The Old Maid -- by Zoe Akins (1935)

Description
The play is an adaptation of Edith Wharton's novella of the same title. True to Wharton's fashion, the story occurs in Old New York wherein rigid societal codes pervade lifestyles. The show starts in 1833 and ends in 1854.

Akins focuses on Charlotte Lovell's apparently fated life. The opening scene predates Delia's marriage to Jim. Charlotte informs Delia that Clem, the long-time crush of both women, has sent her a gift and is in the congregation. Delia admits she is marrying Jim due to societal standards, although she truly loves Clem.

The following scene is 6 years later. Charlotte runs a nursery which includes a white girl who is raised by the black community. Charlotte is to marry Joe, but Joe will not allow Charlotte to continue to serve at the nursery because she will have more important wifely duties-- keep in mind that this takes place in the mid 1800s. Charlotte is distraught because . . . SPOILER . . . the little white girl, Clementina, is her daughter . . . SPOILER . . . and is the offspring of Clem who is out of the country. Charlotte reveals this to Delia and the plot officially thickens. Delia is upset with Charlotte, but she does not want her cousin to be publicly shamed.

I do not want to spoil the resolution and further predicaments Charlotte finds herself in, but I will tease that the solution Charlotte and Delia choose causes both heartbreak and safety from societal shame.      

Main Characters
Delia Lovell, marries Jim Ralston, adoptive mother of Tina
Charlotte Lovell, Delia's cousin, actual mother of Tina
Dr. Lanskell, family doctor
Mrs. Mingott, elderly, stubborn family figure
James Ralston, Delia's husband, rich and prominent
Joseph Ralson, Charlotte's to-be-husband, Jim's brother
Clemtina (Tina), Charlotte's daughter
Lanning Halsey, Tina's to-be-husband

The play was quickly made for the silver screen and starred Bette Davis and Miriam Hopkins. Check out the old-fashioned trailer here:
https://www.youtube.com/watch?v=Zls_KF55zI4  

Candid Reactions

• What's with calling the scenes "episodes"? 
• Okay, the description of the scenery is too involved for me to keep track of everything. 
• So who's Clem?
• Wow, Charlotte can be COLD. 
• And there's the first callback to the title in the script. 
• When they had music being played for these plays, did they hire orchestras? When were pre-recorded audio bits introduced to theater?
• I'm having a hard time following the descriptions
• That's unsettling to have little kids using the "n-word" on stage. 
• The way Akins reveals exposition is natural--yay!
• These Ralston brothers are terrible! Calling the girl an "it"?! 
• Have these Ralston brothers never been around a sick person in their lives?
• These guys have NO social skills. Ironic?
• Babies out of wedlock were so scandalous back then-- now, this drama would not be as intense. 
• I think everyone knows how to read a line when the stage directions indicate "a voice to not be disobeyed" (53). 
• Duty seems to be a blatant topic. 
• How sad for Joe to say that care is properly shown via money only. 
• Did he really just tell her that she is wrong and he is right like this is some sort of black-and-white issue? Down with the Ralstons!
• Mrs. Mingott reminds me of Kristen Wiig's "Penelope"
• Mrs. Mingott just won me over with her diss of the Ralstons when she describes them as having "every intention of living for a bank account instead of dying for a creed" (72).
• Clementina is her baby!!!!
• Lemme guess who the father is . . . cough, cough, Clem . . . 
• NOW THAT is a perfect line of dialogue to exemplify dramatic irony
• Dr. Lanskell asserts, "I think it's a sacrilegious thing to lay so much as a finger on another person's destiny" (109). There is so much to unpack in this statement. Where does the debate begin and end here?
• You can't have your cake and eat it, too, Charlotte
• How was this scene change accomplished, especially considering Charlotte's transformation? How much time did this take?
• I am a little lost. 
• And that ending is nicely wrapped up for the reader. Cathartic, in a sense. 

Top Two Aspects/Reasons for Winning

1. Dramatic Irony

The script is a master class on the employment of dramatic irony. The stakes are raised throughout the play. The reader is given information steadily so that the conflict mounts engagingly.

2. Feminism 

The play questions the norms of old society. The role of the woman and the respect for her individual decision-making are addressed in the play. Yes, the play is set in the mid-1800s, but Wharton used the setting as a vehicle for her empowering messages. Similar to The Age of Innocence, The Old Maid centers conflict on the comfort of conformity. 

Classroom Implications

I feel the play would be a decent paired text. I don't think I would teach the text in isolation.

I would certainly focus on the employment of dramatic irony.

Perhaps this could be a text offered for an author study?

Personal Takeaway

Even somewhat-predictable plays can be riveting and enjoyable.

Ranking

	Dialogue	Characters	Plot/Conflict	Symbol/Literary Devices	Overall Enjoyment	TOTAL SCORE 7.75
0	Unfollowable; unrealistic; diction does not match character	Undeveloped; does not reflect humanity	Not engaging; predictable; reader can step away from text because it isn’t gripping	Devices are apparent for cleverness and do not enhance the story	Reader has no interest in re-reading play
1	Not consistently realistic	Well-developed; most depictions reflect humanity	Semi-engaging; some unnecessary plot-points	Devices somewhat enhance story  (1)	Reader would re-read with pleasure and reminded of work (1.5)
2	Realistic; connotative; diction matches characters (1.75)	Fully-developed; depictions reflect humanity (1.75)	Engaging; unique; reader finds it impossible to put down text because the conflict is so gripping! (1.75)	Devices seamlessly enhance the story and provide rich interpretation	Reader would re-read the play on own volition, enthusiastically