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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 1 75- 11,338 EPOLITO, Joseph Martin, 1935- A STUDY OF CHARACTER IN SELECTED PLAYS OF WILLIAM INGE: COME BACK, LITTLE SHEBA, THE DARK AT THE TOP OF THE STAIRS, A LOSS OF ROSES, NATURAL A f f e c t i o n . The Ohio State University, Ph.D., 1974 Theater Xerox University Microfilms,Ann Arbor, Michigan 48106 © 1975 JOSEPH MARTIN EPOLITO ALL RIGHTS RESERVED A STUDY OF CHARACTER IN SELECTED PLAYS OF WILLIAM INGE: COME BACK, LITTLE SHEBA, THE DARK AT THE TOP OF THE STAIRS. A LOSS OF ROSES, NATURAL AFFECTION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joseph Epolito, B.A., M.A. ****** The Ohio State University 1974 Reading Committee: Approved by Donald R. Glancy Roy H . Bowen John A. Walker Adviser Department of Theatre A STUDY OF CHARACTER IN SELECTED FLAYS OF WILLIAM INGE: COME BACK, LITTLE SHEBA; THE DARK AT THE TOP OF THE STAIRS; A LOSS OF R O S E S NATURAL AFFECTION By Joseph Epolito, Ph.D. Ohio State University, 1974 Professor Donald R, G.lancy, Adviser The four plays, Come Back, Little Sheba, The Dark at the Top of the Stairs, A Loss of Roses, and Natural Affection by American playwright, William Inge, effectively evidence, by way of the characters he has created,, the author's compassionate, understanding of particular areas of human psychology and behavior. This study, in analyzing "character" within those four plays, which span Inge's playwriting career (1945-1973), has utilized as a model the Aristotelian theory of characterization as most recently explicated by Sam Smiley in Playwriting: The Structure of Action. Character relationships and the action/reaction form of character development which Inge devised for each script, and his ability to accomplish a consistency of character behavior that in turn caused convincing action is also examined. After an opening chapter that surveys factual information such as dates, places, participants, and critical reaction concerning the original productions of each of Inge's nine full-length plays, the study then focuses, successively, upon the playwright's develop­ ment of the characters Lola Delaney, her husband Doc, and the young people, Marie and Turk, from Sheba; Cora Flood, her husband Rubin her sister Lottie, and guest Sammy Goldenbaum from Dark/Stairs; Kenny Baird, his mother Helen, and their house guest Lila Green from Roses; and Sue Barker, her son Donnie, and her lover Bernie Slovenlt from Affection. The findings of this study attest to Inge's excellent play­ writing talents. His particular abilities in the area of char­ acter are 1) a controlled balance between all that characters can possibly feel and the manner in which they can acceptably articulate what they feel, 2) a firm grasp of human psychology, which is manifested in representative character constructs, 3) a control of action that allows it to be shaped by the psychologi cal nature of the characters and, in a cause/effect manner, con­ fines it to the conflict within the specific group of characters, 4) a control of the degree to which secondary characters are delineated and integrated into each play's major dilemma 5) a creation of an ambience and disposition by careful selection of physical details, traits, and qualities that are ingrained in character and therefore will necessarily remain at the heart of each play through a variety of production concepts, 6) a depict­ ion of complex, universal characters that afford directors and actors extensive opportunity to experience and embody the aspects of human nature that the playwright has reflected. Further research and production will serve to enhance Inge's reputation and perhaps re-evaluate certain of his contributions. ACKNOWLEDGMENTS The writer's major debt of gratitude is to Professor Donald R. Glancy of the Ohio State Theatre Department, whose talents as teacher, adviser and editor were incal­ culable to my doctoral experience. The writer also wishes to acknowledge two other admirable men of the Ohio State Theatre Department--Dr. Roy H. Bowen and Dr. John A. Walker. Discussions with Professor Larry Cox of the Psychology Department of Otterbein College were helpful, and I am indebted to him. Finally, to the many others who contributed in various ways, I extend my sincere appreciation and love-- Jude Yablonsky, Mildred Ehrich, Maureen Shea, Mary Sesak, Joseph Ritacco, Angela D'Ambrosia, Letitla Serra, Constance Grappo, and Robert and Nancy Pettigrew. ii DEDICATION To my mother, Mrs. Grace Epolito, and her children, Ralph, Rose, Carmella, Angel, and Peter. iii VITA January 21, 1935 . Born - Nutley, New Jersey October, 1956 ........ B.A. Catholic University of America, Washington D.C. 1 9 5 6 -1 9 5 7 ............ American Academy of Dramatic Arts, New York N.Y. 1957-1966 ............ Professional Actor, Stage Manager, Director 1 9 6 1 -1 9 6 3 . ........ HB Studio, New York N.Y. Study with Uta Hagen, Herbert Berghof June, 1966 ............ M.A. City University of New York, New York N.Y. 1 9 6 6 -1 9 6 9 . .......... Teacher, New York Public School System - Speech and Drama 1969-1972 ............ Theatre Instructor/Director Gannon College, Erie, Pa. 1972 ................ Guest Instructor, Penn State (Behrend Campus) Wesleyville, Pa. 1972-1973 ............ Teaching Associate, Ohio State University, Columbus, Ohio 1 9 7 4 ..................... Guest Instruetor/Director Otterbein College, Westerville, Ohio 1 9 7 4 ..................... Assistant Professor Western Illinois University Macomb, Illinois iv PUBLICATIONS Dark Night of the Soul - One Act Play: Edgemoor Publishing COe Ride to the Beach - One Act Play: Edgemoor Publishing Co. Poetry - Pembroke Magazine, Wormwood Review, The Miscellany, and Gob "Performance & Psychology: Chekhov* 3 The Sea Gull and Allport's Theory of Becoming" - North Carolina Journal of Speech and Drama "Genre Theory and the Practice of Readers Theatre" - The Speech Teacher Reviews: "Readers Theatre Comes to Church” - The Speech Teacher "A Director Prepares" - Quarterly Journal of Speech "Stage History. Farquhar's The Recruiting Officer" - Theatre Studies FIELDS OF STUDY Theatre Production (Acting, Directing).. Roy H. Bowen Donald R . Glancy Theatre History Charles Ritter Vera Mowry Roberts Dramatic Literature & Criticism Donald R. Glancy John C. Morrow Readers Theatre William R. Brown Jere Veilleux v TABLE OF CONTENTS Page ACKNOWLEDGMENTS............................... ii DEDICATIONS............................ ill VITA.......................................... iv LIST OF ILLUSTRATIONS.................. viii INTRODUCTION.................................. 1 Chapter I. OVERVIEW 7 The Full-length Plays of William Inge, 1945-1973 I*. COME BACK, LITTLE SHEBA Scenario 24 The Character of Lola Delaney 4^ The Character of Doc Delaney 58 The Character of Marie Buckholder 67 The Character of Turk 72 Conclusion 77 III. THE DARK AT THE TOP OF THE STAIRS Scenario 85 The Character of Cora Flood 100 The Character of Rubin Flood 108 The Character of Lottie Lacey 115 The Character of Sammy Goldenbaum 120 Conclusion 128 IV. A LOSS OF ROSES Scenario 138 The Character of Kenny Baird 158 The Character of Helen Baird 168 The Character of Lila Green 174 Conclusion 185 vi V. NATURAL AFFECTION Scenario 193 The Character of Sue Barker 209 The Character of Bernie Slovenk 217 The Character of Donnie Barker 223 Conclusion 230 VI . SUMMARY 237 APPENDIX A. 246 B ............................ 247 C ...... 250 D ......... 252 BIBLIOGRAPHY ........ 253 vii LIST OF ILLUSTRATIONS Page A. Come Back, Little Sheba........... 30 B. Dark at the Top of the Stairs.... 84 C. A Losa of Roses.,................ 137 D. Natural Affection................ 192 viii INTRODUCTION In the main,this study considers the dramatic element of "character" as it has been formulated within four of the eight full-length plays of the American playwright William Inge--Come Back, Little Sheba, The Dark at the Top of the Stairs, A Loss of Roses, and Natural Affection. Characters— considered as playwriting constructs--are analyzed, as instances of the greatest strength of an important Twenti­ eth Century American playwright.

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