Downtown Birmingham. Christmastime. It’s raining. There is a heavy fog suspended over the world so that the city looks like the opening scenes of a Dickens novel.
There are ghosts in Birmingham tonight. I can feel them.
I pull up to the Lyric Theater a few hours before soundcheck. The rain is really coming down now. The backstage doors are slung open. The crew is waiting for the band to arrive. I am with the band.
There is a stagehand standing out back, on smokebreak. He has piercings on his face. He is dressed in crewman black.
“Welcome to the Lyric,” he says, stepping on his cigarette. “Give you a hand with your stuff?”
He helps me unload my instruments. Tonight I have three accordions that are all about the size of mid-sized Buicks. I am playing music this evening, telling jokes onstage with Three On a String.
I walk into the theater, carrying my musical tonnage, and I’ve never seen a theater so magnificent. In fact, to call this place a “theater” would
be selling it short. This is the Sistine Chapel.
The room is classic baroque. The stage is a proscenium-style stage, shaped like a giant arched window. There are opera boxes adorned in gilded fleurons and ornamentation. Multiple balconies, trimmed with gold leaf paint. Scrollwork galore.
The arch above the stage has an intricate mural. The mural was painted in the late 1910s, and looks like it belongs in the Pope’s bathroom. The painting is entitled “Allegory of Muses.” The painting depicts a bunch of naked people running around, groping each other. But they are Roman naked people, so it’s okay.
“Wow,” I say in a half whisper.
“Yeah, wow,” says the stagehand, then he adds, “you’re looking at the grandest Vaudeville stage in the Southeast.”
Jack Benny performed here. Mae West. Fred Allen. Buster Keaton. Eddie Cantor. And once upon a time, Will Rogers wore a…
