When I was a teenager, I was into community theater. Don’t come for me. It was fun, it was goofy, and I met a lot of very effusive people. I tried to act, but I could not project, as I learned from the Gallup Independent’s review, in which the reviewer couldn’t understand me. I reacted to that in a rational, logical, well-thought-out way: I quit acting forever.

I still wanted to hang out, so I worked behind the scenes, building things, getting props ready, rearranging the scenery. I met some great people, including the woman who introduced me to Terry Pratchett and knitted me a Doctor Who scarf. There was the woman who used the bag my dinner was in as an ashtray. She later became one of my favorite English teachers.

As I grew older and more cynical, I got real judgy. Community theater was for people who couldn’t make it in a real theater (though you’d be hard pressed to find a real theater in Western New Mexico). They’re a bunch of hilarious narcissists. They have no idea how dumb they look. I could pick community theater people out of a crowd. They are so much more expressive and shameless and sincere and silly and genuinely fun than us latte-sipping serious people.

Even as I grew to value sincerity, I still continued to mock, out of affection now, the same way I make fun of writers, people who love The Matrix, people named Jeremiah, and so on.

I don’t have a lot of time for people with my busy schedule of writing and drawing at all hours, but I realized I was ready to make time. I’m not an unpleasant person, but I’m also afflicted with the kind of shy I haven’t experienced since high school. I’m also middle-aged, and adult men have a really hard time making new friends as they get older.

My therapist recommended the St. Mark’s players. I remembered what it was like as a teenager, so I sent them an email. They told me that they were opening a show that weekend, but I could volunteer to be an usher until they started looking for people for their next show.

They didn’t need ushers. At all. I’ll explain in a minute.

When I arrived, the door was locked. People started showing up, unable to get inside. They were all laughing and joking and not letting it get them down, and not one of them saw me. I was completely invisible.

The door opened, and the staff showed up to tell me what to do. The man taking tickets was a tiny, older bald man with a beard trimmed by a straight razor. He was charming, and he wore a three-piece suit. The lady was also charming. She fussed like a Jewish mother, and she showed me how to use the credit card machine, which is so intuitive, Oscar could use it. There were no programs, only the world’s largest QR code.

I didn’t need to be there. The venue seats thirty, and it’s free seating. The chairs are right next to the door, which is wide open when the house is, so basically, all I did was stand around and chat with the lady and gentleman. (I didn’t get their name because I have Attention-Deficit Hyperactivity Disorder.) There was also Fiona, the house manager. She was interesting, startlingly pretty, and she was invisible if you looked at her from the side.

I discovered that it was the cast who had ignored me. The crew, while not particularly interested in a volunteer usher (who can blame them?), were friendly. I met the stage-manager while he was filling liquor bottles with iced tea. (Some people think this is how John Belushi survived chugging a quart of whisky in Animal House. On the other hand, it is John Belushi.) I haggled the price of the last Snickers bar with the light guy, and I was barely registered by the intense producer who was probably an extra in The Sopranos.

How was the play? It was called The Birthday Party. There was no author named on the marquee. It’s a two-act play, with the first act taking up three-quarters of the two-hour runtime. Up front, I’m going to tell you that the acting was amazing. The set and the scenery were perfect. The blocking was engaging, and in only one scene did I feel it was lacking. The director put together a really great production.

And I did not understand a thing that happened on that stage. There were six characters, and most of them spoke with English accents. One of the characters was Irish, but he spoke in an American accent. One of the characters was an asshole, but he was also having a depressive episode, so I wanted to punch him and give him a hug (like I said, the acting was amazing). At one point, the Irish-American and the Posh English guys in suits one took turns shouting nonsense directly into the ear of the depressed asshole.

(My favorite character was the wife. The performer was an attractive woman, but she played her part like Monty Python in drag.)

All in all, it was a good experience. I don’t get out of my comfort zone a lot, but I am gratified every time I do.