The American Stage: Writing on Theater from Washington Irving to Tony Kushner ed. by Laurence Senelick (review)

The erudite and talented actor—and, I'm happy to report, knowledgeable student of American theatre—John Lithgow, author of the foreword to Laurence Senelick's marvelous compilation of essays, reviews, parodies, and other reflections on American theatre "from Washington Irving to Tony Kushner" (or 1802-2005), suggests three ways to approach this cornucopia of delights: you can read it chronologically front to back and "you have a lively portrait of the American stage"; you can begin at the back and "you travel a unique journey back in time . . .[and] pass from the very familiar, to the vaguely remembered, to the totally forgotten"; or you can simply dip in anywhere. Lithgow does warn that it is "hard to decide what to pick and where to start" (xiv-xv).

In glancing through the content of almost one hundred pieces, I thought I knew enough not to have to read them all or read many at one sitting. I'd place the volume on my nightstand and "dip" into a few essays each evening. Furthermore, I decided to give the collection the "Wilmeth" test and look for a favorite essay chosen off the top of my head. If it was included, I could praise Senelick for his wise choices; if not, then I could note the lack of inconclusiveness in his impossible task of selectivity. So, what single item would I seek in these 850-plus pages?

In 1957, shortly after graduating from high school in Texas and before I entered college in my native state, I had the opportunity to attend summer school at Cornell University as a special student. Being intimidated by most academic choices available to me, in ignorance I turned to theatre courses (my high school drama teacher had extolled Cornell's theatre). One of my courses was Play Production taught by H. Darkes Albright, an important pioneer in academic theatre—and something of an eccentric. Early in the course Professor Albright read to the class part of an essay from Holiday magazine published in January 1955. It was called "The American Theatre" and was written by the playwright Arthur Miller (I was a dedicated reader of Theater Arts and had actually heard of him). In his seersucker suit, socks rolled down to his ankles, and pencil mustache, Albright began reading in his deep and resonant voice Miller's description of Lee J. Cobb creating the role of Willy Loman in Death of a Salesman, and demonstrating how "the theater can yet be one of the chief glories of mankind." I was hooked. And in retrospect (did Albright roll his socks or wear a pencil mustache?—after more than half a century I believe he did) I think I owe my life's work and passion to this moment. Senelick passed my test, for there in the center of the book is Miller's inspiring essay, and my revisiting of its content brought back a lifetime of memories.

At that moment I decided I could not follow Lithgow's suggestion of reading from back to front—or even dip into the book at random. No, I had to begin at the beginning (after reading with pleasure Senelick's vivid potted history of American theatre, full of his wit and unique turn of a phrase) and travel to the end. And I urge others to do so as well!

Without The Library of America, founded in 1979 and designed to help "preserve our nation's literary heritage by publishing, and keeping in print, authoritative editions of America's best and most significant writing," Senelick's extensive compilation likely could not exist in this time of shrinking publication in our discipline and rising cost in publishing. The American Stage is number 203 in this series and quite unlike most of the other volumes, which tend to focus on one author or one genre. Senelick...