Marc Connelly · aftercurtain

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Beggar on Horseback

Writer · Play · 1924

Beggar on Horseback is a 1924 play by George S. Kaufman and Marc Connelly. The play is a parody of the expressionistic parables that were popular at the time; its title derives from the proverb "Set a beggar on horseback, and he'll ride at a gallop," "Set a beggar on horseback, and he'll ride to hell," or "Set a beggar on horseback, and he will ride to the devil," meaning that if you give wealth to the undeserving, they will be the worse for it. The play rails against the perils of trading one's artistic talents for commercial gain. At its core is Neil McRae, a poor, young classical composer. Concerned about how hard he is working at odd jobs to meet his financial obligations, his friends - a doctor visiting from back home and his neighbor, Cynthia Mason, in whom he has more than a passing interest - urge him to marry Gladys Cady, whose father is a wealthy industrialist. However, the man also favors the Tin Pan Alley school of musical composition, to which McRae is staunchly opposed. Conflict arises when he is offered a job making widgets at a substantial salary if he agrees to give up his "foolish" interest in the classics. The original Broadway production opened on February 12, 1924 at the Broadhurst Theatre, where it ran for 223 performances. The cast included Roland Young, Osgood Perkins, Spring Byington, and Frederic Richard Sullivan. The play was revived with most of the original cast a mere seven months later, opening on March 23, 1925, at the Shubert Theatre, where it ran for 16 performances. Forty-five years later, after 13 previews, another revival opened on May 14, 1970, at Lincoln Center's Vivian Beaumont Theater, where it ran for 52 performances. The cast included Leonard Frey and Susan Watson.

Dulcy

Writer · Play · 1921

The humor of the play is lost in the summary, for it consists of Dulcy speaking in bromides while her brother Bill offers dry counterpoint. Gordon Smith is contemplating joining a combine Forbes is proposing, yielding his factory in exchange for 16% of the shares in the new firm. Smith has invited Forbes to spend the weekend to discuss business, while Bill Parker has invited himself to his sister's house. Act I (The Smith's living room, in Westchester County, New York. Friday afternoon.) Bill Parker is there when Gordon Smith comes in from his commute. Henry informs them Dulcy is at a social event. They warily discuss Dulcy's new reform project: Henry. Tom Sterrett has arrived to see Mr. Forbes, while Van Dyck and Leach join the living room party, each having been invited by Dulcy. Sterrett and Leach are both interested in Angela Forbes, with Mr. Forbes taking Sterrett's part and Dulcy in favor of Leach. Angela disdains Sterrett for his preoccupation with business. Dulcy traps Forbes into agreeing to play golf with Van Dyck the next morning, and into riding horseback in the afternoon. She also tells Forbes that her husband has many business interests to manage, hoping to get him to increase his offer of 16%. However, Forbes reacts by telling Gordon his offer was predicated on a full-time commitment to the combine, and so may be lowered. Gordon tries to remonstrate with Dulcy about mixing in his business affairs, but as she sits in his lap can only admit how much he adores her. Dulcy then encouarges Leach to take Angela around the garden, while setting Van Dyck at Mrs. Forbes, since she writes scenarios and he owns film interests. She traps Forbes, Gordon, and Sterrett into playing bridge with her, after displaying an inadequate knowledge of the game. (Curtain) Act II (Same, Friday evening, after dinner.) Forbes is delighted when Dulcy suggests he play billiards with Gordon, only to find she has misplaced the balls. Forbes is increasingly uncomfortable about Van Dyck and Mrs. Forbes, while Sterrett has given up on getting Angela alone. Bill plays the piano in a desultory manner, until Dulcy shoos him away in favor of Van Dyck. She then encourages Leach to talk about his latest work. Leach begins to recite his scenario for Sin, accompanied by Van Dyck on piano. (Three second curtain, to signal passage of thirty minutes.) Leach finishes his scenario recitation as Forbes fumes over his pursuit of Angela. Van Dyck suggests to Gordon that he provide financing to save and expand Gordon's business. Thus encouraged, Gordon tells Forbes he'll reject the combine offer. Dulcy encourages Leach and Angela to elope, and recruits Mrs. Forbes to bring Angela's luggage to the car. Bill offers to drive the couple to a minister, confounding Leach who was hoping to avoid formalities, while Angela is amused. Blair Patterson is brought in by Henry. Patterson informs an aghast Gordon that Van Dyck is really his cousin Hoarce Patterson, who has a mild eccentricity for impersonating the millionaire Van Dyck. (Curtain) Act III (Same, Saturday morning.) Dulcy is subdued, as Gordon gently scolds her for interfering with business. She tearfully promises to try harder but immediately jumps in to offer Forbes a car so he can leave. Dulcy accidentally implicates Mrs. Forbes in the elopement, souring Mr. Forbes, who dreads having a "celluoid son-in-law". Gordon is surprised that Forbes still believes in the Van Dyck offer. Forbes knows Blair Patterson represents the Van Dyck interests, but does not realize Hoarce Patterson is not Van Dyck. Patterson tries to hustle Hoarce away, but is unable to stop him offering to finance Sterrett in his own ad agency. Overhearing this, Forbes is more convinced than ever of the genuine nature of Van Dyck's proposition to Gordon. Meanwhile, Angela and Bill come in; they are now married, Leech having been decoyed out of the car and abandoned on the road just after they left last night. Forbes is so relieved, he offers Gordon 25% of the new combine shares to turn down Van Dyck. Gordon and Dulcy are reconciled. (Curtain)

Erminie

Additional lyrics · Opera · 1885

Erminie is promised in marriage to Ernest, but she loves her father's secretary Eugène, while Ernest loves Eugène's sister Cerise. Thieves Ravennes and Cadeaux rob Ernest and disguise themselves to attend the engagement ceremony; Ernest arrives later and is falsely accused and jailed. In a second farcical scheme, the robbers' plans fail, and Erminie and Eugène, as well as Ernest and Cerise, are united.

Merton of the Movies

Playwright · Play · 1922

Store clerk Merton Gill dreams of film stardom and travels to Hollywood, where he befriends stuntwoman Flips. After his disastrous appearance as an extra, Flips exploits his resemblance to a matinée idol by casting him in spoof films; his earnest acting makes the satires unintentionally funny while he believes he is playing serious drama.

The Flowers of Virtue

Playwright · Play · 1942

After a breakdown, American businessman Grover Bemis retreats to rural southern Mexico, where a corrupt fascist general targets the village. When its idealistic leader is arrested as a communist, Bemis impersonates the local patron saint, restores the power supply, and helps save the village from dictatorship.

The Green Pastures

Playwright · Play · 1930

A young African-American child imagines Old Testament episodes in familiar terms, relocating them to New Orleans and an all-Black community. The play expands the role of De Lawd and incorporates spirituals.

The Wisdom Tooth

Writer · Play · 1925

Act I (Scene 1: Men's Washroom at Porter & Company.) Charley banters with colleagues about his saving so much money and not marrying. He complains of an aching wisdom tooth, and gets a recommendation for a dentist from Sparrow. They all wonder why a bright pretty stenographer nicknamed the Duchess was dismissed suddenly. Charley vows to challenge their boss Mr. Porter about it, but goes quiet when he passes by, drawing his coworkers' derision. (Curtain) Act I (Scene 2: Waiting room of Dentist's office. Later that afternoon.) Charley arrives for his appointment to find four people ahead of him, two men and two women. All the magazines are taken so he goes to a bookshelf and pulls down a volume of fairy tales. The two men tease him about his choice of reading matter; Charley tries to justify it, while the two women smile at his discomfiture. He eventually gives up and leaves without seeing the dentist. (Curtain) Act I (Scene 3: By fireplace of Mrs. Poole's boarding house. That evening.) The various denizens of Mrs. Poole's make their entrances and exits. Sally and Charley sit out dinner because of his tooth. He has bought her a cribbage board, because she used to play it in college. Mrs. Poole is fond of Charley; he has lived there six years and never missed paying rent on time. Farraday discourages Sally from taking Charley seriously, because he lacks opinions of his own. He proceeds to demonstrate this by switching sides in an argument, and each time Charley goes along with Farraday's new opinion. Alone now, Sally tells Charley she likes him, but despairs of freeing the strong person she senses inside him. She calls him a "carbon-copy person" then leaves him in the room now lit only by the fire. He speaks into the fire, wishing his grandparents were there to convince others he was really someone to respect. He hears his long-dead grandma calling "Skeeter! Skeeter!" and answers "Here I am!" The double doors of the room open by themselves, filled with a blue light, as his grandparents enter wearing old-fashioned clothes. (Curtain) Act II (Scene 1: Same as Act I Scene 3. A moment later.) Charley greets his grandparents with relief, telling them he really needs their help. He, and other living people in this scene find nothing incongruous about their presence. The grandparents introduce Lalita, an immortal spirit; Charley and her remember each other from his boyhood. Charley explains the problem he is having with Sally. Summoned to the room by Charley, she is introduced to the grandparents and Lalita. The latter's attire is considered a bit outlandish, so Charley fetches Katie, while the grandparents tell Sally about Charley's deeds as a boy in Indiana, how he saved a horse from a barn fire and rescued a mule from a pit. Katie agrees to take Lalita to Sally's room for a change of dress. Farraday is called for by Sally to see the true Charlie, but he refuses to change his opinion of him. In a moment, he is proved right, when Mrs. Poole enters to scold Bemis about Lalita. She insists the spirit and the old folks leave her house, and Charlie does not stand up for them. At this, the grandparents and Lalita fail to recognize Charlie as Skeeter, the boy they used to know. They depart calling for him. Sally encourages Charly to go seek Skeeter too, to recapture his lost self. Charley starts out the door calling after his grandparents. (Curtain) Act II (Scene 2: Blackdrop with only Charley's face lit up.) Voices are heard, some from Charley's youth, others just fellow travelers on the mysterious road Lalita and his grandparents took. Charley tries to speak with the voices of his youth, reminding them of shared events. At mention of a circus, he recalls working to earn tickets for him and his grandparents. The circus voices and noises begin to predominate and music is heard. (Curtain) Act II (Scene 3: An old fashioned circus.) Charley finds himself under a big top, with circus performers and crew moving about. Grandpa and Grandma Bemis come in, happy that Charley, whom they once again recognize as Skeeter, provided tickets for them. Barnum and Bailey greet them and introduce the clowns and animal trainer. They spot Porky wriggling in under the canvas, but Barnum and Bailey allow him to enter. Charley sees Everett hauling water for the animals. Everett explains he took the job after his last sentence for drunkenness was done. Charley introduces Lalita as his girl, but Everett corrects him; your girl is my niece Mildred. She now appears, glad to have met up with Charley and delighted to meet Lalita. Porky challenges Mildred and Charley; he cannot see Lalita because he does not believe in fairies. The clowns join in the rough teasing, but all are put in their place when Skeeter appears. Though smaller than Porky, he forces him to back down and apologize. Charley implores Skeeter to help him recover his courage. Skeeter agrees to help Charley, for a little while. (Curtain) Act II (Scene 4: Mr. Porter's office) Skeeter takes Charley to the present time, but the haziness of light signals another fantasy scene. Sparrow brings accounts for Mr. Porter, who asks for Charley. Skeeter is ignored by Sparrow and Mr. Porter, who both welcome Charley. The latter immediately announces his resignation, explaining its the only way he can challenge his big boss about the dismissal of the Duchess. After some verbal skirmishing, Mr. Porter reveals the Duchess was habitually late for work, incompetent, and overly familiar. He then asks Charley to reconsider his resignation, and he agrees to stay. Skeeter says he is leaving now to return to Grandma and Grandpa. Charley wants him to stay and help bolster his courage, but Skeeter is adamant he is not going to babysit Charley. He will, however, be there if Charley really needs him. They shake hands and part, with Charley musing "Gee, I was a swell kid". (Curtain) Act III (Same as Act I Scene 3. Same evening, 10:30 pm.) Charley finds himself back in front of the fire at Mrs. Poole's. She brings in Sparrow, who has come to borrow some money for taking a young lady home by taxi cab. Kellog and Fry join them for a brief discussion about business and the French war debt. Charley gradually comes to self-realization as he listens to their opinions. When Faraday and his wife return from the cinema, Charley reminds them of his recommending the film. Despite the late hour, he telephones Porter at home and challenges him over the dismissed Duchess. Sally has come into the room and hears the call. Mr. Porter fires Charley over the phone for impudence. Charley tells Sally he does not care, he said what he meant to say. Sally is delighted, and signals her renewed interest in Charley by agreeing to teach him to play cribbage. (Curtain)

To the Ladies

Writer · Play · 1922

The Beebe's live on the ground floor of a two family home, with Chester Mullin and his parents living above them. The Beebe's have been married six months. Leonard Beebe is a clerk with John Kincaid's Sons, a piano manufacturer. Chester also works there in a lower position. Leonard is hoping to be promoted to Chief Clerk, for the Beebe's are running a deficit due to Leonard's investing in a grapefruit farm in Florida. Act I (The Beebe's living room, in Nutley, New Jersey. Saturday afternoon.) Leonard and Elsie fuss around waiting for the Kincaids to arrive. Elsie is ready to play their Kincaid piano and sing when they do come, but is worried about the unpaid bill for it. Chester drops in to their annoyance. He has heard about the visit and is determined to get something out of it. When the Kincaids arrive, he tries to pitch Mr. Kincaid to back his vaudeville act but is shot down. Elsie is ready to play the piano when two truckmen arrive to repossess it. John Kincaid pays the overdue amount for the Beebes. He and Mrs. Kincaid prepare to depart, obviously disappointed in the Beebe's profligacy. However, Elsie persuades them by explaining how Leonard has invested a lot of money into a grapefruit farm, hence their indebtedness. She convinces Mrs. Kincaid, not of Leonard's worthiness, but of her own. Mrs. Kincaid gives Mr. Kincaid the signal, and he invites the Beebes to the annual banquet for top employees. After they leave, Leonard is determined to give a speech from out of an advertised book of speeches, which he buys after borrowing $3 from Chester. (Curtain) Act II (Scene 1: Same, two weeks later.) Leonard rehearses speech number 47 from the book he bought. Elsie quizzes him to make sure he understands when and how to deliver the phrases. When the evening newspaper is delivered, Leonard reads that his grapefruit farm was a scam and the perpetrator has been arrested. Chester arrives, listens to the speech, and announces he's quitting John Kincaid's Sons to go on the road with vaudeville... but not right away. He leaves when the taxi comes to take the Beebe's to the annual banquet. As they exit, Leonard realizes he's forgotten his speech, only to see Elsie pull it from her purse and smile. (Black out-- dark change to second scene) (Scene 2: The annual dinner of John Kincaid's Sons, Hotel Commodore, New York City.) Thirteen people sit in a row at a banquet table, facing the audience. From off to the right an off-stage speaker drones on about a strike at the company's Framingham plant. The Toastmaster hurridley thanks him at a pause, and quickly introduces the Politician, who gives a short speech. Next is John Kincaid, who is applauded and cheered immoderately by his employees. He introduces Tom Baker, Leonard's rival for the Chief Clerk position. Within two sentences the Beebes realize he is delivering speech number 47, the same one Leonard memorized. Leonard is paralyzed when called to speak next, but Elsie saves the day by claiming he has laryngitis. She will deliver a speech Leonard wrote she informs the waiting audience, and makes one up impromptu. The speech is received well, and Leonard is once more grateful to his loyal and resourceful wife. (Curtain) Act III (The outer office of Mr. Kinkaid, New York City, six months later.) Leonard has been promoted to Mr. Kincaid's secretary on the basis of Elsie's speech. He has filled the office with labor-saving gadgets that either don't work or are too difficult to operate. Nevertheless, the efficient Miss Fletcher manages to cope. Elsie arrives to meet Leonard for lunch. He introduces her to Miss Fletcher; the women eye each other for possible threats to their respective positions. Chester enters to pester Miss Fletcher who quickly departs. Elsie goes to wait for Leonard in the lobby. Tom Baker comes in next, and through Chester's ignorance, learns Leonard was planning to deliver speech number 47 at the banquet. Tom accuses Leonard of hiding behind his wife, which Mr. Kincaid overhears. He decides to rescind Leonard's promotion, but Elsie returns in time to forestall him. She has brought Mrs. Kincaid with her. The two women join forces to remind Mr. Kincaid who really runs his company. He backs down, and the Beebe's embrace. (Curtain)

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