The prologue to The Great God Brown takes place outside a high school during the annual commencement dance. Billy Brown’s father, partner in a construction firm with Dion Anthony’s father, anticipates that Billy will study architecture in college. Dion, wearing the mask of a reckless, sensual young man, is secretly extremely sensitive and anxious to create a self of his own unlike that of his stolid father. Margaret, adored by Billy, rejects him and is attracted instead to Dion’s mask; when Dion takes it off, however, hoping to be loved for his essential self, she is confused and frightened. He replaces his mask, acknowledging that he needs her to be his “skin” even if she will never really know him.
Seven years later, in act 1, Dion and Margaret are married and have three nondescript sons. The Pan mask has become Mephistophelian and Dion’s real face more ascetic. Because he has exhausted his father’s inheritance, he allows Margaret to arrange with his rival Billy, now head of his own dead father’s firm, to hire him as a draftsman. Billy’s architectural designs are conventional and unimaginative. Envious of Dion’s talent as well as of his marriage to Margaret, Billy hires him. Dion can reveal his spirituality and sadness only to Cybel, nominally a young prostitute but symbolically an earth-mother figure. When Billy finds Dion at Cybel’s, Dion must put on his public mask again. Frustrated in his attempts to use art to see God, Dion resigns himself to serving the Great God Mr. Brown instead.
In act 2, seven years later, Brown, whose envy has made him a regular patron of Cybel, is puzzled by her summing up her preference for Dion by saying simply, “He’s alive!” However, she suspects that she will never see Dion again, so close is he to collapse. Dion tries once more to show his real face to Margaret and is rejected as before. He goes to Billy, whom he accuses of having stolen his “creative life,”...
(The entire section is 799 words.)