Waiting for Lefty and Other Plays

As a leftist, inspiring pieces of literature are not exactly few and far between - but ones this entertaining certainly are. In Odets' work, there is nary a word out of place, and every social comment he has to make is thoughtfully expressed in a gentle fashion unknown to many playwrights. Awake and Sing! is in particular a piece of art. Odets makes the ideals of social protest easily accessible in dramatic form, and the end result is an educational and thought-provoking read that still manages to be amazing fun.

"...So in the end nothing is real. Nothing is left but our memory of life. Not as it is...as it might have been...." So says Leo, soft natured, burnt out, over worked, unappreciated, hang dog Odetian father in Paradise Lost. But such sentiment could come from any of these six plays and not be out of place. In these six plays, featuring some of the most brilliant and emotional American playwriting ever, Clifford Odets hammered and chiseled circumstances of urban American life in the 1930's. Full of hard edged people who demand it of others, and naive people who refuse to be brought down by the prevailing winds, Odets creates a world that may seem dated and bygone. But the turmoil and the choices are neither. In Waiting for Lefty taxi cab drivers must contend with horrendous working conditions, including violence and intimidation from managment if they strike. Scenes from worker meetings, home life between a husband and wife on the edge, and between two scientists politicing towards blacklisting and espionage. In Awake and Sing and Paradise Lost families living in small cramped apartments must strive for peace and simple comforts while income is barely enough, their children, desperate for a better life, risk their lives through crime, or take up with sordid, cynical and compromised people. Homes are taken away, suicides and paralysis grip them. In Till the Day I Die, two brothers go from being tight excited comrades, rebelling against the Fascist Nazi encrouchment, to being torn apart and suspicious after one of them is captured, tortured, abused, compromised and released. In Golden Boy, the sweet heart of a promising violinist turns grey and aggressive when he takes up boxing, letting success, hatred for his family and fear of failure lead him to his own destruction. In Rocket to the Moon a dentist falls for his young secretary, who dreams of a better life, beyond a hard scrabble existence as three men vie for her affections. All the writing is incredible. A few noteworthy quotes: From Till the Day I Die: Ernst: Yes, peace! in the cell there-I know I stayed alive because I knew my comrades were with me in the same pain and chaos. Yes, I know that till the day I die there is no peace for an honest worker in the whole world. Tilly: Till the day I die there is steady work to do. Let us hope we will both live to see strange and wonderful things. Perhaps we will die before them. Our children will see it then. Ours! Ernst: These guns are complicated pieces of machinery. Our Germans make them like works of art. Tilly, Carl, our agony is real. But we live in the joy of a great coming people! The animal kingdom is past. Day must follow the night. Now we are ready: we have been selected in a terrible fight, but soon all the desolate places of the world must flourish with human genius. Brothers will live in the societs of the world! yes, a world of security and freedom is waiting for all mankind! Do your work, comrades. From Paradise Lost: Kewpie: A

After joining the American Communist Party in 1934, Odets used a taxi drivers' strike from that year as the inspiration for his first play, Waiting for Lefty . The play is an agit-prop that borrows heavily from Communist ideology and promotes collective action and unionization as the only means to tip the scales of power away from big business and toward the worker. The characters in the play grow aware of themselves as the oppressed class as opposed to the powerful ruling class, and when this "class consciousness" becomes too burdensome, they see no other option but to strike. This dialectic play gives the audience an insight into the ills of American society and encourages them to change their reality. It was written and performed at a time when the legend of the self-made man held no more waters. The country was still struggling with the aftershocks of the stock market crash of 1929. Unemployment rate reached its highest peak in the United States and employers were reducing wages drastically. As depicted in John Steinbeck's The Grapes of Wrath (1939) and Tillie Olsen's Yonnondio: From the Thirties (written in the 1930s, published in 1974), workers were treated brutally by their employers. As Steinbeck showed, workers had to bond together and fight for their meagre wages which dropped even more because of the intense competition. In this fight, unionization and strikes were their only weapons.

There are many aspects of Odets' work that have not particularly aged well. Frankly because he consciously was writing to reflect contemporary (for the 1930's) American Society with an extreme and blatant Leftist leaning, much of his dialouge, characterization and politicising has dated. Yet these selections still contain powerful dramatic representations of life that illuminate a segment of society that literally was ignored by the media of the time.It is arguable, but I think it's true that without Odets' dramatization of the plight of the common man, we wouldn't have witnessed the (admittidly more poetic and timeless) works of Miller, Inge and Williams. Odets, perhaps more than any other playwright of his time, placed "the little guy" in the center of the tragic form. As one reads these plays, one becomes aware that the rules are beginning to break right before the reader's eyes.Odets' plays are, if one is able to check their political hat at the door, fine works of dramtic lit that prove most actable while also allowing a range of staging possibilities. His narratives are clean and direct in the sense that they give the characters a series of clear objectives and actions as well as conflicts to confront. This collection is a most welcome and necessary addition to any theatre library.

I loved reading Waiting For Lefty. I tried to liken it to another play or playwright, but I can't compare it to Tennessee Williams, Neil Simon, or even Moilere! I think the best way to get a taste for it is to get it for yourself. It's definitely worth your time!