Now, at fifty-seven, Roger’s kingdom consists of a damp basement studio at the “Serenity Springs Community Center,” a breathalyzer in his glove compartment, and six students who would rather be vaping behind the dumpster.
His students: Jayden (perpetually hoodied, perpetually scowling), Mia (writes aggressive poetry on her arm), the twins Priya and Priyanka (only speak to each other in a private code of sighs), Leo (asks if they can “just watch Deadpool again”), and Chloe (brings a therapy hedgehog named Kevin). drama and comedy movies
“Fine,” Roger sighs. “I’ll demonstrate.” He closes his eyes, conjures the memory of his ex-wife, Daphne, leaving him for a mime (a mime —the ultimate betrayal). His voice cracks. His chin quivers. A single, perfect tear rolls down his cheek. Now, at fifty-seven, Roger’s kingdom consists of a
The students stare. Chloe’s hedgehog sneezes. “I’ll demonstrate
The spell shatters. Roger feels a hot flush of humiliation. In his prime, that monologue would have leveled a room. Now, it’s a meme waiting to happen.
A beat. Roger mimes building an invisible box around himself. He puts on an invisible beret. He does the mime’s “trapped in a windstorm” routine.
Roger Pumble had played King Lear. He had sobbed over a prop Cordelia’s body to a standing ovation at the Belasco. He had done Chekhov, Ibsen, and a particularly anguished Willy Loman that made critics weep into their notebooks.