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Waiting for Lefty

 
American Theater Guide: Waiting for Lefty

Waiting for Lefty (1935), a play by Clifford Odets. [ Longacre Theatre, 168 perf.] At a meeting of a taxi drivers' union, members await the return of their committee man, Lefty Costello. The union is addressed by several people who urge them not to strike but then is harangued by agitators, who depict capitalism as corrupt and smothering. After a series of flashbacks to different people affected by the company, news arrives that Lefty has been killed, tensions explode, and the drivers go on strike. At a time when many Americans were being polarized politically, this play was one of the most effective propaganda pieces for the left. It was initially offered by the Group Theatre at a series of special matinees. One of its producers, Cheryl Crawford, noted, “Never before or since have I heard such a tumultuous reaction from an audience. The response was wild, fantastic. It raised the roof.” The play was later moved to Broadway. Although it was tremendously popular for a time with radical groups, it is now perceived as too simplistic to have lasting merit.

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Notes on Drama: Waiting for Lefty
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Contents:

Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Sources
Further Reading


Clifford Odets 1935

Clifford Odets’s Waiting for Lefty is a vigorous, confrontational work, based on a 1934 strike of unionized New York cabdrivers. Explicit political messages dominate the play, whose ultimate goal was nothing less than the promotion of a communist revolution in America. Appearing at the height of the Great Depression, the play’s original 1935 production was a critical and popular sensation. Waiting for Lefty was widely staged throughout the country and brought Odets sudden fame. While its dramatic style has long since fallen out of fashion (along with the idealistic politics that inspired it), it is considered a prime example of a genre known as “revolutionary” or “agitprop” theatre. (The latter term is a combination of “agitation” and “propaganda.”) The idealistic practitioners of agitprop sought to harness the power of drama to a specific political cause and create a “people’s theatre” for the new world that would follow the revolution.

A one-act play in eight episodes, Waiting for Lefty is composed of two basic stagings. The main setting is a union hall, where the members wait to take a hotly-contested strike vote. While the corrupt union leader Harry Fatt arrogantly tries to discourage the members from walking out, support for a strike is high, and the workers nervously await the arrival of the leader of the strike faction, Lefty Costello. As they wait, members of the strike committee address the workers, each telling the story of how he came to be involved in the union and convinced of the necessity for a strike. These individual stories are sketched in a series of vignettes, played out in a small spotlit area of the stage. Each is a story of unjust victimization, mirroring Fatt’s heavy-handed attempts to control the union meeting. The building tension and emotion reaches a climax when the news arrives that Lefty has been murdered, and the meeting erupts in a unanimous demand to “Strike! Strike!”

Modern audiences may find Waiting for Lefty’s style and dogmatic politics strange and unfamiliar; it is rarely produced and is often characterized as an historical curiosity. More than most dramas, it is the product of a particular time and place — for its overriding concern was to influence that time and place, not to create “immortal art,” and certainly not to create diverting, light-hearted entertainment. It faced its grim times squarely and offered its audience a stirring vision of hope. In this sense Waiting for Lefty is seen as an important dramatic work that offers historical evidence of the social power and aspirations of theatre.

Wikipedia: Waiting for Lefty
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Waiting for Lefty is a 1935 play by American playwright, Clifford Odets. Consisting of a series of related vignettes, the entire play is framed by the meeting of cab drivers who are planning a labor strike. The framing situation effectively utilizes the audience as part of the meeting.

While this was not the first play written by Odets, this was the first of his plays to be produced. It was staged by the Group Theatre, a New York theatre company founded by Harold Clurman, Cheryl Crawford and Lee Strasberg, of which Odets was a member. The company was founded as a training ground for actors, and also to support new plays, especially those that mirrored the social and political climate of the day. Waiting for Lefty was the first real critical and popular success for the Group Theatre, appearing on Broadway as well as in cities around the United States. It had its British premiere at Unity Theatre, London in 1938, whose production so impressed a contingent of the American Group Theatre when they visited, that Unity Theatre was given the British rights to the play.

Summary

The play is composed of seven different vignettes separated by blackouts. As the play opens, several taxi drivers sit in a semicircle. To one side stands a gunman. A large man and union leader, Harry Fatt, tells the men that a strike is not a good idea. When a man in the crowd mocks this idea, Fatt calls him a "red" (slang for communist), says he is keeping an eye out for them in the union, and claims that the reds, given the chance, will betray their fellow workers. The crowd questions where Lefty is, their elected chairman. Fatt reminds them they already have their elected committee present. He lets Joe, one of the workers, speak. Joe maintains he is not a "red boy," citing his status as a wounded war veteran, and discusses how if a worker expresses dissatisfaction, the union leaders label him a "red." He says his wife convinced him last week to strike for higher wages; an important theme throughout the book.

The taxi drivers remain dimly visible on stage as Edna joins Joe in their home (the scene is supposed to take place a week before the play's first scene). She tells him that their furniture, unpaid for, was repossessed. They argue; Joe claims that strikes do not work, and that they lose money while they are on strike, while she says that while his salary barely covers rent now, soon the owners will push down their wages even more. She says his boss is "making suckers" out of the workers, and out of their families. Joe tells her she'll wake the children, but she says she only wants to wake him up. She calls his union "rotten," since they don't tell the workers what their plans are. Joe admits they're "racketeers." When Edna challenges Joe to stand up to them, and he backs down, she tells him she's going back to her old boyfriend, since he earns a living. The taxi drivers, still in the dark, whisper words like "She will." Edna turns the subject to Joe's boss who, she says, is creating all these problems. She encourages Joe to start a workers' union without the racketeers. Joe gets swept up in her passion and tells her he's going to find Lefty Costello. Edna cheers him on. Back in the taxi driver's meeting, one of the men says that his fellow workers know better than he does, and that "We gotta walk out!"

Fayette, an industrialist, talks in his office to Miller, a lab assistant. Fayette tells Miller he is receiving a raise for his loyalty, and that he'll be switched to a new laboratory tomorrow, where he'll work under an important chemist, Dr. Brenner. Miller is pleased. Fayette tells him he must remain within the building while he works on the project, which is to create poisonous gas for chemical warfare. Fayette tells him that the world is ready for war, and the U.S. needs to be ready. Miller is somewhat distraught, as he lost several relatives in the last war, including his brother. As Fayette gives him further instructions, Miller reminisces about his brother. Fayette tells him he'll require a weekly confidential report on Dr. Brenner. Fayette promises higher raises, but Miller refuses to do any "spying." Fayette tells him his country needs him to do this, but Miller's mind is made up — he is willing to lose his job, as he would "Rather dig ditches first!" Outraged, Miller punches Fayette in the mouth.

Florence tells her brother Irv that she needs "something out of life," and that Sid, who is going to take her to a dance, provides that. Irv warns her that both he and their mother disapprove of Sid since he makes little money as a taxi driver. Florence insists she loves Sid, and that she works hard to take care of their sick mother. Finally she buckles and says she'll talk to Sid tonight. Sid comes in, and Irv leaves. Florence and Sid pretend to be royalty before kissing. Sid says he knows he is like "rat poison" to her family. He tells her his brother joined the navy that morning, but assures her he won't run away from her. He says he can tell what she is thinking — that she doesn't want to marry him anymore. He laments their lowly status as "dogs" in life under the thumb of the powerful "big shot money men." He is upset that his brother, a college boy, has swallowed the "money men"'s propaganda and joined the navy to fight foreigners who are, ultimately, just like himself. Florence says she will follow Sid anywhere, but he tells her to be realistic. He turns on a record player and they dance. They stop when the music ends. He tries to make her laugh, but she buries her face in her hands, and he buries his face in her lap.

Fatt tells the taxi drivers that they haven't investigated the strike issue as he has; he brings up Tom Clayton, who was in an unsuccessful strike in Philadelphia. Clayton says that his experience has taught him that Fatt is right this time. A man in the audience tells him to sit down, and Fatt tells his henchmen to "take care of him." The man runs up on stage and says that Clayton's real name is Clancy, and that he is a "rat," a "company spy." He claims that Clayton has been breaking up unions in various fields for years. Clayton keeps denying it, but the man says he knows it is true because Clayton is his brother. He tells Clayton to leave, and he does. The man is skeptical of Fatt's ignorance of Clayton's true identity.

The elderly Dr. Barnes angrily talks into a phone, upset that he has to deliver some bad news to Dr. Benjamin on an issue he opposed. Dr. Benjamin joins him. Benjamin is upset that he has been replaced for surgery on a poor woman in critical condition in the charity ward by an incompetent doctor named Leeds, the nephew of a senator. Barnes tells him that the hospital is closing up the charity ward since it is rapidly losing money. Furthermore, they are firing some staff members, including Benjamin. Though Benjamin has seniority, he is losing his job because he is Jewish. Barnes takes a phone call and learns that the woman operated on has died. Benjamin throws down his operation gloves, and Barnes praises his idealism. Benjamin says he wasn't fully convinced of the ideas of radicals until now. He decides he has to work on America, and possibly get a job such as driving a taxi to allow him to keep studying. He vows to fight, though it may mean death.

A man named Agate talks to the taxi drivers, first insulting their lack of strength, then insulting Fatt. Fatt and the gunman try to detain him, but he gets away with the help of the committee men. Agate proclaims that if "we're reds because we wanna strike, then we take over their salute too!" He makes a Communist salute. While the committee men join in or take over part of his speech, Agate incites the taxi drivers with fiery rhetoric about the rich killing them off. He tells them to "unite and fight!" He says the "reds" have helped him in the past. He tells them not to wait for Lefty, who may never arrive. A man runs into the house and says they just found Lefty, shot dead. Agate yells to his fellow union men, "Hello America! Hello. We're storm birds of the working-class. Workers of the world.... Our Bones and Blood!" and urges them to die to "make a new world." He leads them in a chorus to "Strike!"


 
 

 

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American Theater Guide. The Oxford Companion to American Theatre. Copyright © 2004 by Oxford University Press, Inc. All rights reserved.  Read more
Notes on Drama. © 2006 through a partnership of Answers Corporation. All rights reserved.  Read more
Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Waiting for Lefty" Read more