Among the important American dramatists of the 1920’s and early 1930’s, Elmer Rice was probably second only to Eugene O’Neill in the scope of his vision and the range of his theatrical experimentation. Although he achieved some early recognition with his courtroom drama On Trial (1914), it was The Adding Machine (1923), a wildly expressionistic episodic fantasy about a harried average man, Mr. Zero, who is trapped in an eternity of meaningless, machinelike activities, which earned Rice recognition as one of the most important dramatists in the United States. Then, having written one of the best nonrealistic plays of his time, Rice realized his greatest commercial and critical success with Street Scene, one of the most starkly realistic plays ever put on the American stage.
In spite of their radically differing theatrical styles, On Trial and Street Scene are about the same thing: the dehumanizing effect of modern, urban, industrial society on the human spirit. In Street Scene, however, Rice dramatizes his thesis by showing average people in situations of painful personal suffering, instead of abstract characters in symbolic settings, which makes Street Scene more powerful.
Street Scene is the forerunner of the social drama of the 1930’s. Before this time, what social drama the United States produced criticized only indirectly. In Street Scene, however, as soon as the curtain rises, before any plot is set in motion, the audience sees and feels the crowding, ugliness, noise, heat, and general agitation that constantly surrounds these urban dwellers. Such an environment is certain to bring out the worst in people; their necessary proximity guarantees conflict and...
(The entire section is 725 words.)