The Glass Menagerie

by Tennesee Williams

July 6 – July 21, 1962

Amanda Wingfield is a faded, tragic remnant of Southern gentility who lives in poverty in a dingy St. Louis apartment with her son, Tom, and her daughter, Laura. Amanda strives to give meaning and direction to her life and the lives of her children, though her methods are ineffective and irritating. Tom is driven nearly to distraction by his mother’s nagging and seeks escape in alcohol and the world of the movies. Laura also lives in her illusions. She is crippled, and this defect, intensified by her mother’s anxiety to see her married, has driven her more and more into herself. The crux of the action comes when Tom invites a young man of his acquaintance to take dinner with the family. Jim, the caller, is a nice ordinary fellow who is at once pounced upon by Amanda as a possible husband for Laura. In spite of her crude and obvious efforts to entrap the young man, he and Laura manage to get along very nicely, and momentarily Laura is lifted out of herself into a new world. But this crashes when, toward the end, Jim explains that he is already engaged. The world of illusion that Amanda and Laura have striven to create in order to make life bearable collapses about them. Tom, too, at the end of his tether, at last leaves home.

Arsenic and Old Lace

by Joseph Kesselring

June 1 -June 16, 1962

The play is a farcical black comedy revolving around Mortimer Brewster, a drama critic who must deal with his crazy, homicidal family and local police in Brooklyn, NY, as he debates whether to go through with his recent promise to marry the woman he loves. His family includes two spinster aunts who have taken to murdering lonely old men by poisoning them with a glass of home-made elderberry wine laced with arsenic, strychnine, and “just a pinch” of cyanide; a brother who believes he is Teddy Roosevelt and digs locks for the Panama Canal in the cellar of the Brewster home (which then serve as graves for the aunts’ victims); and a murderous brother who has received plastic surgery performed by an alcoholic accomplice, Dr. Einstein (a character based on real-life gangland surgeon Joseph Moran) to conceal his identity and now looks like horror-film actor Boris Karloff (a self-referential joke, as the part was originally played by Karloff). The film adaptation follows the same basic plot, with a few minor changes. It is customary, after the cast takes several curtain calls, for the final one to finish with the “murder victims” (often well-known local personalities) entering from the basement and joining the cast for the final bow.

The Madwoman of Chaillot

by MAURICE VALENCY

Impromptu – 1962

August 10,11,18 and 19

The annual showcase of Villagers talent

The Still Alarm by Joseph Arthur

The Stronger by August Strinberg

No Exit by Jean-Paul Sartre 

August 31 – September 15, 1962

THE STILL ALARM – The romance between Jack Manley (Harry Lacy) and Elinore Fordham (Blanche Thorne) is looked at askance by the villainous John Bird (Nelson Wheatcroft), who is not above trying to burn the lovers alive. But the New York Fire Department comes to their rescue in time for a happy ending. Its famous scene of horses and engines setting out from the firehouse and of the rescue from a burning building made it one of the most popular plays of the era, especially with backwater audiences. Although New York critics sneered, the play chalked up a run of 104 performances when it returned to Manhattan in March 1888.

THE STRONGER – Women,  Madam X, a married actress, and Mademoiselle Y, an unmarried actress, meet in a cafe. In this one simple scene Strindberg creates an episode of incredible, poetic power – a snapshot of life so intense, so powerful, that it rivals Beckett at his best. Like a Kafka short story, ‘The Stronger’ is rich in allegory and lends itself to many layers of interpretation; it is a play that takes little more than ten minutes to read / perform, but that one can easily spend hours thinking about afterwards. It is moreover, a powerful play, one that makes a deep impression, and leaves one with the illusion that one has travelled far and seen much, even though the entire thing is actually incredibly short.

NO EXIT –  The play begins with a Valet leading a man named Joseph Garcin into a room that the audience soon realizes is in hell (hell is described as a series of “rooms and passages”). The room has no windows, no mirrors, and only one door. Eventually Garcin is joined by Inиs Serrano, and then another woman, Estelle Rigault. After their entry, the Valet leaves and the door is closed and locked. All expect to be tortured, but no torturer arrives. Instead, they are left to probe each other’s sins, desires, and unpleasant memories, gradually realizing that this is their punishment: they are each other’s torturers. At first, the three see events concerning themselves that are happening on Earth, but eventually (as their connection to Earth dwindles and the living move on) they are left with only their own thoughts and the company of the other two. Near the end of the play, Garcin demands he be let out; at his words the door flies open, however, none of the three will leave. This is due partly to the substantial heat and fear of the unknown, but primarily to Garcin’s desire for validation from Inиs that he is not a coward.

Volpone 

by Ben Jonson

September 28 –  November 13, 1962

Volpone, a Venetian gentleman, is pretending to be on his deathbed after a long illness in order to dupe Voltore, Corbaccio and Corvino, who aspire to his fortune. They each arrive in turn, bearing extravagant gifts with the aim of being inscribed as Volpone’s heir. Mosca, Volpone’s assistant, encourages them, making each of them believe that he has been named in the will, and getting Corbaccio to disinherit his son in favour of Volpone.

Mosca mentions in passing that Corvino has a beautiful wife, Celia, and Volpone goes to see her in the disguise of Scoto the Mountebank. Corvino drives him away, but Volpone is now insistent that he must have Celia for his own. Mosca tells Corvino that Volpone requires sex with a young woman to help revive him, and will be very grateful to whoever provides the lady. Corvino offers Celia.

Just before Corvino and Celia are due to arrive for this tryst to take place, Corbaccio’s son Bonario arrives to catch his father in the act of disinheriting him. Mosca ushers him into a sideroom. Volpone is left alone with Celia, and after failing to seduce her with promises of luxurious items and role-playing fantasies, attempts to rape her. Bonario sees this, comes out of hiding and rescues Celia. However, in the ensuing courtroom sequence, the truth is well-buried by the collusion of Mosca, Volpone and all three of the dupes.

Volpone now insists on disguising himself as an officer and having it announced that he has died and left all his wealth to Mosca. This enrages Voltore, Corbaccio and Corvino, and everyone returns to court. Despite Volpone’s pleas, Mosca refuses to give up his wealthy new role, and Volpone decides to reveal himself in order to take Mosca down with him. They, Voltore, Corbaccio and Corvino are punished.

This main plot is interspersed with episodes involving the English travellers Sir and Lady Politic Would-Be and Peregrine. Sir Politic constantly talks of plots and his outlandish business plans, while Lady Would-Be annoys Volpone with her ceaseless talking. Mosca co-ordinates a mix-up between them which leaves Peregrine, a more sophisticated traveller, feeling offended. He humiliates Sir Politic by telling him he is to be arrested for sedition, and making him hide inside a giant tortoise shell.