Wilmington, NC 10 - Much Ado About Murder

officer at our bank on Monday, and subsequently offered Dalton seven-hundred-fifteen thousand dollars which he accepted within hours. His house was under contract to us with closing scheduled for thirty days.
    “But I’m happy and scared at the same time,” I confided in Jon. “I love our little house on Nun Street. And once we restore our new house and move in, we’ll have to sell it.”
    Jon kissed my forehead. “I understand but don’t be sad. Your little house will always hold a special place in our hearts. But once we restore the Montjoy house and move our things in, it will be like it’s always been our home. You’re going to love it. I’ll see to that. I have big plans for that house.”
    “I know you’re right, darling. I’ve seen you poring over the photographs you took and working on your drawings late at night. You’re the best architect in town. You’ll make it happen. But thanks for understanding.”
    “ We’ll make happen.”
    I lifted my head from his shoulder to smile into his caring face. Down the length of our row sat my family. There were Melanie and Cam, so much in love. Cam is good for Melanie; he has brought out the best in her. Melanie used to have a thing for the bad boys which just about drove me crazy. Now she is married to a solid, good man. And if she ever gives him a moment of grief, I’ll murder her.
    On the other side of them sat Aunt Ruby and Binkie . Aunt Ruby has filled Binkie’s lonely life with joy and companionship. He adores her. We all do. How could we not? And she loves him as much in return.
    Then came Scarlett and Ray. Scarlett, who had lost years of her life when for her own safety the FBI secreted her in the Witness Protection Program, has regained her stardom on Broadway and found a husband who thinks she hung the moon. How lucky we all have become. To think that only a few years ago there was only Melanie and me, struggling with our ill mother’s Alzheimer’s. They say that when God closes a door He opens a window. In my case, He opened a mansion full of windows.
    The house lights dimmed, the spotlights came on, and the Artistic Director, Tom Briggs, stepped out to center stage and with a few words of welcome, introduced the show. The orchestra struck up the overture to Oklahoma! and I sat back in my seat and relaxed. Let the show begin!
    The medley of favorite Oklahoma! tunes included The Surrey With the Fringe on Top, Kansas City , and of course the hit musical number, Oklahoma! . The curtain went up to reveal a calm and almost regal Simon LeBeck , sitting astride a real horse in front of a row of cornstalks. At the sight of the horse, the audience went wild, cheering and breaking into a resounding applause.
    Simon owned the stage. I was amazed at the transformation: from a hysterical, weeping man, crying over his guitar, to a professional showman. He sang Oh What a Beautiful Mornin ’ and brought down the house. His voice was every bit as good as Gordon MacRae’s . I was entranced. I couldn’t believe this fine actor was the same whacky man I’d seen only days earlier, going berserk and accusing Taylor of stealing his guitar.
    I whispered to Jon, “The set design is really good.” For as Curly/Simon sat upon the placid horse, the set revolved behind him, moving from corn stalks as high as an elephant’s eye to lifelike cut-outs of cattle. As Simon sang the lyrics about the cattle standing like statues , there they were. One cow was painted brown with a large glassy eye that winked when Simon sang about the little brown maverick winking her eye . I knew then that we were in for a treat.
    The show progressed through familiar scenes and familiar scores. My enjoyment was not at all spoiled by having seen a revival on Broadway or by watching the movie many times. In fact, my familiarity with the show added to my sense of anticipation.
    I have to admit my favorite song is People Will Say We’re in Love . Again. the set design was marvelous. Laurey /Taylor and Curly/Simon strolled through a peach orchard, chiding each other about how to conceal their love.
    Later, Curly/Simon sang Pore Jud is Daid , mocking the slow-witted Jud Fry.
    Intermission came quickly and we strolled out to the lobby. We gathered in a circle, sipping soft drinks. Binkie told us, “You young people weren’t born when the original Oklahoma ! opened on Broadway in 1943. It was a box-office success; the first collaboration between Rodgers and Hammerstein, with Richard Rodgers