Craig's Wife by George Kelly (1926)

Summary:  Mrs. Craig is fiercely committed to keeping her house “in order.”  As a result, she treats her maids terribly, resents any guests that come to visit and makes strict rules for her husband and (live-in) aunt-in-law. 

Though this is play is fundamentally about Mrs. Craig’s relationship to her husband, there is also a strange murder mystery in the middle of the play which serves to highlight Mrs. Craig’s neuroses and extreme jealousy. 

Thoughts:  Like many of the awarded plays of the 20s, this play features a woman who is steadfast in her beliefs about the role of a woman in marriage.  Interestingly, Mrs. Craig and her husband have only been married for eighteen months.  She repeatedly states to different people that she married so that she would never be poor, and that all a woman has is her home.  True feelings about marriage and property are revealed when her husband counters this thesis with:

Mr. Craig:  Hasn’t she her husband?
Mrs. Craig:  She could lose her husband, couldn’t she?—As many another woman has.
Mr. Craig:  Couldn’t she lose her home too?
Mrs. Craig:  She couldn’t if she knew how to secure it  (Act 2, 362).

Enlightened by his aunt, Mr. Craig attempts to resume control over his household, which manifests in smashing some of his wife’s beloved ornaments on the mantel and smoking in the living room.  After he gets his wife to admit that she has been trying to keep his friends out of the house, Mr. Craig states that he plans to leave the marriage, but will ensure that Mrs. Craig keeps the house.  At the end of the play, the servants have all been fired or have quit, Aunt Austen has left to “travel” and Mrs. Craig’s visiting niece has returned home.  She is left alone in her pristine, but empty house.

At several points throughout the play, it seems that the dramatic action is going to take a different course.  There are hints of multiple other subjects throughout the play (murder mystery, the terminal illness of Mrs. Craig’s sister, a possible lesbian relationship between Aunt Austen and the neighbor with a knack for growing roses, Mr. Craig’s potential adultery) but none of these subjects are fully explored or come to neat conclusions.  Though there are a myriad of things going on around her, Mrs. Craig is most concerned with physically keeping up appearances.

There Shall Be No Night by Robert Sherwood (1941)

Summary:  The entire play takes place in the Helsinki living room of Dr. Valkonen (who has recently won the Nobel Prize) and his wife Miranda.  The play chronicles the interactions of the family and various friends from 1938-1940.  In the early scenes, Valkonen spends an extensive amount of time talking about his reasons for being a pacifist and abhorring the war (Finland's Winter War with the Soviets) before his son Erik enlists.  Eventually, Valkonen himself joins the medical corps.  In undramatized moments, both Valkonen men die.  American-born Miranda is left both a widow and a grieving mother who feels responsible for the care of Erik's unborn child and sends his fiancee to America to have the baby.

Thoughts:  In his lengthy preface, Sherwood explains that this play is the sequel to Idiot's Delight, in which Dr. Valkonen was a minor character stuck at the hotel with a zany crew of fellow cast mates (Pulitzer Prize, 1936). 

Once again, I feel like Sherwood had a lot to say, but perhaps a play was not the best possible platform for his thoughts.  When the characters of the play are interacting with plot-driven dialogue, the play moves quickly and believable characters and relationships are created.  However, the bulk of this play (like Abe Lincoln in Illinois and Idiot's Delight) is made up of lengthy monologues about the nature of humanity and war.  In his thirty page preface, Sherwood quotes extensively from his other works and seems to make many of the same arguments that he has made before--war is not the end of humanity, but instead a chance to reflect on our mistakes and learn from them, though he seems dubious about that actually happening.

"Patriotism as now practiced is one of the most virulent manifestations of evil" (79).  

The Kentucky Cycle by Robert Schenkkan (1992)

Summary:  Nine short plays are set on the same acreage in Kentucky, spanning from 1775-1975.  The plays chronicle the lives of three families, which are intertwined through rivalry, slavery and marriage.

• Masters of the Trade-1775-Michael Rowen, a former indentured servant from Ireland, makes deals with the Cherokee exchanging ammunition (the Cherokee have recently acquired firearms, but no ammunition) for pelts and land.  This land is the setting for all nine plays in the Cycle.
• The Courtship of Morning Star-1776-Rowen has captured a Cherokee girl named Morning Star to be his wife.  He cuts her Achilles tendon so that she can never run away.  She has a baby, Michael is pleased to have a son. 
• The Homecoming-1792-Michael Rowen returns from a trip to the city with a slave named Sallie, who he plans to breed (with himself).  Enraged at the idea that he might also have a second family in the city, his son Patrick Rowen (16) shoots and kills him.  Hearing the gunshot, neighbor Joe Talbert comes over, reveals that he has been having an affair with Star (Patrick's mother).  Patrick kills him, sends his mother away and states his plans to marry Joe's daughter. 
• Ties That Bind-1819-A judge comes to Patrick's land and informs him that he is deeply indebted to a man named Patrick, who now owns his bank loans.  As they attempt to reconcile this debt, Patrick ends up selling everything that he has ever owned--including slave Sally and her son Jessie (who is actually Patrick's brother).  In the final moments of the play, it is revealed that Jeremiah is Jeremiah Talbert-son of murdered Joe and brother of Rebecca, Patrick's wife.  As part of the deal, Patrick's sons are "employed" to work for Talbert...a vengeful man who is actually their uncle. 
• God's Great Supper-1861-Richard Talbert (39), son of Jeremiah visits the rundown Rowen house and informs Jed Rowen (28) that they will be riding into Bowling Green the next day to join the Confederate Army.  Jed is needed because he knows the land better than anyone.  Jed wisely makes a deal with Jeremiah that his family's land will be taken care of while he is away (by slaves) and he will be paid for his time and allowed to work off some of his family's debt.  Richard agrees.  Jed has actually agreed to go on this trip because he has planned to kill Richard (and his entire family supports this idea).  After Richard is dead, they will only have to kill the remaining women and children of the Talbert house and then they will have their land back and no debts.  Lots of killing happens.
• Tall Tales-1885-Jed Rowen, now 52, is visited by a "storyteller" who eventually asks him if he'd be willing to sell the mineral rights to his land for $1 an acre.  After being told that someone will remove the rocks from his soil, Jed enthusiastically agrees.  His daughter (Mary Anne) narrates the story as old and young versions of herself and eventually talks about the destruction caused when the coal companies came in. 
• Fire in the Hole-1920-Mary Anne now has a ten year old son (Joshua Rowen) who is sick, probably with typhoid fever.  They have lost their house and are now living in the awful conditions of a coal camp.  A boarder named Abe (a secret union organizer) comes to stay at their home; gradually telling her about unions and Mother Jones.  Abe eventually persuades Mary Anne and her husband Tommy to start a coal union.  Abe and Tommy are eventually killed (for being an organizer and a snitch, respectively) but Mary Anne has started the first coal union. 
• Which Side Are You On-1954-Things are not good for the Union.  Joshua (44) is now the president of United Mine Workers District 16 and has been skirting safety regulations for months.  His son is recently back from Korea and takes a job as a "yes man" to his father.  As Joshua struggles with the idea of telling the Union members that there will be more cutbacks, there is an accident in the mine (because he has been ignoring safety issues to save some money).  His son Scotty and 12 others are killed because of his negligence.
• The War on Poverty-1975-Three sixty-five year old men (a Rowen, a Talbert and a Biggs--descendant of slave Sally) are walking around the land, attempting to figure out how much it is now worth.  "Mountaintop Removal Mining" has come into existence and the three men speak about it in tones mixed with awe and fear.  In casual conversation, a reference is made to grave-robbing that is now apparently popular in the mountains of Kentucky, involving the search for Native American artifacts.  As the men amble around the land, they see a partially exhumed grave and lift a buckskin pouch out of it--a pouch that contains the well-preserved remains of a baby.  This is actually the second child of Morning Star.  When Michael Rowen saw that this child was not a boy, he took it out into the woods and buried it alive. 

Thoughts:  I checked this book out of the library during the first two weeks of the project and have complained about reading it since.  9 plays?!  332 pages?!  I saved it for a long plane ride and then for the day after Thanksgiving and when both of those days came and went without me opening the cover, I knew I needed to commit to reading it in one sitting...which is what I did between the hours of 11 PM and 4 AM this morning.

To my surprise, reading this play was not difficult.  Because there are nine short plays, a sustained attention span is not necessary.  Though the same characters appear in multiple plays, Schenkkan's character description page preceding each play specifically states how old these characters are in the play to follow.  Schenkkan's decision to bind the plays chronologically is also very helpful.  Though names repeat (a number of the boys are named after their fathers/ancestors), this was never confusing for me because Schenkkan is brief and direct about who these people are.

The Cycle is obviously very broad, and certain plays are more enjoyable to read than others--perhaps because some of the main characters are quite one-dimensional and therefore are easy to categorize as "good guys" and "bad guys."  Schenkkan's portrayal of the women in these plays is very interesting.  Though they are never the main characters of his stories, they are almost unequivocally good people--trying to make the right choices even when their husbands are doing evil things based on greed.

Importantly, in the first play, when Michael asks the Cherokee for land, the Cherokee attempts to dissuade him from taking land on the mountain.  He repeatedly issues warnings to the effect of, "You will find this a dark and bloody land" and "you live here, it is not the Cherokee you need fear" (23).  Though he explains that the land is cursed (and the manifestations of this curse are seen in the eight plays that follow), the curse is never mentioned again.

Anna Christie by Eugene O'Neill (1922)

Summary:  Christopher Christopherson is an aging sailor who receives a letter (care of the local tavern) from his estranged daughter.  Anna is writing to say that she will soon be arriving for an extended stay.  He is delighted and makes room for her aboard his barge.  When she arrives, it becomes clear that she is there because she needs a break from her career as a whore.  Oblivious to this and happy to see her, he persuades her to stay aboard the ship.

A few nights later, a stranded crew finds their way on-board Christopherson's barge.  Quickly, one of the refugee passengers (Mat Owen) falls in love with Anna.  In a dramatic scene of self-disclosure, Anna reveals to her father and Mat (who now wants to marry her) that she was previously making her living as a prostitute.  All hell beaks loose, Mat and Chris go ashore, leaving Anna in despair on the boat.  Eventually, both of the men come back and Mat agrees to marry Anna "in spite of it all" (188). 

Thoughts:  Eugene O'Neill's other Pulitzer Prizes are for Strange Interlude, Long Day's Journey Into Night and Beyond the Horizon.  While I can certainly see elements of all of those works in this play (family, men returning from the sea, alcohol), I was surprised to read the following outburst:  "God's curse on you!  You slut, you, I'll be killing you now!"  (Act 3, 180)  One scene before calling her a slut, Mat also attacked Chris (physically) after Chris explicitly stated that he did not want his daughter marrying a man of the sea. 

Perhaps most troubling is the scene of reconciliation that ends the play.  In that scene, Mat returns to Anna and berates her for her transgressions as a whore.  She protests saying things like, "Don't you seem I'm licked?  Why d'you want to keep on kicking me?"  He responds with, "And don't you deserve the worst I'd say, God forgive you?"  (186).  When she finally convinces him that she did not love any of her clients and instead loves him, Matt asks her to promise this by swearing with her hand on a crucifix.  After she has sworn, he asks if she is Catholic and is horrified to discover that she is a Lutheran.  Regardless, he agrees to marry her.  It is then revealed that Chris and Mat will soon be shipmates on a voyage to South Africa.  Although Mat threw a chair at Chris just days before, everyone guffaws and the play ends happily ever after (cringe).

Proof by David Auburn (2001)

Summary:  After the death of her mathematician father, Catherine is left to negotiate a relationship with her sister Claire (who appears to completely have her life together) and Hal, a former doctoral student once advised by her father.  Allusions are made to her father's mental illness which 25 year-old Catherine believes she has inherited.  Ultimately, the Hal discovers a notebook containing a revelatory mathematics proof which would prove Robert's genius.  However, Catherine claims that she wrote the proof.  Claire and Hal are forced to question Catherine's potential genius and the lasting legacy of troubled Robert.

Thoughts:  One of the reasons that I find myself attracted to Edward Albee's plays is the way he writes fighting--sometimes ruthless and often nonsensical and emotional rather than logical.  Now on my third read of Proof, I find myself attracted to Auburn's dialogue for the same reason.

We know that Robert was a genius who went "crazy" and that Catherine feels the madness might have been passed down to her--but the type of mental illness or any sort of specific diagnosis is never mentioned.  Somewhat hauntingly, the play is dedicated "In memory of Benjamin Auburn (1972-2000)."

There are two major "wowza!" moments in this play.  One comes in the middle of Scene One after an eight-page conversation between Catherine and her father as he states mid-scene, "Because I'm also dead.  (Beat.)  Aren't I?"  She responds, "You died a week ago."  From this moment on , Auburn's structure does not follow linear chronology.  This deliberate stylistic choice allows him flexibility and new perspective in exploring yet another family drama (much like style is at the forefront of How I Learned to Drive).  Additionally, although Robert is dead, the non-chronological structure allows us to see him as "madness" begins to set in and then overtake.  The second wowza moment closes Act One as Catherine states, "I didn't find it.  I wrote it.  (Curtain.)"  While "wowza!" moments are highly theatrical and inspire whispers at intermission, Auburn also succeeds at making them shocking in print...certainly not an easy feat.

The Piano Lesson by August Wilson (1990)

Summary:  Boy Willie returns to his sister's house to claim their heirloom family piano (they each own half of it).  With the profits from this piano, he hopes to buy some of the land that his ancestors worked on as slaves and start a new life for himself "down South."  His sister Berniece refuses, reminding him that the faces of their great-grandparents (slaves) are carved into the wood.  The piano was first owned by a white slave-owner named Mr. Sutter and then stolen by Berniece and Boy Willy's father.  Shortly after stealing the piano, he was killed...but the piano remained as inheritance for his children.  To Berniece, the object represents family history, pride, struggle and a connection to the past.

Thoughts:  As I began this project, I became more interested in various projects of great ambition by playwrights, notably Suzan Lori-Parks' 365 Days/365 Plays project (November 2002-2003) and The Pittsburgh Cycle, which contains two Pulitzer Prize winning plays.  Also called The Century Cycle, this set of Wilson's plays each represent a decade of the 1900s and were written from 1982 to 2005.

They are:
1900s:  Gem of the Ocean (2003)
1910s:  Joe Turner's Come and gone (1988)
1920s:  Ma Rainey's Black Bottom (1984)
1930s:  The Piano Lesson (PP) (1990)
1940s:  Seven Guitars (1995)
1950s:  Fences (PP) (1987)
1960s:  Two Trains Running (1991)
1970s:  Jitney (1982)
1980s:  King Hedley II (1999)
1990s:  Radio Golf (2005)

Having also read Wilson's Fences for this project, I naturally found myself drawing connections between these two works.  Both of the plays examine familial relationships and are aided by the perspective of an outsider (Bono in Fences, Lymon in The Piano Lesson).  These characters are able to offer more tempered advice and perspective as they are not relatives but have decades experience participating in the interpersonal relationships of the families.  Additionally, both of these plays contain elements of the supernatural.  In Fences, Troy's mentally handicapped brother Gabriel believes he is the angel Gabriel and has a divine vision in the final scene.  The supernatural is much more prevalent in The Piano Lesson as the ghost of Sutter (the white slave-owner whose piano was stolen by the Charles' family) appears multiple times to different members of the cast, making it very clear that he does not want the piano moved.

While critics certainly have their favorites, I am reminded of the words of my professor David Jones, who described following progress of The Pittsburgh Cycle as:  "It was like watching someone build a Gothic cathedral."

How I Learned to Drive by Paula Vogel (1998)

Summary:  Over the course of thirty years, Lil Bit's relationship with her uncle-by-marriage Peck is explored.  He teaches her to drive, takes her out drinking for the first time and eventually visits her at college.  He begins touching her inappropriately before she can reach the pedals of his car (presumably age 11), and their last meeting (when she is in college) ends in a vague sexual experience and a proposal.  She states that she will not marry him, nor will she be home for Christmas.  She never sees him again. 

 

Thoughts:  Though the summary reflects a relatively straightforward plot, Vogel uses a number of techniques to ensure that style takes center stage in this play.  Lil' Bit is played by one actress, age flexible but likely in her 30s (Mary-Louise Parker in the original Broadway cast).  However, she morphs in age back to eleven and the action of the narrative is aided by individual characters named Male Greek Chorus, Female Greek Chorus, Teenager Greek Chorus, each played by an individual actor.

 

While the incest is unquestionable, the play raises questions about degrees of guilt and innocence (Vogel describes "Peck--attractive man in his 40s.  Despite a few problems, he should be played by an actor one might cast in the role of Atticus in To Kill a Mockingbird.")  Further complicating the play, Lil' Bit sometimes directly invites Peck's touch.

 

Like Vogel's The Long Christmas Ride Home, the style of the play enables her to write a fairly straightforward dysfunctional family drama in a very unique and dynamic way.

 

Driving Miss Daisy by Alfred Uhry (1988)

Summary:  After an unfortunate accident involving the neighbor's garage, Boolie Werthan decides to hire a black chauffeur for his mother Daisy.  For the next twenty-five years, she resists Hoke's help while they both gradually develop a deep mutual affection toward one another.

Thoughts:  I flew through this play (much like my reading experience of Doubt, actually).  The language of this play is precise:  neither Daisy not Hoke wastes their time with superfluous anything--especially words.  As such, each of Uhry's lines reveals something about his characters.

In his Introduction, Uhry explains that these are real people--amalgamations of individuals he encountered over the course of his childhood in Atlanta.  Anyone who has grown up in the South has probably known their own Miss Daisy.  Maybe I loved this play because it reminded me of my own grandmother; but I also found myself moved by the simplicity of the story and detail of the characters lives as they stay together for twenty-five years. 

I have written before about film adaptions that have made it hard for me to get the voices of the film actors (Jimmy Stewart in Harvey) out of my head.  This was not one of them.  While I remember the cinematic performances offered by Morgan Freeman and Jessica Tandy (Academy Award, 1989), Uhry's play is as remarkable on paper as it is in performance.

I recently read a New York Times review of the 2010 Broadway revival starring Vanessa Redgrave and James Earl Jones that noted the challenge of staging this play because it is certainly not a visual piece.  The article explained that the new production features slides in the background depicting the Civil Rights struggle and other events over the course of the twenty-five year setting (1948-1973).  After reading the play, I wonder why why why.  Uhry's work is strong enough to be produced with very little visual element...especially with actors like Vanessa Redgrave and James Earl Jones.

Photo credit:  Carol Rosegg

"I am in the process of writing the screenplay.  I have won the Pulitzer Prize.  Even as I write these words they seem unbelievable to me.  When I wonder how all this happened (which I do a lot!) I can come up with only one answer.  I wrote what I knew to be the truth and people recognized it as such."

-Alfred Uhry, Introduction

The Diary of Anne Frank by Frances Goodrich and Albert Hackett (1956)

Summary:  Thirteen year-old Anne and her family are hiding in an attic to escape discovery and capture by the Nazis.  They are joined in their confined space by the Van Daan family and a dentist named Dr. Dussel.  Eight people and a cat attempt to survive on stolen food rations while sticking to a strict nocturnal schedule to avoid capture.  Eventually, as it begins to look like the war is ending and they will be liberated, they are all captured and sent to separate concentration camps.

Thoughts:  I wasn't looking forward to reading this play, perhaps because I knew the ending, perhaps because I remember not reading the book when it was assigned circa eighth grade.  Yesterday, I complained about the lack of action in my recent reads and was certain that this play would be the same.  Instead, though the play is confined to an extremely tight area, it is largely dependent on action rather than narrative or relationships between characters.  Each time there is a knock at the door, both the characters and the audience wonder what surprises Miep has in store...or if the families in hiding have finally met their end.  Because we know how the play will end, the repeated visits from Miep create narrative tension that closely mirrors the emotional tension that each additional month in the attic causes.

While the play is obviously called The Diary of Anne Frank, the adaptation from Frank's text tells the story of the time spent in the attic--not always from her perspective.  All of the characters are well-developed and are each given the opportunity to show their multi-faceted personalities--which inevitably change under the stress of circumstance.  Though Anne becomes more important as the play progresses, this play is not full of huge monologues or chunks from the diary as I imagined that it would be.

Additionally, I think that using this play as part of a unit would be extremely beneficial for teachers required to teach Anne Frank's actual diary.  The Goodrich/Hackett adaptation piques interest in individual characters and made me wonder about what else Anne has to say about them in a diary that spans more than two years.

Crimes of the Heart by Beth Henley (1981)

Summary:  The Magrath sisters have returned to their family home after youngest sister Babe has been arrested for shooting her husband.  They revisit old arguments (and old boyfriends) and seem to argue that, though we age and move apart, the way we interact with our relatives never really changes.

Thoughts:  Another play about a family that fights, but also loves each other very much.  While the catalyst for the reunion (Babe's newly minted murderous tendencies) is certainly flashy, the interactions of the Magrath sisters are fairly banal.  Additionally, we can't hate Babe too much because her husband had been abusing her for years.  However, additional dramatic tension is added by the fact that Babe has been having an affair with a fifteen year-old black boy (and there are pictures!  Scandalous!)  Though the murder and subsequent meetings with the lawyer are certainly important to the advancement of the plot, this play is fundamentally about the relationship between sisters.  It seems obvious from the outset that Babe is not going to spend any time in jail, but worrying about it gives the sisters something to do besides fight with each other.

The Effect of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel (1971)

Summary:  Beatrice lives at home with her two daughters (Tillie and Ruth), an elderly woman named Nanny (whose family pays for her to be there) and a rabbit (who things cannot end well for).  Beatrice is emotionally abusive to her two daughters, likely drinks too much and frequently makes Tillie stay home from school to help her with Nanny and various chores around the house.  The dramatic action of the play changes when the school calls home to report that Tillie is a finalist in the school science fair.

Thoughts:  In the Introduction, Zindel writes, "I suspect it is autobiographical, because whenever I see a production of it I laugh and cry harder than anyone else in the audience."  This statement creates immediate sympathy for the author because, from start-to-finish, Beatrice is a character who no child should ever be subjected to.  Zindel's body of work includes an overwhelming majority of young adult novels.  This play, like most of those books, contains a strong moral that children are individuals, not just extensions of their parents.  Despite a horrendous upbringing, they can experience joy and ultimately triumph.

Doubt by John Patrick Shanley (2005)

Summary:  Sister Aloysius is convinced that Father Flynn has had an inappropriate relationship with Donald Muller--a twelve year old in the parish.  She is hellbent on getting him fired and Sister James, an eager young nun, is not sure who to believe.

Thoughts:  After writing about reading Harvey, Our Town and Fences after seeing them on stage/film, I began to wonder if reading a play after you have seen it performed completely changes the experience.  While I have seen the 2008 film version of Doubt (directed by the playwright) I did not find myself constantly thinking about the inflections of Streep, Hoffman and Adams while reading this text.  Shanley's precise writing enables the text to stand alone.  With or without performance, this piece of writing is remarkable.  The language of Doubt is uncomplicated and (perhaps because of this) the dialogue moves rapidly.  The play is one of the fastest reads I have encountered in the project.

Additionally, Shanley's Prologue explains that this play was inspired by his own experiences as a child of the 60s in a strict Catholic school.  Speaking prosaically about the tension between doubt and certainty, this piece of the text is evidence that Shanley writes well in a variety of genres (he does have an Oscar for Moonstruck, after all).  Go to a bookstore and read the Prologue.  It will probably make you want to read the play.

"We've got to learn to live with a full measure of uncertainty.  There is no last word.  That's the silence under the chatter of our time."

-end of the Prologue

Fences by August Wilson (1987)

Personal photo:  Fences at The Cort Theatre.  1 May 2010.

Summary:  The play takes place in front of 53 year-old Troy Maxon's house.  Alternately, Troy has conversations with his friend Bono, his wife Rose, his sons Cory and Lyons and his mentally disabled brother Gabriel.  Through these interactions, Troy's life story is revealed including a distant past that involves a previous marriage and prison time, and a current affair with a woman named Alberta.  Spliced throughout these interactions are Troy's monologues about facing death and direct-address to Death...staying that whenever He comes, Troy will be waiting.  Ultimately, the family finds themselves back in the front yard preparing for Troy's funeral--eight years after the start of the play.

Thoughts:  This was my second read of this play, and in the middle of my readings I was fortunate enough to see the Kenny Leon-directed production starring Denzel Washington and Viola Davis (who both won Tony Awards for their performances).  While I really liked the play the first time, the second read was infused with the voices of Washington and Davis.  Much like the Jimmy Stewart effect on Harvey, my memories of the performance greatly enhanced my second reading experience.

Our seats were about three rows from the back of the theatre (photo above taken from my seat); but the work of Davis and Washington was palpable throughout the entire space.  The audience was at least 85% black...and very vocally responsive to the action on stage.  When Troy confesses his affair, there was a collective gasp in the audience.  Moments later when he reveals that he has no plans to stop seeing Alberta because she makes him feel something, there were groans and clucking noises of disbelief and judgment.  At the climax of his revelations, he informs Rose that Alberta is pregnant.  At this point, a woman in the orchestra section loudly shouted, "Get him!" to Rose onstage.  While reading this scene, I vividly remembered not only these outbursts but the effect that having to hold for these responses had on the rhythm of the scene.

Although The New York Times had positively reviewed Washington's performance, I was skeptical.  Struggling actor friends had expressed their displeasure with the fact that two very successful film actors were taking Broadway jobs that could have been given to actors who actually needed the money.  Moments before the production began, my friend Nick gave voice to my own skepticism.  He said, "I mean....yes...Denzel is a good actor, but I feel like I am always seeing a different version of him instead of an actual character."  Fifteen minutes into the play, we both knew that this was performance was different.  The only time I felt like I was watching Denzel Washington was when he entered for the first time and the swoons of the audience overpowered the action on stage.  Otherwise, the performances of both Washington and Davis were so powerful that I literally held my breath during each of their longer monologues.

Personal photo:  Fences with Nick and Ryan at The Cort Theatre.  1 May 2010.

"Some people build fences to keep people out...

and other people build fences to keep people in." 

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.

State of the Union by Howard Lindsey & Russel Crouse (1946)

Summary:  Higher-ups in the Republican Party persuade Grant Matthews that he should seriously consider running for President.  This plea appeals to his large ego; but before he can make this happen, he must repair tenuous relations with his wife, potentially leave his mistress and figure out what his political views actually are.

Thoughts:  Like political drama that has come after it (The West Wing, The American President), the pace of this play is extremely quick and is aided both by people talking over each other and the physical movements of someone being handled and shuttled from place-to-place very quickly.  Everyone in this play has some sort of agenda and most of them are trying to hide it from Mr. Matthews, most notably his shrewd and funny wife Mary.  Everything goes to hell in an unseen dinner scene where Mary is seated next to Kay Thorndyke (Matthew’s mistress) and has had a few too many cocktails (it is the night of their anniversary, after all).

Clearly, State of the Union is a title with multiple meanings; and ultimately, it is revealed that Matthews will have to sacrifice governing one Union in order to live comfortably in another.

Alison's House by Susan Glaspell (1931)

Summary:  On the last night of the 1800s (December 31, 1899), a family has gathered to pack up their family estate, where only ailing Aunt Agatha currently resides.  Agatha will move in with her brother (male protagonist Mr. Stanhope) and the home will likely be sold to a couple who will transform it into a summer boarding house.  Aunt Alison is the unseen title character of this play--a poet of national acclaim who died many years ago.  Regardless, she is still the main topic of conversation in the house, especially after a reporter from Chicago visits, hoping to see her room and get an answer to the question, “Have all of her poems been published?”

Thoughts:  This play did a really excellent job of holding my interest in the two essential questions of the text:  1.  Have all of Alison’s poems been published?  and 2.  Why does everyone keep talking about her as if there is some sort of secret surrounding her?  The obvious answer to the first question is no, which becomes a pivotal issue in the third act; but the second question led me to a number of different hypotheses while reading.  A suicide?  A lesbian?  Incest?  Inquiring minds want to know! 

From the outset, it is clear that Aunt Agatha does not want to move because she feels closest to her sister Alison in the family mansion; and the strain of moving eventually results in her death—but not before she can hand over a satchel of unpublished poems to a recently returned niece (Edna).  Edna is the source of family scandal and not entirely welcomed at home because she recently ran off with a married man.  Eventually, it becomes clear that both old Mr. Stanhope and Alison experienced the same sorts of pining toward married people…but they didn’t act on their feelings.  Instead, Alison wrote poetry that ultimately both united and divided her family.  Most of the characters in this play, seen and unseen, have dealt with unrequited love and find themselves sharing stories (and poems) that have long been buried on New Years Eve, 1899.

“And then—all of a sudden—We had been dancing; we stopped by the door.  We just looked at each other—stared, rather, and he said—“Why, Elsa!”  We stood there, and then he said, “It is Elsa.”  And we went out to the veranda, and everything was different, because he was Bill and I was Elsa.  And everything we had together in the past—when we used to slide down hill together—was there, alive, giving us a past we hadn’t known we were making for ourselves.”  

(Act 3)

Street Scene by Elmer Rice (1929)

Summary: The entire play takes place on a street in New York when neighbors actually talked to each other and sat on their stoops in an attempt to obtain the most recent gossip. The neighborhood contains a wide range of immigrants and people who are fairly comfortable discussing their own religious biases and prejudices.  No one seems to have much money, but it also doesn't seem to matter very much.

From the outset, the older married females in the play are gossiping about Mrs. Maurrant who is having a not so secret affair with the milk collector. Meanwhile, Mrs. Maurrant’s daughter Rose is starting to have feelings for a neighbor boy named Sam.  Sam's sister cautions Rose against falling in love with her brother because he is Jewish, stating that mixed marriages are just too complicated. Ultimately, Mrs. Maurrant’s husband shoots the milk collector in a jealous rage. However, after all of this excitement, things in the neighborhood seem unchanged. Love will remain unrequited and gossip will continue to be an insidious way to make the time pass.

Thoughts: Random library selection caused me to read this play the day after reading Why Marry? and I was impressed that another play written decades ago contained women with such progressive attitudes toward the relationship between love and marriage.

Some of this play was a struggle to read because, instead of specifying race or nationality through stage directions, Rice actually scripts the variations in speech. Sentences like, “E talka lika dat een Eetaly, Mussolini's gonna geeve 'eem da castoroil” needed to be read aloud for comprehension.

Why Marry? by Jesse Lynch Williams (1918)

Summary:  Couples in a family are each having separate issues surrounding the subject of marriage.

Main plot:  Ernest and Helen:   two scientists who agree that they love each other; and also agree that they do not want to marry.

Sub-plots:  Rex and Jean:  probably don’t really love each other but have decided that it is time to marry.

John and Lucy:  Established married couple of the family.  All of the action of the play takes place at their home.  Amidst all the marriage craziness, Lucy eventually announces that she wants a divorce because she’s never really loved John in the first place.  John dismisses this as female hysteria.

Uncle Everett and unseen wife Julia:   Everett provides comic relief throughout the play.  He and his own wife are “secretly” attempting a trial separation, but she keeps sending cute telegrams from Reno, eventually revealing that they both miss each other and she’s on her way home.

Thoughts:  This play was originally published under the title And So They Were Married, but perhaps in an attempt to not give away the ending…it was changed and The Pulitzer committee recognizes it under the title Why Marry?  I have to say that I wasn’t particularly thrilled when I received this play through Inter-library loan and noticed that the first recipient of the Pulitzer is 242 pages long; but I was actually delightfully surprised.

The text is shockingly progressive, especially for 1918.  Helen is a brilliant, working scientist whose family believes that it is time for her to get married.  She and Ernest profess their love to each other and both agree that, “those who love each other truly don’t need anything to bring them together.  The difficulty is to keep apart” (148).  Clearly, Helen’s family thinks that this idea is ludicrous.

The play contains major commentary surrounding not only the subject of family and marriage; but also the role of both the church and state in marriage and civil unions and gender bias in academia.  Though these are all weighty subjects, the comedic elements of the play are both whimsical and intelligent.  Additionally, many of William’s lines are pointedly succinct.  He clearly uses word economy to his advantage, creating snippets of dialogue that can be quoted and remembered. 

I think a fascinating paper would be a queer reading of this play, especially because many of Helen and Ernest’s thoughts about marriage are reminiscent of rhetoric currently being used on both sides of the gay marriage/civil union argument.

Three Tall Women by Edward Albee (1994)

Summary: Three actresses play a character (not named) at different points in her life—around late 80s, 52 and 26. The actress playing the 26 year-old version is often dismissive of the advice given by older versions of herself. As such, they are both hyper-critical towards this young version of themselves. The oldest incarnation of this character is literally on her deathbed during the second act and repeatedly speaks in vague terms about an estranged son possibly coming to visit her. He does eventually visit, but never speaks.

Thoughts: In his Introduction, Albee explains, “I did not want to write a revenge piece.” However, he also makes it very clear that this play is about his adoptive mother, with whom he had a very troubled relationship (“I did not like her much, could not abide her prejudices, her loathings, her paranoias.”) With this set up, Albee creates three separate characters (though they are actually the same person), each deeply flawed. At times when they are delivering their major monologues, they paint themselves as completely unlikeable—only to later be redeemed by a different version of themselves.

Because of his extraordinarily personal introduction (he never claims that the play is not autobiographical) parts of this play made me feel like I know much more about Edward Albee than I actually do. One of the most heightened moments happens when the mother character graphically describes having adulterous sex in a barn with a stable hand, then stating that her son confronted her about it. As retaliation, she reflects on the incendiary comments made about his homosexuality that caused his abrupt premature departure from home.

"People often ask me how long it takes me to write a play, and I tell them 'all of my life.'"
-Edward Albee in the Introduction to Three Tall Women

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).