Frank Gilroy's The Subject Was Roses, a Pulitzer Prize-winning play from 1965, remains a celebrated piece of American theatre. Lauded for its detailed portrayal of an ordinary family's life, the play draws from Gilroy's extensive experience in television writing, where he crafted dramas for series like Playhouse 90 and Kraft Theatre. Although some regard it as slightly dated, the play continues to be revived, offering insights into familial dynamics and the subtleties of everyday life.

From Television to Theatre

Before achieving fame in the theatre, Frank Gilroy honed his skills in television, where he wrote for prominent dramatic series. This background in TV likely informed his approach to the precise, intimate storytelling found in The Subject Was Roses. Critics initially noted his television roots, perhaps suggesting that his experience in that medium endowed him with the ability to concentrate on the nuanced details of family dynamics.

Gilroy's plays are recognized for their realistic portrayal of ordinary lives, aligning with a tradition established by classic dramatists like Henrik Ibsen and Anton Chekhov. These playwrights distanced themselves from the grand spectacles of the nineteenth century, favoring stories that centered on everyday people. While earlier works in this tradition sometimes included extraordinary plot points, later realists like William Inge and eventually Gilroy emphasized the ordinariness of life in their narratives.

Critical Acclaim

Upon its Broadway debut, The Subject Was Roses received widespread acclaim from critics. Walter Kerr of the New York Herald Tribune praised it as "quite the most interesting new American play" of the season, highlighting the play's "economy of effect" and the "simplicity of gesture" that nearly approached poetry. It was celebrated for its authentic depiction of parental frustration and for the performances of its cast, including Jack Albertson, Irene Dailey, and Martin Sheen.

Howard Taubman of the New York Times lauded the play as an "honest and touching work" that delicately explored the emotional ties and divisions within a family. Richard Watts, Jr. of the New York Post found the play's storytelling "harsh and relentless," admiring Gilroy's skillful dialogue while criticizing its resolution as somewhat "ineffectual." Despite these differing opinions, the play's debut was a resounding success, earning multiple prestigious awards, including a Tony and a Pulitzer Prize.

Adaptations and Revivals

The success of The Subject Was Roses extended beyond the stage with a film adaptation in 1968. This version retained two of its original stars, Jack Albertson and Martin Sheen, with Patricia Neal joining the cast. Gilroy adapted his play for the screen, and Albertson's performance earned him an Oscar for Best Supporting Actor.

Over the years, the play has seen numerous revivals across regional theatres. However, changing societal norms and family dynamics have led some critics to question its continued relevance. Peter Filichiahe of the Star-Ledger noted that the plot's central conflict regarding a son's decision to leave home might seem trivial to modern audiences. Yet he acknowledged the play's enduring value in portraying the complex relationships within a family.

Contemporary Reception

Despite mixed reactions, some critics continue to find new resonance in The Subject Was Roses. Writing for the Los Angeles Times, Jana J. Monji praised a 2001 production for its nuanced performances and the depth with which it conveyed family emotions. This suggests that while some elements of the play may appear dated, its core exploration of familial tensions and reconciliations remains impactful.

Meanwhile, Sandra Brooks-Dillard's review of a Denver production highlighted how modern audiences might find the familial issues within the play less compelling compared to today's more complex family challenges. Nevertheless, the play's exploration of interpersonal dynamics endures as a significant aspect of its appeal. Ultimately, Gilroy's ability to capture the subtleties of human relationships ensures that The Subject Was Roses continues to find its place in contemporary theatre.