It’s now 1916—well not really—but allow me immediate mode for the time being. Some early 20th Century Modernist characters we’ve already met are about to collaborate in New York City with a largely forgotten figure whose words we’ll meet today.
The Provincetown Playhouse, that CBGB’s of Modernist American theater, has moved its organization from the remote Cape Cod artist’s colony to New York’s Greenwich village, and they’re still looking for new types of plays by new playwrights. How about drama using Modernist poetry?
Verse drama, despite continuing productions of Shakespeare, is a thing that often generates rumors of revival while never really reviving. In 1916, the Provincetown group was open to trying this. Which poets can come up with something?
Alfred Kreymborg could. Kreymborg was a leading networker or influencer in the New York area for Modernist poetry. Ezra Pound, and then Amy Lowell, would publish anthology books of Imagist Poets. Harriet Monroe out of Chicago was also gathering new Modernist work for Poetry magazine. In 1916 Kreymborg would do the same in New York, with a magazine and anthology book series called “Others.” Kreymborg had also been writing poetry, short poems mostly, all of them free verse. Now a play.
The “Others” group: L to R in back: Jean Crotti, Marcel Duchamp, Walter Arensberg, Man Ray, R. A. Sanborn, Maxwell Bodenheim. In front: Alison Hartpence, Alfred Kreymborg (bowtie daddie), William Carlos Williams (w/ Internet click-bait cat) and Skip Cannell
The play he wrote is an odd thing to describe. Titled “Lima Beans,” it’s a two-character play about a couple. The husband loves lima beans, the wife decides he might also like string beans and surprises him with the new beans—but no, he loves lima beans. He stalks off, angry. She scrambles and gets some lima beans. He realizes he loves his wife, returns and she’s got lima beans for him. Kiss. Curtain.
I guess this could be a Seinfeld episode plot decades later, but that’s not how Kreymborg uses it. He writes his play with litanies of repeated words, hocketing between the two voices. After reading the play this month, I’m guessing a performance might sound like a cross between Dr. Suess’ Green Eggs and Ham and a late 20th Century Minimalist musical work by someone like Phillip Glass or Meredith Monk. Or as Preston Sturges’ Sullivan would have it, Waiting for Godot plus vegetables—but with a little sex in it. That musical comparison is particularly apt, because even though the play did not use musical accompaniment, Kreymborg saw it as a musical structure.
So here in 1916 we have the Provincetown group, putting on a play that pioneered a performance aesthetic that still seems audacious 50 or 60 years later. Who are you going to get as actors to realize this—words and a presentation of thought conveyed musically, without actual music?
Poets. In the role of the husband, William Carlos Williams. In the role of the wife, Mina Loy, who had just arrived in New York after getting away from those Italian Futurists. Neither poet had acted before, but Kreymborg rehearsed the two poets until they could present his free-verse vision.
Mina Loy and William Carlos Williams in Lima Beans. The set for the proudly independent Provincetown Playhouse production cost $2.50, and its set designer, William Zorach, also played the 3rd character whose hands are hanging, Soupy Sales-like, out the window.
I toyed with the idea of trying to realize Lima Beans here, although with music this time. But it really needs two voices, and I wasn’t sure that a short section could do justice to the structure of the piece.
In it’s place, I looked for a short poem of Kreymborg’s to use instead. This proved more difficult than I thought it would be. I read his two poetry collections from this era, but no poem grabbed my attention. As in the play, he’s looking for a new poetic language in these poems, but it’s hard to grab the emotional center of many of them for performance.
In the end I chose today’s piece: “To W.C.W. M.D.” It’s dedicated to William Carlos Williams. This might be more of Kreymborg’s log-rolling networking skills on display, but its subject also answered a desire I have to do a piece remembering my late wife Renee Robbins in some way today. As best as I can penetrate the emotional core of this poem, it speaks of the need to separate and not separate from those that have died.
Musically, the piece is based on one stacked chord, E minor7/11, but the notes are spread out between the instruments. Besides drums there are two bass guitars, piano, two viola parts, a violin part, and a clarinet in this. To hear it, use the player below.