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Property doesn't normally stay untenanted long in the Nightside; someone's always got a use for it. But this place was different. Some thirty years ago, some poor fool tried to open a Gate to Hell during a performance of the Caledonian Tragedy, and that kind of thing plays havoc with property values. The three witches killed and ate the guy responsible, but didn't have the skills to close what he'd partway opened. The Authorities had to bring in an outside troubleshooter, one Augusta Moon, and while she sewed the thing up tighter than a frog's ass, the incident still left a nasty taste in everyone's spiritual mouth.
Even unsuccessful Hellgates can affect the tone of a whole neighborhood.
Unsurprisingly enough, the theatre's double doors were locked, so Suzie kicked them in, and we strolled nonchalantly into the lobby. It was dirty and dusty, with thick shrouds of cobwebs everywhere. The shadows were very dark, and the still air smelled stale and sour. Dust motes swirled slowly in the shafts of light that had followed us in through the open door, as though they were disturbed by the light's intrusion. The once plush carpet was dry and crunchy under our feet. The whole place reeked of faded nostalgia, of better times long gone. It was like walking back into the shadows of the past. Old posters advertising old productions still clung stubbornly to the walls, faded and fly-specked. The Patchwork Players Present: Marlowe's King Lier, Webster's Revenger's Triumph, Ibsen's Salad Days. There was no sign anyone had been here for thirty years.
"Odd name for a theatre," Suzie said finally, her voice echoing loudly in the quiet. "What's a Styx, when it's at home?"
"The Styx is a river that runs through Hell," I said. "Made up from the tears shed by suicides. Sometimes it bothers me that I know things like that. Maybe the theatre specialized in tragedies. We may be in the wrong place, Suzie. Look around you. No-one's disturbed this dust in years."
"In which case," said Suzie, "where's that music coming from?"
I listened carefully, and sure enough, faint strains of music were coming from somewhere up ahead. Suzie drew her shotgun, and we crossed the lobby and made our way up to the stage doors. The music was definitely louder. We pushed the doors open and stepped through into the theatre proper. It was very dark, and we stood there for a while till our eyes adjusted. Up on the stage, in two brilliant following spotlights was Nasty Jack Starlight with his life-sized living rag doll partner, singing and dancing.
The music was an old sixties classic, the Seekers' "The Carnival Is Over." Nasty Jack Starlight sang along cheerfully, stepping it out across the dusty stage with more style than precision. He was dressed as Pierrot, in a Harlequin suit of black and white squares, and his face was made up to resemble a gri
He danced a fiercely merry two-step with his partner, a living rag doll costumed as Columbine. She was almost as tall as he was, her arms and legs amazingly flexible as she danced, without joints to get in the way. She had a sadly erotic look, in her patched dress of many colors, and her face of tightly stretched white satin had garishly painted-on features. Her movements were disturbingly sexual, her dance provocative in every lascivious movement.
Pierrot and Columbine capered across the whole stage, making the most of the space, dancing and leaping and pirouetting in the two spotlights that followed them faithfully wherever they went. I looked back and above me, but there was no sign anywhere of a source for the spotlights. They just were. The music also seemed to come from nowhere. It changed abruptly to "Sweet Little Jazz Baby, That's Me," a staple from the Roaring Twenties, and Pierrot and Columbine came together and Charlestoned for all they were worth. Their feet on the stage made no sound at all. The music had a distorted, eerily echoing quality, as though it had had to travel a long way to get there and lost something of itself along the way. And for all the effort Nasty Jack Starlight and his partner put into their performance, it all had a dull, flat feeling. There was no appeal to it, no charisma or emotion. But the packed audience was in ecstatics, sheer raptures of emotion.
The audience.
Nasty Jack Starlight and his living rag doll were singing and dancing for the dead. Now that my eyes had adjusted to the gloom, I could see the stalls were full of zombies, vampires, mummies, werewolves, and ghosts of varying density. Every form of undead or half-life the Nightside had to offer, all come together in one place under a strict pact of non aggression that wouldn't have lasted five minutes anywhere else. But no-one would destroy the truce here; no-one would dare. This was the one place they could come to recapture just a little of their lost or discarded humanity. To remember what it felt like to be alive.
The vampires looked right at home in their formal tuxedos and ball gowns, daintily sipping blood from discreet thermoses, passed back and forth. In comparison, the mummies looked distinctly drab and dirty in their yellowing bandages, and dust puffed out when they clapped their hands together. The werewolves huddled together in a clump, howling along to the tune, their alpha male distinguished by an impressive leather jacket made from human hide, the tattooed words on its back proclaiming him Leader of the Pack. The ghouls mostly kept to themselves, snacking on fingers from a takeaway tub. The zombies tended to sit very still, and applauded very carefully, in case anything dropped off. They sat as far away from the ghouls as possible. The ghosts varied from full manifestations to pale misty shapes, some so thinly spread their hands passed through each other when they tried to clap along. Others had to concentrate all their sense of personality just to keep from falling through their chairs. But dead, undead, partly human, or mostly inhuman, they all seemed to be having a good time.
They laughed and cheered, sighed and wept, and applauded in unison, as though reacting to what was happening on the stage, though their responses seemed to have little to do with the performance.
Nasty Jack Starlight performed exclusively for the dead, or those feeling distanced from their original humanity. He remembered old emotions for them, evoked them through his singing and dancing, and made his audience feel them. He made them feel alive again, if only fleetingly. His patrons paid very well for the illusion of life he gave them, for a while ... and while they wallowed in second-hand emotions, Starlight fed off their u
I had to explain all this to Suzie. She'd never had any interest in the theatre. At the end, she sniffed, unimpressed.
"So what's the deal with the rag doll?" she said.
"The word is she was human once, and Jack Starlight's lover. He needed a dancing partner, but he didn't feel at all inclined to share what he'd be taking from his audience. So he had her made over into what she is now. A living rag doll, endlessly compliant, a partner who'll follow his every move and whim, an never complain. Of course, that was a long time ago ... She's probably quite insane by now. If she's lucky. Now you know why they call him Nasty Jack Starlight."
"Who was she, originally?" said Suzie, glaring at the stage.