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Web page image: 8" vase designed by Mary Frances Overbeck and modeled by Elizabeth Overbeck circa 1930-35. Dillenberg-Espinar Collection. From Treasures of the American Arts and Crafts Movement (Volpe and Cathers, 1988).
THE MISSES OVERBECK PREMIERED MAY 21, 2004, AT DIFFERENT STAGES THEATRE COMPANY, AUSTIN, DIRECTED BY NORMAN BLUMENSAADT. (For credits and reviews of the first production, click here.) The play's first public reading, followed by a discussion with the author, was at Curtains Theater, Houston, 1993. Blake Newman directed the reading.
THE MISSES OVERBECK, a play by Tom White
Copyright 1992, 2004 Tom White
CAUTION: All rights in this play are strictly reserved. With regard to this database “reading” version, it may be printed for the individual reader, but any further distribution of the database, or photocopy, or other reproduction of the individual reading copy is prohibited. Public performances, including public readings, are strictly prohibited without written permission from the author or Agent, c/o P.O. Box 4945, Austin, Texas 78765, where application for performances, etc. should be made before rehearsal.
CHARACTERS: Norma, Sarah, Margaret*, Elizabeth, Hannah, Mary Frances, Harriet*, Melanie, Bobby, Mark
*(these two played by the same actress)
TIME AND PLACE: Kitchen/living spaces circa 1910 and 1992.
Sound cue: solo piano. House lights fade as a short slide show appears on an upstage screen or wall, beginning with an image of the Overbeck logo, (OBK) followed by an oil painting of cardinals, then another oil painting yellow birds by Mary Frances, then an image of a small vase, followed by an image of a trivet, then of an elaborate vase. [These images available on the internet.] Piano out, as Norma, an attractive woman in her early 50's, enters with a paper sack, goes to a video camera on tripod down left, removes its lens cover, (thereby projecting a close-up of herself --a live camera "feed" in real time onto the upstage screen. She speaks to the camera.
NORMA: "Broken," she said. Then after a moment, she asked: "Will you fix it?" Not "can," but "will." Which was nice. Oh, I'd seen this before. The great care taken. So as I began to remove the shards--each one carefully wrapped--(she removes crumpled tissues from the sack) I already knew what the answer would be when I asked her to place a value on the object. "Priceless," she said, and I resisted a laugh. Wrong about that. People bring me things, and I am amazed at what they plop down here on the table. Oh, sometimes quite rare--Tiffany, Lalique--even one Faberge. Most often though, junk--stuff that should have been thrown away years ago. And yet--I am surprised at how often they're willing to pay me many times over what an object is worth. Obviously I'm not repairing teapots. It's the past they won't throw away. Affections, generosities, histories so personal. But priceless? (she replaces the lens cover, which ends the projection, then speaks directly to the audience) I knew the vessel was filled with memories--for her. What I didn't realize, was what it held...for me.
Lights go down on Norma, who exits with the tissues and sack. The kitchen of the Overbeck sisters' home, Cambridge City, Indiana, 1910. Simultaneous with her exit, two of the Overbeck sisters enter and take places in Norma's vacated space. Hannah (age 40) sits at table. She has a sketchbook and pencil. Elizabeth (age 35) sets four plates. Upstage are several nice ceramic vases (as set decoration, but some will be used) in a cabinet with open shelves. A third sister, Margaret (age 47) enters.
MARGARET: Good morning.
ELIZABETH: Good morning, Margaret.
HANNAH: Morning.
ELIZABETH: Sleep well?
MARGARET: Not really. I thought about our discussion, until I realized what we should do. Where's Mary Frances?
ELIZABETH: With her hens, I think. Would you like an omelet?
MARGARET: (she means cook) It's my turn.
HANNAH: Oh it's really mine.
ELIZABETH: It doesn't matter. (to Margaret) Hannah's neuritis is acting up.
MARGARET: (to Hannah) I'm sorry, dear. Did you take your elixir?
HANNAH: Well I don't much care for it.
MARGARET: Ah, some jasmine tea, then?
HANNAH: That would be nice.
ELIZABETH: I put the kettle on.
MARGARET: With honey.
HANNAH: Please.
MARGARET: (playfully) Shall we use the teapot with the funny spout?
HANNAH: (smiles) Yes.
ELIZABETH: Good.
Elizabeth exits.
MARGARET: Where does it hurt, Hannah?
HANNAH: It's more a...numbness. I've been sketching.
MARGARET: Let's see.
The fourth sister, Mary Frances (age 32) enters with a bouquet of wildflowers. Margaret looks at Hannah's sketchbook.
MARY FRANCES: Good morning.
MARGARET: Good morning, Mary Frances.
MARY FRANCES: Look what I found.
HANNAH: Oh, they're beautiful!
Mary Frances retrieves the upstage vase, places it center of table.
MARGARET: (the sketch) Lovely, Hannah. Milkweed?
HANNAH: (nods) Growing outside my window.
MARGARET: (indicating) Very nice. Uh, just here.
HANNAH: The seed pod?
MARGARET: In proportion to the stem?
Hannah considers Margaret's comment. Mary Frances puts bouquet into vase, arranges it. Elizabeth enters with teapot, stops.
ELIZABETH: (the flowers) Goodness--what color!
MARY FRANCES: Aren't they?
MARGARET: Beautiful, Mary Frances.
ELIZABETH: Where did you find larkspur?
MARY FRANCES: That little path beside the orchard.
MARGARET: (the sketch; to Hannah) Have you tried flattening the image? The blossom turned out and toward us--only flat.
HANNAH: The outline, then.
MARGARET: Well, start--let me show you.
Margaret takes pencil and paper.
ELIZABETH: (to Mary Frances) You didn't wander into Mr. Jenkins pasture, I hope.
MARY FRANCES: Not too far.
ELIZABETH: Mary Frances.
MARY FRANCES: Oh, he wouldn't mind. I was after violets.
ELIZABETH: (slight disapproval) So I see....
HANNAH: Nothing from the hens this morning, Mary Frances?
Mary Frances squeals.
MARGARET: (looks up) She forgot.
ELIZABETH: Margaret wanted an omelet.
MARGARET: Not really.
MARY FRANCES: It won't take a minute.
MARGARET: No, sit down, Mary Frances.
HANNAH: I believe baby sister has spring fever.
ELIZABETH: God help us.
MARGARET: I've made up my mind about something.
ELIZABETH: Then toast with fig preserves.
MARGARET: That would be delicious, Elizabeth.
MARY FRANCES: (to Margaret) Last night, you mean?
MARGARET: Yes. I lay awake, staring at the moon, until I realized: we can do it.
They look at each other.
ELIZABETH: On our own?
HANNAH: But we're teachers, Margaret.
MARGARET: And we still shall be. Besides the studio, we'll hold classes here.
MARY FRANCES: You mean--give up our positions at the school?
MARGARET: We'll have to, yes.
HANNAH: I'm not sure...
MARGARET: Now as far as you're concerned, dear Hannah, I insist--until your health improves.
ELIZABETH: I agree.
MARGARET: We're certainly qualified.
MARY FRANCES: But--how will we make a living?
MARGARET: We'll sell our pottery, Mary Frances.
MARY FRANCES: Oh.
MARGARET: We'll teach--painting...and drawing. Design, throw, and fire our own creations.
MARY FRANCES: But do you think...someone will buy them?
MARGARET: Well of course.
ELIZABETH: We'll need a kiln.
MARGARET: I'm sure Mr. Stevens at the bank will help. Our workshop in the basement, and the studio here. Now granted, it'll be hard work, but Maria Nichols did it, and now look at Rookwood.
ELIZABETH: But her grandfather owned half of Cincinnati!
MARGARET: Yes, but there was only one of her--if we all agree.
ELIZABETH: (pause) I say: let's give it a try.
MARGARET: Good, Elizabeth.
MARY FRANCES: We hold our own as painters--but I don't know the first thing about throwing a pot--that's men's work.
MARGARET: Nonsense.
HANNAH: She has a point, Margaret. We're decorators.
MARGARET: Some of the best.
HANNAH: We don't know about clay, or firing, or glazes!
MARGARET: Elizabeth has training--she'll teach us.
They all look at Elizabeth, who nods.
HANNAH: I don't know.
MARGARET: Why, Hannah?
HANNAH: Well--it just isn't done.
MARGARET: There's no need to create something that's been done before, is there?
HANNAH: But what will people think? Our neighbors.
MARY FRANCES: That we're too big for our breeches.
MARGARET: We do take pride in our work.
HANNAH: Yes, however...
MARGARET: Oh dear sisters, don't be afraid. America is young. We see how far the Europeans are ahead of us. We know what's going on in France. And few people do know these things. Let's us show them the way.
ELIZABETH: What's more--it'll be fun!
MARGARET: Indeed it will, Elizabeth.
HANNAH: (beat) What about Mr. Binns?
MARGARET: Charles will encourage us, I'm sure. I'll write him tomorrow, and tell him our decision.
HANNAH: Shouldn't we ask...Harriet?
Pause. The sisters consider this with serious expressions.
MARGARET: I'll discuss it with her. It's up to us.
MARY FRANCES: But Margaret, you said Professor Binns...(slightly embarrassed) touched your hands?
MARGARET: (beat) Perhaps that was inadvertent.
MARY FRANCES: You said you thought he intended...
MARGARET: Mary Frances, I regret mentioning it. Now in the instruction of claywork, it is natural for the teacher to...guide the hand of the student. There is no time to speculate on the meaning of idle gestures. We create our own lives--not wait around for somebody else to propose them for us. I say we vote. Elizabeth?
ELIZABETH: (excited, goes to her) Yes!
MARGARET: Mary Frances?
MARY FRANCES: I suppose I...go along with what everyone decides.
MARGARET: Then it's up to you, Hannah. We're all or none.
HANNAH: Oh, so I'm to blame if we fail.
ELIZABETH: No--we need you.
MARGARET: Shall we form the circle?
The sisters join hands around the table.
MARGARET: (cont.) (passionately) Good! Now, beloved. Look at what we have before us.
They are staring at the vase holding the wildflowers, center of table.
MARGARET: (cont.) What do you see, Mary Frances?
Mary Frances stands, takes approximately one third of the flowers from the vase, holds them out.
MARY FRANCES: I see...color.
Elizabeth rises, takes about the same number of flowers.
ELIZABETH: I see form.
Hannah rises next, takes the remaining flowers.
HANNAH: I see nature.
Margaret rises, takes the vase itself, turns downstage, holds it up. Dramatic spotlight on this vase.
MARGARET: And I...see the future.
All lights down; the sisters exit.
Simultaneously Sarah (a pretty girl in her 20's) enters clutching a paper sack containing individually wrapped pottery shards. There is a reference book and business cards on an upstage shelf. Lights up.
SARAH: Broken.
NORMA: Oh dear.
SARAH: Well, it's pretty much shattered, I guess.
NORMA: Oh well let's see--(removing shard from tissue, holding it up) a vase?
SARAH: Yes.
NORMA: American, I think. You know the maker?
SARAH: It was a gift from my mom.
NORMA: Well maybe she knows?
SARAH: No. She died
NORMA: Oh I'm sorry.
SARAH: When I was fifteen. One of the things, you know, that she left me.
NORMA: And it's lovely, I can tell. Hand thrown--which is a plus--one of a kind. (examining) Were there any markings? Like a signature.
SARAH: On the bottom?
NORMA: Probably.
SARAH: There are some letters. (indicates one of the shards) Here.
NORMA: (holds shard, raises eyeglasses, reads) "O B K." (beat) Familiar.
SARAH: That's right--OBK.
NORMA: (taking book) I'll look that up.
SARAH: There are twenty-four pieces. I wrapped all the really small ones together.
NORMA: Here we are. "Overbeck." Cambridge City, Indiana. Ah, the sisters, of course. (the book) Here--you see this mark?--1911 to 1936. I've never actually seen one of these.
SARAH: Does that mean you can't?...
NORMA: Oh no no, not at all. But with so many pieces, it's going to take some time.
SARAH: Yes, so...then will you fix it?
NORMA: First I'll give you an estimate. Thirty-five dollars an hour.
SARAH: I understand.
NORMA: And then I'll give you an appraisal. Market value in mint condition, which it won't be--even after I've fixed it.
SARAH: Price is no object.
NORMA: Uh yes, well. (gives us a look, then crosses down and speaks directly to the audience; she gestures the quotations:) Price is seldom the "object" until I present the bill, and then it sometimes becomes the "objection"...
SARAH: (surprisingly strong emotion) I should've been more careful.
NORMA: (somewhat taken aback) Oh. Well no. Accidents happen. Sarah...would you like something to drink?
SARAH: No. No thank you--I'm sorry--it just upsets me, you know, to think I've lost it.
NORMA: And it's a lovely vase--I can tell.
SARAH: The sentimental value, I guess.
NORMA: I understand.
Sarah exits right with Norma, but then Norma comes back in with three black scarves.
We hear the Overbeck sisters softly humming a hymn as they enter upstage left--a funeral procession. They move to the table, help Margaret lie down on top of it. They cover her with a translucent shroud, then stand on three sides of her. Margaret has brought on a handful of brushes, which she clasps to her chest--a funeral bouquet. On the upstage shelf, there is a crude pitcher in brown glaze; elsewhere downstage a plate of corn bread.
Norma drapes black scarves across the shoulders of the standing sisters, who then put them on their heads, as Norma speaks.
NORMA: (to audience) Their elder sister Margaret died, 1911, from injuries as a passenger in an automobile accident. It was less than a year since they had begun the pottery. She was 49. Years later, the remaining sisters were to create a small earthenware car. Realisitic in every detail and odd, because the Overbecks never owned an automobile, and probably never drove one.
MARY FRANCES: She was the perfect teacher.
HANNAH: The enterprise itself was her creation.
ELIZABETH: Big sister would want us to continue.
NORMA: (to audience) And so they did. (The sisters begin their exits as their names are spoken.) Elizabeth the technician, throwing pots and creating glazes; Hannah the painter; Mary Frances the designer.
Her sisters out, Margaret (still under shroud) suddenly sits up. This startles Norma, who was about to touch her.
MARGARET: What about Harriet?
NORMA: The musician?
MARGARET: She'll be furious, if you leave her out.
NORMA: Well certain details...omitted.
MARGARET: But not Harriet, surely.
NORMA: Economics preclude...
MARGARET: (quickly understands) You want your work to sell.
NORMA: Well...it's hard enough getting a play produced without having a bunch of actors standing around backstage with no lines.
MARGARET: But realism...
NORMA: You're going to lecture me on realism?
MARGARET: Well, no.
NORMA: Besides, Harriet didn't know ceramics. This is about your pottery.
MARGARET: But there's more to it than that, surely. (insistent) My sister Harriet played her part.
NORMA: She felt left out.
MARGARET: Precisely! Which is why you need her.
NORMA: A compromise, then.
MARGARET: Sometimes, is required.
NORMA: You'll have to play Harriet. (She removes Margaret's shroud.)
MARGARET: (considers) I could do that. Since you killed me off.
NORMA: You died!
MARGARET: Unavoidable.
NORMA: (kindly) Margaret, before you go. Is there anything else?
MARGARET: The thing about the trial piece, I think, is interesting. Or, I don't know. An epitaph?
NORMA: (summation) Margaret had been the driving force. She had the idea for the pottery. A crude, trial pitcher was thrown--from nearby red clay?
MARGARET: Yes, from the orchard.
NORMA: They took it to a potter named Kocher, to ask his opinion.
MARGARET: He made useful things--stove collars, spittoons, crocks for the sugar maples.
NORMA: They asked him to him to fire, and he said...
MARGARET: (Norma letting her finish the sentence) That it was "heavy, but satisfactory."
NORMA: (holding up pitcher with both hands) They cremated Margaret, and placed her ashes in it, and put it on the mantle, as a memorial to her inspiration.
MARGARET: (beat; dumbfounded) I beg your pardon!
NORMA: (wincing) Poetic license?
MARGARET: Certainly not! I was buried in Riverside Cemetery with the rest of my family. (retrieving pitcher, placing it center of table) The trial piece went here. It held our brushes.
She places brushes into pitcher.
NORMA: Sorry.
MARGARET: On the mantle were candlesticks, in a matte rose-apricot crackle glaze.
NORMA: (to audience) When Margaret was a student at Cincinnati Art Academy, she took a life drawing class. The Academy had one model posing nude in the morning and evening for men only. And one model in the morning for women only. She also took a mixed class--figure (gestures) partially draped. Two to four daily--except Sundays.
MARGARET: Why on earth would you tell them that?!
NORMA: Well, it might be important.
MARGARET: (overlapping) I really don't see...
NORMA: You have a costume change.
MARGARET: (Norma is hurrying her out) If I'm going to play my sister, I need books. Balzac. Thackeray. Dante and Dickens. Also sheet music.
NORMA: Exit.
MARGARET: (leaving) Fine.
NORMA: (stopping her with her name) Margaret.
MARGARET: Mm?
Elizabeth, Hannah, and Mary Frances have entered opposite, look at Margaret.
NORMA: Rest in peace.
MARGARET: (to them all, fondly, blowing a kiss) I do.
Margaret exits, as her sisters come forward. From backstage we hear a young voice sing-song "Over a peck, over a peck, not quite a bushel."
NORMA: (to audience) On the monument, where... (admitting this with a smile) all the sisters are buried...there is a surprise--not "Overbeck." It says "Overpeck." With a p. They changed their name.
Norma exits.
HANNAH: Do you remember in grade school, new in town, how our classmates would whisper "German" behind our backs?
ELIZABETH: Children will be children.
HANNAH: Oh, and that horrid jingle?
MARY FRANCES: (chants; this is what we heard prior) "Over-a-peck, over-a-peck, not quite a bushel!"
ELIZABETH: Made me feel so...inadequate.
HANNAH: Well I heard it again today.
MARY FRANCES: You didn't.
ELIZABETH: (overlapping) No.
HANNAH: From the upstairs porch. I think it was one of Harriet's students.
MARY FRANCES: That is so rude.
ELIZABETH: Did you tell Harriet?
HANNAH shakes her head.
ELIZABETH (cont.) : You should! Like being called dishonest grocers or something. (gestures) With a finger on the scales.
MARY FRANCES: I don't much like being in a nursery rhyme. Little Miss Muffet.
ELIZABETH: "Sat on a tuffet."
HANNAH: "Eating her curds and whey."
MARY FRANCES: (beat) We could change it--if we wanted.
HANNAH: Our name?
MARY FRANCES: Of course.
ELIZABETH: By the way, what is a "tuffet?"
MARY FRANCES: I have no idea. And imagine--being frightened by-- (points, as if she suddenly sees one) a spider!
They laugh and all exit running, pretending to be afraid. Simultaneously Norma and Sarah enter and resume their conversation.
SARAH: It's hard to put a price on some things.
NORMA: Well, I agree completely. But still...market value might be a good place to start. Say I research your vase and find out that, unbroken, it's worth about... three hundred dollars.
SARAH: But...
NORMA: For example. And then I give you an estimate--it could turn out than fixing it would cost more than--than a new one.
SARAH: I don't mind.
NORMA: Well still, you might be better off buying another one. By the same artist--"Overbeck"--just as beautiful, and maybe even more valuable.
SARAH: You said it was one-of-a-kind.
NORMA: Well yes, you won't find one exactly like yours....
SARAH: It wouldn't be the one my mother gave me.
NORMA: (pause) True.
SARAH: But if you don't want to fix it...
NORMA: No, no, to be fair...
SARAH: I have the money.
NORMA: I'm sure you do. But now--it won't be perfect.
SARAH: (pause) What do you mean?
NORMA: Well, it's broken, Sarah.
SARAH: But I thought...
NORMA: I can't perform miracles, dear.
SARAH: I know...
NORMA: Restoration. Should you ever want to sell it, it wouldn't be honest to say that it's undamaged.
SARAH: Oh--(firmly) I would never sell it.
NORMA: (she gives the audience a look) Er, well. Here's my card. (retrieves, hands her one) Let me do a little detective work, and then you can decide where we go from here. Fair enough?
SARAH: (shaking hands) Thank you. (starts her exit, then stops, turns back) All I'm asking is, you know...just--do your best.
NORMA: And I certainly will.
Sarah smiles, exits.
NORMA (cont.; but now to audience) And so we were off--Sarah and I--moments before, strangers. And now traveling together for some brief time toward...Now I won't say her vase was haunted. But spirit?--that spirit is somehow--passed on? Oh, my father's is in me--his curiosity, stubbornness. And my mother's--her laughter, her love of the theatre, her disdain for housekeeping.
Elizabeth and Mary Frances enter. Elizabeth reads at the table, while Mary Frances searches the upstage cabinet.
NORMA (cont.; to audience) But there are some spirits, I think, that cannot touch us until we are ready. As I began to study these women--their solitary, oh so disciplined lives. Their spirits came pouring in, filling up the half-empty vessel of my own. And I began to have the strangest daydreams.
ELIZABETH: (glancing up) What are you looking for, Mary Frances?
MARY FRANCES: Was there any of the johnny cake left from dinner?
ELIZABETH: I think Hannah put it in the pie safe.
Norma excitedly retrieves the plate of corn bread from downstage. Mary Frances turns to Norma, who offers the plate of corn bread.
MARY FRANCES: (taking plate) Thank you.
NORMA: (pleased) You're welcome.
Norma exits, as Mary Frances, slightly puzzled, watches her go. Music cue: offstage piano music: well-played Bach..
MARY FRANCES: (then to Elizabeth) I'm just going to toss it off the end of the porch.
Mary Frances crumbles remaining bread onto plate.
ELIZABETH: Your birds are getting bold, aren't they? Desperate, in the middle of winter.
MARY FRANCES: The poor dears. From the porch swing yesterday?... I saw cardinals having lunch with chickadees. Can you imagine? Different genus, and all. I made a note.
ELIZABETH: Nothing escapes that journal of yours. Do you write about me in there?
MARY FRANCES: (only slightly defensive) I thought it was interesting.
ELIZABETH: Oh, I approve. I'm thinking of a chronicle of my own.
MARY FRANCES: They were gathered in the snow under the cockspur thorn, which has lost its leaves, of course, so I had a perfect view. I made sketches.
ELIZABETH: Good.
MARY FRANCES: Is that your chronicle?
ELIZABETH: No--I found my old notes, from Charles's lectures. Listen: (reads) "...The ingredients are kaolin or white porcelain clay, ground quartz, and feldspar."
MARY FRANCES: Oh, like--baking cookies.
ELIZABETH: Well, a hotter oven.
MARY FRANCES: What's "feldspar?"
ELIZABETH: (she doesn't read this--she knows it) Aluminum silicates with either potassium, sodium, barium or calcium.
MARY FRANCES: Heavens, Elizabeth. It's very scientific, isn't it?
ELIZABETH: Slightly, yes.
MARY FRANCES: (finishing the corn bread) There.
ELIZABETH: Wear your coat, if you're going out, Baby Sister.
MARY FRANCES: Just to the porch.
ELIZABETH: Mary Frances, you know you'll go down to the mailbox, as you have every morning this week.
MARY FRANCES: The awards will be announced any day--I'm not going to win anything, but Hannah might.
ELIZABETH: I've wished you luck. Now go!
MARY FRANCES: (taking plate) Maybe I will.
Mary Frances exits; we hear a door slam. The piano music stops mid-phrase.
ELIZABETH: (reading to herself) "Much of the fascination of pottery making lies in the glaze...."
She underlines the passage. Harriet enters (played by the same actress who played Margaret).
HARRIET: Was that the door?
ELIZABETH: Mary Frances...
HARRIET: Hm.
ELIZABETH: (notices) Oh don't stop, Harriet. The Bach is lovely.
HARRIET: Brushing up, before my lesson. Thank you.
ELIZABETH: Who is it this morning?
HARRIET: Rebecca Pillsbury.
ELIZABETH: Oh, the auctioneer's daughter? She plays well--don't you think?
HARRIET: I suppose so, considering she spends more time with her horses than the piano.
ELIZABETH: I thought you said she had talent.
HARRIET: As do most my students. What they lack is purpose.
ELIZABETH: Maybe having an appreciation of music is enough.
HARRIET: Is it?
ELIZABETH: I wouldn't second guess someone's goals, Harriet. Maybe young Rebecca intends to become a concert pianist and tour all over Europe.
HARRIET: But more likely she'll marry the stable boy, raise three children, and sell her mother's piano.
ELIZABETH: (laughs) Dear Harriet.
HARRIET: I think perhaps a beef stew for lunch?
ELIZABETH: That would be lovely.
HARRIET: I'll start the potatoes.
Mary Frances enters in her coat, carrying the empty plate in one hand, and an opened letter in the other. She quickly removes her coat, slumps into a chair, pretends to pout.
ELIZABETH: (short pause) Well?
MARY FRANCES: (leans forward; gleefully) Yes!--and yes again!
ELIZABETH: Oh! Tell us!
MARY FRANCES: Well...Hannah received second mention for her flower study.
ELIZABETH: Good! (calls off) Hannah!
MARY FRANCES: And I...took first mention for my children's set!
ELIZABETH: Oh, Mary Frances. Wonderful!
MARY FRANCES: I can't believe!
HARRIET: Is this the magazine?
ELIZABETH: Keramic Studio.
HARRIET: And will your designs be published?
ELIZABETH: Certainly--first mention.
MARY FRANCES: And Hannah second.
ELIZABETH: Let's celebrate...with some of your muscadine wine, Harriet?
HARRIET: Of course!
MARY FRANCES: (the letter; thrilled) Oh, and there's controversy. On Hannah's flower design--the judge gave it second, but the critic wrote...(reads) "The decorative study is fine, better than either second prize or first mention."
ELIZABETH: Good!
MARY FRANCES: And listen about me: "First mention for your lion-eagle motif on the child's set," et cetera, the judge says the lion "reminds him of a poodle!"
ELIZABETH: He's not serious.
MARY FRANCES: (mock sternness) "The prize design calls for a certain amount of dignity, which the lion had not."
Mary Frances giggles.
ELIZABETH: But it did, Mary Frances. (wagging finger) I remember that lion.
HARRIET: They don't know.
MARY FRANCES: Oh, I don't care. It's exciting when they disagree. They were just dishes for a child.
HARRIET: Exactly.
ELIZABETH: But what about Margaret?
MARY FRANCES: She didn't enter this time.
HARRIET: (because the actress previously played Margaret) I--er--she's won before, though.
ELIZABETH: But not...
Pause. Elizabeth and Mary Frances look at each other, realizing that this is Hannah's first win.
ELIZABETH and MARY FRANCES: (simultaneously, fairly loud) Hannah!
ELIZABETH: (rising to get her) She'll be thrilled.
ELIZABETH exits.
MARY FRANCES: (rising to follow Elizabeth with the letter) Here, Elizabeth--show her.
She stops just before exiting, looks at the letter.
MARY FRANCES (cont.) (slight petulance, to herself) It most certainly did not look like a poodle.
She snaps the paper, exits with determination; her sister watches her go. Harriet exits with the plate, as Norma enters. There is a notebook and hardcover book in position as needed, as well as a bust of soft clay upstage. Norma brings the vase she is repairing for Sarah on (covered with a cloth). She positions this securely on a work stand down right.
NORMA: (to audience) And so began thirteen years of triumphs by the Overbecks in the pages of Keramic Studio. They loved nature. And they adapted their drawings of it to the rules of the competition. (reading from a journal) Hannah, 1904. Conventionalized Jack-in-the-pulpit design for cup, saucer, and plate. First prize.
The upstage projected slide show resumes with four or five images under this, of these and other Overbeck drawings.
NORMA: (cont.) The Overbecks weren't following--they were leading. (reads again) Margaret. Dado in tiles for child's room with gourd motifs. First prize.
The telephone rings. Norma stops. Another ring.
NORMA (cont.) (to audience) That would be my daughter-in-law.
Amplified sound of telephone machine engaging its recorded message:
NORMA'S RECORDED VOICE: Hello. Sorry, but I've gone...back to nature. Leave a message at the beep.
Beep, followed by amplified voice of Norma's daughter-in-law, Jennifer (early 30's):
JENNIFER: (on phone) Norma? You there? Pick up, please, if you are. (beat) Nothing important. Just wanted to say hi. The kids have a karate class this afternoon, and I thought while we were in the neighborhood...I'll check back. Oh, and I need to ask you about this weekend. Bye, Mom. Love you.
A hang-up, and a second beep.
NORMA: (to audience) I wish she wouldn't do that. Call me "Mom." Anyway, where was I? (reads) Er, Mary Frances. Locust motif on washstand. (looks toward telephone, pauses) She needs a baby-sitter. (back to notebook) Peacock feather, window box tiles. Hannah. Cicada abstractions as border for cup and saucer. Second mention. (referring to message again) Maybe if I don't call back, she'll just go away. The most disturbing thing about my daughter-in-law is that she married my son. (then) Next month, Hannah again. Studies in mushroom and wild sunflower. And the most disturbing thing about my son is that I created him. Or rather, he's my most enduring creation. Well--you see how it goes. They might as well have renamed the magazine "Margaret, Hannah, and Mary Frances." (uncovering the clay bust) But where on earth was Elizabeth?
Simultaneously Norma's daughter Melanie (20's) enters, pushes a television set on a stand with rollers into position (the TV facing upstage), turns it on, then sits to watch it. (Hereafter references to the "TV" are to this set.)
NORMA: (cont.) She wasn't sketching boysenberries. (starts working the clay bust--a female) She was, I imagine--getting her hands dirty. (after a pause, to Melanie) Work okay?
MELANIE: 'S all right.
NORMA: (beat) How's the new apartment?
MELANIE: Good, I guess.
NORMA: My baby girl--on her own.
MELANIE: Mother.
NORMA: Well, it's true. Chosen the paint for the bedroom yet?
MELANIE: Mm, got some chips.
NORMA: Keep it cool would be my advice.
MELANIE: Okay.
NORMA: You talk to your brother lately?
MELANIE: No, why--what's up?
NORMA: Got a promotion, Jennifer said.
MELANIE: Really?
NORMA: Vice President.
MELANIE: Bet she was excited.
NORMA: I need to call them back.
MELANIE: Mm, me too.
NORMA: She didn't ask you to baby-sit, did she?
MELANIE: Not yet.
NORMA: Don't do it.
MELANIE: Why?
NORMA: Just because.
MELANIE: (gasps; slight tease) Don't you love your grandchildren, Mom?
NORMA: I adore them. I just have a little problem with their...you know...parents.
MELANIE: The kids can be fun--in small doses. Besides, Bobby pays me.
NORMA: (surprised) He doesn't me!
MELANIE: You're different.
NORMA: Easy, you mean.
MELANIE: You're their grandmother.
NORMA: (to audience) What a terrifying word--"grandmother." (to Melanie) How much?
MELANIE: Minimum wage. (beat; Norma gasps) I just sit there.
NORMA: But, Melanie, the point is Bobby makes enough that he...it's none of my business. Do what you want.
MELANIE: Okay.
NORMA: Well I mean, especially now, they could afford a nanny.
MELANIE: (innocently, focused on TV) Why?--they've got us.
NORMA: My point exactly.
MELANIE: (laughs) Ha ha!
NORMA: What?
MELANIE: (television) This commercial--with the penguin?
NORMA: Melanie, please turn it off.
MELANIE doesn't move.
NORMA (cont.): Please?
Melanie rises, switches off the set.
MELANIE: Sorry. I gotta go, anyway.
NORMA: Well I didn't mean leave--I just meant look at me every once and awhile.
MELANIE: I do. (pause; she pulls a chair up to the table, sits in it backwards) So, what's going on?
NORMA: D'ya notice?...
MELANIE: Th' sculpture? 'S...cool. You like your classes?
NORMA: (indicating) Anybody you know?
MELANIE: It's...a woman?
NORMA: (some frustration) Yes.
MELANIE: I like it?
NORMA: Melanie, it's you!...from your high school annual..
Norma indicates open book.
MELANIE: (looks at book) Gross.
NORMA: (slightly hurt) Oh, do you think?
MELANIE: The picture.
NORMA: Well I had to look at something. I think it's sweet.
MELANIE: Jerry took some pictures--I'll give you one.
NORMA: How is Jerry?
MELANIE: Fine.
NORMA: You two still...
MELANIE: As far as I know.
NORMA: What.
MELANIE: Dating?
NORMA: Whatever.
MELANIE: Yes.
NORMA: Wanna talk about it?
MELANIE: Not really.
NORMA: Does he--stay at your apartment?
MELANIE: Sometimes.
NORMA: He's not going to move in, is he?
MELANIE: (smiles) I don't think so.
NORMA: (relieved) Ah--good.
MELANIE: It is my apartment.
NORMA: Yes. Melanie--just go slow, will you?
MELANIE: Whatever that means.
NORMA: (beat) I assume you're having sex.
MELANIE: (not again) I told you yes.
NORMA: And are you...?
MELANIE: Safe, yes.
NORMA: (distracted, not relieved) Whew. I was just thinking...how it's all changed. How Grandma taught Mother that sex was immoral. And with my generation, it was trying not to get pregnant before you got married. And now with yours, it's trying not be killed.
MELANIE: (dry) Yeah, that is funny. (considering bust) What happened to your watercolors?
NORMA: Oh, I--gave them up.
MELANIE: First watercolors, now sculpture. What's next?
NORMA: Ouch. (to audience) Admittedly I am...searching...
MELANIE: You've got my nose too big.
NORMA: Oh, you think?
MELANIE: Definitely.
NORMA: Hm.
Norma tries holding her hand to Melanie's face, but she pulls away.
MELANIE: Stop it!...
NORMA: Well--
MELANIE: You've got clay on your fingers.
NORMA: You'll have a big nose...
MELANIE: I'm gonna go shampoo Trinket.
NORMA: Oh, does she have fleas?
MELANIE: No.
NORMA (previous subject) It wouldn't hurt you, you know, to take up something.
MELANIE: (nerdy gesture) Stamp collecting?
NORMA: That's fine! (beat) How is Trinket?
MELANIE: (brightens considerably) She's great! I swear sometimes she can read my mind.
NORMA: Oh, I miss that little mutt.
MELANIE: What about me?
NORMA: Well of course I miss you, too. But the dog was considerably more...obedient.
Melanie spies and crosses to to pick up the vase Norma has been repairing (still covered with dishcloth). Harriet enters, pushing Hannah (who has drawing pad, pencil, and guest book) in a wheelchair. In a basket on back of the chair is a lidded glass jar containing a grasshopper. The sisters have aged approximately 25 years.
MELANIE: What's this?
NORMA: Oh--don't!
MELANIE: (hands off) Sorry.
NORMA: Well it may not be dry yet.
HARRIET: (to Hannah) Would you like a blanket?
HANNAH: Yes, please.
Harriet nods, then exits.
NORMA: That vase is by one of four sisters from Indiana. They earned a living painting, designing, throwing pots--never got married--had a studio right in their own home--and people came from all over to see their work.
MELANIE: It looks old.
NORMA: It was a very brave thing to do--
MELANIE: They sound kind of lonely.
Hannah looks up, to Norma:
HANNAH: We were never lonely.
NORMA: (acknowledging Hannah, agreeing) No.
MELANIE: (continuing) You know, on their own...without a family.
HANNAH: Tell her...
NORMA: They were a family.
HANNAH: The work.
MELANIE: You know what I mean.
HANNAH: It's the work, you see, that steels one against whatever disasters are sure to come. I remember, as a very small child, drawing, happy, thinking as long as I have my crayons, I had everything I need. And it was true!
NORMA: Yes, I believe you, Hannah.
Melanie, now looking at her annual, does not react to dialogue between Norma and Hannah.
HANNAH: Do not feel sorry for us. (Hanna touches Melanie.) I tell you we looked forward to each new day with great joy!
Melanie's reaction to the touch is having sensed something, but she's not sure exactly what.
NORMA: (firmly) The Overbecks were never lonely, Melanie. They enjoyed their lives, because they enjoyed their work.
MELANIE: (a little surprised at the sternness; shrugs, closes book) Okay--I gotta go meet Jerry at Westgate..
NORMA: (beat) Hmp. Be careful with that credit card.
MELANIE: Why? I pay the bill.
NORMA: Well, I co-signed, as I recall.
MELANIE: So?
NORMA: You're right. I'm sorry.
MELANIE: I'm not gonna buy anything anyway. We watch people window-shop.
NORMA: (intensely) Melanie...have you ever noticed...that everything--and I do mean everything--has a design?
MELANIE: Mom--(pause) Why don't you take a nap.
NORMA: (beat) Just think about it, okay?
MELANIE: Sure. I'll see you later. (Melanie kisses her on the cheek.)
NORMA: (nods) Hi to Jerry.
MELANIE: Okay.
Melanie begins to leave, but stops. She looks at Hannah, who smiles. Melanie smiles back, and they exit together--Melanie pushing Hannah out in the wheelchair.
NORMA: (beat; then to audience) When did I decide to have children? I honestly don't remember. (she puts her book back on shelf) It's like--I woke up one morning, and suddenly had two teenagers. The thing that makes me so sad about my daughter is that she is...empty. I'm sure it's my fault. But I have no idea why.
THE MISSES OVERBECK, a play by Tom White, continues here.
Link to playwright Tom White.
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