Vir 1n1a Woo /\isce an Number 2 Spring 1974 paint Modesty at the feet of Mammon. His young wife, Ellen THE AMERICAN PREMIERE OF "FRESHWATER" Terry, poses as Modesty. Soon after the play's opening, Alfred Tennyson strides into the room and begins to read Maud in his On March 3, 1974, the Stanford Museum of Art sonorous tones. At length, Ellen Terry, weary of posing, presented Virginia Woolf's "Freshwater," a playful spoof abandons her model's throne, and, after a bit of amusing and about her great-aunt, Julia Margaret Cameron. Anita Ventura suggestive dialogue with Tennyson, rushes off, apparently to Mozley, Registrar and Curator of Photography, received keep a rendezvous with a young man. Watts, who has Angelica Garnett's kind permission to give a private staged continued to paint despite the loss of his model, triumphantly reading of the play in conjunction with the museum's finishes the great toe of Mammon. But he suddenly discovers, exhibition of Julia Cameron's photographs. much to his chagrin, that he has seriously blundered. As the According to Quentin Bell (Virginia Woolf; a Biography, chorus chants, at the close of the act, he has made the·veil of New York: Harcourt, 1972, p. 424), the play was first Modesty symbolize the fertility offish. performed in Vanessa Bell's studio, 8 Fitzroy Street, London. The second act, set at the seaside, depicts Ellen Terry's The actors then were: Mrs. Cameron, Vanessa Bell; Mr. decision to leave her aged husband and her life as an artist's Cameron, Leonard Woolf; Alfred Tennyson, Julian Bell; Ellen model and to run off with her young man, the naval officer, Terry, Angelica Bell; G. F. Watts, Duncan Grant; John Craig, John Craig. The couple hope to live in Bloomsbury. (W.C. 1 Ann Stephen; Mary Hillier and A Visitor, Eve Younger. later seems a vulgar word to the "mixed company" of the The 1974 cast was assembled from the Stanford artists.) Throwing her wedding ring to a hungry porpoise, Ellen community, and David Richman, of the Stanford English frees herself, with that symbolic gesture, from her husband Department, directed the production. We are pleased to share and escapes the bondage of art. with you his sense of the play's problems and delights. In the final act, again set in the studio, Watts bursts on stage, crying that his wife is dead. Mrs. Cameron bewails only the loss of her model, while Tennyson immediately begins an DIRECTING "FRESHWATER" elegy about her supposed drowning. Just as the poet is about to read his "Ode on the Death of Ellen Terry," she enters to I was doubly gratified when I was invited to direct a announce her elopement. Craig comes to claim her, and the staged reading of Virginia Woolf's three-act comedy young couple prepare to depart. And since the Camerons' "Freshwater." Although I had produced a number of plays, I coffins have finally arrived, they can set off for India. Joining had never before enjoyed the use of a theater as elegant as the in a comic choral farewell, the two couples leave a final European Gallery of the Stanford University Museum of Art. I message with the audience and with Watts and Tennyson, now was also attracted to the project because I believed that a deserted but for their art. But, wait, they are not yet reintroduction to the stage of this unpublished and virtually completely abandoned; suddenly Queen Victoria appears in unknown play would be an artistic event of some significance. the studio to bestow on Watts the Order of Merit and to honor The play was first performed in 1935 by Woolf's own circle of Tennyson with the Peerage for which he has waited so long. Bloomsbury family and friends; since then it has hardly been The first problem of the production concerned the read and never produced. This performance would serve both script. As the work is unpublished, we based our reading on a as a revival and as the American premiere. In directing the copy of Woolf's original manuscript which is, as one would play, I encountered few of the usual thorny problems of expect, a patchwork of corrections, deletions, and, for the administration and set construction which plague most pro­ most part, unintelligible marginalia. In many cases we were ductions. The problems which did arise were generally more faced with two or more words without any textual indication interesting and, in some cases, more challenging than those of as to Woolf's final decision. My choices were based on my view most college productions. of the play's general tone and manner and on my "Freshwater" is a whimsical satire, loosely based on understanding of the dramatic necessities of our production. events in the life of Woolf's great-aunt, the photographer, Julia Of course, I consulted with members of the cast before Margaret Cameron (1815-1879). The first act is set in her making any decisions. A description of all these choices would cluttered studio. As the play opens, she is washing her constitute an arduous and largely unprofitable task. I will husband's hair; we soon learn that she is preparing to embark mention two of the more important ones as examples. Early in for India - a voyage planned six times, but postponed because the first act, Tennyson, in discussing the possibility of his the Camerons' coffins have not yet been delivered. She being given a Peerage, remarks that the decision will rest with laments that the coffins have once again failed to arrive and the gods or with the Queen. Both words are given. I asked the renews her vow that she and her husband will not leave actor playing Tennyson to refer to the Queen, becaus·e this line without them. would serve as the only mention of the Queen in the play and In the same studio, George Frederick Watts, the famous would therefore anticipate her entrance in the final scene. Victorian painter and friend of the Camerons, attempts to Secondly, the first act ends with a passage which Woolf 1 apparently excised from the play. I chose 'to reinstate this REVIEW: passage as it concludes the act with a choral line, spoken by three major characters, and thus creates with the more LUCIO P. RUOTOLO, SIX EXISTENTIAL HEROES (Harvard extended choral section of the third act a formal symmetry. University Press, 1973) Not only does the play have an operatic quality; the structure of the three acts is much like that of a symphonic Clarissa Dalloway is the first of the six existential heroes composition. The fast-paced first and third acts are similar in Lucio Ruotolo presents to us across what he calls "the widest their abundance of thematic material to the outer movements spectrum of existential intention in English fiction during the of a classical symphony. The middle act, a lyric section which past fifty years." The authors, ranging from Woolf to focuses on Ellen Terry and her lover, is in the nature of an Malamud, have not been directly influenced by existential andante. When she makes her important decision, Ellen philosophy nor by one another, yet each of the novels studied commits herself to natural life, which, in this play, is sharply "reveals an historical treatment of the existential experience." opposed to art - here depicted as imperious and constraining. Such a treatment of Clarissa Dalloway rescues her, barely in It seems to me that Ellen's decision is the most important time, from the dragon of Freudianism which would imprison action in the play. It forcefully points up the play's major her forever within the form of a frigid and desolated woman. thematic contrast between life and art and suggests the Calling upon, among others, Heidegger, Ruotolo perceives that sterility of art divorced from experience. As we have seen, Clarissa explores nothingness within the context of Time and Ellen is important to the artists only as a symbolic object in Being. Both she and Septimus share the experience of their works. But she matters to John Craig as a human being. nothingness; but she, meeting the dread that Heidegger defines To indicate this dramatic contrast in tone, we chose an as "man's anxiety over having nothing to rely on save his abstract setting for the second act. An oddly shaped stage courage to be," is able to share with her friends the life she has piece, covered with a mud-daubed sheet, only vaguely experienced in solitude. This marks her existential triumph. resembled a rock on which the lovers could sit. Their Heidegger's understanding of how "a moment of vision ... surroundings were indicated by two large unspecified objects, makes the situation authentically present," illuminates the while, by contrast, during acts one and three, the stage was final affirmation of Clarissa's being: "For there she was." In cluttered with picturesque memorabilia to suggest the fewer pages than many critics take to damn Clarissa in her Victorian world of art. narrow bed, Ruotolo reveals how, in her life, space becomes One other aspect of the staging of the outer acts is also the catalyst for communication. The important consideration of interest. Woolf depicts her artists as essentially isolated about Clarissa Dalloway, as about Being, is not "what" or human beings who respond to events only insofar as they bear "how" it is, but "that" it is. Here, then, is Clarissa Dalloway. upon their respective arts. Julia Cameron, for example, thinks nothing of directing the newly liberated but still trembling Carolyn G. Heilbrun Ellen Terry to pose as Penitence.