The Cavalier daily :: Wednesday, November 12, 1969 :: University of Virginia Library

There are some critics who, for
an unknown reason, find it necessary
to categorize the plays of
important dramatists. They classify
John Osborne's works, for example,
under two major headings. First,
the "angry young man" plays
("Look Back In Anger," "Inadmissible
Evidence," etc.) in which the
protagonist usually expresses bitterness
through slamming insults and
revealing monologues. Second, the
"history" plays, or those based on
actual characters and events ("Luther,"
and now, "A Patriot For
Me").

Such categorizations are of little
value to anyone inasmuch as they
are founded on generalizations.
Yes, "A Patriot For Me" is set
against the downfall of the
Austro-Hungarian Empire. But it
does not deal with that subject.
Nor, contrary to what you might
have heard, is it primarily about
homosexuality.

It is about a man, an officer in
the Royal Imperial Army at the
turn of the century. For what
seems to be the author's purpose,
Alfred Red could just as well be a
fictitious creation of a fertile mind.
Mr. Osborne uses history merely to
add depth to the meaning and
relevance of the drama.

Irony And Significance

Red is but a second cousin to
the "angry young man" image so
closely associated with Mr. Osborne.
Being a man in search of
himself, he is torn by inner conflict.
He can not accept himself until he
realizes and gives in to his homosexual
desires, yet once he does he
can not be accepted by society. In
the company of other "queens" he
is a fulfilled being. When the
Russians learn of his homosexuality
and blackmail him, he reluctantly
agrees to supply them with important
information because it is his
only hope for survival. But no
good. He is found out by his fellow
officers and is handed a pistol.

The story has irony, subtle
twists, and social significance. In
one sense, Red is a traitor because
he submits to the blackmail of the
bald-headed Russian Intelligence
officer. He would rather sacrifice
his material cause (the Austro-Hungarian
Empire) than himself. Yet
ultimately and here is where Mr.
Osborne's skill as a dramatist comes
into play he is a patriot. Handed
a pistol by a fellow queer who has
not as yet been found out, Red
chooses to sacrifice himself rather
than his personal cause (homosexuality,
used here to represent a way
of life not accepted by society). At
the critical moment, he does not
betray his "friends" or his own
beliefs.

Circumstantial Evidence

There is much that is wrong
with the play. We are made aware
early that Red is not content with
life. But why not? What is the
conflict within the man? Twice we
see him in bed with women both
times with his clothes on. In the
poignant opening scene, he is the
second in a duel to a man he
scarcely knows, a man who issued a
challenge because his opponent
called him "Fraulein." But this is
all circumstantial. There is nothing
concrete to substantiate Red's
homosexual tendencies. His condition
is understated, perhaps too
much so. We know what his
problem is because we have read or
heard about the play beforehand.
But what if we hadn't? Would we
still be able to define his inner
conflict early in the proceedings?

For most of the first act Red
refuses to give in to his desires.
Then suddenly and without transition
we see him in bed with a man.
From left field comes his remark
"Why did I wait so long?" This
does, however, permit us to see his
character clearly for the first time.
Until this point, we have not been
allowed to view Red from all sides,
and Mr. Osborne's abrupt change in
writing from the obscure to the
momentarily blatant is somewhat
awkward.

No Dramatic Heights

"A Patriot For Me" never rises
to great dramatic heights. Perhaps
the reason for this is that we don't
care as much about Red as we
should. When we hear the pistol
shot that terminates his life, we do
not feel anything. We realize what
has happened, but we remain
straight in our seats, interested (
we have been all evening) but not
emotionally involved.

Peter Glenville has staged Mr.
Osborne's play with a sure hand.
With the possible exception of parts
of the much publicized, overlong
drag all scene which opens the
second act, he keeps the play on a
straight course toward its inevitable
conclusion. The production is a
handsome one, with much credit
going to Oliver Smith's expressive
sets and Freddy Wittop's expensive
costumes. Fortunately, however,
the physical attributes of the
production never override the play
itself.

Understanding Interpretation

Maximilian Schell gives a strong
understanding interpretation of
Red, the part which, if memory
serves, he created five years ago in
London. He thrusts his chest
forward and rages because he does
not understand himself or his
society. Mr. Osborne has supplied
him with some powerful speeches
which he delivers eloquently. It's a
distinguished portrayal of a highly
complex character.

Large Scale Drama

Special recognition should also
go to Keene Curtis for his brilliant
supporting performance as the
Russian Intelligence officer. Salome
Jens as a beautiful Countess who
tests Red's sexual instincts for the
Russians has her role well under
control. Dennis King enjoys himself
as the queen bee of the drag ball,
and Stts Cotsworth, Stefan
Schnabel, and Ed Zimmerman (in a
small but key part) as Royal
Imperial Army officers are all
perfection.

And so, "A Patriot For Me"
emerges as a large scale, meaty
drama in which meanings and
ironies criss-cross but rarely collide.
It certainly does not live up to its
promise, but it does hold your
interest and make you think. It is a
muchly flawed but far from unsatisfying
evening of theatre.

(Now at the Imperial, N.Y.)