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The Children's Hour (Acting Editon), by Lillian Hellman
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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
- Sales Rank: #4130891 in Books
- Published on: 1981-01-01
- Binding: Paperback
- 75 pages
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"Then What Have You Done?" The Great 1930s Shocker
By Gary F. Taylor
Although not as prolific as some, and considerably more controversial than most, Lillian Hellman (1905-1984) is among the greatest American dramatists of the 20th Century. While the 1939 THE LITTLE FOXES is often regarded as her masterpiece, the 1934 THE CHILDREN’S HOUR had a longer run on Broadway, and may consider it equally fine. Although it has been performed with contemporary sets and costumes, the play works best as a 1930s period piece. It requires a minimum of nine girls between the ages of ten and fourteen; two men; and five women. The play is performed in three acts, with Act One and Three set in the living room of a girl’s boarding school and Act Two set in the elegant living room of a school patron.
In a general sense, THE CHILDREN’S HOUR is about the power of lie in the mouth of someone who seems to be an honest innocent—and in this instance both the lie and the one who utters it is quite shocking. Karen Wright and Martha Dobie run a boarding school for girls. One of the girls, Mary Tilford, is an extremely difficult child, a bully and a manipulator and a blackmailer, unwilling to tolerate even marginal discipline. She despises the school, and in her determination to escape it she tells her grandmother a lie. The lie is like a pebble tossed in a stream: the ripples continue far beyond the point of impact: it not only destroys the school, it destroys the lives of all that it touches, and the play’s conclusion is as shocking today as it was when it debuted.
The play was infamous in 1934 partly because of the way it portrayed children, partly because of the nature of the lie, and partly because it coupled the two. These three elements no longer have the same shock, but the characters are impressively drawn and the drama of the overall story is as powerful as the snap of coiled steel. Even today the play’s final and most horrific twist is difficult to anticipate and hard to stomach. The original Broadway cast included Anne Revere and it was twice filmed, first in censored 1936 adaptation titled THESE THREE and starring Miriam Hopkins, Merle Oberon, and Joel McCrea, and then as the 1961 uncensored THE CHILDREN’S HOUR starring Audrey Hepburn, Shirley MacLaine, and James Garner.
Plays are generally written to be seen, not read, but Lillian Hellman had the gift of writing a script that reads as well on the page as it plays on the stage. This is a landmark play, a powerful play, and essential reading for those interested in Hellman and American dramatic literature.
GFT, Amazon Reviewer
18 of 19 people found the following review helpful.
"Thou Shalt Not Bear False Witness Against Thy Neighbor"
By J. Remington
Lillian Hellman's magnificent, heart-wrenching, ground breaking and beautiful 1934 play takes the aforementioned commandment and creates a stunning cautionary tale that is not for the weak of heart. The perniciousness of lying and the often tragic consequences therein form the spine of this, Hellman's first major success on the Broadway stage.
Concerning a scandal at a private girl's school, Hellman bravely dramatizes the scars and cycles of abuse which result not only from lying but also from ignorance and cowardice. As I prepare this script for production in the fall of 2004, I find its themes timeless and as hard hitting as any contemporary work.
In Mary Tilford, Hellman has created one of the American Theatre's great villians. She serves as the literary model for "Rhoda" in THE BAD SEED as well as "Abigail" in THE CRUCIBLE. She is the embodiment of souless evil, intent on destroying all around her in order to advance her own status. She is the type of character that can truly, to quote RICHARD III, "Smile and murder whilst I smile". As my cast staged a rough read through, the hisses and rage she inspires is frightening.
Poetic without being obscure or pretentious, the dialouge is crisp and direct. Hellman's characters are three-dimensional and her pacing and story-telling is impeccable. I hope our production will do this great play justice.
As for any potential readers of this play: don't hestitate. Add this to you theatre library immediately.
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