George Bernard Shaw (1856-1950)
spent the final years of World War I and a bit beyond writing his longest play
titled Back to Methuselah (1918-1921).
It is really a five-play cycle under one title that portrays humanity
from life in the Garden of Eden to the year 31,920 A.D. For this post, my discussion relates to the
first two plays--PART I titled IN THE BEGINNING and PART II THE GOSPEL OF THE
BROTHERS BARNABAS. It is in Part I, Act
II that Shaw discusses what motivates man to kill and in Part II Shaw examines the
aftermath of World War One. I do not intend to discuss these two plays as they
relate to Shaw’s major thesis for the cycle—the political inadequacy of
humankind and how humans need creatively to evolve beyond their present
considerations. The only lens I will use
for these two plays is their relationship to World War One.
Part I, Act I titled “In The
Beginning” is Shaw’s version of how Adam and Eve were introduced to the idea of
procreation. Act II is set “A few
centuries later.” The time is “Morning”
and the location is “An oasis in Mesopotamia.”
It is the simple living area where the very old Adam and Eve currently
reside. Even though Cain’s parents have
not forgiven him for slaying his brother Able, he arrives to visit his parents.
It is Cain’s discussion with Adam and Eve that reveals his rational for
battling and killing other men. Cain
believes fighting is important to feeling alive “life lived to the very marrow”
as well as fighting makes man the master of woman. However, Eve counters with
“she makes you fight to bring her the ornaments and treasures of those you have
slain.” Cain believes “There is
something higher than Man. There is hero and superman.” Cain also claims: “I
have striven with a man: spear to spear and shield to shield. It is terrible; but there is no joy like
it. I call it fighting. He who has never fought has never lived.”
The scene continues as he
educates his parents about war and the trophies it brings. His list includes the
bonus of other individuals to work for him. Also Cain claims: “Without danger I
cannot be great.” He proudly acknowledges
knowing “the craft of fighting and of hunting: in a word, the craft of
killing.” He proclaims: “Woman is the
creator and man is the destroyer.” Eventually Adam is won over by Cain’s
arguments for killing, but Eve never buys into the rationale. Shaw’s version of
how man evolved into the warrior/hero illustrates that continuing to have wars is
inevitable as long as the ideas expressed by Cain and his war trophies are desirable.
PART II THE GOSPEL OF THE
BROTHERS BARNABUS is set during the first years after World War One. It is a
fine afternoon in spring. The setting is
“a well-furnished spacious study” located in “Hampstead Heath towards London.” It
is the home of “The Clerical Gentleman” (Franklyn) who is the brother to “The Tweeded
Gentleman” (Conrad) a professor of biology at Jarrowfields University. These
two men are the Brothers Barnabas, who spread their gospel for “creative
evolution” as a means of stopping wars. Mr. Haslam, the newly appointed young
rector, arrives, but he is a “very unwelcome” guest. He has really come to see Franklyn’s daughter
named Savvy, who considers herself a “Simple-Lifer.” This term refers to a
lifestyle that existed from 1913 and throughout the years of the war. It refers
to a person who claims to live a simple life often connected to nature. It was
not unusual for these individuals to have an income that sustained their
lifestyle and allowed them neither to care about social considerations nor to
what was currently fashionable.
Shaw used this play to
illustrate his sense of society’s condition following the war. The politicians
who visit the Brothers Barnabas, just bicker about how their various proposed policies
have not succeeded. The characters named Mr. Burge and Mr. Lubin revisit the
problems resulting from the war. Audiences in the 1920s would have found Mr. Lubin recognizable as H. H. Asquith
(1852-1915) and Mr. Burge as David Lloyd George (1863-1945). Asquith and George
served consecutively as Prime Minister of the United Kingdom during the years
1908-1922. Shaw makes the point that politicians as well as the church failed
to make progress in solving the warring state of humans and their countries. At one point, Shaw sums up the early 1920s as
“A world without conscience that is the horror of our condition.”
Franklyn and Conrad tell
the visiting politicians that they are just leading the country into another
war. The solution that the Brothers
Barnabus advocate is beyond politics. It relates to humans having a long enough
lifespan to evolve into better human beings. The Brothers Barnabus believe it
would take extending human life to at least three hundred years since currently
humans “are just beginning to have a glimmer of the wisdom and knowledge needed
for their own government.”
The remaining three plays in the cycle illustrate Shaw’s vision for creative evolution that could provide
humans with the wisdom to stop all killings and wars.
This cycle of five plays
subtitled by Shaw “A Metabiological Pentateuch,” has an interesting production
history. The premier performance was undertaken by the Theatre Guild in New
York City where it was presented at the Garrick Theatre. It opened on February
22, 1922 and closed in March,1922 after playing for twenty-five performances.
Since Back to Methuselah took at least ten hours to see it in its
entirety, the Theatre Guild presented the entire cycle of five plays over the
course of three consecutive nights before starting again with Part I.
The first production in
England was presented by the Birmingham Repertory Theatre and it opened on October
9, 1923. Barry Jackson (1879-1961) founder of this theatre, was determined to
gain the rights to this play. When Shaw
met Jackson, Shaw revealed that he “had discarded all though of production
until perhaps fifty years after my death.”
Shaw did not know that Birmingham Repertory Theatre had produced his
plays for years. Shaw finally gave his permission for Jackson to stage Back
to Methuselah.
Birmingham Repertory
Theatre brought its original Birmingham production to London. Back to
Methuselah opened with Part I at the Court Theatre on February 18,1924.
Each play in the cycle opened on a different night. Part II opened February 19th,
Part III the following night, Part IV on the 21st and Part V on the
22nd. Each Part was repeated four
times and the production closed following the March 6, 1924 performance of Part
V. Audiences were curious and interested in this play. It was considered a bold
experiment.
The Birmingham Repertory
Theatre brought back its production of Back to Methuselah to London’s
Court Theatre on March 5, 1928. Once
again, each part was staged on separate consecutive evenings for a total of ten
times each. Colin Keith-Johnson (1896-1980) played Adam as he had done in the
1923-24 production.
A National British radio version of Back to
Methuselah Part I was aired on January 2, 1935. Part I starred Gwen Ffrangcon-Davies
(1891-1992) who also played Eve in the original Birmingham Repertory Theatre production.
I do not know if other plays from the cycle were aired on later dates.
The National Broadcasting
Company (NBC) in the United States produced a seventy-five minutes radio
version in 1937 of Back to Methuselah. This version of the play was
prepared by Shaw and it was broadcast in Canada as well as the United
States.
The Theatre Guild mounted
a second Broadway production of Back to Methuselah that opened at the
Ambassador Theatre on March 26, 1958. It played for twenty-nine performances
before it toured throughout the United States. This successful production had been
cut from 90,000 words in the original script to 30,000 words by Arnold Moss
(1910-1972). This version of Back to Methuselah was a two-act play. Moss
also appeared on stage playing Bernard Shaw. Moss used this role to keep the
play moving by chatting about it in a witty and charming Shavian manner. Celeste Holm (1917-2012) and James Daly (1918-1978)
starred throughout the drama in multiple roles as did other well-known actors. This version was directed by Margaret Webster
(1905-1972).
In 1969 Canada’s Shaw Festival presented Back
to Methuselah, Part One. A more complete version of the play was presented
during the Shaw Festival’s 1986 season.
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