Susan Glaspell The Verge Analysis Essay
Although Susan Glaspell considered herself a novelist, she is best known for her plays. Her playwriting period lasted fifteen years, seven of which were during the time of her association with the Provincetown Players. In only one season, that of 1919-1920, did Glaspell not present at least one new play. Although her work in short fiction and the novel is somewhat conventional, her work in the theater is not. She experimented, taking risks with her plays. She was an early advocate of expressionism, the use of nonrealistic devices to objectify inner experience. She experimented with language, sometimes incorporating poetry into the dialogue, and her plays are more often about ideas—feminism and socialism—than they are about characters and plot. The general critical response of her contemporaries to her plays was praise for her realistic ones and a reaction of confusion to her more experimental ones.
Her plays have a range of themes, but most concern the individual and the individual’s need to find self-fulfillment. Specifically, she focuses on women who attempt to go beyond societal roles, searching for independence and autonomy. Often, however, these women pay a price: in love or acceptance by family and friends, in money, or, in the case of Claire Archer in The Verge, in mental health. Sometimes the search is for the “otherness” of life, that which makes life worth living and takes one beyond the trivial and the commonplace. This search is often aided by a guide or mentor who, some critics argue, is patterned after Cook.
Glaspell’s best-known and most anthologized play is the one-act Trifles, written for the Provincetown Players’ second season, 1916-1917, to fill out a bill with Eugene O’Neill’s play Bound East for Cardiff (wr. 1913-1914, pr. 1916, pb. 1919) and later rewritten as the short story “A Jury of Her Peers” (1917). In The Road to the Temple, Glaspell describes the origin of the play, writing that she sat in the empty theater until the image of a Midwest farm kitchen with its occupants appeared before her. Trifles, based on an event that Glaspell covered as a reporter in Des Moines, takes place in the kitchen of Minnie Wright, a woman accused of murdering her husband. Minnie Wright, in jail, remains offstage for the entire play. Trifles marked Glaspell’s first use of the device of the absent protagonist, which would be employed again in other plays, most notably in Bernice and Alison’s House. The play, with its grounding in realism and regionalism, is not representative of her later, more experimental plays, but it is said to be the best structured of her plays, and it is certainly the most often performed.
Trifles opens as five people enter a farmhouse kitchen. The three men—the sheriff (Mr. Peters), the county attorney (Mr. Henderson), and a neighbor (Mr. Hale)—are there to uncover evidence to link Minnie to the murder of her husband, John Wright, who was choked to death with a rope...
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In November 2009 the Ontological-Hysteric Theater’s Incubator program for emerging artists produced The Verge directed by Alice Reagan and Performance Lab 115. New York Times critic Claudia La Rocco wrote, “It would be easy to reduce The Verge, Susan Glaspell’s 1921 play, to a feminist tract. Society forces Claire Archer into the boxes it deems acceptable; in attempting to escape those boxes, Claire goes mad. But that summary ignores the work’s wild heart, which, like its fragile, monstrous heroine, is somehow irreducible.”
Rebecca Lingafelter plays Claire in Alice Reagan's Ontological-Hysteric production of The Verge. Other performers included Sara Buffamanti as Anthony, B. Brian Argotsinger as Harry, Tuomas Hiltunen as Dick, and Todd d'Amour as Tom. Photo by Sue Kessler.
SGS members were in attendance and, while La Rocco thought that Reagan’s use of video interludes (by Jeff Clarke) of voluptuously flowering plans was “heavy-handed,” SGS member Michael Winetsky felt that the video as well as Claire’s dance performed by Rebecca Lingafelter “were effective and were in the spirit of Glaspell’s expressionism.” For full text of La Rocca’s Nov. 10 2009 review: