Being Alive

My relationship with this song is a strange one. Decades ago,  I used to watch Taxi, and I remembered an episode where Alex experiences an epiphany - has a near-death experience or something, and comes out the other side feeling superbly alive in every cell of his being. He sang a certain song - hell, I didn't even know what it was! But it recorded itself on my brain, stayed with me, until. . .

Then in the mid-'80s I was going through a Streisand phase, though I can barely stand her now, and the song seemed - it seemed - it seemed familiar, or did it? It may not have twigged at all that it was the same song Judd Hirsch sang on Taxi. It was later on, retroactively, that I made the connection. She sings the hell out of it, of course, but I've come to see her musical mannerisms as irritating.  Still. The power of the lyric was undeniable. Stephen Sondheim, for Christ's sake - it can't misfire altogether.

Tons of years had to go by, again, until I stumbled (again!) on this Dean Jones version. Dean freakin' JONES? The Disney guy, the wholesome goofier-version-of-Dick-Van-Dyke type of guy? I couldn't even imagine him singing a Broadway song like this one, singing it with haunted, even frightened eyes as Stephen (fucking!) Sondheim stood over him . . and singing it with such conviction and passion that I no longer want to hear anyone else sing it.

Ever.

There has to be something good about the internet - there is, actually, but with a lot of scum on the top and sludge on the bottom. Rediscovering something like this, something buried, can be compelling, but it all started with Judd Hirsch on Taxi - and then I forgot all about it.

Interestingly enough - or, at least, I find it so - Stephen Sondheim wrote this musical, Company, with Anthony Perkins in mind. The two were close friends, perhaps lovers, and this song wraps around Perkins' sensibilities very well, both in the fairly limited vocal range and the spare and even laconic sentiments. Perkins ducked away, citing other commitments, but many thought the Bobby character (with its veiled homosexual references) cut too close. The Dean Jones video was filmed, I think, as part of a TV special to demonstrate how an original cast recording is made, though I don't know if it was ever aired. 

The Greek chorus of friends in the song seems to be pushing the character out of a birth canal of fear and inhibition. I wonder if it really was that way with Perkins (and I confess I still have a "thing" for him), for he stated in an interview with People magazine that he never really felt close to another human being until he met his wife, Berry Berenson. And yet, and yet, there were both real and manufactured complications about his sexual orientation, as if that negated all the love and experiences they shared. And then there was the soul-shattering ending, Perkins dying far too young of AIDS, and Berry on one of the planes on 9-11. It has the dimensions of an epic love story ending in towering tragedy.

As I copied and pasted these lyrics, I decided to centre them, because I felt like something was going to arise from it, some shape. And it did. The verses are like chalices to me, maybe even communion cups, but in some cases more like trees. Some of them seem to leap upwards like dancers, others like dolphins. Not many poems will do this, take life and move, even beyond the words themselves.

So, this is the song Tony Perkins never sang, that was written for him, and about him.

Someone to hold you too close.

Someone to hurt you too deep.

Someone to sit in your chair,

To ruin your sleep,

(Dialogue)

Someone to need you too much.

Someone to know you too well.

Someone to pull you up short,

And put you through hell,

(Dialogue)

Someone you have to let in,

Someone whose feelings you spare,

Someone who, like it or not,

Will want you to share

A little, a lot.

(Dialogue)

Someone to crowd you with love.

Someone to force you to care.

Someone to make you come through,

Who'll always be there,

As frightened as you,

Of being alive,

Being alive.

Being alive.

Being alive!

(Dialogue)

Somebody hold me too close.

Somebody hurt me too deep.

Somebody sit in my chair,

And ruin my sleep,

And make me aware,

Of being alive.

Being alive.

Somebody need me too much.

Somebody know me too well.

Somebody pull me up short,

And put me through hell,

And give me support,

For being alive.

Make me alive.

Make me alive.

Make me confused.

Mock me with praise.

Let me be used.

Vary my days.

But alone,

Is alone,

Not alive.

Somebody crowd me with love.

Somebody force me to care.

Somebody let me come through,

I'll always be there,

As frightened as you,

To help us survive,

Being alive.

Being alive.

Being alive!

And this, from the Broadway musical Greenwillow. This song is not like any of the others, so minimal it barely exists, with a glorious setting like a rich autumn day. Somehow he glides along it and does not mess with it or damage it, but lets it be gloriously whole.  And every time I hear it, I cry. Every time. I say, nah, not this time! I'm not going to cry this time. I just listened to it again, and my eyes are stinging and I sobbed again, and it was once more real, and alive.

Star-crossed: the life and times of Anthony Perkins

I keep coming back to Tony Perkins, and have never been sure why. The reasons are complicated: he was mysterious, misunderstood, and summed up in my  mind what it means to be human: conflicted, passionate, vitriolic, kind, altruistic, selfish, brilliant, obtuse, and on and on the list goes.

And he was cute, too, when he was young and first became a big star. Cute in a way women loved, right up to and including the gorgeous, girlish Berry Berenson (sister of supermodel Marisa), who married him in spite of the open secret of his homosexuality. They had two sons and stayed together for 20 years, until he died of AIDS. Tragically, Berry was on one of the planes that crashed into the World Trade Centre on 9-11.

There was something star-crossed about both of them, I think.

I've read lots of stuff about him, including Charles Winecoff's Split Image, which in some ways is the best bio of anyone I've ever read, but which in other ways offends the hell out of me. Never has a biographer been so thorough in ferreting out the real Perkins, penetrating the million smokescreens he put up, but then he wrecks it: he quotes "an unnamed source" who claims to have been Perkins' lover, outlining in excruciating, completely unnecessary detail what he liked to do in bed. Would a heterosexual actor have been subjected to such humiliation, and from a completely unreliable kiss-and-tell source who probably sought some sort of payoff?

I found another book about him, Anthony Perkins: A Haunted Life by Ronald Bergan, and I pounced on it. I thought it might be bland compared to Winecoff's claw-sharpening meow-fest, but on the first page it grabbed me because of a surprisingly bang-on description of his unusual body type.


The author was speaking to the actor backstage after a performance. "He was stripped to the waist, revealing the smooth-skinned svelte figure of a man half his age - he was forty-seven at the time - and what the actor William Chappell described as 'an Egyptian torso, unnaturally broad in the shoulder and small in the waist and so flat it is almost one-dimensional.' Oh yes.

In spite of his great natural talent and versatility as an actor, there was a strangeness about Tony, a remoteness: he was the perennial outsider, but didn't seem to mind it, which made him even more odd. He wasn't a warm actor, but had certain abilities that were unique and eerie. In the Ken Russell turkey Crimes of Passion, he plays a demented minister addicted to sex toys and porn. Kathleen Turner plays a part-time hooker, and at the height of his Byzantine fits of craziness they have this conversation:

"If you're a minister, I'm Snow White. Who are you? You're not a reverend. Who are you?"

"I'm you."

Yes. Tony was us. He needled, he probed, he burrowed inside, he smiled boyishly as he found the subtle flaw and put his hand into it. The cracked cup, the broken building, the chipped tooth, all these were the province of Perkins and his calmly detached fascination. He snooped around the edges of the human condition, not unaffected of course, and capable of a paradoxical deep devotion to friends and family, but still the perennial observer. Why did people like him so much, care so much about a man who seemed almost cold? And they did, they loved him. As he lay dying of AIDS, literally gasping out his last, friends camped around his bedside in sleeping bags. Hundreds of people came to his memorial service, which lasted hours.


Tony loved dogs, but he was definitely more cat than dog, sniffing delicately, warily drawing back. And sometimes lunging forward in almost predatory sensuality. Bergan claims he had charm, but in the original, supernatural sense, a spellbinding power.

A friend once tried to describe his unusual body type with its coathanger shoulders and long, gangly arms, which made his head seem proportionally small: he resembled "some sort of great prehistoric bird". Exotic, a little scary, impossible to comprehend, echoing all those stuffed owls and ravens of Psycho. Oh yes, Psycho, we were getting to that. Or were we?

(BLOGGER'S NOTE. Having just posted about the Anthony Perkins action figure - and I've been looking for a good photo of that '80s artifact for a long time - I thought of this piece that I wrote SIX YEARS ago, and felt I was within my rights to dust it off. Unlike most of my longer pieces, it actually got some views. I used a huge font which I felt I had to reduce. The photos have been changed almost completely.)

Death is a party, life is a bitch

I've always had a thing for Anthony Perkins, and I come back around to it every few years. This is the song I usually come back to. There was something curiously affecting about his voice. He wasn't a natural singer and did not have a big or resonant set of pipes. But he had something else. Along with his innate musicality, he had sincerity. His singing was like speaking in some ways - not speak-singing like those actors who can't sing, but communicating so much intensity with the song that it is like a conversation. 

Yes, he got typecast as Norman Bates, and the only sad thing about that was the dreadful set of sequels. Other than that, he got along well and performed, sometimes brilliantly, in just about every acting genre. People noticed he looked rather strange in the latter part of his life, that his face was somehow less mobile on one side. What people didn't know was that he had Bell's palsy, and in getting treatment for it he found out he had AIDS.

People don't die from AIDS any more, so we've lost touch with the horror of it. They can live a long time, though the disease must be a constant presence on some level. It does not "go away". Being bipolar does not "go away" either, it is a constant presence, and it is not pleasant to have to take six drugs to control it. Just thought I'd throw that in.

I've read a couple of Perkins bios. One was kind of raggy, sensational, as if that was the only part of his life that mattered. It recounted every escapade and foible, but second-hand, through the accounts of people who had known him. The other one was a little too reserved, respectful, but devoid of detail. I think he was both of those people, and neither - an enigma. When he died, closely attended by his wife Berry and their two sons, his friends decided to have a be-in in the sickroom, bringing sleeping bags and food and singing to him while he passed in and out of consciousness. At one point he sat up suddenly and said, "What is this, a death watch?" - provoking much hilarity.

To die like that - I've only ever heard of one other person who died like that, with a party going on around him. Alan Ginsberg. It says something about a person, if people show up for your death, sit at your bedside, listen to stories they've heard a dozen times, hug the wife and take the kids out for hamburgers so she can have a break. 

People constantly talk about giving, but it's also blessed to receive, to stop fighting the gift. I know something about this, and I am going to know a lot more about it. If people can't "take" (and they often won't or can't, thinking it's somehow selfish or "bad"), they block the goodwill. It can no longer flow. They keep their loved ones from helping them, refuse them. In essence, they hang up the phone on love.

I don't know what got me started on all this. "Summertime Love". The title makes you think of Beach Blanket Bingo or something like that. But it's not like that at all. The song is from a strange, mystical stage musical called Greenwillow. It only ran for a couple of months.

"That actor who turned out to be gay". I don't much care about that any more, and he doesn't, where he is now. Such things really don't matter. The LGBTQ movement exists to prove it doesn't matter - doesn't nail you to a cross or suck the joy out of your life, because it can't.

How you die reflects how you have lived. Absolutely. I pray someone will be there, I do. Just one will be OK with me.

(A postscript. This needs to be said because it is part of the story. Less than ten years after AIDS claimed Tony, Berry Berenson was killed. She was on one of those planes that hit the World Trade Centre. I don't want to think about what those final minutes were like. But she, too, was not alone. I hope there was some shred of comfort in that.)