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- The Women
-
-
- (January 4, 1937)
-
- The Women is calculated to give the Men two of the most
- shockingly informative hours of their lives and is so clever
- that few women would willingly miss it. Its cast of 35 is
- entirely feminine and its subject is exactly what its title
- suggest. Halfway through scene I, Playwright Clare Boothe makes
- a distinction between Women and Females, Mary Haines (Margalo
- Gillmore), a gracious and homeloving blonde with one husband,
- two children and a heart filled with anxiety about reaching the
- shady side of 30, is a woman. Most of the rest of The Women are
- females, belonging to Manhattan's restaurant and rotogravure
- set. Disclosed in bathrooms, ladies' rooms, beauty parlors and
- maternity wards, safe from the eyes and ears of their menfolk,
- they talk, as men never hear them, about clothes, nail polish,
- money ("a woman's best protection is a little money of her
- own"), sex ("I'm just a frozen asset," says the play's lone
- virgin), nursing babies (ouch! he's got jaws like a dinosaur").
-
- When Mary Haines discovers through gossipy friends that her
- husband has become involved with a perfume salesgirl, her sage
- mother advises her to ignore the whole matter (as she did 30
- years before) and keep her husband and her home at the cost of
- her pride. But the gossipy friends push Mary remorselessly along
- the Reno trail with all its bitterness.
-
- Mush of the play is brash and bitter. Much of it is moving --
- notably the scene wherein Mary tries to explain to her little
- daughter (Charita Bauer) how it is that Mother and Daddy can
- fall out of love. Clever of line and deft of pace, The Women is
- packed with cracks which will doubtless be batted back & forth
- across Manhattan dinner tables the rest of the season. Samples:
-
- "Why is it that in a taxicab every man behaves like Harpo
- Marx?"
-
- "Watercress! It's like eating your way across a lawn."
-
-