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SINCE 1949!
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Our TownBy Thornton Wilder Come and explore the quaint New Hampshire town of Grover’s Corner, where it can appear that little happens, but every moment is filled with greatness. Celebrate life and love in this cherished American classic.
4. SYNOPSIS
Thornton Niven Wilder was born on April 17, 1897 in Madison, Wisconsin. His parents, Amos Parker Wilder and Isabella Thornton Wilder, were wealthy and conservative. They imparted to Thornton deep moral and religious values. Thornton spent much of his childhood in Hong Kong, for in 1906 his father was appointed America’s Consulate General there. In Hong Kong, he attended Chinese missionary schools and received a good education. After high school graduation, he attended Oberlin College for two years and went on to graduate from Yale University in 1920, where he received a degree in classical literature with honors. While pursuing an advanced degree at Princeton University, Wilder taught at Lawrenceville School, where he remained on staff from 1921 until 1928. He received his master’s degree in English in 1926 and then went on to study archeology at the American Academy in Rome. During his student years, Wilder also began to write. He published his first novel, The Cabala, in 1926. He also wrote a play entitled The Trumpet Shall Sound.
After graduating from Princeton, Wilder’s literary career began in earnest. He published The Bridge of San Luis Rey in 1927; it became a landmark American novel and brought Wilder popular success. It also won him his first Pulitzer Prize. He then turned his attention to drama and published The Angel that Troubled the Waters in 1928. In 1930, he became a faculty member at the University of Chicago. In the same year, he also published his next novel, The Woman of Andros, and dabbled in scriptwriting for motion pictures. His next novel, Heaven's My Destination, was published in 1935. Wilder then turned his full attention to drama, for which he is now best remembered. He produced Our Town in 1938 and The Skin of Our Teeth in 1942. He won another Pulitzer Prize for the two of them.
When the United States joined World War II, Wilder enlisted and served in Europe. For his outstanding military efforts, he received the Legion of Merit, the Bronze Star, and the Legion d’Honneur; he was also given honorary membership in the Order of the British Empire for his wartime contributions. After the war, Wilder returned to writing and teaching.
In 1948, Wilder published a novel, The Ides of March, about Julius Caesar. Between 1950 and 1951, he delivered the Charles Eliot Norton Lectures in poetry at Harvard. In 1952 he became the chief of the American delegation to the UNESCO Conference of Arts in Venice, Italy. In 1954, he produced the play entitled The Matchmaker, followed by A Life in the Sun in 1955. In 1962, he retired to a small town in Arizona to nurse his frail health. He continued his writing career there and produced two plays in 1964: The Seven Deadly Sins and The Seven Ages of Man. In 1968, he produced Eighth Day, for which he won a National Medal for Literature. Wilder published his last novel, Theophilus North, in 1973. He passed away in 1975 in Hamden, Connecticut, where he had been staying with his sister, Isabel Wilder.
Besides winning several Pulitzer Prizes for Literature, Wilder received many other accolades in his lifetime. In 1963, he received a Presidential Medal. He was also conferred honorary degrees from New York University, Yale University, Kenyon College, College of Wooster, Harvard University, Northeastern University, Oberlin College, University of Hampshire, and University of Zurich.
Notes from the Playwright
Every action which has ever taken place—every thought, every emotion-- has taken place only once, at one moment in time and place. “I love you,” “I rejoice,” “I suffer,” have been said and felt many billions of times, and never twice the same. Every person who has ever lived has lived an unbroken succession of unique occasions. Yet the more one is aware of this individuality in experience (innumerable! innumerable!) the more one becomes attentive to what these disparate moments have in common, to repetitive patterns. As an artist (or listener or beholder) which ‘truth” do you prefer—that of the isolated occasion, or that which includes . . . the innumerable? Which truth is more worth telling? . . . The theatre is admirably fitted to tell both truths. It has one foot planted firmly in the particular, since each actor before us (even when he wears a mask!) is indubitably a living, breathing “one”; yet it [also] tends and strains to exhibit a general truth since its relation to a specific “realistic” truth is confused and undermined by the fact that it is an accumulation of untruths, pretenses and fiction.
Our Town is not . . . a picture of life in a New Hampshire village; or a speculation about the conditions of life after death . . . . It is an attempt to find a value above all price for the smallest events in our daily life. . . . I have set the village against the largest dimensions of time and place. The recurrent words in this play are “hundreds,” “thousands,” and “millions.” Emily’s joys and griefs, her algebra lessons and her birthday presents-- what are they when we consider all the billions of girls who have lived, who are living and who will live? Each individual’s assertion to an absolute reality can only be inner, very inner. . . . Our claim, our hope, our despair are in the mind—not in things, not in “scenery.” Molière said that for the theatre all he needed was a platform and a passion or two. The climax of this play needs only five square feet and the passion to know what life means to us.
-- Thornton Wilder, 1957 From the “Preface” to Three Plays published by Harper and Row
Our Town, which came to be heralded as a Poetic Chronicle of Life and Death, was Wilder’s first major play and the winner of a Pulitzer Prize for literature. The first performance of the play took place at the McCarter Theater in Princeton, New Jersey, on January 22, 1938; it then moved on to play in Boston and New York, where it met with tremendous success. Audiences felt that there was something very human and universal about Grover’s Corners; everyone could identify with someone in this small town.
Wilder’s passionate plea in the play is to appreciate every moment of every day, for life is a fleeting thing. With troubles rapidly expanding in Europe and war becoming a looming reality, people were inundated with the negative aspects of life. To see Our Town was to escape from the negative and rejoice in the ordinary; it reaffirmed faith in the unchanging moral values of small town living. It was obviously the balm that audiences needed in the midst of a pessimistic and changing world.
Act I, "Daily Life" creates the picture of ordinary people engrossed in their daily routine against the backdrop of Grover’s Corners, a small New Hampshire Town. The Stage Manager describes the setting and introduces the audience to the Webbs and Gibbs, the families that are the main characters of the play. After the introduction, Howie Newsome, the milkman, and Joe Crowell Jr., the paperboy, arrive on their daily errands. Doctor Gibbs comes on stage; he is returning from Polish town, where he has delivered twins to Mrs. Goruslawski.
Mrs. Gibbs and Mrs. Webb are busy getting their children ready. After they depart for school, the mothers visit with each other. The day then passes in ordinary activity. When school is out, Emily and George walk towards home together. Emily agrees to help him with his homework. As the couple moves off stage, the Stage Manager returns and gives some additional background information about the town. Mrs. Webb and Mrs. Gibbs are then seen returning from choir rehearsal at the church; they gossip about Simon Stimson, the church organist who drinks too much. As the people of Grover’s Corners prepare for bed, Constable Warren patrols the town. The Stage Manager enters to announce the end of Act I.
Act II opens with a monologue from the Stage Manager. He informs the audience that the play is moving forward three years in time; he also tells that the act is titled “Love and Marriage.” Emily and George, who have been sweethearts for many years, are engaged; their families are eagerly preparing for the wedding. Mrs. Gibbs is worried about her son, but her husband tries to allay her fears. George goes to Emily’s house but is prohibited from entering by his future mother-in-law; she claims that it is bad luck for the groom to see the bride on the day of the wedding.
The Stage Manager comes forward to reveal how Emily and George became a couple. One day on the way home from school, Emily upbraids him for being so into baseball that he neglects his family and friends. George readily admits that he has allowed baseball to become more important than many things, but not more important than she. Emily is overwhelmed at his admission, and before long they profess their love for another other. The Stage Manager then announces that he is to play the role of a minister for the wedding. He goes on to philosophize about marriage.
Before the wedding, Mrs. Webb is sad, for she feels like she is losing her daughter; she is also worried because she feels Emily is ignorant about the facts of life. During the ceremony, George and Emily are obviously nervous, but they manage to both say, “I do.” Mrs. Soames, a guest at the wedding, continuously gushes about this being the loveliest wedding she has ever attended.
At the opening of the third act, entitled “Death,” nine years have passed. The setting is a cemetery, and many of the characters seen previously in the play are among the dead, who now roam the stage as spirits. Emily is among them; she has just passed away during the birth of her second child and was been tearfully laid to rest by her family and friends. As a newcomer to the spirit world, she is uneasy and restless. She expresses her strong desire to go to earth again and relive her past -- at least for a single day. The other spirits try to dissuade her, but she persists. When she is allowed to choose one day to revisit, Emily picks her twelfth birthday.
Emily’s return to earth disillusions her; she is amazed to realize that human beings do not appreciate life; they seem to take everything for granted. Unable to endure the agony of the truth, Emily sadly returns to her grave before the end of the day. When her husband visits her grave that night to shed tears of grief, Emily realizes that George, like all humans, does not understand the truth about death – or life. The play ends with the Stage Manager appearing for the final time to bid farewell to the audience.
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©2006 Olney Theatre Center
(T/A National Players)
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