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THE WOMEN

 

MARY HAINES, 30–50, a society matron. Mary is the center of the play; it is around her life and troubles that the action of the play revolves. She is strong and amiable—does not (as a rule) indulge in cattiness, self-pity, or materialistic greed. She simply doesn’t have to. She has it all. She’s the ideal of the period. Until, of course, everything goes wrong.

 

SYLVIA FOWLER, 30–50, a society matron, part of Mary’s coterie. Sylvia, though she occupies the exact same societal position as Mary, is her polar opposite. She is sleek and feline, but prone to vicious gossip and social maneuvering. She is expert at it. Requires a comedienne who excels not only at rapid-fire badinage, but physical comedy.

 

CRYSTAL ALLEN, 20–40, a shopgirl. Crystal is Mary’s rival for the affections of her husband. She is drop-dead gorgeous (though her lack of subtlety reveals her tastes as “cheap”), truly savvy, ruthless, and tough as nails... seething with social ambition.

 

EDITH POTTER, 30–50, a society matron, part of Mary’s coterie. Edith is perpetually pregnant and unhappy, trapped and wallowing in her own self-pity and sense of entitlement. Requires a comic actress with impeccable deadpan delivery. PEGGY DAY, 30–50, a newlywed, part of Mary’s coterie. Peggy is the youngest of Mary’s group of friends, and hasn’t yet defined a façade to present to society. She broadcasts her marital and financial struggles guilelessly.

 

NANCY BLAKE, 30–50, an authoress, part of Mary’s coterie. An acid wit and dedicated virgin, Nancy is as close as Mary’s society gets to “fighting the power.” She and Mary are really the only ones in this group of friends to see the ridiculousness of their positions.

 

MIRIAM AARON, 30–50 , a performer in Musical Comedy. Though, like Crystal, Miriam is an ambitious woman who has risen into society by marriage, her no-nonsense attitude and innate sense of right and wrong set her apart from many of these characters in terms of likeability. She tells it like it is, has no illusions about herself, and pokes holes in the ridiculousness of others. (also plays PRINCESS TAMARA)

 

FLORA, THE COUNTESS DE LAGE, 50–60, a serial bride. The Countess is the eldest of Mary’s friends, and a figure of fun among them. She’s a bit dotty, ridiculously pampered and self-deluded, and relies completely on her faith in “l’amour” to get her through life’s more difficult moments. (also plays HAIRDRESSER)

 

JANE, 18–30, Mary’s maid. Jane is a young housemaid who lives vicariously and emotionally through the women she encounters in Mary’s company. LITTLE MARY, 9–14, Mary’s daughter.

 

Little Mary is a bright, vivacious child, who offers an unvarnished view of Mary’s life. Requires an unaffected, “honest” actress.

 

MRS. MOREHEAD, 50–70, Mary’s mother. Mrs. Morehead is a model Patrician, expert in the ways and means of Polite Society. The advice she offers Mary is always correct; she is kind and loving, but reticent to suffer fools. OLGA, a manicurist. An inveterate gossip with machine gun delivery who unwittingly informs Mary of her husband’s affair. (also plays 1ST GIRL AT CLOTHIER’S, MISS TRIMMERBACK, CIGARETTE GIRL)

 

MISS WATTS, Mary’s husband’s secretary. Miss Watts offers us a rare and candid glimpse of a 1930s woman who’s married to her job. (also plays CORSET MODEL, HELENE) EXERCISE INSTRUCTRESS at Elizabeth Arden. Hard as nails, the Instructress guides the more clueless matrons through their exercise rituals at a luxurious day spa. (also plays 2ND GIRL AT CLOTHIER’S, GIRL IN DISTRESS)

 

LUCY, manager of a Reno Divorce Colony. Lucy is a life worn hotel proprietress whose contact with New York Society is only through her female guests who come through Reno to get divorced. She’s folksy and hilarious. (also plays SALESWOMAN AT CLOTHIER’S, MAGGIE, DOWAGER)

 

NURSE in a maternity ward. In one of the most hilarious scenes in the play, the maternity nurse lambastes Edith for her pampered ways. (also plays MISS FORDYCE, SALESWOMAN AT CLOTHIER’S, SADIE)