The costumer’s voice drifted through the door, comparing my body to a beanbag chair for a rapt audience of teenage girls.
Agnes was a theater legend, a title that apparently gave her license to bully the new, fifty-three-year-old lead. Her attacks escalated from passive-aggressive comments to outright sabotage, each designed to make me feel like an unprofessional, inconvenient problem.
She thought she was unraveling me.
Little did she know, I wasn’t just some middle-aged hobbyist; I was a project manager who would use every condescending email and faked measurement to build a professional cage so perfectly constructed she wouldn’t see the bars until it was already locked.
The First Unraveling Thread: The Pin That Wasn’t There
The air in the community theater’s basement workshop smelled of dust, cedar, and hot glue. It was the scent of creation, and at fifty-three, I was breathing it in for the first time as a performer, not just an audience member. After two decades of crafting corporate training modules—making interpersonal communication palatable for mid-level managers—I’d finally auditioned for a musical. To my shock, I’d been cast as the Baroness in The Sound of Music. A real role with solos and a complicated waltz.
My husband, Leo, had joked that my experience wrangling difficult executives was perfect training for handling seven children and a moody naval captain. I was just giddy.
The costume shop was Agnes’s kingdom. She was a woman who seemed permanently stitched into a posture of disapproval, her gray hair pulled into a bun so tight it looked painful. She ruled over racks of crinoline and velvet with a thimble-adorned iron fist. I’d heard whispers about her being a “theater legend,” which I was quickly learning was code for “been here forever and refuses to change.”
“Alright, Noor. On the box,” she commanded, not looking up from a bolt of fabric. Her voice was thin and reedy, like a worn-out cassette tape.
I stepped onto the wooden pedestal, my arms held out in a T-pose, feeling a familiar flutter of excitement. This was my first fitting for the elegant party gown the Baroness wears to confront Maria. It was supposed to be a showstopper, all shimmering satin and icy confidence.
Agnes circled me, her lips a thin, unmoving line. She tugged at the muslin mock-up, her movements jerky and impatient. Pins went in, sharp and fast.
“Your measurements must be… off,” she murmured, more to the room than to me. “This pattern was drafted for the last Baroness. A much… neater fit.”
A prickle of unease ran down my spine. I was a size 12, hardly an outlier. I’d spent my life fluctuating between a 10 and a 14, a perfectly normal trajectory for a woman in her fifties who enjoyed both pilates and the occasional pizza night with her daughter, Maya. “I sent my measurements in last week,” I said, keeping my voice even. The corporate trainer in me clicked on: maintain a neutral tone, assume good intent until proven otherwise.
“Yes, well.” She yanked the fabric tight across my hips. “Things change.” She pinned the hem, her knuckles brushing against my calf. One pin felt loose. As I shifted my weight to point it out, it fell to the floor with a faint tink.
“Careful,” she snapped, not looking down. “You’ll make me lose my place.”
She didn’t replace the pin. She just kept moving, leaving a three-inch section of the hem drooping. I watched it in the dusty, full-length mirror. A small thing. An oversight. But it felt like a punctuation mark I didn’t yet understand. When she was done, she stepped back, squinting.
“We’ll see what we can do,” she said, her tone suggesting a monumental, perhaps impossible, task. “It will take a lot of work to make this… presentable.”
I stepped off the box, a chill settling over my initial excitement. The forgotten pin glinted on the floor, a tiny silver accusation. I bent to pick it up, but Agnes waved a dismissive hand. “Leave it. I’ve got hundreds.”
A Chorus of Whispers
Rehearsal was my sanctuary. Onstage, under the warm glow of the lights, I wasn’t a corporate trainer or a woman being measured and found wanting. I was the Baroness Elsa von Schraeder, a woman of wit, wealth, and unwavering self-possession. Mark, our director, was a cheerful, perpetually stressed man in his forties who gave feedback with the gentle encouragement of a kindergarten teacher.
“Lovely, Noor! Just remember, she’s not evil. She’s just… losing,” he’d said during a blocking rehearsal. It was the kind of nuanced direction I craved.
Two weeks into the process, the whispers started. I was heading to the dressing room to grab my water bottle when I heard Agnes’s voice from the Green Room, the small lounge where actors waited for their cues.
“…not the easiest to dress,” she was saying. A few of the younger chorus girls, barely out of their teens, were listening, their faces a mixture of curiosity and apprehension. “When you get to a certain age, the body just… gives up. There’s no structure. It’s like sewing a gown for a beanbag chair.”
A nervous titter went through the girls. My hand froze on the doorknob. My face flushed hot, a wave of shame and anger so intense it made my ears ring. A beanbag chair.
“The last Baroness, she was a dancer. All lean lines,” Agnes continued, her voice dripping with nostalgic disdain. “This one… maybe the chorus stands will hide more. The audience is far away, thank heavens.”
I backed away from the door, my heart hammering against my ribs. I stumbled into the empty hallway, leaning against the cool cinderblock wall. It wasn’t just an insult. It was a professional assassination, delivered with a smile to an audience of impressionable young women. She was positioning me as a problem, a burden, an unsightly object to be cleverly hidden.
I thought of every project manager I’d ever coached on delivering difficult feedback. Be specific. Be private. Focus on the behavior, not the person. Agnes had violated every rule. This wasn’t incompetence. This was malice.
Taking a deep, shaky breath, I walked back toward the stage, the imaginary weight of my beanbag-chair body suddenly feeling immense. I saw Chloe, a sweet girl who played one of the nuns, glance at me with a pained, sympathetic look. She had heard. And now she saw me. The shame curdled into something colder, harder. A resolve.
I went home that night and pulled out my old project management textbooks. I wasn’t just Noor the aspiring actress anymore. I was Noor the senior consultant, and I had a personnel problem to manage.
The Rescheduled Ghost
My new strategy was simple: document everything. It was second nature to me. In the corporate world, if it isn’t in writing, it didn’t happen. My first step was to create a clear communication trail for all my fittings.
I sent Agnes a polite, concise email.
Subject: Baroness Gown Fitting Schedule
Hi Agnes,
Just wanted to confirm our next fitting time for the party gown. I have my calendar open for Tuesday or Thursday evening this week. Please let me know what works best for your schedule.
Best,
Noor
She replied a day later. Tuesday. 7pm.
On Tuesday, I left work early, fought traffic, and arrived at the theater at 6:50 PM, buzzing with a nervous energy. This time would be different. I was prepared. I would be assertive, clear, and professional.
The basement was dark. The door to the costume shop, usually propped open and spilling light into the hallway, was shut. A single, bare bulb illuminated the concrete corridor. I tried the knob. Locked.
About the Author
