So; she had bowled Jackie off the global playing field; but the anti-immigrant forces were still in power. Free Mars still held its supermajority alliance in uneasy check. Nothing important had changed; life went on; the reports from pullulating Earth were still ominous. Those people were going to come up after them someday, Maya was sure of it. They were getting along among themselves, they could rest, take a look around, make some plans, coordinate their efforts. Better really to eat breakfast without turning the screen on, if she wanted to keep her appetite.
So she took to going downtown and having a larger breakfast on the corniche, with Diana, or later Nadia and Art, or with visitors to town. After breakfast she would walk down to the AWT offices, near the eastern end of the seafront— a good walk, in air that each year was just the slightest bit saltier. At AWT she had an office with a window, and did what she had done for Deep Waters, serving as liaison with the Hellas Sea Institute, and coordinating a fluctuating team of areologists and hydrologists and engineers, directing their research efforts mostly in the Hellespontus and Amphitrites mountains, where most of the aquifers were. She took trips around the curve of the coast to inspect some of their sites and facilities, going up into the hills, staying often in the little harbor town of Montepulciano, on the southwest shore of the sea. Back in Odessa she worked through the days, and quit early, and wandered around the town, shopping in used-furniture stores, or for clothes; she was getting interested in the new styles and their changes through the seasons; it was a stylish town, people dressed well, and the latest styles suited her, she looked rather like a smallish elderly native, with erect regal carriage. . . . Often she arranged to be out on the corniche in the late afternoon, walking home to their apartment, or else sitting below it in the park, or having an early meal in the summers in some seaside restaurant. In the fall a flotilla of ships docked at the wharf and threw out gangplanks between the ships and charged entry for a wine festival, with fireworks over the lake after dark. In the winter the dusk fell on the sea early, and the inshore water was sometimes sheeted with ice, and glowing with a pastel of whatever clear color might be filling the sky that evening, dotted by ice-skaters and swift low iceboats.
One twilight hour as she was eating by herself, a theater company put on a production of The Caucasian Chalk Circle in an adjoining alley, and between the dusk and the spots on the planks of the temporary stage, the quality of light was such that Maya was drawn like a moth to watch. She barely followed the play, but some moments struck her with great force, especially the blackouts when the action was supposed to stop, the actors all frozen on stage in the late light. That moment only needed some blue, she thought, to be perfect.
Afterward the theater company came over to the restaurant to eat, and Maya talked with the director, a middle-aged native woman named Latrobe, who was interested to meet her, to talk about the play, and about Brecht’s theory of political theater. Latrobe proved to be pro-Terran, pro-immigrationist; she wanted to stage plays that made the case for an open Mars, and for assimilating the new immigrants into the areophany. It was frightening, she said, how few plays of the classical repertory reinforced such feelings. They needed new plays. Maya told her about Diana’s political evenings in the UNTA years, how they had sometimes met in the parks. About her notion concerning the blues in the lighting of that night’s production. Latrobe invited Maya to come by and talk to the troupe about politics, and also to help with the lighting if she wanted, which was a weak point in the company, having had its origin in the very same parks Diana’s group had used to meet in. Perhaps they could get out there again, and do some more Brechtian theater.
And so Maya dropped by and talked with the troupe, and over time, without ever really deciding to, she became one of its lighting crew, helping also with costumes, which was fashion in a different way. She also talked to them long into the nights about the concept of a political theater, and helped them to find new plays; in effect she was a kind of political-aesthetic consultant. But she steadfastly resisted all efforts to get her on stage, not only from the company, but from Michel and Nadia as well. “No,” she said. “I don’t want to do that. If I did they would immediately want me to be playing Maya Toitovna, in that play about John.”
“That’s an opera,” Michel said. “You’d have to be a soprano.”
“Nevertheless.”
She did not want to act. Everyday life was enough. But she did enjoy the world of the theater. This was a new way of getting at people and changing their values, less wearing than the direct approach of politics, more entertaining, and perhaps in some ways even more effective. Theater in Odessa was powerful; movies were a dead art, the constant incessant oversaturation of screen images had made all images equally boring; what the citizens of Odessa seemed to like was the immediacy and danger of spontaneous performance, the moment that would never return, never be the same. Theater was the most powerful art in town, really, and the same was true in many other Martian cities as well. So as the m-years passed, the Odessa troupe mounted any number of political plays, including a complete run through of the work of the South African Athol Fugard, searing passionate plays anatomizing institutionalized prejudice, the xenophobia of the soul; the best English language plays since Shakespeare, Maya thought. And then the troupe was instrumental in discovering and making famous what was later called the Odessa Group, a half-dozen young native playwrights as ferocious as Fugard, men and women who in play after play explored the wrenching problems of the new issei and nisei, and their painful assimilation into the areophany— a million little Romeos and Juliets, a million little blood knots cut or tied. It was Maya’s best window into the contemporary world, and more and more her way of speaking back to it, doing her best to shape it— very satisfying indeed, as many of the plays caused talk, sometimes even a furor, as new works by the Group attacked the anti-immigrant government that was still in power in Mangala. It was politics in a new mode, the most intriguing she had yet encountered; she longed to tell Frank about it, to show him how it worked.