ABSTRACT

The hits of the 1950s departed from the standards of realism, with the expressionistic dramaturgy of The Seven Year Itch (1952 / 1,141) and the metatheatrical story theatre of The Teahouse of the August Moon (1953 / 1,027). This chapter examines how George Axelrod’s comedy of adultery participates in the era’s objectification of women and how the play’s long run has been overshadowed by a single famous moment of Marilyn Monroe in the (heavily censored) film adaptation. John Patrick’s comedy of occupational errors on Okinawa is the only straight play ever to win the Pulitzer Prize for Drama, the Tony Award for Best Play, and run over 1,000 performances. I focus on the intercultural tension evident in the play’s simultaneous employment of actors of Asian heritage and use of white actors in yellowface, and also explore how Teahouse functioned around the world, simultaneously questioning and justifying American imperialism.