Word: sara
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Dates: during 1960-1969
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...complexity of the scheming also makes Sara's lines uncomfortably long, particularly in the second act. Director Michael Murray has contrived to have Sara (Jane Alexander) speak the difficult passages very rapidly. But the rapidity is unnatural, although the plot requires that the lines not be cut. Still Murray has done what...
...pretensions keep his wife Nora and his ambitious daughter Sara in poverty. Melody will not tend bar--he has hired a barkeep. His daughter must wait on table while he drinks away the meager profits, and he keeps the establishment in debt through the extravagant upkeep of his greatest joy, a white thoroughbred mare...
...play opens with Sara scheming to marry a young American aristocrat who is sick in bed at the inn. Sara is nursing him back to health. She hates her father because she is convinced his wastefulness prevents her from rising in the world. She hopes marriage to the young gentleman will free her from the poverty of her wretched life...
These are the tensions O'Neill manipulates to bring the hour when Melody can no longer maintain the fiction he has lived. He admits to being the humble son of an innkeeper, and his whole prideful fiction, on which even Sara secretly depended, is shattered...
...plot of Poet centers around Sara's schemes for marriage. It is an involved plot, and the tedious verbal explanations it requires account for much of the play's weakness. Because we never see the young gentleman, a good deal of important off-stage action must be explained...