Sandman Mystery Theatre 41-44 . Dramatis personae: Matt Wagner (plot), Steven T. Seagle (script), Guy Davis (artist).
The curtain rises, the stage lights glow into life, an expectant audience hushes, its chatter diminished to a mere mumble.
As I’ve previously stated, the Golden-Age Sandman appeared fully-formed, without explanation or origin. It took until 1986 for a retrospective origin to be written, only for that to be superseded by Neil Gaiman within two years.
That temporary origin was a typically convoluted affair by Roy Thomas: wealthy socialite, Wesley Dodds, learns of rumours that an assassin will attempt to kill King George VI and Queen Elizabeth of England when they attend the forthcoming New York World Trades Fair. The supposed assassin is the Crimson Avenger, in fact a hero, one of the very earliest (before Superman) and sometimes mistaken for a villain in his early career. The Crimson is also the only hero apart from Sandman to start off in business suit and mask.
Now, rather than do anything sensible like go to the Police, Dodds decides to tackle the Avenger direct. As the Avenger operates with a gas gun, Dodds dons a gas mask (I assume that the green suit, orange fedora and grey cape are mere decoration). However, when he finally confronts the Crimson, in the Fair, he is shocked when the Crimson recognises his voice and unmasked. The Avenger’s real identity is crusading publisher/editor Lee Travis, who happens to be Dodds’s cousin (of course he is, comics can never accept that unrelated things can happen).
The true villain is an individual calling himself The Phantom of the Fair. Thus, though this origin has been wiped from existence, it came as no surprise that it should be obliquely honoured by the production of a play under the title of the villain.
And the Royals visit the Fair, and the Crimson Avenger is present, and there are nods and hints to the coming world of heroes, but this is a far different Phantom, with a far different aim in mind, and The Phantom of the Fair is the most visceral and disturbing of all the plays in this season, because underlying this story is sex, homosexual sex, a forbidden and illegal world in the New York of 1939. And the Phantom is a leather-clad figure of obsessive, perverted disgust and twisted self-loathing.
There is too much in this story, little details and moments, gathering in and binding, to speak of in any review. I shall do no more than touch upon the progression of the play throughout its engulfing four acts.
The story is set in and around the site of the famous 1939 New York World’s Fair, ‘The World of Tomorrow’, with its many famous features: the Trylon and the Perisphere, Democracity, the Lagoon of Nations etc. The setting awes and inspires Dian Belmont, so much so that she brings father Larry back for her second visit. Wesley, typically, is incapable of surrendering to the appeal of this vision of a better world without simultaneously seeing it for a fiction, a comfortable self-blinkering exercise that excludes evil by simply avoiding looking at it.
Unfortunately, others share that same view. Cannily, Wagner/Seagle/Davis begin by showing us the committee behind the Fair attacking its President, Grover Whalen (all the members are historically correct) over the financial failure it seems likely to be. This sets up a tension over the Fair’s reality before Wesley starts undermining it in his narrative.
But the killer who calls himself the Phantom of the Fair is equally determined to undermine the vision of the Fair. Even as Wesley and Dian enjoy their day, Lieutenant Burke is on the site – miles out of his jurisdiction – investigating the first in a series of murders, bodies been left provocatively to be found, and the notes that come with them assert the Phantom’s determination that what he represents be carried into the Day after Tomorrow, amidst its glacial perfection.
The Phantom turns out to be a very ordinary guy, with an ordinary name and a prosaic means of access to the Fair based on his involvement in its construction. His name is unimportant, and he is colourless in his public persona, but underneath, in solitude, he is a mass of seething passions and hatreds. Through his escalating cruelty, and growing delusion, we piece together a background that an almost make us feel sympathy to him: youthful experimentation with his cousin discovered by an overly-dominant father with his own, denied, tendencies, beatings and torture experienced and now regurgitated against young gay men that the Phantom both desires and loathes. I’m not going to go into any details as to the tortures the man inflicts, save to say that they include castration (and when his madness truly breaks, confronted by a Sandman who is seeking vengeance, not justice, this time), and it is implied that the [phantom has already castrated himself
It’s sick and it’s vile, and whilst the play does not indulge itself unnecessarily in graphic display, it does not shrink from what it is describing.
Nor do Wagner/Seagle/Davis concentrate solely upon the sickness of the Phantom. Burke, unsurprisingly, reacts to Hubert Klein’s diagnosis that the victims were homosexual (the medical grounds for this decision are clinically, and almost hilariously spelled out) with a disgust that underpins his every further action in the case.
But whilst Burke is the dinosaur tendency in almost everything in this series of plays, representing a contrast with Wesley Dodds, we then find that Wes is almost as disturbed by homosexuality as the Lieutenant. This is amply displayed in a wonderfully pitched scene in the gay bar Burke has terrorised, in which Wesley pretends to be one of the clientele, but is forcefully jerked out of his pretence by discovering his old friend and former college mate Robert Li in there. With his boyfriend.
Wes’s floundering is shown up even more by Dian’s rescue, her beautifully fictional ‘truth’ about his being there, and her blythe acceptance of Robert’s inclination: indeed, she has regarded it as obvious since she first met him.
But Wesley is seriously thrown, and Davis draws a wonderfully uncomfortable Mr Dodds, body language blaring, when Robert calls upon him to ensure their friendship is not compromised. He’s disturbed as much at being disturbed as at his discovery which, as such things are wont to do, immediately re-colours various elements of their shared past.
And the drama reaches its perhaps inevitable peak when Robert himself becomes the last victim of the Phantom, and the Sandman discovers that it is not possible to become inured to sudden, violent death.
Because its subject is so visceral, The Phantom of the Fair is probably the most powerful of all the stories in this season. It’s a subject that could so easily have been handled crassly, but Wagner/Seagle/Davis are on top of their form, and they avoid all the traps to produce a stunning drama, in which cross-currents constantly tug the story this way and that, and which enables them to build a complex interplay that encompasses many moments of no direct relation to the course of the story.
There are too many to go into detail about, and besides I don’t wish to spoil your own pleasure, but I have to draw attention to one deftly drawn, minimalist moment early on. Dian has dragged her father to the Fair. He’s quickly impressed with the size of the Fair, and also its cleanness, commenting that her mother would have liked it. We don’t see Dian’s face, or even body language, as they are minuscule figures in a crowd, but her response – “She… It is nice, isn’t it?” – opens up an aspect of Dian we have not previously seen, she having before this seemed to be perfectly at ease with the loss of her mother.
Perhaps, significantly, this inspires her to encourage her father towards a romantic liaison with his secretary, and to drag him into an exhibition of nude painting (though Davis is again wickedly effective in putting a revealing expression on Dian’s face).
One other, almost extraneous aspect of this play is the ongoing ‘superheroising’ of the world of the Mystery Theatre. For a start, Burke’s abrasive ways with Whalen (who is more concerned with protecting the Fair’s image than catching a serial killer nutcase – telling, given that Whalen was a former Chief of Police) leads to Mayor LaGuardia bringing in his best detective as back-up to Burke.
This is the legendary Jim Corrigan, loosest cannon on the force, back from suspension at long last. Burke doesn’t like Corrigan (Burke, in case you hadn’t noticed, doesn’t like much of anybody, but in this case he loathes interference). Corrigan reassures him that he’s not out to steal Burke’s glory: he’s a ghost, he won’t be seen. If Burke solves this, no-one will know he was there: if Burke misses anything, Corrigan will pick it up.
Of course, the comics fan has jumped liked a scalded cat at the first mention of Corrigan’s name, because we know that, before the year is out, Gats Benson will kidnap Corrigan and dump him in the river in a barrel of cement. Corrigan’s spirit will emerge and rise towards heaven, only to be sent back with vast supernatural powers to fight Evil as The Specre.
It’s a nod, nothing more, and to be frank it’s one of only two unsatisfactory elements to this play. Corrigan comes and goes within a page, and that’s it. He’s referred to as having phoned in information twice, but really he’s a cameo without point to the story, and his absence is a loose end.
Of more substance, but of equal irrelevance to the Phantom’s story, is Wesley’s encounter with none other than the Crimson Avenger. This one at least had to be included, in view of his central importance to that discarded origin, but he’s another diversion, a moment in which The Sandman crosses over into a non-existant series.
Investigating the Fair at night, The Sandman finds a bunch of mobsters strong-arming a man who owes them money. He doesn’t tackle them, but the Avenger does,since they’re here because of the case he’s pursuing. Big red cloak, even bigger automatics and a simple willingness to kill scum: the Avenger may be another midnight adventurer like the Sandman, but his mercilessness repels Wesley Dodds (but then inspires him to seeking vengeance against the Phantom.
It’s a longer episode, and the two players don’t actually meet: the Sandman tosses a distracting gas canister from under a bridge, distracting the last man from killing his hostage, and far from being grateful, the Avenger doesn’t like anyone horning in on his act. His ‘We’ll meet again” is a threat.
There’s an amusing coda at the next day’s press conference, when reporters try to bring the Avenger up. Burke refuses to confirm his presence, is derisive of the Press’s urge to big up the costumed vigilantes: the Crimson Avenger, Sandman, Hourman (Rex Tyler is clearly active now). He even suggests, sarcastically, that they move to Central City and try to interview “The Flash” (a continuity error there: the Flash of this era was based in Keystone City).
These are yet more signs that the superheroes were beginning to intrude into the pulp-noir of the Theatre.
Back, for a moment, to the story. It ends at Robert Li’s funeral, with Wesley assisting as a pall bearer, but it’s final grace note is of continuing security issues at the Fair. The King and Queen of England have arrived, Corrigan has uncovered a plot to assassinate them. Roy Thomas’s discarded origin is ready to play. But not in the Mystery Theatre.
The lights dim. The curtain falls. The actors retreat beyond the proscenium arch, to await their next call to performance, in a play titled The Blackhawk.
Break a leg.