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ng-man material was like; nor did I recognize that my mom and Richard Abbott were “moonstruck by each other from the start.”

Grandpa Harry was charming and entirely welcoming to the graceful young man, who was brand-new to the faculty at Favorite River Academy. “We’re always lookin’ for new actin’ talent,” Grandpa said warmly to Richard. “Did you say it was Shakespeare you’re teachin’?”

“Teaching and putting onstage,” Richard answered my grandfather. “There are theatrical disadvantages at an all-boys’ school, of course—but the best way for young boys or girls to understand Shakespeare is for them to put on the plays.”

“You mean by ‘disadvantages,’ I would guess, that the boys have to play the women’s roles,” Grandpa Harry said slyly. (Richard Abbott, upon first meeting the mill manager Harry Marshall, could not have known about the lumberman’s success as an onstage cross-dresser.)

“Most boys haven’t the vaguest idea how to be a woman—it’s a mortal distraction from the play,” Richard said.

“Ah,” Grandpa Harry said. “Then how will you manage it?”

“I’m thinking of asking the younger faculty wives to audition for roles,” Richard Abbott replied, “and the older faculty daughters, maybe.”

“Ah,” Grandpa Harry said again. “There might be townspeople who are also qualified,” my grandfather suggested; he’d always wanted to play Regan or Goneril, “Lear’s loathsome daughters,” as Grandpa alliteratively spoke of them. (Not to mention how he longed to play Lady Macbeth!)

“I’m considering open auditions,” Richard Abbott said. “But I hope the older women won’t be intimidating to the boys at an all-boys’ school.”

“Ah, well—there’s always that,” Grandpa Harry said with a knowing smile. As an older woman, he’d been intimidating countless times; Harry Marshall had merely to look at his wife and elder daughter to know how female intimidation worked. But, at thirteen, I was unaware of my grandfather’s jockeying for more women’s roles; the conversation between Grandpa Harry and the new leading man seemed entirely friendly and natural to me.

What I noticed on that fall Friday night—casting calls were always on Friday nights—was how the dynamic between our theater’s dictatorial director and our variously talented (and untalented) would-be cast was changed by Richard Abbott’s knowledge of the theater, as much as by Richard’s gifts as an actor. The stern director of the First Sister Players had never been challenged as a dramaturge before; our little theater’s director, who said he had no interest in “merely acting,” was no amateur in the area of dramaturgy, and he was a self-appointed expert on Ibsen, whom he worshipped to excess.

Our heretofore-unchallenged director, Nils Borkman—the aforementioned Norwegian who was also Grandpa Harry’s business partner and, as such, a forester and logger and dramaturge—was the very picture of Scandinavian depression and melancholic forebodings. Logging was Nils Borkman’s business—or, at least, his day job—but dramaturgy was his passion.

It further contributed to the Norwegian’s ever-blackening pessimism that the unsophisticated theatergoers in First Sister, Vermont, were unschooled in serious drama. A steady diet of Agatha Christie was expected (even nauseatingly welcome) in our culturally deprived town. Nils Borkman visibly suffered through the ceaseless adaptations of lowbrow potboilers like Murder at the Vicarage, a Miss Marple mystery; my superior-sounding aunt Muriel had many times played Miss Marple, but the denizens of First Sister preferred Grandpa Harry in that shrewd (but oh-so-feminine) role. Harry seemed more believable at divining other people’s secrets—not to mention, at Miss Marple’s age, more feminine.

At one rehearsal, Harry had whimsically said—as Miss Marple herself might have—“My word, but who would want Colonel Protheroe dead?”

To which my mom, ever the prompter, had remarked, “Daddy, that line isn’t even in the script.”

“I know, Mary—I was just foolin’ around,” Grandpa said.

My mother, Mary Marshall—Mary Dean (for those unlucky fourteen years before she married Richard Abbott)—always called my grandpa Daddy. Harry was unfailingly addressed as Father by my lofty-sounding aunt Muriel, in the same black-tie-dinner tone of voice that Nana Victoria unstintingly hailed her husband as Harold—never Harry.

Nils Borkman directed Agatha Christie’s “crowd-pleasers,” as he mockingly referred to them, as if he were doomed to be watching Death on the Nile or Peril at End House on the night of his death—as if his indelible memory of Ten Little Indians might be the one he would take to his grave.

Agatha Christie was Borkman’s curse, which the Norwegian bore less than stoically—he hated her, and he complained about her bitterly—but because he filled the house with Agatha Christie, and similarly shallow entertainments of the time, the morbid Norwegian was permitted to direct “something serious” as the fall play every year.

“Something serious to coincide with that time of year when the leafs are dying,” Borkman said—the leafs word indicating that his command of English was usually clear but imperfect. (That was Nils in a nutshell—usually clear but imperfect.)

On that Friday casting call, when Richard Abbott would change many futures, Nils announced that this fall’s “something serious” would again be his beloved Ibsen, and Nils had narrowed the choice of which Ibsen to a mere three.

“Which three?” the young and talented Richard Abbott asked.

“The problem three,” Nils answered—he presumed, definitively.

“I take it you mean Hedda Gabler and A Doll’s House,” Richard rightly guessed. “And would the third be The Wild Duck?”

By Borkman’s uncharacteristic speechlessness, we all saw that, indeed, The (dreaded) Wild Duck was the dour Norwegian’s third choice.

“In that case,” Richard Abbott ventured, after the telltale silence, “who among us can possibly play the doomed Hedvig—that poor child?” There were no fourteen-year-old girls at the Friday night casting call—no one at all suitable for the innocent, duck-loving (and daddy-loving) Hedvig.

“We’ve had … difficulties with the Hedvig part before, Nils,” Grandpa Harry ventured. Oh, my—had we ever! There’d been tragicomic fourteen-year-old girls who were such abysmal actors that when the time came for them to shoot themselves, the audience had cheered! There’d been fourteen-year-old girls who were so winningly naïve and innocent that when they shot themselves, the audience was outraged!

“And then there’s Gregers,” Richard Abbott interjected. “That miserable moralizer. I could play Gregers, but only as a meddlesome fool—a self-righteous and self-pitying clown!”

Nils Borkman often referred to his fellow Norwegians who were suicidal as “fjord-jumpers.” Apparently, the abundance of fjords in Norway provided many opportunities for convenient and unmessy suicides. (Nils must have noticed, to his further gloom, that there were no fjords in Vermont—a landlocked state.) Nils now looked at Richard Abbott in such a scary way—it was as if our depressed director wanted this upstart newcomer to find the nearest fjord.

“But Gregers is an idealist,” Borkman began.