Friday, July 17, 2020

220. THE HAPPINESS CAGE. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975

Ronny Cox, Lewis J  Stadlen.

THE HAPPINESS CAGE [Drama/Hospital/Medicine/Military/Science] A: Dennis J. Reardon; D: Tom Aldredge; S: Marjorie Kellogg; C: Theoni V. Aldredge; L: Martin Aronstein; M: Ronny Cox; P: New York Shakespeare Festival; T: Public Theater/Estelle R. Newman Theater (OB); 10/4/70-11/1/70 (32)

(top, center) George Loros, Lewis J. Stadlen, Paul Sparer.
The Happiness Cage, the first play at the Public Theater's new Estelle R. Newman Theater, evoked numerous expressions of admiration, even from those who noted various cracks in its sci-fi oriented composition. It tells of a medical experiment being carried out in a Veterans Administration hospital where, under the supervision of an Army general (Paul Sparer) and a hospital adminstrator (Henderson Forsythe), young vets are given a sort of shock treatment to prevent them from feeling anguish and to make them perpetually happy.

Three vets are the subjects and two die from the experiment, but the surviving guinea pig, Reese (Lewis J. Stadlen), who entered the facility with a broken arm, and resists the treatments because he insists on suffering if he so chooses, becomes an eventual victim and turns into a human vacuum.

This drama about the dangers of thought control, and of medical science’s unchecked experimentation, demonstrated that Reardon was a highly promising new playwright. Otherwise intriguing and interesting, the work was weakened by excessive length and a diffuse structure. John Simon acknowledged the writer’s talent, but felt as did others that the anticlimactic ending was ineffective. He pointed out that the play “begins with an authentic, instantaneous sense of drama, character and language, which is sustained without lapses almost to the very end of the play, a play stuffed with plot, people and palaver.” He added, “The production is the best Joe Papp’s Public Theater has given us since . . . Hair in its original version.” Harold Clurman wrote, “The thesis may be valid, but it is presented too late, too simplistically . . . , and coming after the elaborate exposition of the hospital’s abuses, it creates the impression of an edifying postscript.”

In the cast were such noteworthy names as Ronny Cox, Charles Durning, Bette Henritze, and the then unknown Jason Miller (before he starred in The Exorcist).