In the large streetcars that ran in the city, the driver had only one cab, in the head of the car, and on reaching a terminal stop the streetcar went around the turning loop to start its route in reverse. The Settlement tracks were not equipped with turning loops because the small streetcars had two cabs, kinda heads of a pushmi-pullyu, and at the loopless terminals, the driver simply swapped the cabs and started back assisted by the conductor, who stood on the step in the back door pulling the robust tarp strap tied to the streetcar arc so as to flip it over because the arc should be in backward position when sliding along the contact wire over the track.
And again, if the doors in the larger streetcars were operated by the driver who slammed them automatically from her cab, then the small streetcars in the Settlement had hinged folding doors of plywood, so on reaching your stop, you pulled the middle handle in the door to fold its leaves, pushed them aside and got off, whereas in the reverse operation you pulled the handle fixed at the edge of the leaf opposite the hinges and pushed the middle handle to unfold and close the door, off we go!. But who cares for all that algorithmic trouble? That’s why the streetcars in the Plant Settlement ran their routes with both doors wide open except for the spells of devastating frost. To make it possible for the streetcars to give way each other, two of the stops in the Settlement had doubled track, one such stop was by School 13 and the other in the middle of May Day Street…
The toilet in the Plant Club was on the first floor – at the far-off end in a very long corridor that started by the library door and went on and on between the blind walls on both sides, you could touch them both at once, beneath the rare bulbs in the ceiling. In the dark green paint on the walls, there occasionally happened closed doors with the glazed frame-legends: “Children Sector”, “Variety Band”, “Dresser Room” and, already nearing the toilet, “Gym”. All the doors were constantly locked and kept staid silence, only from behind the gym door there sometimes came tap-tapping of the ping-pong ball or clangs of metal in barbell plates.
Yet, one day I heard the sounds of piano playing behind the Children Sector door and I knocked on it. From inside, there came a yell to enter, which I did and saw a small swarthy woman with a bob-cut black hair and wide nostrils, who sat at the piano by the wall of large mirror squares. Opposite the door there were three windows high above the floor and, beneath them, ballet rails ran over the ribbed heating pipe along the whole wall. The left part of the room was hidden behind a tall screen for puppet shows preceded by an unusually long and narrow, kinda refectory, table of taut thick lino in its top.
And then I said that I’d like to enroll Children Sector.
“Very well, let’s get acquainted – I’m Raissa Grigoryevna, so who are you and where from?”
She told me that the former actors grew too adult or moved away to other cities, and for the Children Sector revival I needed to bring along my schoolmates. I started a canvassing campaign in my class. Skully and Kuba felt doubtful about the idea of joining the Children Sector, yet they were won over when saw the point that the long table in that room could easily be used for ping-pong playing. And a couple of girls came too out of curiosity. Raissa Grigoryevna received the newcomers with delighted welcome, and we began to rehearse a puppet show “Kolobok” based on the same-named fairy tale.
Our mentor taught us the art of controlling common hand puppets, not letting them duck below the screen, out of the onlookers’ sight. We gathered at Children Sector twice a week, but sometimes Raissa missed the rehearsals or was late and on such occasions the key was to be found on the windowsill in the room of the movies list painters whose door was never locked but kept wide open for often visits of fans of their talent and art-lovers in general… So we opened Children Sector and played ping-pong for hours, albeit with a tennis ball, across that long table. Neither had we bats, effectively replacing them with the thinner of school textbooks in hard covers and the net between the players’ sectors was also made of the slightly open textbooks lined spines up, and though hard hits of tennis ball knocked them down but then restoring the net didn’t take long either…
Rough and exhausting is a puppeteer’s job: both mentally—you need to copy your character’s clues and learn them by heart, and physically—you shouldn’t ever low down your arm stretched out and aloft with the hand doll donned on your 3 fingers. During rehearsals, the acting arm grew numb because of the strenuous exertion, and even propping it with the remaining hand didn’t really work. Besides, there appeared that pesky nagging crick in the neck because your head was constantly tilted upward to check the actions of the doll. But, on the other hand, after the on-stage performance, you would step out from behind the screen and come in front of it, keeping your hand inside the doll lifted up to your shoulder, and Raissa Grigoryevna would announce that it was you who acted Hare. And, following the theatrical nod of your head, Hare next to your shoulder would also give a nice bow provoking the eager laughter and applause among the audience. O, thorns! O, sweetness of the glory!.
Later on, many of the participants dropped out but the core of Children Sector—Skully, Kuba, and I—persevered. Raissa made of us actors for short performances about the heroic kids and adults from the times of the October Revolution or the Civil War. For the performances, we made up, glued real theatrical mustache on upper lips, wore army tunics, rolled cigarettes of shag and newspaper slips the way she taught us, and let the smoke in and out of our mouths without really inhaling so as not to cough. With those performances, we toured the bigger shop floors in the KahPehVehRrZeh Plant, the ones that had Red Corner rooms for meetings where, during the midday break, we acted on tiny stages before the workers eating their midday meal out of newspaper packages. More than anything else, they enjoyed the moment with hand-rolled cigarettes…
Twice a year Club staged a major amateur concert where the Club Director, Pavel Mitrofanovich, recited heartfelt poems dedicated to the Communist Party. The pupils of Anatoly Kuzko, the teacher at the button-accordion class by Club, played their achievements.
Yet, the creamy crest of the concert program was dancing numbers by the Ballet Studio because their trainer Nina Alexandrovna enjoyed a well-deserved reputation which attracted students from all over the city. Besides, Club possessed a rich theatrical wardrobe so that for the Moldovan dance of Jock the dancers appeared in skin-tight pants and silk vests spangling with sequin, and for the Ukrainian Hopuck, they wore hugely wide trousers and soft ballet boots of red leather.
The accompaniment for them all, including young girls in ballet tutus, was provided by virtuoso accordionist Ayeeda standing behind the scenes of the stage. And there, next to her, stood also we, in army tunics and adult makeup, marveling how classy she played without any sheet music.
The handsome electrician Murashkovsky recited comical rhymed humoreskas and sang in duet with the bald tenor, a turner from the Mechanical Shop, “Two Colors of My Life” in Ukrainian. On Murashkovsky’s right hand there missed three fingers – only the pinky one and the thumb stayed in place and, to hide the deficit, he clutched a spiffy handkerchief between them like an extrinsic catch grabbed by a crab claw.
Two elderly women sang romances, not in a duet but in turn, accompanied by the button-accordion of Anatoly Kuzko himself, whose eyes were sooner astray than crossed, when he eye-contacted you with one of them, the other was looking straight into the ceiling.
