Fear Mongering, Media Intimidation, and Political Machinations: Tracing the Agendas Behind the All God's Chillun Got Wings Controversy

Abstract

In this article, I will argue that one of the most controversial productions in American theater history, perceived largely as an event provoked by racial prejudice, ought be re-examined in terms of the savvy political agendas behind the text. History remembers the contention surrounding Eugene O'Neill's All God's Chillun Got Wings as simple case of racial intolerance, bur the truth proves much different, involving personal threats, government action, and constant attacks from the press mounted by two political powers. Both participants feared political irrelevance, and the prospect of losing influence or prominence inspired them reassert their clout by intimidating O'Neill and his cast. An exploration of the context behind the Chillun controversy reveals story of hidden machinations concerning political ambition and desperate attempts retain power. In early summer of 1924, the Provincetown Playhouse premiered Eugene O'Neill's newest work, All God's Chillun Got Wings. While O'Neill originally wrote the piece as one-act play for George Jean Nathan and H. L. Mencken in the fall of 1923, he later expanded it into a drama in two acts and seven scenes set in lower New York at an unspecified rime. (1) O'Neill's racial theme is rather clumsily handled at the beginning and then powerfully at the end. The first act traces the development of the relationship between Jim and Ella, beginning as childhood playmates who tease each other about the color of their skin while playing game of marbles on the sidewalk. The act continues by charting fourteen-year period highlighting Jim's inability overcome racial barriers in order pursue his desired romance with Ella. O'Neill's racially charged dialogue during this opening act unfortunately fails provide an emotional or intellectual impact because the immaturity of the two major characters, combined with the simplistic depiction of the secondary characters who hurl racial epithets, weakens dialogue that is based on racial tension. When the act concludes with Jim and Ella emerging from chapel as wedded couple, O'Neill provides little indication of the serious issues he addresses in the second half of the play. O'Neill salvages All God's Chillun Got Wings with second act that shifts from storytelling emphasis an exploration of tenuous romance between two human beings fighting against lifelong prejudices that conflict with their quests for love and validation. Ella constantly berates Jim for his lofty aspirations become lawyer, fearing that he will no longer fit in the stereotype that allowed her feel superior. In addition suffering her brutal verbal attacks, Jim is harassed by his sister, who questions why he continues endure Ella's abuse in the name of undying love. With Jim's defiance (if not ignorance) toward the external forces aiming doom his relationship and his confidence, O'Neill presents man determined to become someone other than who he and both his black friends and his white wife try shame him into staying who he is, resulting in drama that demonstrates not only the trauma of race relations but of the human condition in general. (2) While this racial subject matter certainly raised eyebrows and kept conservative audience members away from the theater, the premiere production of Chillun is most often remembered for one single moment. Most references Chillun in theater history books are accompanied by brief recounting of the controversial staging at the play's conclusion, when Ella kneels on the floor and kisses Jim's hand. It is this moment--when the white actress Mary Blair kissed Paul Robeson's hand--that sparked an incredible controversy that captured headlines and evoked vitriolic responses from all over the country. (3) Those who denounced O'Neill's work as an explosive face play ignored the many complex issues raised during the second half of the script. The concluding moment of the play involves not white woman's submission black man but, instead, tearful plea return their innocent childhood, when they treated each other with greater respect and dignity. …