Table of Contents
The Play p. 2
The Playwright p. 3-4
The History p. 4-5
Delmore Schwartz p. 6
Intellectual Property p. 7
Further Reading p. 8
Especially for p. 9 Students
Learning Connections & Standards p. 10-11
Director Paul Stancato Producers February 3 – March 5, 2017 Ruth & Ted Baum Dramaguide written by Gary Cadwallader Dramaguide The Play
“Influence is simply a transference of personality, a mode of giving away what is most precious to one’s self, and its exercise produces a sense, and, it may be, a reality of loss. Every disciple takes away something from his master.” -Oscar Wilde
The Characters Ruth Steiner – an established short story author and professor of literature Lisa Morrison – a graduate student in literature, and a fan of Steiner’s work
The Setting Ruth Steiner’s Greenwich Village apartment in New York, September 1990
The Story “We’re all rummagers. All writers are. Rummagers at a tag sale. Picking through the neighbors’ discards for material, whatever we can get our hands on. Shamelessly. Why stop with our own journals?” - Ruth
Ruth has invited one of her graduate students, Lisa, to her apartment for a “tutorial” on Lisa’s autobiographical short story, “Eating Between Meals.” When the ambitious Lisa learns that Ruth is looking for a personal assistant she begs Ruth for the job.
The following year it is clear that Lisa was offered the position and they have become close. They discuss and debate current events, as well as the difficulties and insecurities of becoming a published writer. Lisa sheepishly admits to Ruth that “Eating Between Meals,” her story that had been rejected by every publication suggested by Ruth has been published in Grand Street Journal, a publication to which they had agreed not to submit the story. The news comes as a surprise to Ruth, who is offended that Lisa hadn’t shared the news earlier. Lisa changes the subject and asks Ruth about her relationship with author Delmore Schwartz. Ruth reluctantly tells Lisa the story, admitting she’s never written about it, nor discussed this relationship with anyone.
Two and a half years later, Lisa is a newly published author and Ruth is reading aloud a review of Lisa’s first collection of stories. Lisa admits that she is struggling to find an idea for a new story, and stuck for inspiration. Ruth suggests that she look outside of her own life experiences for motivation.
Two years later, Lisa reads from her new novel, Miriam’s Book, at the 92nd Street Y, a popular lecture hall in New York City. When Lisa arrives at Ruth’s apartment to learn why Ruth didn’t attend the reading, Ruth confronts her for appropriating her relationship with Schwartz as the basis for Miriam’s Book. Lisa defends her decision, but the relationship is harmed. 2 The Author: Donald Margulies
Pulitzer Prize-winning playwright Donald Margulies (born 1954) is one of the most popular writers in the theatre today. In addition to Collected Stories, his most-produced plays include Sight Unseen (1991), Dinner With Friends (1999), God of Vengeance (2000), Brooklyn Boy (2004), Shipwrecked! An Entertainment (2007), Time Stands Still (2010), and The Country House (2014).
Donald Margulies grew up in Trump Village in the Coney Island section of Brooklyn, New York, where his parents conveyed their love of theatre and film to Donald and his brother. He wrote about his childhood:
“My parents were not intellectuals. They were not artists. My father sold wallpaper. My mother was a housewife until she went back to office work when I was ten. We were middle-class Jews who didn’t go to synagogue, but we did go to Broadway. My parents came of age during the Depression - they loved movies and they loved Broadway, and they instilled that love in my brother and me. Our family took a few memorable excursions to Broadway during my childhood. We spent a couple of weeklong school vacations seeing eight or nine shows, mostly musicals, at a time when a middle-class family could afford to sit in the balcony for not much more than the cost of a movie ticket. Those experiences stayed with me.”
While at Dewey High School in Brooklyn, Margulies discovered he loved writing short stories. When he penned a story for his school’s literary magazine that contained an expletive, the principal refused to allow publication. He and his student co-editor contacted the American Civil Liberties Union, and the case against the principal and the New York City Board of Education went to court. Margulies won the case, and the New York Daily News ran the headline, “Four Letter Words OK in School Mag, Judge Rules.” Margulies wrote later that “….the story didn’t shock or impress many people. It was very much the work of a precocious seventeen-year-old. It wasn’t until a few years later that I tried my hand at playwriting.” Margulies began his college career at Pratt Institute, focusing on visual art. Longing to study both writing and art, he transferred to SUNY Purchase, where he graduated in 1977 with a BFA in Visual Art. While at Purchase, Margulies met Village Voice critic Julius Novick who encouraged him to pursue playwriting. Margulies calls Novick “my first champion in the theatre.” While an editor at Scholastic magazine, Margulies’ was hired in 1980 to write comedy for Jerry Stiller and Ann Meara’s HBO’s show, “HBO Sneak Preview.” Simultaneously, Margulies was commissioned by Jewish Repertory Theatre to adapt poet Delmore Schwartz’s story, “In Dreams Become Responsibilities,” into a stage play. This one-act opened in 1982, marking Margulies’ professional debut as a playwright. 3 The Author: Continued
Two related one-acts, together entitled Resting Place, opened at Theatre for a New City later that year. The following year, his first full-length play, Gifted Children, opened at Jewish Repertory Theatre. This story includes a complicated relationship between a mother and daughter, and Margulies’ wife observed that it “was a template for Collected Stories.” Margulies is one of America’s preeminent playwrights, and his plays have been performed on and off Broadway, and performed at major theatres around the country and the world. His Pulitzer Prize- winning play, Dinner With Friends, was produced here at PBD in 2011. He continues to write while teaching playwriting at Yale University. He lives in New Haven, Connecticut with his wife, Lynn, and his son, Miles.
History of the Play
Collected Stories was inspired, Margulies has said, by the controversy surrounding David Leavitt's 1993 novel While England Sleeps, which had been “inspired by” the autobiographical writings of the English poet Stephen Spender. Spender (1909 – 1995) sued Leavitt and his publisher, Viking-Penguin, who settled out of court and agreed to stop selling the book. According to the lawsuit there were “17 offending passages” that were similar to situations in Spender’s book. In an excerpt from a 1994 Op-Ed in the New York Times defending his position, Leavitt wrote:
“As far as I was concerned, I had simply written a novel - a historical novel - derived in part from an episode recorded in Spender's autobiography World Within World, and touched upon as well in his published journals and numerous other books about the period. This episode, to which Spender devoted a total of perhaps 10 pages of World Within World, was the germ of my novel, the seed from which it grew; but the novel as a whole resembled Spender's account about as much as a cherry tree resembles a cherry stone. Why did I choose to write about this episode? The novelist's usual reason: It had caught my imagination and wouldn't let go.
Stephen Spender published World Within World when he was 41. I am 32 and I have never written an autobiography; but if I ever do, and if something in its pages grabs some young novelist's attention, I hope he'll feel free to take whatever he wants from the story. Indeed, I can't think what greater homage could be paid a writer than to see his own life serve as the occasion for fiction. I wouldn't try to dictate the way that writer portrayed me. Instead I'd give him my blessing; I'd even give him my encouragement; I'd tell him: "Write freely, in peace, without fear."
4 History of the Play: Continued
In 1995 Leavitt signed with Houghton Mifflin, removed the “offensive passages,” and the updated novel was newly published. The revision included a preface written by Leavitt addressing the controversy.
Collected Stories was commissioned by Costa Mesa’s South Coast Repertory, where it had its world premiere in 1996. It was directed by Lisa Peterson, and featured Kandis Chappell as Ruth and Suzanne Cryer as Lisa. Collected Stories, again directed by Lisa Peterson, opened off-Broadway at Manhattan Theatre Club's City Center Stage I in 1997. It featured Maria Tucci as Ruth and Debra Messing as Lisa. The following year the play had a second off-Broadway production, a remount of a production originally performed at HB Studios (the legendary acting school led by Uta Hagen). Directed by William Carden and produced at the Lucille Lortel Theatre, the new production featured Hagen as Ruth and Lorca Simons as Lisa.
Linda Lavin played Ruth in 1999 at the Geffen Playhouse in Los Angeles, in a production co-starring Samantha Mathis as Lisa. Directed by Gilbert Cates, this production was produced for television in 2002, and broadcast by PBS Hollywood Presents. The play premiered at London’s Theatre Royal Haymarket in 1999, and starred Helen Mirren as Ruth and Anne-Marie Duff as Lisa. It was directed by Howard Davies. Collected Stories opened on Broadway in 2010 at Manhattan Theatre Club's Friedman (formerly Biltmore) Theatre starring Lavin as Ruth and Sarah Paulson as Lisa. It was directed by MTC’s Artistic Director, Lynne Meadow. Lavin received a 2010 Tony Award nomination for Best Actress in a Play.
Collected Stories was a finalist for the 1997 Pulitzer Prize for Drama.
5 The Big Ideas
The Conflict: Who is Delmore Schwartz?
“One sleeting night, Elaine schlepped me into a bar on Hudson Street – the White Horse Tavern – and there, sitting in a booth, his wide handsome moon face shining…There, was the great poet Delmore Schwartz, mad prophet, squandered genius, ‘son of Europe, America and Israel.’” - Ruth
Ruth reveals to Lisa that in her youth she had a relationship with poet Delmore Schwartz at the end of his life. Who was this “mad prophet?” Delmore Schwartz was an American poet known for his dazzling intellect, as a quick-witted conversationalist who once spoke uninterrupted for eight hours, and later as a recluse suffering from mental illness.
Born in Brooklyn, New York, in 1913 to Romanian Jewish immigrants, Schwartz’s early life was in a home with combative parents. They divorced in 1920, and his recollection of their contentious relationship was the basis of his first successful short story, “In Dreams Begin Responsibilities,” published in Partisan Review in 1937, and in a collection of prose and poetry under the same title in 1938. He became a literary sensation, and was praised by giants such as T.S. Eliot and Ezra Pound. Schwartz’s writing focused mostly on his family, childhood, the great divide between immigrant parents and their struggle finding a balance between old world sensibilities and new world lives, and their American-born children who only know (and want) the freedoms of life in America. After a promising start, Schwartz was unable to replicate the successes he had while a young writer. He wrote constantly about hope and failure in America, and both he and his characters found success difficult; failure haunted him constantly. Schwartz left New York City and found erratic work at Harvard, Princeton, and Syracuse, among others, but could not get tenure at any of them. He began drinking heavily and exhibited signs of mental illness. In 1961, he moved back to New York full-time and became a recluse, writing book and film reviews, and living in increasingly squalid apartments. An almost completely forgotten Schwartz died at a shabby Times Square Hotel in 1966 at age 52. He had been married twice, in 1937 and 1948, with both marriages ending in divorce.
Tributes as well as reissues and posthumous publications of previously unpublished work continue to shed light on Schwartz’s literature. Saul Bellow, a former protégé and colleague at Princeton, wrote about his mentorship with Schwartz in the Pulitzer Prize-winning novel Humboldt’s Gift, published in 1975. A former student of Schwartz’s at Syracuse, Lou Reed, wrote two songs about him, “European Son,” and “My House,” as well as “O Delmore How I Miss You,” a tribute in Poetry Magazine in 2012. 6 Creative Freedom or Intellectual Property?
“I’ve done nothing wrong, nothing illegal. You have no legal grounds.” - Lisa According to the World Intellectual Property Organization, intellectual property “refers to creations of the mind, such as inventions; literary and artistic works; designs; and symbols, names and images used in commerce.” Intellectual property enables people to earn recognition or financial benefit from what they invent or create. If someone tells another a story from their own life, does that story “belong” exclusively to the teller, or does it belong to anyone who hears it? Do the events in Ruth’s life belong only to her? Ruth did not officially copyright her story. Does Lisa have the right to utilize Ruth’s stories as a basis for their own fictional work? Can you copyright an idea or your life story?
According to Section 102(b) of the Copyright Act of 1976, “In no case does the copyright protection for an original work of authorship extend to an idea, procedure, process, system, method of operation, concept, principle or discovery, regardless of the form in which it is described, explained, illustrated or embodied in such work.” Any work must be “in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device.” Therefore, in order to be protected, the work must be written or typed on any medium…paper, napkin, computer, etc. If Ruth does not have her story in a written format she probably isn’t protected by our country’s copyright law: an idea or story isn’t protected under the law. A copyright only protects the expression or execution of an idea. Intellectual Property laws do not require that a work be published, just expressed in any medium that proves a person has ownership of that work. While an expressed work does not necessarily need a formal copyright to be legally protected, it is recommended that intellectual property be officially protected in the United States by applying for a copyright at the US Copyright Office, or a patent or trademark at the US Patent and Trademark Office. Patent Copyright Trademark A set of exclusive rights granted to A set of legal rights, designated by A word, name, symbol, or device an inventor by the U.S. Government the U.S. Government to the creator used for a good or brand to in exchange for a public disclosure of an original work. It allows the distinguish from other goods or of the invention creator to use, reproduce, display brands. work and receive compensation. Length of protection: 15-20 years Length of protection: life of creator Length of protection: indefinite, as + 70 years long as the brand is still in use and the owner renews it every 10 years. The companies granted the most The top 5 highest earning, The world’s most valuable patents in 2016 were IBM, copyrighted songs of all time: Trademarked names in 2016 were: Samsung, Canon, Qualcomm, and “Happy Birthday,” “White Google, Microsoft, Walmart, IBM, Google. Christmas,” “You’ve Lost That and Vodafone. Loving Feeling,” “Yesterday,” and “Unchained Melody.”
7 Further Reading
• In Dreams Begin Responsibilities and Other Stories by Delmore Schwartz. Passages are quoted in the dramatic action of Collected Stories, and Schwartz provides the impetus for the major conflict in the story. • World Within World by Stephen Spender. The book for which author David Leavitt is accused of plagiarizing, and the inspiration for Donald Margulies in creating Collected Stories. • Humboldt’s Gift by Saul Bellow. The Pulitzer Prize-winning novel about a mentor and his protégé; inspired by Delmore Schwartz.
Palm Beach Dramaworks Founded in 2000, Palm Beach Dramaworks is a professional theatre company in downtown West Palm Beach with a mission to engage and entertain audiences with provocative and timeless productions that personally impact each individual. We are dedicated to our vision “to enhance the quality of life through the transformative power of live theatre.” Consistent artistic excellence over the course of our history places Palm Beach Dramaworks at the forefront of the artistic landscape of Palm Beach County. 8 Especially for Students In live theatre, unlike movies and television, the actors can hear and often see you as easily as you can hear and see them. If you comment out loud during a live show, eat, text or answer your phone, you disturb not only other members of the audience but also the actors on stage, thus diminishing the performance and, ultimately your enjoyment of it.
This doesn’t mean you have to remain silent. Actors want you to respond with laughter and applause; but such responses should always be genuine and appropriate to the moment. Such inconsiderate behavior as shouting, catcalling or sustained whispering, even during blackouts, can ruin the concentration of the actors and audience members alike. And throwing paper or objects of any kind toward the stage is not only rude, it’s also extremely dangerous to the performers. Please help us to respect the professional actors and technicians who are working hard to give an amazing performance.
In the event of any student misbehavior, the relevant school will be contacted and its principal informed.
We want you to enjoy your visit to Palm Beach Dramaworks, and we rely on you to exercise your common sense and mature judgement. Thank you for being a valuable part of our audience this season!
Before Coming to PBD for a School Day Performance What Should I Wear? Comfortable, appropriate, respectable dress is ideal for attending the theatre. Think “special occasion” casual! Be prepared by bringing a sweater or jacket as the theatre may be cold.
What Should I Bring? It isn’t necessary to bring anything to the theatre, except a sweater or jacket. Please leave all food, drinks and chewing gum in the lobby.
Can I take photographs or videotape portions of the performance? Copyright laws and union agreements prohibit anyone from taking pictures or video during the performance.
Please remember to…. Arrive to the theatre approximately 30 minutes before the performance time, turn off your cellphone and put it away, and use the restroom before entering the auditorium.
What if I have to leave during the performance? Please remain in your seat for the entire performance. If you must leave during the performance, please leave during a scene break or at intermission.
How do I respect the other theatregoers? You can respect other theatregoers by not talking (or whispering), by leaving your cell phone off, and by making appropriate responses during the performance.
What should I do before the show? Please use the restroom prior to entering the auditorium, and turn off your cellphone.
What should I do at intermission? Please use the restroom and feel free to use your cellphone in the lobby. Remember to turn off your cell phone before returning to the theatre.
What should I do after the show? Please remain in your seat for a Q&A with the actors 9 Learning Connections for the Dramaworks Ethics Project Presented by PNC Arts Alive Developed by Gary Cadwallader and Dr. Christopher Rice, Assistant Professor, Philosophy, Lynn University
Before Seeing the Play: Pre-Show Discussion Questions/Writing Prompts 1. Describe the differences and similarities between the following terms: norms, laws, and ethics. Describe the relationship between each term. When do we hear each term used in our society? 2. What are specific examples of ethical dilemmas students experience in school? 3. What are specific examples of ethical dilemmas people face at work? At home? 4. Are there times when something is legal, but still unethical? Give some examples of this. 5. What is the relationship between success and ethics? Is ethical behavior required for success? Does good ethics help a person get ahead? Or, does ethics sometimes conflict with a person’s other goals? 6. What is your personal definition of success? What goals are most important to you? 7. What influences people to make ethically questionable decisions? 8. Is there always a clear difference between right and wrong? Why or why not? 9. Describe a time in your life in which you were faced with an ethical dilemma. What did you do and why?
When you are seated in the theatre … Observe/Infer/Predict 1. What do you notice about the scenery? What colors, lines, and shapes did the set designer use, and why? How do you think the scenery will be used during the play? 2. Look up and around the theatre? What do you notice about the space? Do you see lighting instruments? Do you hear any sounds or music being played? How do you think these elements will be used during the play?
After seeing the performance, write explanatory texts on the following: 1. Why did the playwright choose Collected Stories as the title of the play? 2. Describe in detail and write down observations about the character of Lisa. Who is she? What does she do? What does she want? How does she change throughout the play? 3. Describe in detail and write down observations about the character of Ruth. Who is she? What does she do? What does she want? How does she change throughout the play? 4. Do you agree with the ethical decisions made by Lisa and Ruth in the play? Or, are there things you would have done differently? If so, how would you have acted? 5. How did the scenic designer capture the location? 6. How did the lighting designer capture the mood, time of day, and location of the play? 7. How did the costume designer capture the era, mood, and personality of the characters in the play? 8. How did the sound designer capture the era and mood of the play? 9. Journal about your experience attending this play at PBD. What was it like seeing this story onstage? 10. What is the difference between seeing a show on TV or the internet and viewing a play in person? 11. What did you learn during the post-performance talkback? 12. Write a review of PBD’s Collected Stories and include thoughts about the play, its themes, and include opinions about the actor’s performance, scenery, props, costumes, lighting, and sound. Please send reviews to [email protected]
10 Learning Connections, continued
1. Use one of the following set of circumstances in Collected Stories to write a new short story or poem. • In search of an idea for a story • Meeting a hero • Admiring someone who is in the career you hope to have • Using humor to cover a painful situation • Achieving an unexpected success • Overcoming the loss of a dream 2. Write a short story, poem, or play about what happens after the end of the play. What happens to Ruth in the future? What happens to Lisa?
STANDARDS The following are Florida State Standards for attending this production and using this Dramaguide. TH.68.C.2 LAFS.1112.RL.1.3 TH.912.C.2 LAFS.910.RL.3.9 TH.912.C.3.3
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