Everyone becomes a child at Christmastime. For most, the holiday means any one, or combination, of the following: a once-a-year public acknowledgment that you’re related to certain members of your family; the ceremonious opening of garishly-wrapped presents you probably didn’t want while artfully feigning joy that you did (NOTE: unless it’s a wad of cash or a new vibrator, I didn’t want it); glutting yourself on types of cookies you didn’t even think existed because there are now far too many cooking shows pressured to offer their own take on traditional holiday recipes (Myrrh and Yucca S’mores¸ anyone? Snake bile and Jellybean Poppers, kiddies? You just name it! Like a virgin birth, at Christmas, anything is possible); and making inappropriate advances towards your coworkers simply because it is a given that the mention of the word “mistletoe” at the holiday party really means “Let’s play two rounds of show-me-your-areola!” Oh yeah, and then there are actual children, for whom Santa isn’t someone who may have just given them an STD in exchange for a 20%-off coupon book in the broom closet at the back of the Macy’s “Juniors” section, but is rather the jolly, glittering author of an innocent—indeed jubilant—brand of greed sanctioned by corporations and their sweatshop minions the world over.
For me, however, Christmas means one thing and one thing alone: it is the only time of year when it is not just acceptable but encouraged for people to dress up in Victorian or other historical period garb, the logical reasoning for which goes something like this:
If P = Christmas is quaint
and Q = all historical periods prior to the 20th century in countries celebrating the birth of Christ are also quaint—especially when tights, ruffles, petticoats, monocles, rudimentary leavening techniques, child labor, pudding, patriarchy and wassailing are involved,
then P = Q.
And to my mind, there is simply nothing more intriguing in this world than the reality that at some point existed in which a woman uncomfortably but nobly stuffed into a corset and a neck wreath would have found herself baking something involving the atrociously-named “potted” meat, while consumed by the dilemma of how she was going to conceal from her husband that she was currently experiencing “The Ladies’ Maladie,” to the tune of carols such as the Busman’s Jib and Fling the Tally-Ho as sung by her stewards, who were all the while nesting actual candles into the boughs of an actual pine tree, for all the world as if it never mattered that wood is actually highly flammable.
That shit just kills me, and it always has. Ever since I was a kid growing up in the Bronx, I have been unnaturally drawn to and disproportionately obsessed with period films, sites, books, costumes, and the related historical claptrap and trivia. I have seen every single BBC literary adaptation that has ever been produced. I can sketch with alarming anatomical accuracy Colin Firth’s sideburns in Pride & Prejudice—in my sleep. I have seen (ahem): all twelve installments of Horatio fucking Hornblower (who the hell even IS that?); eleven biopics about authors from the 16th through 19th centuries (including four about Shakespeare); ten films starring Ralph Fiennes stalking about “the moors” wearing a top hat and looking sullen; nine versions of Jane Eyre, including the one where Jane is played by Serge Gainsbourg’s daughter (who is made to look about as unflattering as a horse’s backside); each of the eight installments of the Bleak House miniseries (and I can safely report that it was truly little more than the sum of its titular parts); seven films about Venetian courtesans (including 3 documentaries); six about 18th-century musicians, including, but not limited to Farinelli and Tout Les Matins Du Monde; five interpretations of Dangerous Liasions; four films about Queen Victoria; three about Queen Elizabeth; and two versions each of Emma, Wuthering Heights, Tom Jones and Sense and Sensibility. And if that weren’t enough to convince you of my devotion, one of my favorite films of all time is the totally bizarre Orlando, starring an androgynous Tilda Swinton as a gender-swapping noble who is born a foppish courtier in an Elizabethan castle and becomes a woman somewhere in 18th-century France, experiencing every historical period in between and a few more after that. I could go on, but lucky for you, there are only twelve days of Christmas.
The bottom line is, it doesn’t matter how frail the script, how shoddy the set, or how obtuse and stiff the acting. If there is a man wearing a billowing blouse sweatily wielding a lance, riding a horse through the brambles, or slamming a goblet down during an otherwise silent feast to wordlessly express the depth of his affections for a woman of a different rank, while the family matriarch—invariably a plump woman with a bustle in her rear and a church-doily on her head—faints from duress and smelling salts are immediately fetched by the “learned” daughter (whose only prospect for marriage is to the local parson), while the would-be lovers use the moment of her swoon to steal a furtive glance across the room, count me in.
And there is simply no amount of Bronx classlessness that can’t be nullified by the warmth and hope of a dialogue like this:
“My darling, let me take a turn with you around the gardens after tea.”
“That is simply a risk I cannot take.”
My loyalty to such programming never faltered, despite repeatedly being caught watching such programs by my mother, brother or other family member to the inevitable response of:
“WHAT’S DIS GAY SHIT HEAH? TURN ON QUANTUM LEAP!”
One evening I had just settled in for the night with a virgin hot toddy (I was twelve) to watch Colin Firth as the rakish French noble Valmont when my mother passed behind me and said,
“WHO’S DAT FRIGGIN’ QUEEN???”
I still shudder to think that the austere manliness that was Colin Firth in that moment could have ever been construed as gay. But this might also explain why I now work in an opera house comfortably surrounded by gaggles of homosexual men. The bottom line is: nothing could have been more diverse from my upbringing than the world of those films. And for the solace and wonder they provided, I loved them—I still do—perhaps more than I can ever express.
Though perhaps even more riveting than watching Gillian Anderson engage in a taut Dickensian exchange with an old shopkeep played by the venerable Tom Wilkinson, is going to an historic site where they stage reenactments of life in antique centuries, in all its painstaking as-good-as-it’s-going-to-get-given-half-the-actors-have-iPhones-in-their-pockets historical accuracy. And it is precisely at Christmastime when any number of ramshackle heritage sites suddenly unfurl themselves with the glorious promise of loom-weaving, horse-shoeing, hearth-cooking and bread-kneading demonstrations by people wearing woolen cloaks and buckles in inconceivable places. And if you really hate your offspring, you’ll have the opportunity to take them there and buy them period-era toys that look like little more than a pair of protean handcuffs attached to a block of wood. Because that’s exactly what they are.
But all this historic wonderment only makes itself available on a massive scale each year during December. After January 1st, all the manor volunteers go back to leading basket-weaving classes at their local hospice, and the younger ones resume where they left off in D&D. I probably need not tell you that it takes a special breed of person to work at a heritage site. But none more special than in Historic Richmond Town in Staten Island, New York. You may be surprised to learn that of all possible places, tacky guido breeding ground par excellence Staten Island is the home to a real, live 17th-century settlement. And every year at Christmas, the erstwhile historic reenactments abound, and I’m there, front and center.
Historic Richmond Town is situated on what I have determined is 25 acres of previously abandoned swampland. And while its brochures stress that it is “the oldest continuously working farm in NYC and the oldest home in Richmond County, dating back to 1662,” crossing the Goethals Bridge and turning into the property from a shoddy service road, it’s somewhat hard to shake the feeling that the settlers of this township were either a penal colony, or a group of people stricken with genital warts, back when such travails were considered evidence of witchery. Meanwhile, in Boston and Philadelphia, colonists of repute engaged in only the most wholesome pursuits—among them, the foundation of democracy, the playing of pinochle, and the successful concealment of their own sexual indiscretions.
Nevertheless, where unpaid workers are found donning brooches and corsets, so too am I. Years ago, on a wintry December afternoon a few days before Christmas, my mother announced that we were going to Staten Island “FOAH SOMMA DAT OLD CULTCHA YIZ LIKE.” The thought that my mother had suddenly taken to the notion that she had any idea whatsoever about anything I liked filled my teenage heart with dread. I envisioned a cheesy carnie horde wearing broke-down Renaissance costumes made of felt, and tacky Bridge and Tunnel trollops with abundant cleavage selling “mead” (= Sprite with a hit of Schlitz) while their Harley-bound boyfriends revved their engines to shouts of “WHEN DIH YIZ CLOCK OUT??”
As it turned out, Historic Richmond Town delivered the goods. There was quilt-stitching and broom-making in the cottage, and in the kitchen, stout lady cooks showed us how to make a steak-and-kidney pie, while in another house, the local apothecary ground up powdered ginger and molded it into a tablet using beeswax, and ladies in the nearby barn wearing milkmaid smocks milked actual cows; elsewhere a blustery blacksmith forged an iron shovel in his workshop, and an ink-mottled printmaker read from the passage of Mark concerning the birth of Jesus in a Bible he had just bound from the still-warm leaves that came off his mechanical press. To my amazement, the place could have given Historic Williamsburg a run for its money. Literally—because I was still fairly convinced that the young staff in the gift shop were probably concealing box-cutters underneath their powdered wigs. I mean, this is New York, after all.
In fact, in the butcher’s shop, we witnessed a live goat-skinning, which even I thought was a bit much for a reenactment, but as we later found out, the butcher—who even after adopting his 17th-century persona, still went by Ames “Taco” Jackson—was just released from the clink and this was his probation. Apparently the New York State Penitentiary system thought this was the only community service that really suited Taco’s talents. And come to think of it, in the parlor, the crocheting operation was overseen by an old Jewish woman dressed in period garb—save for the dark plastic goggles her doctor had given her to protect her cataracts. She was needle-pointing by firelight an image of what all the visitors took to be Saint Nicholas, though she corrected us, saying she saw it more as a portrait of Elijah. Even so, Historic Richmond Town impressed me, far exceeding even my best expectations for anything that could ever claim Staten Island as its home.
And then we arrived at the Manor house, the final stop on our tour of the grounds. What we expected was a welcome by a resplendent Lady of the Manor, decked out in fullest finery—silks with trim and tassels, lace gloves and modest but sophisticated baubles. We approached, and the top half of a swinging door creaked open. We looked inside and saw no one, thinking we would first perhaps be greeted by a servant. Getting no reply, we unlatched the bottom half of the door and flung it wide open, to the sound of “MAMI, JU BETTAH WATCH VATCHOO DOOOIN’!!” as we heard the voice of a woman—seemingly already on the floor—who was felled by the opening door.
As we stumbled inside to help whoever we had just injured, the sight we then beheld was almost too much to take. After engaging with literally dozens of people in 400-year-old garb with 400-year-old affectations artfully completing 400-year-old tasks, the Lady of the Historic Richmond Town Manor was a Puerto Rican midget with dyed orange hair, turquoise eye shadow and hot pink lipstick, wearing an emerald green business suit and matching pumps.
She spoke.
“WELCONG TO DEE EESTORIC RISHMONG TOWNG MANOR HOUSE. I ENG DEE LADY OFF DEE MANOR: ESTRELLA ROBERTA MARIA DE CORDÓN Y JIMINEZ.”
I looked at my mother, aghast. This had to be a joke. But Estrella continued:
“ING DEES PORSHONG OFF DEE TOUR, I ENG GOING TO TCHO JU HOW WE LIB ING DEE SEBENGTEENG CENTURY. WE BEGING WEETH DEE DINING ROONG.”
Estrella then led us, still shell-shocked by what we were observing, into the dining room, and pointed to one of the elaborate place-settings on the richly-appointed table.
“JU SEE, WHENG ISS CHRISSMASS, ING DEE MANOR HOUSE, DEE NO EXPENGSE IS ESPARED. MY COOKS ING DEE KITCHENG ARE PREPARING DEE CHRISSMASS GOAT ASS WE ESPEAKING.”
My mother piped in, “DON’T YIZ MEAN CHRISTMAS GOOSE??”
“ENG DEE ISLA DE PUERTO RICO, DEE LADEE OFF DEE MANOR PREFER IT DEE GOAT.”
This might explain why the butcher’s nickname was Taco.
“SO, EEF JU LETTING ME E-FINEESH, LOOKING AT DEE TABLE ENG HERE, WE SEE DEE DIFFERENG TYSE OFF UTENGSIL DAT WE ARE E-USING TO EAT DEE DINNER. ONG THE LEFF, WE HAFE DEE FORKS ANG DEE KNIFFES, BUT ONG DEE RIGH, WE SEE DAT WE HAFE DEE ESPOONGS.”
Espoongs?
“ESPOONGS. DEESE ISS AN EENTERESTING ESTUDY ENG DEE RISH LIFE- ESTYLE OFF DEE MANOR HOUSE. COMO TE VES, WE HAFE DEE DIFFERENG TYSE OFF ESPOONGS.”
She then led us to a wall case, where all the many “espoongs” were displayed, and in exhausting detail, she described each and every one.
“WEE HAFE E-HERE DEE ESPOONG DEE OYSTER ESPOONG, FOR WHENG DEE DINNER INCLUSE DEE OYSTER.”
Makes enough sense, I thought. But Estrella quickly moved on.
“WEE HAFE E-HERE DEE ESPOONG DEE ESOUP ESPOONG, WHISH JU KNOW ISS DEE ESOUP ESPOONG BECAUSSE ISS LOOKING LIKE A LITTLE BOWL.”
She was right.
“ANG FINALLY WE HAFE E-HERE DEE ESPOONG DEE ICE CREANG ESPOONG.”
The ice creang espoong? Why, none other.
“DEE ICE CREANG ESPOONG ISS A BERY INGTERESTING ESPOONG BECAUSSE DEE ICE CREANG ESPOONG ISS LIKE A KNIFFE ENG ANG ESPOONG ING ONE, SINGCE ING DESE TIMES, DEE ICE CREANG ISS LIKE A CAKE, JU KNOW JU SLIIIICE-EE.”
At this point, I had no idea what the woman was talking about. All I did know is that for this last part of her speech, she was standing on three phone books that had been pre-set for her in front of the utensil display case, and I was almost about to have a stroke from not being able to laugh. Instead, a single, desperate tear slid down my cheek, and the aneurism I was about to experience relaxed its grip on my brain for just long enough for me to whisper to my mother that I had to leave or I was going to either pass out or soil myself, or some unfortunate combination of the two.
When Estrella asked us if we wanted “DEE TOUR OFF DEE NAPKINGS,” my mother and I politely demurred, mumbling something about the weather and needing to finish our Christmas shopping. Estrella then offered us a nip of the coquito that she kept in a flask nestled in her thigh-garter, “TOO KEEP JU WARNG ING DEE COLE.” When we declined, she invited us to the dinner that they were hosting at the Manor House later that evening, even enticing us with the goat’s tail, which, to her mind, was the most favored part of the animal. Presumably for its placement above the asshole. We again said no, but thank you, and hustled out as if the Angel Gabriel himself were aiding our flight.
As we drove away, crossing back over the Goethals Bridge and riding up the West Side Highway, I closed my eyes and thought of sitting at that lush dinner table at the Manor House, across from Colin Firth, the intensity of whose eyes was matched only by the glow of his sideburns in the candlelight. During a festive moment for the rest of the party, Colin would steal a glance at me, and I would blush, my heart pounding in my chest with the promise of true love. And then I would hear, above the din of tipsy holiday laughter, the only sound that I could possibly recognize in that moment at the Manor:
“FOR DEE ICE CREANG DESSSSERT WE ISS E-USING DEE ICE CREANG ESPOONG!”
And I would say to Colin, in my best fake English accent,
“My darling, if Estrella is trapped in this period drama with us, you can forget it.”