buster keaton -- 8/26/22
Today's selection -- from Camera Man by Dana Stevens. One of the early 20th century’s greatest comedians got his start in 1899 as a four-year-old performing, or should we say being thrown around, in his parents’ vaudeville act:
"New Year's Eve 1899 must have felt momentous even if you weren't a four-year-old backstage at Proctor's Twenty-Third Street Theater, still buzzing from last week's Christmas gift: a big brown stitched-leather ball meant for playing an American game less than a decade old, which was just beginning to organize into professional leagues. Of course, Buster was still too young to grasp what it meant for one century to turn into the next, or for that matter what it meant that his parents -- who had struggled so hard to find work in New York that winter that the three Keatons had at times gone cold and hungry -- were suddenly flush enough to buy him such a lavish present.
"The answer: after Joe and Myra's acrobatics-and-cornet duo act had flopped hard at Tony Pastor's continuous-vaudeville house in early December (as Joe himself would later concede in one of the columns he occasionally contributed to the New York Dramatic Mirror, 'the act didn't go ... 'twas bad'), he had somehow wrangled them a year-end week of bookings at the prestigious Proctor's chain, earning the cash to buy the ball for his boy.
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| Six-year-old Buster and his parents, Joe and Myra Keaton, in a publicity photo for their vaudeville act |
"The basketball would have a long life as a Keaton prop. Just nine months later, during the family's first paid engagement as a trio at the Wonderland Theater in Wilmington, Delaware, Buster got laughs by bouncing that ball off his father's head as the old man stood downstage, holding forth on the importance of patience and gentleness to proper child rearing. ('Father hates to be rough,' went a common opening line.) In what became the template for their act for years to come, Buster's continued interruptions -- sometimes verbal, but most often taking the form of some prop-based provocation or audience-distracting piece of upstage business -- would cause Joe to wheel around and witness his authority being flouted. Joe would then give both the audience and his son a more practical tutorial on day-to-day parenting by seizing the suitcase handle Myra had sewed to the back of her son's costume and flinging the boy against whatever backdrop, curtain, or piece of scenery was available.
"The contrast between the roughness with which this small child was handled and the equanimity with which he seemed to spring back from every mishap provided the wellspring of the act's humor. Whatever anxiety this comic premise created in the audience -- which, given the demographics of vaudeville attendance, would have included many families with children -- was no incidental side effect of the merriment but part of the point. The Keatons were not just funny, they were thrilling, with real-time risk an essential element of the program. As a grand finale in the early years, Joe sometimes hurled Buster clear into the wings, from whence a stagehand would reappear after a few suspenseful seconds with the grinning boy in his arms: 'This yours, Mr. Keaton?'
"Many years later, having grown too big for Joe to throw around the stage -- and having learned, after many hissed paternal reminders, that the laughs got bigger when he ditched the smile -- a somber teenage Buster would stand in the middle of the stage on the Keaton act's one consistent prop, a sturdy wooden table. (In the years before his son joined the act, Joe had sometimes billed himself as 'The Man with the Table.') Whirling a basketball on a rubber rope over his head, Buster would approach his father's head in gradually widening arcs, first knocking off Joe's hat and, on the next revolution, clobbering the paterfamilias himself, thereby inviting whatever hair-raising act of retribution Joe proceeded to visit upon him. Another, even more patricidal variation involved Joe shaving onstage with a straight razor, whistling in blissful ignorance as Buster's whirling basketball-on-a-rope slowly approached him from behind to the audience's mounting gasps. In what must have made for an absurdist touch, Myra, a tiny woman known for her impeccably dainty Gibson Girl fashion, sometimes stood at the front of the stage playing the saxophone, serenely ignoring the melee while her son and husband courted death behind her.
"Most impossible for the four-year-old Buster to comprehend was that, in some way, the century to come would be his, in a much more lasting way than the basketball. Though he was born five years before it officially began, Buster Keaton belonged to the twentieth century, and it to him. It was as essential in inventing him as he was in inventing it, and it's impossible to imagine either one turning out the same without the other."
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