ABSTRACT

CORNELIA OTIS SKINNER
AND HER ART-FORM 0F.MONOLOGUE-DRAMA

by G. Bruce Loganbill

This study examines the monologue-drama of Cornelia
Otis Skinner. As the originator, writer, and performer of
her art-form she has made a unique contribution to English-
speaking theatre. Through her six monologue-drama pro~
ductions on Broadway, throughout the United States, and in
England, her name has become synonymous with solo-performance.

Chapter One is an introduction to the uniQue character
of Miss Skinner's art-form, and presents an outline for the
following investigation. Chapter Two sketches the early life
and career of Miss Skinner so as to reveal the influences
which contributed to the development of monologue-drama.
Special attention is given to those factors shaping her own
personality since it is so much a part of the unique character
of her art-form. In the third chapter the art-form of
.monologue-drama is compared and contrasted to full-cast
plays, reading theatre, oral interpretation, and various
other types of artistic platform performance. How her art

(of playing compares to that of her predecessors is studied,

G. Bruce Loganbill

as well as her own principles and ideas about her art and its
performance.

The analysis of her first historical monologue-drama
script, 1h; m g; M mg, constitutes Chapter Four,
while an analysis of the latest and most complex script,
zggig'ng, forms the content of the chapter which then fol-
lows. Because a primary objective of the investigation has
been to evaluate her contribution as a writer of the material
she performs, these two chapters have concentrated on this
phase of her work. Criteria of analysis are based upon
characterization, dialogue, and unified dramatic action which
are basic to unity of form, content, and theme. Chapter Six
considers the critical reactions to Miss Skinner's monologue-
drama productions. The professional drama critics' opinions
of her art-form, scripts, and performances are reviewed and
summarized. Again special attention is given to the two
monologue-dramas, The Kyles g; figg§1_1;;; and §g§;§.:2_.

The concluding chapter summarizes the findings and evaluates
Miss Skinner's contribution to theatre.

The study reveals that monologue-drama is an art-
form unique to Miss Skinner. Through it she has been able
to combine facets of the character sketch with elements in-
herent to a full-cast play. The study further discloses that
through her ability as a writer, as well as a performer, she
gave the solo-performance prominence which it never before

experienced. Imagination, intelligence, technical skill, and

G. Bruce Loganbill

artistry are basic to her theatrical effectiveness. Her
success with the new and untried gave her stature as the
mistress of her art-form. It reminds us that the theatre
is alive and receptive to innovations if the talent is
genuine.

Cornelia Otis Skinner is an actress, playwright,
novelist, essayist, and solo-performer. Although in each
medium she is recognized as an individual of uncommon talent,
this study has concentrated on the last ability. As
originator, writer, and performer of monologue-drama, she
earned the esteem of the theatre public and critics, and it
is in this capacity as well that she is worthy to be
remembered in theatre annals as one of the 20th century's
most talented and gracious solo-performers and a unique

contributor to theatrical art.

Cop right by
G. gRUCE LOGANBILL
1962

CORNELIA OTIS SKINNER AND HER ART-FORM OF
MONOLOGUE-DRAMA

By

G. Bruce Loganbill

A,THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Speech

1951

ACKNOWLEDGMENTS

To Dr. John A. Walker goes my most sincere appre-
ciation for his untiring guidance in this study. His Judg-
ment, scholarly counsels in research, patience, and diplomacy
have won my admiration and heartfelt thanks. Above all, may
I express my grateful appreciation for the opportunities
which he has extended to me and for his personal friendship.

Along with Dr. Walker, special credit and gratitude
are due to Dr. Donald H. Ecroyd and to Dr. Frederick G.
Alexander for reviewing the manuscript and offering valuable
counsel; to Professor Gean Greenwell for his genuine interest
in my doctoral work and for serving on my advisory committee;
to Dr. Moiree Compere for her dedicated zeal extended in my
behalf; and to Dr. Paul J. Deutschmann for his serving on
the guidance committee.

Finally, my gratitude and special thanks are extended
to my parents, Mr. and Mrs. Oscar J. Loganbill, and aunt,
Mrs. Alvin Hasenbank, for their understanding, support, and

encouragement in my doctoral studies.

11

TABLE OF CONTENTS

ACKNOWI‘EmMENTS O O O O O O O O O O O O O O O O O O O

PHOTOGRAPH OF CORNELIA OTIS SKINNER . . . . . . . . .

Chapter
I.

II.

III.

IV.

INTRODUCTION . . . . . . . . . . . . . . . .

BIOGRAPHICAL REVIEW OF CORNELIA OTIS SKINNER

Family Background . . . . . . . . . . .
Early Life and Education . . . .
Professional Stage Debut and Early Roles
Emergence As a Writer . . . . . . . . .
The Monologue-Dramas . . . . . . . . .
Paris :29 . . . . . .

Professional Activities Outside the Theatr
Life Apart From the Theatre . . . . . . .
Summary . . . . . . . . . . . . . . . . .

oemeeeeee

THE MONOLOGUE-DRAMA AND MISS SKINNER'S THEORY
OF ITS PERFOWANCE O O O O O O O O O O O O O

Monologue-Drama Nomenclature . . . . . . .
Miss Skinner and Her Predecessors . . . . .
Contemporary Solo-Performers . . . . . . .
Monologue-Drama Versus Oral Interpretation
Acting and Playing Monologue-Drama . . . .
Miss Skinner' s Theories of Performance and

MOHOlogue-Drama e e e e e e e e e e e e 0
Summary 0 O O O O O O O O O O O O O 0 0 O 0

THE WIVES OF HENRY VIII, Script Analysis . .

Background To The Wives of Henry VIII . . .
Significance and Framework of an Analysis
of The Wives of Henry VIII . . . . . . .
Outline of The Wives of Henry VIII . . . .
Catharine of Aragon, Scene One . . . . . .

111

Page
ii
vi

12
17
2O
24‘
25

28

29

30
32

45
51

56
69
74
76
78

8O
81

iv

Chapter Page
Anne Boleyn, Scene Two . . . . . . . . . . . 87
Jane Seymour, Scene Three . . . . . . . . . 93
Anne of Cleves, Scene Four . . . . . . . . . 97
Katheryn Howard, Scene Five . . . . . . . . 101
Katharine Parr, Scene Six . . . . . . . . . 104
smary O O O O O O O O O O O O O O O O O O 108

V. PARIS ' O, SCRIPT ANALYSIS . . . . . . . . . . 116

 

Introduction and Background To Paris ' . . 116
Significance and Framework of Analysis of

Paris 2.0- O O O O O O O O O O O O O C O 122
Outline of Paris ' . . . . . . . . . . . . 123
Act I: Champs Elysees . . . . . . . . . . . 12A

The Nou-Nbu, Scene One . . . . . . . 12#
A Fashionable Parisienne, Scene Two . 130

La Duchesse de Vertpres, Scene

Threeeee e eeeeeee134
La Belle Conchita, Scene Fbur . . . . 137
The New woman, Scene Five . . . . . . 140

Act II: Niche In a Portal of Notre Dame and
theLerthkeeeeeeeeeee 143
The Angel, Scene One . . . . . . . . 143
The Laundress, Scene Two . . . . . . 146
A Boston School Teacher, Scene
ThreeOOOOOOOOOOOOOOO 148
A WOman of Virtue, Scene Fbur . . . . 152
A Professor's Wife, Scene Five . . . 155

Act III: Montmartre, Friends of Tbulouse-

Lautrec . . . . . . . . . . . . . 158
La Goulue, Scene One . . . . . . . 158
A Lion Tamer of the Medrano Circus,
Scene Two . . . . . . . . . . . . . 163
Berthe La Sourde, Scene Three . . . . 166
Berthe La Sourde, Scene Four . . . . 168
Yvette Guilbert, Scene Five . . . . . 170
Summary . . . . . . . . . . . . . . . . . . 173

VI. CRITICAL REACTION TO MISS SKINNER.AND HER
MONOLOG’UE-DW e e e e e e o e e e e e e e e 1 9 1

Mon01°sue-Sket°hea e e e e e o e e e e e e e 192
The Wives of Henry VIII . . . . . . . 195
The FburiMonologue-Dramas from 1932-1952 . . 200
Par—#8 .129 O O O O O O O 0 O O O O O O O O O 206
summary 0 O O O O O O O O O O O O O O O O O 221

Chapter Page
VII. SUMMARY, CONCLUSIONS, EVALUATION . . . . . . . 226
summary 0 O O O O O O O O O O O O O O O O O 226

Conclusions . . . . . . . . . . . . . . . . 233
Evaluation 0 e e e e e e e e e e e e e o e e 237

BIBLIOGRAPHY O O O O O O O O O O O O O O O O O O O O 241

 

vl‘

CHAPTER I
INTRODUCTION

Cornelia Otis Skinner is a dynamic force in the 20th
century American scene and especially in the theatre. Fer
thirty years she has been a featured actress or star in pro-
fessional productions, and she has played throughout most of
the English-speaking world. Theatre audiences in the United
States, Canada, England, Australia, and Alaska have witnessed
her stage performances. She is the playwright or co-author
of three plays which were produced professionally. She has
written ten novels based upon the vagaries of modern life.
Her witty and urbane essays have appeared for over twenty-
five years in 1;; Egg Yorker, Thg_flgg 19;; Times Ma azine,
and other leading periodicals. These accomplishments alone
would stamp her as an eminently successful actress and writer.
But her greatest and most singular contributions have been
as a writer and performer of monologue-drama, a form of
theatre which she may be said to have originated.

The purpose of this study is to investigate the art
of Miss Skinner as a writer and a performer of monologue-
drmla. Although she was preceeded in the area of solo-
perfernance by such notable figures as Beatrice Herford,
Dorothy Sands, and Ruth Draper, Miss Skinner was dissatisfied
with the limitations which her predecessors had accepted.

Their performances consisted of a series of more or less un-
related character sketches which lacked the continuity and
thematic unity of a fully developed dramatic script. The
characterizations which Miss Skinner's predecessors played
were not unified, for they had little if any commonality or
relationship. Although she based her early career as a solo
perfonmer on similar sketches, which she wrote for herself,
she soon turned from them in order to set out in a new
direction. With such scripts as Th; _W_i_v_§_§_ g_f_ H3931 ELI, .123
2213“ Menu, 11;; E19; g_f_ Charles 1;, Mansion en the
Hudson, Egg; H}; M, and 293;; 129, she added to the scope
and dramatic power of solo performance by creating a unified
script constructed around a central idea. This form of drama,
written for'herself as the solo perfonmer of all the roles,
is known as monologue-drama.

Miss Skinner wrote these monologue-drama scripts and
performed them-successfully in New Ybrk and on tour both in
and outside of the United States. As dramatist and performer,
her own personality, writing skill, and acting talents have
blended so completely that it is difficult if not impossible
to separate completely the various facets of her unique
contribution. She is credited with creating a tggg_gg_;gggg
because of her characteristic and unique treatment of material
which she has written, together with her distinctive mode of

presentation.

Part of the uniqueness of the monologue-drama is at-

tributed to Miss Skinner's own unique personality. For this

reason a review is made of the early life and career of Miss
Skinner as they relate to the study of monologue-drama. The
biographical material is confined to that information which
helps to reveal and clarify the work of Cornelia Otis Skinner
as a writer and performer of monologue-drama. This treatment
is not intended to be an exhaustive biography of Miss Skinner.
Such complete biographical data is readily accessible in Miss
Skinner's own autobiography, Family Circle. 'Instead the
material is included to show the influences which aided the
later development of her career. To review chronologically
her background,training, and career serves to show the
pertinent factors of her theatrical family background and
childhood which equipped Miss Skinner and helped prepare her
for a career of the monologue-drama. Those significant
attributes and circumstances are noted to re-create a part
of the environment from which cane her~unique contribution
to theatre. The biographical review also reveals the warmth
of Miss Skinner, her wit, intelligence, personality, and
humanity for which she is noted. Illustrations, drawn from
the many which exist, reflect these qualities which are a
part of her life and career. In addition, the stature which
Miss Skinner has attained is illustrated. Through her
intelligence, personality, and unique theatrical talent for
the monologueedrama, Miss Skinner has been honored for her
contribution to the theatre and admired for her life apart
from the stage.

As evidence of her skill and intelligence as an

actress, a.maJor section is devoted to Miss Skinner's
theories and observations on acting for the purpose of dis-
covering how the monologue-dramas are performed. She has
denied any systematized theory of acting, but sufficient
material is available in scattered sources that a compre-
hensive summary of her principles of performance may be
assembled. Of particular importance are her observations
regarding the differences between acting in regular drama
and monologue-drama. Moreover, how her art of playing is
similar to, and yet different from, that of her predecessors
is studied.

The next major section reviews and analyses in de-
tail two of her most important monologue-dramas, 1h; Ill-1.9.2.
gmmmmm. mmmmmu
significant because it was the first monologue-drama, it was
one of her most successful productions, and it brought her
prominence in‘the ttheatre as a performer and writer of
monologue-drama. Earl; :29, besides being the latest of her
monologue-drama scripts, was the vehicle for the longest run
on Broadway by a solo-performer, the most detailed production
ever attempted by Miss Skinner, and included more
characterizations and scenes than she had ever'previously
attempted in a single production. The scripts are analyzed
on the basis of characterization, dialogue, and unified
dramatic action. The latter includes consideration of those
elements of plot structure, script compactness, and thematic

unity.

Such a study would not be complete without also con-
sidering the critical reactions to Miss Skinner‘s work. The
primary purpose of this section is to show the characteristics
of Miss Skinner as a performer although, for a total view,
her ability as a writer cannot be entirely separated from the
performance. Because the monologue-drama is the ephemeral
art that it is, this study must rely upon the opinion of the
drama critics for evaluation of the performance of Miss
Skinner. Comments about Miss Skinner's art are drawn from
newspaper, Journal, and magazine reviews. In the critics'
reactions to the monologue-drama, Miss Skinner's first mono-
logue sketches and her early monologue-dramas are treated,
but Earl; L29, for the reasons detailed above, receives the
major attention. The drama critics' reaction to Zé£l§.L29
is divided into criticism of Miss Skinner's technique of
playing, reaction of the audience as noted by the drama
critics, and the notices of Miss Skinner as a person and
performer by the drama critics.

-Finally the study is concerned with an evaluation of
,Miss Skinner and her’monologue-drama. In this last section,
attributes of Miss Skinner and elements of her art are
brought together to show how she has expanded theatrical art
by writing and performing monologue-drama.

The materials used for this study have come from
various sources. Cornelia Otis Skinner and her secretary,
Eleanor Walsh, have generously supplied the scripts of The
fllzgg_gf_§ggg[ Ell; and Earl; ' . From Miss Skinner's New

YOrk City office also have come unpublished source materials
about Miss Skinner and her art of the monologue-drama, in-
cluding a souvenir book and photographs. The gagig’LQQ
Souvenir Egg; was compiled by Miss Skinner and her staff and
was made available upon request for this study. The publi-
cation gives a glimpse into the training and career of Miss
Skinner and is, of course, oriented primarily to gagig LQQ.‘
The contributing writerswere Miss Skinner, her father,.Otis
Skinner, and drama critic Norton Faust. Photographs included
are by John Erwin and Dorothy Wilding, along with other photo-
graphs from Miss Skinner's collection. Other primary source
material used for this study is information from personal
interviews and conversations with Miss Skinner and her secre-
tary, and published biographical and autobiographical material
written by Miss Skinner and her father, Otis Skinner.
Secondary sources used are newspaper and periodical reviews
of Miss Skinner and her art of the monologue-drama.

With these preliminary statements as introduction,
there follows a brief summary of Miss Skinner's background
and early career in order to reveal the influences which
were to effect her development as an actress and writer of

monologue-drama.

CHAPTER II

BIOGRAPHICAL REVIEW OF CORNELIA OTIS SKINNER

Family Background

Cornelia Otis Skinner has not always had professional
success although she has always borne a professionally ac-
claimed name. Otis Skinner and Maud Durbin Skinner were her
parents. Both were actors in the legitimate theatre, and
Otis Skinner was also a silent motion picture star. Similar
to Cornelia, "her father began his career as a monologist and
became one of the most popular players in the history of the
American stage."1 Otis Skinner spent fifty years in the
theatre and played 325 roles. His career on the stage brought
him fame and wealth. He retired in 1932 and died ten years
later. One account of his passing read, "Richest Actor
Dies!"2 His talent indeed made him a wealthy man. "His
estate included more than 8750,000 in cash and securities, a
castlelike duplex in a co-operatively owned East Side apart-

ment house, and priceless mementos of stage history. The

1Arthur Mann, "Honor of the Family," Colliers, 114
(December 16, 1944), p. 88.

2"Otis Skinner," ggeetre Arts Monthl , 26 (April
19‘2), p. 216.

bulk was left in trust for Cornelia."3

Perhaps Otis Skinner's most famous roles were in
‘Blggg and Sand, the motion picture, Kismet, and the play,
The 5232; o_f:_ _t__h_e Family. As an actor, he was the idol of
Broadway in the years preceding World War I. Otis Skinner
was admired by his wife and daughter as being not only a
famous actor, but a devoted husband and father.

As a husband, he was always "dear Otis," an

everloving spouse who never missed writing a

daily letter home while on the road. As a

father, he was "gay, funny" ... He taught his

only child to read, using an abridged Shake-

speare as a primer.4

Miss Durbin and Mr. Skinner met in 1893, when Maud
Durbin Joined Madame Helene Modjeska's theatrical company in
which Otis Skinner was Madame ModJeska's leading man. Later,
Miss Durbin became Skinner's leading lady in his own
theatrical company, and then his leading lady in life, for
they were married in 1895. Mrs. Skinner gradually retired
from the stage to rear her daughter, Cornelia. "Needless to
say, Maud brought Cornelia up to be a 'ledy.'"5 Mrs. Skinner
became active as a socialite in Philadelphia and New Ybrk
City. "Yet it was Maud Skinner who insisted that the Skinners

must be a down-to-earth family, with a 'real' home ... no

3Mann, loc. cit.

4"Skinner's Family Circus," Newsweek Magazine, 79
(September 6, 1948), p. 79.

51bid..

9

living in a trunk for them."6 Mrs. Skinner was always known
and remembered by her many friends as "the beautiful and

gifted Maud Durbin Skinner.”

Early Life d Education

 

Miss Skinner was born on May 30, 190k in Chicago.
Soon thereafter the Skinners moved to New York where they
lived in a small hotel on Gramercy Park. She was not so-
corded the ordinary childhood that most children know, with
brothers and sisters, and public school education. "When I
was four I started being yanked about Europe. It was part
of mother's cultural plan to expose me at a tender age to
cathedrals, palaces, and art galleries. I don't believe I
enjoyed it very much."7

Bryn Mawr, Pennsylvania, became the childhood home
for Cornelia. While her father was on the stage in New Yerk
and on tour throughout the country, Mrs. Skinner and Cornelia
stayed behind, except for an occasional tour with Otis. At
the Baldwin School for Girls, in Bryn Mawr, Cornelia re-
ceived her elementary education. She loved to see her father
come home on Sunday, and "he looked forward to the end of
each busy week, and a quiet Sunday at home. He enjoyed life
in the little house on the college campus, enjoyed the

-¥

5:91 .

7Cornelia Otis Skinner, Family Circle, (Boston:
Heughton.Mifflin Company, 1948), p. 129.

10

Pleasant faculty folk who were our neighbors."8

School for Cornelia was not entirely pleasant, at
least not at first. "The cultural improvements of our
European trip served not at all to improve my school marks
which maintained their level of near-arrested development."9
Also, she did not win new friends easily because she was used
to being with adults rather than with other children. Cor-
nelia was shy, and reported later, "I spoke with a broad a
and didn't rip out the letter 2 in orthodox Main Line
fashion.“0 In School, Cornelia's name even provoked mirth.
A fellow school girl nicknamed her "Chameleon Ogre Skinny,”
"...an inspirational epithet which her [the school girl's]
cohorts took up like a chant whenever I emerged for recess."11
Cornelia's first favorable recognition from the girls at
school came when she, on one occasion, got a bowler hat, put
it on, and performed a comedy routine sung to "Rufus Rastus
Johnson Brown.”

Ewen at this early age, Cornelia delighted her school
friends with her entertaining and acting ability. At home,
she was given piano lessons, and each week she learned a

poem which she usually recited on Friday afternoons, at tea-

time. To encourage her daughter in this memory work, Mrs.

 

8;b1deg Do 1970
91mm, p. 211;.
'°;pid., p. 164.
"lpid., p. 165.

11

Skinner would give Cornelia ten cents for a quatrain,
twenty-five cents for a sonnet, thirty-five cents for Shelly's
sglar , and one dollar for the m _o__§ a. 9533.12 Yet, the
choice of selections was left to young Cornelia. She humor-
ously relates that, on one occasion when her mother was
entertaining two proper spinsters, she was called upon to
recite. Cornelia decided upon a poem, "The Price He Paid,“
by Ella Wheeler Wilcox, whichehe had found in the Philadelphia
Evening Bulletin. "Whatever inspired me to choose it I can't
imagine, for I could not have remotely known what it was
about..."13 She learned only later that venereal disease was
the topic of the poem.

At the Baldwin school, Cornelia's mother directed the
Dramatics Club in Macbeth. Lady Macbeth was played by Cor-
nelia, while Ann Harding played the role of Macduff. Otis
Skinner later underlines the significance of this production,
for in Cornelia, "the urge to act was born."'4

After Baldwin, Cornelia entered Bryn Mawr College
where she remained for two years.

At first she chafed somewhat at the prospect of a

further educational grind. Latin, physics and

the advanced mathematics had not so much charm in

the light of her new found joy in acting. She

was soon won over by the college spirit. She
immediately found herself in the midst of the

”gig” p. 217.
'3;bid., p. 219.

'40tie Skinner, as told in "Paris '90" Souvenir
Book, p. 9. This memento gives a glimpse into the training
and career of Miss Skinner, and focuses upon the essential
factors of Paris L29, The uSouvenir Book was compiled by
Miss Skinner and her staff and leaned for this thesis.

12

dramatic activities of the college. She shared

in theswritings of the class plays and burles-

ques.

School life at Bryn Mawr did not diminish Miss
Skinner's enthusiasm for the stage; the summer before her
sophomore year she made her professional debut in George
Tyler's company in Washington, D. C. "My Thespian Initi-
ations, instead of getting the theatrical bee out of my
bonnet, merely whetted my ambitions to become an
actress ..."16

Her parents conceded that she should leave school to
study in Paris, for her father would not allow her to go to
a dramatic school. When friends asked her what she was to
study in Paris, she would reply "with a vague gesture and an

exalted expression, 'Oh, you know. Drama. The Theatre.

Things.”17

Professional Stag§_Debut and Early Roles

At the end of Cornelia's study at the Sorbonne, the
Skinners toured Spain and then returned to New York where,
in 1921, Otis Skinner produced Blood and Sand by Blasco-
Ibanez at the Empire Theatre. In this drama, Miss Skinner
played the lead, and he assigned to his daughter the part of

a Spanish aristocrat. "I was to have in all three speeches

 

'5Ibid.
16Cornelia Otis Skinner, QR. cit., p. 284.

171bid.

13

to say. I blush to recall the fact that I referred to it as
'my role'."18 The tryout city was Buffalo, and this was
followed by taking the play on a few weeks' tour. Cornelia
received sixty dollars a week remuneration. Her father paid
her meals and hotel bills, but for this he charged her five
dollars a week. She recalls how she rated no privileges as
the star's daughter, nor any excessive comment from him ex-
cept regarding make-up, for she applied her make-up without
restraint, using all colors of shadowing which she possibly
could.

Father stood it for about ten days and then he
sent his valet with a summons for me to report
to him in his dressing room immediately ...
"Sit down," he ordered preremptorily, indicat-
ing the chair in front of his make-up mirror.
Then in a loud, practical tone he remarked,
"YOu look like hell," and with several vigor-
ous swipes of towel and Albolene, cleaned off
my lurid layers. Then using his own grease
sticks and liners, he showed me a make-up which
he said looked more like a human being and less
like a face on a totem pgle. I was subdued and
after a time, grateful.

Cornelia said that for the premiere of Blood and Sand,

 

her mother probably thought that Otis would forget his lines
and that she would fall on her face. Fear of the latter was
shared by Cornelia. But the performance played without a

hitch, and it was well received by the smart Empire audience.

During one of his [her father's] calls he caught
sight of me standing off at the side, came over

 

'BIpid., p. 305.
'9;big., p. 309.

14

to me, snatched up my hand, and to my panic and

delight led me onto the set and down to the foot-

lights, where he made a gesture which indicated

that he was therewith introducing his daughter to

tgznpgglizcfingtgzrbgah bowed, first to the house,

Otis Skinner had given his daughter her theatrical
start, but he realized that only on her own initiative would
she advance. After the Biggg and Sggg season he said to her,
"Daughter, you are an actress. And from now on you must work
out your own destiny. Don't stay with me; it would be a
handicap. Go get your own jobs."21

Before Miss Skinner was really "on her own" she be-
gan and ended her film career in the same season. She appeared
briefly in the silent film of Kismet with her father. The
following is a story which Miss Skinner has told about the
role, and her account of it illustrates both her wit and her
sincere effort to be an actress. Due to her ambiguous part
as general messenger of the harem, she was instructed in a
particular scene to approach a negro guard and improvise a
question. Confidently she strode to him and inquired, "'Who
is yon stranger I saw within the palace gates? Thou knowest
all secrets of Mansur's palace. Speak or your life shall be

forfeited.’ The guard looked at her in blank perplexity and

said: 'Iou can search me, 1ady.'"22 This was the first and

 

201bid., p. 310.

2'Otis Skinner, "Paris '90" Souvenir Book, p. 9.

22"Cornelia Otis Skinner," ggrrent Biograp In 1942:
p. 770.

15

last motion picture in which Cornelia Otis Skinner played.

The parts on the Broadway stage which she managed to
get by herself were small, and the casting agencies began to
type her as ”the sophisticated, Park Avenue or snobbish
type," because of the roles which were given her to play.

In the guise of a supposedly aristocratic and

slightly acid character, wearing as chic

clothes as the management could afford, I'd

come on at the beginning of the first act ...

:Idtfizkzuglentgahegxe:e:e§2:§ :eizgg.ggrtion

However, Miss Skinner does not describe herself as
chic when she recalls how she must have appeared in those
early days of job hunting. At that time in her twenties, she
says that she was thin and gawky; she wore old clothes, and
her hats were from Macy's trimming counter. She tried to
maintain the fashionable "slink" of the period, facial ex-
pression like Anita Stewart's rosebud mouth and distressful
eyebrows.24

Winthrop Ames is credited with giving Cornelia her
first role without an assist from her father.25 She appeared
in 11;;_Shakespeare, playing the fellowing bit parts: a boy-
alto in tights, a boy acting Juliet, an audible part (she was

heard and not seen) as the voice of Juliet, a person applaud-

ing in a London audience and, finally, as a maid in waiting

 

23Cornelia Otis Skinner, "The Bard And My Father,"
The New Yorker, 26 (November 18, 1950), p. 45.

24Cornelia Otis Skinner, "Those Starring Days,” The
ew Yorker, 27 (October 27, 1951), p. 28.

251pm.

16

to Queen Elizabeth.

After Will Shakespeare came Tweedles, by Booth
Tarkington and Leon Wilson, in which Miss Skinner was cast
as a divorced socialite appearing only in two scenes.

The Wild Westcotts is recorded as the second socialite
part which won Cornelia Otis Skinner her first press mention,
"nicely acted and beautifully dressed."26 She still was not
discouraged and tackled the part, small as it was, with all
her forces.

Still dedicated to Stanislavaski, I did my best

to live my part, bringing to it the sultriness

of Olga Petrova, the worldly chic of Mrs. Ludwig

Hoyt, and my lovable Anita Stewart expression.

This characterization was lost on the director,

who, during a break in the dress rehearsal,

called out to me §9r the love of Mike to stOp
making that face.

in succession,but. "none of these plays was of especial value
except...!1ll Shakespeare... In several of the plays there

had been unintelligent direction and lost opportunities."28
While these plays were not great stage successes, they were
the training ground for the star-to-be. "Cornelia chafed
under the obvious inadequacy. She commenced to see a widening

of her horizon, a medium wherein she could express her original

 

25Ibid., p. 31.

27IQid.‘
280tis Skinner, "Paris '90" Souvenir Book, p. 10.

17

conceptions and creative powers."29

Try as hard as she would, Cornelia Otis Skinner did
not gain in popularity with the New Ybrk audiences. The
roles which she received in the second-rate plays did not
help in her struggle. "She seizes a role with all her senses
and plays it with great energy. It is possible that blase
Broadway saw in this a technique of the older school which
has since given way to a more anemic type of acting."30 In
the early 1920's, whatever the explanation, Cornelia Otis
Skinner was still not a stage star nor even a starlet. The
cool reception of Broadway prompted her to seek audiences
outside the Eastern metropolis whkh she describes as "the
kind of people who invite her to receptions and feed her
nothing more substantial than a lady-finger and a cup of tea

excepted."31

Emergence Ag a Writer

The year 1925 marked a significant step for Miss
Skinner because, when the parts she was given did not bring
Jher either audience or critical notice, she began to write.
JSome of her poems were published in national periodicals.

In.1925, Miss Skinner had her play, Captain Fury, produced.32

 

291bid.
3oCurrent Biography, 19421 P- 770'

3';pi .

3292233ig,£g§1,9£,2hglHoly Innocents (complete title),
a comedy in four acts, copyrighted on May 16, 1925.

18

IE2.E§!.X2£E Thhgh reported in November, 1925, "Otis Skinner,
it is announced, will be seen here this season in a play en-
titled 'Captain Fury,’ written by his daughter, Cornelia Otis
Skinner. It is a first play by Miss Skinner..."33 The play
had its premiere at the Belasco Theatre in Washington, D.C.,
December 28, 1925.34 The review the following day stated
that Antoinette Perry, who was in the production, "stole the
show"35 and that "Janney's production is magnificent and
looks like real money."36 Miss Skinner's first play did at-
tract interest among her friends and the admirers of her
father.

There was considerable added interest in the ad-
vent of Otis Skinner in a new play by his
daughter. It was the sort of thing that attracts
a high hat audience, a rather rare thing of late
hereabouts for the new ones. As a demonStration
of parental indulgence it takes top honors.

The critical review stated that "it was depicted with loosely
connected character and situations even more rambling...",38

yet, the reviewer encouraged, "Miss Skinner should try again."39

 

33"Otis Skinner In New Role," The New York Times,
LXXIII(November 5, 1925), p. 28.

34Meakin, "Captain Fury," A review from a Washington,

D.C., newspaper of December 29, 1925, quoted in Variety
(January 6, 1926), p. 25.

35;bid.
35Ibid.
37Ibid.

382bid.
39;bid.

19

No doubt Otis Skinner did the play partly as a favor to his
daughter. "If anyone but a daughter had asked Mr. Skinner
to play this part it is a 100 to 1 shot he would have turned
it down."40 Captain Fury never reached Broadway, yet the
production of Miss Skinner's own play was encouraging to her
ambition as a writer. It showed her that the public was far
from indifferent to the product of her writing. She began
to speculate how she could combine her writing and her act-
ing talents. She continued to write stories and dramatic
scenes, and in 1929 she began to write character sketches.

In her college days she had written monologues

on intimate subjects and impersonated them to the

delight of teachers and fellow students. Why

not turn this talent into the channel of finished

art? Three years in the theatre had given her

its technique and taught her the power of pro-

jecting. She could people her stage with her

own czeations and be a whole company in her-

self. '

Even though Cornelia had not become a leading actress
on Broadway, she was determined to continue her acting.
Broadway producers "largely estimated players on what they
had done, and had small time or inclination to find out what
they were capable of doing."42 Miss Skinner wrote her own
character sketches and, through her own efforts, created

acting opportunities throughout the United States, Canada,

 

4°Ibid.

 

4'Otis Skinner, "Paris '90' -Souwenir Book, p. 10.

42"Cornelia Otis Skinner Created Own Opportunities,"
fromithe office of Miss Skinner, 22 East 60th Street, New
‘Iork 22, New Ybrk.

20

and England.

The result was a series of sketches, humorous,
pathetic, tender and satirical, which her
photographic eye had caught. She had found
her medium, she was her own dramatist and im-
personator....The original character sketches
which she had done first for her friggds were
vigorously acclaimed in the theatre.

Cornelia Otis Skinner was about to prove the old adage that

there is more than one way to reach the t0p.

The Monologue-Dramas

Upon the suggestion of a friend of Maud Durbin Skinner,
Cornelia wrote ghp hhypp,p;_hphpy_!1;; and produced it in
England and, subsequently, in the United States. It had a
long run in New Ybrk, 1931, and, following the New Ybrk en-
gagement, "Miss Skinner played it to packed houses all over
the United States in the worst year the American Theatre has
ever known."44 This was the first monologue-drama ever to be
seen on the American stage, and it was the vehicle that
establiShed Miss Skinner as the foremost performer of
historical drama.

Thg hiygp p; happy 111;; was such a notable success
that Miss Skinner wrote two more similar historical monologue-
dramas, Th3 Empress Eu enie, 1932, and Th2 hpypp_p; Charles
11, 1934.

43ctis Skinner, "Paris '90" Souvenir Book, p. 10.

4IMillicent Eames, "Creating a New American Art,"
The Independent Wbman, 14 (October, 1935), p. 544.

21

The Empress Eugenie was a sorrowful woman who, al-
though her marriage to Napoleon III made her the ruler of
French society, suffered deeply when the mob burned the
Tuileries after Sedan. In the monologue-drama, Queen Victoria
comes to console Eugenie after the death of her only son,
the Prince Imperial. In the final scene, the Empress is old,
no longer beautiful, and alone. As both provinces, Sedan
and Alsace-Lorraine, are restored to France, she hears the
Marseillaise ring forth in triumph. "Vive la France," cries
Eugenie, who had once been its Empress.

Thp,hpypp 2; Charles ;; was Miss Skinner's third
monologue-drama. In this, she again portrayed the roles of
several women. They are "grouped about that king who shares
with Mary of Scotland and Bonnie Prince Charlie, the compel-
ling charm and fascination of the Stuarts."45 This Restor-
ation King is the central figure of the monologue-drama al-
though he is never actually on stage. The women who sur-
round him are his mother, a Dutch wench, Lady Castlemaine,
Louise de Queroalle, and Nell Gwyn. The production at the
.Forty-Eighth Street Theatre in 1934 showed that "Miss Skinner
still evokes the sense of multiple reality with uncanny
perfection."45

The year 1935 brought another monologue-drama by Miss

 

45;bid., p. 359.

46Richard Dana Skinner, "The Loves of Charles II,"
The Commonweal, 19 (January 12, 1934), p. 302.

22

Skinner, Mansion ph,phg Hudson. The characters which she
played are united by the plot which tells, in six scenes,
the story of the Howland family who own "Tall Trees," a
mansion on the Hudson. -The characters are the several mis-
tresses of ”Tall Trees," The story tells of the family who
own the estate and who, because of their financial reverses,
are forced to relinquish it to outsiders. The play ends with
the portrayal of the last two mistresses of "Tall Trees."
The first is the wife of an unscrupulous political boss, and
the second is the wife of an Italian bootlegger who turns the
house into a tavern and night club, the final downfall of the
once stately and aristocratic mansion. This solo-drama de-
picting the disintegration of a once noble family was played
in New Ybrk to receive endorsements such as, "In Mphsion ph,
php Hudson, her performance andachievement as a playwright
are both remarkable."47 'In 1936, the production went on
tour of the Atlantic seaboard, to Georgia, Alabama, Texas,
Oklahoma, Philadelphia, Minneapolis, and St. Paul.

Miss Skinner had four successful monologue-dramas
to her credit when she wrote, acted, and produced a fifth the
following year, 1937. She adapted Margaret Ayer Barnes'
novel, _E_g__n_g _H_:1_.__s_ ILLS: as a solo-drama of the same name in
which she portrayed women of three generations. On Broadway

there were mixed reactions. One said, "Miss Skinner can be

 

1'7Eames, .__p. c_i;p., p. 359.

23

all things to all men ..."48 Another, George Jean Nathan
said, "She is not an actress. She is rather simply the im-
personator ofand commentator on an actress."49 Following
the New York engagement of gghh hip hhgg, a twenty-five to
thirty week tour was made in the United States and Canada.

As a result of this tour, the size of her audiences increased.
The spectators admired her talents as a solo-performer and
dramatist.

In 1938, not resting on her laurels, Miss Skinner
toured in the play, Romance, by Cavallini, and in 1939 did a
new production of Shaw's Candida. This was her first assign-
ment as a star with full company. As the leading actress of
Shaw's play, her wit and personality are exemplified in an
exchange of cablegrams with the playwright following the
play:

Shaw to Skinner: Wonderful the GREATEST

Skinner to Shaw: Undeserving Such Praise

Shaw to Skinner:, I Meant tgs Play

Skinner to Shaw. So Did I.

In 1941, Cornelia Otis Skinner appeared in W. Somerset
Maugham's and Guy Bolton's play, Theatre. The production
opened in Chicago and then was played in New York at the

John Golden Theatre. “Not itself regarded as a masterpiece,

 

48Current Biography. 1942, p. 771.
491bid.

50From the Roster of Major Barbarh. This story was
printed in the program notes to Major Barbara, performed by
Miss Skinner and company. The source is the Michigan State
University Donald Buell Theatre Collection.

24.

it called for considerable display of Miss Skinner's ability
... the critics voiced almost unanimous approval."51

Again on Broadway in the following season, 1942-1943,
she starred in Thprgpgrchinngind by Lillian Hellman. Between
1943 and 1946, Miss Skinner made short tours with her mono-
logue material, made frequent personal appearances, wrote
and acted in a series of Mary-and-Bill radio sketches, and
was active in the Red Cross and charity projects. She also
published two books, and co-authored with Emily Kimbrough a
book, th_hppgts Were Young and Gay; the novel was filmed in
Hollywood in 1944, and dramatized by Jean Kerr in 1946. In
1946, she starred in Oscar Wilde's Lady Windermere's Fan,
which role she played for a season on Broadway and during a
year's tour throughout the United States.

Miss Skinner revived another of George Bernard Shaw's
plays, hpjpp_Barbara. Until 1952, Miss Skinner traveled the
theatre and concert circuits of the United States as she made

preparation for her latest solo-production, Parig :90.
Paris '90

fipphp’lgg opened in March, 1952, at the Booth Theatre
and, after a seven months' engagement, was taken on tour.
For ghphp,;29, Miss Skinner used a complete staff of techni-
cians. Her fourteen costumes were designed by Helene Pons,

her stage sets by Donald Oenslager. A complete musical score

 

5'"Paris '90" Souvenir Book, p. 1.

24a

was composed by Kay Swift, and the orchestra was directed by
Nathaniel Shilkret. In the first two acts of the three-act
production, ten different women in Paris were portrayed.

The third act brought on stage four models of Henri Toulouse-
Lautrec. Miss Skinner got the idea for a monologue-drama,
based completely on Lautrec's women friends, toward the end
of World War II when the French artist and his art received
increased recognition.

Miss Skinner conceived the idea of creating a

full-length solo-drama about the various women

--mostly entertainers of the hp;_musettes and

cabarets--so magnificently portrayed in the

posters and canvases of the misshapen little

artist who moved through the night life of

Paris like an obsessed archivist.

After completing research on Paris society between
1870-1900, Miss Skinner decided to expand the idea of por-
traying only Lautrec's flamboyant women to include other
types of women to give a more accurate picture of Paris in
1890. Preparation for the solo-drama lasted two years, in-
cluding a trip to France in 1951 for personal interviews and
research, before she wrote the monologue-drama. Another year
was spent on production details. The premiere of gpris L90
was at the Academy of Music in Northampton, Massachusetts,
on Saturday, January 12, 1952. The complexity of character-
ization demands analysis which will follow in chapter four

of this study.

After Paris '90, Miss Skinner co-authored with Samuel

 

52Ibid.

25

Taylor the play, The Pleasure 93 His Compapy. In this play

she co-starred with Cyril Ritchard. The comedy-drama opened
Wednesday, October 22, 1958, at the Longacre Theatre. After
a long run in New York, Miss Skinner and Mr. Ritchard toured
the play during the 1959-1960 season; in 1960, they took the

play to Australia for a four-month engagement.
Professional Activities Outside the Theatre

In addition to her stage career, Miss Skinner has
taken time to write novels and magazine articles, and she has
lived a well-balanced, abundant, and rich life as a home-
maker. As a novelist, her contribution includes: Iifll
Garments, 1932; Excuse L; Please, 1936; Qiphers and Jitters,
1938; §pgp Behind Thp.§ppp, 1941; Our Hearth Wepg igung and
ggy, in collaboration with Emily Kimbrough, 1942; Popcorn,
1943 (British publication); Family Cipphp, 1948; That's hp

 

§;l_gyg§, 1948; Nuts lp_hpy, 1950; Bottoms hp, 1955; and
Egg A22,lh,h2. 1959. Her numerous contributions to
periodicals include articles in such magazines as Th3 hpy
Yorker, Harper's Bazaar, The'ghturdhy_§@y;py p: hiperature,
Bppger's Qigest, figog Housekeeping, Ladies Home Journal,
nghp, and The New Yerkaimes Mggazine. She also has made
television appearances on such programs as the Ed Sullivan
Hour, the Perry Como Show, and the Arthur Murray Dance Party.
For her contribution to American culture, Cornelia
Otis Skinner was awarded the honorary Doctor of Letters

degree from the University of Pennsylvania in 1938. Other

26

honorary degrees were conferred upon her from Rochester,
Tufts, Temple, St. Lawrence, Clark, and New Ybrk universities.
During 1944, she was president of Actor's Equity.

up Apart I222 The Theatre

Miss Skinner lives a full and diversified life apart
from the stage. She has been married for thirty-three years
to Alden S. Blodget, a former banker who is now her business
manager and theatrical producer. The Blodgets have one son,
Otis Skinner Blodget, who was married in February, 1960, to
Marianna Jacqueline Bertin.

Home to Miss Skinner is an exclusive New Yerk apart-
ment which belonged to her father, and a 90-acre estate on
Long Island's fashionable North Side. "Alternating between
her Manhattan apartment and her Long Island home, Miss
Skinner is one of the most gracious hostesses in the
East ..."53 Miss Skinner's country house is in St. James,
not far from Smithtown, New Ybrk.

The Blodget homestead--and Cornelia ... is al-

ways Mrs. Blodget on Long Island--is called the

Kinderhoek Hbuse, which means ... the Children's

Corner. Fer all its charm, the name is mis-

leading.

It is a pretty large dwelling--if it were on the

Hudson River, instead of ngg Island Sound, it
would be called a mansion. .

53"One--W'oman Show," The American M azine, 161 (June
1956), p. 45.

5"Emily Kimbrough, "She Follows Her Heart To The
Country," Hpuse ABE garden, 85 (March 1944), p. 47.

27

Miss Skinner's career has had astute financial
management. Plays in which she performed brought her, in
1944, a weekly income of $1,000.00 while her monologue-dramas
grossed $10,000.00 weekly; of her income 80 per cent is
taken for taxes.55 Her monologue-dramas are profitable be-
cause "she seldom takes less than a performance guarantee of
82,000.00 against 70% of the gross, has no author's royal-
ities, no cast or union scale ..."56

Miss Skinner's wealth and fame have not overshadowed
her generosity and democratic personality. "The added af-
fluence made no difference in the tenor of Miss Skinner's
life, and less in her’personal wardrobe, for she remained
one of the ten worst-dressed women in the Social Register."57
Among her friends and professional associates, Cornelia Otis
Skinner is admired for her talent, wit, personality, and
charm. "All tales concern her jovial nature, her un-
ostentatious generosity ... and her infectious humor."58
Emily Kimbrough, one of Miss Skinner's personal friends and
co-authors, has written what she believes epitomizes the parti-
cular quality of Miss Skinner which has won her admiration.

I have said before that Cornelia has the capa-

city for Wbrk and the concentration upon it of
a scholar. Of alllher talents, which I despair

 

55Mann, lpp. php.
55;h;h., p. 19.
57;p;g., p. 88.
5812;1-

28

even of enumerating, much less emulating, this
is one which I admire inordinately. I think
it comes--this particular greatness of here--
from her respect for a job competently done,
and her distaste of anything less than that.59

Summary

In preparation for the study of the monologue-drama~
of Cornelia Otis Skinner, this chapter has presented infor-
mation on Miss Skinner's background, personality and attri-
butes, and stature. She inherited a respect and deep love
for the theatre. Her parents were not only instrumental in
her career, but they also equipped her with basic found-
ations which have helped her throughout life. The warmth of
her personality, her wit, intelligence, and fortitude make
Miss Skinner a distinctive individual both in and out of the
theatre; both on stage and off she is recognized as a woman
of character and stature. Miss Skinner used her resources
to expand theatrical art by creating a new dramatic form for
the solo-performer, the monologue-drama. How she departed
from her forebears in the theatre and her theories as a per-

former are treated in the following pages.

 

59Kimbrough, loo. 1 .

CHAPTER III

THE MONOLOGUE-DRAMA AND
MISS SKINNER'S THEORY OF ITS PERFORMANCE

Cornelia Otis Skinner brought to the professional
English-speaking stage the art of the monologue—drama. Her
skill as a performer was complemented by her ability as a
writer of her own monologue-drama material.

This section considers the unique bases which com-
prise the monologue-drama itself and explores Miss Skinner's
theory of performing it. First, the nomenclature for Miss
Skinner's solo art is reviewed in order to provide a basis
for definition. Recognition, then, is given to her predeces-
sors and her heritage from these earlier solo performers.

How her art of monologue-drama is similar to and yet differ-
ent from that of her forerunners and contemporaries is
studied.

Third, the performance of monologue-drama, of course,
is similar to that of acting in a play and also to oral
interpretation, the art of reading from the printed page to
an audience. But each has its own unique characteristics
which bear detailed consideration.

Finally, Miss Skinner's views regarding both acting

29

30

and solo performance are studied so as to illuminate the
special elements of the monologue-drama and Miss Skinner's

art of playing it.
Monglggue-Qrama Nemenclature

Miss Skinner's unique art of the solo-drama is known
by many names including monologues, monodrama, readings,
character sketches, one-woman shows, and solo-dramas. It
does not seem surprising that she has been called a reader,
impersonator, actress, monologuist, monologist, and inter-
preter, for these terms are similar. She has said, "one of
her chief problems is finding the appropriate title for her
unique form of theatre, the one-woman show.”' The two terms
which are sometimes used to describe Miss Skinner's per-
formances, but which are said to cause her distress are the
words "readings” and "discuss."

Why anybody should call it, Readi s, I cannot

imagine. You might think that I got out my

glasses, sat down in an easy chair under a good

light, and read aloud from a book or manuscript

in a dosy fashion, to an inanimate audience of

a thousand people.2
Therefore, she denounced the idea that she is a reader and
that her performances are readings. The word "diseuse" is

not really an incorrect term, but she tends not to use the

term because it is a French word and the public is often

 

'A'press release from the office of Cornelia Otis
Skinner, 22 East 60th Street, New Ybrk 22, New Yerk. This
was given as Miss Skinner's statement on the subject con-
cerning a name for her art.

2Ibid.

31

reluctant to use a foreign word with which they associate
affectation.3 Another reason why she is reluctant to use it
is that it has caused slightly ludicrous mishaps. Once in
England, and later in Boston, a type-setter fixed a statement
to read that "Cornelia Otis Skinner, a well-known disease,
was appearing in London."4 Ruefully, Miss Skinner says, "I
can only hope the disease is contagious."5

Monologuist or monologist appear to be correct
academic terms, but for the reasons that they sound too
academic and also because they might be confusing since they
each can be pronounced two different ways, Miss Skinner uses
them infrequently.6 She prefers that the general theatre
public call her performances "One-Woman Dramas."7 For the
purpose of this study, the term "one-woman drama," while cor-
rect, does not necessarily distinguish Miss Skinner from
other solo performers. The term monologue-drama signifies
more clearly what is unique about her art. While the per-
former may consider it a bit "high brow," the term itself
states that the unique theatrical medium under consideration
is a combination of solo performance and legitimate drama.

Miss Skinner's highly specialized art need not be assigned

 

3mm

41.

5;1_oi.

61n an interview with Miss Skinner, Shubert Theatre,
Detroit, Michigan, April 18, 1960.

7&1 .

32

only one name, for various terms apply. Throughout this
study some of the terms cited, such as monologue-drama,
monodrama, one-woman drama, and solo-drama are used inter-

changeably.

Miss Skinner and Her Predecessors

*w-*

The most recent of Miss Skinner's predecessors in the
playing of the character sketch was Ruth Draper. Miss
Skinner began with sketches much in the style of Ruth Draper.
Unlike Miss Draper who deviated little from character sketches,
Miss Skinner soon in her career departed from them for the
monologue-dramas which had a unity and continuous theme not
possible in the sketch. She credited Ruth Draper as being
indeed a wonderful artist and performer from whom she in-
herited a rich tradition in the solo-performance.8

Miss Draper was born in 1884 and lived until 1956.
She performed professionally, but limited herself mostly to
private and public gatherings in homes, small concert halls,
schools, and the courts of European royalty. Her monologues
were short, and she called them "character impressions."9
Her programs were composed of a series of ten-minute indivi-
dual sketches. "She is the pioneer author-discuss, and no

American has bettered her in either fine achievement so far

 

8Ibid.

9Millicent Eames, "Creating a New American Art,"
Th2 Independent Whman, 14 (October, 1935), p. 360.

33

as the character sketch form is concerned."10

Miss Skinner benefited from Miss Draper in that Miss
Draper stimulated a wide public appreciation for monologues
or what she referred to as, "Je suis seule."

The dramatic monologue was in doubtful repute

when Ruth Draper set out on her career; even

in vaudeville its vogue was waning; and she

must have begun her work convinced that some-

thing new in the way of taste, skill, and re—

finement was needed to make a serious art of

it.

In fact, one of the ardent admirers of Ruth Draper's per-
formances was Otis Skinner. In a letter to Miss Draper, he
wrote:

Neither age nor custom can take away my amaze-

ment at you ... But I have one serious quarrel

with you. Ybu carry one of the largest sup-

porting companies I have ever seen. In each

of your sketches you have surrounded yourself

with a group of actors whose art is perfected

and whose presence is compelling and hypnotic.

And yet you pay them nothingll Do you think

that is fair?'

Ruth Draper used a minimum of costumes and properties
in her performances. Usually she appeared in a tan or brown
dress of simple style and accented her gown with jewelry,
fans, umbrellas, hats, and shawls for appropriate character-
izations. She became famous for her adroit use of the shawl,

which after her death served "as the mantle for her bier ..."

 

'OIbid.

"Morton Dauwen Zabel, The Art pg Ruth Dra er (Garden
City, New York: Doubleday and Company, Inc., 19 O , p. 99.

'2Ibid., p. 74.
”mid” p. 114.

13

34

She traveled extensively throughout the world to per-

form for countless audiences. Some of her character sketches

were done in French and German. She never used material
written by another, not even when Henry James wrote a mon-
logue for her.

Miss Draper appeared in only one full-length play,

‘5 Lady's EEE2.('915): by Cyril Harcourt. In 1917, she
adapted Th2 Stronger, a one-act play by Strindberg, which she
entitled hp Q;Q,§pppy, It was severely criticized by critics
as "'111 advised,‘ 'singularly misguided and tedious,' and
Ruth wrote it off as 'A loss!' in her record book."'4 Only
one other time did she share the stage with other actors.
This was in Winthrop Ames' all-star program for the Duse

Fund in 1929, when she played Juliet.

Ruth Draper was not the originator of the character
sketch. The woman solo-performer who preceded her, and to
whom she gave much credit for the inspiration afforded her,
was the Englishwoman, Beatrice Herford. "I saw Beatrice
Herford perform her monologues and realized what could be
done,"15 Miss Draper explained. Miss Herford was born in
1868 and lived until 1952. She performed her monologues
for private gatherings, at the London Lyceum, at the New Ybrk
Palace in vaudeville, and in various Broadway revues.

It will be noticed at once that her [Miss Her-

ford's:]subjects were very like those Ruth
Draper later developed. Their difference from

 

'4Ibid., p. 54.
'SIbid., p. 31.

35

Ruth's lies chiefly in their comparative narrow-

ness of range. All are humorous or satirical in

key; most of them tend toward a gentle or indul-

gent malice of attitude. There are no moments of

pathos, grief, or tragedy. In fact, Miss Her-

ford's voice and mannerism did not lend them-

selves to these contrasts and variations. She

was essentially a pomedienne and always adhered

to that vein. But in her time she was a brilliant

exponent of the genre. It is easy to see why

Ruth Draper found her stimulating, and saw in her

work an encouraging egample of what her own

talent might become.

Ruth Draper never studied acting, although Paderewski
suggested that she might contemplate the possibility of study
in Paris. She did, however, follow this noted musician's sug-
gestion when he advised her after one of her amateur perfor-
mances, "You must do this professionally."17

She believed that her success was due to three ele-
ments, two of which were, "curiosity and energy in herself,
and imagination in her audience."'3 Her third principle was
excellent physical health. As a child she would pretend or
make-believe. It was the childlike ability of pretending
that she tried to retain throughout her career as a solo per-
former. "If you give yourself completely to what you pre-
tend you are, you will convince other peOple that it exists,
and only then. Children do this spontaneously, without self

consciousness."19 Miss Draper never wrote any theories of

 

16Ibid., p. 33.
17Ibid., p. 35.
'8Ibid., p. 91.

19Ibid., pp. 91-2.

36

her art, but she believed that the solo-performer had to
identify closely with the part. "I know no way of explain-
ing it. One must simply become the person one depicts."2O

Certainly her performances were never bombastic nor
in a florid grand style. They were intimate, coming from
within, and rang true. "It was on that original instinct
of 'becoming' that her artistry relied, and it was her
special fortune that she never lost it."21

The illusion that Miss Draper produced came from the
audience. She was said to believe that the audience had to
imagine and make-believe too. Once she remarked that

they [the audience] are expected to share in

what I create, and to their amazement they

discover that they can do so. What holds

their attention most is what they themselves

are able to give.22
She thought that to "put it over" was wrong. Rather, She
believed that she should share and bring the audience into
the illusion. "It is the audience that must supply the
imagination. All I can do myself is to make the audience
give it to me."23

The third tenet of Ruth Draper's monologue perform-

ances was vitality and physical health. Giving a perform-

ance taxed one's energy, and she learned if the artist was

 

20Ibid., p. 94.
21Ibid.
22Ibid., p. 93.

23Ibid., p. 94.

37

not physically alert, he would fail. "All actors must have
vitality. The moment it fails them they lose their power to
transform and project themselves."24

Ruth Draper certainly was a key figure in the solo-
drama even though she did not create it or monopolize it.

As for subject matter, she could not completely escape from
Victorian culture.

Her "Miner's Wife" is in the Dickensian tradition,

and so are some of her satires of society and

"culture." But most of her sketches are explicit

in their repudiation of exaggerated caricature

and melodrama.

Such people as Beatrice Herford had helped to "span
the gap between Victorian extravagance and modern irony."26
Miss Herford was contemporaneous with other solo performers
such as YVette Guilbert and her vocal style of impersonation,
and even with Cissie Loftus "with her brilliantcaricatures
of stage types."27

Dorothy Sands also performed alone and was a popular
one-woman attraction in the United States. She was an im-
personator and mimic rather than a monologuist. For example,
Miss Sands was well known for doing the sleep-walking scene
in Macbeth as she believed it would be done by Haidie Wright,
Ethel Barrymore, Laurette Taylor, Mary Boland, and Mae West.

Besides her skilled impersonations, Miss Sands read monologue

 

24Ibid., p. 92.
25Ibid., p. 99.
251bid., p. 100.

27Ibid.

38

selections from plays of Henry Arthur Jones, Dryden, Con-
greve, Shaw, and O'Neill.

She differs from Miss Draper and Miss Skinner
in that they are preeminently monologists while
Miss Sands is an actress with an uncanny gift
for impersonation. They create and set their
own characters. Miss Sands, though she ar-
ranges her programs and writes the connecting
link between her numbers, impersonates other
actresses in roles which they have made famous.
She is original in her idea. Differing widely
from the gthers of the trio, she owes nothing
to them.2

Yvette Guilbert, Cissie Loftus, Beatrice Herford,
Dorothy Sands, and especially Ruth Draper have left their
mark in the history of the solo-performance into which
Cornelia Otis Skinner brought new dimension. Each used the
monologue ferm in a very different way.

Cornelia Otis Skinner greatly admired Ruth Draper,
and it took courage not only to follow in her path but to
develop and explore the untried. Miss Draper was said to
have

a profound sense of tragedy, a lovely note of

womanly tenderness and compassion ennobling

everything she does. In this amplitude and

depth she approaches that truég great artist

and diseuse, Yvette Guilbert.

As Ruth Draper was at the height of her career, Miss Skinner
was pioneering in her monologue-drama. Yet, it was said by

the same critic who wrote the preceding critique of Miss

Draper, that Miss Skinner's

-—‘

28Eames, loo. 1 .

29Ibid.

39

material, her method of approach to it [the

monologue-drama] and its projection are neces-

sarily colored by her markedly original mind

and charming personality.... Gradually Miss

Skinner's creative genius evolved and shaped

her new medium.
Although she won acclaim throughout the United States and
Canada for her sketches, she was too ambitious for such
sketches to satisfy her fully. "Still, had she been content
to confine herself to this type of monologue [character
sketches] she would have challenged Miss Draper as premiere
American diseuse, but nothing more."31

Similarities exist between Miss Skinner, Ruth Draper,
and Dorothy Sands. All three performers received excellent
education and opportunities provided them by their families.
Miss Skinner attended Bryn Mawr, while Miss Sands went to
Radcliff, and Miss Draper was privately tutored. "Knowledge
of music, of painting, the abilityio make historical
characters of their periods vivid and authentic, are all
based on hard work and an excellent education."32 All three
of these women performers wrote their own material. Miss
Sands also performed monologues written by important play-
wrights. However, they all had the ability to write material
which best suited them. Besides giving their solo-

performances, Miss Sands and Miss Skinner frequently acted

in plays, and as we have noted Miss Draper was once in a

 

3°;bid., p. 342.
3'Ibid.
32Ibid., p. 360.

40

professional stage play. They created characterizations
which portrayed their feelings without the help of any fellow
actor on the stage, and each had the ability to create
imaginary persons on stage with such dimension that the
audiences could interpret their characterizations. Miss
Draper, Miss Sands, and Miss Skinner have developed the mono-
logue, and have become well-known performers through the
monologue.

They have already enriched the monologue, making

of it a new, delightful, and creative force.

They have taken something time-worn and frayed

and endowed it with a fresh vigor and fasci-

nation. Thanks to these great artists the

monologue is no longer the Cinderella, but the
Proud Princess of the American theatre.33

Contemporppy,Solo-Egrformers

Not only does Miss Skinner have forebears - in solo
theatre, but she also has her contemporaries. In an inter-
view, she distinguished herself from other solo-performers
such as Charles Laughton and Mort Sahl because Mr. Laughton
reads from the manuscript or performs with other actors in a
reading theatre, and Mr. Sahl is a night club entertainer.

The reading theatre is associated with solo perform-
ance because, like the monologue-drama, it is a hybrid type
of theatre. The reading or chamber theatre, as it has been
called, has become popular in the United States in recent

years largely due to The First Drama Quartette. This group

 

331bid.

41

gave their reading, as they called it, of G. B. Shaw's 29h
i222.l£.§2ll at Carnegie Hall, October 22, 1951; later the
production toured the United States. In a review, one critic
wrote, "I put the word 'reading' in quotation marks, because,
while that is what the performance basically is, it is also
considerably more than that."34 Four actors, Charles Boyer,
Charles Laughton, Cedric Hardwicke, and Agnes Moorehead,
were dressed in evening clothes and stood, or sat on high
stools, before microphones. With scripts before them, they
pretended to read their parts, but departed from them at
times to move toward each other or toward the audience. Mr.
Laughton or Mr. Hardwicke read Shaw's stage directions, the
side remarks.

The result is very much like sitting in your liv-

ing room and listening to four charming talkers,

who have just read a great book, discuss it con—

veying its quotable lines most effectively.3

Following this production, similar professional read-
ing groups took form, such as the reading theatre presentation
of gphh Brown's hpgy which toured the United States. In like
manner to the first quartet, four men and two women read the
first of Sean O'Casey:s autobiographies, I Knock At The Qppp.

The cast headed by Aline MacMahon and George Brenlin read

 

3"Richard watts, Jr., "A Rare Evening With Bernard
Shaw," The New York Post (October 23, 1951), from The New
York Drama Critics Review, 1951, p. 195.

35Robert Coleman, "Drama Quartet Scores In 'Don Juan
In Hell,'" The New Ybrk Daily Mirror (October 23, 1951), from
The New Ybrk Qrama Critics Review, 1951, p. 195.

42

Paul Shyre's adaptation of O'Casey's book at the Belasco
Theatre in 1957. A still more recent example of reading
theatre on the American stage was during the 1959-1960 season
when Norman Corwin's Th2 Rivalry was presented. Raymond
Massey, Martin Gabel, and Agnes Moorehead were the readers
who toured this drama based on the Lincoln-Douglas debates.
Cast in the New Ybrk production at the Bijou Theatre were
Gabel, Richard Boone, and Nancy Kelly. The theatre was ar-
ranged like a meeting hall, and no sets or front curtain were
used. The production was termed a "modern genre of a
dramatized reading."36 It was criticized as being a "studious
and brilliantly executed exercise in elocution;"37 another
critic said "'Rivakry' belongs on the book shelf, not the
stage."38

Compared with the performer in the reading theatre,
Miss Skinner, as a monologuist, never performs with a manu-
script. She memorizes her scripts and acts them. Another
distinction is that she performs entirely alone.

Unlike solo performers such as Mort Sahl, Shelly Ber-

man, and Bob Newhardt, Miss Skinner's dramas are not cynical

 

36Lewis Funke, "Lincoln-Douglas 'Rivalry," The New
Yerk In es (February 9, 1959), from The New YOrk Drama
Criticp Review, 1959, p. 382.

37JohnaMcC1ain, "An Experience To Be Cherished," The
New York goum lAmerican (February 9, 1959), from The New

:55.“— BIL—9. WW w: 1959: Pu 381.

38Frank Aston, "It's ldncoln vs. Douglas In Bijou
Meeting Hall," The New Ybrk WOrld-Telegram (February 9. 1959).
from The New hark Theatre Critics Review, 1959, p. 379.

43

commentaries on modern life. (They rather are based upon
characterizations which are seen in the light of history or
a chronicle situation. Her programs are not conceived solely
as entertainment whose aim is laughter as are the comic
routines of the solo-performer, Victor Borge. Mr. Borge
made his Carnegie Hall debut, 1945, as a comedian and pianist
who "interspersed favorite comedy routines with his serious
piano-playing and conducting of a forty piece orchestra."39
The Unmelancholy Dane, as he is sometimes called, also has
performed in night clubs. Miss Skinner limits her perform-
ances to the theatre and concert hall environment.
Contemporary solo-performers who more closely follow
Miss Skinner's style as a monologuist are Emlyn Williams and
Hal Holbrook. As a solo-performer, Mr. Williams is remembered
as impersonating Charles Dickens giving one of his famous
readings. Emlyn Williams wags popular reader in this role
which he performed at the John Golden Theatre in 1952 and on
tour. He reads alone and "appears on stage dressed as Dickens
in a frilly waistcoat, the traditional white carnation in the
buttonhole, and performs behind a replica of the author's
favorite reading desk.”0 Later, in 1957, at the Longacre

Theatre, he appeared in a solo-performance called A ggy_

 

39"Victor Bor " °
ge, Current Bio ra h , 1946 (New YOrk.
The H. W. Wilson Company, 19335, p. 53.

40"Fbrecasts and Side Glances," Theatre Arts Monthlz.
XXXVI (March, 1952); p. 13.

42.,

fiEQEiES HE. Which was a "one man story-telling session."41

He used a chair and a folding screen in his entertainment
from stories of Dylan Thomas. Better known for Dickens, "he
sets and shapes a scene and makes transitions from character
to character which are instantaneous and persuasive."42
Hal Holbrook, like Emlyn Williams, impersonates a
famous person, Mark Twain. His resemblance in looks to
Twain is remarkable, and he thought it to be an important
factor in his effectiveness; he spends three hours and ten
minutes in making up before each performance. 322$.IEEEE
Tonight played in New York at the Fifty-First Street Theatre
from April, 1959, through the summer, and then was taken on
an extensive tour of the East, Midwest, and Pacific Coast.
Holbrook was called a "monologist,"43 and presented "a pro-
gram of reading from the humorist's works in which [he] the
monologist impersonates Twain."44
These two are similar in performance to Miss Skinner
for they appear in the theatre, are soloists, use costumes
and properties, and are talented and remarkable performers.

However, unlike her, they act only one role, depend on im-

personation, and at times read from manuscripts.

 

4‘"A Boy Growing Up," Theatre Arts Monthl , XLI
(December, 1957), p. 27.

42John Mason Brown, "Mr. Dickens Reads Again," The
Saturdapreview 92 Literature, XXXVI (February 23, 19525, p. 28.

43"Twa1n To The Life," Theatre Arts Monthl , XLIII
(October, 1959). P. 71.

441nd.

45

Miss Skinner's monologue-drama is unique to her, al-
though she no doubt has influenced contemporaneous solo-
performers. Unlike the theatre of her contemporaneous
soloists, her art is not a character sketch, a type of read-
ing theatre, a night club routine, a story-telling session,
or an impersonation.

As a monologuist she has been called an oral inter-
preter and an actress also, yet both are different from the
performer of monologue-drama. As Charlotte Lee has written,
"Somewhere between acting and the oral interpretation of

drama comes the art of ... monodrama."45

Monologue-Drama Versus Oral Interpretation

Cornelia Otis Skinner's monologue-drama is unique in
form and differs from, yet is similar to, both oral inter-
pretation and stage drama.

, The reader, or oral interpreter, and the monologuist
employ similar artistic expressions to present characters,
situations, and their related feelings and attitudes, yet
there are significant differences which necessitate separating
the two for clarity in explaining Miss Skinner's monologue-
drama performances. This discussion is not intended to
place a comparative value or Judgment on the two. Each has
its place as a means of artistic expression. To compare,

yet to distinguish between, the art of oral interpretation

 

45Charlotte I. Lee, Oral Interpretation (Boston:
Houghton Mifflin Company, 19595, p. 294.

46

and the art of the monologue-drama is intended to reveal the
unique aspects of the latter and the relation it has to other
dramatic forms.

The task of the reader or oral interpreter is to re-
create for an audience what the author has written. Use of
imagination is a necessary element for the interpreter and
the monologuist. Each "perceives the meaning which the
author describes by recombing sensations in his experience
through the process of imagination."46 The monologuist uses
his imagination and, by recreating, is an interpreter of
characterizations and situations. Imagination is extremely
important in working on the subtle suggestions of emotions
.and attitudes. Both the monologuist and the oral interpreter
are concerned with human emotions and motivations in per-
forming their arts.

The oral interpreter does not try to reproduce
reality, but instead merely to suggest it. He knows that it
is impossible to play all characters simultaneously. So by
changes of voice, facial expression, and bodily expression
he suggests various characters. The actor does not merely
suggest, but he literally acts out one characterization in a
particular situation. "In performance, the actor strives
for the utmost physical explicitness, while the interpreter

relies upon suggestion."#7 The monologuist does more than

#6Sara Lowrey and Gertrude E. Johnson, Interpre-
tative Beading (New Ybrk: Appleton-Century-Crofts, Inc.,

19535. P- 30. r
#7Lee, p. 294.

47

suggest a character, but he cannot go as far as the actor
in a stage play. He has no other actors on stage to help
him, so he has to suggest them by himself. The monodrama
"is more direct and involves a more complete characterization
... fullness of facial expression and of bodily gesture and
great liberty in moving about the platform."48 His
characterizations must be graphic so as to leave no doubt as
to whom he is playing or what situation is being presented.
He acts one character at a time and suggests imaginary
characters, thereby combining the art of the actor and the
interpreter.

The monologuist, then, like the oral interpreter uses
suggestion to indicate and place the imaginary characters.
This is the greatest similarity between oral interpretation
as an art and that of monologue-drama. Interpretation has
been described as "a study in creating an illusion."49 Both
the oral interpreter, or reader, and the monologuist depend
on suggesting other characters so that the audience will
clearly understand the illusion and imaginatively see it.
The monologuist, then, like the oral interpreter uses sug-
gestion to indicate and place the imaginary characters.

They accomplish this by placement of characters. With a
slight turn of the head and sometimes the body and by direct-

ing the eyes to specific areas of the audience, the characters

 

#8Charles H. Wollbert and Severina E. Nelson, The
t g; Tnterpretative Speech (New York: F. s. Crofts}, p. 6.

49Ibid., p. 28.

48

are placed so that the audience is able to understand, with-
out effort, who is speaking. The "monodrama assumes the
presence of one or more other characters, who move in and
out of the scene and motivate changes in the speaker's
thoughts and actions."50 For example, the monologuist in
Eggig_129,suggests as many as three characters at the same
time. In the Berthe La Sourde scene of act three, the
audience is led to imagine they see two women fighting, al-
though only Berthe is seen. In other scenes various types
of people of many different sizes are suggested. The
audience has to be able to distinguish how tall Henri
Toulouse-Lautrec is in comparison to the height of Yvette
Guilbert so they will believe she is talking to a dwarf.

In order to suggest imaginary characters, both the
interpreter and monologuist use pantomime. Since the inter-
preter never uses properties he depends completely on panto-
mimic gestures.

He is the instrument through which the printed

page comes alive for the audience, and, through

him, the audience mentally recreates the de-

tails which are explicitly andsphysically pre-

sent in a dramatic production.

Pantomime helps the solo-performer to time reaction of lines
and suggest other characters. Technique in it is enhanced

by the performer's analytical observation of life. In

monologue-drama, however, the performer may use real

SOLee, loc. cit.

5‘Ibid., p. 295.

49

properties rather than suggest them by pantomime, or he may
combine the use of actual properties with pantomime; he is
costumed while the oral reader is not. ”The mono-actor ...
selects and uses appropriate details of properties, costumes,
make-up, and scenery."52

Both the oral interpreter and the monologuist
recognize that transitions between characters must always be
clear because the scene will fail if the audience is confused
and cannot keep pace. It matters not how true, intelligent,
and witty are the lines if characterization is not imme-
diately established. Experience as a performer and a very
quick responsiveness of mind encourage skillful transition.
The performer must "put on" a new mental condition and indi-
cate the change by his voice and relevant bodily movement.

He has to consider not only the transition from character to
character, but the transition focusing attention from one
imaginary person to another. Precision in transition is of
utmost importance to both the monologuist and oral inter-
preter. Part of their ability to effect transitions is in
the natural sequence of attention of eye, head, and body.

The oral interpreter and the monologuist each use
their voice and body in such a way as to suggest concisely,
cogently, and richly all the meaning which the individual has
found in the printed creation of the author. Both the oral

interpreter and monologuist use the exact words of the

 

52Ibid.

5O

writer and the meaning found therein. Bodily activity of
the interpreter and the monologuist should be integrated to
the presentation. The interpreter does not have the freedom
of activity which the actor and monologuist have. The oral
interpreter retains reference to a manuscript and is confined
to the area close to his reading stand or podium. The read-
ing stand or manuscript is the frame for the oral interpreter.
This frame says, psychologically, that this is an art which
the spectator is beholding. It promotes a feeling of de-
tachment from emotional material read by the interpreter.

The interpreter, then, proceeds according to the limits of
his aesthetic frame in seeing that his movement, posture,
gesture, and activity conform to the reading stand. To over-
do his movements breaks the aesthetic distance which his art
tries to set.

The monologuist uses no reading stand as a physical
means to set aesthetic distance. He uses instead the
'proscenium arch in a theatre as his frame to establish
aesthetic distance. He, too, uses aesthetic principles of
unity, variety, balance, harmony, and proportion, in re-
lation to stage and setting. His movement, as a monologuist,
has far greater range than that of the oral interpreter.

Miss Skinner is a monologuist rather than an oral
interpreter. Like an oral interpreter she depends upon
imagination and suggestion in presenting imaginary
characters, performs alone, uses pantomime, effects skillful

transitions of characters, and is technically adept in bodily

51

activity and vocal effectiveness. The audience must never
doubt what role she is playing. Her imaginary characters
must be so well defined in performance that it is difficult
to imagine that they do not exist. She has to rely on well-
planned and well-timed pantomime and movement to hold her
audience and to keep her solo-drama exciting and vivid.

As a monologuist, Miss Skinner has unique character-
istics which distinguish her from an oral interpreter. Un-
like the interpreter she plays only one character at a time,
uses a combination of pantomime and properties in her scenes,
and employs costumes and scenery. She takes greater freedom
of bodily activity than an interpreter, never reads from a
manuscript, memorizes her material, uses the whole stage area
if she so desires, and is not bound to a podium or reading

stand.

Acting and Playigg Monologue-Drama

Acting in a play and acting in a.monologue-drama.are
not the same, but the two are closely related. The mono-
loguist is an actor of a single role.

The actor actually $5, for the time being, the
person whose part he is taking. He wears the
clothing, uses the properties, and assumes the
character of that person. He behaves in re-
lation to other actors as one real person acts
in regard to other people.

 

53Moiree Compere, "Curriculum Guide For High School
Interpretation," (Michigan State University, Department of
Speech, 1958), p. 7. (Mimeographed.)

52

A.monologuist presents the monologue-drama by taking
the role of a single character in each scene in sequence.

The mono-actor ... concentrates on only one

character ... and creates the other actors in

imagination, while keeping the focus of at-

tention constantly on the singleSEharacter

that is visible to the audience.

The monologuist, like the actor, Ag the person whom
he portrays, but unlike the actor, he suggests the other
characters. The actor does not have this task for he per-
forms with other actors, unlike the solo-performer.

Characterization of a monologuist, then, is unlike
that of an actor in a play because "an actor usually portrays
only one character and is vocally and physically explicit in
that portrayal, aided by make-up, costumes, scenery, and the
presence of other actors."55 A.monologuist is not a character
playing a continuous role throughout, but he is a series of
characters in succession. "In this form of presentation I
[monologue-drama], a single person presents material which
focuses attention on a single character in a single situ-
ation."56 Pg;1§_i29, for example, demands the playing of
thirteen different women during the two-hour program. The
art of a monologuist uses "dramatic technique which creates

the illusion of the dramatic relation of all the people."57

He has to appeal to the imagination of the audience far more

 

541166, _9_2~ gill}: p0 295'
55Ibid.
56Ibid., p. 294.

57Compere, loc. cit.

 

53

than does the actor in a play. All the other characters of
the monologue-drama are imaginary, and they are suggested by
the performer who must react realistically to imagination and
space. The monologuist has to be skilled in order to suggest
supplementary people so that the audience is motivated to
imagine a character and situation.

The monologuist relies upon distance and timing of
voice, body, and eyes to create illusion. In order to place
an imaginary person in a down-right stage area, the sense of
distance and timing of the performer has to be accurate in
suggesting a person at that particular place; a place that
is more flexible than it is literal. Miss Skinner emphasized
that it is important to master this technique for, even
though the imaginary character is vividly set in the per-
former's conception, speaking into space does not employ the
same technique as speaking directly to someone.58 The solo-
performer cannot wait in silence for a reply the length of
time it would take for a person to answer. Yet, the solo-
performer must pause or signify to the audience that there
is someone to whom he is addressing his remarks, that he is
not Just talking to himself. In preparing her monologue-
dramas, Miss Skinner makes certain that every unseen person
making an entrance and exit during the action is conceived

as a fully-rounded individual.59

 

58Interview with Miss Skinner at the Shubert Theatre,
Detroit, Michigan, April 18, 1960.

59Ibid.

54

I know the complete biography of each one. I
know all of their physical characteristics--
whether they're tall or short, blonde or brunet,
nice-looking or unattractive, relaxed in speech
and manner or high-strung and Jumpy. I know
how they spend their time, how they dress,
whether they're close friends, casual acquaint-
ances or strangers.

Miss Skinner wrote briefly about the visual illusion Which
she has tried to create in her performance of the monologue-
dramas .
Every one of their [the imaginative characters]
speeches and stage movements is written out and
rehearsed. I can watch them and listen to them
and speak lines to them as intelligently..as I
would to a "regular" actor. It isn't really
much different, except for the attempt to create
greater visual illusion, than playing a real-
istic scene on a stage telephone--with only an
imaginary caller at the other end of the line.6'
The whole performance of the monologuist, therefore,
tends to be geared to a higher imagination level than does
the stage play. The solo-performer must adjust his use of
dialogue. Dialogue in monologue-drama is one-sided, which
defines its basic difference from a play. While the term
dialogue usually implies discourse between two or more per-
sons, in one-sided dialogue the solo-performer does all the
speaking. The presence or vocal intercourse of another is
implied by the solo-performer's actions or words. The

actor's dialogue, on the other hand, is an interactive pro-

cess with the other actors in the play. The monologuist

 

6OID1 .

6'Cornelia Otis Skinner, A Statement about illusion
from Miss Skinner's New York office, which she entitled
"Unseen Cast"Flesh and Blood Pe0ple.'"

55

speaks to an imaginary character whom he must place and
whose presence must be sensed by the audience.

Another factor which distinguishes monologue-drama
from acting in a play is that the solo-performer, unlike the
actor, is always on stage. He makes an entrance as the scene
opens, must supply the dialogue with no help, speaks nearly
continuously, and can leave only as the scene closes.

He uses his voice to its full potential to identify
the different characters. This mastery of range and variety
in voice is another exacting demand made upon the artistry of
a solo-performer. The correct usage of tone and rhythm of
voice brings freedom from monotony and has almost endless
variations of pause, pitch, inflection, timbre, movement,
and intensity. It is extensive training of the mind, imagi-
nation, and feeling that enables the monologuist to grasp
and give such a flood of intermingling impressions.

The monologuist is an actor in the solo—performance,
yet there are differences, which have been indicated, between
acting in monologue-drama and in stage plays. As a mono-
loguist he plays a series of successive roles rather than
Just one. He portrays a particular character and at the same
time suggests other characters on stage who are imaginary.

He focuses attention on the character whom he is playing,
and his imaginary characters complement him. Part of his
skill is due to precise timing and placement of characters.

He carefully rehearses how to create the illusion of other

56

characters being on stage. The whole performance depends
upon great imagination and invention, for he must produce an
illusion of other people being on stage at the same time.
Dialogue must seem natural, but is actually one-sided. His
art calls for him to remain on stage,for he is the whole show.
Such performance requires not only great mastery of the art
of acting, but a tremendous flexibility and precision not
ordinarily required in other sorts of acting.
Miss Skinner's Theories 93 Performance
and Monologue-Drama

There is a varied complexity in Miss Skinner's per-
formance of monologue-drama which at first makes it baffling,
then fascinating. Her ideas regarding monologue-drama per-
formance and acting in general have developed from experience.

Miss Skinner holds that acting is not a simple
assignment.

Acting is a difficult, sensitive and complex art.

It is also an illusive one, and the fact that it

is illusive may be the reason so much has been

written about it by people who never act. To

create a part takes weeks of study and re-

hearsals.... It's a hard Job and each actor has

his special approach to it which is his indivi-

dual problem, and I'm willing to wager that none

of them approach their task with a textbook on

acting in their hand. The simple attack is the
best. 2

.As a.performer, she has encountered factors which make act-

ing difficult.

62Cornelia Otis Skinner, "Crying In The Dark," The
New Yorker, 26 (January 20, 1951), p. 27.

57

One of her anxieties as an actress of both monologue-
drama and plays has been the harrowing experience of first
-nights. She has explained that the audiences are late, and
the critics in order to meet their deadlines have to leave
early. The first-nighters tend to be more concerned with
other first-nighters than with the performance. "The play
is definitely not the thing on these occasions; it's the
audience, and to go to the theatre in order to see an
audience seems rather cockeyed."63 As a result, the per-
former is in agony on first nights, far from the exhilarated
feeling which some textbooks report.

He [the actor] wonders whatever made him want to

be an actor, whatever made him think he is....

He tries to think of his opening lines and

can't ... It's a replica of an actor's night~

mare, only worse; because in the typical actor's

nightmare things of a fascinating nature occur

such as finding one's self playing Hamlet stark

naked. I suppose the only reason any of us live

through opening after opening is that the relief
when it's over is so grgzt that even adverse

notices can be endured.

So, in her opinion, the premiere of a Broadway production is
an unfair trial on which to base the success and failure of
an actor and his show. Miss Skinner has suggested that the
most unreceptive of the opening-night audiences are those of

Broadway.

 

53Cornelia Otis Skinner, "First Night: On Both Sides
of the Curtain," The New Ybrk Times Magazine, XC (September
29, 1940), p. 8.

64Ibid., p. 9.

58

The birth of a [Broadway] play for those concerned
is a harrowing experience and there is something
about this ultrasmart, self absorbed audience

that recalls those fashionable and heartless get-
togethers at Versailles on the occasion of the
Queen's "accouchements." It was all very Jolly
for the spectators but a bit tough on the Q,1.ieen.65

Miss Skinner has not been the least bit hesitant to
speak of her own stage fright during opening nights for she
believes it to be common to most performers. Even Sarah
Bernhardt is supposed to have retorted to an overly confident
young actress who boasted of no stage fright, "Wait until
you become a good performer, my girl, and you'll find out."66

Otis Skinner once reminded his daughter that she was
not the only one to fear that first entrance.

Kiddie (a term of endearment he used even after

I was well on to maturitY). I have been in the

theatre for fifty years and I've never outgrown

it. Any actor who claims he is immune to stage

fright is either lying or else he's no actor.

... What's more ... the longer you stay in the

theatre, the worse it becomes, because you

learn morg and you know all the mistakes you
can make. 7

The pressures and anxieties of Miss Skinner increase
as the opening night approaches. Regardless of which
monologue-drama or play she has been rehearsing, on the

night before the premiere she has a disconcerting dream.

 

55Ibid.

55Cornelia Otis Skinner, ”Why First Nights Seem Like
Last)Nights," The New York Times Magazine, CVII (October 19,
1958 , p. 25.

67121 .

59

In this [dream] I am standing on a rickety
platform without walls or railing, which, as it
rises up a dingy shaft, wabbles and shudders,
until at last I stare in horror down a yawning
gap across which, the operator informs me, I
must step cg else plunge some twenty stories

to my doom. 8

During the nights of rehearsal her stage fright relinquished
its grip somewhat. She has described her hectic procedure
on opening nights at the theatre.

In my dressing room, where I arrive long before

it's necessary, I go through the mechanics of

making up, an especially complicated process

for me because I suffer from shaking hands which6

under stress, become practically uncontrollable.
For years Miss Skinner has had shaky hands when put under
stress. Trying to conceal her trouble was discarded because,
"since modern psychiatry advises us to flaunt our dis-
abilities with a 'Hey, look at my tickl' bravura, I might as
well come clean."70 «She was able to look humorously on her
problem when the doctor told her that it was congenital and
would not get better. Yet she has regretted the condition
on occasions. "It is in my life on the stage, however, that
my hands have been a real liability, and never more than on
an opening night."71

Unfortunately her stage fright has not been limited

to opening nights, but it has occurred unexpectedly. She

 

681bid., p. 88.

59Ibid.

7OCornelia Otis Skinner, "My Quaking Hands," The
Reader's Digest, 7 (August, 1958), p. 164.

 

7‘Ihid., p. 165.

5/

 

60

related that she occasionally

becomes the victim of another long-run neurosis,
namely the dirty-word complex, in which one
realizes that by the mere changing of a letter
or two, or the shifting of a simple noun or 9
mild adJective, the most innocent of speeches
might be deformed into something censorable

in the extreme.72 '

Despite the physical and mental strain of being an
actress and monologuist, Miss Skinner has remained true to
her theatrical art. Her life~long dedication to this medium

is reflected in her statement,

but the very disappointment and misery seem

eventually to rouse a doggedness, a determi-

nation to go on and try to make a go of it

the next time. I guess what it comes down

to is a simple and honest love of one's trade --

for better for worse, for richer for poorer,

in sickness and in health and even, for some,

till death do them part. 3
The problems which Miss Skinner has encountered as a performer
have never assuaged her dedication to monologue-drama. More-
over, she has accepted the difficulties of her theatrical art
and, in spite of them, has given her audiences impressions
which were logical,historical, fanciful, humorous, and
sympathetic.

Miss Skinner has her own ideas concerning her acting
and her monologue-dramas, yet she has been careful not to
over-theorize her art. Even as a student of acting and the
theatre in Paris, Miss Skinner obJected to fermalized theory

and codified rules for what acting technique should be. Her

 

72Skinner, The New Yerk Times Magazine, CVII, loc.
g;_., p. 90.

73Ibid.

61

studies with Dehelly of the Comedic Francaise produced dis-
satisfaction which prompted a letter to her father. Otis
Skinner replied with the following, now famous lines:

Take it easy, Kiddie. That's all fine training,

exaggerated as you think it is. It's a loosen-

ing up process, like a pianist stretching two

notes above the octave. Don't make fun of it.

It's a giand old school to learn--and then
forget!

Mr. Skinner realized that it was important for his
daughter to have sound training as well as actual experience
in theatre. His astute Judgment parallels Garff B. Wilson's
idea that "Training and experience will teach an actor how
to use his endowments.”75 Moreover, when Cornelia wanted to
quit school for the stage, Otis Skinner persuaded her to
wait awhile.

When I decided to leave college for a stage

career, father thought I was too young and in-

experienced to attempt professional roles.with-

out better preparation. Admiring French act-

ing as ge did, he arranged for me to study in

Paris.7

Today, a professional, successful, and honored per-
former, Miss Skinner at times is asked to explain how she
succeeded. She gives no rules, but her answers reflect the

theories of her art. "I like students but they get me down.

They have a way of asking about acting which is beyond the

 

74Otis Skinner, as quoted by Cornelia Otis Skinner
in "Paris '90" Souvenir Book, p. 11.

75Garff B. Wilson, "What Is Style In Acting?" The
Quarterly Journal 9: Speech, XLV (February, 1955). p. 152.

76”Paris '90” Souvenir Book, 100. Cit-

62

comprehension of the average simple actor."77 To substanti-
ate her feeling, she explained that students are apt to pose
such questions as, "'How do you develop the dynamics of such-
and-such a scene?‘ and they fling a lot of terms concerning
'timing,’ 'shading,‘ and 'mood' which are terrifying."78
Perhaps Miss Skinner remembered her own early years on the
stage when her ambition to act led her to accept minor roles.
In Tweedles, she recalled, by understatement, that after a
brief opening scene, "...the duration of the second act [I]
sat in my dressing room reading Stanislavski."79

Actually, Miss Skinner feels very strongly about
trying to over-theorize acting. She told the story of an as-
piring actress student of a dramatic school, who came to her
dressing room to ask a few questions. The questions which
the girl asked Miss Skinner were,

At the end of the second act-~how do you build

the curve of dynamics? ... It must have taken

you weeks of planning.... There's such a defi-

nite succession of dynamics there.... And you've

linked them all together so wonderfully with

that ... that curve! How on earth do you do

it?"80

Miss Skinner's answer was, "'My dear young lady,‘ I said,

'I haven't the remotest idea of what in God's name you're

 

77Cornelia Otis Skinner, "It's Summer But Is It
Theatre?" The New York Times Magazine, XCI (August 10, 1941),
p. 21.

.781bid.

 

79Cornelia Otis Skinner, "Those Starring Days,” The
Egg Yorker, 27 (October 27, 1951), p. 30.

‘ 80Cornelia Otis Skinner, "Actors Just Act-~Or No
Pear-Shaped Tones'," The New York Times Magazine, XCII
(December 13, 1942), p. 14.

63

talking about! ... all I know is that I Just act, or try to.‘

I have too high a regard for my profession not to have

1181

answered her honestly. Despite this student interviewer's

reference to "Madame X ... the well-known Russian teacher of
the drama--'all good actors develop a part consciously along
a curved line,”82 Miss Skinner insisted that her acting
did not involve curves or other esoteric trimmings.

She has acknowledged the Moscow Art Theatre School,

but she does not profess to be a part of it in any way.

The Moscow Art theory is most admirable, al-
though to tell you the truth, I'm not Just sure
what it is. Certainly the actors of the Moscow
Art Theatre are about the finest company in the
world. But they're fine because they act, and
they've been acting as a team for years.
Russians are born good actors. They go ahead
and act (under excellent direction, of course),
and they act so magnificently people write
books about them and credit them with a lot of
obscure esthetic motivation and involved
theorizing of which I'm willing to wager, most
of them haven't the remotest notion. And
people who run dramatic schools use the books
as their Bibles for teaching you young gullible
aspirants a lot of theory which is all very
interesting, but it won't make you act. gotors
who overtheorize lose all ability to act. 3

Moreover, she is not sure but that the public thinks
that actors are more intellectual than they are. Then, too,
there are those times when the public, she believes, thinks

that theatre people are "pleasant folk but not quite bright."84

 

831bid., p. 15.

 

84Skinner, The New Yorker, 26, loc. cit., p. 27.

64

The drama students who flood her with theoretical questions
have an "upsetting effect"85 upon her because she realizes
that famous performers have attained their prominence due to
their acting, even though they have not read Coriglgnus or
knew that "Shakespeare had written such a play as 'Timon of
Athens.'"86

Miss Skinner has had no director for her monologue-
dramas because her theory has been that a director can be of
help only for a stage drama. Such a person can be beneficial
;; he "tells you what he wants in language a child could
understand."87 Arty expressions, which some directors use,
scare the actors because they do not comprehend them, she
has stated.

Then there is the story, which is fairly hack-

neyed in the theatre world, of a director who

asked the actor if he would please say a certain

speech in a "pearshaped tone"; to which the

actor replied, "Certainly. Just which end of "88

the pear would you like to have come out first?

Her theory embraces the idea that a performer needs
not get into a mood before an entrance. "I do not get into
any mood! I tell you I Just act1"89 Miss Skinner has wagered
that Helen Hayes or Lunt and Fontanne, Ellen Terry, Bernhardt

or Duse did not waste their time over complicated and involved

 

851bid.

86Ibid.

871bi .
88:21 .

89Skinner, New Ybrk Times Magazine, XCII, loc. cit.,
p. 15.

65

intellectual theories. Miss Skinner has drawn upon her
father's experience as an actor to illustrate this idea that
she and other real actors "Just act." Otis Skinner, as a
young actor playing Laertes to Edwin Booth's Hamlet, learned
a lesson. His role called for an early appearance, then a
two-hour wait before another entrance. During this time off-
stage, Otis Skinner tried his best to "keep in character" and
to "live the part" to the point of agony and exhaustion.

Then one night the elder Booth gave young Otis some advice.

Sit down, Skinner ... Young man ... you're kill-
ing yourself. I've been watching you. Ybu've
got some high-toned notion that you're supposed
to be Laertes! Even during your two-hour wait!
YbuTFe going to end up in a lunatic asylum.
Relax! During that wait, read a book or write
letters, or play pinochle with the stage hands.
Then come down to the stage. Loaf about in

the wings. Talk to whoever's loafing there too
(providing you don't disturb the other actors).
Don't try to "work yourself up." It can't be
done. Just wait quietly for your cuegothen when
you hear it, g2 9g thg_stage Egg Egg!

Miss Skinner believed in this advice Booth gave her
father many years ago. She discarded any claim that she
must have a technique of living the part and accepted the
idea of acting the part so as to create an illusion. She
learned from Booth that a bad performance was due to

living the part--instead of acting it. Cry

real tears and an audience never cries with

you. An actor certainly has to be capable

of understanding the emotions he portrays.
He has to have the capacity of feeling them,

90 id.

66

even. But when he resents them to an audience

he has to act them.
The art of supplying an illusion far out-distancespresenting
reality.

A.part of her conception of the monologue-drama is
that it should employ the production elements of a stage
play such as music, scenery, costumes, and lighting. "Per-
haps all such extraneous accoutrements savor of theatricality,"
she has written, "but theatricality is more or less what I
am seeking."92 She does not deny that "it is my hope to see
the 'character sketch' become theatre."93 Theatricality
gives her art-form a variety which she says is essential.
"There must be contrast; there must be variety. No one
character can hold, sway, and amuse an audience for two
hours without chameleon-like variation."94

Realizing the pitfalls which her art-form presents,
Miss Skinner has told how she thinks it is possible to have
variety of character in a one-woman performance and yet main-
tain an underlying purpose, attain a multiplicity of mood
and situation, and maintain a theme that binds the perform-
ance into a complete unit. "The nearest solution I have

found-~one that is by no means completely satisfactory, but

 

9'Ibid.

9200rnelia Otis Skinner, "Monologue To Theatre,"
The New YOrk Times, LXXVIV (December 27, 1931), p. 4.

93Ibid.
94Ibid.

67

is none the less encouraging-~lies in the presentation of
the subJect."95 When the material is written adroitly and
performed with skill, then "I see no reason why this form of
dramatic presentation should not in its collateral way develop
in proportionate measure with the modern theatre."96 Writing
and acting ability and theatricality of production are im-
perative to the monologue-drama whose merit "lies largely in
the ability to evoke the fantasy of an audience until it
sees not merely the imaginary characters, but the complete
setting and the change of apparel in the performer."97

The audience is an important factor in her theory of
monologue-drama. Miss Skinner has wanted her acting to pro-
duce a desired response from the audience and she has sug-
gested that this can happen when the actor does not completely
submerge himself in the role; the audience wants to see the
actor and the part integrated but not as one and the same.

We like our players to be characteristic of

themselves. The anticipated appearances of

a well loved star, looking Just as we'd hoped

he or she would look, only more so . . farouses

a] sort of breath-catching emotion.98 7

Although the audience is always a composite of pro-

fessional and amateur critics who scare her, she would never

95lbid.‘
95lbid.

97 id

985kinner, The New Yorker, 26, loc. cit., p. 27.

68

accept advice to ignore the audience.

To pay no attention to the audience would, in

my opinion, be to violate one of the principal

tenets of acting. For a good performance re-

quires a constant give and take between

players and public.99

Miss Skinner first won her public and critical ap-
proval out of New York, and this no doubt has influenced
her ideas toward the out-of-town audiences. Reasons why the
hinterland audiences have endeared themselves to her are
that they are appreciative, arrive on time, stay until the
end of the show, are sober, are discriminating, have liter-
ary opinions, and are better mannered.

The audiences for her monologue-dramas have varied,
for she has acted in theatres, greenhouses, roller-skating
rinks, churches, schools, auditoriums, state penitentiaries,
clubs, and colleges. She found that, as a general rule,
audiences did not vary regionally.

I find myself happiest when performing in the

large co-educational universities. These

audiences are alert, discriminating and wonder-

fully enthusiastic, and the slight tempering of

Just enough of the academic is a challenge to

do one's best.100

Miss Skinner has attributed a large part of her suc-

cess with the monologue-drama to the belief that audiences

enJoy using their imaginations.

 

99$kinner, New York Times Magazine, CVII, loc. cit.,

-*

p. 25.

100Cornelia Otis Skinner, "Long Live the Sticks!"
__2.N§w York Times Magazine, XC (April 28, 1940), p. 7.

69

The main reason for the successful acceptance
of solo drama is that audiences like to use
their imaginations. Think back to your own
childhood and what exciting flights of fantasy
you had when someone told you, or read you, a
blood-tingling fairy story. Your mind's eye
conJured up every character in detail. Your
own creation was always the most vivid, and
the best. It was nearly always disappointing
to see the same characters later, reproduced
in an illustration or on a stage, because they
never18ad the reality you endowed your figures
with.

Miss Skinner, then, holds that her theatre should be a tool
of release as well as entertainment.

If the art of the theatre--or even the schmalz

of the theatre (and who is to say that good

schmalz is not art?)--can give us such honest

and humanizing means of release, may we not

welcome them amid the exigencies of a world
grown too terrible for tears? 0

Summagy

If other actors can and want to talk theoretical
curves and dynamics with students and actors, then that is
well, says Miss Skinner. She has chosen an opposite
position; for anyone to explain how one acts by a theo-
retical observation without actually being an actor is too
great a responsibility to assume.

That peOple do want to write books about

theatrical esthetics shows a keen interest in

the theatre, which, as an actress, I think is

a good thing. But as an actress I don't want
to have to read them. Not because I consider

 

101Skinner, "Unseen Cast 'Flesh and Blood People,'"
oc. cit.

102Skinner, The New £22322; 25. $22: 222:: 9° 27°

7O

myself in any way advanced beyond such things,

or even a particularly good actress. But they

get me mixed up. If I start thinking about

theory I become like the centipede who started

tgifigénggzbgupoghich leg to lift and never

Nevertheless, Miss Skinner has her own theories of
performance as they apply to acting in general and to the
monologue-drama. These ideas have developed from her own
experience on the stage.

As a monologuist she has realized that it is obli-
gatory for her to know the imaginary characters, as well as
those whom she portrays: how they look, move, and talk.

Her more complete understanding of characters has developed
beyond the vocal and physical signs. In order to recreate
honestly a role, she has had to understand the character's
environment, intellect, emotions; in short, his whole person-
ality.'

Regardless how deeply the monologuist feels the
part, his first duty is to the audience. To meet artistic
obJectives, Miss Skinner's goal has been to project under-
standing of characters and situation to the audience. Since
this has occurred, she has been able to communicate as a
monologuist and thereby has fulfilled the purpose of her
monologue-drama.

Her role as an actress and monologuist has not been

an easy one. She admits to long hours of study and rehearsal

 

'03Ibid.

71

in order to present most effectively her art. She has had
qualms as to the success of her acting ventures. The sleep-
less nights during rehearsal, stage fright of first nights,
fear of not performing to the height of her capacity, indi-
cate that she is one who takes her art seriously. Her
sincerity concerning her art has helped her succeed. Her
theories revolve about certain principles which are the crux
of her approach. These ideas have not been codified, but
nevertheless exist. She believes that her success in monologue-
drama has resulted from the idea that a monologuist must act
rather than theorize how to act, that the audience likes to
use its imagination, that fine training is basic, that creat-
ing illusion is more important than presenting reality, that
the actor must admit and respond to the audience, and that
theatre should be a release and a means of edification as
well as a form of entertainment.

Miss Skinner's goals for her career in the theatre
were expressed in a commencement address to the graduating
class of Mills College, 1950. She advised to "maximize
one's life." As a historian, Tweedsmuir, in reference to
Arthur Balfour, British philosopher, used this phrase, and
Miss Skinner applied it

as being one of the objectives we might set our-

selves. It is a highly individual obJective

and we must each go about its attainment accord-

ing to our individual lights, and I need not

point out, that those lights Bzdiate from the
inner and individual vision.'

104Cornelia Otis Skinner, "Life Is Simple," Vital
W. 16 (August 15, 1950), p. 662.

72

Living is the greatest of the arts and by vision of
an ideal do we meet our obJectives, she said. To maximize
life in terms of art, "Every pursuer of art must enter his
or her own relentless school of technique."105 Certainly,
Miss Skinner knew from life's experience that it grants no
leaves of absence until the technique is grasped. It takes
courage to pursue an obJective when one is aware that rarely
perfection is obtained.

Public opinion is the strongest, dangerous when

it's over favorable, brutal when it is not,

when we have the bitter experience of realizing

that people fai86to understand what we are try-

ing to convey.

But, according to Miss Skinner, if one keeps on trying he
will not experience one of the pitfalls of life, to be "too
late."107 FOr an artist to set standards for himself will
result not only in self-improvement, but this striving for
self-betterment will tend to influence others.

Elie Faure has said that "art is the appeal to

the instinct of communion in man." ... To make

it so, you will need your certainties, which

are all you can count upon ... your honesty,

your integrity, your courage and ... your

vision.10

And these are the goals which Miss Skinner has found to be

important essentials in her career of art in the theatre.

 

'05Ibid., p. 663.

'06Ibid.

'07Ipid.
'OBIbid.

73

As an analysis to two of her monologue-drama scripts and as
an examination of the critics' reviews are made, in the
following sections, it is well to remember the basis of

Miss Skinner's unique contribution to the theatre, expressed
in her own words: "For honesty is the great requisite of art.
If we remain honest with ourselves, art, which is always

there, never lets us down."'09

 

1O9Ibid.

CHAPTER IV
THE WIVES OE HENRY VIII - Script Analysis

As would naturally be expected, public attention to
Miss Skinner's art has been focused principally upon her
talent as a performer, but the importance of her ability as
a dramatic author should not be overlooked. undoubtedly one
of the primary reasons for her success with the monologue-
drama is that she conceives and writes them, as well as
plays them, herself. With the exception of Eggg gig ngg, a
chronicle monologue-drama adapted from Margaret Ayer Barnes'
novel, Miss Skinner has performed only those monologue-dramas
of which she has been the sole originator.

Miss Skinner has tried to establish a pattern whereby
she can best contribute to the theatre. It is not only her
success as a performer which has encouraged her to develop
the art of the monologue-drama, but also the fact that she
has found a medium in which she has been able to express her
own ideas.

And she'll tell you it's not only the applause

that means so much, but also the opportunity to

develop a medium in which she can most satis-

factorily express her original and creative
ideas.

1"One-Woman Show," The American Magazine, 161 (June,
1956), p. 45.

74

75

In her six monologue-dramas, she has written scripts combining
keen characterization, excellent dialogue, dramatic build,
strong unity, and an intelligent point Of view towards life
and man. The purpose of this chapter is to analyze in detail
one of the most significant of her dramas.

Miss Skinner has been known to write the first drafts
of her monologue-dramas in longhand while on tour. Not always
were they easily and quickly written. In fact, more often,
weeks of research in history have preceded the writing.
"However, writing seems to be a torture for Miss Skinner
everywhere except on a speeding train.... She does her best
longhand first drafts in the sublime comfort of dishabile."2
Exaggerated though this statement may be, it illustrates that
writing was done whenever she could find quiet and privacy.

Miss Skinner is a scholar and her aim is for per-
fection. "I have said before that Cornelia has the capacity
for work and the concentration upon it of a scholar."3

Because Miss Skinner insists that her monologue-
dramas be competently written, she likes peace and quiet
while composing. One of her favorite places for writing is
at her country estate, Kinderhoek HOuse. In the early 1940's,

she built a cabin on a location a short distance from the

 

2Arthur Mann, "Honor of the Family," Colliers, 114
(December 16, 1944), p. 19.

3Emily Kimbrough, "She Follows Her Heart To The
Country," HOuse And Garden, 85 (March, 1944), p. 84.

76

main house. The cabin overlooking the Hudson River was built
as a retreat for’Miss Skinner. It is here that she has
written some of her monologue-dramas.

That, I think too, is why the roots of her af-

fection lie deepest in this cabin. No one in-

trudes upon her here with a distraction which

might smudge a Job, even a little. No wonder

I respect her excursions to this place, and

wait her return with anxious excitement. A

Job will ave been done there and done
superbly.

Background 23 The Wives gprengy VIII

The scripts of the monologue-dramas have never been
published or otherwise made available to the public except
through Miss Skinner's performance. She knows her particular
talents and limitations as a performer and writes the
material solely for herself. Miss Skinner, however, has
graciously made available her monologue material for this
study, and two of her personal rehearsal scripts were loaned
for the purpose.

The 1,212.2 9_f_ Ham VII; was the first of Miss
Skinner's monologue-dramas. Previously she had written a
few character-sketches, a play, and several poems. She tried
out the sketches on her friends who persuaded her to write
and perform them professionally. However, as a dramatic
form, the sketch did not fully satisfy her. She began to
realize that, while she could write sketches for herself,

she could not find in them the unity and coherence of a play.

 

4Ibid.

77

Following the suggestion of a Philadelphia friend of
Mrs. Otis Skinner's, she began to write her first monologue-
drama. The friend had suggested that she do a series of
character sketches about the wives of this Tudor king.5 Miss
Skinner liked the idea but admitted that she did not know
much about the hapless spouses of English history. However,
after a few months of intensive study and research, Miss
Skinner had completed her script.

During a tour in England in 1931, Miss Skinner gave
her new script its first trial. Lady Sackville arranged that
Miss Skinner premiere her monologue-drama in the castle of
the Sackville family at Sevenoaks in Kent. The castle,
known as Knole, was once the property of King Henry VIII.
There in the Great Hall where the reigning monarch had dined,
Miss Skinner presented her first monologue-drama. A raised
platform at one end of the Hall served as the stage. Near
the fireplace were the original andirons which bore the
initials of Henry VIII and Anne Boleyn. "Miss Skinner never
ceases to be astonished that the premiereof a successful
production took place in the exact spot where the idea was

borne."6

 

5From the office of Cornelia Otis Skinner, 22 East
60th Street, New York 22, New York. This is a part of the
material which Miss Skinner, her prbss and secretarial staff
compiled regarding "The Wives of Henry VIII." It represents
Miss Skinner's official and valid statement which she gave
for the use in this study.

6Ibid.

78

The private performance given for a small group of
friends was so well received that Miss Skinner presented it
in London where it again proved successful. It was given as
part of her solo performance as the playing time was only
forty-three minutes. "Presented first in England and then
for a long run in New York, 'The Wives of Henry VIII' was an
immediate success and has kept a high place in Miss Skinner's

repertoire."7

Significance and Framework 9; fig Analysis 2;
The Wives 2; Henry VIII

The Wives 9; Henry VIII was chosen for analysis be-

 

cause it is a prime example of Miss Skinner's monologue-
drama. It is based on historical fact, has eight well-
written characterizations, and is one of the least complex
of her solo-drama productions. It is serious in tone and
displays the author's ability to write dramatic material.
Preceding the analysis of each of the six scenes,eu1
historical precis of each character, a description of the
Scene, setting, and costume, and a summary of the action are
presented. Statements from the script are quoted in order
to provide examples of Miss Skinner's style of composition.
The analysis will treat characterization, dialogue,
and unity of dramatic action which are as essential to the
monologue-drama as they are to the play, possibly even more

so. Characterization in the monologue-drama needs to be

 

7"me Lady Macbeth to Yvette Guilbert,'.' 'Paris '90"
Souvenir Book, 1952, p. 10.

79

particularly well planned, written, and performed because

the author is not able to delineate the character through

the dialogue and action of other actors. Instead he must de-
fine the character so well that no other actors seem to be
required. Superfluous details are discarded in order to
focus all attention on the one character. The character-
ization must be so written as to be credible, lifelike. This
occurs when the character is intelligently motivated so that
he reacts in a lifelike way. The writer of monologue-drama
must be able to employ imagination in order to give the
characterization a distinct personality.

Part of characterization is accomplished by the
dialogue. The dialogue for monologue-drama must be convinc-
ing. It must be interesting and vivid. Alliterations,
succinct language, choice of terms, and dialect are some
devices of dialogue which help to capture the attention of
the audience. Clarity and literary finesse can heighten the
characterization and dramatic action while creating artistic
values.

The unity of dramatic action gives emphasis and
continuity to the solo-drama. The creation of unity of
action ”is the process of eliminating the unessentials from
the plot."8 The dramatic action in a scene can only comprise

one short moment of the life of the character. Dramatic

 

8Roger M. Busfield, Jr., The Pla wri ht's Art (New
York: Harper & Brothers, 1958), p. 115.

80

action in a monologue-drama can use all the devices of
clarity, preparation, suspense, and crisis found in a drama.
The difference is that the dramatist must be so skilled that
he can condense the action.toziscale of one character, one
situation, seen for only a few brief minutes by the audience.
Unity is achieved by a thread of continuity which occurs
through the entire performance. Transitions blend or iso-
late scenes. They can be physical, emotional, or intellectual,
but they should relate what has gone before to what is
happening and what will happen.

The analysis of The £312; 9; Hgggy_!;;;,will note
characterization, dialogue, thematic unity, and dramatic
action as seen in this monologue-drama. By this procedure,

Miss Skinner will be studied as a writer of monologue-drama.

The Eiygg g; H2g§y_!;;; is written in six scenes to
depict, in chronological order, the six wives of Henry. Two
of the queens were executed by Henry because he suspected
them of infidelity. These were Anne Boleyn, his second wife
and mother of Elizabeth I, and Kathryn Howard, his fifth wife.
The author does not pass Judgment upon Anne Boleyn as guilty
or innocent of the charge placed against her. Instead Anne
emerges as a moving characterization, a person with whom the
audience tends to sympathize whether or not she is guilty.
Kathryn Howard is clearly presented as a girl who is un-
faithful to Henry. Her infidelity is due to the repulsive

81

behavior of the irascible and disease-ridden monarch.
Catharine of Aragon, the first wife of Henry and Queen of
England for twenty-four years, is presented as a proud
Spaniard who loves her husband and is forbidden by her
religion and sense of duty to give him a divorce although
she knows that he no longer cares for her. Jane Seymour,
the third wife of Henry, appears as a tender, lovable, and
pathetic child bride. This scene reveals the naiveté of
Jane and the awkward situation which results from her con-
sidering Henry more as a father and monarch than as a lover
and husband. In contrast, Anne of Cleves is a comic
character whom Holbein had misrepresented in his portrait of
her. Katherine Parr, the last wife of Henry, outlived him,
and the scene shows her at his deathbed.

Miss Skinner adroitly chose an event which reveals
the personality of each woman. The script has continuity
because all the women are wives of Henry VIII; he is the
imaginary character whom Miss Skinner paints through the
words of his wives. Through them Henry is seen in various
successive phases of his life from the vigorous young

monarch to the dying old king.
Catharine of Aragon, Scene One

The first queen to reign with Henry VIII was
Catharine of Aragon, and it is with this character that

Cornelia Otis Skinner began her monologue-drama.

82

Catharine, the daughter of King Ferdinand and Queen
Isabella of Spain, was the mother of Princess Mary, known to
history as "Bloody Mary." Catharine ruled as Queen of Eng-
land for twenty-four years. Although Henry had long desired
a divorce, Catharine would not sanction it. Her stubborn
refusal to dissolve their marriage prompted Henry to obtain
a legal separation from Catharine on the technical grounds
that she had been married first to his brother, Prince
Arthur.

Catharine was his brother's widow, and the law

of the church forbade the marriage of a de-

ceased brother's wife. To make the marriage

[to Henry VIII] possible, the pope had issued

a decree which dispensed with the law in this

particular case. Henry contended that this

dispensation was invalid.9

During the last years of her life, Catharine was
ostracized from court, failed in health, and even experienced
poverty. While married to Catharine, Henry fell in love
with Anne Boleyn. This infatuation, together with the hope
that perhaps she would bear him a son, resulted in his ob-
taining the divorce. In 1536, three years after the divorce
was granted, Catharine died at Kimbolton Castle. During
this three-year interlude she had been deprived of seeing
her only child.

Although scenery was not used in this monologue-drama,

a list of various properties which suggested settings, apart

'from those noted in the stage directions, is given in the

9w. E. Lunt, Histo 2; England (New Yerk: Harper &
Brothers, 1957). Pp. 303-307.

83

script. The first scene calls for a high-backed throne-chair
with arms, in the Tudor style or that of the Spanish Ernais-
sance. The backdrop for all the scenes was of a dark colored
velour. Lighting was accomplished by "Red, white a blue
footlights and overheads, all working on separate circuits;
two olivettes (floodlights) with straw gelatin, feur bal-
cony spots with surprise pink gelatin."1O

For the first scene, Miss Skinner chose for Catharine
a Jeweled velvet gown of Tudor design. Her hair was covered
with a richly Jeweled Spanish snood of the sixteenth century.
A.diamond cross pendant hung from her neck.

As the scene Opens, Catharine of Aragon enters. The
audience is led to imagine that the child, Mary, is with her.
She speaks to the child and tells her that they must find the
princess' father before the hunt. Suddenly Catharine turns
and sees Anne Boleyn. She pauses and then impassively greets
Anne and tells Mary to say good-morning and to offer her
hand to Anne for a kiss.

Catharine wastes no time in questioning Anne as to
why she is up so early when she had stayed up so late the
night before. "Last night a dream troubled us and to clear
our brain we walked on the terrace, two persons were below
in the rose-garden. We think one was you and the other -

(keenly scrutinizing her) - the other was a young man."'1

'OFrom the office and personal records of Cornelia
Otis Skinner, 22 East 60th Street, New York 22, New York.

"Cornelia Otis Skinner, The script of "The Wives
of Henry VIII." Additional quotations from the script are
given without footnote reference.

84

She describes the man as being rather heavy-set. Anne
denies this accusation, and Catharine tactfully says that
perhaps she was mistaken, knowing all the while that it was
Henry whom she had seen with Anne. She dares not openly say
so but does let it be known that she is aware of the intimacy
between Anne and Henry. To Anne's casual inquiry as to her
state of health, Catharine replies that she is as well as
might be expected, but tired, and that Mary, too, is frail.
The assumption is that Anne politely wishes Catharine good
health and comments that Mary is pretty. "How kind of you!
They taught you in France, Mistress Boleyn, to lie most
charmingly." Catharine also acknowledges the comment about
her child's "beauty": "You know as well as we do the lady
Mary is not a pretty child." Ironically she adds, "But
better still she [Mary] is a good and pious girl." It was
no secret that Henry wanted only a son, so Catharine
rationalizes her feelings with a statement reflecting pre-
meditated thought, "A pity she is not a boy.... WOmen have
ruled as well as men. Our mother, Isabel la Catolica, was
a queen."

As Anne is dismissed, a Spanish usher enters;
Catharine speaks sixty-eight words of Spanish to him. A
translation reveals the following dialogue:

Good day, Montoya. What news do you bring?

Don't be afraid to tell it to me. It's a

thousand times worse not to know it. You,

Montoya, are an incorrigible optimist; oh,

for goodness sakes, I'm not making up ideas!

Bad, very bad, Montoya. I don't sleep, I'm
not eating--the vineyard is corrupt. I don't

85

know. Thanks, dear friend. You well know I'll

fight to the bitter end. The Holy Father will

not allow it to be carried out. It's best that

you go, Montoya. It's his MaJesty.

Henry enters and kisses Catharine hastily. When
Mary demurs at embracing her father, Catharine assures him
that the child's reluctance is due to her so seldom seeing
him, not that the child is afraid of her father. The script
notes "considerable emotion at sight of him" at this point
in the scene.

' Catharine pleads with Henry to say mass with her,
that it has been two months since he has done so. She begs
him to go with her, saying, "Your conscience over having
married your brother's widow is roused after fifteen years,
Henrique? For Cristo, I am afraid I do understand. I will
go into a convent, Henry, when you take orders in a
monastery."

Supposedly Henry says that he does not wish to hurt
her. "Is that why you are away so much? Why you no longer
share my bed? Affairs of state? We do not call them so in
Spain."

After a pause, Catharine mentions to Henry that Anne
Boleyn was up early. With this, Henry starts for the door,
Anne's door. "But the hunt meets in the Great Court. That
door does not lead to the Great Court. (Smile) YOur father
was subtle, Henry. You do not favor him."

Henry leaves, and Catharine prepares to take her

daughter into the chapel when Mary supposedly asks why her

86

father did not stay. Catharine answers, "Because he has no

time for us, my dear. Ybu are too young and I am too —- aie
Jesus! Yes, little Mary, your father is very handsome. He

is very magnificant. Come, hiJa mia! We shall go pray for

him." They exit and the curtain falls on the first scene.

Throughout the scene Spanish words and phrases have
been inserted to remind that Catharine is Spanish, a royal
daughter of the benefactors of Columbus. To help establish
further the Spanish characterization, one passage in the dia-
logue is completely in Spanish. A definite reference to her
background is the strong portrayal of Catharine's catholicism
and her devotion to the church. "FOr Cristo," she says, and
she talks much of going to prayers and pleads with Henry to
hear mass with her.

Miss Skinner would have the reader imagine four
different unseen persons in the scene with Catharine, namely,
the child Mary, Anne Boleyn, the Spanish usher, and King
Henry. At no time do more than two of these additional
imaginary persons appear together. Actions in the script are
noted in parentheses such as, "Enter," "Sees Anne," "She ex-
tends her hand," "She follows the little girl's gesture,
smiling wanely," "Pause," "Smile," and "Sigh."

Catharine is written as a beautiful queen, who is
charming and strong enough to retain her head but not her
husband. Although she was exiled, she accomplished the feat

of not being executed as were some who succeeded her to the

87

throne. The situation dramatized occurs toward the end of
her regal career. Catharine is clearly depicted as a stun-
ning woman of queenly bearing, serious and melancholy. The
climax of the scene occurs when she reveals that she is
cognizant of the relationship between her husband and Anne
Boleyn, but perceives that she is powerless to allay her ap-

proaching fate.
Anne Boleyn, Scene Two

Scene two presents Anne Boleyn, the second wife of
King Henry VIII. Anne, who was queen for only three years,
was the mother of Elizabeth I. Because she failed to bear
Henry a son and because she was accused of intimate relations
with other men, she was beheaded. The accusations of in-
fidelity, with such men as Mark Sweaton, Sir Henry Norreys,
and others, were never proved and remain a moot question.
Anne was an English girl, educated in France at the court of
Francis I, under the patronage of Queen Claude. Because Anne
loved fine clothes and the luxuries associated with the
extravagances of the French court, she was resented bitterly
by many of Henry VIII's subjects.

The second scene is set in the Tower of London, in
the prison where Anne is awaiting her death. It is the
morning of the execution, May 19, 1536. Only four years
later than the setting of the first scene, it is the same
year in which Catharine of Aragon meets her death from
natural causes. The only prOperty in the scene is an imi-

tation stone bench. The description of Anne Boleyn states,

88

in part, that she is "discovered sitting in a sort of a
stupor after being awake all night. The mind is dulled and
strangely suspended after the long strain. She sits for a
time staring before her at the oncoming day."

Anne is pictured as a beautiful young lady. Her
face is without wrinkles, and there are signs of sophisti-
cation due to her heritage and training. Her long hair is
parted on the side and falls upon her left shoulder. She
wears a square-necked gown of velvet with an underskirt of
satin brocade. The frilly sleeves of her white blouse extend
from the velvet dress sleeves and the gown has white trhmming
at the neckline. She holds a white scarf.

After a long pause, Anne speaks as if in a trance.
Her speech is nearly poetic and very ethereal in character.
Her first word is "Ah" followed by a description and a stage
direction: "(Her voice is strange and ghostly) (An attendant
asks if she spoke)." She assures the servant that she wants
nothing. Anne recalls mornings in France "when the chestnut
trees were all candles. That was in May. It's May now ...
the merry month of May. Ha!" (This exclamation uttered in
derision.)

She muses whether her cousins think on her imprison-
ment in the tower. If they are they are probably saying,
"Nan Bullen's up there! Nan Bullen the whore--poor wretch,
she's losing her head today." But, even though she is to

lose her life, she finds that she cannot weep. She realizes

89

that she is almost in a trance, and she feels strangely
peaceful, "like sleep after a wild dark dream."

Anne will take no food, for it would sustain her and
she wants nothing that will make her "tough." She takes a
cup of wine, then raises her hands to her throat with a
short gasp of horror. She rises and paces the room, clasping
and unclasping her hands. She thinks of the King and recalls
that he once loved her throat for "He used to stroke it.
(Then viciously). And he used to bite it."

She wonders if it could be that Henry is only test-
ing or proving her love. She tells herself it is only his
Jest to have her imprisoned, for she has done nothing,
"nothing but laugh with my dancing men. They loved me -- I
thought he'd like their loving me."

Mark Sweaton and Norreys, whom she calls "Norris,"
were her friends, yet she wonders, "Oh, my dears, was it
worth it? If only you can think it was worth it!"

Anne learns that her executioner from Calais has
arrived. "Always I've had my luxuries from France--my gowns,
my perfumes, and now my executioner.” Anne laughs bitterly
and predicts that people will call her "Headless Anne" and
write ballads about her, almost as though she had a pre-
monition about this.

Anne goes to the window and hears the crowd. Then,
stifling a cry, she leans out of the window, sees the block

and recoils with a gesture of horror. "0 God! Master

90

Kingston, Easter Kingston, there isn't much time," she cries.

Her next thoughts are for her daughter and her
husband, as she realizes that soon her life will be ended.
"Tell my child, tell Elizabeth to say her prayers and learn
her lessons. Poor little wretch! What star can guide her
course?" Anne commands that the King be told that she loved
him and that she cared. She says that, when his lust
flickered out, she only smiled; and Henry had said, "To cut
your head from your body will kill your smile." Anne vows
that she will be brave and smile forever, that Henry will
see that smile when he is with Jane Seymour.

Mockingly, Anne asks if her neck is bare enough and
demonstrates how they will hold her hair when she is put on
the block. Her mocking and laughter soon change to dreadful
sobbing. She asks for more wine to steady her. Then she
asks how she looks. "Do I look young? Do I look beauti-
ful?" As she is about to make her exit, she recoils with a
groan. "Oh God have pity on my soul! Have pity on my soul.
(Then gathers self and makes a grand exit.)"

Anne Boleyn is written in such a way as to gain much
sympathy from the audience. The question of Anne's unfaith-
fulness to Henry is left unanswered. This is accomplished
by a contradiction of Anne's words. She recognizes her
friends call her "a whore"; she wonders whether Sweaton and
Nerris, whom she calls "my dears," think she was worth

loving, although she never actually says she loved them.

91

In fact, she says, "I've done nothing." Yet another time
Anne says, "Oh, I have been loved! They never tired of me.
I can hold any man as long as I stay his mistress." Finally,
Anne utters a final wish that Henry will know she loved him.
Whether or not Anne is guilty is left to the audience to
ponder.

In support of Anne's being educated in France, the
script calls for French words such as "Ms foi" and "Voila
le monde qui continue comme touJours."

Miss Skinner has indicated gestures and movement in
the manuscript. Anne pauses, puts her hands to her throat,
paces, wrings her hands, gives a toast, drinks, sways "with
the volupte [gigy] of remembered caresses," stifles sobs,
leans from a window, laughs hysterically, moans, recoils,
and makes a grand exit. These directions in the script not
only indicate movement and gestures, but they also punctuate
various emotions. Anne runs the gamut of emotions.
Initially, in a trance-like condition, she is presented as a
study in contrasts. She is rational and hysterical; she
laughs and she cries; she is strident and quiet; she is
nervous and serene; she exudes pride and is remorseful.

The scene builds in emotion when Anne speaks of her
child, Elizabeth, and of Henry VIII. As the time of her
execution is at hand, her spirit breaks and she becomes
hysterical. Her recoil andmher’moans as she starts for the
door climax this scene. But the dramatic fervor is not over

because she pulls herself together and makes the grand exit

92

befitting a queen.

Miss Skinner again preserves unity in her script by
presenting the wives of Henry VIII in chronological order,
and rigidly adheres to this order. No transition to what
will follow is evident at the close of the first scene, nor
is Catharine of Aragon mentioned in the first few lines of
the second scene. The Anne Boleyn scene is slightly longer
than the first scene, for it has 521 words as compared to 582
words in the first scene.

Anne is written as a beautiful, questionably inno-
cent young woman. The script asks the audience to sympathize
with Anne who loves the luxuries of life, cares for her
child and wonders what the future will hold for her, says
she loves her husband who is having her executed, breaks
down when faced with the time of execution, and yet has the
courage to go to the block bravely with a smile on her face.

The scene is graphic in character portrayal and
dramatic action. "It is here that Miss Skinner reaches the
heights. She presents a picture of dark despair, tenderness
and beauty."12 Indeed, the script effectively presents an
indelible portrait of a beautiful and ill-fated young woman.
It tends to be a complete drama in itself for the plot out-

line is thoroughly and thoughtfully constructed. The

 

12Author unknown, part of the material from the
office of Cornelia Otis Skinner which was offered for this
study and documented as a valid statement concerning Miss
Skinner and her monologue-drama.

93

dramatic action builds until it reaches a point of climax in
Anne's hysteria. The dramatic resolution shows Anne approach-
ing her execution as a courageous victim of a Jealous king.
The characterization is intense, honest, and reaches beyond
surface superficiality. The rise of pathos from the reader's
identification with the character tends to show the ability

of the author to conceive strong passion and to determine

audience response.
Jane Seymour, Scene Three

Scene three of The Wiygg g; Hgn§y_yllg_is in vivid
contrast to the two preceding scenes and presents Jane
Seymour, the third wife. Jane was the daughter of an English
nobleman. She was married to Henry VIII shortly after Anne
Boleyn's execution. She was a young and passive person.

Yet it was this submissive country girl who bore Henry a son
in October, 1537. He was christened Edward VI. Henry in-
sisted that Jane attend the christening four days after she
gave birth to the baby. The christening was so sumptuous and
so exhausting an affair that Jane died a few days later.

The third scene takes place in the Garden of Hampton
Court, in October, 1537. A bench is on stage. Jane appears
in a pastel gown of velvet and brocade. She is a blonde and
wears a caplet over her short hair. A large and burdensome
gold chain is suspended from her neck. She carries a single

rose. Her clothes, intentionally, are too elaborate for

94

this country maiden. They help to make her seem out-of-
place. With her is her four year old step-daughter,
Elizabeth. Jane is described as "young and shy--a type of
English country girl, very pure and quite bewildered by her
surroundings."

Jane's first words are to Elizabeth. "Come along,
my love! Come to mummy Jane! Elizabeth, darling, do come!"
Jane tells Elizabeth that she will play hoop or hot cookies
with her, but Elizabeth prefers to pull the heads off the
flowers as though they were the subJects and she the Queen.
Elizabeth cries and screams to get her own way and, pre-
sumably, proposes that Jane pay her to stop the screaming.
Elizabeth only wishes to play one game which she calls Tower
of London. "Oh, no, sweet! That's not a nice game!", Jane
tells the child. But, finally, Jane concedes and plays the
part of the prisoner while Elizabeth assumes the role of the
headsman. Jane kneels and pleads for her life. "Please
dear, kind master headsman spare me! What would my poor
dog and my miserable cat do without me?" She breaks out in
laughter and, supposedly, Elizabeth does too. Then, the
script notes that "In the midst of the second peal of
laughter a shadow crosses the path. It is Henry."

Jane explains to her husband, the King, that they
were playing. She is like a little child herself, and Henry
tells her to get up. Jane relates to Henry that the silly
game, Tower of London, was invented by the four-year old and

that Elizabeth meant nothing by it. "(Elizabeth says she did)

95

No, you don't, Elizabeth," Jane reprimands.

The child leaves and, after an awkward pause, Jane
tells Henry that she feels sorry for the little girl, that
"she seems so lonely and with no mother (gasp)." Jane finds
it hard to call her husband anything but "your MaJesty," and
it is almost agony for her to say "Henry." She explains that
this is due to the fact that she does not call her father,
John. She realizes this was the wrong thing to say and tries
to modify it by saying that she does not call the Pepe, Paul;
but this is only making matters worse.

Henry tells her to sit down, and she does so obediently;
then she says that she loves him. After another awkward
pause, she asks if she can gather a spray of St. John's for
him, for it wards off sweating sickness. Each word Jane says
is the wrong thing, and Henry seems to be amused at his child
bride.

The king inquires of her health. Jane says that she
feels faint at times, but other women have borne babies.

She starts to ask him, "but I say, if it should be a girl
you won't (hand steals to throat) I don't know--this October
weather. It makes me a little gloomy."

Again she declares her love for Henry, endeavoring
to convince herself at the same time. Jane experiences her
first labor pains and gives a little cry, for which she ex-

cuses herself:

I shouldn't have mentioned it. Perhaps I had
better go in. What a pity it's such a lovely

96

day! And the last of the roses are such darlings.

Do you remember my father's garden in Wiltshire?

Sire, if anything should happen to me--do forgive

me. Go in? Oh, yes your--Henry.
With these lines the scene closes.

Jane is written as a shy girl who is more at ease
playing games with a four-year old child than she is in the
role of Queen conversing with her husband. The script im-
plies that while Jane's love for Henry is sincere and true,
it is more like the love she has for her father, or for the
Pope. In other words, she thinks of Henry as an old man and
a monarch much more than as her lover and husband.

The childish, naive character of Jane is plainly
indicated in the script by such instances as her preference
for gathering flowers, or her facility for saying the wrong
thing even though her words speak the truth. Jane's un-
familiarity with Henry and the ways of the palace are indi-
cated in the dialogue by her awkward speech, her hesitation
and long pauses, and her forced participation in declaring
her love for the aging Henry of whom she is a bit afraid.

Miss Skinner has inserted in the dramatic action
ironical elements such as having Elizabeth insist on playing
"Tower of London." The script indicates that Elizabeth has
a mind of her own and wants to pick the heads off of flowers.
"But, dear, that's very naughty. Your papa does it? I know
sweet, but only when the subJects are wicked." It is Jane
who has to play the role of prisoner seeking mercy from

Elizabeth, which Henry witnesses. Jane seems to realize that

97

this is only a game she is playing but that it may very well
come true if her unborn child is not a boy. ’The dramatic
action catches Jane in one moment of her life where she

tries to find her own harmonious place in the milieu of
Henry's world. The dialogue indicates that Jane feels pity
for Elizabeth, whose mother is dead, yet she is aware that
Henry had her executed and, were it not so, she would not be
Queen. Jane had never been trained to be a Queen, and she

is bewildered by the palace. For solace, her thoughts revert
to her parents and her father's garden.

The climax of this third scene occurs when Jane
experiences her first labor pains and leans for support on
Henry. The denouement resolves the scene while accurately
picturing a painfully shy and innocent child bride who is
not on sufficiently familiar terms with her husband to call
him by his first name, yet entertains fears concerning the

child she will bear him.
Anne of Cleves, Scene Four

The fourth wife of Henry VIII was Anne of Cleves.
Miss Skinner writes the role of this German maid with a
character that is forthright, honest, and outspoken, with
some comic overtones.

Anne of Cleves was a Lutheran and the daughter of a
German Duke. For political reasons, Henry sought a German

wife of Lutheran faith. He saw Holbein's portrait of Anne

98

and arranged a wedding before personally seeing the woman.
Unfortunately, Holbein's portrait was a misrepresentation of
the real Anne, and Henry was so repulsed that, although he
had to go through with the marriage, he divorced her imme-
diately.

The setting is laid in Rochester. Anne of Cleves is
waiting for Henry VIII to be presented. With her are two of
her ladies-in-waiting, Schwartzenbrock and Willik. As the
scene opens, Anne asks them if she is wearing the right gown,
and she has them adJust her dress so she will be well groomed
and attractive to Henry when he enters. This conversation of
fifty-five words is in German. The author has translated
them into English.

The script indicates that Anne of Cleves wears a
heavy, cumbersome and unattractive costume. Although it is
made from rich and heavy tapestry, it does not enhance the
figure. Her hair is completely covered with a white mantle
tied under the chin, which was characteristic of a Lutheran
lady of the sixteenth century.

A young man enters; his name is Fitzwilliam. He
kisses her hand, and she "gets quite a kick from it." He
informs her that Henry is coming. This she explains in
German to her ladies. She then tells Fitzwilliam that in
Cleves they do not see too many young men for "most von time
vs are all maidens togedder." I

Anne hopes that Henry will be impressed by her

99

countenance, saying, "It is hoping so I am he's going to
like me!" She confesses that she is afraid Holbein has
flattered her in his portrait, but then she consoles herself
that her father had told her that, whatever one says of her
looks, she is to remember that she is a good "goil."

Anne is very excited and becomes even more so as she
hears the approach of Henry's horse-drawn carriage. Anne
wonders if he will kiss her when he enters. "Thirty-four
years haf I liffed and no man should kiss me already."
Presumably, Sir Anthony Browne enters and announces that the
King is outside. There are four imaginary people on stage.
Anne receives Sir Anthony with a deep curtsey, but as soon
as she learns that Henry is outside she flutters about the
room, talking wildly in German to her maids. She asks if
she looks all right, if her skirt hangs straight in back,
and so on.

Henry enters, and Anne bows low, obviously hiding
her face. She retains this position, indicating that Henry
is speaking a few polite remarks. With face lowered, she
says that she is honored and then recites a memorized speech.
"In asking for my hand you have bestowed the greatest favor
on me and on my Brothers und on de Duchy of Cleves! In
return I can only gif you my maiden's heart and my womanly
devotion!"

The script indicates then that Anne rises, and beams,
and Henry sees her face for the first time. There is a long

pause, the smile on her face gradually fades. Then "Henry

100

rushes to her, kisses her hand and plunges out of the room."

Anne of Cleves is surprised at Henry's action and
asks Fitzwilliam and Sir Anthony what is wrong with the King
that he should run away. "Vas he frightened of me? Or was
he shy? ... Ach, how sweet! He lofes me already, maybe."
She is not sure why he left so quickly but, with a reassuring
smile blurts, "It's time he must haf--time to collect him-
self. Schwartzenbrock! Osenbruch--come mit me in de next
room. Ven Heinrich comes I am with my ladies, Ja? Ach!

I am so happy! He is so sveet!" Anne of Cleves then makes
her exit coyly and the curtain falls on the fourth scene.

The script makes of Anne a comical character. She
is delineated as overly-thrilled and excited that at last
she knows she is going to get a man. The dramatic action is
confined to the situation when Anne and Henry first meet.
The climax is reached when Anne reveals her face to Henry and
he beats a hasty retreat. Anne's excitement in anticipation
of meeting her future husband and her obvious misunderstand-
ing of his reaction are laugh-producing. The script sug-
gests a lot of comical physical action for this scene, with
Anne portrayed as an earthy, awkward bumpkin.

The dialogue has some German phrases, such as, "Ach
Himmel!", "Ach Gott!W, "Heiliger Bisbaml", "So schnell!",
and "Guten Tag!" The twisting of the English sentence
structure to conform to German grammar is an amusing device

of the author. Examples are, "It's outside he iss already,"

101

”I think I hear de horses yet!", and "it's so nervous I am!"
The script is written to indicate a German accent by sug-
gesting pronunciations of the English words such as "Vater,"
"Dot's vonderful!", and "vot it iss?"

Miss Skinner wrote the characterization of Anne of
Cleves to reveal her as an ugly duckling. She is aware that
"The Flanders Mare," as Anne was called, did not share the
tragedy nor gloom of her predecessors. Miss Skinner retains
historical validity and yet uses this unusual female to serve

as a comic relief for the whole monologue-drama.
Katheryn Howard, Scene Five

The fifth scene contrasts the old monarch to his
young bride. While he was once a handsome man, now he is
slovenly, irascible, disease-ridden, and, as the script has
it, disgracefully crude.

Henry VIII's fifth wife was Katheryn Howard, a girl
of fifteen when she was married to Henry, then forty-nine.
She was a first cousin to Anne Boleyn, Henry's second wife
and the mother of Elizabeth I. Katheryn's father was of the
nobility, but he was very poor. Henry was said to have been
infatuated with this young girl; when she was charged by
Archbishop Cranmer with immorality before their marriage and
infidelity with Thomas Culpepper and others during her
marriage to Henry, the king bewailed his misfortune. He
could not reconcile himself to her reported unfaithfulness

and had her beheaded, by order of Parliament, when they had

102

been married scarcely two years.

The fifth scene takes place in York, during the Royal
Progress of 1542. No scenery or set pieces are used. The
script calls for Katheryn to be dressed in an elegant riding
or traveling costume of the sixteenth century. This dress
featured a beJeweled panel running from the center of the
neckline to the hem of the skirt. Her hat was designed with
a rolled velvet brim, a plume on the crown, and a scarf flow-
ing from the back of the hat.

The scene opens when Katheryn runs onto the stage
breathlessly, asking "Is he here yet?" referring to Culpepper.
She describes her husband, who has gone hawking, as "the old
pig" and grimaces as she tells how Henry dropped food on his
chest as he ate and let the sack run off his beard.

Katheryn believes that no one will discover her
rendezvous as she runs to greet her lover whom she sees ap-
proaching. "She is mad; about him. She takes him by the
hand and pulls him," the script reads. Katheryn explains to
Culpepper that Lady Rochford found this place for their meet-
ing and that she has agreed to stand at the top of the stairs
to serve as a look-out.

‘As soon as Lady Rochford leaves, the script indicates
an amorous scene between Katheryn and her lover. Katheryn
is seized by her lover and kissed, and in turn she kisses
his hands. She had not seen Culpepper for some time, for

Archbishop Cranmer was watching her too closely and'Kan

103

expression of repugnance) big-bellied Henry wanted me. He
kept me with him all day while he grizzled [gigfl' and snored
and complained of the sores on his leg."

Katheryn produces a spice ball which she carries to
ward off Henry's stench, while she says that she has him be-
lieving it is her conceit that makes her carry it. She avows
her love for Culpepper but warns they should not meet that
night. "Yes, he sleeps after he eats, but then when he wakes
(grimly) he always wants me there. He whimpers for me ...
and I must say 'yes, my own,‘ and 'I'm at your side, my
pet.'"

Katheryn does not want to run the risk of their be-
ing found together, for "He's spring-cleaning the Tower
these days." She says Henry has her worried, for he called
her his pretty witch. "Darling! Holy writ says 'Thou shalt
not suffer a witch to live'!" Culpepper says he is not
afraid; he assuages her fears, and they agree to meet after
supper.

Suddenly, Katheryn hears someone on the stairs and
finds that it is Cranmer, the Archbishop. She is informed
that Henry did not go hunting and that he wishes to see her.
"Very well," she says. But as she turns to leave, she dis-
covers that Lady Rochford is not at her watchpost. She
learns from the Archbishop that the guards have captured
her. The scene closes as Katheryn repeats the word

"Guard."

104

The Gua'--(She looks about her with dreadful
apprehension. Two beefeaters have come up behind
her.) Who are those men? What are they doing
here? Oh, no! (She stifles a scream.) I shall
go to the King. (Cranmer goes on. She seizes
Culpepper's hand for a moment. A look of fatal
understanding passes between them. Then she
courageously follows Cranmer.)
The author has a tremendously difficult task to write
a love scene for the performer to portray single-handed.
Miss Skinner wrote the scene so that the solo-performer could
rely upon pantomime followed by audible love speeches.
Unity and economy of action are effected by eliminating many
historical details so as to focus upon Katheryn and Culpepper.
Katheryn is revealed in the script as definitely in love
with Culpepper, and therefore, the author leaves no doubt
but that she is unfaithful to Henry. Yet, Miss Skinner's
script does not criticize Katheryn's behavior; rather, the
tendency is to effect a characterization which will draw
sympathy toward the young lovers and their rendezvous. To
accomplish and project this feeling, the dialogue describes
Henry as a completely intolerable and filthy person. Miss
Skinner has characterized Katheryn as being a fun-loving
girl who is forced into indiscretions by the swinish king;
the climax occurs when the lovers are discovered together.

As the dramatic action resolves, Katheryn realizes that her

penalty for loving another is the execution block.
Katharine Parr, Scene Six

The last scene of the play not only presents Henry's

105

last wife but serves as a summary for the entire monologue-
drama.

Henry VIII was the third husband of Katharine Parr.
Twice before she was widowed, and now she is to see Henry
die. She outlived Henry and four months after his death
married the handsome Sir Thomas Seymour. Katharine was Queen
of England for four years. She was said to have influenced
political concord and popular welfare. She also accomplished
the feat of motherhood and thus established a home for the
three children by Henry's former marriages.

The setting for this scene is in Whitehall. Katharine
Parr is at the deathbed of Henry VIII, on January 26, 1547.
Katharine has a strong intelligent countenance. She is
dressed in a sombre velvet gown. The V-neck reveals a lovely
necklace of many strands. Her hair is tightly wrapped and
then covered by a long headdress with a rolled halo which
frames the face. She sits in a heavy wooden chair of antique
design.

Scene six begins with Katharine sitting at Henry's
bedside. An hourglass, presumably, is near although it is
not actually on the stage. Katharine tries to make Henry
more comfortable. His mind starts to wander, and she tells
him that she is Katharine, his wife. "But you haven't cut
off my head. No sweet, that was another Katharine-~that
was Katheryn Howard."

Because he is in an almost delirious state, she talks

106

to him as though he were a child. When he speaks in Spanish,
she responds, "But you needn't speak to me in Spanish, dear.
This is Katharine Parr. The Spanish Catherine? She's dead,
my dear." Henry is assured that he did not kill her and it
was not his fault that she died at Kimbolton Castle. "It

was a healthy enough place for an English person. You're
hardly to blame if she happened to be Spanish." She agrees
with Henry that Catharine of Aragon was a headstrong and
stubborn Catholic. "I'm quite sure she never got to heaven."

Henry groans, and she asks him to try to keep still.
The next person he calls for is Anne Boleyn, for he wants her
to sing a French song. "No, love! I wasn't brought up in
France. Ybu're thinking of that horrid Anne. She was a
dreadful creature! I shouldn't think of her if I were you."

Henry, presumably, says that Anne Boleyn was beauti-
ful, but Katharine Parr quickly says that it was not a last-
ing beauty, yet more attractive than the "Flanders Mare,"
she admits. She tells Henry that Anne of Cleves is happy with
her pots and pans at Bletchingly. "She's perhaps the only
(she stops short)--nothing, dear. You're quite mistaken, I
said nothing."

When the pains become worse, Henry wonders if they
are as bad as Jane's. "(A sweet serious look comes over
Kaflharine's generous countenance.) Let's hope not, my dear.
Ybu loved her. Yes. I know. Dead? Yes, Henry, she's

dead."

107

Katharine offers to summon Price Edward, but Henry
asks her to say a prayer instead. Mechanically, she begins
to recite a Latin prayer looking ahead as she does so. The
end of the prayer is done with the "frozen realization of
what has happened." Katharine is aware that Henry has died.
She leans over him, calls his name, pauses, then goes to the
door and calls for Archbishop Cranmer. After a short black-
out, the light returns as she cries, "The King! The King!"
Then Katharine turns to the audience and says to it and to
herself, as if not realizing it, "He's dead! He's dead!"

The final scene presents not a characterization of a
stylish woman, an arrogant woman, a beautiful woman, a
comical woman, a young woman, nor a fun-loving woman.
Katharine Parr is written as being a subtle, quiet, and per-
ceiving person. The dialogue implictly reveals that she
realizes her position as the sixth wife of Henry VIII, ac-
cepts her duty as his Queen, and tries to make the most of
it. She is not happy, for Katharine almost completes the
sentence that Anne of Cleves is perhaps the only happy one
of Henry's wives. Yet, Katharine exercises more control
over Henry VIII than her predecessors could manage. As a
detail of characterization, the author has Katharine
personalize her statements with such affectionate phrases as
"sweet," "dear," and "poor dear," when talking to Henry.

She shows respect to him by frequently asking his opinion as,

"don't you think?" The easy conversational lines of dialogue

108

which the author gives to Katharine display: her character

traits of intelligence, astuteness, and perception.

Summary

This short monologue-drama, with a playing time of
forty-three minutes, presents vignettes of six women who
were prominent in history. The author seems to say that
these women, the wives of Henry VIII, are remembered not as
queens and personalities due to their public deeds, but be-
cause they played the roles of pawns to a willful and feared
sovereign. The subJect matter is based upon one man and his
six wives. None of the wives was an important monarch,
rather their collective importance in history was their
sharing successively the same husband.

Each woman describes Henry in a different way and
their descriptions define his personality. Catharine of
Aragon loved but distrusted Henry, Anne Boleyn thought him
handsome, Jane Seymour was afraid of him, Anne of Cleves ad-
mired him, Katheryn Howard hated him, and Katharine Parr
controlled him. Henry is the connecting link of the scenes
and, "although he speaks not a line, can be seen in bold and
obscene outline under Miss Skinner's craftsmanship."13 Be-
cause Henry, as anhistorical figure, provides the subJect
matter for the script, transitional passages are not supplied

to suggest what will occur in the following scene or what had

 

'3From an anonymous London review found in Miss
Skinner's personal files.

109

occurred in the scene before. The title of the monologue-
drama itself states the subJect matter, and it would seem un-
natural to see anyone portrayed except these six women. The
audience can grasp the relationship among the characters,

for as informed spectators they know the destiny and fate of
each queen and think of each as contributing her part to the
personality of Henry. All the characterizations speak of
him and show their existence revolves about him. The subJect
matter, then, in itself provides the chief element of
continuity.

Within the subJect matter, the structure of the
monologue-drama can be seen. Each of the six scenes treats
one queen. There arervarious arrangements by which the six
women could have been presented other than the existing
chronological order. But once the script begins with Henry's
first wife, then the second, third, fourth, fifth, and sixth
have to continue in this order.

Another part of the structure of this monologue-drama
is the situations in which the characters are seen. Miss
Skinner's choice of situation for each scene does not follow
a consistent design. The maJor crisis in the life of each
character does not provide the material for every scene.

Nor are the scenes structured so as to present the early,
middle, or late years of the queens, their marriages,
coronations, deaths, or moments of supreme Joy or sorrow.

In other words, the situations are not similar, and thereby

110

the basic structure has a tendency to pull apart rather than
unite the scenes of the monologue-drama. Even though the
main story line, the portrayal of Henry's wives, has continuity
throughout, the situation structure of the individual scenes
has little parallelism. The situation of the first scene is
Catharine's realization that she has no control over Henry
and that he no longer cares for her and their child, Mary.
Very different are the situations of the second scene which
shows how Anne Boleyn spent the last moments of her life be-
fore her execution, and the third scene where Jane Seymour
experiences her first labor pains.

Each scene does have unity of action, however, due
to eliminating the non-essentials and concentrating upon the
essential element of situation. Never are there more than
one or two situations depicted in a scene. Miss Skinner is
consistent in adhering to one idea and to one situation in
portraying each wife.

Even though there is little similarity in situations
among scenes, the monologue-drama does not fall apart. This
is due to the strong historical story-line which proceeds
chronologically, the unity of action, and the variety of the
individual scenes. The scenes have variety because they treat
dissimilar circumstances, rather than similar ones. One
scene is serious, another approaches the tragic, and others
are pathetic, comic, and romantic. These differences enhance

the script more by giving it variety than they weaken it by

111

showing the characters in dissimilar situations. The author
carefully chose varied incidents which would delineate
distinctive characterizations.

Characterization becomes the most singular element
in the monologue-drama. The varied situations are back-
grounds against which to view the characters. It is true
that historical fact limits the characters portrayed, but
this boundary does not keep character from becoming most
prominent. Miss Skinner selected only one or two brief
moments in the character's life by which she expresses her
personality. Monologue-drama is limited in time as to how
extensive a characterization can be; therefore, extreme
selectivity must be exerted by the dramatist. Each
character is written to portray a predominant trait. The
_ strong personality trait of Katharine Parr is intelligence,
that of Catharine of Aragon is pride, and that of Katheryn
Howard is love. "The queenslad traits which not only permit
this charming dramatic actress to display her rare talents
in arresting manner, but constitute a challenge to her
abilities as a writer."'4

In selecting character traits, Miss Skinner was
cognizant of the importance of variety between the characters.
One had to be different enough from another so that each

would be distinctive. Costumes and makeup help define

this externally in performance, and of course voice and

 

11""Cornelia Otis Skinner Relives Past In Her 'The
Wives of Henry VIII,'" from Miss Skinner's New York Office.

112

bodily movement are basic. But internally, within the script,
the writer provides for variety of character, too. Catharine
of Aragon is written as a stunning and rather stern Spaniard
who was able to predict her own fate; Anne Boleyn is shown
dramatically as a grieving person who was loyal to and in
love with Henry; Jane Seymour is depicted as a naive and
painfully shy person, a paradox to her queenly surroundings
and powerful monarch; Anne of Cleves is written as the
country bumpkin, inexperienced with romance and thrilled and
excited at the prospect of being a bride; Katheryn Howard is
set forth as a young, romantic girl who awaits a rendezvous
with her lover; and Katharine Parr is written as a serene,
dignified, and intelligent queen who was a comforting force
to Henry during his last moments.

As a writer Miss Skinner showed restraint in not over-
dramatizing her subJects. Because of careful, scholarly re-
search, her characterizations are written so that they con-
form to actual recorded detail. The scenes are historically
accurate, but they never seem tedious or so scholarly that
they are not effective theatre. Each woman, in turn, steps
from her page of history and lives again for a few brief
moments. These historical portraits were said "to assume
Ilife, vigor, and reality."15 Though the scenes are short

in length, they are penetrating in unity of dramatic action

 

15Ihid.

113

and in quality of insight into character on the part of the
writer. She does not fabricate characters, but instead pre-
sents them so that they are historically correct. From her
research she was able to invent parallel characteristicsand
situations which would be plausible. Her inventiveness of
characterization is illustrated by drawing Anne of Cleves as
a comic figure.

Miss Skinner presents the characterizations from
different viewpoints. Catharine of Aragon seems to be partly
to blame in her inability to hold Henry's love; Miss Skinner
places no Judgment on the innocence or guilt of Anne Boleyn,
but leaves the decision to the audience; Jane Seymour is
written to express sharp incongruities in the same character
such as naivete and sophistication, youth and motherhood, and
love for life and fear of life; Anne of Cleves is written
-entirely from a comic viewpoint; Katheryn Howard is pictured
sympathetically as a young woman who is almost Justified in
her infidelity; and Katharine Parr is written as an obJective
and discerning woman who understood and exerted control over
Henry.

The dialogue of this script is adroitly written to
strengthen the characterization and dramatic action. Two of
the characterizations are noted by their dialogue which in-
clude foreign words and phrases. Catharine of Aragon is
Spanish, and Anne of Cleves is German. In the script both

are given lines in their native tongue which indicates their

114

cultural backgrounds. In such cases Miss Skinner did not

have to assume that the foreign dialogue would be understood.
The foreign sentences are used for purposes of characterization
and atmosphere. Anne of Cleves also has lines in mixed
German-English phraseology which evoke comedy.

The dialogue of each scene is written to produce the
illusion of actual conversation. This was accomplished by
writing sentences which were short and simply constructed.
Often phrases rather than complete sentences appear so as to
suggest the way people actually speak. Often the imaginary
people are addressed by means of questions. Then a pause
follows as if an answer were being given. The characters
seem to be in conversation because at least one imaginary
character is always on stage. Never does a character give
the impression that she is talking to herself or to the
audience. The conversation, excluding the foreign language
sections, is composed of simple but expressive words which a
person of average intelligence would use. In this way the
audience can identify with the characters, and thereby Miss
Skinner establishes a rapport between the audience and each
character. The dialogue shows the six queens of England to
be very human individuals. They are not austere, but are
depicted to have emotions which are common to most people.
The dialogue helps to portray their various moods of
happiness, anger, and sorrow.

Although succeeding monologue-dramas were added to

115

Miss Skinner's repertoire, The Wives 9: Henry VIII was the

 

pioneer of this dramatic form. The script had to be well
written and performed for it to be accepted by a public un-
acquainted with the monologue-drama and for it to exist as a
type of theatre in itself. Those monologue-dramas which
followed gave Miss Skinner further dramatic opportunity as a
writer and performer. Th2 Kyles 93 Henry VIII set the
pattern of what was to follow, and it has remained as one of
the foremost contributions made by Cornelia Otis Skinner to

the theatre.

CHAPTER V

PARIS '20 - SCRIPT ANALYSIS

 

Introduction and Background 32_Paris '20

The second example of Miss Skinner's work to be
analyzed in detail is Paris '90, the latest solo-drama which
she has written.

The Parisian atmosphere of Pagig‘ng was, of course,
familiar to Miss Skinner from her childhood travels with her
parents and her days there as a student. She has given her
father a great deal of the credit for the idea of the play.
Because of his love for Paris, he became familiar with its
people, sections, buildings, theatre, art, and general cul-
ture. He met other famous people while in Paris. One such
friend was Henri Toulouse-Lautrec, and the actor "was
completely captivated by the paintings and drawings of

"1 Miss Skinner observed:

Lautrec.
There has been only one maJor disappointment
for me in presenting this play [Paris L293.
Father and M. Lautrec should have been in the
audience on opening night. I would have
urged them to take a bow. I don't know about
Lautrec, but I know father would have taken
one--grinning like an imp.2

 

'Cornelia Otis Skinner, as told to Norton Faust,
"Prelude: The Francophile and the Dwarf," Cornelia Otis
Skinner - "Paris '90" Souvenir Book, p. 11.

2Ibid., p. 15.
116

117

Otis Skinner brought an understanding of the Parisian
atmosphere to his own roles, and was well known for his
French portrayals. With his brother, Charles, Otis wrote a
play based on Le Roi S'amuse by Victor Hugo. It was called
The King's Jester, and he starred in a successful production
of it. Later he co-authored another French play, Lazarre,
with the dramatist, Aubrey Boucicault.

Otis Skinner found that a French part was right for
him. He played a large number of roles as a Frenchman before
he acted in the translation of actual French plays. One such
early starring role was in His Grace he Gramont, by Clyde
Fitch.

Mr. Skinner kept his interest in Paris and the French
stage by frequenting the theatre in Paris. He brought a
translation of the successful French play, he Chemiheau, to
the United States, re-titling it The Harvesteg.

His swashbuckling role of the scalawag, Col. Brideau,
from a Balzac story translated by Paul Potter into The_heheg:
eT_hTe Family, brought him fame, and it was said by Miss
Skinner to have given him much delight. "His love of France
and the French theatre was bountifully rewarded by the ac-
claim he received in this Charles Frohman production."3

Otis Skinner also appeared in Marious by Marcel
Pagnol, a French play adapted by Sidney Howard and produced

by Gilbert Miller. Later, it was produced as a motion picture.

 

3 id.

118

Miss Skinner inherited more than her father's name.
She also inherited his avid interest in Paris and the French
theatre. Commenting on her father's French roles, she re-
marked, "But, I think I have said more than enough to explain
why Paris '90 was more or less inevitable. How could it be
otherwise, with such infectious lifelong conditioning?"4,
and, "I knew that someday I would have to portray those
colorful women."5

Otis Skinner delighted in the posters of Lautrec and
appreciated him as an artist as well as a person. Miss
Skinner was told many anecdotes by her father about the
little French artist and his Parisienne friends.

On various trips to Paris we went all over the

city to see Lautrecs that father had discovered.

The posters of Yvette Guilbert and LaGoulue --

characters who appear in "Paris '90"--were

among the scores of items I gazed upon with

great pleasure.

Mr. Skinner transferred his zest for the French to
his young daughter by telling her about Paris, the people,
and the theatre. When they were in Paris, they would go to-
gether to the theatre. He even sang French ballads and
nursery songs to her. He liked French music and was a

devotee of the works of his friend, Jean Richepin, poet and

playwright. Many of the songs of Richepin were introduced to

 

119

the public by Yvette Guilbert and Aristide Bruant; Lautrec
even illustrated some of them. Otis Skinner was given some
songs by Richepin, and his daughter is now the proud owner
of them. The songs in the last scene of Paris '99 are
originals of Bruant and Guilbert, with English lyrics by Kay
Swift.

It is common knowledge that Otis Skinner encouraged
his daughter to study acting in Paris. Cornelia, as a young
girl, studied acting from a private tutor, Dehelly, a
Societaire of the Comedie Francaise. Here she was trained
in the classical style of performance. Later that same
school year, she transferred to the more modern theatre
school of the Theatre du Vieux Colombier. This school run
by Jacques Copeau was "very entertaining,"7 but, Miss Skinner
adds, "I can't say that I learned very much during my stay
there."8 All the great French actors in Paris were seen
that year by Miss Skinner, and she became skilled in her
mastery of the French language. As a result, she speaks
equally well in French and English.

gegTe L99_was first presented on Saturday, January
12, 1952, at a 2:30 matinee performance, and in the evening
at 8:30, at the Academy of Music, Northampton, Massachusetts.

After touring eight weeks in the Middle West and East, the

 

120

one-woman drama opened at the Booth Theatre in New York City
on March 11, 1952. Seldom before has Just one person at-
tempted to hold a sophisticated Broadway theatre audience
for an entire performance. The production ran for seven
months in New York to set the record as the longest run of a
one-woman show, and it played 368 performances in sixty-
three cities in the United States.

Paris '90 was the most ambitious undertaking of a

 

solo-theatre-performer ever to come to Broadway. For the
monologue-drama, Miss Skinner wrote thirteen different
characterizations of women who were prominent in Paris during
the 1890's. For the full-scale production, she used
comparatively elaborate sets, lighting, costumes, make-up,
and music to picture vividly each character.

Miss Skinner accomplished some almost unbelievable
costume and make-up changes during blackouts between scenes.
Music bridged each scene break while Miss Skinner made her
changes and the scenery was being shifted on stage.

Kay Swift wrote the music and lyrics to TehTeqhgg,
excluding the music of the original songs of Aristide Bruant
and Yvette Guilbert for the last scene. Miss Swift has had
a varied musical career as composer—lyricist for musical
comedies such as‘TThe ehg|2ehgy and The FTrst Little Show.
She composed the ballet, Alma Mater, for George Balanchine's
first American ballet production. Radio City Music Hall

occupied her time for two years as staff composer for the

121

revues. The motion picture, heyeh h Dull Moment, was based
on her autobiographical novel, Who Could Ask For Ahything
Mehe. In the film, Irene Dunne sang three of her songs.

Musical director for EQEL§.L29 was Nathaniel
Shilkret. At the age of twenty, Shilkret had become musical
director of the Victor Talking Machine Company, and he made
over 30,000 recordings in twenty-two years. His Victor
Salon Orchestra records were popular successes. He has com-
posed songs, scores for commercial radio programs, motion-
picture scores, and classical works. He has also been active
as guest conductor with various symphony orchestras.

Miss Skinner had other competent individuals to as-
sist her in making Paris :90 successful. Donald Oenslager,
well—known Broadway stage-designer and professor of drama
at Yale University, designed the Earls :90 sets. He also

designed for Miss Skinner her solo-production, Edna His

 

,ETTe, and the plays Candida and The Pleasure e; hTe Company.
One of the highlights of Paris '90 was the costumes
‘which were designed by Helene Pons. She had designed and
executed costumes for previous performances by Miss Skinner.
These included The Hi12§.2£.§2221.11ll: The Empress Eugenie,
.The‘heyee e: Charles TT, Edna His Wife, and Candida. Miss
Pons has also designed for other professional drama, ballet,

and opera.

122

 

Significance and Framework e: hhalysis e: Paris '90

Paris '90 is significant to the study of monologue-
drama because it is the most complete and extensive example
of its type of theatre. It is the latest example of a well-
known solo-drama; it had the most successful Broadway en-
gagement of any solo-drama ever to appear on Broadway; and
it is the most complex monologue-drama ever written by Miss
Skinner, for it has fourteen vivid characterizations,
fifteen scenes, and three acts.

The framework for analysis of TehTe :99 is similar
to that of The flTyee e; £2221.Kl££- A description of the
setting and costume of each scene is given, and each is then
outlined and analyzed. The outline of the dramatic action
is intended to give an accurate summary of the plot.
Statements from the script are quoted to illustrate examples
(of Miss Skinner's style of composition. The analysis appears
'together with, rather than separate from, the outline of
(content to facilitate reviewing of the lengthy script.

The gehTe L99 script seems to indicate that thematic
anity, characterization, and dialogue are the basic elements A
01: which the playwright relied. The dramatic action is a
miaans rather than an end in itself; it is used to reveal
characterization and to give the various scenes continuity.
It presents the situation at hand, but it is secondary to

characterization. The analysis will indicate how the writer

123

presented her premise, made an application by illustration
through characterization, indicated the situation with which
the character is faced, and resolved the conflict or inter-
preted the incident. The continuity of the script was
adroitly planned, for it unified the characterizations of
the women through whose eyes is seen a composite picture of
Paris in 1890. Following the outline and analysis are con-

cluding statements and summary about the script of Paris

'20.
Outline e; Paris '90

Not all the characters in §§2$§.L29 are famous
individuals, as in the last act which depicts four of
Lautrec's familiar models. Each of the wOmen in the first
two acts is an imaginary character and a distinctive Parisian
type.

The solo-drama is designed in three acts. The first
act is set on the Champs Elysees where five characters are
seen successively: the Nou-Nou, a Fashionable Parisienne,

La Duchesse de Vertpres, La Belle Conchita, and the New
woman. The second act, introduced by a monologue of an
Angel from her niche in a portal of Notre Dame, presents the
women of the Left Bank. They are a Laundress, a Boston
School Teacher, a Woman of Virtue, and a Professor's Wife.
The third act portrays the women of Montmartre, friends of

Toulouse-Lautrec including La Goulue, a Lion Tamer of the

124
Medrano Circus, Berthe La Sourde, and Yvette Guilbert.

Act I: Champs Elysées
The Nou-Nou, Scene One

Paris '90 opens with the character of a Nou-Nou, or

 

French Wet Nurse, on the Champs Elysees. She is costumed in
a long conventional French-governess uniform. The dress has
a striped shirtwaist with long puffed sleeves. The skirt is
covered with an apron of white eyelet embroidery designed
with a large flounce of the same material. A frilly "cream
puff" bonnet with long gay streamers completes the costume.

The Nou-Nou holds a pillow edged in lace; upon the
pillow is lain a long piece of linen and lace as though it
covers an infant. This Wet Nurse sits on a park bench; the
background is a set-piece which suggests a guignol playhouse.

The first scene, 540 word monologue, descriptively
depicts the Nou-Nou talking to her "Monsieur Bebe" while
she watches the people of Paris parade by on wheels.9

Her first comment is upon the traffic made by the
horses and carriages which pass back and forth. "Wheels!
Wheels! Wheels! Baby, all of Paris going on wheels!"

The first adult whom she acknowledges is a man sell-
ing wafers. The Neu-Nou is not inclined to buy as she says
that the cookie may choke the baby. She plays a bit with the

infant and makes a cooing noise, "Ooh."

—*

9Cornelia Otis Skinner, script of "Paris '90."
Additional quotations from the script are given without
fOOtnote reference.

125

The first comic note comes in the seventh sentence
of the monologue. The line is preceded by a gesture Which
is noted in the script: "LAUGHING AS BABY GRABS AT FRONT."
This action of pantomime is followed by, "Non, non, non,
Monsieur Bebe! Not yet! It's not time for your lunch yet."

The Nou-Nou continues by explaining that, although
the baby is quite a glutton now, he was once a sickly infant.
This change of health is due to heh nursing the baby rather
than the baby being nursed from his "Maman's fashionable
front."

She calls to Georgette, a four-year-old sister of
the baby, playing nearby. The Nou-Nou pretends to see her
and talks to her. The little girl wants money for the
guignol show; however, since she has seen it several times,
has bought a balloon, and has ridden the carousel, she is
pacified by Nou-Nou who takes some money from the pocket of
her apron to buy from the wafer-man a crisp gaufrette
covered with powdered sugar. She caJoles the man into being
generous with the sugar. Now, the sugar is all over the
child's mouth, and the four-year-old is happy as she sits
beside Nou—Nou eating her wafer.

The attention of the Nou-Nou then reverts temporarily
to the baby. Subsequently, in rapid succession, the Nou-
Nou's attention goes to the passing horses, to Georgette, and
then back to the horses which they have been watching, "Out
there on the Champs Elysées where Paris goes by on wheels."

Here for the second time appears this significant motif. It

126

marks the half-way point of the scene and introduces the
song, "Paris Is My Love," which the Nou-Nou sings. She ex-
plains that Paris is everyone's love--her love, baby's love,
Georgette's love--and bears the love of all the people who
ride and walk by.

Descriptive words are used cleverly to suggest the
sounds of various conveyances such as the "clop-clop" of the
"swell-ones," the "kloklklok" of the "rickety fiacres" and
old nags, the "tickie-tickie-tickie-tickie" of the tiny goat
hooves, the "Pa-ta-poum! Pa-ta-poum!" of the omnibus, and
the "trr-trr" of the carriages of the gay gentlemen coming
from a night's rendezvous. Then, in the early morning the
Nou-Nou describes the sounds of the Paris Champs Elysées as
the "crumpf-crumpf" of the delivery wagons and horses.

Nou-NOu calls the attention of Georgette to the
various people who pass by, such as the window-pane mender
with his wheelbarrow, "calling out 'Vi-i-i-i-itrierl'" the
elegant equipage with the pretty lady who is "like Maman!fi a
grand dame in a funeral carriage, a fancy lady, and a woman
and a man on a bicycle-built-for-two. For the third time,
it is emphasized that all these people are conveyed by
"Wheels! 'Wheels!" These words appear at the close of the
first scene to substantiate the premise that "Paris goes by
on wheels." Some of the people whom the Nou-Nou has mentioned,
such as the pretty lady, the mourning lady, the fancy lady,

and the lady on a bicycle, are subJects of the ensuing

127

monologues; scenes of Act I.

From her musings on the wheels of Paris, the Nou-Nou
is brought back to reality by giving attention to the hungry
baby in her arms. Thus, the scene ends by the Nou-NOu saying,
"Ybu big glutton, you! Tree bien! You may have your deJeuner!!!"
She starts to unbutton her blouse--BLACK OUT.

Here, then, in this scene the author has sought to
establish the setting and atmosphere for Paris :90 by de-
lineating, through a Nou-Nou's eyes, the types of people
as they pass by.

The character of the Nou-Nou was typical of Paris
society of the 1890's, and it seems an excellent device to
evoke the desired atmosphere. "The 'hehehehe,' with their
cream-puff bonnets streaming yards of bright color, provide
a note of gay color in the pedestrian traffic: of the parks."'0
The Nou-NOu was a socially accepted necessity of the French
family of prominence and fashion. The character here is
earthy, young, perceiving, and warm-hearted. Almost any
American theatre-goer would instantly recognize this figure
and identify her with Paris society in the 1890's.

Not only is the Nou-NOu characterization typically
French in conception, but so is the dialogue. This is ac-
complished through the use of French words, phrases, and
, speech sounds inserted in the script. The French words are

those which scarcely require elementary French, yet they tend

 

1OSkinner, "Paris '90" Souvenir Book, loo. cit.,
p. 2.

128

to establish authenticity to the character and the situation,
thereby setting the Parisian atmosphere. Examples of obvious
French word inserts are, "Non, non, non, Monsieur Bebe!,"
"Ah, mon p'tit coco!," "hein?," and "deJeuner(s)." More
subtle devices in the script are French names such as
Georgette, the guignol show, Parisienne, Champs Elysees,
gaufrette, President Carnot, and the like. These words are
devices which tend to establish a common-ground with the
theatre-going public. Another device to help establish the
French atmosphere is the suggestion of the risque. This is
accomplished by the straightforward gesture and talk about
nursing the baby and by the Nurse's unbuttoning her blouse at
the close of the scene.

The main premise of the first scene is "Wheels!
Wheels! Wheels! Paris goes by on wheels!" Here is a topic
that produces nostalgia or expectant excitement. It is
logical that the premise be expounded by the Neu-Nou, the
first of several portrayals of typical French women.
Referenceato French vehicles and familiar street types also
act as supports to the premise.

The Nou-Nou scene furnishes the complete exposition
for the four scenes which follow. The introductory state-
ment suggests the connective device of the dramatic action
of the first act. The scene itself, is also a complete
monologue sketch for which the opening statement, "Wheels!
Wheels! Baby, all of Paris going by on wheels!" is the

introduction or exposition for the first vignette.

129

Miss Skinner designed the Nou-Nou script deductively,
by stating the premise that Paris goes by on wheels, then
proceeding to amplify this by having the Nou-Nou observe
various instances of Paris life and by her descriptive com-
mentary on them. Suspense of the scene is in the anticipation
of what will happen next and whom the audience will see
through the Nou-Nou's eyes.

The author has adroitly used transitions to unify the
scene of the Nou-Nou. She begins the scene with the word
wheels; she sees other people, imaginatively, by the wheels
of their conveyances; one of her closing statements is a
repetition of the opening lines of the scene. This design
is artistic besides making for excellent continuity of
dramatic action. This first characterization appeals to the
audience as a common French type of the '905. The imaginary
characters which the Nou-Nou sees passing by are widely
varied, with reference to such types as a fine lady, a
bicyclist, and a mourning grand dame in a funeral procession,
all tending to broaden the scope of interest. The baby
bundle is a visible device for the Nurse's audible remarks,
and the eager curiosity of a companionable four-year-old girl
introduces the audience to an imaginary character Who is so

realistic that she could actually be on stage.

130
A Fashionable Parisienne, Scene Two

After a blackout and a very fast costume change,
made in three minutes while gay music is played by the
orchestra, a lady of Fashion appears on stage. The Fashion-
able Parisienne is seen in a cut-out, profile carriage. She
is one of the persons seen by‘the Nou-Nou in the previous
scene. This second scene of approximately 630 words pictures
a woman of Paris who primarily is concerned with fashion,
social calls, parties, and romantic rendezvous. The cut-
out, in which she seems to be riding, gives the effect of a
carriage like the leather guard of a landau.

The Lady onFashion is seen as a fluffy blonds. Her
fashionable clothes are of a candy-box color scheme. She
wears a fluffy dicky at the neck. Her hat is small and
perky with flowers and ribbons. She wears long gloves,
carries a frilly umbrella, and is wrapped in a feather‘boa.

As the scene opens, the Lady of Fashion is talking
to her cousin who is supposedly beside her in the carriage.

Her opening statements establish the fact that she
is from the city, and her cousin, whom she often calls
"cherie," is from Rbuen, the "country" because it is not
Paris. The connecting transition from the previous scene is
accomplished early in the monologue. The Lady says, "flew
can any woman live in any city except Paris?" This
corresponds to Nou-Nou's sentiments in her song, "Paris Is

My Love." From her carriage, the Lady of Fashion points out

131

houses and people as she passes, much as the Nurse is wont
to do in the preceding scene, the house of an Orleanist
baron, the Palais de Glace, and so on. As she passes a
Marquise and Marquis, the script directs the Lady to acknow-
ledge them "BOWING TO PASSING CARRIAGE." Each'of these
places and people is flippantly dismissed with witty and
curt remarks: two of those women who pass by are Refane, the
actress, and "the fabulous Liane de Pougy ... breaker of
hearts and bank accounts. She's looking so well since her
suicide." The Lady continues with an account of the dancer,
Liane de Pougy, explaining to her cousin that "Night after
night to have to be seen at Maxim's ... and of course what
they have to do when they're not being seen! ... Not for all
the gold in the Transvaal!"

Soon we are told that the Lady of Fashion is so be-
cause she manages to have her "four to five ... the hour of
the rendezvous." She seems shockingly frank and completely
obJective on matters of love. The Lady of Fashion expresses
her view that an hour is as long as any affair should last
because "deep felt emotion ... is so bad for facial muscles
... the charming and practical game of love without love ...
nothing's more becoming."

She then confides to the cousin her affair with a
"captain of Cuirassiers." The tone here is light, flippant,
and witty. It is in the style Oscar Wilde endowed to the

women of fashion in his plays. One of the Lady's stipulations

132

to meeting her lover is that he have on hand a maid, "Because,
cherie, I simply haven't the strength to undress and then
dress again all by myself." When she tells of her suggestion
that an expert hair-dresser be on hand too, the lover "as-
sured me that he wouldn't dream of disarranging a single
strand ... to which I countered ... wasn't that as much up to
me as it was to him and wasn't he rather taking for granted
my immobility." She succeeds in shocking her cousin while
amusing the audience, and then adds, "a shocked mind is

never a thinking one." 7

Upon the account of her contemplated rendezvous, the
script indicates "(LOOKING OUT)" and seeing a funeral pro-
cession. This introduces the next scene as one of the
carriages bears the Duchesse de Vertpres, a tyrant and head-
mistress of the Old School who speaks "only to the deity and
the Orleanists ... preferably the latter."

The dramatic action of the second scene proceeds
naturally from the first and leads on to the third. However,
each of the characters is an entirely different type of
French woman. The Lady of Fashion is a cold, shallow,
snobbish social climber who wishes to be stylish and shocking,
and succeeds in being both. "A predominantly female con-
tingent formed the ultra-smart portion of the carriage parade
that rolled along the Champs Enysées on sunny afternoons,

vying for attention with their elegant equipage.""

 

1'Skinner, "Paris '90," Souvenir Book, loc. cit., p.

2.

133

The script is clever without being startlingly
original. The style of diction establishes the artificiality
of fashionable discourse. The scene is a bit longer than the
first, and the exposition is extended while the Lady comments
on other*people. By nodding to passing carriages and point-
ing to passers-by, she clearly establishes the connection
which this scene has with the first, which the playwright con-
sidered. necessary for the continuity of the script. French
terms such as "ma.chere cousins," are used more sparingly in
the dialOgue of this second scene; French name-dropping such
as the Due de Morny, ReJane, Polaire, and Otero, are common.

Hewever, it is when the lady of Fashion speaks of
her own life that she is most entertaining. In that part of
the script where she explains her ideas of a rendezvous, the
Lady of Fashion uses the personal pronoun "I" some twenty-
seven times, thus displaying her self-centered personality.
The Paris code of fashion at the time presented a paradox
to the fashionable lady, for fashion is indicated to be a
nuisance. It is the discouraging factor for the Lady's
rendezvous with her lover. Yet, at the same time, to be
fashionable a woman must have a rendezvous.

The Lady of Fashion, a member of the French "upper
crust," Te, atin, is in sharp contrast to the Duchess of

the aristocracy depicted in the next scene.

134
La Duchesse de Vertpres, Scene Three

While costume and scenery are rapidly changed, the
orchestra plays an interlude of music which serves as the
transition between scenes. The third scene presents to the
audience another woman of Paris, the Duchesse de Vertpres.
The Duchesse is in an upholstered carriage, facing front
center on the stage. The carriage is suggested by a set-
pioce which is heavily tufted. In front of and against this
sits the Duchesse on a padded seat, as in a carriage.

The Duchesse is a well-preserved dowager in her 60's.
She wears a conservative black dress and a severe mourning
hat with veil. Her skirt is covered by a black lap robe on
which is a large silver royslist insignia. She holds a
prayer book and her handkerchief.

The Duchesse has been mentioned twice before, once
in the first scene by the Nou-NOu, and in the conclusion Of
the second scene by the Lady of Fashion. So the audience
has been prepared for seeing in this third scene the lady
of aristocracy. Indeed, it might be surprised not to see
her.

No time is wasted on lengthy exposition in this third
scene as the entrance and scene have been adequately laid.
Each of the scenes has an extremely forceful Opening line of
dialogue which effectively sets the mood of the entire scene.
The first scene began with "Wheels! Wheels! Wheels! Baby,_

all of Paris going by on wheels!" which is the premise of the

135

immediate character, the scene, and the entire act; the
second scene began by the line, "Oh, what a lovely day, ma
chdre cousins!" reflecting trivial comment on weather as a
fashionable phrase, and indicating the light, flippant, and
fashionable style of the character and scene. Now, the third
scene begins by the line, "on, it's so dreadful! SO dread-
ful! Hand me the smelling-salts, Eulalie." Here, the con-
cepts such as dreadful, smelling-salts, and Duchesse are
natural and seem to belong together. That which is so dread-
ful, we do not learn until later. The mourning Duchesse is

a lady strictly trained in protocol. She is one of the last
of her kind, and her determination to maintain this position
in society takes precedence over all edse with her.

Through the discourse, the imaginative person,
Eulalie, is a grand-niece of the Duchesse. Of course, the
Duchesse is not really mourning, but she is so dressed be-
cause manners, society, and protocol demand it of her.

Each of the three times that she speaks of her departed
brother, the Baron, the script indicates that she cross her-
self. The Duchesse is more concerned with such earthly
matters as who will get the Gobelin tapestries, and their
conduct upon meeting the widow to show the proper deference
but, at the same time, indicating that "we shall no longer
leave our calling cards." But, primarily, she is disturbed
by the "outrage” and who is responsible for putting her
carriage third in line in the cortege. This latter alludes

136

to the reason for her Opening statement, "so dreadful."
Sincere sympathy for the deceased is not displayed, for she
dismisses matters of the soul by "I daresay that will be at-
tended to by the Bishop of Paris." The Duchesse cannot toler-
ate the fact that ahead of her in the funeral procession is
her nephew and his wife, particularly because his wife is an
"American heiress whose millions were derived from ... I can
hardly say the word ... Pork!"

At this moment, the script reads: "(A YELLOW ROSE IS
TOSSED IN THROUGH THE SIDE WINDOW)." This action is vocally
signified by the Duchesse so that the audience will have no
doubt as to what has happened. She asks who threw it, and
Eulalie tells her grand-aunt that it came from a racing
barouche that is passing. To this the Duchesse exclaims,
"DO you suppose it was that ... that ... oh! ... that
CREATURE who's in it? Don't look, Eulalie! Put your eyes
on your prayer-book while I lower the shade ... and hand me
the smelling-salts."

SO, very artistically, the scene closes with the
lines with which it opened and at the same time succinctly
gives a hint to the character of the next scene, the
"CREATURE" who threw the yellow rose.

The Duchesse represents the Old School of French
society, the Royalists. At one place in the script she ex-
clahms, "Paris is the aristocracy. God will never allow a

republic to last." The author reveals her insight in not

137

forgetting this segment of society in the '90s; they were a
minority group but influential in the social structure.
Fashion of manners is as important to the Duchesse as to the
Lady of Fashion, yet in a very different way. The former is
the proud and proper dowager who clings to prestige and
position, while the latter represents the nouveau riche,
openly shocking and obJective in manner.

The dialogue Of the scene uses no French words nor
phrases, and only a few French proper names. The discourse
seems to have little comedy and little penetrating dramatic
value. The scene is brief, being approximately 450 words in
length. No doubt the chief value of this characterization

lies in the contrast it presented to other characters.
La Belle Conchita, Scene Fbur

La Belle Conchita is the fourth characterization in
TegTe,L99, She is described as "a combination of La Belle
Otero, Gaby Deslys, and the American Business Man's Idea of
a 'Fbreign Adventuress.”12

The costume which La Belle wears is a magnificent,
extravagant, and gaudy red gown of the Gay '90s. Her red
hat is very large and has many black plumes.

La Belle sits in a red profile cut-out carriage.
She has a bright lap robe which is the reverse Of the lap

rObe in the previous scene. She holds two yellow roses and

 

12
3 e »

Skinner, "Paris '90" Souvenir Book, loc. cit., p.

138

a carriage whip.

As the scene begins, La Belle has Just thrown the
yellow rose into the carriage of the Duchesse and is about
to toss another. Her first lines are, "What a way to epater
[gigfl the bourgeoisie! ... the aristocracy rather ... Why
not, cheri? The aristocracy attack La Belle Conchita with
harsh words ... La Belle Conchita attacks them back with
roses." And thus, she throws another yellow rose, against
which attack the Dowager lowers her carriage shades. With
the opening lines is provided a connection with, and also an
interruption from, the sombre influence of the Duchesse. At
once it is established that La Belle is a person beneath the
social notice of women of the aristocracy.

La Belle notes that the deceased was a baron whom
she calls ”my distinguido," saying that she was afraid that
he would die in her bed rather than quietly in his own. She
then muses to her friend in the carriage that a dancer of
luxury must cater to old men because they are the rich ones,
while young men are not in a financial position to "enjoy
the favors of La Belle Conchita.”

She then acknowledges the "rrrreech" young cadet be-
side her as being the exception in her amours. The script
calls for him to make an advance, at which she says he must
be patient. "So you have seen me to dance at the Felies
Ambassadeurs?" she asks. La Belle tells how she wears, on
occasion, her genuine diamond corselet "(INDICATING SHAPE)"

which was a gift of an Indian "Rrrrajah" and how it arrived

139

at the theatre in an armored coupe. She also boasts that
the Police Commissaire caters to her.

Again, she restrains her cadet, then proceeds with a
clever discourse.

But not yet! Not yet! However, you may kiss

the opening in my glove ... Just the opening,

darling. The rest comes grrrradually! Start-

ing with the lunch I have planned. After the

oysters, you may kiss my wrist. After the

filet de sole, my arm. After the coq-au-vin,

you may kiss my shoulder. After the salade

de laitue, the back of my neck. After’the

pechs [sigg flambee, you may kiss the front of

my gown ... and after the cafe diable, you
may care for a glass of Napoleon's own brandy.

Ybu are so handsome! With such a soft young

moustache! And such a pretty baby beard ...

like a little billy-goat. '

Conchita learns that the young cadet from the Military
Academy of Saint Cyr is not rich; that the money which he
gsye her is from the whole military academy; that he
happened to draw the lucky number in a ”lotteria" to have an
amour with her. "How beautiful! Oh I am so touched! So
moved! ... I too will make a sacrifice. I shall re-imburse
to you your ten francs! (CRYING SOFTLY) on I am so
moved by the young man's devotion ... and by my own
generosity! (POWDER.PUFF) And now! We approach my house."

She then sees a "femme cyclist," whom she calls a
"New Hbman--those sporting creatures.” She says she knows a
better way to get exercise! Then she tosses her last rose to
the man on the bicycle built-for-two who looks embarrassed

and tired. As she flings her rose, the scene ends.

140

La Belle Conchita is a delightful characterization.
She is a gay, outwardly hard, woman-of-the-world with a warm
heart and a great talent for flamboyance and display.

The scene is clever and original. The discourse is
suggestive without offending. It contains about 775 words
and is slightly longer than the other scenes. It offers a
penetrating look into the character. We see that La Belle
is a famous entertainer, on the stage and off, in the theatre
and after the theatre. She is cognizant of her place in
society. She is a rich woman because men shower her with
wealth to win her favors. When she first discovers the
young man beside her is not wealthy, she instinctively with-
draws from him. However, when she learns that an entire
military academy desires her, she is flattered and even
moved to pseudo-tears.

With this scene, the author brings into focus an-
other type of woman of Paris in the '90s. La Conchita is a
Spanish ”lady" who has gained her fame and wealth in her
adopted Paris.

The New Woman, Scene Five

The fifth and last scene of Act One presents the New
Woman Bicyclist. On stage is a tandem bicycle bearing a
small British flag and a horn on the handle bars.

The New Woman is a British tourist in Paris. She is

described as a ”Hearty" who wears bloomers, black stockings,

141

plaid shirtwaist and a fedora hat.

As the scene begins, the Hearty is sitting on the
front seat of the bicycle. Her friend's name is Hyppolite,
which no doubt was chosen for the obvious comic effect the
name in itself produces. The scene's premise is completely
comic as the New Wbman says, "Oh, I do enJoy Paris. It
makes one appreciate Iondon.all the more!"

She acknowledges the yellow rose by exclaiming, "Oh!
Whatever was that? ... That rose.’ Cette rose. D'you sup-
pose it was tossed to us? How rather sweet! I say, Hyppo-
lite, can't you go a bit faster." Thus, the author quickly
dismisses the former scene, and, after the brief transitional
introduction, the New WOman launches into the heart of the
final monologue of the first act with typical British vigor.

As they ride along, the British Hearty shouts com-
ments in French text-book phrases to the French, talks over
her shoulder to Hyppolite, and toots her horn. The discourse
Jumps from comments on the rose to a surprise awaiting
Hyppolite, to Paris and its people, and so on. She is dedi-
cated to the female cyclist notion which she says will put
women "on a par with men." She declares that the bicycle will
"create a third sex! Jolly idea, isn't it?"

As she breezes along it does not tax the imagination
of the audience to sense her enthusiasm as well as her
partner's exhaustion. It is through her complete naivete

and sportive quality that she is revealed as extremely comical.

142

During the discourse, she expresses delight over
their engagement and launches the idea, "I say, Hyppolite,
don't you think it'd be rather smashing if we were to spend
our>honeymocn on a bicycle trip?--Notre lune de miel."
Suggestive technique is employed in this scene; Miss Skinner
has her character express an idea and then repeat it, for
emphasis, in a short French phrase. This divulges the in-
tellect of the New Woman and the vogue current in England,
to be able to express oneself in French. It also serves to
remind the audience of the Paris locale. Typical English
words and phrases as, "Chin up and all that sort of thing,"
"smashing," ”tea,” "ripping surprise," and ”rather beastly,"
offer delightful contrast and create a picture of an mush
woman on French soil.

Finally, the duo arrives at the big surprise, Just
when Hyppolite is about to faint. "(GAILY PAINTED CAPTIVE
BALLOON APPEARS),” reads the direction in the script.

"Slow down, hup! Swing off in unison, hup! (SWING LEGS
OFF) And isn't she a beauty?"

At this point, Eyppolite can stand no more and takes
flight. The Hearty says, "Oh well, what can one expect from
a man? Especially a French man! Possibly good riddance.
Daresay it'll be a bit of a blow for Papa! Especially as
it's the second time such a thing has happened."

Left alone, this female is undaunted as she climbs in

the basket of the balloon, and as it ascends she waves, "God

143

save the Queen and vive la Femme Nouvelle." She throws out
a sand bag, gives a wild whoop, and the balloon rises as
the curtain falls.

The finale of the fifth scene uses a bit of gggg 25
machine and spectacle in the launching of the balloon which
carries off the character. The scene seems to move quite
rapidly and sustains interest. The situation, character-
ization,and discourse are all cleverly conceived and written.

Act II: Niche In a Portal of Notre Dame
and the Left Bank
The Angel, Scene One

The first scene in Act II begins as surprisingly as
the balloon ascended at the close of the first act. The
curtain opens to reveal a dark stage. Gradually the audience
discovers what looks to be a stone statue of an angel on a
pediment of the western portal of Notre Dame. As the small
light from the overhanging stone canopy glows, the Angel
comes alive.

The costume of the Angel is complete with wings,
although actually they are fastened to a stand rather than
appended to the actress. She stands in front of the stand,
and the wings look as though they were attached to her; thus,
there is no distracting movement of the wings which there
might be if the wings were a part of her dress. The costum-
ing appears to be very sculpturesque as if it were actually

carved from stone. Her wig is of large ringlets which aid-

144

in producing the sculptured appearance.

As the Angel begins to move, she says, "Pest! St.
Marcel! Post! St. Marcel! Do you feel like talking? (PAUSE)
Pest! St. Jacques! Post! St. Jacques! Are you awake?

Oh, dear! How dull! Is everybody astone?"

The Angel reveals herself to be quite a human being,
and she displays a fine sense of humor as she Jests with the
other cathedral figures. The Angel titters over St. Denis
who holds his dissevered head in his hands. She wonders if
he really walked about Paris that way, for she says, "Seems
rather silly, doesn't it?” The Angel prefers to come to
life at night rather than in the daytime as it precludes her
having to look at the sight-sears.

‘ Reminiscent of the women of the first act, the Angel
also loves Paris. She expresses her feelings by saying, "Oh
I am enJoying myself. I do love my niche. I get such a
good view of all that goes on along the river. I can watch
it for centuries and never get bored.” Later, she says that
Paris is not more sinful now than it ever was, because "It's
like the river. It's there, and everyone sees it his own
way."

The Angel not only titters over St. Denis, but she
also sympathizes with the gargoyle who is so nervous from
”The tourists and this camera craze.... and they laugh and
call him hideous. And the Americans scratch their names and
addresses on his back which tickles him horribly.”

145

But the Angel realizes that, along with the people
who are most annoying, there are the pigeons. She explains,
”I had a nest on my shoulder last March and for weeks I was
simply drenched with blasphemy."

From her pediment high, the Angel watches the night
life of Paris. She sees a laundress, two women students,
"a.man and woman counting money," and a mother who cries as
she watches her sleeping boy. These women are thus intro-
duced to the audience by the Angel; the next scenes of this
act will feature each in turn.

The Angel feels a chill wind as if "a wind of hate"
were present. She moralizes in the next few lines as, per-
haps, an Angel has the right to do. She remarks that during
the revolution the goddess of reason was brought to the
altar. "She didn't last long. What made them think that
reason could ever take the place of faith?"

Then, in a play upon words, she closes her discourse
by saying, "It's growing early, Stephen. We'd better be go-
ing back to stone."

The character, Angel, is as novel as any of the
Pa;;§,;gg,women. She transcends the others literally and
figuratively. From her position above the city, she watches
her beloved Paris and its native inhabitants. Those she
sees late at night are different from those women portrayed
in the first act. The Angel sees the poorer, bourgeois

society and, to a great extent, sets a mood which is serious

146

and contemplative. Throughout the scene, the reader senses
a change of atmosphere from the fashionable, comic, and
romantic women of the first act, to a more common type of
average female, as the Angel sees them, and in this approach
they are nonetheless entertaining.

Miss Skinner gives her Angel a personality and wis-
dom and does not make her appear formal or ”churchy." She
personifies dignity, yet exudes mirth and exuberance. Her
speaking to the other saints of the church is humorous in
its fantasy.

The Laundress, Scene Two

A.Laundress is the characterization of the second
scene. She is conceived as "YOUNG AND FRESH ... THE TYPE
STEINLEN USED TO DRAW.” The scene is a Cafe set-piece. A
table andchair are placed to the right of center stage.
The cafe suggests a cheap district of Paris. The Laundress
is plainly costumed, befitting her position. She wears a
print blouse with push-up sleeves, a dark, long, full skirt
and long, checkered apron which is wrinkled. She carries a
large round wicker basket of laundry.

As the Laundress enters she calls out her trade,
"Blanchissage! Laundry! Blanchissage! Laundry! White,
smooth blanchissage! Laundry called for and delivered."

The French Laundress is definitely a common woman.

She is the sort who lives each day at a time, works hard at

147

making a living but intimates that she lays a little by to-
ward a marriage one day. She is garrulous and makes it her
business to know about her customers and hypothesizes about
them from the laundry which they send to her, for "very
little escapes the good-natured observation of the Laun-
dress."'3

she flirts with a song writer at the cafe, is saucy
with a student. She shows the song writer a petticoat of a
blonde, whose "husband's gone on a trip to Lyons and she
insists she wants this today ... (SHRUGS) J'sais pas!
None of my affair." Another bit of apparel which he pro-
duces from her basket is a suit of long underwear that be-
longs to a female Boston school teacher. She holds the
underwear in one hand, points to the owner who lives on the
second floor of the apartment house down the street, and
calls such women, "queer ducks! ... Hoo! What a ceinture
de chastete! Not that she's [§;2;) ever need any ... she'll
never land a man." The Laundress also takes from her basket
a white shirt which belongs to the son of a Jewish professor.

Having given glimpses into the lives of her various
customers, she decides to hurry on with her laundry. The
'song writer gives her a copy of his song to which she says,
"How does it go? 'Turn Me Little Mill Wheel; song by Maitre
Charlot dedicated to the mill-wheels of the Butte Montmarte'

 

13Skinner, "Paris '90" Souvenir Book, loc. cit.,
p. 4.

148

... ca c'est du propre! The Moulin de la Galette, Hein?
Say this is cute! Start it again, Maitre, and I'll sing it
along with you." The Laundress sings the song as she makes
her exit.

The Laundress serves an important purpose for the
writer in providing an introduction to the next scenes. The
characterization gives the performer a chance to sing a gay
song composed by Kay Swift, and it shifts attention back to
the lower strata of Parisian women, as with the Nou-Nou,
lest all the characterizations be of the upper class, or
fashionable society.

The discourse serves more to expose the women who
follow than to portray the personality of the Laundress.
Comedy comes about by her producing a suit of underwear and
a petticoat from the laundry basket in an outdoor cafe, of
all places. The song is a clever one, but it seems only
partly integrated with the script and, therefore, a bit
contrived. Yet, for this type of show, the song is not at
all out of place in the total scheme. Otherwise, the scene

is simply straightforward exposition.
A Boston School Teacher, Scene Three

While it is conceded that the monologue of the
Laundress might get a bit tedious were it any longer, the
opposite is true of the following scene depicting a Boston
Female School Teacher. The set is a French window piece with

149

shutters which open onto a balcony with railing. The mono-
logue of about 775 words is extensive enough to capture the
character of the School Teacher, described as follows:

THE FEMININE ONE OF THE TWO MASCULINE WOMEN.

SHE WEARS A SHIRTWAIST AND SEVERE TAILORED

SKIRT AND YET THERE IS SOMETHING GENTLE, AL-

MOST WEAKLY APPEALING ABOUT HER. SHE IS

LEANING ON A RAILING OUT OVER THE STREET ...

AS THOUGH ON A SMALL BALCONY OFF A BEDROOM.

This description not only presents the character objectively,
but also reveals a subJective attitude which the author
seems to have for her.

The Bostonian School Marm's opening line is, "Agatha,
d'you know it's going to be a perfectly lovely day?" She
senses this because a woman on a barge is seen to hang the
canary cage outside. The Teacher then speaks romantically
of the setting which reminds her of a scene from IE2.IE£22
Musket ers, reflecting her Alexander Dumas mood. ’

Following this eager, romantic statement showing her
youthful ideas and a bit of her literary taste, she abruptly
pauses, as if to ponder on what she has let herself say.

Her next thoughts are less idealistic in tone, "The sun's
already drying up the gutters." The words seem almost
ironic--the scene ”drying up"--and she may wonder if her own
life is doing the same.

The Teacher then talks about a picnic she and her

friend are taking. She cannot refrain from remarking,

You know, Agatha, I wish some day we could be
true Bohemians and take along a lunch of French

150

greedg cheese and a bottle of wine instead of
star s chocolate, mineral water and Educator
crackers ... French bread can't all be covered

with germs. People here seem to thrive on it

... Couldn't we build up an immunity too?

Sometimes I wonder if it's worth while being

so antiseptic.~
These words seem so appropriate to the character for they
reveal that even for a brief sojourn in Paris the Teacher
cannot break from an established routine and rules which
govern her life.

She plans to take along a list of irregular verbs, a
book of French idioms, and her crocheting. She is crocheting
a gift for a Professor friend. She becomes a bit embarrassed
and defensive at the mention of crocheting for the Professor,
which brings a laugh from Agatha. "Crocheting does quiet my
nerves. I wish I didn't have nerves. I'd give anything to
attain your intellectual detachment." If it is intellectual
detachment that Agatha has, the feeling is projected that
luckily the other Teacher does not possess this quality.

Agatha wants to wear her rubbers, for the paths
might be wet; the other Teacher does not agree. To this she
retorts, "Must we always do everything alike?" She realizes
her self-assertion and apologizes with, ”I didn't mean that
... I didn't mean it, Agatha. You believe I didn't mean it,
don't you, Agatha?"

She tries to explain that the study for a 211.1). has
made them both touchy and that they should not be on such a

beautiful day when "Paris smells so deliciously of lilacs and

151

acacias." But Agatha can only remark about the smell of the
drains, for she is a realist, "and it's awfully clever of
you.” However, Zola is not a favorite with our Boston
School Teacher; she prefers DuMaurier.

Another inner thought of the Boston School Teacher
is expressed when she mentions men. "I can't help thinking
it would be part of our European experience to make the
acquaintance of some nice, studious Frenchmen ... I can't
believe all Frenchmen have diseases, Agatha." But, again,
she is cowed by Agatha, who calls her ”man-crazy."

Suddenly she stops talking, covers her face in shame,
and exclaims, "Oh!!! Oh, how awful!" She has glanced down
the streetat the very time the Laundress is showing the
union suit, he; union suit to a man in the cafe. She sees
the Laundress laugh and point in their direction. This is
too much for the Teacher to endure, and she releases her
emotions in an extremely well-written and sympathetically
revealing climax to the scene. She cries in agreement,
”We're precious intellectuals and dowdy, ridiculous fromps!"
She assures Agatha that she is not hysterical, Just scared.
She has been scared since one day when a pupil sent her a
Valentine with a "horrible picture of a horrible school-
marm,” which she does not want to be, but actually is and
has little chance of changing at this late hour.

Agatha laughs at her rather than comforts her. "Some
feelings simply can't be controlled. It's weak, I know, but

151v

don't despise me for it. Don't despise me, Agatha! I
couldn't bear your contempt."

The scene ends with the Boston Teacher piteously beg-
ging for forgiveness from Agatha. The scene decreaseslittle
in intensity from the preceding emotional outburst and closes
with the following:

Wait, Agatha. Don't go without me. wait!

Please! I'm coming right along. I'll do any-

thing you want me to. I'll even wear my

rubbers. And I'll help you on with yours.

(KNEELING ABJECTLY) I'll put them on for you.

Hold out your foot. I'll put them on for

you. Only don't leave me, Agatha! Don't ever

leave me!

The School Teacher is the most sympathetically written
scene thus far. The author reveals both the exterior veneer
and the inner feelings of a pathetic woman. The contrast
between her and Agatha is wide,yet, as the directions read,
they both represent types of unmarried women: "A.thoughtless
act produced a touching revelation from the weaker of the
two."'# The Teacher, a product of her protected environment,
is limited in her scope; she is insecure and feels the need
to be accepted, even dominated, by Agatha.

The characterization is so different from that of La
Belle Conchita, the Angel, and so on, that the author's skill

in presenting such a variety of people and the contrasts

between them is appealing to the audience.

 

"Skinner, "Paris '90," Souvenir Book, loc. cit.

152

Even while concentrating upon her portrayal of
character, the playwright never forgets the Paris locale.
She keeps in mind the situation and circumstances which inte-
‘grate the character with the play in its entirety. Paris,
a city of beauty, of romance, of learning, of escape, and of

sorrow, is captured in this scene.
A Woman of Virtue, Scene Four

Following a blackout and a fast change of scene and
costume, the next scene presents a Woman of Virtue. The
stage set is a fan-covered screen, suggesting the interior
of a bourgeois apartment. A chair is on stage. The character,
a blonde, is dressed in a pale blue peignoir which covers a
fancy camisole. The mood of this scene provides a sharp
change from the dramatic seriousness of the preceding scene.
In the interest of variety, a feminine and frilly young
woman appears. She inspects the petticoat which the Laundress
has Just delivered and, at once, tries to get some money out
of a coin purse to pay her.

The first thirty-seven words are spoken in French.

She counts out the money for her delivered laundry, explains
that her husband is away, and thanks the Laundress. She
then places the petticoat on the chair and gazes at it, as
though she were trying to decide whether to start dressing.
She is startled by a knock at the door and responds by
partially cpening the door. The slight opening reveals an

153

Englishman. She appears surprised to see him and horrified
at not being dressed, but she asks him in. She takes his
silk top hat and his cane which she lays on the petticoat
”IN MANNER OF LAUTREC'S COVER TO 'ELLES'."

This woman of Virtue closes the door quickly and ex-
plains that two American school teachers live across the
hall, and "they think the worst of every French woman."

This girl's French accent is extremely broad, and
she displays it with such abandon that the audience begins
to sense its artificiality. Fbr the first time in the script,
the accent is written into the English words. Examples of
this are: "Ozerwise," “Ees” for "it's," "zat," "eef,"
"'usband," "somesing," and the like. The Woman of Virtue
comments that her caller is a "British object.”

Before long, she tells the caller to leave, saying
(with wide-eyed innocent expression) that just because her
'usband is gone, and just because she gave this man (a per-
fect stranger) her name and address, and Just because she is
home from four to five (the enchanting hour), he has no rea-
son to think that she has planned this rendezvous.

When her caller presses the matter, she asks for a
token to prove his love. He produces his "beeg, beeg
diamond" ring. However, she says, after putting it on, that
she is a woman of virtue and cannot keep the ring, although
she leaves it on her finger. She then accepts his diamond

stick-pin but pretends outrage and exclaims, "Monsieurll

154

Just because you remove your stick-pin is no reason why you
should also remove your necktie and collar."

Just when it seems that she may not be able to keep
her "virtue," someone is heard on the stairs, at a very con-
venient time. Then a key is heard being placed in the lock
of the door, and she knows it must be her husband. The
English caller escapes by way of the back door. After he
leaves, the directions in the script indicate: "(OPENING
DOOR. PAUSING WITH FINGER TO LIPS FORlMOMENT, MAKING SURE
ENGLISHMAN HAS GONE. THEN BREAKING INTO GRIN AND BROAD
COCKNEY ACCENT) Gripes! 'ello, 'Erbert."

The Woman of Virtue turns out to be a fraud, not a
eoquette. She is a dishonest English girl working with
'Erbert as an accomplice. She has kept the caller's diamond
ring and stick-pin. The scene ends with a bit of comedy
and a song. "Some 1300 francs worth '0 diamonds, and me
virtue intact! Look! The bloke left '18 things behind.
'Ow's this for a Cissy Ioftus?" She sings a song, "Lend Me
A.Bob," dancing in her dressing gown and with her caller's
silk top hat and cane in hand.

Miss Skinner wrote this fourth scene monologue with
a surprise ending. Whether or not this girl is a woman of
Virtue the audience is left to decide. Certainly she is an
enterprising woman of Paris. The scene is near farce or
melodrama due to the exaggerated circumstances, accent, and

characterization.

155
A Professor's Wife, Scene Five

The fifth and last scene of Act II portrays an
incident in the life of a Jewish professor's wife. It is
serious in mood, treating an enigma of society, the prejudices
against and persecution of the Jewish race. The script makes
it clear that such discrimination has occurred in Paris and
depicts "the victimization that befell thousands of Parisians,
native and alien-born."'5

The setting is the home of a professor in Paris.

The window from the third scene of this act is used here in
reverse. The screen from Scene Four is also used in reverse.
A wicker arm chair is placed left of center stage. The
Jewish woman wears a white blouse with a long dark-colored
skirt.

The opening of the scene reveals the professor's
middle-aged wife sitting in the chair. Supposedly her small
boy is sobbing with his head in her lap. In one hand she
holds the remnant of his newly laundered shirt. ”It's all
right, son. They didn't hurt you. Stop it! Stop it, Isaac!
(SHAKING HIM) Stop it, I tell you." As she tries to comfort
him, he relates that a dozen or so boys had accosted him,
that when the laundress saw what was happening she called
the gendarme and the boys ran away.

She soothes the boy, tells him that she will make him

 

15Skinner, ”Paris '90" Souvenir Book, loc. cit., p.
5. -

156

a new shirt if she has to stay awake all night, so he will
be ready for the Bar-Mitzvah tomorrow. They will take him
to the temple, and there he will be safe.

The mother admonishes him that, even if they call
him names such as "youpin" and "sheenie," he should be proud
that he is a Jew. The reason that times are difficult for
the Jews is because a Jewish captain, by the name of Dreyfus,
is believed to have sold secret military plans to the Germans.
Although the Jews believe he is innocent, he is being used
as a scapegoat for hatred and prejudice by the anti-Jewish
movement.

The mother has confidence that Paris will be cured
of this disease, for it is a free city. She recalls the
time the Catholics were hated by the Hugenots. "We must be-
lieve those words we see written on all the public buildings
... liberty, equality, fraternity."

Her husband comes home and learns what has happened
to their son. Until then she has been strong and confident
in order to allay her son's fears. Now ghg asks questions
of her husband as the son did of her. "Will it become here
as it was in Warsaw?" and "How can you say it still is when
the intellectuals are afraid to open their mouths?"

She stares at him and sees for the first time since
he has come in that his eyes show he is excited about some-
thing. He refers to the paper, which she then reads aloud:
Emile Zola has written an editorial in defense of Dreyfus.

157

"He dares to come out for Dreyfus against his own government.
Against most of Paris." Here in the script, a sentence is
crossed out and another is inserted, so that it appears this
way: "And he himself is facing exile because of the stand he
is taking. You're right. Where but in Paris could it
happen?"

I Again, Paris takes on greater scope and dimension;
it is a city of refuge and freedom for the suppressed and
minority groups.

The mother calls to the boy and Joyously exclaims,
"And what I told you of Paris is true. It is a city of
freedom! Listen! The band of the Garde Republicaine ...
on their way to the public concert. And the tune they play
is a tune of freedom. That's right, son, you wave to them!
We'll all of us wave to them."

This speech before the curtain is very dramatic and
climatic. It builds in momentum and tends to appeal to con-
cepts of freedom, equality, and fraternity. The scene is an
indictment against anti-Semitism. This scene would almost
surely arouse an American theatre audience with its
traditional sympathy for the oppressed and its sense of fair
play.

In this scene, another nationality is added to the
spectrum of M :29 characterizations. As a serious scene,
the script shows the facility and ease with which the author

‘presents Parisian women.

158

Act III: Montmartre, Friends of Toulouse-Lautrec
La Goulue, Scene One '

Women of Paris, as suggested by the lithographs and
paintings of Toulouse-Lautrec, comprise the characterizations
for Act III of Paris ' . The first is La Goulue, a girl who
gives the impression of being a continuous talker. The scene
is a 900-word portrayal of the coarse but attractive blonde
who was a glutton for food and liquor. Because of an in-
satiable appetite she later'became fat and ended her career
as a vulgar dancer with a cheap carnival outfit.

The first scene is in the small garden of the dancer,
and a.painted backdrop represents a high wall. On stage
there is a rustic chair without arms. Upon the chair is a
trowel, and beside it is a tub of lillies. A ladder leans
against the wall.

Rbminiscent of the Moulin Rouge poster, La Goulue is
found on stage striking a pose which shows her skirts pulled
up so that her petticoats and black stockings are in full
view. Her skirt is striped, and her blouse is of a polka-
dot pattern designed with a low-cut, heart-shaped neckline.

La Goulue is weeding in her garden while nursing a
hangover. "working off last night's champagne,“ is the way
the author describes the circumstances of this scene. La
Goulue's maid announces that she has a caller. The caller
has a name like a camel, the maid says. La Goulue finally
guesses that it is Lautrec. "Is he a queer looking guy?

159

Stumpy legs? Looks like a dwarf? Terrible face? ... He's
a friend of mine. {mow him out here ... He's not going to
bite you! Damn it, he's an artist!"

Henri, as she calls him, gets a warm reception from
La Goulue. It is mid-morning, but she tells him to help
himself to a drink and then give her "a swig of that cognac.
I'll never make the Moulin tonight." (Lautrec says that he
has been at the Moulin, too,'the past night. She says she
can never do the splits feeling like this. "Aw Henri,
why do I drink so much? ... and why do I eat so much? ...
and why do I ... (COARSE LAUGH) Scared you, didn't I?"

She takes a few more drinks of cognac and feels
better. La Goulue asks the artist why he plans to paint a
lion-tamer. She says that he could be a good painter,

"... but Holy name of a cucumber. Look at the muck you
paint! Me, I'm bad enough ... but those girls! ... Those
public girls! They're awful! And you make them look even
more awful!"' She cannot understand why he paints that awful
looking singer, Yvette Guilbert, with "a face like hers."

To La Goulue, the subject of an artist is what deter-
mines whether or not the work is artistic and well done.
"Well, I'm no art critic, but your stuff, Lautrec (HOLDING
NOSE). But I like you. (LAUGH AND TAKING ANOTHER SWIG)”

She then goes into description of a visitor at the
Moulin Rouge the previous evening. The man who caused the

commotion with his presence was the Price of Wales or, as she

160

refers to him, "Big Eddie," or "Edward the Caressar." She
goes through a vigorous reenactment of her dance which she
did in front of his table. She has on her "fancy pants ...
you know the ones with the red heart embroidered on the seat."
At the end of her dance she leaned over his table and called
out, "Hey, Wales, they say you wear your heart on your
sleeve, well I wear mine' ...‘and I showed him!" With this
accounting of the incident, she believes herself to have
been quite daring and quite the entertainer because the Prince
laughed long and heartily. "Well, Henri, when I dance, I got
the nerve to do anything. And when I dance at the Moulin,
the mill is red, the air is blue, my petticoats are white,
and it's the tricolor of France!" It was La Goulue's "un-
inhibited and vigorous agility [yhich] won her a job as
dancer."6

As some weeds are thrown over the wall, La Goulue
climbs the ladder to see what "damn cochon's throwing his
rubbish into my garden." She is about to call him a "son of
a ..." when she sees that he is a priest in the next yard.
She apologizes and tries to make polite conversation, but
everything she says has double meanings or is colored with
the invectives that she does not want to use in the presence
of a priest. "Does my language shock you, Father? ... I
don't even know when I'm talking that way ... it's the

damndest thing!" Later, when she is commenting on his

 

'6Skinner, "Paris '90" Souvenir Book, loc. cit.

161

garden and asks him to look over at hers, she says, "Step up
on your ladder and take a look. Wait a second while I pull

down my skirt ... I've been entertaining a gentleman friend

here ... and that isn't what it sounds like either."

La Goulue tells the priest she makes soup from her
vegetables and will give him some. "I can brew a hell of a
good soup ... I mean a good, good, soup, Father! Because I
love to eat ... that's how I got my nickname of The Glutton
... I'm the dancer, La Goulue ... the Queen of the Moulin
Rouge. And this is my friend, M. Henri Lautrec." During
the '908 she was Queen of the Moulin, quite in contrast to
her original Job as a laundress.

She invites the priest to take in her act at the
Moulin, for "you'll get a hell of a lot of material for a
sermon." She arranges with the priest that every time he
hears her use bad language, she will cook him some soup.
When he agrees, she exclaims, "YOu will? Well, I'll be
God (HAND OVER MOUTH)."

As this dancer climbs down from her ladder to start
the soup, she hears the circus calliope and remarks, "Listen!
Lautrec! There's your circus music!" As the calliope Song
continues, there is a blackout and a quick costume change,
and the scene shifts to the circus. Kay Swift's music again
acts as a bridge between scenes.

The La Goulue monologue centains exposition material
for the third act. The Lion Tamer and YVette Guilbert are

specifically mentioned to prepare us for the following scenes.

162

Berthe La Sourde, the central figure for another scene of
this act, is not specifically mentioned but suggested when
La Goulue talks about "those girls! ... those public girls!"
whom Lautrec paints. Another part of the exposition is the
introduction of Henri Lautrec, the physical placement of him
and the description of this dwarf artist. La Goulue intro-
duces him with "A monster? What in Satan's name are you
talking about? II thought I was the only one seeing animals
today ... Did you let the monster in? ... Oh wait a second,
Julot. Is he a queer looking guy? Stumpy legs? Looks like
a dwarf? Terrible face?"

The script reveals the warmth and genuine affection
of La Goulue toward Lautrec, although she shows, at the same
time, that La Goulue does not understand Lautrec's artistry.
La Goulue merely realizes that he is a friendly dwarf who can
draw pictures of some of the women entertainers of Paris.

Miss Skinner has made La Goulue an energetic
comedienne. In the part of the scene where La Goulue des-
cribes the previous night at the Moulin when she danced for
the Prince, the dancer vividly re-enacts the whole incident.

The comic detail is especially emphasized in the
part with the priest. The invectives are much milder, we
imagine, than the actual dialogue of La Goulue. The author,
however, has used restraint in portraying this vivid and
earthy dancer, and if the monologue is a bit tame and mild
compared to real life, it is nevertheless entertaining and

humorous.

Wisteria”

163
A Lion Tamer of the Medrano Circus, Scene Two

Next the writer presents a dramatic characterization
of the Lion Tamer, Erica. She is a very striking individual,
a woman in her middle forties and very handsome in her green
military coat with gold frogging, black tights, black boots,
and white astrakhan hat.

This performer is seen in her dressing room which is
suggested by a make-up table and a wire-protected gas jet.
The seated figure wears black gloves and holds in one hand a
trainer's whip, in the other hand a cigarette which she is
smoking. Erica is German and speaks with an accent, some-
times reverting to her native language, "Ach, Gott in Hemmel!
Dann gehen sie waiter."

Erica's opening lines are directed to the police; at
the same time, they tell the audience that she is a lion
tamer, that her name is Erica, her age is 45-k6, and that
Max !§g_her apprentice. It was the duty of "my assistant"
to stand outside the cage with a pistol. In the first page
of the scene, she explains the fate of Max. "Everybody saw
it happen ... It was no accident. I knew what I was doing
... Max killed my lioness. I killed him ... What other
motive could there be?"

She says that it will do no good to ask Herr Lautrec,
who is also in her dressing room, about the relationship
between her and Max. "Our relationship had nothing to do
with it." She says that Lautrec "saw us only to draw sketches

164

of us."

At this point in the monologue, the directions in
the script read, "EFFECT OF DOOR OPENING, SHAFT OF LIGHT AND
MUSIC OF DISTANT PERFORMANCE." This signifies that the
police go and that she is left with Lautrec. or him she
asks, "Do they give you special permission to stay behind ...
and draw my portrait? ... You may go, you.may stay ..."
Lautrec actually went to this smart circus very often.) The
audience of the Noveau Cirque attended the show in evening
dress.

Erica is more concerned with getting the body of
Fricka, her dead lioness, than she is of inquiring about Max.
She has nothing to say to Lautrec and, when he offers a
picture to her, responds, "So you are making me a gift of
it! This is one of your famous jokes, I suppose. It is not
very funny."

When she looks at the drawing, she becomes soft and
feminine and her emotions are touched, for the picture is of
Fricka, her dead lioness. Herewith follows a lengthy story
of the life of Fricka from a cub to death from the bullet
in Max's pistol.

She loved Fricka and calls Max a coward; he mis-
trusted the lioness and hated her. He was jealous of the
love which Erica had for Fricka instead of for him.

Erica then takes the chair and whip in hand and

illustrates her routine. She demonstrates how, after Frickafs

165

death, she managed the other cats, then she went outside the
cage, "BUSINESS OF RIPPING OFF HATé-HAIR FALLING OVER.FACE"
Dramatically, she narrates how she took her whip and with
the lead handle beat him until he was dead, in view of the
audience.

From.this moment, the monologue builds dramatically
and emotionally to the point of hysteria from Erica.

He killed my lioness! He killed my lioness!

What have they done with Fricka? They won't
cut up that beautiful body.

I must get out and tell them that they can't!

Let me out! Let me out! They'll be cutting.

up my baby for lion food. Let me out! Let

me get to Fricka! Police! Police! I must

see Fricka! Then you can take me away! You

can take me straight to the guillotine! But

get me out of here! Get me out of here!

Get me out!

Miss Skinner wrote Erica as a very dramatic role.

The situation is a most unusual one for emotional and

dramatic display. A woman's love for a lioness could be
comic, but in the monologue-drama it becomes a pathetic,
eerie, and a serious incident. This backstage occurrence
seems plausible, and it does not strain credibility to imagine
such a situation.

The monologue calls for a portrayal of a self-
reliant, dominating woman who becomes so attached to her cats
that, when the assistant kills one in her defense, she turns
and kills him, then becomes hysterical as she thinks of what
will happen to the body of her beloved animal.

The scene, based on a fictitious episode, is very

166

direct from the outset and symbolizes the direct character
of the Lion Tamer. It is a one-sided account; there is no
objective judgment as to whose action was correct, the Lion
Tamer or Max. The Lion Tamer is the heroine, rather than a
murderess.

The scene has continuity with the preceding scene as
Lautrec is written into both monologues. Because of the
highly dramatic climax, no hint of the following scene is

given.
Berthe La Sourde, Scene Three

The third friend of Lautrec's is Berthe La Sourde.
Berthe is initially pictured as a very coarse prostitute,
with little allure. She represents a type which Lautrec
found in Parisian houses of ill fame. Gradually we are led
beyond her "profession" to see her in light of her past and
present. The author gives one incident which might explain
why such a woman would be chosen for Lautrec's portraits.
Miss Skinner reveals some of the beauty, hopelessness,
vulgarity, and boredom that Lautrec's brush captured.

The scene is in two parts, the first set in a
receiving-room or salon suggested by an ottoman and rubber
plant. Deaf Berthe appears in "DRESS ... OR UNDRESS ... AS
LAUTREC'S GIRL IN 'AU SALON' ... SLOPPY CHEMISE, BLACK STOCK-
INGS, DIRTY MULES."

Berthe's first lines reveal her coarseness. "Ah, zut,

167

alors! She gives me a pain, Old Pickle-nose. She does not
know the first thing about running a decent establishment.
Weather like this, even a sailor would not come in till 8 ...
9 ... o'clock. (SCRATCHING) Hm! Tell it's spring all
right ... my first flea-bites ..."

She mentions the dwarf painter and asks that his
favorite song he played. "For a time, Lautrec even lived in
one of the houses, sketching the girls."'7 It is now that
we learn some more facts about Lautrec; Berthe is impressed
that his father is a count. She likes him and admires him
because he paints her, is nice to her, and makes nice con-
versation while painting, "Not like the customers."

She yawns and wishes for a day off like last week,
but she will have to work even on her approaching birthday.
"Who said that? (RISING) Who said it'd take my mind off my
age? Was that you, Nini, you old bag?" A fight starts
between Nini and another woman. The music builds so as to
indicate a great free-for-all. Berthe Jumps upon the otto-
man and spars off opponents as if in a melee.

A man enters and the girls stop their fighting.
Berthe strides over to him in a "SADIE THOMPSON FASHION."
She greets the man. "Good evening, cherie! Buy me a drink,
mon p'tit coquin? (ELBOWING THE OTHER.GIRLS AWAY)" But

Berthe is mistaken in the man, "What do you mean you're not

 

6 '7Skinner, "Paris '90" Souvenir BOOK: l22: ELE-t
p0 0

168

here for any ... (MAN HANDS OVER THE LETTER) What's this?
... A.per ... Now who in hell'd be sending me a personal
note? Fancy stationery!" The note is from Lautrec. It is
a very proper one written in a respectable tone. She reads
it aloud. He says in the letter that he remembered it was
her birthday and asks if she would spend the day with him
and two artist friends along the river on a "purely pla...
pla...platonic basis." He says that he will settle the cost
with the Madame if she is reluctant to give Berthe the day
off. Often Lautrec was said to buy presents for his models
and to entertain them with parties on their birthdays.
Berthe is overjoyed and amazed.

He's paying for services even if I don't have

to give any. My birthday! And a day off!

(With full pay and no work!) [This phrase

was deleted from the script;] Spent respect-

able! And with an aristocrat! If only

we'd run into Maman! I shall go assemble my

wardrobe. If King Leopold of Belgium drops
in, you may send for me!

Berthe La Sourde, Scene Four

After a fast scene and costume change during a
musical bridge, Berthe reappears sitting on an artist's stool.
She has a large umbrella and a fish pole with a fish. Her
dress 18 very proper with a frilly lace yoke and cuffs.

Her hat is a large picture hat of lace and flowers.

She is fishing and having a good time.

Such gents! I never knew people who could talk

so cleverly about things I don't know what they

mean ... and all day treating me Just like a
real lady. Why M. Maurice said my ankles were

lilrv‘ m .|.Is cit
p ._

169

so pretty he bet the rest of me was pretty, too,

and he never so much as started to investigate.

What a treat this day is!

Berthe gets to reminiscing of her childhood home and
tells how she got her nickname. When her mother would call
her to work, Berthe would hide and her mother would "yell
'Berthe! Berthe! Are you deaf?‘ That's how I got my nick-
name, Deaf Berthe ... Berthe-la-Sourde." She continues by
telling how and why she had to run away from home.

’The scene closes with Berthe's asking M. Lautrec to
sketch her as she is now. Because Lautrec's pictures are
appearing in public, her mother might see "my picture dressed
up nice like I am today and she'd think I was all right ...
and just in case, call it ... call it by my nickname, Deaf
Berthe, hein? ... Oh you're sweet, M. Lautrec ... and I'd
kiss you ... only it's my day off." She assumes the pose
of Lautrec's famous painting of "Berthe La Sourde."

The story reveals the reasons for Lautrec's painting,
"Berthe La Sourde." In doing so, the author paints a por-
trait of a stupid, immoral woman who likes to be treated
like a lady. The monologue is informative rather than
dramatic, exciting, or comic. This would be a typical dumb-
blonde type (were it not that she is described as being a

brunette!), symbolizing another type of Paris woman and an-

other of the friends amassed by Lautrec.

17o
Yvette Guilbert, Scene Five

For the last scene of gari§,129, Miss Skinner turned
to perhaps one of the most distinguished Parisian performers
of her day.

The scene is set with only a velour backdrop, and
the black gloves of Yvette Guilbert emerge through the center.
Gradually, she peers out "IN AN ATTITUDE LIKE THE LAUTREC
DRAWING." Her dress is a white jersey evening gown which
is designed on straight lines. The only decoration on the
dress is a black net puff-bow at the top of each shoulder
strap.

Yvette calls for her accompanist and asks if he has
the new music for her act. She says that they have little
time to rehearse, so she will do only the two new songs.

The first song is by Aristide Bruant, and the lyrics are
about a sordid affair. The girl in the song is writing a
letter from the prostitute's prison, called Saint Lazzare.
The song is sung in the style of Miss Guilbert.

Yvette peers out into the audience and asks, "Who is
that out there?" It is Henri Toulouse-"Lautrrrrec!" as he
comes down to the footlights. She says, "I did not ask for
any Boldini portrait ... but I hardly expected a Daumier
caricature ... Retit f§_i_g_.] monstre! ... Yes, Just what you
are ... in appearance." She realizes what his audacity made

her say and she apologizes and tells him only h§_would have

171

dared to draw her so hideously.

Yvette is the only one of the characters who is
cognizant of Lautrec's artistry. "I realize the poster will
be a major work of art." She says she will keep it as her
'passport to immortality" along with "prostitutes, circus
performers and the more garish dancers of the Moulin Rouge."
By this line, the author brings together the scenes of this
act. Yvette then praises Lautrec very generously. It would
seem to be an eulogy, Miss Skinner's sincere sentiments in.
behalf of Henri Toulouse-Lautrec.

Your art will forever preserve the spirit of

Paris at this close of our century ... No! ...

I don't think you are a good artist ... I

think you are a great one ... not merely on

paper and canvas ... great in spirit. That's

why I can call you "little monster" and you

can laugh ... both to put me at ease after

such a faux pas and to concem.your own inner

pain. The courage of Charles le Temeraine and

the wit of Rabelais ... in the body of Quasi-

modo. This happens to be your price. Every

artist has some deformity to bear ... you may

perhaps be fortunate ... in that yours is only

physical.

She then says that, if he has his sketch brush handy,
he may continue his "outrageous immortalizing." And with
this she sings a song called "Madame Artur," for which Miss
Guilbert herself wrote the music.

In this scene we learn little of the character of
Yvette from the script itself. The songs are expressive,
and the second was actually composed and sung by Yvette
Guilbert when she was a famous singer. The script tells

little about Miss Guilbert other than that she is a famous

172

singer whom Lautrec paints. It is perhaps unfortunate that
the script did not bring to focus some of the interesting
features of her unusual career. As an unattractive cabaret
singer in Lyone, Yvette was actually booed from the stage.
Refusing to imitate other performers' style of singing
finally brought her success. The climb to stardom was a diffi-
cult one for she really did not have a singing voice and
would not use a lot of gestures. It was her distinctive
style of facial expression and effects which made her famous
in Liege, at the Moulin Rouge and, later, at the Divan
Japonais.

Lautrec was not the only artist who appreciated her.
Musicians, writers, intellectuals, and aristocrats clustered
about her. Clemenceau has described Lautrec's drawings of
her as "one of the greatest of all social documents."'8

She won her fame by singing bawdy, comic, and
sophisticated songs. Later she became a foremost interpreter
of French folksongs and ballads. She devoted much of her
life and time to scholarly research in music history.
"Yvette Guilbert epitomized much that was good and much that
was zestful in the magnificent era of the '9Os."19

‘ This last scene, then, is devoted to Lautrec as seen
through the eyes of one of his most celebrated models. The

praise of Lautrec builds up and might be a bit overwhelming

 

18Skinner, "Paris '90" Souvenir Book, loc. cit.

'9gpid.

 

r

 

173

if one is not a devotee of Lautrec's art, as Miss Skinner is.
The finale song leaves the reader with no doubt but
that the show is about to end, for where else could it go?

Any further characterization by one woman is inconceivable.

Summary

gari§,129_presents a series of fifteen complete
vignettes, as the preceding analysis has exemplified. Each
scene is complete in itself yet it contributes to the whole
monologue-drama. Unity of form is evident because each
scene has continuity, the scenes together form a unified
act, and the acts combine to fOrm a.complete action. Miss
Skinner plotted Pg;1§,129_so that each vignette is an entity
in itself, and yet each contributes to her complete design.

Each scene has a central incident upon which the
action is based. The La Conchita vignette treats one parti-
cular rendezvous which the principle character has with a
military cadet. The central incident of the Duchesse scene
is the funeral procession; the School Teacher scene is built
around a contemplated picnic; and the situation of the Lion
Tamer is a confession of a murder. The emergence of the
central idea of each scene is direct and is stated in the
opening lines most often. The Nou-Nou's first lines indicate
the focus of the whole set, "Wheels! Wheels! Wheels! Baby,
all of Paris going by on wheels!" The Lion Tamer immediately

states, "Erica ... I tell you my name is Erica." In a few

174

seconds she tells in a succinct statement the issue of that
scene, "I knew what I was doing ... Max killed my lioness.
I killed him ... What other motive could there be?" The
opening dialogue tends to capture the listener's attention.
Yvette Guilbert starts by asking, directly out-front, "Are
you there, Monsieur l'accompanist? Have you the music for
to-night? We have only a few minutes for rehearsal."

Not only does each scene have one situation which
is its central idea, but each has a single character. Even
though several imaginary characters are introduced in the
scene, only one character is actually visible on stage.

Each character is appropriate to the act in which she appears.
Each represents a type of woman, whether famous or not,
French or foreign, who finds Paris to be attractive.

The dramatic action of each scene has an effective
sense of progress and movement. The introduction and con-
clusion are generally vivid and concise, and the main part of
the vignette has a sense of build. This is accomplished in
the script by first presenting a premise, then making an
application by illustration through a characterization, next
indicating the problem, or more often, conflict, and finally
resolving the conflict or interpreting the incident. To
illustrate, in act one the premise is that all of Paris
goes by on wheels. The application is by illustrating with
characterizations of the Nou-Nou, the Fashionable Parisienne,

La Duchesse, La Belle, and The New woman. The conflict in

175

the Duchesse scene is regarding the manners and protocol
among the aristocracy. La Belle's conflict is when she dis-
covers that her young escort is not rich, which places her

in a predicament. The resolution of these two conflicts, for
example, is that La Belle, in an off-guard tender moment

will let her heart rule her head, while the New Woman retains
her role of non-conformity and her independence.

Dramatic action implies selectivity, and Miss Skinner,
kept to a minimum interference with the central idea. Be-
cause of the absence of superfluous details of situation,
the attention of the audience is focused primarily on one
character and one incident which provides the dramatic action.
By removing extraneous detail, the action has movement
throughout the script. A few times the dramatic action of
the monologue-drama seems slow, especially in the Nou-Nou and
Laundress scenes which were primarily expository material for
the following scenes. In the main, however, the scenes are
short enough in length so that the action has to have
direction and set a pace in order to accomplish anything.
Miss Skinner saw that this was done, for in her script she
eliminated most non-essentials and included the best incidents
that would provide the most effective material for dramatic
action. Specific ways in which dramatic action is aided are
by attention to comedy and dramatic moments. Devices for
dramatic action serve as motivational appeals tending to at-

tract and sustain interest in the monologue-drama.

flu! B's“ .I v’. aha“

176

The dramatic action is aided by the introductory
dialogue which states the scene's central idea. The intro-
duction is followed by the statement of the premise which is
developed deductively in the citing of character and situ-
ation to illustrate assertions. Relevance tends to be high,
for the scenes do not ramble with irrelevant dialogue
material. Each scene proceeds deductively from the general-
ized statement to the particular theme. In the Nou-NOu
scene, the dialogue about Paris going by on wheels occurs
at the beginning, in the main part of the monologue, and at
the close. By the end of the scene this phrase of dialogue
had been stated three times. With this repetitious treat-
ment the dialogue helps to give the scene a sense of direction
and make it a compact drama.

Another example of this sense of build in individual
scenes is that of the Woman of Virtue. The introduction sets
the scene and introduces the main character. The caller,
seemingly unexpected, is the principal imaginary person in
the scene. His advances become more insistent and her
trickery more cunning until a knock is heard at the door
which prompts the caller to leave hastily. The true character
of the woman of virtue is then revealed in the denouement,
and the scene ends with her doing a dance wearing her caller's
hat, diamond pin, and ring which he has left behind.

The main part of each scene is of insufficient length

for involved plots, or for deep insight and psychological

177

probing into each character developed. Statements must be
taken on face value without proofs being exhibited.

The conclusions are sometimes very dramatic, such as
the scene of the Boston School Teacher, a Professor's Wife,
and the Lion Tamer. Other scenes end with a song, as those
of a Woman of Virtue, the Laundress, and Yvette Guilbert.'
The author employed spectacle for the conclusion of the New
Woman scene. Most often the conclusions were written so
that they refer to the subsequent scenes, such as the Nou-
Nou, a Fashionable Parisienne, La Duchesse de Vertpres, La
Belle Conchita, the Angel, and La Goulue.

The use of transitions within a scene contribute to
the coherence of the script. The transition from the
exposition to the main incident is often slight and quite
subtle. In the New Woman scene, the transition from the
exposition about the rose is accomplished through one
sentence of dialogue, "I say Hyppolite, can't you go a bit
faster." At times the transitions are apart from the dia-
logue, as in the Woman of Virtue scene where the transition
from the exposition of paying the Laundress is all physical
action in pantomime. The Woman places the petticoat on the
chair as if trying to decide whether or not to put it on.
Then she hears a knock on the door, and the central action
begins. More often the transitions are verbal. In fact,
another device of dialogue which is used is to ask a question

introducing a new idea, then proceed to answer it. The

178

Boston teacher asks, as a transitional device of dialogue,
"Must we always do everything alike, Agatha?" La Belle
Conchita asks her young escort, "You are not telling me you
have no money?" The question is transitional and intro-
duces a new sequence in the script.

Contributing to the unity of form of Pg;ig_i29 is

the fact that the scenes are skillfully written so as to
unite them into a complete act. The unity of the scenes of
an act is accomplished by the author stating the proposition
and then proceeding to illustrate it. An example is the
second act which is introduced by a NOtre Dame pediment
Angel who told that she had "such a good view of all that
goes on along the river. I can watch it for centuries and
never get bored." She then points out people who illustrate
her statement that life along the Left Bank is interesting
and shows that Paris life in the 1890's is not "more sin-
ful than it ever was." She sees a Laundress, a Boston
School Teacher, an Adventuress, and a Jewish Wife and mother,
who are the dharacters for the following scenes. In like
manner, each of the other acts also has an introduction.
The women of the first act are introduced by the Non-Non.
In the third act, the first character, La Goulue, un-
obtrusively prepares the way for three other friends of
Lautrec whom the audience is to meet.

Not only does each act have an introduction, but

each scene also has a bit of exposition which ties it to the

179

other Scenes. This way of connecting the scenes was used
consistently by Miss Skinner. LaBelle Conchita relates
that she had just thrown a rose at the Duchesse in the pre-
ceding scene. A woman of Virtue tells her caller to shut
the door quickly, for two American school teachers live
across the hall. The teacher portrayal was, of course, the
focus of the previous scene.

The acts themselves are logically integrated as a
unified sequence of situations and characters. The locale of
Paris during the 1890's is the unifying factor of the three
acts. The scenes illustrate the various facets of this
cosmopolitan center. A city is only what its inhabitants
make it, and each of the characters of the monologue-drama
views Paris in a different way. For example, one character
sees her city through the wheels of the vehicles which pass
by, while others see it as a city of romance, fashion, as a
refuge for the persecuted, a vacation spot, a cultural city,
and a city of pleasure. Regardless of which particular
Parisian attitude is expressed, each scene contributes to
the general purpose of showing what life was like in 1890
Paris and thereby provides the monologue-drama with a co-
herent unity.

On the basis of the analysis of the script of 393;;
:29, it is apparent that besides unity of form there is a
unity of content. The content is based upon character which

is itself the strongest element in the script. Within the

180

setting of the Paris locale and the variety of situations
which are presented, character treatment is the crux of the
script.

Each scene presents a single, recognizable character.
Each character is seen through dramatic action which suggests
her personality. Only by seeing individuals as they are, by
recognizing their potential worth as well as acknowledging
their shortcomings, can one agree with the premise that
Paris in the '903 was a veritable melting pot. Miss Skinner
has an accurate comprehension of those about whom she writes.
Her research into history of Parisian culture and the
specific lives of Lautrec and his friends give her play
validity. She had Yvette Guilbert describe Lautrec as having
"The courage of Charles le Temeraire and the wit of Rabelais
... in the body of Quasimodo." Such a statement reflects
the authoress' intelligence and literary background and lets
the characterization make reference to her contemporaries of
1890 Paris. Miss Skinner wants her characters to be ac-
cepted for what they were. She consistently illustrates,
in each scene, an awareness for the worth of a person whether
she be a laundress or a lady of fashion, an aristocrat or a
prostitute.

The audience is motivated to identify with any of a
variety of these characters and thereby with the drama. Miss
Skinner appeals to many kinds of people in her characterizations

of a Jewish mother, a nursemaid, a woman of the aristocracy,

181

a Boston school teacher, a lowly laundress, an adventuress,
a couple of entertainers, dancers, singers, a prostitute,
an athletic female, and an angel. Through the content of
Pagig’ng, the author makes no great effort to prove any-
thing or to analyze, but has sought rather to entertain,
amuse, and stir emotionally. Her characterizations have
unity and variety and therefore are effectively conceived
and written. No matter how comic or bawdy the characters,
they have dignity and simplicity which set the general moti-
vational and emotional moods. To illustrate, the Angel
scene is artistic in organization and selective in use of
language. The Angel first speaks softly as if not to awaken
the other stone figures. The pigeons "drenched me with
blasphemy," she says. She feels "that horrid breeze again!
It feels like the beginning of a wind of hate." Such ex-
amples of one of the characterizations display artistry,
humor, and dignity. An artistic quality is even seen in the
characterization of comical Deaf Berthe when she appreciates
the fact that Lautrec let her escape, if only for a day,
from the shackles that bound her to her sordid life, and
that he treated her as a lady. "What a treat this day is!
The sun, the river and a forest without a fence or a
gendarme."

The content of the monologue-drama is instantly in-
telligible, for the ideas of the characters are expressed in

simple and expressive dialogue. Clear and concise sentences

182

communicate to the audience with ease and perspicuity. The
script avoids artificalities of discourse that lead to con-
fusion. She wrote the dialogue in short sentences or even
many times in fragments. She used the ellipse often, for

the intention of the writer was not to produce a script to

be read but a scene to be performed before an audience. The
ellipse indicated conversational speaking, the way a character
would actually tend to talk.

The very choice of content produces comedy or subtle
humor, and sometimes sincere emotion. The author's selection
gives each character a personality. The Angel moralizes,
"What made them think that reason could ever take the place
of faith?" She closes the scene by a play upon words, "It's
growing early, Stephen. We'd better be going back to stone."
Yvette Guilbert's dialogue is artistic in appraising Lautrec:
"I am quite willing to share their timelessness," she tells
Lautrec, "as long as it is through your interpretation ...
your verve ... your humor ... and your suffering pity."

The dialogue content in Earl; L29 is always in good taste,
and the invectives never are used in excess. The content de-
fines a variety of characterizations, motivates the audience
to identify with the characters, and unifies the scenes and
acts thereby being an element uniting the whole theme with
its structural parts. The dialogue is intimate and conver-
sational. Ideas are stated with utmost clarity. There is

never any doubt what the particular character was saying.

183

Misc Skinner is a creative artist and her script of Pgri§.flfl2
is comical, sometimes moving and dramatic, but always clear
in idea, unity, and purpose. Her clear thinking, forceful-
ness, vividness, adaptiveness, and freshness of dialogue go
together to produce a stimulating, unified, and entertaining
script.

Further analysis of this solo-drama.indicates that
the script has unity of idea or theme. Each scene illustrates
the major premise that Paris is a cosmopolitan city. Through
the people of Paris, whether natives or visitors, an atti-
tude toward the metropolis is revealed. The character of
Paris is illustrated by depicting famous French personalities
and also by characterizing types of women of Paris. The
famous women presented are four of the models which Henri
Toulouse-Lautrec painted. The third act shows the character
of Lautrec, and all three acts show the character of Paris.

Unity of theme for the script was accomplished with
artistry, function, and simplicity. It displays artistry in
the choice and arrangement of material and detail. Simpli-
city of plot structure seems to be Miss Skinner's virtue in
her monologue scenes in order to elicit the desired response
from the audience. The exposition establishes the continuity,
commands the attention and interest of the audience, and sum-
marizes or prepares the way for the central characterization;
the script states deductively the premise and then elaborates
upon and illustrates it through the use of carefully chosen

details; the denouement or conclusion of each scene serves to

184

produce comic delight, amplify the subject, prepare for the
following scene, excite the emotions, or resolve the conflict.
The conclusion is always the natural outcome of the premise.
It is seldom profound, but Pagigligg does not require pro-
fundity.

The productional elements such as costumes, settings,
music, make-up, and properties strengthened the unity of
theme. These production elements help to establish place
and circumstances of the scene and implement the text so as
to provide a close rapport between the actress and her
audience. She carefully chose properties such as the white
cloth to represent the infant for the Nou-Nou, the whip for
the Lion Tamer, and the bicycle for the New Woman, so that
the audience would make associations. This device of high
selectivity of instantly recognizable elements apparently was
intended to motivate and to increase the audience's tie with
the script so that it might say, "Yes, how true!"

Unity of form, content, and theme are integral ele-
ments which make Earl; L29 an effective monologue-drama
script.

The variety which the characterizations have, and the
use of imagination which the writer has been able to use
throughout, are two of the outstanding qualities of the
script. No two characterizations are repetitious. In fact
each reflects a different type of woman. Miss Skinner's

selectivity and imagination are evident in creating the

185

characterizations and in the treatment of the situations.

The dialogue is written with an understanding of the person-
ality of each woman. It is sparkling, intelligent, humorous,
and sincere. It shows off the distinctive qualities of each
personality.

The characterizations are not profound, but the
writer does not try to explain why such women exist or to
show more than one or two principal facets of a particular
character type. Her objective is entertainment, not pro-
fundity but rather gaiety and variety. Since she is writing
monologue-drama, it seems wise for her not to try to present
problems and grapple with their conclusions which she could
not achieve in the short time period inherent to this art-
form. The production elements give the scripts the glamour
of a stage play and certainly help to underline the locale
and atmosphere.

Miss Skinner has provided charming vignettes which
are a part of the major premise. Never do the scenes or
situations or characterizations seem out-of-place with Paris
of the 1890's. Her unity of theme, characterization, and
selectivity of situation and dialogue make the script
extremely effective monologue-drama.

Earlier in this study it was stated that 22.515 120
was more complex than Th; iii-1.23. 9; H_e_r_l_r1 1111;. The most
evident added complexity of Eggig :29 is that it is a complete

production with musical score, orchestra, and many settings,

186

properties, and elaborate costumes. Th3 legg 2; H3231 12;;
was costumed, but it used only a minimum of properties and
scenery. Beyond these physical differences, §a§i§,129 was
much more lengthy, having a playing time of two and a half
hours rather than forty-three minutes. There were fourteen
characters written into fifteen scenes in garigllgg compared
to six characters in six scenes of Thg,!;1§§,g£,flggrz_yllg.
Such elements of Pagi§_;22,are not merely superficial
distinctions. To write and portray twice as many characters
in quick succession is a task for only the most versatile
and experienced writer and solo-performer, and it certainly
signifies a great complexity. This inherent complexity also
makes the analysis of Parig,iggpseem more extensive in nature.
COmparison of the two analyses shows that the author
gives a greater sense of locale and atmosphere to Pari§_129.
than to her first monologue-drama. This difference tends to
point up the conclusive nature of the latter script, 223;;
L2_. Many types of characters, situations, and production
elements give this script broad scope, and through the
breadth of material a penetration of the Paris of the 1890's
seems to be revealed. On the other hand, an account of
English life during the days of the Tudor king is not quite
so evident in _Th_e Wi_v_e__s_ 9}: gem 1_I_I_I_I_. The script limits
its scope to one segment of society, royalty, and six ex-
amples of that class are pictured. A.minimum of properties

was used for The Wives gf_Hengy VIII compared to a complete

187

production of Pagig 129 where full-scale theatricality gives
the audience a more comprehensive sense of the atmosphere of
the time. Therefore, it is not unexpected that the impression
of atmosphere and locale of 22125 :20, achieved by Miss
Skinner through many different characters and situation types
as well as production elements, add to the complexity of
analysis of the script, as compared to that of Thglflgggg g;
helm III..-

Miss Skinner had a free range in selecting characters
and situations for Par}; :29; whereas, 1h; K2129. g; m
l!;;;, by its very nature, imposed a limit to the number of
characters which could be portrayed. But, in this process
of selection for Earl; L29, the result had to have that
unity of theme and continuity of dramatic action which was
inherent in the strong story line of Thglflglgg 9; Eggs; VIII.
The final script of Parig,igg attests to the achievement of
unity both in theme and dramatic action.

For both scripts, Miss Skinner did careful research
to give the monologue-drama validity and accuracy. In the
first instance, the results of the research had to go through
a process of strict selectivity in isolating those situations
and character traits which would make the wives of Henry ef-
fective monologue-drama. A similar process was involved with
the friends of Lautrec, but the first two parts of Pgr;§,L29
were completely the products of Miss Skinner's creativity

in depicting representative individuals and situations of

188

Paris during the 1890's.

Another difference between the scripts is that the
first is serious in tone and only lightly injected with comic
elements. The latter script is light, gay, and comical in
tone interspersed with serious and dramatic scenes.

There is greater variety in the characterizations in
Bari; ' . Not only is one level of society, the aristocracy,
depicted, but also the common people such as a laundress, a
wet-nurse, and a prostitute. Some of the characterizations
in §g£i§,129,are of very young women, others are of matrons
and even an old woman such as the Duchesse. This difference
in age of the characters presents a great challenge to the
solo-performer. The English queens were not the same age,
but the range in their ages was not as wide as those of the
Parisians.

Because of these complexities of §§3i5_129, it is
not difficult to understand why this script was written
after the experience of five other monologue-dramas. After
thirty years as an experienced solo-performer of monologue-
drama, Miss Skinner accomplished the most extensive example
of her art ever attempted. There is no doubt as to its ef-
fectiveness as theatre, for it enjoyed the longest run on
Broadway for a solo-performance.

The complexities of §§£g§_129.do not necessarily ac-
cord an inferior position as drama to Thg'flilgg_gfpggg§1,yllg.

This was the first of the monologue-dramas, and it was

189

immediately accepted by the public. If it had not been as
well written as it is, so as to have earned such success,
perhaps §§gg§,;29 would never have resulted thirty-three
years later. The characterizations of Th2 Wiggg‘gf‘ggngy
‘XLII correspond accurately to history, yet they have qualities
of vitality, freshness, and are written not only as
historical queens but as human beings. The incidents which
comprise the situations exemplify the basic personality of
each queen. Imagination and intelligence of the writer are
evident in both characterization and situation. Egg ELYEE
9.; M VIII has a very strong unity of both subject and
theme, and as a dramatic script it is comprehensive. The
imaginary character of Henry appears as the connecting link
throughout the monologue-drama, and this imaginary character
strengthens the already inherent unity. ‘gagi§,129 does not
have one such character which unifies the scenes and acts.
Instead it has found coherence by transitions in the dia-
logue and by setting, properties, and music which give it a
unity of its own. Such a treatment of unity, of course, de-
manded detailed analysis. The third act does have an
imaginary figure of Lautrec which connects the five scenes.

The characterizations and dialogue of both monologue-
dramas were written with the performer and audience in mind,
and they have appealed to the 20th century audience.

Without excellent scripts, the monologue-drama may

not have succeeded. Miss Skinner wrote her own scripts, but

190

her talent as an actress has sometimes over-shadowed her
ability as a writer. From these analyses of The Wives 9;
Henry VIII and Paris '20, her competence and importance as a

writer>may be seen as an essential attribute to the success

of her art.

CHAPTER VI

CRITICAL REACTION TO MISS SKINNER
AND HER MONOLOGUE-DRAMA

The purpose of this chapter is to examine the pro-
fessional drama critics' reactions to Cornelia Otis Skinner's
monologue-dramas and to summarize their evaluations of her
art-form, scripts, and performances. The effectiveness of
Miss Skinner and her monologue-drama in the theatre can be
seen through their criticism.

Audiences do not always agree with a review written
by a critic, nor do the critics always agree with each other.
Nevertheless, they are a powerful influence on whether an
actor, a playwright, or a performance is accepted and if the
result will be a success at the box-office.

In Miss Skinner's experience, her solo performances
have always shown a profit in box-office receipts; they have
been financially successful. A solo-performer, of course,
does not have as heavy production costs as does the play
with a full supporting cast. Yet, even this solo art-form
has expenses involved in theatre rental, costumes, and pro-
duction staff. With Egg;§,129, the salaries of the scene

designer, composer, musical director, orchestra, and others

191

192

had to be deducted from the gross receipts. The financial
successes of Miss Skinner's solo-performances include her
Broadway engagements as well as her performances on tour.'
Financial gain, while reflecting audience acceptance,
does net necessarily correlate directly with critical re-
actions. As may be seen, not all the reviewers were compli-
mentary to Miss Skinner, although the majority of critiques
and reviews were favorable both to her as a performer and

writer and to her monologue-dramas.

Monologue-Sketches

Miss Skinner's early monologue-dramas, such as THE
1213.9. 9; 53.1.1.3 11;; and The Empress Eu e i , were quite
brief, so a group of sketches was included in her program
along with each historical monologue-drama. Presented with
:12; meg 9_f_ m 11;; was a "program of original sketches
given by Miss Skinner which included 'Homeward,' 'In A
Gondola,‘ 'The Eve of Departure,' and 'A Southern Girl In
the Sistine Chapel.”2 Numbering among other sketches which
she has presented from time to time are the comic "Motoring
in the 90's" and "Heme Work"; the genial satire sketch called
"Being Presented"; and the dramatic "Lynch Party" and "Hotel

 

'From an interview with Cornelia Otis Skinner,
Detroit, Michigan, April 7, 1961.

2"Cornelia Otis Skinner Gives New Sketches," The
New YOrk Times, LXXVIV (September 5, 1931), p. 6.

193

Porch." In 1956, Miss Skinner appeared in several monologues
at the Phoenix Theatre. Her program was fourth in the sea-
son's series of Monday night "Side Shows" at this Second

Avenue Theatre. Fred Keating, a magician, was billed on the
same program with her, but he had nothing to do with her
portion of the program. Miss Skinner did the "Boston School
Teacher" which was taken from her 1952 Paris '20 monologue-
drama. Three favorites of her audiences, "Hotel Porch,"
"Facts of Life," and "Being Presented" were included. "In
'Hotel Porch' she presents an aging, selfish, tyrannical
woman who manages not only to interfere in the affairs of
others, but also to destroy the spirit of her spinster
daughter."3 In contrast to these serious sketches were
"Facts of Life" and "Being Presented."

In these, Miss Skinner is not so much interested

in drawing character as in having a good time

with such subjects as a mother telling her son

about the birds and bees and a woman going through

with a presentation at Buckingham Palace for

the sake of her home town and the Sunday roto-

gravure section.
For further variety in the Phoenix program, she did "Americans
in Paris," which was described as being

rich in its satire of those citizens who are

I'doing Europe," but it manages to find a place,

too, for the couple who has managed to get to

the Paris of their dgeams and delight in the
pleasures they find.

 

 

3Lewis Funke, "Theatre: Miss Skinner," The New York

4&1 .
5Ibici.

194

It was this variety of sketches that caused at least one
critic to comment that Miss Skinner's program "offered a
nicely sorted array of monologues from her wide collection,"
and to write of her, "a first class performer, smooth and
easy in ... informal setting, and the results were droll,
moving, and on the whole most gratifying."6

Early in her career, when Miss Skinner had received
but scant attention of the critics for her minor roles in
Broadway plays, she had resorted to these sketches. They
were presented to her friends, and later she took them on
tour where they "were vigorously acclaimed in the theatre."7
Such sketches as "Being Presented" and "Hotel Porch" won for
her much popularity and gave her national recognition.
Recently, she has frequently performed sketches for private
groups and organizations. This year, for example, she ap-
peared for the Detroit Association of Contributors to the
Archives of American Art. "Cornelia Otis Skinner--herself a
walking archives of American theatre arts--will give her

famous spoof on 'Geneology.'"8

 

6;b d.

7Otis Skinner, as told in "Paris '90" Souvenir Book,
1952. p. 10.

8Kathie Norman, "This Meeting Is a Must!" Detroit
Free Press, (March 3, 1961), p. 20.

195

The Wives 2; Henry VIII

 

1'93 3.11933. 9; gm ELI; was the first monologue-drama
to be brought to the stage. The six wives of the Tudor king
were portrayed by Miss Skinner in England and later in the
United States. The reaction of the English audience to Miss
Skinner was that an American had grasped the meaning and had
gained insight into a part of their historical background as
few others had done. She was accorded a warm reception and
shortly after the premiere was the guest of honor of the
English Speaking Union at a reception given by Lady Sway-
thing at Dartmouth House.9 Seemingly the English society was
so pleased with the American artist that its members thought
it befitting to honor her.

Two days earlier than this reception, London received
an announcement of Miss Skinner's first monologue-drama.which
stated that the performance was to occur at Knole Castle.1O
As we have noted, Knole Castle was an appropriate location for

the premiere performance, for it once belonged to Henry VIII."

 

9"Cornelia Otis Skinner HOnored," The New York
Times, LXXVIV (June 5, 1931), D. 33s

'°"Miss Skinner To Play Wives of Henry VIII," The
New York Times, LXXVIV (June 4, 1931), p. 31.

 

"Knole Castle, one of England's loveliest, has been
owned by the Sackville family since 1586. Lady Sackville,
who formerly was Anne Meredith, the American actress, was the
hostess to Miss Skinner's performance. In 1856 the castle
was given by Queen Elizabeth to her cousin, Thomas Sackville,
Earl of Dorset. Earlier it was the property of the Arch-
bishops of Canterbury but when, in 1539, it took the fancy of
Henry VIII, Archbishop Cranmer was compelled to present it
to him.

196

Two weeks following this private performance at
Knole, Miss Skinner brought the monologue-drama to the public.
She included this forty-three minute drama as a part of her
program of sketches. A brief critical review of it on June
16 chronicled the first public performance of a monologue-
drama, for it stated that, at a matinee at St. James Theatre,
she presented "the series of imaginary portraits of the
wives of King Henry VIII."'2

Her premiere of this first monologue-drama in the
United States at East Hampton, long Island, was noted in
Th2 N21 Yggk_lgm§§, The September 4, 1931, review read like
a society column as those first-nighters were mentioned by
name in the review. The only statement about her premiere
performance itself was that it was a "dramatic success."13

The drama critics of London and Broadway began to
take notice of Miss Skinner as they had not done previously.
She had quickly won her London audience, for one drama critic
explained that "London audiences flock to see her."'4 It did
not take long for Miss Skinner to win further recognition
from the public in the United States. On Broadway the critics

now responded to The Wives g; Henry VIII and to Miss Skinner

 

'2"Miss Skinner Gives Program In London," The New
York Times, LXXVIV (June 17, 1931), p. 32.

 

 

'3"Cornelia Otis Skinner Gives New Sketches," The
York Times, LXXVIV (September 5, 1931), p. 6.

'#Mildred Adams, "The One-Woman Theatre Casts A
Spell," The New York Times Ma azine, LXXVIVI (December 18,

1932), p. 19.

197

when they had not remembered her as an actress in the few
poor roles which marked the beginning of her career. From
this one monologue-drama she was described as a "widely
known monologuist."15 Her characterizations were played
well, for she portrayed the queens "forcefully yet without
abandoning her methods of suggestion."16

Another part of her distinction which the critics
described, aside from being a talented performer, was her
ability to write a script of dramatic worth and entertainment
value. They credited her with having made a profound study
of her material before writing her play, and they admired
her for it. The subJect matter and characterizations con-
stituted a challenge to her abilities as a writer, and the
critics said that as an author she brought "life and visual
clarity to an important period of history."17

The reviews credited the dialogue of the script with
seeming like actual conversation, although, of course, only
one character was being portrayed. They noted that the
dialogue permitted the audience readily to identify the
characters as they appeared while it also created the 11-

lusion of real conversation. One drama critic commented that

 

15Robert Disraeli, "Meet the Authors," The Saturday
Review 2; Literature, 1# (October 10, 1936), p. 3.

16"Miss Skinner Gives Pro ram in London," The New
York Tunes, LXXVIV (June 17, 1931 , p. 32.

17Richard Dana Skinner, "Miss Skinner Carries
Forward," The Commonweal, XVI (July 27, 1932), p. 332.

198

the dialogue was "sprinkled with Spanish, French and German,
the last being used extensively in her portrait of Anne of
Cleves."18

As a writer, Miss Skinner had created a script of
vivid characterizations and expressive dialogue, for which
feat she was proclaimed to be an artist. "'Miss Skinner is
an artist,’ Thg_London Times reviewer will say tomorrow."19

The art-form of the monologue-drama made an impression
upon the critics as something which was unique.

To the new form Miss Skinner has created she

brings her really remarkable gift as a drama-

tist, her authentic flair for the theatre, an

astonishing interpretative range, her unerring

and distinguished taste. She uses gsery

adjunct ... that the stage affords.
.As a new art-form The Eilgg,g£_ggggz_yl;; brought recognition
to Miss Skinner as its creator. "In the series of full
costume sketches of 'The Wives of Henry VIII,‘ ... Miss
Skinner ... achieves something of real importance in her own
right."21

Not only did the drama critics recognize the art-

form of monologue-drama, but they "expressed the hope that

she would make this field intimately her own by continuing to

 

18The New York Times, LXXVIV, loc. ci .

 

 

‘9Ib1d
20Millicent Eames, "Creating a New American Art,"
The Independent Wbman, 14 (October, 1935), p. 344.

21Richard Dana Skinner, "The Monologues of Cornelia
Otis Skinner," The Commonweal, XV (December 2, 1931), p.
135.

199

create for modern feeling many of the famous women of
history."22 She was encouraged by the critics to continue
her new art-form, for one said that "any woman who can put
across the footlights ... the gist of the whole historical
drama, has made a contribution."23
Miss Skinner's name became associated with this art-
form, and it became the vehicle for her artistic theatrical
contribution. Soon after the public saw The fli12§.gf Hgggz
XIII, she was recognized as having "established a wide repu-
tation for her 'solo-drama,' of which she is both author and
interpreter, as well as general director, star, and company."24
The art-form was admired because Miss Skinner was
able to bring an era of history to the theatre through it.
"On the stage, history too often becomes ponderous....
Miss Cornelia Otis Skinner has grasped this truth and is
originating an exciting form of one man drama that is history
too."25 Certainly her early training, education in the
theatre, and experience as an actress helped her in launching

this unique theatrical art and in creating monologue-drama;

she was accredited as being thoroughly versed in theatre.

 

22Richard Dana Skinner, "Miss Skinner Carries For-
ward," The Commonweal, XVI (July 27, 1932), p. 332.

23Euphemia Van Rensselaer wyatt, "History In Vignette,"
The Catholic world, 136 (January, 1934), p. 462.

21”"They Stand Out From the Crowd," The Literagy
Digest, 118 (September 1, 1934), p. 10.

25EUphemia Van Bensselaer Wyatt, The Catholic Wbrld,
136’ p. 461.

200

"Here is a specialized field, requiring a thorough knowledge
of the theatre from every possible technical angle."26
Lh_e_ I'D-.229. 2; M 11;; brought Cornelia Otis Skinner
recognition as the originator, writer, and performer of
monologue-drama. In turn, she brought her art-form success
and public acceptance. The critic who reviewed the premiere
of her monologue-drama in the United States was as interested
in the society figures who attended the performance as he was
in the performance. However, soon thereafter, other drama
critics realized that Miss Skinner's contribution to theatre
was significant and encouraged her to continue the monologue-
drama. In their reviews they wrote of her performance, her
script, and her art-form. The Egzgg,g£ Henry 11;; was the
beginning of Miss Skinner's fame which was to link her name

permanently with this unique type of theatre which she

created.

The Four Monologue-Dramas from 1932-1952

Following The 19.-12% _o_§ He_n_r_'1 XI}; and preceding
§g§i§,;2_, Miss Skinner presented four monologue-dramas in-
cluding ThglEmpress Eu enie, 1932; Thg_ngg§‘g£ Charles II,
1934; Mansion QQITQQ Hudson, 1935; and Eggaqgig Elie, 1937.
A brief overview of the critics' reactions to these four

scripts is given here. These references are indicative of

 

25mmim2masl. 118. loo. on.

201

of her career in monologue-drama during the twenty-year
span, 1932-1952.

Having already seen Miss Skinner in The Tuee e;
52221.2211: the drama critics now generally admired her and
knew what to expect from her. The criticism reflected their
ideas concerning the performances, scripts, and art-form.

The Emhress Eu enie, 1932, was performed with costumes
and a minimum of scenery and properties as was The,T11ee e;
heh§1,TTTT. As the second script which Miss Skinner gave
her public, it followed the pattern of being based on a
historical theme and dealing with royalty, this time a single
French monarch. She was portrayed first as a young girl,
then as a mature woman, and finally as an old woman. This
monologue-drama played in London and the United States and
was called a "masterpiece."27 '

The_Empress Eugenie was described as "an achievement
with which nothing can quite compare."28 In it Miss Skinner
was given credit as an author and actress whose "art had
reached its perfection before her present appearance and
loses nothing by 'The Empress Eugenie.'"29

The professional critics realized that she was making

 

27The London Mom ming Post, as cited by Richard Dana
Skinner in— The Commonweal, 16 (July 27, 1932), p. 332.

28Ibid.

29Brooks Atkinson, "Violets and Vervain," The New
York Times, LXXVIVI (November 23, 1932), p. 15. .

202

a unique contribution to theatre. Indicative of their ap-
proval of monologue-drama are their reviews of her first two
examples of it. Representative of their enthusiasm is the
comment from one critic who wrote:

Perhaps we are meant to understand that the

theatre is never so clearly the place for re-

leased imagination as when we see it reduced

to its last essential 35 one human being--

who is also an artist.

In her third monologue-drama, Th3 £22.93. 9_f_ Charles
lg, 1934, Miss Skinner again effectively created historical
characterizations. Her ability to interpret characters, as
well as to portray them, and her talent for maintaining a
sense of multiple reality were elements which were again
evident. Some of the following statements are representative
examples of her ability to create a Leg; g_e_ m. _T_h_e_ New
the reviewer for The N§1,§Q£k fig; wrote, "Few crowded stages
are better worth watching than that on which she walks
alone"32; and Time Magazine said her talent was as a "top

notch sorceress."33

Perhaps one of the finest tributes to the art of

 

30Richard Dana Skinner, "Miss Skinner Carries Fbr-
ward," The gommonwea , 16 (July 27, 1932), p. 332.

31Wolcott Gibbs, The New Ybrker, from the program of
The Taxes of Cha les ll, Michigan State College (Thursday,

Go to ober>17. 193

32Richard Lockridge, The New Ybrk Sun, from the pro-
gram of Th2 Lov____e_s of Qharlgs fit

33Time Magazine. from the Prosram 0f 222,L2£2§.2£
Charles g1.

 

203

monologue-drama was written by John Mason Brown in a review
of Egg Lg! s g£_Char1es ;;. "Miss Skinner is within herself
a complete theatre, a whole tragic, comic ... theatre, and a
theatre incidentally that offers far more entertainment than

can be found in most of the playhouses in town."34

Certainly
her performance was effective, for in this play her entertain-
ment was said to have been "remarkable,”35 and "whether grave
or gay, she never lost her grip on the audience."36

In 1935 Mansion Qg_thg Hudson was Miss Skinner's new
monologue-drama. This time the script was based purely on
fiction and did not draw upon actual historical events.
Her characters were the successive mistresses of an old
country house called "Tall Trees." The play was well re-
ceived by the drama critics, and their reviews were generally
favorable. The script was noted for its "dramatic contrasts"37
which were based, according to one reviewer, upon the plan
to take "the best of the past and the poorest of the pre-
sent."38l

Occasionally, a drama critic compared her to Miss

Draper, and one said that although she could not "people an

 

34John Mason Brown, The New York Post, from the pro—
gram of The Loves 9; Charles LL.

359929;; M Mail. from the Program of The Loves
2; Charles g.

35Ibid.

37Euphemia Van Rensslaer Wyatt, "The Drama," Catholic
werld, 141 (May, 1935), p. 216. .

38Ibid.

204

entire stage as Miss Draper can," she proved with Mansion 9g
EQe Hudson that “her work develops and widens every season."39
Only two years later, 1937, Egee Hie Elie was pro-
duced. The story for this monologue-drama was not original
with Miss Skinner, but instead was based on the novel by
Margaret Ayer Barnes. Miss Skinner tailored it to fit her
own talents as an actress. Her power of characterization
was reviewed by some critics as never before being done "with
so much talent and intelligence."40
Yet Broadway was not unanimous in its praise of this
script. A review described the characterizations as "super-
ficial."41 Brooks Atkinson lauded Miss Skinner's performance,
but was unimpressed with the script.
2 It is a sentimental and surface chronicle, with-
out illumination of character or keen perspective,
and the dialogue is prosy chatter. As a dramatic
exercise, "E a His Wife" is lacking in
distinction. 2
He further wrote of his disapproval of the novel as theatre
material, for he said that although Miss Skinner's place was

on the stage as the mistress of her art-form, Edna's place

was in the home.

 

39Ibid.

4OBrooks Atkinson, "Cornelia Otis Skinner Extends the
One-Woman Theatre To A Full Length Drama," The New York Times,
LXXXVII (December 8, 1937), p. 30.

, 41"Full-length Skinner," Time Ma azine, 30 (December
20! 1937,9pe 33o

42Atkinson, loc. cit.

205

Miss Skinner's material is so confined to one

side, like one end of an interminable telephone

conversation, that the characterifietions never

go much deeper than flat drawing.

A few other critics doubted that monologue-drama was
an effective theatrical genre. George Jean Nathan wrote
sarcastically about the art-form in his review of EQEE.EL§
Hiifi‘ "A.woman talking steadily for two hours ... is not my
idea of entertainment, whether in the theatre or in private."44
This script provoked severe criticism of the art-form.
"Apart from polite entertainment, there is no artistic future
in this sort of thing,"45 a drama critic reported. Another
wrote, "In spite of, or because of the fact that Miss Skinner
is the hardest-worked actress now playing on Broadway, her
entertainment has a large element of stunt-appeal."45

Those critics who negatively criticized the script
and art-form of EQEE.§£§1EL£2‘WGPG in the minority. Seem-
ingly others felt differently about the drama and praised
the dynamics of the genre and its performance because of its

emotional power and characterizations. On the road. this

monologue-drama was well received, and the actress-dramatist

 

43pm.

44"Cornelia Otis Skinner," Current Bio ra h , 1942.
p. 771-

‘5Atkinson, oc. cit.
45Time, 30, 00. ci .

206

"found solace from New York's comparative indifference."47
Although the professional critics were not all
enthusiastic over all phases of Miss Skinner's art-form and
certain scripts from 1932-1952, the negative comments were
very few in number and confined mostly to EQEE.§£§.KL£2°
Indeed, by 1930 Miss Skinner had become known as "the
mistress of her medium."48
Her writing ability, technique, characterizations,
poise, and charm made the four monologue-dramas acceptable
theatre with audiences. During these years the public for
the.art-form increased, Miss Skinner gained a loyal follow-
ing and a solid identification with this type of theatre,
and she and her art-form were called the "greatest single

attraction of the American theatre."49

Paris '90

Cornelia Otis Skinner, in 1952, performed her
monologue-drama, §e§;e_12_, consisting of fifteen scenes,
three acts, and fourteen characters. It played for seven
consecutive months on Broadway. Subsequently, the pro-

duction was taken on tour for 368 performances in sixty-three

“792232.21; 2252.29.21. 1942. loo. cit.

48Atkinson, loc. cit.

49Paul Harrison, NEA Service, from the program of
The Loves of Charles II.

207

cities in the United States. Miss Skinner made recordings
of Peale 129_for RCA, but "other than perhaps to do excerpts
from the show, it will never appear again as it did in
1952."50

The drama critics never cease to be amazed at Miss‘
Skinner's technique in doing these multiple and varied
characterizations along with her ability to hold her audience
and win its applause. Their reviews also noted the art-form
of the monologue-drama and the scripts, besides its pro-
duction and performance. Some heartily endorsed §e§;e_LQQ,
while others proffered some negative reactions along with
favorable criticism. It is significant to note that none
of the theatre critics gave the play or Miss Skinner's per-
formance a minus rating.

The press welcomed back Miss Skinner as "absent from
Broadway much too long.... It's a Joy to have the talented
Miss Skinner back in a diverse and diverting evening."51

Her versatility received the critics' praise.
"Cornelia Otis Skinner, whose prowess, expressive talents
and versatile scope are unique, reaches new heights in de-

light in her enchanting new solo production."52 Another

 

50From an interview with Miss Eleanor Walsh, secre-
tary to Miss Skinner.

51Hal Eaton, "Cornelia Otis Skinner A Joy in 'Paris
'90,'" Logs Island Daily Press, (March 5, 1952).

 

52Rowland Field, "'Paris '90,'" Newark ggening NeEe,
(March 5, 1952).

208

critic wrote that "it [Paris '20] reveals Miss Skinner a fine
artist at the top of her form."53 Moreover, still another
reported,

She became everything ... she must have spoken

as many lines as the entire cast of "Guys and

Dolls" and worn almost as many costumes. For

sheer strength and durability, I would rate

her up there with Bronko Nagurski, a football

mastodon who delighted in rufining into rather

than around the opposition.5

Her versatility received attention by some critics
as one who noted, "In three full-length acts she portrayed
fourteen highly diverse characters, taking only a matter of
seconds between scenes, and changing pace and mood to pre-
sent an entire evening of extraordinary entertainment."55
Her characterizations were said to be diversified and to
have given the audience "a series of characterizations to
suit every taste."56

The drama critics wrote of her ability as an actress
who could make the imaginary characters as real as those
which she actually portrayed. "She peoples the stage with

these colorful characters ... sketches in such vivid colors

that he [Lautrec] is virtually a participant of Miss Skinner's

 

53Ward Morehouse, "Cornelia Otis Skinner's One-
Woman Show Has Plenty of Variety and Style," New York World-
Telegram and Sun, (March 8, 1952).

54John McClain, "Miss Skinner Shines As 14 Characters,"
New York Journal-American, (March 5, 1952), p. 20.

 

55Ibid.

56Ethel Colby, "Pleasing Monologues Make Up 'Paris
'90,'" Jougpa; e; Commerce, (March 5, 1952).

209

dramatic impression."57

Other terms applied to Miss Skinner's performance
were: "It's a beautifully done thing,"58 "an impressive
range of versatility,"59 and presented in an "entertaining
fashion and sometimes with brilliance."6O One critic said
of her characterizations, "there can be no doubt concerning
the skill and variety that she brings to them."51

A few drama critics expressed negative reaction to
parts of her performance of the characterizations. Rbbert
Coleman reacted against some of her details of character-
ization which seemed somewhat contrived, such as her Boston
accent which "must be punched for laughs, Just as the in-
sistent hints of naughtiness that Miss Skinner drops in an
apparent effort to be awfully French have to be underlined.”2
Walter Kerr said in his review of §2£$§.LEQ that "As an

actress of prostitutes Miss Skinner, a born lady, is not

very happy. Her devotion to sin is basically genteel."63

 

57Thomas R. Dash, "'Paris '90,'" women's Wear D 11 ,
(March 5, 1952), p. 48.

58Louis Sheaffer, "Enjoyable Time in Old Paris With
Miss Skinner at Booth," Brooklyn E 1e, (March 5, 1952), p.
10.

59 id

5°Ibid.

5‘Huchard Watts, Jr., "Cornelia Otis Skinner in
Paris," The New Ybrk Pest, (March 5, 1952), p. 45.

62Arthur Pollock, "Cornelia Otis Skinner Shows Her

New Collection, 'Paris '90, '" Lhe Daily Compass, (March 5,
952

53Walter R. Kerr, "Paris '90, " The New YOrk Herald
Tribune, (March 5, 1952), p. 18.

210

One criticism was directed toward her performance
technique on the opening night of garis '90:

If there is an integral fault in the show it is

a lack of brilliant variety in the performing.

Since Miss Skinner is the first to confess that

she flies apart with nerves on first nights, this

may explain the surface sameness of her opening

show. She has a trick of talking in little dis-

connected spurts of words, which cuts the f%zw

of thought, and relates all her characters.
In contrast, William H. Beyer praised her for performance
technique, saying,"One of Miss Skinner's major accomplish-
ments is technical--a matter of stage timing."65 Generally,
it was clearly discernible that few criticisms were directed
against Miss Skinner's performance of Paris '20.

The professional critics were impressed with Paris
'20, for their use of superlatives was generous and implied
that Miss Skinner playaieverything "in her latest, most
ambitious and most elaborate solo presentation ... which
happens also to be the most enjoyable of all the one-woman
shows she has yet put on."66

After seeing Paris '20, John Mason Brown paid a high
tribute to Cornelia Otis Skinner. "She is ... one of the re-

markable women of our time, dazzling, endowed, strong in

 

64William Hawkins, "Cornelia Tours Paris Verbally,"
WOrld-Telegram, (March 6, 1952).

65William H. Beyer, "The State of the Theatre,"
School and Societ , LXXV (March 22, 1952), p. 185.

66Sheaffer, Brooklyn Ea 1e, loc. cit.

210.:

courage no less than looks and charm."67

Courage and talent
are a combination that indeed conceived and produced such an
elaborate monologue-drama as Eagle :29. "Since solo per-
formances are the acid test not only of talent and person-
ality but of imagination and originality, Cornelia Otis
Skinner, who possesses all of these attributes, occupies a
rare position among actresses."68 Credited with a great
amount of talent, ability, skill, and technique, she "acts
with a grace and poise which merits the bravos that were
her tribute at the curtain's fall."69

As the writer of her own script, Miss Skinner's
contribution as a dramatist, as well as a performer was also
weighed. Harold Clurman, drama critic, was not favorably
impressed with the plot outline of gagig ' . Rather than
giving her credit for the unity and coherence of the fourteen
scenes, he was critical of her writing and said that the
outline could have been improved. "Miss Skinner likes to
disengage the sharp character traits of an environment and
thrust them into the narrow framework of a theatrical

period."70 He also suggested that the material be more

 

57John Mason Brown, "Seeing Things - women of Paris,"
The Saturday Review 9; Literature, 35 (March 22, 1950), p. 28.

68Beyer, loc. cit.

69John Mason Brown, from the roster Cornelia Otis
Skinner.

70Harold Clurman, "Theatre," The New Re ublic, 126
(March 17, 1952), p. 22.

211

contemporary. Arthur Pollock, however, observed that the
subject matter was apropos, for it included a good deal
about Toulouse-Lautrec who was "having a vogue now and Miss
Skinner is getting into town with the first dramatics con-
cerning him."71 Similarly another critic described the
script as "a nostalgic tour through a period and a place
currently enjoying a wave of wide interest."72 Chapman
added that all "three sets of sketches" were written
“observantly, pithily and humorously."73 Still Mr. Clurman
insisted that the script was too far removed from the modern
audience to appreciate it, and that perhaps it could be im-
proved if she "yielded to the real sources of her theatrical
urge and recreated for us the image of New Yerk '90 of the
theatre and time of Otis Skinner.”4

In direct contradiction, the reviewer for the
financial newspaper, IQE.E§LL Street Journal, reported a
favorable reaction to the content of §g§i§,129 for a
monologue-drama script. "France of 60 years ago seems, in
retrospect, to provide a much more beguiling atmosphere than
France of today, with its political and money troubles

overshadowing everything else."75 The critic recognized the

 

71John Chapman, "Skinner's 'Paris 1890' Charming,"
The New York Daily News, (March 5, 1952).

72Hawkins, loc. cit.
73Chapman, loc. cit.
74Clurman, loc. cit.

75Richard P. Cooke, "Miss Skinner and M. Lautrec,"
The Wall Street Journal, (March 5, 1952).

212

script and purpose, for he said that it was "not an exhibition
to weep at, but rather to admire as bright and intelligent
sketching of things which have passed."76 In the words of
another, the "total effect is to distill the gaiety, the
frivolity, the flippancy of that memorable period known as
the fin de siecle."77
John Mason Brown also believed the script to have
been generally well written. "Miss Skinner's script is
adroit in its connectives, and though it is bound to have
its ups and downs, it includes some of the most incisive
writing she has done."78
Commenting on the _P_a1_~i§ 2Q script, Newsweek
Magazine said that the script showed evidence of "a good
writer's appreciation of documental nostalgia."79 Yet,
with reservation, this critic said that the writer "skitters
through the period with more attention to atmosphere and at-
titudes than to profound characterization,"80 and he desired
a script which would have more depth of material and character-
ization. ‘

It was suggested that Miss Skinner cut the number of
portrayals in Paris '20, for "I enjoyed all of them, though

 

75Ibid.

 

77Dash, 1.23. git.

78John Mason Brown, The Saturday Review 2; Literature,
35, loc. cit., p. 27.

79"Thestre," Newsweek, 39 (March 17, 1952), p. 87.
8OIbid. I

213

I found some more stimulating than others which seemed a bit
labored and too long."81 Another critic said, "Not all the
monologist's grand dames and cocottes are more than super-
ficially interesting."82 A similar reaction was that she
spend more time with certain of the Paris characterizations,
because "The skits simply state that such a person existed,
without commenting from any particular point of view about
him."83 The reviewer believed that the Angel or Saint of
the cathedral was "Miss Skinner's most striking invention,"84
but, he added, "Miss Skinner's talent is reproductional rather
than creative. Few of her monologues have much form, and
the characters rarely change at all from the beginning to
end."85 This argument is refuted, in part, by the same
critic who stated that he liked many of the script's scenes.
The "New Wbman" is comical with militant feminism, "and her
Yvette Guilbert asserts herself with the superior glow of an
artist who is unshakably arrived.“86

The choice of language which the author employed re-

ceived critical notice. "And in each ... Miss Skinner's

 

81Eaton, l22-.21_-
82Newsweek, lag. gig,
83Hawkins, l22~.2l£~
8412;9-

85Ibid.

85 id.

214

facility in wording and performance is a joy."87 The at-
mosphere was partly due to the wording. "Her dialogue is
interspersed with enough French to maintain the illusion
without becoming unintelligible to those who failed French
II in school. Each scene has a satisfactory plot."88

Variety was the key to the Eagle :29 script, another
drama critic reported, and he praised the writer for offer-
ing so many different types of situations and scenes. He
pointed to the extremely varied characterizations which the
author wrote, such as the "nervously arrogant lion tamer,"89
the hearty English woman, the Angel, and "the pitiful gaiety
of a prostitute."90

As a writer, Miss Skinner was able to write a script
which was played for a record run on Broadway for a monologue-
drama. While the drama critics speculated about how part of
the script could have been improved or which scenes they
most preferred, they were of the general opinion that the
script was "overwhelming with sheer wealth of material,"91

and by Miss Skinner's treatment of it, the monologue-drama

"reveals Miss Skinner a fine artist at the top of her form."92

\

 

87Chapman, loc. cit.

88Pollock, loc. cit.

p

89Morehouse, loc. c t.

9°Ibid.
91Hawkins, loc. cit.

92Morehouse, loc. cit.

215

Even though Eagle L Q was a.monologue-drama it com-
peted for attention with complete-cast plays on Broadway.

It proved to be the most elaborate production of the art-
form which a solo-performer had ever attempted. In other
words, this monologue-drama was a full-scale theatrical pro-
duction written and acted by one person. Never before had
Miss Skinner or any solo-performer put her art-form to such
a test. To win the approval of the drama critics and the
acceptance of the public, she had to display a unified
script and a flawless performance. She met the challenge
and gave the art-form of monologue-drama a prominence it had
never known. The critics, in reviewing 22;;§,L29, realized
it to be a unique type of theatre, and wrote about the pros
and cons of it as an art-form with an abundance of
theatricality.

Harold Clurman gave proof that the art-form was
theatrical, for he called the production a "glamorous, full-
bodied, theatrical expression."93 Robert Coleman also noted
the theatricality and production aspects of the art-form,
for he said that Earls. :92 "proved to be, by all odds, the
most elaborate and ambitious of her series of one-woman

shows."94

 

93Clurman, loo. cit.

94Rbbert Coleman, "La Skinner Saucy, Satiric,
Sophisticated in 'Paris '90,'” The New Yerk Daily Mirror,
(March 5, 1952), p. 38.

216

Such representative statements from critical reviews
of this monologue-drama demonstrated that greater use of prof
duction elements was accepted generally as being a satisfying
addition to the art-form, the critics could not help but com-
ment on them. She spared no attention to make her production
capture the spirit and mood of Paris of the 1890's.

Kay Swift composed the musical score of §a§;§_129,
which helped to give Parisian atmosphere and a unity to the
show. One reviewer said the production was evocative, for
the setting and music "suggest the enchanting gas-gaiety
and charm, and the mood is rounded out by an admirably
theatrical musical score."95 Another said that she had
"combined the period and a modern point of view in the
music."96 The music by Kay Swift was an integrated part of
the art-form, for it was "there all evening, sometimes as a
distinct number sung by the principal, other times to serve
as a bridge, and again as mood background. It struck me as
being constantly appropriate and charming."97 The complete
original music score was an innovation in itself.

Fer the first time in the Skinner solo program,

music and a group of songs have been incorporated

with delectable results into the star's one-woman

performance. Kay Swift has written a most charm-

ing little score that greatly enhances the wide

variety of characters and moods in the play. It
is constantly on hand, augmented by several

 

95Kerr, loc. cit.

95Brooks Atkinson, "At The Theatre," The New York
Times, CX (March 5, 1952).

 

97Mcc1ain, loc. cit.

217

traditional French airs of the period, and it s

magically played by an exceptional orchestra.9

To increase the theatrical appeal, Miss Skinner used
the best talents she could find. Besides Kay Swift, she en-
gaged Donald Oenslager as set-designer and Helene Pons as
costume-designer. "Miss Skinner is deeply indebted to ...
Donald Oenslager."99 The curtain was designed by Oenslager
and consisted of French lithographs of the 90's. This was
used with blackouts to reveal new scenes.

Miss Skinner has, in this instance, surrounded

herself with a full-scale production. Donald

Oenslager has designed warm and affectionately

detailed portals, poster—studded drop curtains,

and delightfully fanciful cut-outs Wh188 pass

for barouches, cathedral statuary ...
Her monologue-drama was thought to be a colorful one because
she used ornate costumes and imaginative scenery, and "al-
tagether the production effects are so alluring optically
that they counteract the drabness that sometimes creeps into
monodrama."101

Helene Pons was commended for the costumes which she
‘designed for the production. "Apart from the obvious taste

and imagination she must have invented a zipper that never

gets stuck."102

 

98
99

Field, lgg,_git.
McClain, 1.39. gig.
100Kerr, lgg. git,
101Dash, log, g;_,

102McClain, loc. cit.

218

Some of the properties were suggested by pantomime
while others were actually on stage; her use of props was
not always consistent. At times they were real, as the whip
of the Lion Tamer and the yellow roses of La Conchita; other
times they were imaginary, as when she read from Zola's
newspaper article. Such technical matters came under the
scrutiny of one critic, who wrote,

I bring up the matter merely to show that I was

not a willing victim of Miss Skinner's art. It

is possible, therefore, that it may be all the

more a tribute to her for me to admit that, be-

fore the evening was half over, I was perfectly

willing to accept all the conventions of her

show.1 3
Again and again Paris '90 was described as a "production,"
"and I use the word intentionally, for she has really 'made
a production' of it. Her new show has all the trappings of
a regular, full-sized Broadway show."104

Despite the theatricality of the performance as seen
through the vivid description of the fetching music and grace-
ful and expertly planned scenery and costumes, the production
was considered by John Chapman as merely "a charming
theatrical novelty."105 John Mason Brown seriously questioned

the entertainment value of the monologue-drama in the pro-

fessional theatre. He was careful not to generalize his

 

103Rlchard watts, Jr., The New Kerk Post, (March 5.
1952). p. 45-

104Sheaffer, loo. cit.

 

 

105Chapman, loc. cit.

219

views, but to state them as a matter of personal opinion.
Brown voiced two reservations about the art form of monologue-
drama, one being the tendency to view the action externally.

But the limitations of the medium bothers me ...
They [mono-dramas] invite even when they do not
demand, an external approach. So much must be
done instantly in the way of establishing a
period of a person that little time is 1818 for
getting beyond appearances into essences. 6

The second reservation which Brown had was that the
monologue-dramatist must not only be able to portray many
characters, but also has to suggest all the interlocutors.
"There is another hazard. The monologuist faces a twofold
task. She must not only create the people she is playing,
she must also create the unseen person to whom she is sup-
posed to be speaking or listening."107 Arthur Pollock's
review also noted his reservations toward this art-form.

All her characters must be set quickly, for we

meet each of her women for only a few minutes.

The mechanics stick out, and give the acting

and the plotting a hackneyed air. The point

of view must be the most obvious one, the

emotions conventional.1
Another critic thought that the monodrama tended to be an
artificial form of theatre.

There is something a little antiquated about

this kind of protean entertainment in 1952 but

105Brown, The Saturday Review gf_Literature. 35.
10c. cit.

1O7;bid.

108Pollock, loc. cit.

220

of those who still like to provide it Miss
Skinner is one of the cleverest. She cannot,
however, stop itsseeming a stunt.10

Although drama critics Chapman, Brown, and Pollock
wrote about their own reservations of monologue-drama as an
art-form of the theatre, they did not reject Miss Skinner's
production of £a;$a,L2_. In fact, John Mason Brown said,
"Its being so plainly a stunt is one of the reasons that so

t."110 He said his own criticisms of

many people enjoy 1
monologue-drama as theatre apparently were not shared by "most
of the people in a large and enthusiastic first night
audience."111

With these exceptions, the other drama critics gave
credit to Paris '90 as being unique theatrical entertainment
of which they and the audience approved. The first nighters
did not stay away from Earls '90 although the weather was
unfavorable.

Miss Skinner has developed a large and smart

following for her solo presentations. The

aficionados fortunate enough to obtain tickets

for the opening showed their appreciation of

the artist's versatility via robust applause.

It was evidant that they enjoyed the evening

immensely. 2

The attention of the audience was sustained by the

monologue-drama for two and a half hours.

 

1”Laid.

11OBrown, The Saturday Review a; Literature, 35,
loc. cit.

111Ibid.

 

112Coleman, loc. cit.

221

To undertake a solo production in the legitimate
theatre is a colossally ambitious business. How
tragic or comical can one person be for two-and-
a-half hours? How long can the average audience
look at one face? And how restless can they get
if you leave the stage to make changes? It
seemed to me that Cornelia Otis Skinner answered
these and all other questions ... in her new
vehicle, "Paris '90."11

The audience reacted favorably to Miss Skinner's theatrical

"114

art-form because Paris '90 fitted "every taste, and as

another critic foretold, "it should win her a good many more

new admirers."115

Summary

The New York drama critics have been an influence in
the career of Miss Skinner. Partly because of their in-
difference to her as a beginning actress of professional
theatre, she decided to write and perform character sketches.
Later she made a unique contribution to theatre by way of the
monologue-drama, and thereby through this art-form won their
endorsement as the foremost woman monologuist of the era.

As originator, writer, and actress she was accepted as its
first exponent by the same critics who earlier gave her
little critical attention. If it had not been for the

critics' discouraging effect upon her early career, she may

 

113McClain, loc. cit.

114Ethel Colby, "Pleasing Monologues Make Up 'Paris
'90,'" The Journal a: Commerce, (March 5, 1952).

115Sheaffer, loc. cit.

222

never have turned to solo performance. The critics later
influenced her box-office success by their critiques.

In this section, the critical reaction to Miss
Skinner and her monologue-drama has been reviewed. The drama
critics' opinions have been the criteria for judging her ac-
ceptance in the theatre. They chronicled each step in her
theatrical career and were actually the recorders of her
contribution to entertainment.

On the basis of critical reaction and material
covered, it is apparent that Miss Skinner is respected as a
performer and writer of the art-form which she created.

She performed her plays with a skillful technique
which included a combination of production elements as make-
up, costumes, and scenery; vocal and physical performance
elements such as accent, variety, voice quality, and ex-
pressive movements; and personal attributes such as her
poise, beauty, and dynamics. All these she brought to the
script in order to make the characterizations individualistic
and expressive. It became normal to find a critic writing
about her performance technique which displayed that she
"possesses beauty and distinction of bearing, but these also
are only the tools for her imagination, her subtlety of
_understanding, her emotional power, her intellectual in-

sight.”116 Through her performances she became the mistress

 

115Grenville Vernon, The Commonweal, 15 (April 199
1935), p0 710'

223

of her medium, as noted in the same tribute to her theatrical
contribution.

There are those who would say that Cornelia Otis

Skinner is in interpretive power the leading

actress on the American stage. I am not sure that

I am not one of those who hold her thus.

All her monologue-dramas were accredited as being
written from an original viewpoint, and the critics admired
Miss Skinner's talent for using history effectively and
creatively as the subject for theatrical entertainment. Her
selectivity of dramatic action was pointed to especially in
Tag Kl12§.2£.fl2221 KILL. Originality in variety of situation
and character were admired by the critics in Mansion 92,222
Hudson and §§£l§.22_-

In each script, the critics noted the excellent dia-
logue treatment and were generous in their use of superlatives
to describe it. The author made it seem as conversation,
gave it variety, humor, and dramatic coherence. The con-
nectives between scenes in Pagaa.LQQ‘were original and gave
the script coherence, the drama critics wrote.

But the critical reaction to the scripts was not

always favorable. Edna His Wife received more negative

 

criticism than the others, and it was said to lack character
and perspective. Some critics thought this script, as well
as parts of Paris '90, were superficial in drawing character-

ization, and that Miss Skinner seldom penetrated the surface.

 

1171bid.

224

Their reservations were that the writer gave more attention
to atmosphere, attitude, and variety than to profound
characterization.

Nevertheless, most of the critics repeatedly did
give much credit to the scripts' characterizations, and
several were singled out for particular commendation.
Favorite characterizations were Anne Boleyn and Anne of
Cleves of gag Kl12§.2£.fl22£1.illla and The Boston School
Teacher, The New WOman, and The Angel of §é££§.22_- The
critics seemed divided in their preference for the Lautrec
scenes and the other parts of Pagaa L29. The distinct con-
nective or unifying factor of the historical dramas and Eaaa
gag Kiig‘was one imaginary character who appeared throughout
the monologue-drama; of Mansion 9a £22 Hudson, a house; and
of §a§;a_ng, a city.

It is evident that as an art-form, the monologue-
drama drew varied opinions from the professional drama
critics. Generally they were in agreement regarding
theatrical elements of the art-form such as costumes, scenery,
and music which were well integrated throughout. "What is
the secret of Miss Skinner's art? ... In short, her art is
truly protean, and her ability is to make a monolog seem a
living play."118

Representative reviews indicated that through

 

118Ibid.

225

suggestion Miss Skinner gave the art-form extraordinary
powers of appeal. A unique appeal of the art-form which the
critics often noted was that, through suggestion, the
imaginary characters seemed to be present and almost as
equally living as the actual characterization being presented.
While some thought that this art-form was the most
basic kind of theatre, other critical reaction was that
monologue-drama seemed to be a stunt, novelty, or concert
drama rather than theatre. Whether or not the critics
agreed that the art-form was theatre 222.22 or was their
favorite type of entertainment, they all acknowledged Miss
Skinner as the originator of the art-form which made suc-

cessful entertainment and for which she won a wide public.

1' , ‘ ~‘
\4 \‘
. I’ -- Iv
.
1’ ’ f "
O

CHAPTER‘VII

SUMMARY, CONCLUSIONS, EVALUATIONS

Saunas!

Cornelia Otis Skinner occupies a unique position in
the theatre. Her name is almost synonymous with solo-drama.
As a young girl in her late teens, Miss Skinner sought a
career in the theatre. Her intense desire for a stage
career gave her courage to meet the disappointments that she
encountered. When she began to act, the Broadway drama
critics did not praise her as they had landed her father,
Otis Skinner. Even though her father had made the name of
Skinner famous in the theatrical arts, Cornelia's efforts
received little recognition from the theatre-going public
during her first several years of experience playing on
Broadway. The drama critics only rarely noted her acting
and gaye her no hope of becoming a star or even a recognized
player on the professional stage.

To follow in her father's footsteps was difficult,
and Miss Skinner came to realize that if she were to become
a great performer, she had to make a place and a name for
herself. The early roles which were given to her by the

Broadway producers did little to exploit her talent.

226

227

Nevertheless, she believed in her ability as an actress, and
she was determined to continue with her stage career.

Not only was Miss Skinner undefeated by the obstacles
which she encountered early in her career, but she channeled
them to sharpen her powers of analysis which later led to
creating astute characterizations. She retained her zest
for living and relied upon her intelligence, excellent family
up-bringing, and keen wit to carry her through her unsuccess-
ful years as an aspiring actress. These personal attributes
tended to make her popular with her associates.

When Broadway paid little attention to her as an
actress, Miss Skinner decided that she would try to write
for national periodicals. The publication of her poems and
stories gave her encouragement. Her efforts soon resulted
in a play and later were crystallized into dramatic or
humorous characterizations. These sketches were initially
performed for her friends. They recognized her ability both
as a writer and as a performer. They persuaded her to leave
New YOrk and to tour the concert circuit performing in the
character sketches she had created. The people of the
"hinterland," approved of the young solo-performer. She
brought another type of theatre to them, and they obviously
appreciated her ability to act so many diversified parts in
one evening. The press also began to take notice of Miss
Skinner and to recognize her performances as she toured the

country; some critics even suggested that Miss Skinner might

228

some day challenge Ruth Draper's undisputed position as £22
diseuse of character-sketches.

Miss Skinner acknowledged these tributes paid her,
for she had always admired Ruth Draper's form of theatre, yet
at the same time she was dissatisfied with the limitations it
imposed upon her. She believed that, no matter how excellent
the characterization might be, the character sketch in it-
self could not reach the vibrant quality of dramatic action
and unity which are the integral parts of any play. How
Miss Skinner could combine her solo sketches with the
qualities of legitimate drama, she had yet to discover.

Again her friends encouraged her to write and perform a new
type of solo entertainment which would unify dramatic action
and characterizations supplied through historical continuity.
One of her friends even suggested as a topic the wives of
Henry VIII. Miss Skinner confessed her lack of knowledge of
English history, yet she was aware of the possibilities in
the proffered topic, that it could be used for writing not
simply another monologue but a unified monologue-dramae
After doing careful research, she wrote IEEHKLZEE.2£.EEEEI
Elli. Her first performance of this solo-drama was before a
private audience of friends. Because Miss Skinner was ap-
pearing in a series of sketches in England at that time, her
friends for whom she had tried out the script suggested that
she include it in her current program. Thus, the monologue-

drama was first presented to the public in England; later.

229

Miss Skinner performed IEE.E£Z§§.2£ E2221.Xlll in the United
States. Her new form of theatre was instantly accepted and
won admiration and praise for her as a writer and as an
actress.

The theatre critics did not readily distinguish
between Miss Skinner's art of the unprecedented monologue-
drama and the more familiar character-sketch. The reviews
continued to refer to her as an interpreter, actress, mono-
loguist, and diseuse, and they alluded to her art as being
sketches, monologues, plays, and dramas. But the people did
realize that in Miss Skinner's contribution something new
and different had come to the professional stage. "Both in
the writing of these sketches [_Taa 11112.3. 9; my _Y_I_I_I_] which
are extraordinary in their compactness and for their revelation
of character, and in the acting, Miss Skinner reaches a real
height of dramatic intensity."1

.T_ha flyaa a; Raga-y Lu; brought Miss Skinner
distinction as a writer and a performer, and it won for her
a place of her own in the theatre quite apart from the style
associated with Ruth Draper.

It has, as I have said, the advantage of being

quite distinctive from anything Ruth Draper has

attempted and thus gives Miss Skinner a chance

to create in her own right without the odium of
comparison.

 

1Richard Dana Skinner, "The Monologues of Cornelia
Otis Skinner," The Commonweal, XV (December 2, 1931), p. 185.

2Ibid.

230

Although Miss Skinner inherited a rich theatrical
background from Otis Skinner, she did not use his fame for
self-advancement. Instead she created a unique place for
herself. Her monologue-dramas, "a shrewd combination of
acid, honey, and plain common sense, have made her a renown
of her own which in no wise borrows from the luster of her
beloved father, Otis Skinner."3

Subsequently Miss Skinner wrote five more monologue-
dramas and performed in them. She increased her repertoire
by the completion of a two-and-a-half hour production of the
monologue-drama, Pagaa.flzg.

This study has considered Miss Skinner primarily as
the writer and performer of her own unique monologue-drama.
With its inception and performance, she enriched the 20th
century theatre. Her family background and education proved
to be significant factors aiding her career of monologue-
drama. As a child, her parents gave her careful training
in a home environment filled with an abundance of love. In
her youth they provided her with the best education possible
and continued to offer their own encouragement and advice so
that she would become a person of intelligence, culture, and
refinement. This home environment supplied her with stability
and courage for her career in the theatre and her life apart

from it. Her dramatic talent was recognized at school where

 

3"The Art of Cornelia Otis Skinner," The Literary
Digest, cxrx (April 13, 1935), p. 23.

231

she had opportunities to perform for her classmates. Heare
ing her parents talk about the theatre, plus having chances
herself to act in school productions, increased her love for
the stage and made her determined to pursue a stage career.
A review of Miss Skinner's family and education reveals the
significant factors which helped prepare her for a career of
the monologue-drama. It also reveals that Miss Skinner has
qualities of wit, intelligence, personality, and humanity.
In part at least, because of these attributes she was able
to achieve great stature in her monOIOgue-drama career and
also in her personal life apart from the stage.

Miss Skinner is not without her ideas regarding the
performance of monologue-drama, as reviewed earlier, but she
is careful not to over-theorize her art. Her ideas about
acting came not from codified rules, but from the practical
sources which she learned from her training for and experience
on the stage. By performing in solo-drama she found that
acting in a monologue-drama and in a play, although similar,
are not alike. It was for her pioneering adventure in
monologue-drama, wherein she combined the elements of a play
with those of a solo sketch, that she won distinction from
her predecessors. Miss Skinner's dissatisfaction with the
imposed limitations of the character sketch prompted her to
draw upon her observation, imagination, and intelligence so
as to expand the character sketch to the dimension of

monologue-drama.

232

In creating the monologue-drama, she revealed con-
siderable talent as a writer of her own material, earlier
sharpened in the writing of her brief character sketches.
She brought to her monologue-dramas rich characterizations,
as well as witty and moving dialogue. Her monologue-dramas
have compactness, unity of dramatic action, clarity, and
strong thematic situations. These elements are clearly seen
through detailed analysis of two of her most effective
monologue-dramas, The Wives 9£.§£2£Z 11;; and Earls :90.
Each reveals her competence and talent as a dramatist.

Without the success of her scripts in such elements
as characterization, dialogue, compactness, unity of dramatic
action, clarity, and thematic situations, her scope as a
performer may well have been hampered. She wrote the
material with herself in mind as the performer. As a per-
former of monologue-drama she became expert and received
high praise from the drama critics. Their criticisms of her
performances supply ample evidence of the effectiveness of
her performance of monologue-drama. The critics, in their
reviews, refer to her high level of performance technique,
characterizations, and writing ability. Together these ele-
ments won for Miss Skinner and her art-form a stature built
solidly on her combined writing and acting talents and on
her personal attributes.

Cornelia Otis Skinner has distinguished herself also

as a playwright, novelist, essayist, and actress in

233

conventional plays. But it is through her monologue-dramas
that her unique contribution to, and place in, the theatre
is undisputed. Therefore, the study has concentrated on
this facet of her career, as a writer and performer of

monologue-drama.

Conclusions

As a monologue-dramatist, Miss Skinner has the
faculty for observation and imagination. She uses her ob-
servations to create accurate characterizations and a living
atmosphere on the stage. Through training, her personal
sensitivity has been sharpened so that she can sense the
values of observing, subconsciously or consciously record it,
and then reproduce it, in the most direct, economical, and
concentrated way, for the monologue-drama. Her observation
captures characteristics of human strengths, weaknesses,
attitudes, and foibles.

The monologue-drama scripts of Miss Skinner also re-
flect her wealth of imagination. Her imagination exists not
in a vacuum, but is surrounded by a supply of data gathered
from reading, conversation, and travel. From the mental
digestion of these sources, she is able to recreate persons
in believable situations as they would appear in real life.
As she writes, she has learned to identify herself with her
characterizations and to think, feel, and subconsciously re-

act as they would. Through imagination, as well as conscious

234

and unconscious recorded life experiences, the true essence
of a character rises. If, as a dramatist, Miss Skinner
could not imaginatively live her characters in their world,
it is doubtful if she could project them and vitalize them
so well as a performer.

The principal facet of Miss Skinner's monologue-dramas
is characterization. Her monologue-dramas are satisfying be-
cause they are based on her accurate imagination and obser-
vation. Miss Skinner's scripts reflect that character is
her surest foundation for the monologue-dramas. The scripts
imply her ability to feel from within what each character is
thinking, doing, and desiring. She also gives dimension to
the imaginative characters who are never seen on stage.

Miss Skinner uses these imaginative people as an emphasis
for the visible characters, as a part of the atmosphere, and
as a technique of solo-performance which simulates talking
to some one particular person rather than to oneself or to
the audience.

Although the characterizations are of first importance
to Miss Skinner's monologue-dramas, she does not let them
take full-run of the production. They are controlled by
dramatic unity, thematic situation, and dialogue which,in
turn, give the characterizations greater dramatic impact.

In other words, each character of the monologue-drama is
seen not for itself but to heighten the dramatic incident.

Usually the compactness required of the monologue-drama

235

necessitates that Miss Skinner assign only one incident per
characterization rather than a succession of dramatic inci-
dents. The combination of the incidents and the character-
izations give continuity to the monologue-drama. The dramatic
unity of her scripts depends upon the selection of an
incident and its relation with other incidents. The subject
matter in 222.Ell§§ a; agagy'yyyy is historically based, and
rests on the marriage of six women to the same monarch; in
gagaa :29 the principal unifying element is that of place,
the city of Paris. Moreover, in each play, a unified theme
gives coherence to the characterizations thereby producing a
logical and artistic design.

The dramatic unity is clear, for_Miss Skinner has a
sharply trained sense of selection. Her scripts are vivid
and exciting because they attract to themselves impressions
of life around them. She has learned to discard inconse-
quential and superficial human intercourse and to concen-
trate on elements of value. Her ability to discern the crux
of a character's life and to develop it could be credited to
her power to research the particular environment, traditional
values, and the historical evolution of the character. Such
actual experience of research, plus knowledge from sound
education and experience in the theatre, are her acquired
tools with which Miss Skinner gives dramatic unity to her

art-form.

236

Along with dramatic unity and thematic comment,
dialogue also defines her characterizations. Dialogue helps
establish characterization, dramatic situation, and the scope
of the scene and entire monologue-drama. Miss Skinner's
dialogue is distinctively governed by her personality, her
wit, and her way of seeing and expressing herself. The dia-
logue in each scene is immediately clear so that it never
lets the audience become puzzled or uncertain as to who is
the character, what she is doing, and what the situation is.
The establishment of atmosphere and the creation and main—
tenance of illusion both largely depend on the consistent
and astute use of dialogue.

Miss Skinner is significant, too, as a performer of
monologue-drama. As a solo-performer she is unequaled. She
can make believable an array of characters in succession.

The true test of performance is the ease in which it is
accomplished, and Miss Skinner never lets the audience think
for a moment that her performance is not the easiest of
assignments. True, the audience may at first be overcome by
her ability which enables her to perform so many roles suc-
cessively. They may wonder how one individual can accomplish
so much. But they never think that it is not an easy
assignment for Cornelia Otis Skinner. As the audience ap-
praises her, they sense the true nature of this artist. Miss
Skinner's personality and charm on the stage radiate a

magnetism. She subjects her own personality so that it will

237

not interfere with the interpretation of the characterization,
but not so much that the audience forgets entirely that they
are watching Cornelia Otis Skinner.

Miss Skinner's acting is not consciously based upon
a theoretical method. She commands by no stilted movement
or trick of voice or gesture. She acts by earnestness and
concentration on portraying a particular character in a
particular situation. Her physical charm and manner, her
vocal expression, her projection and movement have been per-
fected so as to make the monologue-drama effective and suc-
cessful theatre. Miss Skinner has the added advantage of
being both writer and actress. In herself she is a
harmonious unit. Each talent is fused into the other so
there is little indication where one begins and the other
ends. As a performer of monologue-drama, she competes with
no other performers, and she knows exactly what the author
has conceived; she can critically direct herself in fulfill-

ing obligations of dramatist and performer.
_Elalssiien

Miss Skinner has expanded theatrical art by writing
and performing her original idea of monologue-drama. To
have analyzed Miss Skinner's two scripts and to have viewed
professional criticism of her performance, does not permit
one to suggest a formula for monologue-drama. One must

realize that it is not possible to reduce essentials of Miss

238

Skinner's art to a formula.for future monologue-dramas, for
even after choosing the essentials for such a formula, the
sum of the parts probably would not equal the whole. To
write and perform effective monologue-drama, the individual
must have the creative epirit which begins where the rules
end. Whether Miss Skinner's contribution in this area will
encourage other solo-performers of monologue-drama, only
time will tell. Whatever the results may be, Miss Skinner
must be given credit for expanding theatrical art.

The combination of dramatic unity together with
the compactness of each situation helps her to set
characterizations instantly. As a performer, her accurate
attention to detail, her technique, grace, and acting
ability tend to captivate her public. With her monologue-
drasas, she furthered the solo-performer's position in
theatrical art. Unaided, she became the leading theatrical
solo-performer. It was said after m I'll-‘12}. 9; Ham IE1:
"there no longer can be any question: Miss Skinner is a
remarkable mistress of keen exciting characterization."4
She expanded the character-sketch to the monologue-drama

perfectly aware of the severe drain on her

talents and strength,... works which required

quick changes in personality, approach, and

costume, and which held her on the stage for
nearly a whole evening.

 

4;b g.
5mm.

239

Her ability to transform herself from character to character
has been described as "incredibly complete and subtle."6
Her art is a strenuous one and one that requires great
imagination, sensitivity, and fortitude. "It was, no doubt,
exhausting, but the feat, coupled with intelligent writing
and inspired performance, put her in an especial and enviable
theatrical niche."7

The monologue-drama devised by Miss Skinner admir-
ably serves to illustrate the very essence of the theatre's
spell, which is illusion. She and her art are graphic ex-
amples of that strange alchemy by which an audience and a
solo performer combine to create the real from unreal. Miss
Skinner, as an actress and writer, can evoke from an empty
stage a whole gallery of living people, characters who,
though often unseen, are intimately felt and understood.
The audience tends to share in creating this magic of il-
lusion by using imagination. It is the impulse that stirs
this imaginative response, however, which emanates from Miss
Skinner who is the actress, mime, and dramatist. "I have
rarely seen as brilliant and intuitive an acting imperson-
ation ...1here is something very close to genius in her con-
cept ... I can think of no more refreshing form of entertain-

:8

ment ...' wrote one drama critic who had witnessed Miss

 

5R. D. Skinner, loc. cit.

7TheLiteragy Di est, loc. it.

8R. D. Skinner, loc. cit.

240

Skinner's monologue-drama performances.

Miss Skinner proved that she could succeed in the
theatre. "I'm going to be an actress. A good one. I won't
let father down,"9 she confided many years ago to her friend.
That friend, Emily Kimbrough, many years later remarked, "In
the years that followed she had become an actress and so good
a one that she stood almost alone in her field as a writer
and interpreter of monologues."IO Miss Skinner is not the
first solo-performer, nor, indeed, will she be the last. In
the medium of writing and performing monologue-drama, how-
ever, Miss Skinner was the first; today she is acknowledged
as the leading exponent of her own theatrical art. Cer-
tainly, Cornelia Otis Skinner has demonstrated by her career
that, in studying the theatre of the past and relating it to
its future, she succeeded in making a contribution to the
theatre of the present; that the present contribution has
fulfilled the promise of the past; and it is in both the
past and the present that the vitality and scOpe of all

theatre resides.

 

9Emily Kimbrough, "The Silent Toast," The Reader's
Digest, LVXXII (March, 1958), p. 222.

‘Orbid.

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2 .

241

242

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'90', " The New Lorkp Daily Mirror, (March 5, 1952), p.
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243

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"Family Circle," The Ladies Home Journal, LXV (September,
1945). pp. 36- -7

Field, Rowland. "'Paris '90' Cornelia Otis Skinner Gives
Penetrating Solo- Dramas of French Life," Lhe Newark
Evening News, (March 5, 1952).

"Forecasts And Side Glances," Theatre Arts Monthly, XXXVI
(March, 1952), p. 13..

Foster, M. "Chair And A Scarf," Lhe Wbmen' s Journal, XIV
(January, 1929), p. 24.

"Full- -length Skinner," Time Magazine, XXIX (December 20,
1937), pp- 33‘ ‘34.

Funke, Lewis. "Lincoln-Douglas 'Rivalry' ," The New York
Times, CVIII (February 9, 1959), from Lhe New Yer
Theatre Critics Review, 1959, p. 382.

"Theatre: Miss Skinner," The New YOrk Times, CV
(January, 1956).

"Theatre: Miss Skinner," The New YQrk Times, CV
(December, 1956).

Gibbs, W. "Theatre: Paris '90," The New Yorker, XXVIII (March
15,1952), p. 48.

Hawkins, William. "Cornelia Tours Paris Verbally," Lhe New
York World Telegram, (March 6,1952).

"'Don Juan In Hell' A Memorable Reading," Lhe New
Yer World- -Telegram, (October 23, 1951), from Lhe
New York Theatre Critics Review, 1951, p. 194.

Kerr, Walter R. "Paris '90," The New York Herald Tribune,
(March 5, 1952), p. 18.

Kimbrough, Emily. "She Follows Her Heart To The Country,"
HOuse And Garden, LXXXV (March, 1944), p. 47+.

. "Silent Toast," The Reader's Digest, LVXXII (March,
1958), p. 222.

244

Lardner, John. "The Theatre," The New Yorker, XXXIV (November
1, 1958), pp. 97-8.

Iowe, C. "Playing the Queen," Pictorial Review, XXXIII (June,
1932), p. 4+.

McClain, John. "An Experience To Be Cherished," The New York
Journal American, (February 9, 1959), from the New
York Theatre Critics Review, 1959, p. 3811

 

. "Miss Skinner Shines as 14 Characters," The New
York Journal American, (March 8, 1952).

Mann, Arthur. "Honor of the Family," Colliers, CXIV
(December 16, 1944), p. 19+.

Meakin. "Captain Fury," Variety, (January 6, 1926), p. 25.

"Miss Skinner Exhibits Her Mansion On The Hudson," Newsweek,
V (April 13, 1935), p. 24.

"Miss Skinner Gives Program In London," New York Times,
LXXVIV (June 17, 1931), p. 32.

"Miss Skinner To Play Wives of Henry VIII," The New YOrk
Times, LXXVIV (June 4, 1931), p. 31.

Morehouse, Ward. "Paris '90 and London's Worst Play," The
New York Worlg-Telegram And Sun, (March 8, 1952).

Nathan, George Jean. "With Regards To Guido D'Arezzo,"
Newsweek, X (December 20, 1937), p. 31.

Norman, Corwin. "Coast to Coast With A Dramatic Debate,"
Theatre Arts Ma azine, XLIII (February, 1960), p.

 

 

O.
"One-Woman Show," The American Magazine, CLXI (June, 1956),
pp. 44-50
"Otis Skinner," Theatre Arts Menthll, XXVI (April, 1942), p.
216.

"Otis Skinner In New Role," The New York Times, LXXIII
(November 5, 1925), p. 28.

"Paris ’90," Newsweek, XXXIX (March 17, 1952), p. 87.

Pinchot, A. "Not In The Picture," Delineator, CXXVIII (May,
1936), p. 19.

245

"The Pleasure of His Company," Theatre Arts Monthiy, XXXXIII
(January. 1959). p. 9.

Pollock, Arthur. "Cornelia Otis Skinner Shows Her New Col-
lection, 'Paris '90'," The Daily Compass, (March 5,
1952 .

"Portrait As Empress Engenie," Arts And Decoration, XXXVII
(September, 1932), p. 42.

"Portraits," Theatre Arts Monthly, XV (November, 1931), pp.
947’80

"Portraits As Anne of Cleves and Kathryn Howard," Theatre
Arts Monthl , XV (November, 1931), pp. 947- .

"Portraits of the Stars," The Pla oer, (March 19, 1945).

"Portrait," The Saturday Review 2; Literature, XIV (October
10. 1936). p. 87

Shaffer, Louis. "Enjoyable Time In Old Paris With Miss
Skinner At Booth," The Brooklyn E 1e, (March 5,
1952), p. 10.

Skinner, Cornelia Otis. "Actors Just Act--Or No 'Pear-Shaped
Tones'," The New York Times Mggazine,XCII (December
13, 1942), pp. 14-5+o

. "Actors Will Do Anything," The New Ybrker, XXV
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(October 2, 1948), p. 82+.

. "The Bard And My Father," The New Yorker, XXVI
(November 18, 1950), pp. 45-8.

"The Best For A Repertory Theatre," The New YOrk
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"Big Little Moments That Live In Memory," The New
York Times Ma azine, XCIII (February 13, 1944), pp.
1 -710

. "Crying In The Dark," The New Yorker, XXVI
(January 20, 1951), pp. 26-7.

246

. "Defense of Long Island, " The New Yorker, XVII
(October 4,1941), pp. 23- 4.

. "First Night: On Both Sides Of The Curtain," The
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pp- 3'90

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1949), pp- 37'400

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1936), pp. 60- 2.

"Have YOu Heard About My Vacation," The Reader's
Digest, LXIX (December, 1956), pp. 59-61.

. "Idle In Idlewild," The Reader's Di est, LXVIII
(January, 1956), pp. 57-60.

. "I Keep Hearing VOices," The Reader' 8 Di est, LXV
(December, 1954), pp. 107-10.

. "I' m Afraid 1' LL Never Be A Beauty," The Reader's
Digest, XXXIII (August, 1938), pp. 91-2.

"I Never Remember A Name But I Always Forget A
Face," The Reader's Digest, LXIX (September, 1956),
pp. 127-90

. "I Saw Your Father In Kismet," Theatre Arts Monthl ,
XXV (October, 1941), p. 761-6.

. "It's Summer, But Is It Theatre?" The New YOrk
Times Ma azine, XCI (August 10, 1941), pp. —6-7+.

. "Keys to France," The New York Times M azine,
CIV (January 23, 1955 ), pp. 20-1+..

"Laugh Happy," The New Yorker, XXIX (April 10,
1948), pp. 29-320

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1950): pp- 661' '3.

. "Long Live The Sticks," The New YOrk Times Magazine,
XC (April 28,1940), pp. 6- 7+.“

[as told by Norton Faust]. "The Men Responsible
for Paris '90', " Theatre Arts Monthl , XXXVI (March,

1952), p. 16.

247

. ”Monologue To Theatre," The New York Times, LXXVIV
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Digest, LXII (December, 1953), pp. 150-4.

"My Quaking Hands, " The Reader's Digest, LXIII
(August, 1958), pp. 164- 6.

"Never A Dull Moment," The Good Housekeeping
CVIX (October, 1939), p. 8.

. "Opening Night," The New Yorker, XXII (January 4.
1947), pp. 25-7.

. "Parcel of Land," The New Yorker, XXI (JU1Y 7.
1945). pp. 19-21-

"Paris In the 90's " The New York Times Magazine,
CXI (February 24,1953), pp. 10-1+.

"The Pie Ladies," The Saturda Review Lf Literature,
XXXIII (December 2, 1950), p. 19.

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(March, 1949), pp. 107- 8.

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1950)’ pp. 29-310

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(November, 1953), pp. 39-41.

"Why Actors Don' t Go Mad," The New York Times
Magazine, XCIV (April 29, 1945): p. 18+.

 

. "Why First Nights Seem Like Last Nights," The New
YOrk Times Magazine, CVII (October 19, 1958).

. "WOmen Are Misguided," Life Magazine, XXXXI (December
24,1956). p. 73

Skinner, Richard Dana. "Empress Eugenie," Commonweal, XVII
(December 7, 1932), p. 159.

. "The Loves of Charles II," Commonweal, XIX
(January 12, 1934), p. 302.

248

. "Miss Skinner Carries Forward," Commonweal, XVI
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. "Monologues of Cornelia Otis Skinner," Commonweal,
XV (December 2, 1931), pp. 134-5.

"Skinner's Family Circus," Newsweek Magagine, LXXIX
(September 6, 1948), p. 79.

"Stage: Miss Skinner Ekhibits Her "Mansion on the Hudson',"
Newsweek, V (April 13, 1935), p. 24.

"Theatre," Newsweek Magazine, XXXXIX (March 17, 1952), p.
87.

"They Come From Chicago," Theatre Arts M azine, XXXV (July,
1951): p0 450

"They Stand Out From the Crowd," The Literarx Qigest,
CXVIII (September 1, 19345, p. 10.

"Twain To the Life," Theatre Arts Monthll, XLIII (October,
1959). p. 71. .

Vernon, Grenville. "Cornelia Otis Skinner in Mansion on the
Hudson," Commonweal, XXI (April 19, 1935), p. 710.

. "Play and Screen," Commonweal, XXVII (December
24, 1937), p. 244.

"Victor Borge," Current Biographz, (1946), pn 60+.

"Vblga Tongue," The New Yorker, XVII (May 24, 1941), pp.

Watts, Jr., Richard. "A Rare Evening With Bernard Shaw,"
The New York Post, (October 23, 1951), from the
New York Theatre Critics Review, 1951, p. 196.

. "Cornelia Otis Skinner in Paris," The New Ybrk
Post, (March 5, 1952), p. 45.

. "Those Lincoln-Douglas Debates," The New York Post,
(February 9, 1959), from The New York Theatre
Critics Review, 1959, p. 351.

Wyatt, Euphemia Van Rensslaer. "The Drama," Catholic World,
CXXXXI (May, 1935). pp. 461-2.

. "History In Vignette," Catholic World, CXXXVI
(January, 1932), p. 461-2.

249

. "Mansion On the Hudson," Catholic World, CXXXXI
(MaY9 1935): pp. 215-6-

Books
Buchan, John (Lord Tweedsmuir). Comments And Characters.

New York: Thomas Nelson and Sons, 1940.

Busfield, Jr., Roger M. The Playwright Art. New York:
Harper & Brothers, 1958.

Compere, Moiree. IIving Iiterature For OraI Interpretation.
New York: Appleton-Century-Crofts, 1949.

Greenwood, Ormerod. The Playwright. London: Sir Isaac
Pitman & Sons, 1950.

Lee, Charlotte I. Oral Interpretation. Boston: Houghton
Mifflin Company, 1959.

Lowrey, Sara and Gertrude E. Johnson. Igteppretative Bgadipg.
New York: Appleton-Century-Crofts, Inc., 1953.

lunt, W. E. History g; England. New York: Harper & Brothers,
1957.

Skinner, Cornelia Otis and Emily Kimbrough. Our Hearts Were
' Ipung and Gay. New York: Dodd, Mead & Company, 1945.

 

Skinner, Cornelia Otis. The Ape IE 33. New York: Dodd, Mead
& Company, 1959.

. Dithers and Jitters. New YOrk: Dodd, Mead &
Company, 1939.

. Excuse It Please. New York: Dodd, Mead & Company,
1940.

. Family_Circle. Boston: Houghton Mifflin Company,
1948.

. Nuts IQ May. New York: Dodd, Mead & Company, 1950.

 

. Soap Behind the gaps. New YOrk: Dodd, Mead &
Company, 1941.

 

Skinner, Otis. Footlights and Spotlights. New York: Blue
Ribbon Books, 1924.

250

Woolbert, Charles H. and Severina E.Nelson. The Art QI
Inteppretative Speech. New York: F. S. Crofts, 1945.

Zabel, Morton Dauwen. The Art 92 Ruth Draper. Garden City,
New York: Doubleday & Company, 1960.

Unpublished Material

Compere, Moiree. "Curriculum Guide For High School Inter-
pretation." Michigan State University, Department
of Speech, 1958. (Mimeographed.)

"Cornelia Otis Skinner Created Own Opportunitities." Publi-
city Copy endorsed by Cornelia Otis Skinner. 22
East 60th Street, New York 22, New York.

"Cornelia Otis Skinner Relives Past In Her 'The Wives of
Henry VIII.'" Publicity Copy endorsed by Cornelia
Otis Skinner. 22 East 60th Street, New YOrk 22,
New York.

Glann, Frank. "A Descriptive Analysis Of The Career, Per-
formance Style, and Methods of Ethel Merman."
M. A. Thesis, 1958, Bowling Green University.

Skinner, Cornelia Otis. Paris '90 Script, 1952. 22 East 60th
Street, New York 22, New York

. The Wives gI_Henry VIII Script, 1929. 22 East 60th
Street, New York 22, New York.

"Unseen Cast 'Flesh and Blood People" Miss Skinner Explains."

Publicity copy endorsed by Cornelia Otis Skinner.
22 East 60th Street, New YOrk 22, New York.

Other Sources

"Cornelia Otis Skinner." Publicity Bulletin. 552 Fifth Avenue,
New York 36, New York.
"Paris '90" Souvenir Book, 1952.

Personal interview with Cornelia Otis Skinner, Shubert
Theatre, Detroit, Michigan, April 18, 1960.

251

. Detroit Institute of Arts, Detroit, Michigan,
April 7, 1961.

"Theatre Program of The Loves QI Charles II," October 17,
1934. Michigan State College Auditorium, East
Lansing, Michigan.

"Theatre Program of Paris '90," January 12, 1952. (First
Performance) Academy of Music, Northampton,
Massachusetts.

"Theatre Program of The Pleasure 9; His Company," 1961.
The Shubert Theatre, Detroit, Michigan.

"Theatre Program of The Wives QI Hengy VIII," on loan from
Cornelia Otis Skinner. 22 East 60th Street, New
York 22, New York.