The classic Shaw play is interpreted by this extremely talented cast of 12 performers, which mounts a rousing, unforgettable show complete with incredibly well-produced and realistic sound effects that capture everything from doors creaking open, bustling crowds on city streets and impatient horses ready to trot. Roger Rees as the elder Undershaft and Kirsten Potter as his daughter Barbara are standouts. The two play off each another very well and offer some truly memorable arguments that are the cornerstone of the story. The engaging cast sweeps listeners off to the cobblestone streets of old England. (June)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Major Barbaraby George Bernard Shaw
Andrew Undershaft, a millionaire armaments dealer, loves money and despises poverty. His energetic daughter Barbara, on the other hand, shows her love for the poor by working as a Major in the Salvation Army. She sees her father as just another soul to be saved. But when the Salvation Army needs funds to keep going, it is Undershaft who saves the day. is the Army right to accept money that has been obtained by 'Death and Destruction'? Barbara is forced to examine her moral assumptions. Is she tricked into the attempt to unite spiritual goodness with material power?
Full of lively comedy and sparkling debate, Major Barbara is also one of Shaw's most powerful and forward-looking plays. As Margery Morgan says, while Shaw was responding to 'a material and cultural situation that is now part of history', his work still has relevance 'in a period when new technologies drive the globalization of trade and the migration of populations ... and ancient forms of brutality and carnage have reappeared.'
Read an Excerpt
By GEORGE BERNARD SHAW, DREW SILVER
Dover Publications, Inc.Copyright © 2002 Dover Publications, Inc.
All rights reserved.
It is after dinner in January 1906, in the library in LADY BRITOMART UNDERSHAFT's house in Wilton Crescent. A large and comfortable settee is in the middle of the room, upholstered in dark leather. A person sitting on it (it is vacant at present) would have, on his right, LADY BRITOMART's writing-table, with the lady herself busy at it; a smaller writing-table behind him on his left; the door behind him on LADY BRITOMART's side; and a window with a window-seat directly on his left. Near the window is an armchair.
LADY BRITOMART is a woman of fifty or thereabouts, well dressed and yet careless of her dress, well bred and quite reckless of her breeding, well mannered and yet appallingly outspoken and indifferent to the opinion of her interlocutors, amiable and yet peremptory, arbitrary, and high tempered to the last bearable degree, and withal a very typical managing matron of the upper class, treated as a naughty child until she grew into a scolding mother, and finally settling down with plenty of practical ability and worldly experience, limited in the oddest way with domestic and class limitations, conceiving the universe exactly as if it were a large house in Wilton Crescent, though handling her corner of it very effectively on that assumption, and being quite enlightened and liberal as to the books in the library, the pictures on the walls, the music in the portfolios, and the articles in the papers.
Her son, STEPHEN, comes in. He is a gravely correct young man under 25, taking himself very seriously, but still in some awe of his mother, from childish habit and bachelor shyness rather than from any weakness of character.
STEPHEN. Whats the matter?
LADY BRITOMART. Presently, Stephen.
STEPHEN submissively walks to the settee and sits down. He takes up a Liberal weekly called The Speaker.
LADY BRITOMART. Dont begin to read, Stephen. I shall require all your attention.
STEPHEN. It was only while I was waiting—
LADY BRITOMART. Dont make excuses, Stephen. (He puts down The Speaker.) Now! (She finishes her writing; rises; and comes to the settee.) I have not kept you waiting very long, I think.
STEPHEN. Not at all, mother.
LADY BRITOMART. Bring me my cushion. (He takes the cushion from the chair at the desk and arranges it for her as she sits down on the settee.) Sit down. (He sits down and fingers his tie nervously.) Dont fiddle with your tie, Stephen: there is nothing the matter with it.
STEPHEN. I beg your pardon. (He fiddles with his watch chain instead.)
LADY BRITOMART. Now are you attending to me, Stephen?
STEPHEN. Of course, mother.
LADY BRITOMART. No: it's not of course. I want something much more than your everyday matter-of-course attention. I am going to speak to you very seriously, Stephen. I wish you would let that chain alone.
STEPHEN (hastily relinquishing the chain). Have I done anything to annoy you, mother? If so, it was quite unintentional.
LADY BRITOMART (astonished). Nonsense! (With some remorse.) My poor boy, did you think I was angry with you?
STEPHEN. What is it, then, mother? You are making me very uneasy.
LADY BRITOMART (squaring herself at him rather aggressively). Stephen: may I ask how soon you intend to realize that you are a grown-up man, and that I am only a woman?
STEPHEN (amazed). Only a—
LADY BRITOMART. Dont repeat my words, please: it is a most aggravating habit. You must learn to face life seriously, Stephen. I really cannot bear the whole burden of our family affairs any longer. You must advise me: you must assume the responsibility.
LADY BRITOMART. Yes, you, of course. You were 24 last June. Youve been at Harrow and Cambridge. Youve been to India and Japan. You must know a lot of things, now; unless you have wasted your time most scandalously. Well, advise me.
STEPHEN (much perplexed). You know I have never interfered in the household—
LADY BRITOMART. No: I should think not. I dont want you to order the dinner.
STEPHEN. I mean in our family affairs.
LADY BRITOMART. Well, you must interfere now; for they are getting quite beyond me.
STEPHEN (troubled). I have thought sometimes that perhaps I ought; but really, mother, I know so little about them; and what I do know is so painful—it is so impossible to mention some things to you—(He stops, ashamed).
LADY BRITOMART. I suppose you mean your father.
STEPHEN (almost inaudibly). Yes.
LADY BRITOMART. My dear: we cant go on all our lives not mentioning him. Of course you were quite right not to open the subject until I asked you to; but you are old enough now to be taken into my confidence, and to help me to deal with him about the girls.
STEPHEN. But the girls are all right. They are engaged.
LADY BRITOMART (complacently). Yes: I have made a very good match for Sarah. Charles Lomax will be a millionaire at 35. But that is ten years ahead; and in the meantime his trustees cannot under the terms of his father's will allow him more than £800 a year.
STEPHEN. But the will says also that if he increases his income by his own exertions, they may double the increase.
LADY BRITOMART. Charles Lomax's exertions are much more likely to decrease his income than to increase it. Sarah will have to find at least another £800 a year for the next ten years; and even then they will be as poor as church mice. And what about Barbara? I thought Barbara was going to make the most brilliant career of all of you. And what does she do? Joins the Salvation Army; discharges her maid; lives on a pound a week; and walks in one evening with a professor of Greek whom she has picked up in the street, and who pretends to be a Salvationist, and actually plays the big drum for her in public because he has fallen head over ears in love with her.
STEPHEN. I was certainly rather taken aback when I heard they were engaged. Cusins is a very nice fellow, certainly: nobody would ever guess that he was born in Australia; but—
LADY BRITOMART. Oh, Adolphus Cusins will make a very good husband. After all, nobody can say a word against Greek: it stamps a man at once as an educated gentleman. And my family, thank Heaven, is not a pigheaded Tory one. We are Whigs, and believe in liberty. Let snobbish people say what they please: Barbara shall marry, not the man they like, but the man I like.
STEPHEN. Of course I was thinking only of his income. However, he is not likely to be extravagant.
LADY BRITOMART. Dont be too sure of that, Stephen. I know your quiet, simple, refined, poetic people like Adolphus—quite content with the best of everything! They cost more than your extravagant people, who are always as mean as they are second rate. No: Barbara will need at least £2000 a year. You see it means two additional households. Besides, my dear, you must marry soon. I dont approve of the present fashion of philandering bachelors and late marriages; and I am trying to arrange something for you.
STEPHEN. It's very good of you, mother; but perhaps I had better arrange that for myself.
LADY BRITOMART. Nonsense! you are much too young to begin matchmaking: you would be taken in by some pretty little nobody. Of course I dont mean that you are not to be consulted: you know that as well as I do. (STEPHEN closes his lips and is silent.) Now dont sulk, Stephen.
STEPHEN. I am not sulking, mother. What has all this got to do with—with—with my father?
LADY BRITOMART. My dear Stephen: where is the money to come from? It is easy enough for you and the other children to live on my income as long as we are in the same house; but I cant keep four families in four separate houses. You know how poor my father is: he has barely seven thousand a year now; and really, if he were not the Earl of Stevenage, he would have to give up society. He can do nothing for us. He says, naturally enough, that it is absurd that he should be asked to provide for the children of a man who is rolling in money. You see, Stephen, your father must be fabulously wealthy, because there is always a war going on somewhere.
STEPHEN. You need not remind me of that, mother. I have hardly ever opened a newspaper in my life without seeing our name in it. The Undershaft torpedo! The Undershaft quick firers! The Undershaft ten inch! The Undershaft disappearing rampart gun! The Undershaft submarine! and now the Undershaft aerial battleship! At Harrow they called me the Woolwich Infant. At Cambridge it was the same. A little brute at King's who was always trying to get up revivals, spoilt my Bible—your first birthday present to me—by writing under my name, "Son and heir to Undershaft and Lazarus, Death and Destruction Dealers: address, Christendom and Judea." But that was not so bad as the way I was kowtowed to everywhere because my father was making millions by selling cannons.
LADY BRITOMART. It is not only the cannons, but the war loans that Lazarus arranges under cover of giving credit for the cannons. You know, Stephen, it's perfectly scandalous. Those two men, Andrew Undershaft and Lazarus, positively have Europe under their thumbs. That is why your father is able to behave as he does. He is above the law. Do you think Bismarck or Gladstone or Disraeli could have openly defied every social and moral obligation all their lives as your father has? They simply wouldnt have dared. I asked Gladstone to take it up. I asked The Times to take it up. I asked the Lord Chamberlain to take it up. But it was just like asking them to declare war on the Sultan. They wouldnt. They said they couldnt touch him. I believe they were afraid.
STEPHEN. What could they do? He does not actually break the law.
LADY BRITOMART. Not break the law! He is always breaking the law. He broke the law when he was born: his parents were not married.
STEPHEN. Mother! Is that true?
LADY BRITOMART. Of course it's true: that was why we separated.
STEPHEN. He married without letting you know this!
LADY BRITOMART (rather taken aback by this inference). Oh no. To do Andrew justice, that was not the sort of thing he did. Besides, you know the Undershaft motto: Unashamed. Everybody knew.
STEPHEN. But you said that was why you separated.
LADY BRITOMART. Yes, because he was not content with being a foundling himself: he wanted to disinherit you for another foundling. That was what I couldnt stand.
STEPHEN (ashamed). Do you mean for—for—for—
LADY BRITOMART. Dont stammer, Stephen. Speak distinctly.
STEPHEN. But this is so frightful to me, mother. To have to speak to you about such things!
LADY BRITOMART. It's not pleasant for me, either, especially if you are still so childish that you must make it worse by a display of embarrassment. It is only in the middle classes, Stephen, that people get into a state of dumb helpless horror when they find that there are wicked people in the world. In our class, we have to decide what is to be done with wicked people; and nothing should disturb our self-possession. Now ask your question properly.
STEPHEN. Mother: you have no consideration for me. For Heaven's sake either treat me as a child, as you always do, and tell me nothing at all; or tell me everything and let me take it as best I can.
LADY BRITOMART. Treat you as a child! What do you mean? It is most unkind and ungrateful of you to say such a thing. You know I have never treated any of you as children. I have always made you my companions and friends, and allowed you perfect freedom to do and say whatever you liked, so long as you liked what I could approve of.
STEPHEN (desperately). I daresay we have been the very imperfect children of a very perfect mother; but I do beg of you to let me alone for once, and tell me about this horrible business of my father wanting to set me aside for another son.
LADY BRITOMART (amazed). Another son! I never said anything of the kind. I never dreamt of such a thing. This is what comes of interrupting me.
STEPHEN. But you said—
LADY BRITOMART (cutting him short). Now be a good boy, Stephen, and listen to me patiently. The Undershafts are descended from a foundling in the parish of St Andrew Undershaft in the city. That was long ago, in the reign of James the First. Well, this foundling was adopted by an armorer and gun-maker. In the course of time the foundling succeeded to the business; and from some notion of gratitude, or some vow or something, he adopted another foundling, and left the business to him. And that foundling did the same. Ever since that, the cannon business has always been left to an adopted foundling named Andrew Undershaft.
STEPHEN. But did they never marry? Were there no legitimate sons?
LADY BRITOMART. Oh yes: they married just as your father did; and they were rich enough to buy land for their own children and leave them well provided for. But they always adopted and trained some foundling to succeed them in the business; and of course they always quarrelled with their wives furiously over it. Your father was adopted in that way; and he pretends to consider himself bound to keep up the tradition and adopt somebody to leave the business to. Of course I was not going to stand that. There may have been some reason for it when the Undershafts could only marry women in their own class, whose sons were not fit to govern great estates. But there could be no excuse for passing over my son.
STEPHEN (dubiously). I am afraid I should make a poor hand of managing a cannon foundry.
LADY BRITOMART. Nonsense! you could easily get a manager and pay him a salary.
STEPHEN. My father evidently had no great opinion of my capacity.
LADY BRITOMART. Stuff, child! you were only a baby: it had nothing to do with your capacity. Andrew did it on principle, just as he did every perverse and wicked thing on principle. When my father remonstrated, Andrew actually told him to his face that history tells us of only two successful institutions: one the Undershaft firm, and the other the Roman Empire under the Antonines. That was because the Antonine emperors all adopted their successors. Such rubbish! The Stevenages are as good as the Antonines, I hope; and you are a Stevenage. But that was Andrew all over. There you have the man! Always clever and unanswerable when he was defending nonsense and wickedness: always awkward and sullen when he had to behave sensibly and decently.
STEPHEN. Then it was on my account that your home life was broken up, mother. I am sorry.
LADY BRITOMART. Well, dear, there were other differences. I really cannot bear an immoral man. I am not a Pharisee, I hope; and I should not have minded his merely doing wrong things: we are none of us perfect. But your father didnt exactly do wrong things: he said them and thought them: that was what was so dreadful. He really had a sort of religion of wrongness. Just as one doesnt mind men practising immorality so long as they own that they are in the wrong by preaching morality; so I couldnt forgive Andrew for preaching immorality while he practised morality. You would all have grown up without principles, without any knowledge of right and wrong, if he had been in the house. You know, my dear, your father was a very attractive man in some ways. Children did not dislike him; and he took advantage of it to put the wickedest ideas into their heads, and make them quite unmanageable. I did not dislike him myself: very far from it; but nothing can bridge over moral disagreement.
STEPHEN. All this simply bewilders me, mother. People may differ about matters of opinion, or even about religion; but how can they differ about right and wrong? Right is right; and wrong is wrong; and if a man cannot distinguish them properly, he is either a fool or a rascal: thats all.
LADY BRITOMART (touched). Thats my own boy! (She pats his cheek.) Your father never could answer that: he used to laugh and get out of it under cover of some affectionate nonsense. And now that you understand the situation, what do you advise me to do?
STEPHEN. Well, what can you do?
LADY BRITOMART. I must get the money somehow.
STEPHEN. We cannot take money from him. I had rather go and live in some cheap place like Bedford Square or even Hampstead than take a farthing of his money.
LADY BRITOMART. But after all, Stephen, our present income comes from Andrew.
STEPHEN (shocked). I never knew that.
LADY BRITOMART. Well, you surely didnt suppose your grandfather had anything to give me. The Stevenages could not do everything for you. We gave you social position. Andrew had to contribute something. He had a very good bargain, I think.
STEPHEN (bitterly). We are utterly dependent on him and his cannons, then?
LADY BRITOMART. Certainly not: the money is settled. But he provided it. So you see it is not a question of taking money from him or not: it is simply a question of how much. I dont want any more for myself.
STEPHEN. Nor do I.
LADY BRITOMART. But Sarah does; and Barbara does. That is, Charles Lomax and Adolphus Cusins will cost them more. So I must put my pride in my pocket and ask for it, I suppose. That is your advice, Stephen, is it not?
Excerpted from Major Barbara by GEORGE BERNARD SHAW, DREW SILVER. Copyright © 2002 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Meet the Author
Editor Nicholas Grene is a Professor of English Literature at Trinity College, Dublin. His books include Bernard Shaw: a Critical View, Shaw, Lady Gregory and the Abbey Theatre (co-edited with Dan H. Laurence), and The Politics of Irish Drama.
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Most Helpful Customer Reviews
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Major Barbara is a pleasure to read. The characters were interesting, the story fun, and the humor fabulous. I see where P.G. Wodehouse got his licks. Wodehouse was the student, Shaw the master. But the play isn't a mere jest. Shaw was attempting social reform. The points he makes about the criminal justice system are valid to this day, especially his indictment of prison as punishment. If only we could think of something better.
I dont know if it WAS a memory. Oh well. Lets head back to your camp. Race ya!*takes off*
Tries to wave the subject off with his paw but stops and sets it down when he remembers he doesn't have a wrist. "It's okay. I'm used to stuff like that. Everyone has them." (Have to go to bed. I'll be back a bit tomorrow. Goodnight.)
To be perfectly candid, I originally chose this book in a panic because of its slight thickness, which I hoped would aid me in reading it in the limited time given to read and review it. This was a poor basis for making a decision on my part, but it only intensified my delight in the monumental and entertaining story that I found concisely portrayed in its relatively few pages, Through the power of dialect and sparse but descriptive stage directions, Shaw manages to eloquently contain multiple contradicting views on morality, spirituality, classes, wealth, and other grand ideals in the form of multiple intriguing characters. Major Barbara takes place in England in 1906, and not very much actually happens in the course of the book. This may frustrate readers bent on receiving exciting and definitive action. I myself can understand how a book can contain excellent imagery, deep symbolism, and profound thoughts on abstract concepts, but still short of absorbing without an engaging plot to serve as a medium for these great accomplishments. With a lack of extreme action, it seems strange that this play is not a heavy and boring philosophical chore to read. What seems even stranger is the idea that it was written as a play, and as all plays, it is to be most appreciated on the stage its true form is not as printed words, but as actual actions and conversations carried out by the closest things to living tangible characters: actors. This seems strange because one could conceive that a lack of much action driving the plot would be even more impenetrable and wearisome as a live (lack of) action play than in a book, which you can at least go back and read over if something escapes you. Although this would be a logical assumption, this was not the case. To me, the play was far from dull and was even engaging. The potential reason for this would lie not in the storyâ¿¿s action but in its characters. Shaw has masterfully created a group of strange and intriguing people out of his descriptions and highly personified dialogue. There is Lady Britomart, the high society matriarch who sticks strongly to her simple yet limited principles and dominates everyoneâ¿¿s affairs while getting shocked and offended at the very idea that she is doing so. There is Andrew Undershaft, an indifferent yet amiable war business tycoon who is proud of his materialism and realism to the point of unashamed immorality, even proclaiming that being a millionaire is his religion. There are their children: Stephen, Sarah, and Barbara, who differ from each other immensely. Stephen is a well-mannered, uptight young man struggling politely for independence from his unwittingly dominating mother, but suffers from a severe limitation in perceiving and thinking about things that is similar to his mother. Sarah is a pretty, slender young woman, but is a bored and nondescript personage created by high society. Major Barbara is a near saint, working for the Salvation Army and unshakable in her faith of God and determination to save peoplesâ¿¿ souls. However, she suffers from an idealism that, while different from her motherâ¿¿s, is of its same level of one-sidedness, and also inherits some of her motherâ¿¿s disliked meddling and domination. The sweethearts of Sarah and Barbara are also interesting in their contrast. Sarahâ¿¿s fiancÃ© is a man named Charles Lomax, a friendly dandy known for saying â¿¿chap,â¿ or â¿¿Oh, I say â¿ and occasionally offering simple ideas which are largely derided by Lady Britomart. Barbaraâ¿¿s love interest is a gentle, cordial, yet intellectually mischievous Greek scholar named Adolphus Cuisins, a sort of agnostic, s gentle cynic, and a casual philosopher. With the natural conflicts between these persons, a battle of the hearts, minds, and souls is imminent. There are other minor characters and scene settings that add to the book. The most important minor characters are those of the various poor people and workers at th