The street festival outside is closed, shrouded in thick white plastic sheets held down with duct tape so the midsummer breeze doesn’t pick them up and fly them like Halloween ghosts down the road. The emptied racks and tables underneath brace themselves for another 90-degree day.
Inside the century-old Music Box Theater lobby, it’s cool — the kind of dried and seasoned air that comes out of an aging air conditioner. Indie acoustic music plays over the speakers, and the Manhattans served in plastic cups taste worth the $13 even though they don’t look it. A dark luxardo cherry burrows under the ice, a secret treat to whoever finishes the booze part first.
From my seat in a chair that was once maroon but is now a dusty mauve, I watch the employee sliding the letters off a sign above Theater 2. The words change from “Paris is Burning” to “Paris is Bu” to “Paris i” to “Pa” to muted white light.
The projector could be illuminating the screen with anything, and I wouldn’t know it until I peeled my sticky legs from the grip of the vinyl seat and waddled across the floor, plucking the shorts from their bunch between my legs, and walked under the ladder and through the door. No longer would it be the story of Harlem’s drag queens. It could be a grim noir with revolvers, running boards, stocking dresses and hats with little netted veils. Or maybe it’s a new experimental film hand-drawn by someone coming down from an Adderall high courtesy of their college roommate’s drug dealer.
Overhead a white girl strums her guitar and sings Rihanna’s “Desperado” in a voice trained for honeysuckle country and straining for grit. And in a blink, the Theater 2 sign says “Escape from NY.”