Come Back, Little Sheba

by William Inge

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The Play

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In Come Back, Little Sheba, Lola Delaney, fat, forty, and childless, has been married to Doc, a chiropractor whom she has driven to drink, for about twenty years. Doc seemingly had ahead of him a glorious future as a physician until he met Lola, a nubile beauty queen, whose father approved of few of her boyfriends. Doc was smitten but was slow to act; it took him a year to muster the courage to kiss Lola. Once he overcame his initial reticence, however, he promptly proceeded to impregnate her. Their marriage followed quickly, and Doc’s plans to become a doctor were scuttled for less ambitious ones.

Lola, too shy to go to a male obstetrician for her delivery, went instead to a midwife. The midwife botched the delivery, the baby died, and Lola was left barren. When the curtain rises, the main interest in Lola’s life has become her little white dog, Sheba, now lost. Lola looks for her and calls her, but Sheba does not return.

The Delaneys’ boarder, Marie, is an art student at a nearby college. Because her fiancé, Bruce, lives in another town, she has as well a casual sex partner, Turk, a brawny javelin-thrower, long on muscles and short on brains. Lola encourages Marie’s dalliance with Turk because she lives vicariously through their encounters.

Doc, replete with Oedipal hang-ups, is in love with Marie and uses her to feed his Madonna complex. He does not make any moves toward her, but he does pick up her scarf and fondle it, and his expression when he sees her reflects his love. (At such times, Franz Schubert’s “Ave Maria,” 1825, is used by the playwright as background music to show Doc’s illusions of Marie’s purity.)

Much of the business of the play is accomplished during the slatternly Lola’s long talks with the neighbor, the milkman, and the mailman. Lola will talk to anyone who will listen, and because when she talks she tells everything, William Inge can use her as a one-woman chorus to provide necessary background information.

The play moves slowly but deliberately toward Doc’s drunk scene. Since he became a member of Alcoholics Anonymous a year ago, Doc has not been drinking. He chides Lola mildly because she has allowed Turk to spend the night with Marie just before Bruce is to visit; she has also allowed Turk to pose virtually naked while Marie sketches him. The breaking point comes when Doc arrives at his usually unkempt house and finds that Lola has spruced everything up, has the table set with the fine Haviland china his mother gave them as a wedding gift, and is preparing an exquisite dinner for Marie and Bruce.

Doc pulls the cloth from the table, sending the china crashing to the floor; that rash act leads to his drunken tirade, which in the Broadway production lasted seventeen minutes and became so violent that Sidney Blackmer, who played Doc in the first Broadway run, injured himself several times in acting the scene. Doc winds up in the drunk tank at a local hospital. Lola calls her mother and begs to be allowed to come home, but her mother makes it clear that she cannot. Lola has no place to turn. She also has no skills that would enable her to make a living if she did leave. When Doc is released from the drunk tank, he comes home and begs Lola not to leave him, promising never to drink again if she will stay. As in most of Inge’s plays, the solution represents a significant compromise between two people who...

(This entire section contains 743 words.)

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need rather than love each other.

Lola’s dream sequences in the play are particularly significant. Strongly phallic, they presage her inevitable reconciliation with Doc. More important, however, the dreams lead Lola to realize that Sheba is dead. She dreams of her dog lying in a field, mud discoloring her white coat. Lola gives up looking for Sheba; she has at last accepted the disappearance of her youth.

A turning point occurs when Lola straightens up her usually disheveled house. She fills out the order slip for the milkman instead of trapping him into having a tedious conversation with her when he rings the bell to take her order. The resolution of the play’s conflict suggests that the best that one can hope for in life is an interdependency that keeps people from being alone.

Dramatic Devices

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Inge has been commended for the realism of his early plays, and Come Back, Little Sheba is a prime example of this realism. The play’s set is drab and, during most of the play, cluttered and sloppy. Lola’s dress and demeanor reflect that she has given up caring. The emotional tone of the play is reinforced by the set.

Inge has been criticized for the slow buildup to Doc’s drunk scene, which, to some viewers, is tiresome. Inge, however, planned this aspect of the play very deliberately. He likened the force of the drunk scene, which is the play’s center, to that of a tornado. He wanted the play to reflect that period of almost eerie quiet that precedes a storm. Then he wanted the “tornado” to burst forth in its incredible fury and to command the total attention that such a phenomenon does in nature. The drunk scene transfixes an audience almost lulled into lethargy by the preceding calm. As theater, this approach works well; Doc’s fury commands the full attention of the audience.

Some early critics questioned the psychological validity of the dream sequences. After he wrote them, Inge had them read by psychiatrists to check their psychological accuracy, and the scenes stood up to their scrutiny. They are now generally viewed as essential, psychologically convincing elements in the play.

Historical Context

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In the years following World War II, America experienced a significant migration from urban areas to suburban neighborhoods. The G.I. Bill played a crucial role in this transition by offering government financial aid for the college education of veterans, making higher education accessible to many men who previously couldn't afford it. This educational opportunity, coupled with a surge in construction, allowed these educated men to marry and purchase new homes in the burgeoning suburban developments across the country.

This era also heralded a pursuit of domestic perfection. Television broadcasts began to promote an idealized vision of flawless families residing in pristine homes, complete with immaculate white picket fences, as the quintessential American dream. However, many families struggled to meet these standards, leading to feelings of inadequacy and unhappiness, similar to the experiences of Doc and Lola in Come Back, Little Sheba. The decade was also marked by political unrest, notably the onset of Joseph McCarthy's "red scare," during which the House Un-American Activities Committee targeted numerous citizens suspected of communist ties. Additionally, the early conflicts in Korea signaled America's engagement in yet another military conflict.

Despite the focus on suburban life, a significant portion of the American population remained in rural areas. Kansas, where Inge was born and where Come Back, Little Sheba is set, had fewer than one million residents, yet it was the geographic center of the United States. By 1949, Kansas continued to be an agricultural hub, producing one-fourth of the nation's wheat supply.

In cities nationwide, women who had taken over factory jobs and managed assembly lines during World War II returned to domestic roles, trading in their work attire for aprons. By 1949, the postwar baby boom was in full swing, and the focus shifted towards family stability after years of economic depression and war. As veterans returned home and sought employment, women were encouraged to leave the workforce and resume their pre-war domestic roles. The media frequently portrayed the roles of wife and mother as the pinnacle of a woman's aspirations in postwar America. When Lola expresses her confusion about her role in a childless home early in the play, she highlights the hidden struggles behind the facade of the ideal American family. During a time of a burgeoning baby boom, the question arises: what is a woman's role if she has no children? Lola reveals that Doc doesn't want her to work, reinforcing the traditional domestic expectations of the time.

During this period, few women worked outside the home, but they were starting to become a more influential force in society. With consumer goods production at an all-time high, women as consumers were gaining more influence. Their involvement in the workforce during the war had also given them a sense of independence and pride in their work. The postwar years marked the early stages of the women's movement, which would grow significantly in the following decades. For many women, the 1950s reinforced the belief that they deserved equal opportunities as men in both domestic and professional settings. However, due to the prosperity brought by the postwar economic boom, many other women saw little need to challenge the existing norms. With more money circulating in the economy, consumer spending increased, and life was prosperous.

The postwar economy was striving to meet the demand for new cars, washing machines, and the array of new products that television ads promised every family would need. In 1950, General Motors reported a profit of nearly $636.5 million. The Gross National Product reached $284 billion, a significant jump from $99 billion in 1940. The production and sale of television sets also soared to meet the rising demand. Acquiring material goods became another symbol of the American Dream. Families felt that without a new home, new car, and a fully modern kitchen, they were not truly living the good life.

Literary Style

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Act

An act is a primary division within a play. In ancient Greek theater, the chorus typically marked the sections, which were often divided into five acts. This structure was a standard for serious drama from the Greeks through Roman times and was also used by Elizabethan playwrights like William Shakespeare. These five acts represent the progression of dramatic action: exposition, complication, climax, falling action, and catastrophe. This five-act framework remained prevalent until the 19th century when playwrights like Henrik Ibsen (A Doll's House) started merging elements into fewer acts. For instance, Come Back, Little Sheba is structured as a two-act play. The first act combines the exposition and complication, revealing Doc and Lola's disappointments, Doc's struggle with alcohol, and Marie's affair with Turk. The climax unfolds in the second act when Doc resumes drinking. His drunken return in Scene 2 illustrates the falling action, and the catastrophe occurs when Doc and Lola confront the reality of their choices and the unchangeable nature of their past.

Scene

Scenes are segments within an act. A scene might change when the main characters either enter or leave the stage. Alternatively, a scene change can indicate a shift in time. In Come Back, Little Sheba, the second scene of Act I takes place later on the same day, signifying the passage of time within the narrative.

Setting

The setting refers to the time, location, and cultural context in which a play's action occurs. Elements of the setting can include geographic location, the physical or psychological environment, prevailing cultural norms, or the historical period in which the events unfold. In Inge's play, the setting is the downstairs of an old house in a Midwestern city, set in the post-World War II era. The events transpire over two days, confined to a single set, the downstairs area of the Delaney home. This setting focuses on the literal and figurative aspects of Doc and Lola's home, which reflects the outcomes of their life choices. It serves as the battleground where they must address their differences and move forward.

Plot

The plot refers to the sequence of events within a story. Typically, plots have a beginning, middle, and end, but they can also consist of a series of interconnected episodes. Essentially, the plot allows the author to delve into main themes. Students often confuse plot and theme; however, while themes explore underlying ideas, plots simply narrate what happens in a straightforward manner. In Come Back, Little Sheba, the plot centers on a husband and wife who realize that their present does not align with their past dreams. The themes, however, delve into loneliness, addiction, and missed opportunities.

Character

A character is an individual in a dramatic piece. The actions carried out by these characters form the foundation of the story. The concept of character can also encompass an individual's moral compass. Characters may vary from simplistic, stereotypical figures to more nuanced, complex personalities. They can be identified by specific traits, such as being a rogue or a damsel in distress. "Characterization" refers to the method of crafting a realistic person from the author's imagination. To achieve this, the author endows the character with distinct personality traits that shape who they are and predict their behavior in various situations.

For example, at the start of Come Back, Little Sheba, Doc appears sober, yet his evasive responses to Lola suggest dissatisfaction or denial regarding his current life. As the play unfolds, it becomes evident that Doc is experiencing significant emotional turmoil. He uses Marie's innocence to symbolize all the missed opportunities in his life. When he discovers she isn't as he imagined, he struggles to cope with yet another disappointment. These events portray Doc as a broken, disillusioned man. The traits provided by Inge identify him as such, making his actions believable to the audience.

Drama

Drama is commonly defined as any work intended for stage performance. It involves a narrative, actors embodying characters, and action. Historically, drama has also encompassed tragedy, comedy, religious pageants, and spectacles. In contemporary terms, drama delves into serious subjects and themes but does not reach the same depth as tragedy. The term drama can also describe a storyline that is serious in tone and theme. Come Back, Little Sheba exemplifies both interpretations of the term.

Catharsis

Catharsis refers to the emotional release, typically of fear and pity. Aristotle first introduced the term in his Poetics to describe the intended effect of tragedy on the audience. The final act of Come Back, Little Sheba is cathartic as tension builds with the audience witnessing Marie and Turk's affair, knowing that its lack of secrecy will lead to a climax when Doc realizes Marie is not pure and virginal. When Doc finally erupts in anger at Lola, the audience experiences the release of this tension as catharsis. For the audience, Doc, and Lola, this cathartic moment brings greater understanding and, as Inge hopes, positive change.

Symbolism

Symbolism involves using one object to represent another, serving as a crucial technique in literature. A symbol is an object or image that conveys a meaning beyond its literal sense. This differs from a metaphor, which evokes an object to describe an idea or attribute. For instance, the dog Little Sheba symbolizes Lola's lost youth. Her search for the dog mirrors her quest to regain her lost beauty and youth. Similarly, the javelin thrown by Turk symbolizes his role in the play, acting as a sexual pawn for Mane. The javelin is closely associated with male sexuality and virility. Furthermore, Doc's idealized view of Mane reflects his aspiration to amend past errors, hoping Mane will act virtuously and avoid Lola's unfortunate fate.

Compare and Contrast

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1949: Blue Cross Insurance programs provide coverage for thirty-seven million Americans, a number over six times larger than a decade earlier.

Today: Nearly half of all Americans are without health insurance. In 1998, President Clinton and the U.S. Congress will once again debate a new health care proposal aimed at ensuring affordable health care access for all Americans.

1949: Auto registrations indicate one passenger car for every 3.75 Americans.

Today: Nearly every American household owns at least one vehicle, with many possessing two or three. Cars have become a lasting emblem of American life, with most people relying on them as their main form of transportation. Autos are now seen as personal expressions, showcasing the individuality and autonomy of their owners.

1949: Tranquilizer medications that alleviate anxiety and excitement without causing excessive drowsiness are developed by Wallace Laboratories and Wyeth Laboratories. Valium gains popularity as a common aid for those with high-strung personalities.

Today: Tranquilizers, antidepressants, and other anti-anxiety medications are widely advertised in various publications and easily accessible to almost everyone. Valium has been replaced in public awareness by "mental aids" like Prozac and Halcion. Additionally, many people turn to illegal substances such as marijuana for relaxation and stress relief.

1949: The era of mass media begins; the country now hosts more than one hundred television stations broadcasting across thirty-eight states. Five million households own TV sets, while forty-five million still have radios.

Today: Television sets are present in nearly every home, with most having more than one. Families that once gathered around the radio in the evenings have been replaced by families dispersed in different rooms, watching different programs on separate sets. The internet emerges as a new medium for entertainment and information.

Media Adaptations

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The 1952 film adaptation of Come Back, Little Sheba was produced by Hal B. Wallis for Paramount Pictures. The movie features Shirley Booth as Lola, Burt Lancaster as Doc, Terry Moore as Marie, and Richard Jaeckel as Turk. Shirley Booth received an Academy Award for her role.

In 1977, NBC aired a made-for-television adaptation. The cast included Laurence Olivier, Joanne Woodward, Carrie Fisher, and Nicholas Campbell. This version was produced by Granada Television.

A musical adaptation called Sheba premiered in Chicago in 1974. The cast featured Kaye Ballard, George Wallace, Kimberly Farr, and Gary Sand.

Bibliography and Further Reading

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Sources

Atkinson, Brooks. Review of Come Back, Little Sheba in the New York Times, February 16, 1950, p. 28.

Atkinson, Brooks. "Two Actors" in the New York Times, February 26, 1950, section 2, p. 1.

Barnes, Howard. "Good Acting Squandered" in the New York Theatre Critics' Reviews, Critics' Theatre Reviews, 1950, p. 350.

Burgess, Charles E. "An American Experience: William Inge in St. Louis 1943-1949" in Papers on Language and Literature: A Journal for Scholars and Critics of Language and Literature, Vol. 12, 1976, pp. 438-468.

Gibbs, Wolcott. "The Dream and the Dog" in the New Yorker, February 25, 1950, p. 66.

Hartung, Philip T. Review of Come Back, Little Sheba in Commonweal, December 26, 1952, p. 308.

Hatch, Robert. Review of Come Back, Little Sheba in Theatre Arts, December 1952, p. 29.

Herron, Ima Honaker. "Our Vanishing Towns: Modern Broadway Versions" in Southwest Review, Vol. 51, 1966, pp. 209-220.

Inge, William. Introduction to Four Plays, Random House (New York), 1958.

Leeson, Richard M. William Inge: A Research and Production Sourcebook, Greenwood Press, 1994.

Lewis, Allen. "The Emergent Deans: Kingsley, Inge, and Company" in American Plays and Playwrights of the Contemporary Theatre, Crown (New York), 1965, pp. 143-163.

Miller, Jordan. "William Inge: Playwright of the Popular" in Proceedings of the Fifth National Convention of the Popular Culture Association, Bowling Green University Press (Bowling Green, OH), 1975, pp. 37-50.

Phelan, Kappo. "The State" in Commonweal, March 3, 1950, p. 558.

Sarotte, Georges-Michel. "William Inge: 'Homosexual Spite' in Action" in Like a Brother, Like a Lover: Male Homosexuality in the American Novel and Theater from Herman Melville to James Baldwin, Translated by Richard Miller, Doubleday, 1978, pp. 121-123.

Weales, Gerald. "The New Pineros" in American Drama since World War Two, Harcourt (New York), 1962, pp. 40-56.

Wyatt, Eupherma Van Rensselaer. Review of Come Back, Little Sheba in Catholic World, April 1950, p. 67.

Further Reading

Courant, Jane. "Social and Cultural Prophecy in the Works of William Inge" in Studies in American Drama, Vol. 6, no. 2, 1991. Courant, a professor at the University of California, Santa Cruz, offers a critical examination of Inge based on cultural-historical theory. She explores Inge's motivations and intentions through the lens of social influences, arguing that the passage of time and events of the 1960s reveal how Inge foresaw social transformations.

Inge, William. "The Schizophrenic Wonder" in Theatre Arts, May 1950, pp. 22-23. In this article, Inge responds to criticism of the female characters in his play, defending them by arguing that critics struggle to "separate low morals from low incomes."

Leeson, Richard M. William Inge: A Research and Production Sourcebook, Greenwood Press, 1994. This comprehensive critical overview of Inge's plays provides insights into reviews and critical studies.

McClure, Arthur F. Memories of Splendor: The Midwestern World of William Inge, Kansas State Historical Society (Topeka), 1989. This book includes production details and photographs of Inge and his work.

Miller, Jordan. "William Inge: Last of the Realists" in Kansas Quarterly, Vol 2, no 2, 1970, pp. 17-26. Miller, a professor at the University of Rhode Island, hails from Kansas. He observes that Inge's settings are highly realistic and that he effectively captures the essence of life in Kansas and the Midwest. In this article, Miller commends Inge for his authentic depiction of characters.

Shuman, R. Baird. William Inge, Twayne (Boston), 1989. This book offers a critical analysis of all of Inge's plays.

Voss, Ralph F. A Life of William Inge: The Strains of Triumph, University of Kansas Press (Lawrence), 1989. This work is a critical biography detailing the life of Inge.

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