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Merriewold: odd little community in upstate New York. Not an intentional community; more a private enclave. Lake, woods, houses. Lots of theater people—at the center, George Abbott, who had a house there. Theater producer/director/writer/all-around champion who lived to be a vigorous 107. Directed the original Broadway productions of Pal Joey and On The Town, back in the ‘40s. And Damn Yankees and Pajama Game, for both of which he also wrote the book. And Where’s Charley, which had starred Allyn Ann Mclerie, Matt Gaynes’s Mom.

Years later George Abbott’s second wife, Mary Sinclair, painted my mother. After she found him cheating, after she left him, after she fell in love with another woman. The painting is a definitive picture of my mother in her prime in the ‘70s. But that was yet to come.

George Abbott’s house was big, as I remember it the biggest around, and just up the road from the lake. Our house—the house we had rented from friends—was further along that road and then another road off,  small, considerably distant from the lake. After us, the asphalt ended, the road turned to tire ruts cutting through bushes.

This was where Matt Gaynes and I spent the summer of 1967—I turned 9, dreamy, introverted, overweight. He was three months younger than I, but taller, more present, less awkward, and he never had a weight problem.

Sam and Grayson—my Mom and Dad—had rented the house for the summer from friends to debate (and perhaps postpone) a decision they didn’t want to make: whether or not they could continue to attempt lives as a writer and actress in New York City, or whether the economics had so turned against them that they had to give up their dreams and all the work they had done—my mother both off-Broadway and on, my father writing for television and garnering interest in his plays—and go back to my father’s one-stoplight town in Ohio to take a job in his father’s rubber glove factory.

I was aware we were poor. We lived cheaply; we were not extravagant. Money was always an issue, a subject of conversation, an insurmountable truth. One reason we were in Merriewold was that it was cheaper to be there than in New York City. Another reason was to be in the orbit of George Abbott and his retinue. What was once called social climbing is now called networking, and Mom, as an actress, and Dad, as a playwright, had put themselves into proximity of one of the American theater’s great powerhouses. And then Mom blew it all by getting cast in a soap opera with vampires.

Famously, Grayson was in New York one Manhattan summer temperature-inversion heatwave day in June; she had just come in from errands, stripped off her clothes and had one foot in a cool shower when the phone rang. She stood perched for a second, her foot wet, debated not answering it, but she wasn’t bodily in the shower yet so she pulled out and went to get the phone. It was her agent offering her a short role on Dark Shadows. The show’s lead was a vampire; Mom was to be a famous hematologist investigating the vampire’s victims; she would threaten the vampire’s identity and be killed off in a couple of weeks. We needed the money. She took the job.

Thereafter, Mom commuted to Merriewold as the production schedule allowed, taking the bus to Monticello, the closest town, us all rattling back and forth to pick her up in one of her father’s used-car-lot cars, Dad setting up his typewriter to write on the wooden porch, Mom studying her scripts on the couch in the living room. She brought foods from New York—black raisin bread, I remember, and soap, and no doubt wine for the two of them.

A potato chip can—Sam would say tin, the Ohio word—large enough for a child to embrace. After the chips were gone, I caught a catfish in the lake, a big monster, green and whiskered, and filled the can with hose water to contain him. He was an object of fascination, a species utterly alien, and when he died Matt Gaynes and I buried him in an inappropriate grave amidst the roots of pines.

We ate catfish; just not him.

Mom and Dad went to parties. One night after dinner at George Abbott’s, Mom, lubricated if not pixilated, tripped in the dark heading back to the car, cut her ankle on the rough bark of a tree, and woke up with blood poisoning. Took a couple of days to manifest, but it didn’t get better, and it made her ill, and eventually it necessitated a trip to the emergency room in Monticello, the nearest town, antibiotics and a bandage. The irony was not lost: blood poisoning, hematologist, Dark Shadows.  The wound healed over into a quiet scar that she had for the rest of her life.

George Abbott never cast her in anything; he never entertained the notion of doing one of my father’s plays. But Dark Shadows turned out to be a revolution in our family, the beginning of solidity, and George Abbott did not, as it happened, matter.

Mom got the job by bravura, but she kept it by technique. She decided early on that every scene she would be in would be inhabited by a subtext only she knew: she was in love with the vampire. She never said it, she never explained it to anyone, she just kept that thought in her heart and let it guide every choice she made whenever she was on camera. That was the work she did that summer, and beyond, to help our family survive.

For Matt and me the days were hot, and still, and sometimes the wind would sheen through the trees, and sometimes it rained. There were crickets in the dry fields and fireflies at dusk and owls in the woods and rubber-band-powered balsa wood airplanes that flew too far to ever be found, and stray cats, and skinny orange salamanders three inches long hugging the skirts of trees on the mornings after rain.

Merriewold in 1967 was the only place I’ve ever seen salamanders like that; I’ve never been back and I’ve never seen lizards emerge after every rain to cling to tree bark anywhere else.

Lake swimming in summer: a wooden raft docked ten yards off the beach, a rope swing dangling from a fat healthy tree, swimming out through the goose-pimple cool water to the oddly permanent spot in which warm water welled up from unknown depths, and then treading water and hanging out, talking and talking, never wanting to leave the charmed warm circle, knowing that eventually you’d have to make your way back, the cool water now insultingly cold.

And then: lunch. The Snack Bar across the road from the short sandy beach, the waddle of flip flops on hot asphalt. The snack bar was tiny, a counter and some stools and a diner menu on the wall, black letters slotted into white plastic. I had, as a rule, .50 cents for the day. I remember Matt having more. A hot dog was .30 cents, cheapest thing on the menu; with cheese .35; my one luxury. With a soda, .15, that was my .50 cents, and after that I was broke. There were hamburgers on the menu, but I couldn’t afford them. A cheese dog: every day, unchanging, that was what my money could buy.

And now we get to the heart of this memory: the guy behind the grill who made my cheese dog had a record player perched on a shelf. And it was always on. And it was the summer of 1967.

Some days it was Sgt Pepper. Some days it was The Doors first album (which I actually knew—my parents had bought it off of reviews because of the Brecht/Weill song Whiskey Bar and the luridly Freudian The End, which had momentarily intrigued my father. After a while they had grown bored of it—it wasn’t show tunes—and had given it to me). Some days Surrealistic Pillow.

Sgt Pepper. The sheer liberational sweep of that album, the gently pointed modernity, the way it moved from height to height.

Every moment of music was of paramount importance, at once palpably present and infuriatingly ephemeral, transmissions from a half-glimpsed distant world. Lunch over, no money left, no reason to stay, the music swirling through the little room, I’d wait for the song to end—Matt Gaynes impatient to be up, doing something, on to the next adventure—and then I’d force myself up before the next one started, push myself step by step back out into the summer day. I was mildly aware that I looked like a fat kid, nowhere to go, loitering around a lunch counter.

But it wasn’t the food. It was the music. It  made me never want to leave.

Fame is weird.

My mother, in that summer before Nantucket, was recognizably famous.

Walking around, every block or so, people would stop her on the street —mostly Dark Shadows fans, mostly high school kids, for a while it was actually difficult to get anywhere by foot— and ask her for her autograph.

When we were in public, and somebody recognized her, the conversation was always the same. One by one they would hit each beat: surprise, recognition, compliment, proof of depth of knowledge about her, Dark Shadows or something else she’d done, expectation of certain behavior back, and then, with that achieved, the request for the autograph.

Mom was, most of the time, very nice—though not all of the time. The thing was, we understood that we had to let people go through every beat; the fact that the beats were always the same didn’t mitigate their importance to the person hitting them. All of this required patience, and patience was not a flower that grew in Mom’s garden. But her empathy would usually outstrip her impatience, most of the time, and she’d sign the autograph, and be gracious, and move on.

Once, somewhere between ’72 and ’75, after she signed for a perfectly pleasant young man, I waited until he was out of hearing and I said, mostly out of frustration: what’s he going to do with that, now that he has it? And she smiled and said: That and thirty-five cents will get him on the subway.

Anyway. Carlsbad, New Mexico, Gargoyles MOW shoot, summer 1972. The motel where the cast and crew stayed had a bell on the glass front door that jangled whenever it was opened or closed. One evening, Matt Gaynes, my mother and I, and various actors and film crew members were waiting for the drivers to get us all to the set, and as it happened one of mom’s TV shows—her episode of Rod Serling’s Night Gallery—was on the motel lobby television set. So we’re all watching Mom emote scarily away on the screen, and every time the door jangles we all look up, expecting the driver. And at some point the door jangles, and we all look up, and a normal American family, mom and dad and buddy and sis, walk into the motel lobby. And the man points to the TV and says: Look—Grayson Hall. And his wife says: From Dark Shadows. And the husband says: Right. And they watch for a moment, and then go about their business, and they never realized the woman was right there in the room with them, watching herself on TV.

We were dumbfounded. All of us. Too dumbfounded for my mother to jump up in front of all those actors, embrace the sheer weird Marshall Mcluhanness of the moment, and introduce herself. Nope. We were all too dumbfounded to pull that off.

And all these years later, I still am.

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