Tag Archives: Theater

3 6 9 the goose drank wine

BACKGROUND: My informant, AC, was born in the US and attended boarding school in NH. AC was very active in theater and this rhyme was something that the drama department would chant before a few other students brought to their attention that it was less light-hearted than it seemed.

CONTEXT: This piece is from a conversation with my friend where we talked about our time at boarding school.

THE RHYME: Three, six, nine, the goose drank wine. The monkey chewed tobacco on the streetcar line. The line broke. The monkey got choked. And they all went to heaven in a little rowboat!

AC: Yeah — we used to chant it like, before every show for good luck. I don’t really know where we got that from but like basically I was taught it from all the older [theater] kids and I guess they got it from the people before. But I think it might be a song or something, like there’s more words.

Me: And when did you stop [the chant]?

AC: Well um, I know you already know, some people pointed out the chant might have some racist undertones. Like the monkey that got choked on the line could be — it’s almost representative of a lynching of a black person. So yeah, we don’t use that chant anymore.

THOUGHTS: This rhyme is interesting to me because as someone who also briefly did theater in high school, I would watch other students chant this backstage before a show to get pumped up. I never really knew why this was what they chanted, it seemed completely unrelated to theater, but people seemed to really like its bouncy quality. The interpretation of the song as a slave allegory makes some sense to me. “The monkey” being a racist term for a black man and the rest of the rhyme details how the man minds his business on a streetcar until he is lynched and sent to Heaven. Some students disputed the racial interpretation of the rhyme, dismissing it as harmless. But based on the tumultuous history of the school — having been built from slave labor — I wouldn’t be surprised if that interpretation held some truth.

The Frozen Fruit Cake

Main Piece:

Informant describing a tradition from the theater at his high school:

“At my high school during the fall play, there was this tradition of giving a frozen fruit cake to the favorite freshman by the senior class. The freshman was someone who was like really funny or helped out a lot or did stuff like that. Then that freshman would hold onto it until they were a senior and then gift it to a freshman and the pattern would continue over and over every year”

Background:

The informant went to a public high school in New Jersey with an active theater department. 

Context:

The fruit cake was gifted after closing night of the play each year. The informant told me about this when discussing traditions in his high school theater department. 

Thoughts:

This tradition mirrors a lot of experiences in an American high school. A lot of importance is put on certain things that in any other sense would not mean anything. This fruit cake is a symbol of honor and importance given by a senior, the most powerful type of person in the eyes of a high school freshman. Outside of high school, the senior/freshman dynamic does not mean anything. The continuation of fruit cakes being given and kept until senior year keeps the theater department connected year after year. It creates value and connection through a frozen dessert that otherwise would not hold weight.

The Tradition Surrounding Mary Draper Ingles in Virginia

Main piece:

“There’s this story from my hometown of Bradford, Virginia about this woman named Mary Draper Ingles who, during the 1750s, was kidnapped by a group of Native Americans. She might have had a child at the time, but she was kidnapped by these Natives and then eventually escaped and then followed the rivers from Ohio back to Virginia where she lived in Bradford for a while until she died but there’s several parts of the town that remember her including an annual theater production.” 

Background:

The informant for this piece is a man in his early 50s who was raised in a small town called Bradford in southwest Virginia in the New River Valley. This area had broader ties to Appalachian culture as a whole and he lived there throughout his childhood and teens. This story is a local story about a real woman but whose kidnapping and return is sometimes doubted. Regardless, the town uses the story to establish a local identity, especially in the form of an annual theater production.

Context:

This story was shared with me during an encounter with my informant wherein I asked if he had any examples of local Appalachian folk culture. The conversation occurred in his backyard alongside family and friends.

Thoughts:

I find this story fascinating as the figure of the piece is entirely real. Mary Draper Ingles was a real woman who was kidnapped by Native Americas in the 1750s. However, the story of her return has become crucial for the identity of Bradford, Virginia. She is a proud figurehead for the community, which ties the community to their specific place and argues their right to exist. What is even more interesting is how the town still romanticizes the story. As mentioned above, the town hosts an annual theater production about her. While this might veer outside of folklore because it features authored literature, the traditions done around the piece are more folkloric in nature. This places the story in a strange level of liminality. It is both real and fiction, authored and folklore. This binary is interesting and is used by the natives of Bradford to establish identity.

Theater Ghost Spotlight Ritual

Here is a transcription of my (CB) interview with my informant (AH).

CB: “Can you tell me about that ritual for theater ghosts?”

AH: “Uh so have you ever heard of the ghost light?”

CB: “No”

AH: “So its tradition in theater that when you shut down at the end of the night that you leave a single light, its gotta have leads on it traditionally, and it even goes back to shakespearean times, you know they would leave a candle out or a lantern out so that the ghosts wouldn’t burn down the stage, but then, you know, sometimes the candle would burn down the stage.  But you leave a light out in the middle of the stage, and so the rest of the theater is completely black except for that light in the middle of the stage. And so the tradition is that you leave a spotlight out in the middle of the stage so that ghosts of theater past are able to perform for their audience.” 

CB: “That’s really interesting. Where did you first hear about that?”

AH: “I heard about it in theater at my high school. My theater technician teacher taught us that one”

CB: “And so, why do you think that people share it?”

AH: “It’s a very important tradition. Rumor has it that if you don’t leave a light out, its bad luck and your theater will be doomed to never have a successful show again.”

CB: “What does the ritual mean to you?”

AH: “Um, it’s more just something that I do because it was something that I was taught to do and less because it means anything to me. I think that it’s important to the theater community as a whole to put the ghost light out. It’s a superstition, and it kinda calms a certain type of feeling. And I find, but I’m not this way, but theater people in general tend to be more superstitious than your average individual.” 

Background:

My informant has spent many years actively involved in theater programs, and attended a high school with a very active program. There are tons of stories of theater ghosts, and the tradition can be seen going back to ancient times. With the stories come different rituals to appease the ghosts and protect their theaters. My informant has shared with me varying different stories about theater ghosts which she believed in to different degrees. She expressed that she didn’t completely believe in this ritual, but that she often partook in it out of respect for the community and the sentiments associated with it.

Context:

My informant called me with stories prepared after hearing that I had been interviewing other members of our family for folklore. We had a fun and casual conversation, exchanging versions of stories that we had heard growing up.

Thoughts:

I believe that many people within the theater community are attracted to superstitions because success in the arts can be very unpredictable. By working to appease the ghosts and performing traditional rituals, the theater community is able to reclaim a sense of agency over their success. The ritual also provides a scapegoat in case that a show doesn’t go well. The members would be able to avoid criticism of their personal performance, and instead blame a ghost. Theater is an incredibly old profession, and because of that traditions that have died out elsewhere are still passed down within theater communities. My informant cited the ritual as going back as far as Shakespearan times. I believe the ritual was likely a part of a larger theme of beliefs in ghosts, hauntings, and traditions that can appease them that are no longer popular. 

For another variation of a ghost spotlight see Andy Wright’s article “The Story Behind the Ritual that Still Haunts Broadway” published on Atlas Obsurca. https://www.atlasobscura.com/articles/the-story-behind-the-ritual-that-still-haunts-broadway

The Fisherman and His Wife

Text:

Informant: So anyways, it’s something to the effect of, I don’t remember it very well but it was, it was part of a theater thing that we did and apparently it’s a very old story where, like a fisherman catches like some magic fish that, he and his wife were kind of down on their luck, and the fisherman catches a magic fish and the magic fish gives him a wish every time he catches it, but the fish doesn’t like being caught. So, he gets, he gets them like I don’t know, just kind of enough to feed themselves for like however long they want to be fed because they were kind of born destitute and like need it. And he gets it. And then his wife starts to ask for like, more and more and starts to live a more and more lavish lifestyle, so every day he goes back and catches the fish and wishes for some new thing and the, and eventually the fish just gets fed up with it and takes everything away. And it’s kind of, I don’t know if I would call it, yeah sad, I guess it’s a little bit sexist because it’s one of those like “women are gold diggers” or whatever. That’s basically what the message of it is, but I guess in a larger sense, in just relating to the audience members regardless of gender, it’s just “don’t ask for too much” and “don’t get, don’t get caught up in wanting more when you already have everything you need.”

Context: The informant learned this story from a theater group in New Jersey, where he was told that it was a theater story. It had been passed down from other actors. This story was recorded by the Brothers Grimm in 1809 (Jacob and Wilhelm Grimm, Von dem Fischer un syner Fru, Kinder- und Hausmärchen (Children’s and Household Tales — Grimms’ Fairy Tales), final edition (Berlin, 1857), no. 19.). That said, it likely has origins outside of the New Jersey theater community.

Analysis: I tend to agree with the second analysis given by the informant, with the sentiment of “don’t ask for too much.” While it is technically the wife’s desire to have more, that doesn’t mean that the husband isn’t also wanting the same things. At the same time, I also feel like the tale could show how hard work and persistence can lead to getting your goals (at least before they are taken away). Essentially, the idea is to know when one is successful enough to stop taking advantage of others to garner more success when it’s unnecessary. Overall, the idea of complacency and assuming that you can keep all good things is a theme of the tale that resonates with me, especially because of the emphasis on capitalist ideals in America.