The PLAY
Written by one of America’s most renowned playwrights of the 20th century, Arthur Miller, After the Fall, is a richly complex, expressionistic, somewhat biographical memory play, set in 1964, employing a kaleidoscopic montage of scenes, that take place in the mind of Quentin, an outwardly successful attorney. Against the backdrop of terrible times and governmental moral bankruptcy, it tackles head-on how our lives become entangled in the personal and political turmoil of our families, our selves, and others. Re-envisioned for the 21st century, fully staged at the Elephant’s Lillian Theatre, opening March 8, 2012. Directed by R.J.Horvath, Multimedia Design by Willliam Barker, Set & Light Design by Michael Gend.
THE CHARACTERS
MEN
QUENTIN – An outwardly successful lawyer in his early 40’s, who is examining his own conscience, his past or his “fall from innocence”, his failed marriages, his unhappy childhood, the political witch hunts of the 1950’s, and he bears responsibility for what happened to his close friends and his two wives. He is speaking to a “Listener” who may be the audience or a therapist or his own memory. He investigates, in the present of his time (1963), the forces which give rise to incomplete and destructive human relationships, the nature of personal integrity, and the dichotomy of innocence & guilt. He has met Holga with whom he has fallen in love, who brings with her a sense of her European past, including WWII mass destruction and concentration camps. He reacts to this grim history in terms of his own life, questioning his motives, his selfishness, his rejection of his first wife, Louise, his inability to help his tormented second wife, Maggie. He is unable to resolve all the conflicts within himself, but with Holga’s help, he does come to understand better his own implication in the suffering of others. Believed to be based on Arthur Miller.
LOU – in his late 30’s-50’s, gentle, kind, scholarly, unassuming, one of Quentin’s lawyer friends whose career is ruined by his testimony before the House of Un-American Activities Committee. His radical political background has put him in a vulnerable position, especially because he admits that he lied in one of his books about life in Soviet Russia. He has asked Quentin to defend him; Quentin takes on the task with mixed feelings, worried about his reputation and concerned that his heart is no longer in defending his colleagues.
MICKEY - in his late 30’s – early 40’s-50’s, one of Quentin’s stronger, lawyer friends who has saved Lou once before, when his academic career was threatened by charges that he had been a subversive. Mickey devastates Quentin when he admits that he is going to “name names,” that is, tell the House committee about his friends who were active in radical politics. Believed to have been modeled on Elia Kazan.
FATHER, IKE – in his late 60’s or 70’s. In many flashback scenes as Quentin examines his childhood. Father was a self made man, tough, proud, who acquired great wealth even though he couldn’t read. Lost it all in the stock market crash. Deeply mourns the death of his wife in one scene. Did not understand his son’s need for education and a life of intellect.
DAN – Late 30’s early 40’s, Quentin’s younger brother, who foregoes college to take over the family business. Has a hard time telling his father about his mother’s death. More compliant than his brother.
LUCAS – A dress designer. In a number of scenes with Maggie. Age open.
REVERAND HARLEY BARNES – A clergyman testifying at the trial in front of the House of Un-American Activities. Age, open
CHAIRMAN OF THE COMMITTEE – the committee of the House of Un-American Activities, who is presiding over a trial
STUDENTS – MALE ADMIRERS – PARK VISITORS – WEDDING GUESTS – AIRPORT PORTERS In various scenes, admiring Maggie from the male perspective, before and after she’s become famous
WOMEN
HOLGA – An archeologist in her late 30’s, Quentin’s German fiancée who has suffered herself greatly during the war, and deals with issues Quentin addresses. She helps him come to terms with his guilt over his previous marriages. She faces the reality of personal and cosmic guilt head on, without special pleading. Her calm, warm, and abiding presence throughout the play bespeaks a sensibility that has grown with experience and is able to accept the worst that Quentin can confess about his own character. Said to be inspired by Miller’s 3rd wife, photographer, Inge Morath.
LOUISE - Louise, Quentin’s practical, first wife, early 40’s, who has been his mainstay for many years. In several flashback scenes, Quentin explores his estrangement from her. She is unable to understand Quentin’s dissatisfaction with his own life and with their marriage. Her main complaint is that Quentin does not really talk to her, that he does not know how to interact with women, and that their growing separation is largely a matter of his inability to share himself with others.
MAGGIE - Quentin’s second wife, in her late 20’s - 30’s, a beautiful, childlike, fragile, sensuous, adorable and vulgar, self-destructive woman who becomes a major recording star. When she first meets Quentin, however, she lacks confidence and responds warmly to his encouragement and sensitivity. He makes her feel like a whole human being. At the same time, her exuberant spirit makes him, for a time, a much warmer and more giving person. As Maggie tears herself apart, a victim of self-doubt, she begins to view Quentin as a burden in her life, as someone who has used her. Although he tries to help her, he also withdraws from her as she becomes hysterical. She believes that her body is all anyone wants from her, and worse, it is all she feels capable of offering. She eventually commits suicide
FELICE - Felice, early or late 30’s, one of Quentin’s devoted and exuberant clients, who appears as almost a fantasy figure. She worships Quentin and does not see the cold side of him that makes Maggie turn against him.
MOTHER, ROSE – in her 60’s, who dominates Quentin’s family in the childhood flashback scenes. When Quentin’s father loses his money in the stock market crash of 1929, she turns against him, blaming him for the family’s troubles. She recurs on stage as a figure in Quentin’s mind, a part of his remembrance of his difficult childhood, playing the part of the accusing woman, which reminds him of his first wife, Louise
ELSIE – Lou’s strong, somewhat opinionated wife, (late 30’s, early 40’s) who envies Louise and Quentin, whom she flirts with.
CARRIE, an African American maid to Maggie – age open
2 NURSES – inscenes with Father in the hospital = ages, open
A SECRETARY - WEDDING GUESTS – Ages open
Written by one of America’s most renowned playwrights of the 20th century, Arthur Miller, After the Fall, is a richly complex, expressionistic, somewhat biographical memory play, set in 1964, employing a kaleidoscopic montage of scenes, that take place in the mind of Quentin, an outwardly successful attorney. Against the backdrop of terrible times and governmental moral bankruptcy, it tackles head-on how our lives become entangled in the personal and political turmoil of our families, our selves, and others. Re-envisioned for the 21st century, fully staged at the Elephant’s Lillian Theatre, opening March 8, 2012. Directed by R.J.Horvath, Multimedia Design by Willliam Barker, Set & Light Design by Michael Gend.
THE CHARACTERS
MEN
QUENTIN – An outwardly successful lawyer in his early 40’s, who is examining his own conscience, his past or his “fall from innocence”, his failed marriages, his unhappy childhood, the political witch hunts of the 1950’s, and he bears responsibility for what happened to his close friends and his two wives. He is speaking to a “Listener” who may be the audience or a therapist or his own memory. He investigates, in the present of his time (1963), the forces which give rise to incomplete and destructive human relationships, the nature of personal integrity, and the dichotomy of innocence & guilt. He has met Holga with whom he has fallen in love, who brings with her a sense of her European past, including WWII mass destruction and concentration camps. He reacts to this grim history in terms of his own life, questioning his motives, his selfishness, his rejection of his first wife, Louise, his inability to help his tormented second wife, Maggie. He is unable to resolve all the conflicts within himself, but with Holga’s help, he does come to understand better his own implication in the suffering of others. Believed to be based on Arthur Miller.
LOU – in his late 30’s-50’s, gentle, kind, scholarly, unassuming, one of Quentin’s lawyer friends whose career is ruined by his testimony before the House of Un-American Activities Committee. His radical political background has put him in a vulnerable position, especially because he admits that he lied in one of his books about life in Soviet Russia. He has asked Quentin to defend him; Quentin takes on the task with mixed feelings, worried about his reputation and concerned that his heart is no longer in defending his colleagues.
MICKEY - in his late 30’s – early 40’s-50’s, one of Quentin’s stronger, lawyer friends who has saved Lou once before, when his academic career was threatened by charges that he had been a subversive. Mickey devastates Quentin when he admits that he is going to “name names,” that is, tell the House committee about his friends who were active in radical politics. Believed to have been modeled on Elia Kazan.
FATHER, IKE – in his late 60’s or 70’s. In many flashback scenes as Quentin examines his childhood. Father was a self made man, tough, proud, who acquired great wealth even though he couldn’t read. Lost it all in the stock market crash. Deeply mourns the death of his wife in one scene. Did not understand his son’s need for education and a life of intellect.
DAN – Late 30’s early 40’s, Quentin’s younger brother, who foregoes college to take over the family business. Has a hard time telling his father about his mother’s death. More compliant than his brother.
LUCAS – A dress designer. In a number of scenes with Maggie. Age open.
REVERAND HARLEY BARNES – A clergyman testifying at the trial in front of the House of Un-American Activities. Age, open
CHAIRMAN OF THE COMMITTEE – the committee of the House of Un-American Activities, who is presiding over a trial
STUDENTS – MALE ADMIRERS – PARK VISITORS – WEDDING GUESTS – AIRPORT PORTERS In various scenes, admiring Maggie from the male perspective, before and after she’s become famous
WOMEN
HOLGA – An archeologist in her late 30’s, Quentin’s German fiancée who has suffered herself greatly during the war, and deals with issues Quentin addresses. She helps him come to terms with his guilt over his previous marriages. She faces the reality of personal and cosmic guilt head on, without special pleading. Her calm, warm, and abiding presence throughout the play bespeaks a sensibility that has grown with experience and is able to accept the worst that Quentin can confess about his own character. Said to be inspired by Miller’s 3rd wife, photographer, Inge Morath.
LOUISE - Louise, Quentin’s practical, first wife, early 40’s, who has been his mainstay for many years. In several flashback scenes, Quentin explores his estrangement from her. She is unable to understand Quentin’s dissatisfaction with his own life and with their marriage. Her main complaint is that Quentin does not really talk to her, that he does not know how to interact with women, and that their growing separation is largely a matter of his inability to share himself with others.
MAGGIE - Quentin’s second wife, in her late 20’s - 30’s, a beautiful, childlike, fragile, sensuous, adorable and vulgar, self-destructive woman who becomes a major recording star. When she first meets Quentin, however, she lacks confidence and responds warmly to his encouragement and sensitivity. He makes her feel like a whole human being. At the same time, her exuberant spirit makes him, for a time, a much warmer and more giving person. As Maggie tears herself apart, a victim of self-doubt, she begins to view Quentin as a burden in her life, as someone who has used her. Although he tries to help her, he also withdraws from her as she becomes hysterical. She believes that her body is all anyone wants from her, and worse, it is all she feels capable of offering. She eventually commits suicide
FELICE - Felice, early or late 30’s, one of Quentin’s devoted and exuberant clients, who appears as almost a fantasy figure. She worships Quentin and does not see the cold side of him that makes Maggie turn against him.
MOTHER, ROSE – in her 60’s, who dominates Quentin’s family in the childhood flashback scenes. When Quentin’s father loses his money in the stock market crash of 1929, she turns against him, blaming him for the family’s troubles. She recurs on stage as a figure in Quentin’s mind, a part of his remembrance of his difficult childhood, playing the part of the accusing woman, which reminds him of his first wife, Louise
ELSIE – Lou’s strong, somewhat opinionated wife, (late 30’s, early 40’s) who envies Louise and Quentin, whom she flirts with.
CARRIE, an African American maid to Maggie – age open
2 NURSES – inscenes with Father in the hospital = ages, open
A SECRETARY - WEDDING GUESTS – Ages open