Harry returns. As he and Irene drink champagne and make plans for her to join his show and tour with him, bombs begin to fall around them and machine-gun fire can be heard. They stand together at the window singing “Onward, Christian Soldiers” as the curtain falls.

Sherwood depicts the horrors of war by employing a number of subtle and dramatic devices. Mainly, he relies on his characters to demonstrate war’s “bestial frenzy” and its dangers. Quillery’s frenzied outbursts are shown to destroy him, Dr. Waldersee’s pessimism destroys his career, and patriotism lures the Cherrys from their honeymoon. The sound of machine-gun fire and the deafening roar of bombers create a vivid image of war’s menace.

The play also relies on lighting to reinforce content. The darkening of the stage signals oncoming night but symbolizes the approaching darkness of war. The color wheel in the cabaret sequence sheds a lurid light on the dancing couples, suggesting the unnatural effects that war brings with it. Lighting therefore becomes a visual connection throughout the play that also symbolizes events offstage.

Onstage, the characters often speak in different languages simultaneously. This device reflects, on one hand, the difficulty of communication among nations—suggesting one of the causes of war; on the other hand, it dramatizes the human characteristic of not listening to or hearing others—not being interested enough in what they are saying to shut up long enough to hear them out. The discordant chorus of voices is an apt symbol of human self-centeredness and the jangle of failed communication that contrasts with the musical elements in the play.

The play’s setting is important because it enables Sherwood realistically to bring together assorted characters representing not only a certain point of view but a certain nationality as well. The setting is also central to the antiwar theme and itself symbolizes the idealist’s appeal for international accord and the ideal place to be when human affairs grow heated. When Irene exclaims in the end, “Here we are, on the top of the world,” her meanings resonate throughout the play. High in the Alps she is indeed on top of the world, but morally she has ascended by embracing truth and love and by not succumbing to patriotic fervor. She has risen above the sordid horror of destruction and asks rhetorically, “Do you want to go in the cellar?” By placing the action on top of the world, Sherwood suggests that the best place to be is above it all.

Fascism in Italy

During the tumultuous era of World War I, Italy aligned itself with the mighty Allied forces of Britain, France, Russia, and the United States, standing in defiance against the Central Powers, which counted Germany, Austria-Hungary, Turkey, and Bulgaria among their ranks. With victory secured, the Treaty of Versailles redrew the map, redistributing lands from the vanquished. It was under this treaty that Monte Gabriele, nestled within the Alps and once claimed by Austria, was granted to Italy.

The war's end left Italy's political landscape in chaos. A fierce contest for dominance ensued between Socialists, Communists, and Fascists. Fascism, a novel political entity backed by armed nationalist factions, emerged amidst this turmoil. The term fascio—evoking imagery of a bundle of axe-headed rods symbolizing the authority of the ancient Roman Republic—had been associated with radical groups in Italy since the 1870s. As the war drew to a close, these disparate nationalist groups coalesced into a formidable force named Fascio di Combattimento, championing action, modernity, and a fervent nationalism. Initially, the party was rooted in left-wing ideologies.

In a mere three years, Benito Mussolini ascended rapidly through the ranks to seize the premiership of Italy. He swiftly dismantled democratic avenues of political change, and by 1925, ruled as a dictator. Under Mussolini's stewardship, the Fascist Party shifted decisively rightward, prioritizing order and control over the nation at any cost. They coined the term "totalitarianism" to capture their ambition for absolute dominion over every facet of life.

Between 1935 and 1936, Italy embarked on a campaign to annex Ethiopia, referenced by Harry in Act 1 as "You mean—that business in Africa?". This conquest led Adolf Hitler to seek an alliance with Mussolini. As World War II erupted in 1939, Italy found itself ill-prepared, and the staggering toll in lives and resources turned public sentiment against Fascism. By 1943, Mussolini was ousted from power. Despite a small faction of loyal Fascists supported by Hitler in northern Italy, which called itself the Italian Socialist Republic and waged civil war against the rest of the country, the new democratic Italian government switched allegiances during the conflict. In the war's twilight moments, Mussolini's bid for refuge in Switzerland ended in capture and execution by the Italian government.

The Dawn of World War II

In this theatrical portrayal, an outbreak of hostilities heralds what the characters perceive as the onset of a second global conflict. However, reality saw World War II commence in 1939, four years after "Idiot's Delight" was penned. At the time, tensions simmered so palpably that astute observers of international dynamics, like Sherwood, foresaw an inevitable escalation to worldwide warfare.

The origins of World War II trace back to the aftermath of the Treaty of Versailles, signed in 1919. This treaty concluded the most catastrophic and widespread international clash known to history, involving thirty-two nations. Germany, the most prominent loser, faced severe penalties intended to both punish and prevent the resurgence of its military might. Alongside the forfeiture of immense financial resources, ships, livestock, and natural assets, Germany relinquished significant territorial gains. These losses compounded economic despair, which worsened as the 1930s depression swept the globe, inflating prices so sharply that earnings dwindled before they could even be spent.

In their desperation, the German populace sought a resolute leader who denounced the treaty as unjust and was prepared to contest it. The election of Adolf Hitler in 1933, a charismatic figure who instilled national pride through military prowess and exploitation of racial biases, marked a turning point. Once in power as Chancellor, Hitler transformed the government into a dictatorship and launched a campaign of military expansion.

Dissatisfaction with the Treaty of Versailles extended beyond Germany. France and England grappled with the dual challenge of reconstructing their war-torn economies and enforcing the treaty. Meanwhile, the United States, eschewing wartime alliances, adopted a stance of isolationism. Italy, though allied with the victorious powers, felt shortchanged by the treaty’s territorial allocations. Under Mussolini's leadership in the 1930s, Italy embarked on military conquests, beginning with Ethiopia in 1935. Concurrently, Japan's military regime pursued its own expansionist agenda.

As "Idiot's Delight" emerged, the international arena seethed with instability, shifting from week to week. Yet, the anticipated global conflict did not immediately materialize. In 1936 and 1937, Germany, Italy, and Japan solidified their ambitions through treaties while annexing smaller nations. Reluctant to rekindle the horrors of World War I, France and England acquiesced to Germany’s treaty violations. The annexation of Czechoslovakia in 1938 and subsequent threats to Poland prompted Britain and France to pledge Polish defense. After Stalin's non-aggression pact ensured Germany’s eastern border security, Hitler invaded Poland in 1929, prompting France and Great Britain to declare war shortly thereafter. The conflict gradually enveloped most nations around the globe.

Polemic

A polemic is a spirited argument aimed at advocating for or against one side of a contentious issue. Artists often find themselves at a disadvantage when their creations veer into polemics, as this tends to steer the piece toward delivering a predetermined lesson, overshadowing the essence of artistic expression.

Idiot’s Delight emerges from the mind of a pacifist, weaving pacifist ideals seamlessly into its fabric without overt imposition. The characters' diversity allows Sherwood to naturally explore the themes he wishes to, as these ideas organically surface within the narrative. Take the German munitions dealer, Weber, for instance—he stands as the story's undeniable antagonist. His villainy is subtly crafted, highlighted by his ruthless nature and willingness to betray his lover to her demise. Yet, it is not Weber who exuberantly discusses destruction. Instead, it is Irene who mocks such grim dialogue, imagining what she thinks would appeal to him. Weber's silence about his own views amplifies his menacing presence, sparing the drama from exaggerating his maliciousness. Even when suspicion falls on Irene's trustworthiness, he refrains from direct accusations, opting instead to justify the poison gas trade, claiming his buyers deserve their fate. Had Sherwood indulged too deeply in polemics, Weber would likely have been portrayed as a much less believable villain.

The same nuanced approach applies to the protagonists, Harry and Irene. Both are imperfect beings, skilled in deception and manipulation. Sherwood refrains from sanctifying them, instead trusting the audience to discern the truth in their war observations, despite their lives being woven with deceit. They bear the war's brunt most acutely, finding solace only in each other's presence amidst the final bombardment's horror. Their ability to perceive the world as Sherwood intends is evident, yet they are not unrealistically portrayed as paragons of virtue.

Setting

The play's setting masterfully complements its thematic explorations. Firstly, nestled in the Italian Alps, the locale is pivotal. Characters repeatedly note the hotel's vantage point, offering views of Italy, Switzerland, Austria, and Bavaria. This geographical detail mirrors the kaleidoscope of people traversing Monte Gabriele, infusing the scene with the inherent tension of a border town during wartime. Here, foes of the ruling regime attempt to flee while authorities strive to contain them, preventing their return to bolster their nations' war efforts. Tension, always palpable along a solitary border, intensifies where multiple nations converge with conflicting loyalties.

The play unfolds within the confines of a hotel lobby, a venue that once served as a haven for tuberculosis patients but now seeks to entice leisure seekers. Aiming to highlight winter sports, management brings in an American social director, though his enthusiasm is lost on those detained at Hotel Monte Gabriele against their will. This setting serves as a crossroads for an eclectic international ensemble—public enough for any character to appear, yet traditionally a haven for relaxation, its juxtaposition with the enforced stay heightens the tension.

Mood

Sherwood adeptly maintains audience engagement through the dynamic interplay of contrasting moods. Set against the backdrop of war's dawn, Idiot’s Delight carries an air of grave severity, with themes like cancer treatment, chemical warfare, and executions casting a somber shadow. Yet, interwoven are lighter moments. The obliviousness of "Les Blondes" to their dire surroundings invites laughter at their naïveté. The comedic banter between Don Navadal and his employer, Pittaluga, over their irreconcilable differences—neither serious enough to sever ties—adds levity. Midway through the play, a show-within-a-show, brimming with song and dance, offers a whimsical respite, allowing audiences to momentarily escape the weighty discourse. This careful blend of earnest and lighthearted tones ensures that viewers remain alert, eschewing complacency and challenging preconceived notions of the play's message.

1936: The globe finds itself gripped by a relentless economic depression, ignited by the stock market's catastrophic collapse in October 1929.

Today: Following a decade of unparalleled economic expansion in the 1990s, fueled by the widespread adoption of personal computers and the burgeoning Internet, the global economy is now gently descending into a recessionary phase.

1936: International news trickles in over crackling short-wave radios, bringing stories from distant lands.

Today: Around the planet, people remain tethered to unfolding events through a web of television news networks with global reach, alongside the ever-present stream of Internet updates, ensuring constant connectivity.

1936: The Soviet Union is plunged into the harrowing abyss of the Great Purge. Over the ensuing two years, Stalin's regime orchestrates the murder of 8 to 10 million souls.

Today: A decade after the collapse of Communism, Russia grapples with the arduous task of forging a sustainable and stable economy rooted in the ideals of capitalism.

1936: A bold coup by young army officers seizes control of the Japanese government, heralding a military dictatorship and steering Japan toward its eventual alliance with Germany and Italy.

Today: As a titan of economic prowess, Japan stands among the world's leading superpowers, governed by elected leaders who are accountable to the people's voice.

1936: A troupe of female performers venturing abroad requires a male overseer for both management and protection, shielding them from potential exploitation.

Today: Antiquated stereotypes have crumbled, granting women the respect and freedom to travel independently across most countries, no longer bound by the need for a male escort.

1936: An ominous atmosphere of tension looms, as fears abound that superpower rivalries could ignite prolonged ground conflicts.

Today: With most of the world's dominant nations wielding nuclear capabilities, there is a determined effort to resolve disputes through diplomatic channels, striving to avert the use of nuclear warfare.

In a cinematic transformation in 1939, "Idiot’s Delight" leaped onto the silver screen with the illustrious Clark Gable, the enchanting Norma Shearer, and the charismatic Burgess Meredith bringing the characters to life. Masterfully adapting his own stage drama, Robert E. Sherwood crafted a screenplay that was skillfully directed by Clarence Brown and presented to audiences by MGM. The film's timeless appeal endures, with a 1991 video release available through MGM/UA Home Video.

A Theatrical Experiment

In 1983, the renowned lyricist Alan Jay Lerner ventured into musical theater with a fresh rendition of the play, aptly titled Dance a Little Closer. With a vibrant score composed by Charles Strouse, this adaptation aimed to captivate Broadway. However, it faced an abrupt closure after a single performance. Yet, the music lives on through a 1987 compact disc, preserving the original Broadway cast's performances, available from Topaz Entertainment Inc. and Theaterland Productions.

Sources

Brown, John Mason, ‘‘Postscript,’’ in Idiot’s Delight, Charles Schribner’s Sons, 1936, pp. 189–90.

———, The Worlds of Robert E. Sherwood: Mirror to His Times, 1906–1939, Harper & Row, 1962, p. 341.

Gould, Jean, ‘‘Robert Sherwood,’’ in Modern American Playwrights, Dodd, Mead & Company, 1966, p. 107.

Further Reading

Auchincloss, Louis, ‘‘Robert E. Sherwood,’’ in The Man behind the Book: Literary Profiles, Houghton Mifflin Company, 1996, pp. 192–98. Auchincloss’s brief overview of Sherwood’s life is a good starting point for students.

Meserve, Walter J., Robert E. Sherwood: Reluctant Moralist, Pegasus Press, 1970. Meserve focuses on Sherwood’s hopes and fears for humanity, centering his book around the playwright’s shift from pacifist to supporter of American involvement in war.

Morgan, Philip, Italian Fascism, 1919–1945, St. Martin’s Press, 1995. The last half of this study deals with the situation in Italy after 1933 and serves as clear and readable overview of the background of this play’s politics.

Moses, Montrose J., ‘‘Robert E. Sherwood,’’ in Dramas of Modernism and Their Forerunners, D.C. Heath and Company, 1941. This introduction to Idiot’s Delight, in an anthology published while Sherwood was at the height of his career, views his work as a more sustained and coherent body than contemporary critics usually do.