We started on time to a final flourish of silencing trumpets. Peering out from behind the arras like Polonius, I could see that there were about six hundred paying customers in their seats. (The chinks were only good in pubs and the few provision outlets, of course, but they were good on all the worlds we visited. Chinks are chinks.)

In the old days, Much Ado would have been Kemp’s and Condella’s tour de force, but a middle-aged Benedick and Beatrice simply didn’t work, so after watching Burbank and Recca being merely adequate—and both very bitchy—in the roles for years, on this tour Alleyn and Aglaé were playing the leads.

They were amazing. Alleyn brought to Benedick all the bravado and uncertainty of the sexually experienced young nobleman who remained terrified of love and marriage. But it was Aglaé who dominated the performances—just as the real Beatrice dominated Leonato’s compound above Messina with her incomparable and almost frightening wit leavened by a certain hint of a disappointed lover’s melancholy. Someone once said that of all of Shakespeare’s characters, it was Beatrice and Benedick that one would most want to be seated next to at a dinner party, and I confess that it was a pleasure being onstage with these two consummate young actors in those roles.

Kemp had to satisfy himself with a scene-stealing turn as Dogberry, Burbank blustered as Leonato, and Heminges had to throttle down his ultimate Iago evil to fit into the lesser villain of Don John, a character that Kemp once suggested to me was indeed Shakespeare’s early, rough sketch for Iago.

Anne played the hapless Hero and Condella was reduced to overacting as Margaret, Hero’s waiting gentlewoman attendant. (Condella always created precisely the character here in Much Ado that she used for the Nurse in Romeo and Juliet, even though I’m certain that the Bard hadn’t meant for the two to have any similarities.) And I got to woo her onstage even though I’m twenty SEY younger than she is.

The audience, mostly arbeiters in their brown rawool and a few score doles in their cotton gray, laughed hard and applauded and cheered frequently.

Alleyn and Aglaé were wonderful in their act 1 banter and we’d just gotten into act 2 with Benedick asking me to sing a “divine air”—I don’t believe I mentioned that they had me play Balthasar primarily because I was the best singer in the troupe now that Davin had died and left us—and I’d just begun the song when everything changed forever.

Sigh no more, ladies, sigh no more,

Men were deceivers ever,

One foot in sea, and one on shore,

To one thing constant never.

Then sigh not so, but let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into Hey, nonny nonny.

In the middle of my song, into the tent floated a forty-foot-long heavy iron-gray gravity sledge carrying at least eight carapace-hooded, chitinous, four-armed, ten-foot-tall Archons, each sitting deep in its own iron-gray metal throne. Hanging from the sledge by their synaptic fiberneural filaments, which ran down to their hairless, distended skulls like slim, translucent copper hair, were four naked dragomen. Their oversized, lidless eyes focused on the stage and their cartilage-free ears rotating the better to pick up—and relay to their Archon masters—my singing.

Arbeiters and doles created a racket scrambling out of their seats to get out from under the massive, flat-bottomed gravity sledge. Archons landed their vehicles when and where they pleased and more than a few humans from 25-25-261B certainly had been crushed before this night.

But the sledge did not land. It rose to a point just below the tent roof about forty feet from the stage and hovered there. The doles and arbeiters who’d fled found places to sit in the aisles out from under the sledge’s shadow and the dangling bare feet of the dragomen and returned their attention to the stage, their faces pale but attentive.

I’m a professional. I did not miss a beat or drop a note. But I know my voice quavered as I sang the next stanza.

Sing no more ditties, sing no more,

Of dumps so dull and heavy.

The fraud of men was ever so,

Since summer first was leavy.

Then sigh not so, but let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into Hey, nonny nonny.

Gough, playing Don Pedro, did not miss a beat. “‘By my troth, a good song,’” he cried, his eyes never shifting to the sledge and Archons.

“‘And an ill singer, my lord,’” was my response. For once I was telling the truth. My voice had cracked or quavered half a dozen times in those eight simple lines of singing.

‘“Ha, no, no, faith,’” bellowed Gough/Don Pedro, “‘thou sing’st well enough for a shift.’”

My hands were shaking and I did sneak a glance at the motionless sledge and the slowly twisting dragomen hanging naked and slick-skinned and hairless and sexless beneath that sledge, the filaments from the four of their skulls running up to red sensory node bundles on the complicated chest carapaces of the eight Archons.

Did the peasant arbeiters and equally peasant doles out there—any of them—have any idea that Gough’s use of the ancient word “shift” in his line meant something like “to make do”? Almost certainly not. Almost all of the beauty and subtlety of Shakespeare’s language was lost on them. (It had taken me years after the troupe adopted me to begin appreciating it.)

Then what in the hell were the Archons perceiving as they heard these archaic words through the dangling dragomen’s ears, saw our colorful costumes and overbright makeup through the dragomen’s eyes?

Alleyn caught my eye, forcing my attention back to the play, responded broadly to Don Pedro, and turned to the audience—ignoring the gravity sledge—and gave his chuckling Benedick’s reply.

“‘An he had been a dog that should have howled thus, they would have hanged him. And I pray God his bad voice bode no mischief. I had as life have heard the night-raven, come what plague could have come after it.’”

The night-raven, I knew and the arbeiters and doles almost certainly did not know—who in the name of the Gnostic God of All Opposites had any idea what the dragomen and Archons knew? — was the bird of ill omen.

There is always a party after a performance. There was that night.

Some worlds are so dolefully awful that we have to hold the party on the Muse, inviting the pretty girls and pretty boys aboard (there are no human dignitaries, mayors, burgomasters, commissars, or officials of importance in human life now, only the gray doles, and they don’t know how to party). On the more palatable worlds, and 25-25-261B qualified as such, we tried to move the party to a local pub or barn or similar public space. This rock had a pub in the oldest section of arbeiter town. (Those are the only two public institutions that have survived the end of all human politics and culture after our species’ hopeless enslavement—pubs and churches. We’d never partied in a church. At least not yet.)

The drinking with the few adventurous arbeiters and storytelling and drinking and gambling and more storytelling and more drinking went on until the sulfur winds began to howl against the titanium shutters, and then the young ones among us began pairing off with the most attractive locals we could cull from the herd.

Aglaé rarely stayed at these parties for long and never went off with locals, but Philp, Pig (our apprentice Pyk), red-haired Kyder, Coeke, Alleyn, Anne, Pope, Lana, the short Hywo, Gough. Tooley, and some of the rest of us each found someone eager to make the beast with two backs with a rare stranger to their world, and two by two, arbeiter and actor, like randy animals filing toward Noah’s Ark, we began slipping away from the ebbing party and heading for arbeiters’ hovels and barracks and outbuildings and barns.