“Putting on Her White Hair”: The Life Course in Wilder’s The Long Christmas Dinner

Thornton Wilder’s The Long Christmas Dinner (1931) holds a unique place in American drama, as it covers ninety years in the history of one family. The one-act play captivated composer Paul Hindemith, who collaborated with Wilder to adapt The Long Christmas Dinner as a 1961 short opera by the same name. Analyses of both works overlook the representation of age and aging on stage. Actors perform the aging of characters from young adulthood to death in just a few minutes of stage time, challenging the “difference” of age by suggesting the stability of human identity over the life course. One element of ageism is the perception that changes of age entail changes in identity. In Wilder’s play, although the actors use props that stereotype the changes of age, such as a white wig or wheelchair, no major transformation of identity is evident. The play is short enough that the audience never forgets that one actor embodies a character from young adulthood through death. Thus, the onstage life course becomes a natural continuum marked by mile- stones of experience, rather than an Othering of the aged. Each character who grows old remains central to the family until death. As age studies activists and scholars look to the arts for reflections of social age construc- tion and for potential models of age equality, they may find useful this artistic vision of age as performative

“Putting on Her White Hair” The Life Course in Wilder’s The Long Christmas Dinner

Thornton Wilder’s The Long Christmas Dinner (1931) holds a unique place in American drama, as it covers ninety years in the history of one family. The one-act play captivated composer Paul Hindemith, who collaborated with Wilder to adapt The Long Christmas Dinner as a 1961 short opera by the same name. Analyses of both works overlook the representation of age and aging on stage. Actors perform the aging of characters from young adulthood to death in just a few minutes of stage time, challenging the “difference” of age by suggesting the stability of human identity over the life course. One element of ageism is the perception that changes of age entail changes in identity. In Wilder’s play, although the actors use props that stereotype the changes of age, such as a white wig or wheelchair, no major transformation of identity is evident. The play is short enough that the audience never forgets that one actor embodies a character from young adulthood through death. Thus, the onstage life course becomes a natural continuum marked by mile- stones of experience, rather than an Othering of the aged. Each character who grows old remains central to the family until death. As age studies activists and scholars look to the arts for reflections of social age construc- tion and for potential models of age equality, they may find useful this artistic vision of age as performative

“The Play’s the Thing”: Theatre as a Scholarly Meeting Ground in Age Studies

Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theate

Review of 'The Penelope Project: An Arts-Based Odyssey to Change Elder Care' edited by Anne Basting, Maureen Towey, and Ellie Rose

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