Maxwell Anderson emerged as a pivotal figure in transforming American drama during the early 20th century. Alongside contemporaries like Eugene O’Neill and George S. Kaufman, he helped elevate U.S. theater from provincial obscurity to global prominence. By the 1920s, New York had become a vibrant hub of theatrical innovation, with American dramatists experiencing an unprecedented creative renaissance.

Exploring Disillusionment and Modern Individualism

After World War I, many U.S. playwrights, including Anderson, reflected the pervasive disillusionment of their era. His works encapsulate the existential struggles of individuals bereft of religious faith and meaningful societal roles. In Anderson’s worldview, fleeting love serves as the sole beacon of meaning in an otherwise barren existence. Adhering to Aristotelian principles, he explored contemporary myths through the lens of tragedy, often placing social issues within broader historical and mythological contexts.

What Price Glory?

Anderson’s collaborative effort with Laurence Stallings, What Price Glory?, stands as his first major success. The play offers a critical perspective on the myths of war, reminiscent of Hemingway’s A Farewell to Arms. Set during World War I, it portrays the chaotic and purposeless nature of conflict through the lives of a group of U.S. Marines. Its realistic soldier dialogue, laced with profanity, shocked 1920s audiences unaccustomed to such raw authenticity. The play unfolds over three acts, each highlighting the futility and shared suffering of both American and German troops.

Elizabeth the Queen

Elizabeth the Queen, opening in 1930, marked the beginning of Anderson’s most prolific decade. Written in verse, the play was surprisingly well-received, revealing his masterful control over rhythm and imagery. Derived from Lytton Strachey’s Elizabeth and Essex, Anderson shifts the narrative focus to the personal conflicts of the characters. This Tudor-era play delves into themes of power versus passion, with Queen Elizabeth I suspecting her lover, Essex, of coveting her throne. Anderson’s skepticism of political systems permeates the play, exemplified by a character’s lament, “The rats inherit the earth.”

Both Your Houses

Following the acclaim of Elizabeth the Queen, Anderson returned to prose with Both Your Houses, earning him a Pulitzer Prize in 1933. Set in contemporary Washington, D.C., the play examines the moral isolation of individuals in a corrupt society. Alan McClean, a freshman congressman, encounters pervasive graft and faces a personal dilemma: adhering to his principles could financially devastate his fianceé’s father. This narrative mirrors the timeless struggle between integrity and the pervasive influence of corruption.

High Tor

Among Anderson’s diverse 1930s oeuvre, High Tor stands out with its enduring environmental theme. Set against the backdrop of the real High Tor peak, the play weaves realism, fantasy, farce, and satire. Van Van Dorn, the mountain’s owner, resists selling it despite pressure from mining interests, embodying the conflict between natural preservation and materialism. Awarded the New York Drama Critics Circle Award, High Tor reminds audiences of the relentless encroachment of modernity on the natural world.

Maxwell Anderson’s dramatic contributions reflect his dual focus on form and theme, as he navigated the complexities of human emotions and societal challenges. Through his exploration of historical and contemporary issues, he left an indelible mark on the landscape of American theater.