Plot
In the original production, 'the girl' arrives in New York City. She tells her pal she doesn't want to become a hard-bitten career woman or a user of men. Shortly after, she discovers her beau has been cheating on her with numerous other women and she walks out.
'The girl' meets Hollywood producer Sheldon Bloom, who takes her to Los Angeles. Sheldon's career ambitions preclude his spending much time on a personal relationship and, after realizing life in the film capital is uneventful and Sheldon has been using her as a trophy girlfriend, 'the girl' returns to Manhattan.
Back in Greenwich Village, 'the girl' meets a salesman, and once again faces disappointment when she learns he frequently has been in town with other women when he supposedly was away on business. The two split up and she meets a married man. Intent on succeeding in her career and acquiring a green card, 'the girl' is content with the noon-to-two relationship she and the married man share, until he announces he has told his wife everything and wants to leave her and marry 'the girl'. She is horrified because not only does she not love him, but she realizes she's been using him, something she had vowed never to do. She sends the married man away and promises herself she will return to being the idealistic and ethical woman she was when she first arrived in the States.
'The girl' is the only person who appears on stage, despite having conversations with her friends and writing letters to her mum.
Read more about this topic: Tell Me On A Sunday
Famous quotes containing the word plot:
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)