Wit, Margaret Edson's debut play, is a poignant exploration of life, death, and the personal sacrifices made in the pursuit of academic excellence. It evokes the structure of a Shakespearean tragedy, intertwining moments of dark humor with the inevitable approach of its protagonist's demise. The play's focus on the modern dilemma of valuing professional achievements over personal relationships has resonated deeply with audiences, securing its place in the canon of significant American theater.

Award-Winning Triumph

Since its premiere, Wit has not only captivated audiences but also garnered significant critical acclaim. The play received the prestigious 1999 Pulitzer Prize in Drama and was showered with numerous accolades, including the New York Drama Critics Circle Award, the Lucille Lortel Award, the Drama Desk Award, and the Outer Critics Circle Award. Kathleen Chalfant, who played the leading role in both the Off-Broadway and London productions, received considerable praise, earning awards such as the Obie for her portrayal of the complex protagonist, Vivian Bearing.

Production and Performance

Initially produced in 1995 at the South Coast Repertory Company in Costa Mesa, California, Wit ran for seven weeks to outstanding reviews. However, it took another two years before the play reached New York audiences, where it achieved near-universal acclaim, winning almost every drama award available for an Off-Broadway production. The play's director, Derek Anson Jones, Edson's former high school friend, also garnered attention for his distinctive direction that enhanced the play’s intricate layers.

Critics’ Perspectives

While Wit achieved considerable success, it was not immune to criticism. Some reviewers noted signs of Edson's inexperience as a playwright. Tom Sime of the Dallas Morning News argued that the play hindered character development by having Vivian engage directly with the audience too often. He further criticized the portrayal of medical professionals as caricatures, suggesting that the narrative's climax felt melodramatic and misplaced.

In contrast, other critics praised the play's deft handling of metatheatrical devices. John McCallum, writing for The Australian, highlighted the "brilliance" of Edson's script, lauding its playful yet poignant commentary. Although Lloyd Rose of the Washington Post found the ending "gooey," he acknowledged the play’s raw depiction of the clinical aspects of death, which contributed to its impact.

Medical Community Reactions

The play also sparked discussions within the medical community, with some doctors appreciating Edson's critique of patient treatment in research hospitals. Nonetheless, there was a split opinion, as some professionals felt that the depiction was more damaging than illuminating. Dr. Sherwin Nuland, a Yale University professor, appreciated the play for its intimate understanding of the patient but criticized its portrayal of doctors as "straw men" and "caricatures." Dr. Larry Norton from Memorial Sloan-Kettering Cancer Center argued against the play's suggestion that being part of a research study is akin to being a "guinea pig."

Abigail Zuger, in her essay "When the Patient, Not the Doctor, Becomes the Hero," expressed concern that audiences may leave the theater with skewed perceptions of the medical profession. Zuger highlights that while the play positions patients as heroes, it reduces doctors to mere "sketchy caricatures," overshadowing the complexities of real-world medical practices.

Enduring Impact

Despite the polarized reviews, the discussion surrounding Wit underscores its significance as a cultural artifact. The play's ability to provoke thought and debate ensures its lasting presence in American theater. Edson, who has chosen to remain a kindergarten teacher, has not expressed interest in writing another play, despite the public and media's entreaties. Her reluctance to pursue further work in drama does not diminish the impact Wit continues to have on audiences and critics alike.