"And Now....Nothing?"

Darlings, I cannot tell you what a strange dream I had last night, prompted by a dramatic vehicle from the 1950s I know full well, and have not given much thought to recently--"Tea And Sympathy."

For those who may not know, this was Robert Anderson's 1953 drama, which was first done on Broadway with Deborah Kerr, John Kerr (no relation) and Leif Erickson, in the roles they repeated in Vincente Minelli's 1956 film.

Though outrageously dated, it is still included within the pantheon of American plays, dealing with homosexuality, though what it actually deals with bullying based on PERCEPTION, not actualization, of being homosexual.

How's this for irony, darlings??? You know who appeared in this on Broadway? None other than gay comic, future "Laugh-In" star, and recently deceased, Alan Sues!!!!!!!!

Tom Lee (Kerr) a boy, at a private school in New England, Chiton, (stand in for a lot of private schools in that region!!!)is--horrors!!!--not drawn to sports, roughhousing or lugubrious sexual female fantasies. He prefers classical music, socializing genteelly, sipping tea, and saving himself for the Romantic occasion. Tom is a Romantic in a world full of Apes, which is what the 1950s demanded of a straight man. (That one be more of an Ape, I mean!) It is easy enough for the viewer to say, "Oh, yeah, he's gay," but what made "Tea and Sympathy" interesting in this case, is that, like the character of Matt in "Young Adult," he really wasn't. The play can be seen as a coda for tolerance of those of homosexual bent, but what is really being meted out here is a tale of how perceived stereotypes, or, rather, the wrong ones, can have a damaging effect. And this works for both good and bad.

In today's climate, where the issue of bullying has been called to mind by tragedies such as Tyler CLementi, this story poses the idea that everyone has the right to march to their own drummer rather than fall into the conformity of their time. And this time--the 50s--was very rigid, darlings--if you weren't like the others as a man, you were gay, and if you were a woman and did not dress like June Cleaver, and live for your electronic mixing bowl and dishwasher--God forbid!!!!!!
Deborah Kerr's character, Laura Reynolds, has the same problem, so it is not surprising they are drawn to one another--two pegs in round holes. Laura has the added background of having been an actress; she knows the score, honey, so when it comes distinguishing between gay and straight, no one knows better than she!!!!!! She knows her hubby, Bill Reynolds (Leif Erickson) is harboring repressed homosexual instincts, and that Tom's father, Herb Lee, (wonderfully played by Edward Andrews) is just a big old Closet Case.

The ending of "Tea and Sympathy" is classically Romantic. Knowing Tom harbors a crush on her, and, as a way of showing him he is as much like the rest, if not better, Laura gives herself to him, with the now famous curtain closer, "Years from now, when you talk about this....and you will....be kind!" The play's ending is beautiful, but unfortunately it has come to be interpreted by those of a conformist bent that Love Of A Good Woman Will Cure Homosexuality!!!!! Listen, I may want to look like Blythe Danner, I just don't want to sleep with her!!!! (Nothing personal, Blythe!!!) And this is one of the ways in which this play becomes entrenched historically in the pantheon of American plays dealing with homosexuality.

Its ambiguity may have all to do with why it is hardly revived today, despite some finely written parts for actors. In pleading for tolerance of the Individual, homosexuality (whether real or alleged) is seen as something still needing to be cured.

And the movie goes this one better. The film is done in a flashback, with Tom at his 10 year reunion (why he would go back to such a place of trauma is question enough, right there!) sporting the biggest, gaudiest, wedding ring ever seen on film, to let us all know that He Is Straight!!!!!!!! Bill Reynolds (Leif Erickson) sort of gets a comeuppance, being seen now as withdrawn, embittered (like a latent Queen!!!!!!) listening to--gasp!!!!!--classical music, handing Tom a letter from Laura, which relates how after their encounter she was found to be a pariah and left Bill. Then we go into the actual story.

Bosley Crowther had the right idea. Because the closing line of the film was so Classic, and because, at heart, it captures some human truths, he suggested audiences leave the movie theater after Deborah Kerr utters the classic line...so that it serves as a curtain closer. I could not agree more!!!!!!!!!

As stated at the beginning, the reason I am musing on this nearly forgotten work was a dream I had last night. I was taking an acting class, and needed a scene partner. So I called my former colleague and Acting Genius, Janice (who studied with Uta Hagen, let me tell you!!) and we proceeded to do the penultimate final scene from "Tea And Sympathy" in class. The teacher was so impressed (this is a dream remember!!!!) that it managed to get produced on Broadway, with us starring, to a long run and great acclaim--probably some TONY Awards!!!!!!

Back in the eighties, when I COULD have done it, I always wanted to do the role of Tom, with Blythe Danner as Laura!!!!! Today, considering that the Lunts did "Romeo and Juliet" in their fifties, I think there would be no problem with Janice and I doing Laura and Tom!!!!!!!!!

I mean, darlings, my PROFESSIONAL age is still 24!!!!!!!

And if this dream DOES come true, darlings, all my girls will get comps!!!!!!!!!!!!