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Utah Shakespearean Festival Insights A Study Guide to the Utah Shakespearean Festival The Price The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any pro- duction at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publications manager and editor; Clare Campbell, graphic artist. Copyright © 2019, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover Art for The Price by Cully Long. The Price Contents Information on the Play Synopsis 4 Characters 5 About the Playwrights 6 Scholarly Articles on the Play The Price: Making Unreliable Narrators of Us All 9 Utah Shakespearean Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Price Faced with dealing with his parents’ remaining possessions now that they have passed away, Victor Franz and his wife Esther visit an old soon-to-be-demolished Brownstone attic full of furni- ture they must sell. While waiting for an antiques dealer to arrive, Victor and Esther discuss Victor’s indecision about retiring from the police force and his estranged relationship with his brother Walter, a doctor. Esther expresses her unresolved feelings about Walter’s choice to leave home when he was young and finish medical school while Victor had to drop out of college to help his father survive the Great Depression and the death of his mother. The brothers haven’t spoken to each other since their father’s death sixteen years earlier. Victor has recently reached out to Walter in order to split the money for the furniture, but Esther feels Victor should be entitled to all of it because of his sacrifice—that, and she wants money. Gregory Solomon, the antiques appraiser, finally arrives and Esther leaves to run an errand. Solomon and Victor engage in small talk about the furniture, but eventually Victor is annoyed by Solomon’s run-around over naming a price. At last he offers an amount and Victor accepts it—just as Walter walks in. Walter doesn’t want to butt in on the deal, but feels they should get more once he hears how much Victor and Solomon have agreed upon. He is not interested in claiming his half, though, and he even proposes a way for Victor to get more. Esther agrees that Walter’s suggestion is better, and Victor starts to feel undermined and humiliated and doesn’t trust his brother’s honest intentions; and it soon becomes obvious that the brothers are dealing with more than the price of the furniture. 4 Utah Shakespearean Festival 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Characters: The Price Victor Franz: Almost fifty years old, Victor is a police sergeant who is approaching retirement. Esther Franz: Victor’s wife, Esther is disappointed in their position at this stage of her life. Richard Burbage: A seasoned lion of the stage, loud and proud, Richard is in his fifties and famous across England. Gregory Solomon: A wily, elderly antiques dealer, Gregory is hired to appraise the remainder of Victor and Walter’s father’s possessions. Walter Franz: Victor’s estranged brother, Walter is a doctor who he hasn’t spoken to Victor in years. Utah Shakespearean Festival 5 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 About the Playwright: The Price By Lisa Larson Poignant. Thought-provoking. Timelessly relevant. Such superlatives could be used to describe many of playwright Arthur Miller’s theatrical contributions, as those privileged to see this summer’s Utah Shakespeare Festival production of The Price will surely surmise. Emerging as a playwright from the backdrop of the Great Depression and World War II, it’s little wonder Miller chose themes highlighting the plight of the white working class as the underlying message in so many of his works. In his own words Miller said, “I reflect what my heart tells me from the society around me,” according to the Arthur Miller Biography on the Chicago Public Library web site (https://www. chipublib.org/Arthur-miller-biography). Yet his observations and his eloquent com- mentary on society of the early to mid-1900s are still relevant today. Born in New York City in 1915 to a Jewish immigrant father and a New York- native mother, Miller spent his early years witnessing the success of his father’s gar- ment manufacturing business. Then, in 1928 the family moved to Brooklyn as his father’s business began to fail, a microcosm of the societal decay brought on by the Great Depression. Witnessing this devastation seemed to fuel Miller’s disillusionment with the American dream. He worked to earn tuition to attend the University of Michigan, where in the 1930s he began writing his own plays. He even won the prestigious Hopwood Award from the university for two consecutive years: for No Villian (which was not produced again for eighty years) and for Honors at Dawn (which also saw little success). His first plays after attending the university were also not successful. He, like many other playwrights, stumbled through some difficult times. His Broadway debut, The Man Who Had All the Luck lasted only four performances and was considered a flop. He followed up by publishing two books, Situation Normal in 1944 and Focus in 1945, and continued to write plays and radio plays. When Miller’s early plays were rejected by producers, Miller , now married to his college sweetheart Mary Slattery, went to work for Brooklyn Navy Yard and also wrote radio scripts to support his family. Then, in 1947, his piece All My Sons became a Broadway hit and edged him toward star status. Close on the heels of All My Sons and its 328 performance run, Miller again captivated audiences with Death of a Salesman in 1949. Known for its controversial themes and what some called “anti-American” sentiments, Death of a Salesman ran for 742 performances and won the Tony Award for best play, the Pulitzer Prize for drama and the New York Drama Critics’ Circle Award. The play opened the eyes of many across the world to the basics of capitalism and lead character Willy Loman’s desire to “drink from the Grail of the American Dream.” For Miller, according to his biography on IMDB.com (https://www.imdb.com/ 6 Utah Shakespearean Festival 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 name/nm0007186/bio?ref_=nm_ov_bio_sm), this dream is the desire to “excel, to win out over anonymity and meaninglessness, to love and be loved and above all, per- haps to count.” The third of Miller’s major plays emerged in 1953 when Miller, overwhelmed by post-war paranoia and intolerance, penned The Crucible. Set in Salem dur- ing the witch-hunts of the late 1800s, The Crucible is ostensibly an indictment of McCarthyism of the early 1950s, according to PBS.org American Masters. The themes force audiences to contend with “extraordinary tragedy in ordinary lives.” No effort to recount the life and influence of Arthur Miller would be complete without his experience with the House Un-American Activities Committee (HUAC). According to an article by Amanda Petrusich in The New Yorker in March 2018, Miller was called to testify before Congress — and was ultimately found guilty of contempt for refusing to name the names of people he had seen at meetings of the Communist Party. The trouble started when a friend and colleague of Miller’s by the name of Elia Kazan appeared before this congressional committee and named members of the Group Theatre, who had been members of the Communist Party, according to the PBS American Masters feature essay on Elia Kazan. Later, Kazan and Miller spoke about Kazan’s experience just before Miller left for Salem, Massachusetts to research the 1692 witch trials for The Crucible. In their conversations, Miller drew several par- allels between the investigations by Senator Joseph McCarthy and the HUAC and the Salem witch trials. It wasn’t long after The Crucible opened that HUAC took an interest in Miller and he was called to testify. His conviction of contempt of Congress was later reversed in 1958 according to Encyclopedia of World Biography. Despite the impact of his experience with HUAC, Miller’s theatrical success pro- pelled his career forward, even as his personal life floundered. In 1956 he divorced his wife and married one of Hollywood’s brightest starlets: Marilyn Monroe. He later reflected on the fact that this marriage was “doomed to fail” from the beginning because of Monroe’s “highly destructive” tendencies, according to Miller’s biography on IMDB.com and information from his 1989 autobiography, Timebends. Miller says he was in love and all his energy and attention was devoted to trying to help Monroe solve her problems. Ultimately, he did not succeed. The marriage ended in 1961 while filming The Misfits, an original script he wrote specifically for Monroe, according to the IMDB. com biography. Miller married again in 1962, this time to a photographer, Inge Morath.
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