Late Career
Throughout her career, Sullavan seemed to prefer the stage to the movies. She felt that only on the stage could she improve her skills as an actor. "When I really learn to act, I may take what I have learned back to Hollywood and display it on the screen", she said in an interview in October 1936 (when she was doing Stage Door on Broadway between movies). "But as long as the flesh-and-blood theatre will have me, it is to the flesh-and-blood theatre I'll belong. I really am stage-struck. And if that be treason, Hollywood will have to make the most of it".
Another reason for her early retirement from the screen (1943) was that she wanted to spend more time with her children, Brooke, Bridget and Bill (then 6, 4 and 2 years old). She felt that she had been neglecting them and felt guilty about it. Sullavan would still do stage work on occasion. From 1943-44 she was the sexually inexperienced, but curious, Sally Middleton in The Voice of the Turtle (by John Van Druten) on Broadway and later in London (1947). After her short return to the screen in 1950 with No Sad Songs for Me, she did not return to the stage until 1952. Her choice then was as the suicidal Hester Collyer, who meets a fellow sufferer, Mr. Miller (played by Herbert Berghof), in Terence Rattigan's The Deep Blue Sea. In 1953 she agreed to appear in Sabrina Fair by Samuel Taylor. Although 44 at the time she played the chauffeur's 23-year-old daughter, Sabrina Fairchild, co-starring with Joseph Cotten.
In 1955-56 Sullavan appeared in Janus, a comedy by playwright Carolyn Green. Sullavan played the part of Jessica who writes under the pen name Janus, and Robert Preston played her husband. The play ran for 251 performances from November 1955 to June 1956. In the late fifties Sullavan's hearing and depression were getting worse. However, in 1959 she agreed to do Sweet Love Remembered by playwright Ruth Goetz. It was to be Sullavan's first Broadway appearance in four years. Rehearsals began on December 1, 1959. Sullavan had mixed emotions about a return to acting and her depression soon became clear to everyone: "I loathe acting", she said on the very day she started rehearsals. "I loathe what it does to my life. It cancels you out. You cannot live while you are working. You are a person surrounded by an unbreachable wall".
Read more about this topic: Margaret Sullavan
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