Two characters dozed—or the actors pretended to doze—and dialogue slowed to the sort of dripping that holds no rhythm or pattern. Figures standing or sitting in the tableau mumbled and moved fitfully. Maybe they were prompting each other to speak according to the script, but maybe they were just talking, mostly inaudibly. No one left the stage, and the lights remained on it.
By now, many in the audience had walked out, but a surprising number stayed, sitting in the dark and happy enough to waste time doing so. They watched half-heartedly. Some whispered to neighbors, some dozed in parallel with the characters, and others stared at their programs or amused themselves with the devices they’d carried in.
If they’d paid, they might expect more, but no one did pay. They wandered into the theater believing they could be amused or, at the very least, less bored. Though they understood no great actor would appear in a play with no prayer of profit, they hoped for something better than amateur, anything noteworthy. Their standards for “noteworthy” were low. Their hopes hadn’t been disappointed or fulfilled. Something might yet happen.
In the third row, house right, a professor mused instead of watching. He stifled an urge to chuckle as his mind circled grand philosophical questions, like “What makes something a play?” and “What constitutes a theater?” and “What does it mean to pretend?” He’d worked his way into two or three important discoveries, he felt, and decided to write them down when the play was over.
If he’d aired his insights, the yawning sweeping back and forth through the remaining audience might be even more contagious. His sort of interest is rare for a reason, and the people didn’t stay in their seats to answer any question they could articulate. The inertia holding them came from their lives, which—little different from this play—drifted there awaiting the impulse to drift elsewhere.
No one noticed, but an actor who appeared to be dozing died, so—in a way—something had happened. However, he passed unaccompanied by any dramatic sign, and the actors and audience had stopped expecting anything of him anyway. They’d have to watch in a different way to notice. They no longer thought about consequence because it was a play—the professor might say it’s all a play—and therefore nothing material.
Outside the day was dying. Purple curtained rain clouds hung over snippets of horizon visible between buildings. The sun, still wielding hidden influence, threw light as from under a closed door, and pedestrians quickened at intimations of danger. The air weighed more, full of anticipation. The rumble of thunder sounded like rolling boulders and, even in the theater, some heard it.
They shifted in their seats, determined now to stay, to wait it out.