Tag Archives: Arkansas Repertory Theatre

The Man Behind “Death of a Salesman”, Arthur Miller

Posted by -
Reply

American Playwright Arthur Miller

Arthur Miller, The Playwright

Arthur Miller was born on October 17, 1915, in New York City, to his  Jewish parents, Isidore and Augusta Miller. Arthur lived a comfortable middle class life until age fourteen when the Great Depression struck and his family’s business failed. In high school,Arthur was more actively involved in football and other sports than in his studies. After several rejected applications, Miller was finally admitted to the University of Michigan in 1934, where he studied journalism, economics and history.  It was also in college that Miller discovered his love for play writing and in his junior year, he won $250 in a college play writing contest. Miller graduated from college in 1938 with a   degree in English. In 1940 Miller married his college sweetheart, Mary Slattery.

 During World War II, Miller worked on ships in the Brooklyn Navy Yard and wrote plays for the Columbia Broadcasting System. In 1944, he received his first theatrical break when his play The Man Who Had All the Luck was staged on Broadway. Unfortunately it was not well received. At age 30, Miller  decided to give play writing one last try and diligently spent the next two years writing the play All My Sons, that was co-produced by stage and film director Elia Kazan, who helped him focus and polish the work. All My Sons enjoyed a profitable run of 328 performances and won the Drama Critics’ Circle Award and inspired Miller to carry on with his play writing. But it was with Death of a Salesman that Miller’s reputation as an outstanding play wright was solidified. With Death of a Salesman, Miller became famous. However despite his remarkable success, he  continued to focus his writing on the struggles of the common person—social, economic, political, and personal. In the 1940s and 1950s, the cold war between the Soviet Union and the United States created a mood of fear and suspicion. In particular, political, social, and business leaders were increasingly concerned that  communism threatened the American “way of life.” 

Herbert Block, who signed his work “Herblock”, coined the term “McCarthyism” in this cartoon in The Washington Post

In 1950 Joseph McCarthy and the House Un-American Activities Committee (HUAC), whose mission it was to uncover forces that would subvert this American way of life, started focusing on the intellectual and artisticcommunity in order to find potential communist influences. HUAC targeted both Miller and director Kazan. Citing artistic freedom as his rationale, he refused to cooperate with HUAC that he believed was censoring the critical voice of the American people. Miller was found guilty of contempt of Congress but this was later repealed on account that he had not been informed adequately of the risks involved in incurring contempt. Miller’s  response to the anti-Communist fear and hysteria was The Crucible, where he merged the terror tactics of McCarthyism with the Salem witch hunts of the 17th century.  The Crucible which premiered on Broadway in 1953, became Miller’s most frequently produced play, staged every week somewhere in the world for the past 40 years. It was dramatized on television and in 1996, he adapted the script to a screenplay and the movie was released with his son-in-law, academy award winning  actor, Daniel Day Lewis starring as John Proctor.

“I wished to create a form which, in itself as a form, would literally be the process of Willy Loman’s way of mind. I wished to speak of the salesman most precisely as I felt about him, to give no part of that feeling away for the sake of any effect or any dramatic necessity.”

~Arthur Miller

 In 1956, Miller divorced his first wife Mary, and soon after married actress Marilyn Monroe. However this marriage was short-lived and Miller and Monroe divorced in 1961, a year before Monroe’s death due to drug overdose. Soon after his divorce, Miller met Inge Morath, a  Vienna-born photographer and they were married in February 1962. Miller and Morath spent 40 years together till her death in 2002. In the mid-60s, Miller focused on political activism, becoming the President of PEN, an international writer’s organizing of poets, playwrights, editors, essayists, and novelists. In 1968 he resumed play writing with The Price, a work about the two brothers who cannot overcome their anger with each other. The play enjoyed moderate success. In the 1970s, Miller wrote three plays: The Creation of the World and Other Business (1972), TheAmerican Clock (1976), and The Archbishop’s Ceiling (1977).

The productions of all three works were harshly criticized. During the 1980s,  Arthur Miller’s works experienced a worldwide revival. In 1983, Miller and his wife traveled to Beijing, China to see a production of Death of a Salesman.  Miller never quite enjoyed the success he had in the 40s and the 50s and his last few plays had very short runs on the stage. In his eighties, Miller kept writing social dramas, still driven by the desire to represent the wants, struggles, and frustration of common people. The characters in his plays act out human concerns that are universal. Miller called on his characters to take responsibility for their actions and act on the world that they live in; he rejected self-pity in his characters, no matter how dire their circumstance.

Arthur Miller passed away at the age of 89 on February 10, 2005, surrounded by his family. When he was  dying, he asked to be driven back from New York to New England, where he had written most of his plays. To mourn his death, lights were dimmed on Broadway. Source for this article: www.oldglobe.org

Arkansas Repertory Theatre’s production of Death of a Salesman will run April 26-May 12, 2013. To purchase tickets call (501) 378-0405 or visit www.therep.org

Article written by Werner Trieschmann

Treasure Island: More Than Just a “Boy’s Book”

Posted by -
Reply

Robert Louis Stevenson

Although conceived with a juvenile audience in mind, Treasure Island was not truly a “boys’ book.”

Serious adult readers admired the work, including Stevenson’s friend, early modernist author and literary theorist Henry James, who declared that “Treasure Island will surely become—it must already have become and will remain—a classic.”

Prime Minister William Ewart Gladstone was reported to have stayed up all night to finish it, prompting Stevenson, who was no fan of the politician, to comment that he “would do better to attend to the imperial affairs of England.”

Stevenson did not, of course, write the first book about pirates and buried treasure. His historical and fictional influences were numerous.

“I care not a jot.”

A major source of information (and disinformation) on the so-called “Golden Age of Piracy,” Captain Charles Johnson’s “General History of the Robberies and Murders of the Most Notorious Pyrates” appeared in 1724.

Stevenson acknowledged his literary debts to Daniel Defoe’s “Robinson Crusoe” for Silver’s parrot; Edgar Allan Poe’s “The Gold-Bug” for the skeleton; Frederick Marryat’s “Masterman Ready” for the stockade; Charles Kingsley’s “At Last” for the ‘Dead Man’s Chest’; and Washington Irving’s “Tales of a Traveller” for the scenes of Billy Bones at the Admiral Benbow.

Regarding his borrowing from these “useful writers,” the author declared: “I care not a jot.” In Treasure Island, Stevenson was consciously creating something new from familiar material, and he transcended his sources and shattered stereotypes.

Discovering Gee’s Bend: A Place Within a Play

Posted by -
Reply

Gee’s Bend, Alabama is located in Wilcox County and is surrounded on three sides by a dramatic U-turn in the Alabama River. The approximately 700 residents are almost all descendants of the slaves of the original Gee’s Bend plantation.

Boykin, also known as Gee’s Bend, is an African American majority community and census-designated place in a large bend of the Alabama River in Wilcox County, Alabama.

This geographic isolation and unusual stability of community created a unique enclave for the women’s art community: quilting. The history of Gee’s Bend is the story of a tiny place altered by large social changes occurring over the years.

Before the Civil War, Gee’s Bend was primarily a working cotton plantation, first controlled by slave owner Joseph Gee and then his nephews, who sold it to Mark Pettway. After the Civil War, the emancipated slaves took the last name of Pettway, and worked the same land as tenant farmers. In the 1930s the acreage was sold to the federal government, which in turn developed a program to enable them to purchase the land that they already cultivated.

Pettway plantation, April 1937. Photo by Arthur Rothstein.

The type of quilt making found in Gee’s Bend is of the African-American style. This style is considered unique among others found elsewhere in the United States. The most obvious reason for this is the overt African influence. The use of symbols, asymmetry, bright colors, and vertical piecing are techniques that hark back to African textile creations of years ago. Many of the symbols found in these quilts have also been traced back to religious symbols native to a multitude of African tribes. So although these quilts signify their personal pasts and hopes for a future, these women still respect the culture from which they originated.

Mary Lee Bendolph, one of the quilters who inspired the play Gee’s Bend. Photo credit internationalfolkart.org.

These quilts were not originally created as pieces of art—whether for wall hangings or theatrical inspiration. In fact, the quilts were made out of necessity. The very culture that these women were raised in taught them that everything had a use.

So when the nights became cold each winter, the women would scrounge what small scraps of fabric they could find and fashion a blanket to put on the beds of their children and themselves. The inspiration for this approach to construction came from the equally as innovative approach to housing insulation—using layers of paper found in newspapers or magazines.

These wonderful pieces of art were simply thought of as creative methods of keeping a family warm until 1966. It was then that these women realized that the magic and beauty of the quilts came more from what went into them rather than what came out.

Flying Geese variation, ca. 1935 by Annie E. Pettway.

It was a common practice in these small communities of quilt makers to “air out” their quilts every spring. For members of the community, this became a time to study other’s methods or designs so that they may have inspiration the next winter. However, in 1966, another set of eyes caught a glimpse of these soon to be masterpieces.

Gee’s Bend Quilt, April 2012, Gee’s Bend. Photo credit: “The Future of Gee’s Bend,” Deep South Magazine.

Father Francis Walter saw something more than function in these quilts. He saw a passion and a history unique to these people. Walter, a Civil Rights worker, proposed the idea of marketing and selling these quilts to stores in larger cities in the hopes that these women would soon become self-sufficient economically doing what they loved. Working in conjunction with many volunteers, he was able to get the quilts into the Smithsonian Institution. This exposed the work of these women to the world, but also inspired stores such as Sears, Bloomingdales, and Saks Fifth Ave. to sign contracts with them to manufacture and sell their designs.

In 2002, Houston’s noted Museum of Fine Arts held an exhibition of quilts created by over 30 residents of Alabama’s small community of Gee’s Bend. The exhibit, praised by The New York Times and others, brought world-wide attention to the otherwise hidden creative endeavors of the quilters of Gee’s Bend.

“The best of these designs, unusually minimalist and spare, are so eye-poppingly gorgeous that it’s hard to know how to begin to account for them. The results, not incidentally, turn out to be some of the most miraculous works of modern art America has produced.” - The New York Times

Art collector William Arnett, working on a history of African-American folk art in 1998, made the discovery when he came across a photograph of Annie Mae Young’s work-clothes quilt draped over a woodpile. He was so impressed by its originality, he set out to find it. Research lead Arnett and his son Matt to Young in Gee’s Bend and then they showed up at her door late one evening.

Young had burned some quilts the week before (smoke from burning cotton drives off mosquitoes), and at first she thought the quilt in the photograph had been among them. But the next day, she found it and offered it to Arnett for free. Arnett, however, insisted on writing her a check for a few thousand dollars for that quilt and several others. Soon the word spread through Gee’s Bend that there was a white man in town paying money for raggedy old quilts.

Work-Clothes Quilt ca. 2002 by Mary Lee Bendolph.

Arnett shared his discovery with Peter Marzio of the Museum of Fine Arts. The attention to the exhibition revived what had been a dying art in Gee’s Bend. In 2006, the Smithsonian magazine reported that some of the quilters, who had given in to age and arthritis, were back quilting again. And many of their children and grandchildren, some of whom had moved away from Gee’s Bend, had taken up quilting themselves.

Gee’s Bend Quilters Collective, Gee’s Bend. Photo credit: “The Future of Gee’s Bend,” Deep South Magazine.

With the help of Arnett and the Tinwood Alliance (a nonprofit organization that he and his four sons formed in 2002), fifty local women founded the Gee’s Bend Quilters Collective in 2003 to market their quilts, some of which had sold for more than $20,000.

The play Gee’s Bend was commissioned by the Alabama Shakespeare Festival’s Southern Writers Project, where it received a staged reading in 2006 and premiered in January 2007. Even though the story is loosely based on the life of Mary Lee Bendolph, the play focuses on the community of Gee’s Bend as well. Like most artists, the women of Gee’s Bend looked to their surroundings to inspire their designs and were influenced by those around them.

Watch as Director Gilbert McCauley discusses discovering Gee’s Bend and the impact it has in telling this story. Woman on Pettway Plantation, Gees Bend, 1937. Photo by Arthur Rothstein.

“The story of Gee’s Bend is tied to Gee’s Bend only; it’s a special place filled with special people who may appear mundane on the surface, but beneath they are as textured as the very quilts they make,” says Rep Dramaturg Adewunmi Oke. “The costumes, the set and the props will reflect not only the people, but also the place of Gee’s Bend both literally and metaphorically.”

Watch as Dramaturg Adewunmi Oke discusses the lessons audiences will take away from this true story. Monica Parks as mother Alice, Nambi E. Kelley as Sadie and Shannon Lamb as sister Nella in Arkansas Repertory Theatre’s production of Gee’s Bend.

Gee’s Bend opens on The Rep stage January 25 and runs through February 10, 2013, supported and sponsored by The Design Group, Philander Smith College, Arora, Delta Airlines and the Little Rock Convention and Visitor’s Bureau.

The Rep’s production of Gee’s Bend is made possible in part by a grant from the Arkansas Black Hall of Fame Foundation, a component fund of the Arkansas Community Fund.

Singin’ on a Star: Meet Zach Graham

Posted by -
Reply

“I guess it starts with Nicole herself. Coming into my first audition, and being a little timid, and her saying, “Hey, you can be comfortable here,’ has really pushed me…”

- Zach Graham, Cast Member, Singin’ on a Star, Fall 2012

This year’s Young Artists’ Production, an annual performance by The Rep’s SMTI (Summer Musical Theatre Intensive) program, is all about the actor’s journey from stardust to stardom, set to a toe-tapping soundtrack of modern song selections from the top pop charts and the Great White Way.

Follow Zach and The Rep’s Young Artists as they chase big dreams in the Big Apple for nine performances only, Oct. 24 – Nov. 3 at The Rep.

Meet Young Artist Mary Katelin Ward

Meet Young Artist Calvin Chester

Singin’ on a Star: Meet Mary Katelin Ward

Posted by -
Reply

“I feel like, without a dream, you don’t really have a journey in life. If you don’t really have a destination, what are you working towards? Since the first time I stepped on stage, I’ve known this is what I want to do.”

– Mary Katelin Ward, Cast Member, Singin’ on a Star, Fall 2012

This year’s Young Artists’ Production, an annual performance by The Rep’s SMTI (Summer Musical Theatre Intensive) program, is all about the actor’s journey from stardust to stardom.

Take a never-before-seen glimpse into the personal stories and real-life experiences of actors as they face overwhelming odds and exhilarating opportunities on their path to success. Follow Mary Katelin and The Rep’s Young Artists as they chase big dreams Oct. 24 – Nov. 3 at The Rep.

Meet Young Artist Calvin Chester

Meet Young Artist Zach Graham

Medieval Weaponry, King Henry’s War

Posted by -
Reply

Watch as Fight Director D.C. Wright explains the history and use of the Medieval Broadsword, and how weapons and armor were used during the time of Henry V and during the famous battle of Agincourt. 

 

 

Henry’s motivation to invade France may certainly be bolstered by the urging of the clergy, who have self-interested motives as evidenced by the parliamentary bill mentioned at the play’s start. But the seed for such action had been planted by his father at the end of 2 Henry IV.

The English army began the invasion with a siege on Harfleur that lasted for 5 weeks. The land on which they were fighting was made of marshes, which were swarmed with flies, and the only available food (rotten fruit and shellfish) led to fever and dysentery. Within a month, some 2,000 English soldiers were dead. Many more were sick enough to be sent home to England.

Though Harfleur was won on September 22, the victory was at a devastating cost. Henry had lost at least a third of his men.

Still, the king made the decision to advance to Calais, 150 miles away. They were met along the way by the French, near Agincourt. It had been raining for a week at Agincourt and rained heavily the night before the battle. This development would soon prove to be the English army’s salvation.

On the morning of October 25, the Feast of St. Crispin, both sides prepared for battle. The English formed three lines across, with archers in between. Henry himself led the center line. Sharpened stakes were set in front of the men as a defense against the French cavalry.

Because the French army was so large and the space was so small, a line formation was impossible. Instead, the French formed a column, deployed in three ranks one behind the other, with cavalry on each side and crossbowmen between.

When the French cavalry and infantry began their attack, their heavy armor began to sink in the mud, making them easy targets for the English archers. The few French who managed to reach the English line were met with short swords, axes and mace clubs.

The second wave of attack met with the same fate, and the third wave fled, leading the English to declare victory at Agincourt. The French losses were extraordinary. Out of approximately 20,000 men, 7,000 were dead. The English had lost around 1,600.

Watch the battle of Agincourt unfold and the story of young King Henry V play out live on stage. Purchase Advance Tickets to Henry V today.

Against Incredible Odds: Henry V

Posted by -
Reply

Avery Clark goes to war as King Henry V in Arkansas Repertory Theatre’s production of Henry V. Photography by Justin Bolle, ThinkDero Photography. © Copyright 2012 Arkansas Repertory Theatre. All rights reserved.

In a muddy field in northern France, a small group of English soldiers prepare for the battle of their lives. After marching in the rain for days on end, they are sick, soaked, and starving. It is October 25, 1415.

Against incredible odds, outnumbered and depleted, they will fight valiantly and victoriously to triumph in a battle that will become one of the most famous moments in English history. Their leader is King Henry V.

Shakespeare’s Henry V is one of a series of eight plays on medieval English history. We meet Shakespeare’s Henry in the plays which come just before it in sequence – Henry IV, parts 1 & 2 – where he is portrayed as the young, riotous, defiant Prince Hal.

Henry V is where the young king becomes the full-fledged hero of British folklore. He is determined, brave, brilliant, eloquent and charismatic. Henry makes the bold decision to invade France to renew an old claim on the French throne.

Henry is burdened with the task not only of facing the force of the enemy, but of unifying a wide variety of voices and perspectives into one nation. The king is also at war with his own past, mindful of the fact that his father came to the throne by overthrowing the previous king.

Following the astonishing English victory at the Battle of Agincourt in 1415, the King of France declared Henry V heir to the French throne and gave him his daughter’s hand in marriage. Princess Katherine of Valois thus became the Queen of England in 1420.

Shakespeare’s stunning play highlights the contradictions of war, its horrors alongside its glories, and creates in the character of Henry V a man who struggles to reconcile the ambiguities of his own existence. The result is a story that is dynamic, thrilling and powerful.

“From his confrontation with the close friends who betray him to his wooing of the French princess, Henry V is such a compelling character,” says Director Bob Hupp. “A young king, untested, driven by ambition, strives for redemption and power through the cauldron of war and redefines his world in the process.”

Learn more about The Rep’s upcoming production of Henry V at our preshow talks, our luncheon panel at the Clinton School of Public Service or our Laman Library series.

Advance Tickets to Henry V are on sale through Sept. 7 and can be purchased here.

Soldier, Hooligan, Hero: Henry V

Posted by -
2

At the time of his death in 1422, King Henry V of England had been a serious soldier and a hopeless hooligan, a model of piety and a maker of history, an ambitious king and a beloved hero. He was only 35 years old.

Henry V was the second English monarch who came from the House of Lancaster. After his father’s death in 1413, he rapidly assumed control of the country and embarked on an ambitious expedition to claim his right to the French throne.

Avery Clark as King Henry V.

His military successes in the Hundred Years’ War and his famous victory at the Battle of Agincourt led Henry V close to conquering France. After a peace treaty was negotiated between England and France during the Hundred Years’ War, King Charles acknowledged Henry V as his heir. Henry was subsequently married to Charles’ daughter, Katherine of Valois.

Katherine of Valois was the daughter of King Charles VI of France and his wife Isabelle of Bavaria. After marrying Henry at Troyes Cathedral in 1420, Katherine went to England with her new husband and was crowned queen in Westminster Abbey.

Nikki Coble as Katherine of Valois.

In June 1421, Henry returned to France to continue his military campaigns. Katherine gave birth to Prince Henry later the same year. Sadly, the boy and his father would never see each other. During the siege of Meaux, Henry V contracted dysentery and died on August 31, 1422.

Before she was 21, Katherine was a widow and the Dowager Queen of England. Three years after the death of Henry V, she remarried and had a son who would become the father of the first Tudor king, Henry VII.

Learn more about The Rep’s upcoming production of Henry V at our preshow talks, our luncheon panel at the Clinton School of Public Service or our Laman Library series.

Advance Tickets to Henry V are on sale through Sept. 7 and can be purchased here. The production opens in two weeks.

Photography by Justin Bolle, ThinkDero Photography. Avery Clark as King Henry V. Nikki Coble as Princess Katherine. © Copyright 2012 Arkansas Repertory Theatre. All rights reserved.

Avery Clark Returns to Arkansas Rep as King Henry V

Posted by -
Reply

“From his confrontation with the close friends who betray him to his wooing of the French princess, Henry V is such a compelling character,” says Rep Producing Artistic Director and Henry V Director Bob Hupp. “A young king, untested, driven by ambition, strives for redemption and power through the cauldron of war and redefines his world in the process.”

Avery Clark as Hamlet

Arkansas native Avery Clark most recently appeared in The 39 Steps in 2011 and as Hamlet in 2010, and will portray the young King Henry V in The Rep’s season opening production.

With the death of his father, young King Henry casts off the trappings of youthful misadventures and transforms into a leader of men. With his country wracked by strife, mocked by the French and eager to assert his birthright, Henry launches a rash invasion that culminates in the fateful battle of Agincourt. Weary and grossly outnumbered, the English face near certain defeat, but Henry’s inspirational leadership turns the tide of war and turns a man into a legend.

“The power of Henry V lies in its contradictions,” says Hupp. “Valor and cruelty, greed and generosity, honor and treachery. These contradictions make the play immediately accessible to a modern audience and help bring the characters to vivid life on the stage.”

NEA GRANT FOR HENRY V TO BENEFIT ARKANSAS STUDENTS

Arkansas Repertory Theatre is the only performing arts organization in Arkansas to receive this year’s Shakespeare for a New Generation grant from Arts Midwest. The Rep will offer its production of Henry V to more than 20 schools through student matinee performances over a three-week run, reaching more than 1,500 students across Arkansas. The Rep reached more than 5,000 students last season through its Student Matinee Program.

“Henry V is politics, it is history, it is the human condition in extraordinary circumstances,” says Hupp. “To be able to explore these ideas with students across central Arkansas is a central objective of our work this fall. We look forward to bringing The Rep’s first foray into Shakespeare’s history plays to vivid life for audiences of all ages, and especially, with the help of this important grant, to enriching the experience for young audiences through a greater understanding of the creative, historical and cultural context of the play.”

Austin Pendleton to Revive Rare William Inge Play

Posted by -
Reply

The original version of William Inge’s A Loss of Roses will open on June 15 at Arkansas Rep. The revival will be directed by New York City director, playwright and noted film and stage actor Austin Pendleton.

“I discovered A Loss of Roses a few years ago. I thought: this is a forgotten beautiful American play, full of colorful people and rich, juicy humor, and full of tragedy,” says Pendleton. “Since I read it, I’ve wanted to do it. I’m thrilled a theatre as good as Arkansas Rep is letting me do it.”

Pendleton directed a staged reading of A Loss of Roses featured in TONGUES at New York’s Cherry Lane Theatre in 2010. Pendleton has served as artistic director of the Circle Repertory Theatre Company in New York and is an ensemble member of Chicago’s Steppenwolf Theatre Company.

Pendleton says several of Inge’s plays have been revived by theatre artists wanting to tackle the playwright’s well-made plays. However, A Loss of Roses has remained mostly on the shelf since it closed on Broadway in 1959. Arkansas Rep’s production will feature Jean Lichty as Lila Green, Jane Summerhays as Helen Baird and Bret Lada as Kenny.

“THERE’S SO MANY THINGS I STILL WANT BACK.”

In A Loss of Roses, Helen is a devout widow who cherishes the memory of her heroic husband above all else, even as her grown son, Kenny, struggles to fill his shoes and win his mother’s love. Lila is a beautiful but emotionally insecure actress who arrives on their doorstep without a job or direction, but with a lifetime of baggage. When Lila moves in, a love triangle is created that can only end in heartbreak when someone must break free – for love, from love or both.

Penned in the intimate style of Tennessee Williams, but with William Inge’s graceful insight into the lives of broken families, A Loss of Roses is a bittersweet romance about the loss of innocence which garnered a young Warren Beatty a Tony Award nomination for Best Featured Actor in the 1959 Broadway production.

A CAUSE FOR CELEBRATION

“Bringing a rarely-produced work by William Inge to the stage is cause for celebration; doubly so when the creative team is led by Austin Pendleton,” says Rep Producing Artistic Director Robert Hupp. “He’s assembled a dynamic cast for this fascinating play. I am honored to introduce A Loss of Roses to a new generation of theatregoers and to re-examine Inge in the context of what he spoke of as his favorite among his many works.”

A Loss of Roses was William Inge’s first big setback after a string of critical and commercial successes with Bus Stop and the Pulitzer Prize-winning Picnic. The production was plagued by cast and script changes, earned poor reviews and closed after only three weeks on stage. Inge felt the play was one of his best, and was said to be stung by the criticisms. Arkansas Rep’s production will revive Inge’s original script, including the ending as Inge intended.