Our Town, by Thornton Wilder, is an American classic, expressing with warmth and humor the eternal truths of human existence. It is a heartening, compassionate glimpse of that time before the Great Wars; before our innocence was lost forever.
From the time of its first performances in 1938, it has continued to be regarded as one of the best representations of life in America and of the richness of our theatre world. For decades it has remained a landmark of theatrical craftsmanship and a loving picture of American life.
Winner of the Pulitzer Prize, Our Town depicts pathos set against a background of centuries of time, social history, and religious ideas. As the Stage Manager (who functions as a Greek chorus in the drama) says: "This is the way we were in our growing-up and in our marrying and in our doctoring and in our living and in our dying."
Our Town is set in 1901 in Grover's Corners, New Hampshire, where the Gibbses and the Webbs are neighbors. During their childhood George Gibbs and Emily Webb are playmates and their lives are inextricably woven together as neighbors' lives are likely to be. But as they grow older they pass into a state of romantic (and embarrassing) interest in one another. George proposes to Emily in the drug store over an ice cream soda, and they are married with all the good folks of Grover's Corners in attendance. But George and Emily's happiness is short-lived. Emily dies in childbirth and is buried in the town's cemetery on a rainy, dreary day. There she is reunited with those friends and neighbors who have died before her, and who help her acclimate herself to her new existence. In one of the most vital scenes in modern theatre, the peace and quiet of death, which can never be understood by the living, is portrayed.
Our Town is not just about Emily and George and, indeed, is not just about a small town in northern New England a hundred years ago. Our Town is a play about what we (and Thornton Wilder) thought America and Americans were. As we are about to take a head-long leap into the next century we are forced, not only to look ahead to what we might become, but to turn and look back at what allowed us to arrive at this threshold of the new millennium.
O’Connor, Flannery. “Good Country People.” Literature: Reading Fiction, Poetry and Drama. Ed. Robert DiYanni. 6th ed. New York: McGraw Hill, 2007. 188-201.
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
In an excerpt from “In Cold Blood”, Truman Capote writes as an outside male voice irrelevant to the story, but has either visited or lived in the town of Holcomb. In this excerpt Capote utilized rhetoric to no only describe the town but also to characterize it in order to set a complete scene for the rest of the novel. Capote does this by adapting and forming diction, imagery, personification, similes, anaphora, metaphors, asyndeton, and alliteration to fully develop Holcomb not only as a town, but as a town that enjoys its isolation.
Thornton Wilder’s Our Town is a work of “sentimental fiction” because it connects all the people living in the small town of Grover’s Corners. In a small town like Grover’s Corners everybody knows each other within the town, so there is a deeper connection of companionship, friendship, and love within the town. The residents of Grover’s Corners constantly take time out of their days to connect with each other, whether through idle chat with the milkman or small talk with a neighbor. So when love and marriage or death happens in the town, it will affect the majority Grover’s Corners residents. The most prominent interpersonal relationship in the play is a romance—the courtship and marriage of George Gibbs and Emily Webb. Wilder suggests that
With the coming of the new century America under goes a change led by many different events. The collection of poems written in Lee Masters book Spoon River Anthology portrays the typical small town at the end of the 19th century and the beginning of the 20th century. Show the different social, economical, and political trend and influences throughout the United States.
Arthur Miller’s Death of a Salesman and Thornton Wilder’s Our Town both explore the fulfillment of life. Emily and Willy Loman fail to take advantage of their lives because they have the wrong priorities and do not take the time appreciate what they already have. Willy focuses solely on achieving his dreams of success as a salesman and helping Biff become a great man, resulting in him ignoring his family, declining status in society, and reality, leading to his demise. He never realizes what he has lost by chasing after inconceivable dreams; however, Wilder’s Emily reflects on her life after she dies and begins to understand that her lack of appreciation for the little moments took away from the fullness of her life. Even though Wilder and Miller tell two unique stories, they use similar methods to show their thoughts on living and essentially convey the same message about how dreams can ruin people and how not appreciating the little things takes away from the quality of life.
O’connor, Flannery. "Good Country People" The Bedford Introduction To Literature, 5th ed. Ed, Michael Meyer. Boston: Bedford/St. Martin’s,1999. 393-406
The Stage Manager is a man of many roles. Usually a stage manager is part of the non-acting staff and in complete charge of the bodily aspects of the production. In Thornton Wilder’s Our Town, the Stage Manager goes well beyond his usual function in a play and undertakes a large role as a performer. In Our Town the Stage Manager is a narrator, moderator, philosopher, and an actor. Through these roles the Stage Manager is able to communicate the theme of universality in the play. The main role of the Stage Manager is that of narrator and moderator. He keeps the play moving by capsule summations and subtle hints about the future. "I’ve married over two-hundred couples in my day. Do I believe in it? I don’t know? M….marries N….millions of them. The cottage, the go-cart, the Sunday-afternoon drives in the Ford, the first rheumatism, the grandchildren, the second rheumatism, the deathbed, the reading of the will-once in a thousand times it’s interesting"(699). Here the Stage Manager is giving insight about George and Emily’s future. He is hinting about their life and fate to come. "Goin’ to be a great engineer, Joe was. But the war broke out and he died in France. All that education for nothing" (673). The incidents discussed about are great events in George, Emily, and Joe’s lives. The Stage Manage emphasizes that the short things in these people’s lives are overlooked. There isn’t realization that it is the small parts of their lives that make a difference. His role as narrator differs from most narration. The Stage Manager’s narration shows casualness. The casualness connects the Stage Manager to the audience. "Presently the STAGE MANAGER, hat on and pipe in mouth…he has finished setting the stage and leaning against the right proscenium pillar watches the late arrivals in the audience."(671) The informality is evident since he smokes a pipe, wears a hat, and leans formally against the proscenium pillar. He also greets and dismisses the audience at the beginning and end of each act. The stage manager interrupts daily conversation on the street. The Stage Manager enters and leaves the dialog at will. He is also giving the foresight of death in the play. His informality in dress, manners, and speech, connects the theme, universality, of the production to the audience.
In Katherine Mansfield’s “The Garden Party” and in D.H. Lawrence’s “Odour of Chrysanthemums,” two women were in a situation where death was literally at their feet. In “The Garden Party,” Laura finds herself contemplating the dead body of Mr. Scott, a man of lower class who lived at the bottom of the hill from her house. In “Odour of Chrysanthemums,” Elizabeth finds herself contemplating the dead body of her husband, Walter. Although the relationships these women shared with the dead men were completely opposite, they both had striking similarities in the ways that they handled the situation. Both women ignored the feelings of the families of the deceased, failed to refer to the deceased by name, felt shame in the presence of the deceased and both had a life and death epiphany. Although Laura and Elizabeth were in two similar yet very different situations, they both had contemplated the dead men, acted in similar ways, felt similar emotions and both ended up having an epiphany regarding life and death at the end of the story.
People who thinks of Thornton Wilder primarily in terms of his classic novella “Our Town,” The Bridge of San Luis Rey will seem like quite a switch. For one thing, he has switched countries; instead of middle America, he deals here with Peru. He has switched eras, moving from the twentieth century back to the eighteenth. He has also dealt with a much broader society than he did in “Our Town,” representing the lower classes and the aristocracy with equal ease. But despite these differences, his theme is much the same; life is short, our expectations can be snuffed out with the snap of a finger, and in the end all that remains of us is those we have loved.
Later on, the author gets to the time when her father just died. Miss Emily felt so alone that she decided to keep her dead father’s body in the house, and not let anyone take him away from her. After the neighbors kept coming to the city council and complaining about the fowl smell that was coming from miss Emily’s house, the judge sent a few men to put lime around the house to kill the smell. As the reader later finds out, the smell was coming from miss Emily’s father’s decaying body. Finely the authorities took the dead body out of the house and buried it. As the story goes on, the reader is told that the town was being renovated, streets being paved and such. With the renovators, came a young man, by the description, he was a handsome young man. The town kept talking as they always did, gossiping about miss...
An ironic ending is also foretold by the town’s setting being described as one of normalcy. The town square is described as being “between the post office and the bank;” every normal town has these buildings, which are essential for day-to-day functioning. The townspeople also establish a normal, comfortable setting for the story. The children are doing what all typical kids do, playing boisterously and gathering rocks. The woman of the town are doing what all stereotypical females do, “exchang[ing] bits of gossip.” The men are being average males by chatting about boring day-to-day tasks like “planting and rain, tractors and taxes.”
Thornton Wilder effectively demonstrates the importance of life’s repetition in Our Town through the cycle of life, George and Emily’s love, and the playing of “Blessed Be the Tie that Binds.” The cycle of life is shown repeating from birth to life to death and back to birth again. George and Emily’s love is repetitious and unending, even after the death of Emily, which demonstrates the importance of life. As “Blessed Be the Tie that Binds” is recurrently heard throughout the play, it serves as a bridge through a void of time or place, which is important in understanding the play. It is no wonder that Wilder achieved a Pulitzer Prize for his in-depth work of life.
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
Katherine Mansfield explores profoundly the world of death and its impact on a person in her short story, "The Garden Party."