The Rat Race (play)

The Rat Race (play)
Name	The Rat Race
Writer	Garson Kanin
Characters	Gus, Charlie, Sylvia, Mavis
Setting	A Manhattan apartment
Premiere date	December 1949
Premiere venue	Ethel Barrymore Theatre
Subject	Ambition and disillusionment in New York City
Genre	Drama

The Rat Race (play). A dramatic work by American playwright and director Garson Kanin, it premiered on Broadway in late 1949. The play explores the corrosive effects of ambition and the struggle for success in the competitive environment of post-war New York City. It is considered a pointed social commentary on the pursuit of the American Dream within the urban landscape.

Background and development

Garson Kanin, already established for his work on films like *Born Yesterday* and his collaborations with director George S. Kaufman, drew inspiration from his observations of the theatre district's aspirational culture. The play was developed during a period of significant economic and social change in the United States following World War II. Kanin’s experiences in the worlds of Hollywood and Broadway informed the play's authentic depiction of backstage struggles and personal compromise. The original production was brought to the stage by the prominent theatrical producer Max Gordon.

Plot summary

The narrative centers on a young, ambitious musician from the Midwest who arrives in New York City with dreams of success. He moves into a cramped Manhattan apartment shared by a cynical, world-weary dancer. Their initially contentious relationship unfolds against a backdrop of financial desperation and artistic frustration. The plot follows their interactions with a cast of fellow strugglers, including a seasoned performer and a naive hopeful, as they navigate a series of professional disappointments and personal betrayals. The story builds to a climax that questions the true cost of victory in a merciless urban environment.

Characters

* Gus: The idealistic young musician, new to the harsh realities of Manhattan. * Charlie: The jaded and pragmatic professional dancer who becomes Gus's reluctant roommate. * Sylvia: A veteran performer acquainted with Charlie, representing faded dreams and resilience. * Mavis: A younger, impressionable woman drawn into the orbit of the main characters, symbolizing vulnerable ambition.

Production history

The play premiered on December 22, 1949, at the Ethel Barrymore Theatre on Broadway. The original cast featured notable performers of the era, including Betty Field and Barry Nelson, under the direction of the author, Garson Kanin. While it had a respectable run, it was overshadowed by other major theatrical successes of the 1949-1950 season. A subsequent West End production opened in London in 1950. The play has seen occasional revivals by regional theatres and academic institutions like the University of Michigan and the Pasadena Playhouse, but it has not entered the standard repertoire of major American theatre companies.

Critical reception

Initial reviews from major outlets like The New York Times were mixed, with praise for its sharp dialogue and authentic atmosphere but criticism for its conventional structure. Critics such as Brooks Atkinson acknowledged Kanin's skill in capturing the zeitgeist of post-war New York City but found the narrative ultimately unsurprising. The performances, particularly that of Betty Field, were generally well-received. Over time, the play has been regarded as a competent, if not groundbreaking, entry in the canon of mid-century American drama about urban life, often discussed in studies of Garson Kanin's broader career alongside works like *The Diary of Anne Frank*.

Themes and analysis

The central theme is the dehumanizing nature of relentless competition, a metaphor extended by the title itself. It analyzes the conflict between artistic integrity and commercial success, a recurring concern in post-war American theatre. The play also examines themes of loneliness and makeshift kinship within the transient communities of large cities like New York City and Chicago. Scholars often place it within the context of other dramatic critiques of the American Dream, such as those by playwrights Arthur Miller and Tennessee Williams, though it focuses more specifically on the entertainment industry. The setting of a single Manhattan apartment serves as a microcosm for the wider, impersonal struggle occurring throughout the United States.

Category:American plays Category:1949 plays