything they like. It's up to you to prove them incorrect."
Steven smiled. "Are they, Mother? Do you think I'd have this position in any other foundation?"
His mother continued to stare at him, unblinking. "The money should be administered by a member of the family. I wouldn't trust a stranger with it."
"You could've done it yourself," he said, taking a sip of coffee.
She sighed and absently fiddled with the double row of gold buttons that made her black dress look like a uniform. "And what would you have done? Sat at home and dissipated? It's important that you make your way in the world, like your father did."
"My father inherited the family business."
She smacked her lips. "You're trying my patience. You know what I'm saying. It's important that you work. That you keep yourself busy. That you do something with your life."
"Yes, Mother."
Mrs. Sheridan was about to continue when the phone rang, cutting through the cold tension in the air. Steven rose and dropped his napkin on the table.
"Let Dorothy get it," his mother said. "It's her job."
"I can answer the phone." He picked up the receiver from the phone on the small corner table. He stood with his back to his mother.
"Hello."
"Is that you?" said a familiar voice.
"Uh-huh?"
"Are you alone?"
"No."
"Okay. I just wanted you to know that they're here."
"Good. Thanks."
He replaced the receiver and returned to the table.
"Who was that?" Mrs. Sheridan asked, her frown showing that she disliked being disobeyed even on minor matters.
"Wrong number." He took another sip of coffee.
"The reason for the success of my production of Carmen," said Marc Berger, "is that I approached it as a piece of musical theater rather than as an opera."
"Our production," David Cunningham said under his breath.
They were at a table in the center of the room at the Winterset Café, in the heart of River North.
Across from them sat Heidi West, the arts-and-entertainment reporter who had been given the plum job of writing an article about the Sheridan Center's premier production. A combination of stature and girth meant that she could choose her assignments without being challenged. She nursed a tall glass of iced tea that had a slice of lemon firmly embedded on its edge. Her leather-cased tape recorder whirred steadily at the center of the table.
As she asked her questions, Marc Berger, the man who had directed the production, carelessly munched a cobb salad while Cunningham lightly tapped his thumb against the white table-cloth.
"Marc is one of the hottest directors of musicals on the West Coast," Cunningham explained.
West looked at him with raised eyebrows. "Oh. Was it you who decided to approach the opera this way?"
"Well . . . yes. At first. I wanted the staging to be theatrical. Marc took that a bit further than I expected." He tried to sound enthusiastic, but West noted the undertone of embarrassment.
Marc adjusted the black plastic frame of his glasses and speared a mound of crab meat with his fork. "Opera seems really stodgy to the masses, for good reason. It is." The reporter's face hardened slightly as she turned her attention back to him. "But that's only because of the way it's staged. Usually it's really boring. They throw a bunch of singers up on stage, and they just stand there like a bunch of posts and sing. People can move while they sing, for Christ's sake! They do it all the time in musicals!"
"Of course, the approach we used with this production wouldn't work with every opera," Cunningham said quickly. "I don't want you to think we've completely tossed convention out the window."
"Yes . . . I can't really imagine people bouncing all over the stage during Aida," West said with a smile.
"Ah, so you've heard that that will be our next opera."
"Yes, I've read about it. I must say I was a little surprised at the choice. It's very ambitious for a new troupe."
"Exactly why we chose it."
"And it doesn't have nearly as good a role for a mezzo."
Cunningham hesitated. "I'm not sure I understand."
"I would think on the heels of all the publicity Maria Cortez has received, you'd want to feature her again."
"Not right away," he replied slowly. "We're dedicated to featuring a variety of singers that are new to the public."
"So why did you decide to start with Carmen?"
Berger smacked his lips around the crab meat. "Because it's just so damned musical!"
"Mm-hmm." She had directed her question to Cunningham. When Berger answered instead, she turned the tape recorder slightly.
"Nobody wants to see opera the way it's been done over and over again, with no theatrical sense and these big, hefty women playing these great beauties. Who would want to see that?" He lifted the edge of a spinach leaf with his fork, peered under it, then let it fall back into place.
West watched him with a frown for a moment, then turned to Cunningham. "I understand that the way you went about forming your company was fairly unconventional as well."
