Carson McCullers stands as a unique voice in American drama, celebrated for her distinct approach in both fiction and theater. Her dramatic works are characterized by a willingness to defy conventional norms, bringing forth narratives that explore complex human emotions and societal issues. This exploration is evident in her two major plays, "The Member of the Wedding" and "The Square Root of Wonderful," each reflecting McCullers' distinctive narrative style and thematic concerns.

The Member of the Wedding

"The Member of the Wedding," adapted from McCullers' own novel, is a poignant study of longing and identity. The play unfolds in the South, centering on twelve-year-old Frankie Addams, a tomboy with a fierce desire to belong. Alienated from her peers and nursing the sting of lost friendships, Frankie finds solace only with Berenice Sadie Brown, the family cook, and her young cousin John Henry. Her brother Jarvis’s upcoming wedding sparks an obsession in Frankie to join the newlyweds on their honeymoon, marking a desperate bid to wrest a sense of belonging and identity.

The wedding, a pivotal but offstage event, is the catalyst for Frankie’s dramatic outburst, as she implores the couple to take her along, only to face rejection and contemplate escape. With her father's pistol surreptitiously packed, she attempts to flee, ultimately spending the night in an alley, consumed by thoughts of suicide before reconsidering. The play's climax sees a resigned Frankie returning home, having navigated a fraught personal journey.

Over time, significant changes sweep through the lives of the play's central characters. John Henry succumbs to meningitis, Berenice prepares to leave the Addams household, and Frankie emerges from her identity crisis, now a teenager with new friendships and a budding romance. Yet, the transformation is bittersweet. Frankie’s newfound socialization brings with it a loss of childhood innocence and passion. Berenice, grappling with personal loss, remains a poignant figure, encapsulated in the final scene where she sings "His Eye Is on the Sparrow"—a haunting testament to the play's exploration of adulthood and loss.

Exploring Themes and Characters

The play’s structural choice to keep much of the action offstage allows McCullers to focus intensely on the interpersonal dynamics between Frankie, Berenice, and John Henry. This confined setting accentuates the characters' emotional states, with the kitchen and backyard serving as a microcosm of the limitations and tensions of their world. The static staging draws parallels to Anton Chekhov’s influence on McCullers, imbuing the work with a sense of inertia and existential contemplation.

Frankie Addams is a richly drawn character, oscillating between the tumultuous extremes of adolescence. Her tomboyish demeanor and rebellious spirit contrast with her yearning for femininity and inclusion, a duality that McCullers captures with both humor and pathos. The audience laughs at Frankie’s melodramatic proclamations yet feels the sting of her alienation, a testament to McCullers' skill at blending comedy with profound emotional insight.

Berenice Sadie Brown, Frankie's surrogate maternal figure, embodies resilience and wisdom, shaped by her experiences of love and loss. Her complex relationship with Frankie mirrors the latter’s own journey, as both navigate the bittersweet terrain of love’s possibilities and limitations. Berenice’s narrative also touches on issues of race, reflecting the realities of the segregated South and providing a counterpoint to Frankie’s personal struggles.

The deaths of Honey and John Henry serve as metaphors for the loss of innocence and youthful rebellion. Honey’s tragic end underscores the entrenched racial injustices faced by African Americans, while John Henry’s passing signals the irrevocable end of childhood for Frankie. McCullers deftly uses these characters to explore themes of identity, belonging, and the often painful transition into adulthood.

The Square Root...