Waiting for Lefty

by Clifford Odets

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Lefty Costello

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Lefty Costello

Although Lefty is the central character, he never actually appears on stage. Despite this, he is depicted as a heroic figure, standing in stark contrast to Fatt's villainy. Lefty is a dedicated union organizer (and likely a communist) who has earned the trust of the workers and is seen as their true leader and the driving force behind the strike effort. Elected as the chairman of the strike committee, his absence at the meeting causes concern, as the members rely on his leadership to confront Fatt and make the much-anticipated strike a reality.

Lefty brings to mind other heroic, martyred union organizers from history, such as the legendary folk-singer Joe Hill. While their loss is significant, these figures are never viewed as irreplaceable, for their cause is rooted in collective action. The play reaches its climax when the workers decide to stop waiting for Lefty and take ownership of their struggle. Although they have relied on him, they realize they do not need a single leader to empower them; they only need to harness the collective power they have always possessed by standing united in defiance.

Other Characters

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Dr. Barnes

In Scene VI, Dr. Barnes is a hospital administrator caught between his personal beliefs and his professional duties. He abhors the hospital's wealthy board of directors' harsh and discriminatory policies, especially their decision to dismiss the promising young Dr. Benjamin. However, he feels powerless to alter these decisions and believes he must enforce them. Due to his advanced age and the responsibility of caring for his invalid daughter, he feels unable to actively join the workers' struggle. Nonetheless, he passionately supports the cause and urges the younger generation to continue the fight he wishes he could join, encouraging Benjamin to fire a shot "for old Doc Barnes."

Dr. Benjamin

Dr. Benjamin, a skilled and dedicated young surgeon, learns in Scene VI that he is losing his job due to the hospital directors' discriminatory policies. This experience convinces him of the validity of communist theory and ignites his resolve to combat the capitalist system. Although he considers emigrating to Russia to work within a system of socialized medicine, he ultimately decides to remain in America, even though this means abandoning the medical career his parents sacrificed so much for. He takes a job as a cab driver and joins the stake committee.

Clancy

See Tom Clayton

Tom Clayton

In Scene IV, Tom Clayton, known as the "labor spy," pretends to be a fellow cab driver from Philadelphia. He recounts his involvement in a failed taxi strike there a few months prior, using this experience to persuade the members that striking is futile. However, a "clear voice" from the crowd, revealed to be his own brother, exposes him as a strikebreaker named "Clancy," who has long been employed by industrialists to sabotage militant union organizers. Once unmasked, the deceitful "Clayton" flees from the workers' wrath.

"Clear Voice" (Clancy's brother)

Initially unidentified, this "voice" emerges from the crowd in Scene IV to denounce "Tom Clayton" as a labor spy. His knowledge of "Clayton" is undeniable, as the traitor he despises is "my own lousy brother." Like many other characters, the "voice" has realized where his true loyalties lie; in this case, his dedication to the working class far surpasses family ties.

Harry Fatt

Harry Fatt, the corrupt union leader, stands out as the play's most obvious antagonist and the main target of its ire. He embodies the stereotypical "fat cat," driven by insatiable greed and a thirst for power. Fatt remains indifferent to the dire poverty of the workers he claims to represent....

(This entire section contains 2191 words.)

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He is intentionally exaggerated, representing a constant force of pure malevolence. Odets wanted the audience to perceive him as "an ugly menace," looming over the lives of all the characters. Though Fatt pays lip service to democratic ideals and denounces the "anti-American" nature of communism, he is, in reality, a tyrant and "racketeer," enforcing his will on the union through force and intimidation. Even though the union members overwhelmingly support a strike, and the play's political narrative necessitates one, Fatt is resolute in his efforts to prevent it and maintain his control by any means necessary, including murder.

In his production notes, Odets leaves no ambiguity about the character's importance: "Fatt, of course, represents the capitalist system throughout the play." While an industrialist like Fayette (in Scene II) might seem a more logical representative, Fatt is equally a "boss" and an enemy of the workers, as his corrupt leadership undermines their struggle for a better life. Whether or not he is directly employed by wealthy capitalists (and the "Labor Spy Episode" suggests that he is), he serves their interests well, as his actions reinforce the corrupt system just as effectively as theirs. Like the capitalists, his power is rooted in the continued exploitation of the workers. In Scene V, Odets underscores this connection by having Fatt portray Grady, the wealthy theatrical producer. No other character serves such a dual role; the positions of "labor boss" and "business executive" are shown to be literally interchangeable. Like other bosses, Fatt can only be defeated by the collective action of the workers, who rise triumphantly against him as the curtain falls.

Fayette

Fayette, the head of a large industrial corporation, is firmly entrenched in the "capitalist" camp. In Scene II, he presents his employee, the lab assistant Miller, with an enticing yet unethical proposition: a substantial raise and promotion if Miller agrees to help develop deadly chemical weapons and spy on his fellow scientists. Fayette is unbothered by the moral dilemmas that plague Miller; his only guiding principles are profit and self-interest. "If big business went sentimental over human life," he claims, "there wouldn't be big business of any sort!" Like other "bosses" in the play, he is an adversary of the working class. When he receives a well-deserved punch in the mouth for his transgressions, the audience is meant to feel that justice has been served.

Florence

In Scene III, Florrie and her boyfriend Sid are depicted as tragic lovers, unable to marry due to their impoverished state. Their situation mirrors that of Joe and Edna in Scene I; however, rather than a confrontation, their scene is an emotional tableau (a staged depiction, often without dialogue) showcasing their shared suffering. They recognize themselves as victims of "the money men" whose system leaves them "lonely" and "trapped," and as Florrie puts it, "highly insulting us." The poignancy of their reluctant farewell is somewhat mitigated by the implication that Sid's heartbreak motivates him to join the union cause, offering the only hope for altering their dire circumstances.

Florrie

See Florence

Mr. Grady

Portrayed by the same actor who plays Harry Fatt, Grady embodies the capitalist system in Scene V. He is a wealthy theater producer from whom Philips seeks an acting job. Grady is extravagantly rich, thoroughly self-indulgent, and largely indifferent to the suffering of others. Despite being part of a "creative" profession, Grady is a pragmatic businessman; his decisions are driven by economics rather than art. Although he has the power to alleviate Philips's plight, his decision is automatic and unyielding: not even "Jesus Christ" would get a part from him if he didn't fit the type. Unable to completely ignore the young actor's misery, he offers a cursory "I'm sorry" and "good luck," but shows far more concern for the well-being of "Boris"—his pet wolfhound.

Gunman

The Gunman serves as Harry Fatt's "muscle" and enforcer. Though his lines are few, he is as menacing a presence as Fatt himself, consistently posing a threat. He "keeps order" at the union meeting by stepping in to silence anyone who challenges Fatt's authority. While it remains ambiguous, it is possible that he (or another of Fatt's "henchmen") is responsible for Lefty's murder. Politically, he symbolizes all forms of violence (military, police, or reactionary gangs) utilized by those in power to maintain control. His type is employed to intimidate workers into submission and quash any threats to the establishment. In the final scene, both Fatt and the Gunman attempt to physically restrain Agate Keller but are notably unsuccessful. Keller's comrades form a human barrier, protecting him as he urges the meeting to stand defiant.

Henchman

See Gunman

Irv

Irv makes a brief appearance in Scene III, arguing with his sister Florrie about her relationship with Sid. Aware of their love, he reminds Florrie of their economic reality: Sid doesn't earn enough to support her, and Florrie is needed at home to care for their sick mother. Adopting a stern, paternal tone (perhaps filling the role of their absent father), he urges her to end the relationship and threatens Sid with violence if he continues his attentions.

Agate Keller

Agate Keller is the final strike-committee member to speak at the meeting, leading the workers in the ultimate call for a strike. Initially, he appears eccentric and submissive to the corrupt union leaders; however, this is a cunning tactic, allowing him to criticize Fatt's leadership indirectly. As he continues and gains the support of his fellow workers, his speech becomes clearer, more straightforward, and increasingly passionate. Keller proudly identifies as being "deep down in the working class" and harbors deep resentment towards "the boss class," whose luxuries are financed by the blood of workers. With rising fervor, he tells the union members they face a simple decision: "slow death or flight." Upon learning of Lefty's death, he rallies the group (and the theater audience) to declare war, urging the "stormbirds of the working class" to sacrifice their lives to "create a new world."

Miller

Miller, a scientist in the research department of a large industrial corporation, is the "lab assistant" in Scene II and a member of the strike committee. His commitment to the movement stems from a critical career choice. His boss, the influential industrialist Fayette, offers him a tempting promotion and the chance to work with a renowned chemist. However, the "opportunity" comes with significant conditions: he must give up his home life, spy on his colleague, and develop chemical weapons for the "new war" that Fayette assures is imminent. Miller has lost a brother and two cousins in the last war (World War I), possibly to poison gas; their deaths, which his mother believes served no "good cause," haunt him. His principles prevent him from following Fayette's orders. He refuses the job and is immediately fired. Despite his pacifism, he does not hesitate to punch Fayette "square in the mouth."

Edna Mitchell

In Scene I, Edna motivates her husband Joe to become active in the strike movement. Frustrated by their dire poverty, she bitterly expresses her anger and eventually threatens to leave Joe for her former boyfriend. She admits that her behavior is that of a "sour old nag," but Odets makes it clear that her actions are a result of their circumstances, not her character—and that her "nagging" includes the truth Joe needs to realize what he must do. Edna loves Joe and knows he is not responsible for their plight. However, she also understands that their situation is truly desperate, prompting her to consider desperate actions. When Joe finally decides to join the union struggle, Edna feels "triumphant" and abandons any thought of breaking up the family.

Joe Mitchell

Joe, a member of the strike committee, is the first to stand up and speak in Lefty's place. His motivation isn't rooted in political theories, but in the harsh realities of life: the crushing poverty affecting his family and those of his coworkers. In Scene I, his long-suffering wife, Edna, pushes him into action. Despite his hard work, they are falling further behind, and he feels powerless to change their situation. Edna demands that he "do something" and "get wise" to the exploitation they face. She nags, pleads, and ultimately threatens to leave him. Her desperation finally breaks through his denial, making him realize that only a strike can compel the cab companies to pay a living wage. He decides to stand and fight for his family, a decision that ultimately keeps them together.

Philips

In Scene V, the "young actor" Philips becomes politically aware due to his struggle to find a job and the influence of Grady's communist stenographer. Dedicated to his craft and desperate to support his pregnant wife, he discovers that his "market value" is determined by his appearance rather than his acting talent or creative "soul." Under the current system, represented by the affluent and self-indulgent Grady, art must be profitable, and "creative decisions" like casting are driven by strict business principles. Disillusioned and feeling dehumanized, Philips is receptive to the message of the Communist Manifesto and the promise of revolution. Guided by the secretary, he joins the strike committee.

Sid

In Scene III, Sid, the "young hack," is forced to end his engagement to Florrie because he can't earn enough to support her. Humiliated and heartbroken, he feels like "a dog," reflecting how he believes "the money men" treat people like him. However, he envisions a day when "all the dogs like us will be down on them together—an ocean knocking them to hell and back." Although he doesn't speak at the meeting, it's assumed he is part of the strike committee and a member of the "ocean" that rises during the play's climax.

Stenographer

In Scene V, Grady's unnamed stenographer enlists the young actor Philips into the workers' movement by introducing him to communist ideology. In private, she openly voices her disdain for her employer and everything he represents. Although she operates "within the system," she is ardently dedicated to its ultimate downfall. In anti-communist narratives, such subversive characters are often the main antagonists (similar to the Fatt/Grady figure here); they lure unsuspecting individuals into relentless service for a malevolent cause. However, Odets's "Comrade" is compassionate, as evidenced by her concern for Philips. He is moved by the fact that she treats him "like a human being" and is in dire need of the sustenance she provides, both physically (the bread her dollar can buy) and spiritually (the promise of liberation). Her commitment to the cause resembles religious zeal, and she refers to the Communist Manifesto in almost biblical terms, leaving no doubt that it holds a truth that will set him free.

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