Death of a Salesman by Arthur Miller (1949)

Summary:  After working as a traveling salesman for more than twenty years, Willy Loman fights with his adult children and wonders if he was ever really good at his job or his life.
As Willy struggles to keep his job, his adult sons (Biff and Happy) attempt to figure out what they want for their own lives--as they are certainly not yet on a path to greatness.
Ultimately, after struggling to make payments on his house and life insurance, Willy commits suicide in a final attempt to provide for his family.

Thoughts:  I feel the same sort of pressure writing about this play as I felt months ago when I tried to come up with some critical reflection about A Streetcar Named Desire (which won the prize just one year before).  I have probably read this play more times than any other on the list, beginning in Mrs. Worley's twelfth grade English class.  Neal Dandade and I were cast as Willy and Linda and our classmates were forced to spend weeks listening to us likely massacre some of American drama's most famous words. 

Like several of the plays that have been awarded the Pulitzer, this play contains an element of magical realism and the physical structure of the house is central to any production.  Countless comparisons can be made between this play, Our Town and Fences.... each very different interpretations of "the American Dream."  Each play involves a physical home, children and the destruction of expectations.

The Teahouse of the August Moon by John Patrick (1954)

Summary:  American Captain Fisby is sent to Tobiki Village--an island of Okinawa with specific orders to establish democracy and build a school.  However, when he gets there, he soon finds himself far more interested in the Tobiki way of life.  Following the wishes of his Geisha Girl Lotus Blossom, Fisby uses governmental resources to build a teahouse rather than a school.  When a psychiatrist is dispatched to look after him, he too loves the Tobiki way of life.  However, the psychiatrist also understands that the “natives” need a source of income and starts selling the local sweet potato brandy to neighboring military bases.  

When the Colonel eventually visits Tobiki, he is outraged and orders the brandy stills and the teahouse demolished.  However they are quickly saved by another military officer who bursts into the final scene exclaiming that the village is being called a great “example of American ‘get-up-and-go’ in the recovery program.  The Pentagon is boasting.  Congress is crowing” (Gassner 214).  The natives may never get a school, but they have their teahouse and their liquor industry….thanks to the Americans.

Thoughts:  The narrator of the play is an Islander named Sakini, who often speaks in verse and is chided by American soldiers for being a lovable idiot.  He serves as a native informant to Captain Fisby, informing him of island customs and serving as an interpreter.  The play moves quickly and is often very funny but the issues of racism and salvation-by-American-soldier are troubling in terms of production today.   The Japanese people in the script rarely speak any sort of English, but instead speak John Patrick’s own version of Japanese…which seems to have no translation into the actual language.  Asian stereotypes and American aggrandizement run rampant throughout the play.

Angels in America: Millennium Approaches by Tony Kushner (1993)

Summary:  After being diagnosed with AIDS, Prior Walter is visited by the voice of an angel who ominously announces that "Millennium Approaches."  As Walter deals with the angel and his own relationship to Louis, other individuals and relationships are explored.  These include:
Joe and Harper--a transplanted Mormon couple drawn to homosexuality and Valium, respectively.
The very real Roy Cohn--attempting to hide the fact that he has full-blown AIDS by saying that it is Liver Cancer.
Belize--a sometimes drag queen, sometimes nurse who is loyal in his friendship to Prior and therefore skeptical of Louis.
The lives of these characters intertwine throughout the full-length play (set in the mid-80s in New York City) until finally, The Angel (no longer just a voice) bursts through Prior's ceiling proclaiming, "Greetings, Prophet.  The Great Work begins:  The Messenger has arrived."  The play ends and audiences are left to anticipate and speculate about Part Two:  Perestroika.

Thoughts:  I dreaded writing the plot summary above for days because so much happens in the first installment of Kushner's epic two-part drama.  However, though the play is expansive, the exploration of character is generally more important than the advancement of a very broad plot.

Very recently, my friend Katelyn Wood attended a lecture given by Meryl Streep (who won an Emmy for her work in Mike Nichols' filmed adaptation of the play) in the Department of Theatre and Dance at the University of Texas at Austin.  Katelyn asked Streep about Tony Kushner and the continued relevance of Angels in America in a world where the play is increasingly less controversial.  Streep referred to Kushner as "the playwright of our time" and remarked extensively about the characters he creates, all extremely flawed in their humanity. 

All of the central characters in Angels in America are important to the advancement of plot; but moreover, they have their own flaws and personal struggles that do not always depend on interactions with others.  Often in the dramatic literature of the 20th century, rich characters are unveiled primarily through depictions of their interactions with others.  Kushner instead makes use of extensive monologues about emotions rather than argument scenes (which are often used to propel dramatic action).  While these monologues could quickly become whiny, redundant or simply boring...Kushner's ability to create multidimensional human characters makes us wonder what these characters are going to say, feel and do next.

A Streetcar Named Desire by Tennessee Williams (1948)

Summary:  Blanche Dubois arrives in New Orleans to visit her sister Stella.  It is immediately clear that Blanche is unaccustomed to city life and uncomfortable around blue-collar workers like Stanley (Stella's husband).  Pregnant Stella attempts to keep the peace while her husband and sister antagonize each other.  Eventually, fueled by frustration, Stanley does some sleuthing and discovers that Blanche left Mississippi because she had acquired quite a reputation and had no other place to go.  Late in the play, Stanley and Blanche have implied (non-consensual?) sex.  Subsequently, Blanche is taken to a mental institution.

Thoughts:  I feel a great deal of pressure to come up with some "thoughts" about one of the most famous (and read) plays on the list.  Though this was not my first read of this play, I continue to be impressed by Williams' craftsmanship.

While the main characters in this play (arguably Blanche and Stanley) do unlikeable things, they are not unlikeable people.  Flawed?  Yes.   Unlikeable?  Certainly not.  Because they are two very different people, Williams uses two dynamic techniques to reveal their individual humanity to audiences.  Blanche is most vulnerable when delivering a monologue to Mitch (a potential admirer) about her deceased husband (a gay man who committed suicide in front of her after she told him that he disgusted her).  In contrast, Stanley's vulnerability is glaringly on display after a fight with Stella.  Following the violent outburst, he returns to his wife in a pitiful, remorseful and childlike state.  While Stella is able to see the humanity in both her sister and husband, neither Stanley nor Blanche develop sympathy for each other.  Instead, the spirit of antagonism builds to an unsavory climax.

William's Introduction is conspicuously not about the likely controversial story to follow; but is about his own process as an artist and how the success of The Glass Menagerie almost caused him to stagnate.  His final words encourage readers to live....while they still have time to do it.

Original Cast List, Signet edition

No Place To Be Somebody by Charles Cordone (1970)

Summary:  Johnny Williams is a young black man who owns a bar in New York City in/around the late 1960s.  The people who come in and out of the bar have their own set of agendas and each character fulfills a very specific role/purpose.

Thoughts:  The summary above is probably the most insufficient I've written since starting this project.  There's no way to compactly summarize this play without a scene-by-scene plot description and an annotated character list.  Much like The Time of Your Life (1940), the dramatic action of this play is dependent on the actors who enter and exit the bar, but unlike ...Life, there is an enormous amount of action in this play.  The play makes a number of statements about race, ethnicity and gender in the way that it casts it's characters.  For example, the primary female characters (Dee, Evie) are whores, and the only other important female in the play is Mary Lou--a white civil rights activist who is ultimately used only as a pawn because her father is a judge and Johnny is trying to outsmart some Italian mobsters.

Most of the statements about equality and civil rights are relegated to Gabe, the poet of the group who is given long soliloquies in the form of poems that talk about black anger, white oppression and the relationship between whites and blacks in the 70s.  Gabe's statements are often eloquent, but sometimes seemed forced in a play that details the day-to-day activities of a bar.  At intervals throughout the play, a character will say something to the effect of, "Gabe!  Give us a poem now!" and the soliloquy/diatribe/important social message will begin.

Additionally, the subplot involving Johnny and the mobsters seems incredibly out of place.  With a few days distance, it almost feels like Cordone wrote a play about a bar and the characters who come through the doors, didn't think it was enough and needed to add another element of drama.  Though this play is unquestionably important (first black playwright and first off-Broadway play to win a Pulitzer), I found a surprising number of flaws.

The Time of Your Life by William Saroyan (1940)

Summary:  Characters move in and out of Nick’s Pacific Street Saloon, a bar in San Francisco.  As with most bars, some are regulars while others enter only to cause a stir and then quickly depart.  Most of the people who find their way into Nick’s looking for work are down on their luck, and though he attempts a tough exterior…he always tries to find a place for them.  Besides Nick, the most important character in the bar is Joe—a man who appears to have money for no discernible reason and gives it away willingly.

Thoughts:  My initial thought after reading this play was, “Did I miss something?”  Having read a number of these plays, I’ve developed an affinity for the slice of life, one-setting formula that has been so rewarded over the years.  However, I simply just didn’t find this one as compelling of some that surround it.  I appreciated the element of magical realism (Kit Carson is a character in the play)…but other than that I was left wondering, “Why this one?”

Ruined by Lynn Nottage (2009)

Summary:  Mama Nadi owns a bar/brothel in The Democratic Republic of Congo.  One of her rules involves serving any paying customer:  including soldiers on either side of the conflict.  The setting never changes, but stakes are raised when she is asked to take in more girls than she can handle and is visited both by rebel leaders and soldiers from the current government.   

Thoughts:  I feel like it is really difficult to offer any sort of critique of this play without appearing racist or culturally insensitive.  While the subject matter is unquestionably compelling, I was not extraordinarily moved by the actual text.  I was, however, moved by the photographs of the women in the appendix of the play (taken by Nottage’s husband) and information included in the Introduction (by director Kate Whorisky).  While the play is not an ethnography, Nottage’s work was primarily informed by interviews with women (in the Congo) who have experienced sexual violence as a result of the political upheaval in their country.  Unlike other interview-based work (The Laramie Project, The Exonerated) this play veers away from traditional monologue storytelling…and perhaps this is why I felt emotionally removed from a very emotional subject.

Other nominees in 2009 included In the Heights and Becky Shaw—both largely about families and their internal conflicts, so perhaps the committee decided it was time to award a play set outside of a nuclear family in the United States (from 2000-2010, over half of the recipients involve a central theme of dysfunction in the American family).