Indeed there is still some gaiety and some bite to it, as she trundles about her house brandishing her troubles like banners.īut the part, and the play, reek with self‐pity, and the reek has only grown stronger over the years. She Is obviously Intended as a balance of vitality, poignancy and humor a figure larger than life and broken by life. The play hangs upon the character of Beatrice. Only Tillie remains hopeful, inspired by her prize and her vision of the mysteries of the atom.
“I hate this world,” Beatrice cries out, defeated. The resolve fades, as Ruth, the fierce, halfmad daughter, savagely makes Beatrice realize that she herself is a forlorn oddity. Beatrice, briefly seized by energy, arrays herself in her ancient, be-feathered best clothes and prepares to go out to share Tillie's triumph. The play's slight action is set off when the hopeful daughter, Tillie, wins a school science competition for her experiment with irradiated marigolds. Ther house is a hutch, filled with rabbit‐droppings, cigarette She is bringing up one daughter who is subject to fits of insanity and another who is beaten‐down but hopeful. “Marigolds” is about broken people, most particularly Beatrice, a frowzy, vehement woman who lives at the edge of poverty. Its half‐life has expired in these few years, and in its new production at the Biltmore Theater it is far less than half alive. Now it has been brought to Broadway, and whatever charm it may have possessed for its time is just about gone. It had a long run, won a Pulitzer Prize and went on to be turned into a movie.
THE EFFECT of Gamma Rays on Man-in-the-Moon Marigolds” was a considerable success when it opened Off Broadway in 1970.
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