Philadelphia Reflections

Plays and Players, Haddonfield Version

Haddonfield Plays and Players

First, an anecdote from my own lurid past. When I went there, Yale was an all-male institution with one exception, the Drama School. It's true that Shakspere had boys play the part of women in his plays, but Yale evidently felt that was going unnecessarily far, and had thus let the nose of the female camel get under the all-male tent. Meanwhile, I had discovered that a course in Advanced Chemical Engineering was carrying my amateur interest in chemistry sets a long way too far, and after two weeks, I wanted out of it. Out!

Yale Drama School

The Dean was sympathetic until I answered what I wanted to transfer into -- a course at the Drama School. Somehow, he felt that was immensely amusing, one he hadn't heard before. But, finding my grade average satisfactory, he gave a big wink and signed the paper. I didn't pretend to be offended, but I did pretend to be solemn. The experience subsequently served me very well, since that class of girls went down to Broadway at the same time I went down to New York to medical school. Almost none of my mostly all-male class of medical students knew any girls in New York, but by comparison, I knew lots. It made me very popular with both groups.

Cole Porter

It thus develops that I had the courage recently to accompany to a theater party in Haddonfield, a lady who had spent twenty-five years on the stage. The play was Cole Porter's Anything Goes, put on by the Haddonfield Plays and Players, a group celebrating its 75th year of productions. You seldom see musical comedies anymore, because the large cast and orchestra requirements are pushed by Union rules to the huge expense which a professional group cannot safely risk, and amateur groups mostly cannot enlist a large enough audience to support. In addition to the orchestra, stagehands, and administration, I counted thirty members of the cast up on the stage for the big chorus numbers. There might have been a hundred in the audience to pay the bills. This wasn't the only play of the season, there will be five I understand, so the performers have to be quick studies, which generally means considerable experience. Even with what therefore must have been a short time to rehearse, this group was good, really, really good. The lady by my side remarked these people must be semi-professionals, at least. I didn't think so, so she demanded a playbill to see. Sure enough, semi-pro.

Anything Goes

All of which may seem a round-about way to get to an observation about the current theater revival in Philadelphia. There are at least fifty new amateur theater groups scattered throughout our region, filled with "kids" having a wonderful time playing Shakspere, Albee, Shaw and whatever. At cast parties, almost none of them expresses any interest in going to Broadway or Hollywood; they are mostly software engineers or similar. Since the Philadelphia revival of interest in performing arts is so striking, it has led to ruminations about why the theater similarly flowered in Elizabethan London, at a time when there were only two theaters in Paris, by comparison. Perhaps this parallel has something to teach us about the hidden social impact of Sir Thomas Gresham and dual coinage, or Sir Francis Drake and the Armada.

But maybe, I realize for the first time, there is a flight in our direction, from New York City.

Originally published: Monday, August 03, 2009; most-recently modified: Friday, May 31, 2019