The Play
This three-act comedy follows the frustrated attempts of society matron Veta Louise Simmons to keep the eccentricities of her brother, Elwood P. Dowd, from public view. Elwood drinks and keeps introducing strangers to a companion whom no one else can see: a six-foot-one-and-a-half-inch-tall rabbit named Harvey. Veta’s daughter Myrtle Mae worries that her Uncle Elwood’s preoccupation with Harvey will scare away any marriage prospects for her. In the opening scene the guest of honor at a piano recital hosted by Veta is frightened away when Elwood tries to introduce her to Harvey. This incident is the last straw for Veta. In the next scene she visits Chumley’s Rest, a sanatorium for mental patients, and asks to have her brother Elwood committed. As Veta gives the information to the head nurse, Ruth Kelly, it becomes clear that Kelly is interested in Dr. Sanderson, the new assistant to Dr. Chumley. As Veta becomes more and more agitated in describing the effect that “living with Harvey” has had on her nerves, Dr. Sanderson begins to suspect that Veta’s attempt to commit Elwood is just a cover-up for her own psychosis. He orders Veta restrained and apologizes to Elwood for what he now thinks is his blunder. The fact that Elwood really does claim to see Harvey is comically suspended, as his attempts to introduce the rabbit to the psychiatrist are continually interrupted.
When Elwood leaves, Kelly’s romantic interest in Dr. Sanderson begins to unravel. Elwood’s charm and polite attention to her contrast sharply with Sanderson’s professional aloofness. In retaliation, Kelly disavows any interest in Sanderson. When Dr. Chumley arrives and finds a hat left behind from Elwood’s visit, he notices two holes cut in the hat—just the right size and position to accommodate rabbit ears. He concludes that Elwood is the madman after all and berates Sanderson for misdiagnosing Veta. In an emotional reaction, and in fear of possible lawsuits, he fires Sanderson.
Act 2 returns the action to Elwood’s home, where Myrtle Mae is conferring with Judge Gaffney in the attempt to have Elwood declared insane. The popularity of Elwood in the community and his own personal affection for the man make the judge reluctant to commit Elwood to an institution. Suddenly Veta appears at the door, disheveled from her ordeal with the psychiatrists. Dr. Chumley arrives, with his strong-arm orderly Wilson, looking for Elwood. While Veta threatens to sue Dr. Chumley, Wilson flirts with Myrtle Mae. When everyone leaves the room on various errands, Elwood arrives and replaces the portrait of his mother, the focal point of the room, with one of himself and a giant rabbit—obviously Harvey. Elwood leaves and Veta returns. When she notices the painting, she knows Elwood has been there.
The scene returns to Chumley’s Rest, four hours later. Dr. Sanderson is packing to leave; Kelly attempts to express her true feelings about him, but Sanderson’s brusqueness makes it impossible. When Elwood arrives, it is clear that Wilson thinks he has harmed Dr. Chumley, but Elwood says that the psychiatrist is with Harvey. When Chumley appears in act 3, he asks for a private meeting with Elwood. When the two are alone, Chumley reveals that he, too, now sees Harvey, and sees Elwood as a true visionary rather than a crackpot. He is selfish enough, however, to pretend to agree with Dr. Sanderson’s diagnosis, tricking Elwood into taking a serum that will “cure” him from the “hallucination” of seeing the giant rabbit. By doing so, Chumley hopes to “keep” Harvey for himself. Elwood agrees to the injection to please Veta, but at the last moment Veta realizes...
(This entire section contains 684 words.)
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that making Elwood “normal” will erase his finest qualities: affability, generosity, magnanimity. When it comes down to it, she realizes that she will miss Harvey. Veta and Myrtle Mae, now reconciled to living with an eccentric uncle and a six-foot rabbit, leave to go home. Elwood follows, and the door to Chumley’s office opens, presumably to accommodate Harvey. Elwood puts his arm around the invisible rabbit and the two exit together.
Dramatic Devices
The most central device in Harvey is the use of mime to create the illusion of an invisible giant rabbit. There are a few instances of related mechanical effects, such as doors opening without any visible human agency, but for the most part the illusion must be carried by gestures and looks: a friendly arm around the rabbit’s waist, a wink at a shared private joke, endless attempts to introduce the giant pooka to acquaintances. This mime element is so crucial that amateur productions, of which there are hundreds each year, succeed or fail according to how well it is carried off. No matter how good the acting is, the production will fail if Harvey is not sufficiently realized through mime.
One of the ways in which Chase reinforces the effect of mime is with dialogue, and in turn, she reinforces the mime and dialogue with characterization. One example is the flirtatiousness of Dr. Chumley. At the end of act 2, scene 1, when he first meets Myrtle Mae, the stage direction instructs the actor to show a libidinous interest in her. Yet, in case the audience misses or misinterprets it, Wilson, shortly thereafter, makes a verbal reference to the effect of Myrtle’s attractiveness on Chumley.
Chase’s use of misdirection to focus suspenseful interest on a prop is used effectively with the large framed painting in act 2, scene 1. Myrtle Mae announces that she has an item that will prove conclusively that her uncle is crazy. When she returns with the painting, it is still wrapped in brown paper, so the audience cannot see what makes it so conclusive as evidence. She is distracted by the conversation and forgets about the painting, but leaves it in conspicuous view of the audience. Chase takes care to leave the room empty for a few beats after the family exits and Elwood enters, the mystery painting solely commanding attention. When Elwood sees it, he tears off the paper and a portrait of Elwood and a giant white rabbit appears—the unveiling all the more effective for the postponement.
Historical Context
Shock Therapy
Sigmund Freud, often hailed as the father of modern psychiatry, gained significant recognition in the United States during the 1920s. His rise to fame began when intellectuals, intrigued by his European research, started undergoing psychoanalysis. Through their writings and personal experiences, the public became acquainted with Freud’s theories on the subconscious—an idea that would have baffled earlier generations, who treated eccentric behavior as harshly as criminal acts. Although Freud’s work became widely known, it was still seen as somewhat of a luxury, an indulgence for the affluent. In more severe cases of mental illness, the focus shifted from understanding patients to finding effective treatments for their behavior. For those suffering from severe depression, this often meant "shock treatment," now known as "Electroconvulsive Therapy" or "ECT." ECT demonstrated quicker and more reliable results compared to psychotherapy. Since its introduction in the 1930s, ECT has been controversial: proponents argue it provides relief for emotionally unstable patients, while critics highlight side effects such as personality dampening and memory loss. In the 1950s, psychiatry began using anti-psychotic drugs to help patients manage delusions, but these medications also had adverse long-term effects. Recently, a more refined version of ECT is combined with drug therapy, yielding positive outcomes with minimal negative side effects.
Small Town America
In the 1940s, American culture saw a significant population shift from small towns to large cities. This migration had occurred before, most notably during the Industrial Revolution of the 1870s and the economic prosperity of the 1920s, when descendants of farmers were lured to urban areas by the promise of wealth. However, during difficult economic periods, such as the Great Depression of the 1930s, there was little incentive to move to cities. When the United States entered World War II in 1941, the need for mass-produced goods surged, creating a labor shortage as many workers joined the armed forces. Consequently, large cities once again became magnets for workers.
This kind of shifting population fosters the impersonal atmosphere often linked to major cities. The small town where Elwood P. Dowd resides in Harvey is sizable enough to sustain various businesses he mentions (Charlie’s, Blondie’s Chicken Inn, Bennie’s Drive-In, etc., along with two cab companies and a sanitarium). However, it remains small and stable enough to embrace a quirky local figure as part of the community. Dowd and his family live off the achievements of a previous generation—their mother arrived with an ox team and was among the town’s founders. Audiences in 1944, feeling the strain of urban expansion, could reminisce about a slower pace of life, where eccentrics could idle away their time in the dusty library of an old Victorian mansion.
World War II
This play was staged during a period when the Second World War dominated daily life. The war had been ongoing for several years, and the Allies, led by American forces, were beginning to secure victories. Germany was under heavy bombing raids. D-Day, the massive assault by American and British forces to drive Axis troops out of France, occurred on June 6th that year. This campaign continued through the summer of 1944, culminating in the liberation of Paris from German occupation. The first glimpses of the Nazi Holocaust’s horrors emerged when the Allies entered Majdanek, a concentration camp in Poland, discovering gas chambers and crematoriums responsible for one and a half million deaths. Harvey premiered on Broadway on November 1st of that year.
Popular entertainment provided a respite from the horrors of war. Some plays and films, like Alfred Hitchcock’s Lifeboat, incorporated the war into their narratives. However, since the war’s outcome was still uncertain, most works avoided the topic, offering audiences lighter, more cheerful content. Romantic comedies featuring stars like Alfred Lunt and Lynne Fontanne were popular on Broadway, while movies leaned towards comedies like Arsenic and Old Lace and thrillers like Double Indemnity. Harvey is an excellent example of the type of escapist plays produced during World War II to provide a diversion from war news.
Literary Style
Setting
The scenes in this play switch between the library of the Dowd mansion and the foyer of the sanitarium. These contrasting settings highlight the different perspectives on Elwood P. Dowd’s eccentricities.
In his home environment, Dowd’s behavior almost appears logical. The grand, ornate mansion, described in the set directions as having "faded grandeur," provides insight into his character even before he appears. Dowd is a relic of the past—courtly and generous, with all meaningful human connections behind him. In many respects, Veta and Myrtle’s charade of hosting the Wednesday Forum is as delusional as his relationship with an invisible rabbit. The ladies' hurried departure from the society tea when Dowd starts introducing Harvey, while odd, is not particularly offensive. It hints at the improbability of Myrtle ever being accepted into society. The Dowd mansion suits the Dowds but is alien to others.
At the sanitarium, the focus shifts from social acceptance to scientific objectivity. However, the events there are equally absurd at times. The seriousness of the hospital setting is starkly contrasted by Dr. Chumley, the institution’s leader, cowering in fear of a giant invisible rabbit by the end.
Both settings are described in the script as having multiple doors, allowing for a chaotic atmosphere as characters constantly enter and exit the stage. This continuous movement aligns with the central theme of stability and instability.
Symbolism
Thanks to this play and its popular movie adaptation, the giant white rabbit has come to symbolize child-like imagination in American culture. Characters, often ghosts, that are visible to only select individuals typically represent something in literature, such as repressed guilt, fear, or longing. The end of the second scene of Act II of Harvey goes to great lengths to dispel notions that the large rabbit symbolizes anything specific to Elwood P. Dowd. It is not a stand-in for his father or a lost childhood friend. Author Mary Chase ensures readers understand that Harvey is not a desperate substitute for something missing in Dowd’s life. Instead, Harvey represents the response of a quiet, polite middle-aged man who has always lived at home to the grand achievements and crimes of others. This is fitting considering what Harvey actually is. Rabbits are not known for being violent or aggressive, and as Dowd explains to Kelly, Harvey’s size is a match for anything others bring into bars with them, "bigger and grander than anything they offer me."
Harvey represents a somewhat childish concept. The oil painting of him illustrates this, depicting Dowd seeing Harvey with a collar and tie. This portrayal makes Harvey resemble a cartoon or puppet more than an actual rabbit, symbolizing imagination rather than neurosis.
Climax
The play features a false climax followed by an even more significant climactic moment. Initially, it appears the play reaches its peak when Elwood Dowd agrees to receive an injection that will stop him from seeing Harvey. Given that the play revolves around their relationship, Dowd's willingness to undergo shock therapy suggests an end to this connection. When the cab driver, E. J. Lofgren, enters, it seems almost trivial because the audience's focus is on Dowd's situation.
However, the true climactic decision in Harvey is made by Veta, not Dowd. When she halts the injection, it becomes evident that the play is not about whether Elwood P. Dowd will change but whether his family will accept him as he is. Viewed in this light, all elements of the play lead to this climax. The characters are divided between those who sympathize with Dowd, like Judge Gaffney and Nurse Kelly, and those who believe action must be taken, like Myrtle and Wilson.
Compare and Contrast
1944: Nearly all nations are either directly or indirectly involved in the ongoing Second World War, which has been raging in Europe for five years.
Today: Countries occasionally participate in smaller conflicts by contributing peacekeeping forces to joint efforts by the United Nations or NATO. However, particularly in the United States, war is not a primary concern for many.
1944: Excessive drinking is considered a harmless leisure activity, often criticized only by prudes.
Today: Alcoholism is acknowledged as a serious, chronic illness.
1944: There is a widespread fear that using drugs to manage psychological disorders will turn patients into personality-less zombies.
Today: Despite the increased prevalence of drug therapy, there remains a fear that psychologists might overprescribe psychoactive medications unnecessarily.
1944: People get their daily news from newspapers and the radio. Once a week, they might watch newsreels at theaters showing important events along with movies.
Today: Global connections enable instantaneous television broadcasts from anywhere in the world to any location worldwide.
1944: The National System of Interstate Highways is established by Congress, allowing for rapid cross-country travel by car.
Today: Due to pollution from burning fossil fuels, government regulations aim to reduce car usage and promote public transportation.
1944: Most phone calls are made by speaking to an operator and stating who you wish to reach.
Today: Many phone calls involve selecting options from a service menu, often without ever speaking to a live person.
Media Adaptations
The 1950 film Harvey has achieved classic status in American cinema, featuring standout performances from James Stewart as Elwood P. Dowd and Josephine Hull, who reprised her Broadway role as Veta and earned an Academy Award for her portrayal in the movie. The screenplay, penned by Mary Chase and Oscar Brodney, was directed by Henry Koster. It is available through MCA/Universal Home Video.
Bibliography and Further Reading
Sources
Craig, Pat, ‘‘Onstage Has a Good Hare Day,’’ in Contra Costa Times, January 25, 2000, p. E04.
Frye, Northrop, Anatomy of Criticism, Princeton University Press, 1957, pp. 163–86.
Kronenberger, Louis, Review of Harvey in PM, November 2, 1944.
Levin, Harry, Playboys [and] Killjoys, Oxford University Press, 1987, p. 19.
Mr. Showbiz, http://www.mrshowbiz.go.com/reviews/moviereviews/movies/Harvey_1950.html (May 24, 2000).
Phelan, Kappo, ‘‘The Stage and the Screen,’’ in Commonweal, Vol. 41, No. 5, November 17, 1944, p. 123.
Rhodes, Russell, in Rob Wagner’s Script, Vol. 30, No. 694, December 16, 1944, p. 24.
Richards, Stanley, The Most Popular Plays of the American Theatre: Ten of Broadway’s Longest Running Plays, Stein [and] Day, 1979, p. 226.
Toohey, John L., A History of the Pulitzer Prize Plays, The Citadel Press, 1967, pp. 199–200.
Further Reading
Erikson, Erik H., Toys and Reason: Stages in the Ritualization of Experience, W. W. Norton [and] Co., 1977. Erikson, a globally recognized psychiatrist, examines the critical role of play in mental health. His argument that play serves as a buffer between the self and societal realities might shed light on Elwood P. Dowd’s actions.
Frommer, Myrna Katz, and Harvey Frommer, It Happened on Broadway: An Oral History of the Great White Way, Harcourt Brace, 1998. This book recounts the history of Broadway during its golden era through the voices of actors, writers, producers, and others who were involved.
Shipley, Joseph T., The Crown Guide to the World’s Best Plays, Crown Publishers, Inc., 1986. Provides a concise summary (pp. 141–2) of the initial reception of Harvey and its cultural impact, along with a list of revivals up to the 1980s.
Simon, Neil, Rewrites, Touchstone Books, 1998. Simon, more than any other modern playwright, captures the comedic essence of Chase’s work. In his celebrated autobiography, he shares insights into the process of staging a comedy on Broadway.