Sir Arthur Wing Pinero
(1855-1934) wrote The Enchanted Cottage:
A Fable In Three Acts during the years 1919 to 1921. This play’s creation came toward the end of Pinero’s
very successful career as a playwright with nearly sixty plays to his name. Throughout
his long playwriting career (1878-1928) he mastered several styles of comedic
drama that include farce, sentimental comedy and comedies focused on social
foibles or manners. He also wrote plays about contemporary social problems that
might include comedic moments and situations.
He knew how to entertain audiences while encouraging them to think.
The
Enchanted Cottage is exactly the type of play that can make
a reader wince at the situation, understand it emotionally, laugh at a funny incident
and be charmed by the extravagance of the moment. Pinero blended unusual dramatic elements
together to bring the entire situation to a happy conclusion for the characters
and to create an uplifting dramatic event for the reader/theatre goer. With The
Enchanted Cottage, Pinero created a theatrical “smoothie”.
The play was topical when
it was produced in London during the 1922 season. The leading male character,
Lieutenant John Bashforth, was crippled and disillusioned by World War One. His main intent was to live out the remainder
of his life alone in an isolated English village, even though he was probably
in his twenties. Another ex-soldier in
his mid-thirties, who is visiting the area, had been entreated to visit
Bashforth. Major Murray Hillgrove, who
is blind, arrives at Bashforth’s cottage one spring morning guided by Laura
Pennington from the village, a very poor, very plain looking young lady, but
extremely kind and thoughtful. The scene between Bashforth and Hillgrove during
their first meeting effectively shows not only how each man was dealing with his
disabilities, but also the empathy that was established between them.
While I was personally
taken with the scene, it hardly reflected the mood of the play’s title. Act One, titled “Relics of the War” then
takes its comedic turn when Bashforth is besieged by his mother and her plans
to organize his life. In order to avoid
her plans, Bashforth asks Laura to marry him for his convenience.
Act Two: “Strange
Happenings, and a Dream” occurs a month later than the previous act. It is evening and the set is “the inner hall
of the cottage.” Major Hillgrove has been
summoned to visit the newlyweds. When
the couple return to the cottage, it is evident that Bashforth has been transformed
to his prewar state of health and Laura is beautiful. Hillgrove feels the couple’s exuberance
and their delight in their new physical state. They request Hillgrove to come
the next day and prepare their visitors for the couple’s new appearance. Once
Hillgrove leaves and the couple goes to sleep, there is a wedding pageant/ballet
that represents a dream sequence.
Act Three: “Eternal
Truth” occurs the following afternoon. After Hillgrove announced the miracle
that has occurred, the couple emerged to realize that Bashforth’s family as well as
the local reverend and his wife do not see their miracle. The witchcraft of the
housekeeper, the romantic magic of the cottage, the comedic characters and the
spectacle of the ballet are not part of this plot sketch. I hope the bare bones
of the storyline illustrate that there must be other diverse character types
that make the play enjoyable and many comedic moments mixed in a delightful,
magical manner to make this play highly entertaining.
This play portrays a
serious situation in a comic manner and delivers the message that “love is
blind.” That appears to be what many
reviewers thought after that saw opening night at the Duke of York’s Theatre on
March 1, 1922. The success of The Enchanted Cottage lifted Pinero’s
declining reputation as a “has been” playwright who had lost his creativity.
The rights for the play
were quickly acquired for a New York production to star Richard Barthelmess (1895-1963). It opened on Broadway at the Ritz Theater on
March 31, 1923. This production also
featured a young Katharine Cornell in the role of Laura. It ran for sixty-five
performances.
The play was published in
1922 by William Heinemann, London. Then the play was made into a 1924 silent
film starring Richard Barthelmess as Bashforth. It was made under the direction
of John S. Robertson at a New Jersey studio.
It was described as a film “of rare charm and one which weaves a spell
of enchantment” in many reviews. The
film did not seem to stem the enthusiasm for audiences who wanted to see the
play since it continued to be presented on stages across Great Britain and America.
In 1945, the play was once again fashioned into
a film. Dorothy McGuire played Laura and
Robert Young starred as Bashforth. This Hollywood version had its premiere in
February, 1945. It was released in
Europe and Japan between September, 1945 and June, 1947. Once again it spoke to a new generation
following a horrific global war. On
November 27, 1949 “Theatre Guild of the Air” presented a one hour radio version
of the play. It starred Ray Milland and Margaret Phillips.
The play had many
community theatre and college productions in the United States throughout the
entire 1950s. Its mixed treatment of a
serious topic wrapped in a confection of comedy, sentiment and fantasy seemed
to sustain its popularity. The latest
revival of the play has been in the form of a musical. The Enchanted Cottage, the musical emerged early in 2000. The book
is by Thomas Edward West, lyrics by Alison Hubbard and music by Kim Oler. It is
based on Pinero’s play rather than the 1945 film script. The musical made its
debut in 2002 at the National Alliance for Musical Theatre (NAMT) Festival of
New Musicals in New York. It has had several productions since that time.
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