421:) Mrs. Baxter finds the dress suit and sends it to the tailor. Genesis tells Jane about a second hand clothing store, where you can barter belongings. Willie, overhearing, takes two empty baskets to his room. Mr. Parcher tells the Baxter parents that Lola is finally going away Friday on the midnight express. There will be a farewell party for her, with music and dancing. The Baxters agree to help set things up, but Willie, once again refused a dress suit, disappears. Jane says he filled the baskets with his clothes and half convinces her parents he has eloped. However, he returns shortly, and tries to borrow a few dollars from his mother, as his clothes were not enough to secure a used dress suit. Joe, Johnnie, May, and Lola arrive with George Crooper, a large, insensitive fellow, who dominates Lola's attention. They are going for a ride, but since Crooper's car only holds five, Willie volunteers to stay behind, hoping to impress Lola with his nobility à la Sydney Carton. (
407:) Mr. Parcher asks May when Lola is going home but she doesn't know. Johnnie comes by and May tries to get him to sit, but he wants to know where Lola is. At that moment Lola and Willie return from a walk, the latter holding Flopit. Willie and May are colluding on keeping Johnnie from Lola for different reasons. Johnnie takes May for a walk, while Willie and Lola have a long discussion on Love, to the annoyance of Mr. Parcher in the living room. He finally exits, slamming a door, just as Johnnie and May return. Joe comes by and argues with Willie until Lola tactfully gets everyone to sing with her. The boys leave. The girls discuss them, with Lola assuring May she won't interfere between Johnnie and her. After the girls go in, Johnnie and Willie return, carrying a guitar and ukelele. They serenade the girls from the porch, earning applause and another slammed door from inside. (
368:) Willie lobbies Mr. Baxter for a dress suit. Mrs. Baxter thinks Mr. Baxter's dress suit is in the hall closet, but needs letting out. Johnnie discusses with Willie the new girl visiting May Parcher. Willie insists he isn't interested. Jane opens the front door to May Parcher and her guest, Lola Pratt. Willie is smitten and can barely respond to her greeting. Mrs. Baxter annoys Willie by sending him to help Genesis fetch some old wash-tubs. May and Lola greet Johnnie and Joe Bullitt, who heard Lola was at the Baxter's. When Genesis and Willie arrive with the tubs, Flopit and Clem start fighting outside (off-stage). Willie slips away unnoticed, while everyone rushes outside. They all return, Genesis holding Clem while Lola holds Flopit. The visitors depart, Jane and Mrs. Baxter go upstairs. Willie goes to the hall closet, removes his father's dress suit and sneaks upstairs. (
453:) Having arrived at the Parcher's party too late, Willie misses out on dancing with Lola. His friends won't yield any of their pre-arranged dances with Lola to him. May introduces him to Ethel Boke, who leads Willie out to dance with her. She whirls and swings him about, so Willie finds an excuse to go sit on the porch. As they sit together, Ethel mentions Lola's comment to other girls that she couldn't possibly get engaged to any man who didn't have at least $ 750,000. Willie tries again to persuade Lola to dance with him, but she is all booked up for the night. When George Crooper arrives in his two-seater car, Willie's last chance to be alone with Lola vanishes. Crooper takes Lola to the train station, while Mrs. Baxter tries to console her son, who realizes now the romance was all one-way. (
389:) Mrs. Baxter wonders what became of the dress suit. Willie accuses Jane of behaving like a child in front of "Miss Pratt" earlier that day. Jane and Willie spar until he goes upstairs in a snit. Jane sits at her mother's knee, and relates everything she heard at the Parchers, about how they are tired of Miss Pratt and wished she'd leave, and how Mr. Parcher can't go anywhere around his house without tripping over Willie or some other boy. Later, Willie sneaks downstairs in a bathrobe, which he takes off to reveal the missing dress suit. He goes out, while Jane peers around the corner. She soon spills to Mrs. Baxter about the dress suit. When Mr. Baxter returns home, Mrs. baxter confides her worry that Willie is getting too serious about Miss Pratt. (
873:
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435:) Mr. and Mrs. Baxter are helping the Parchers fix up their front porch for the party. Jane and Genesis between them explain Willie is trying to raise the final money needed for the used dress suit. Mr. Baxter sends Genesis to fetch Willie, while Jane has been primed to let him know his father's dress suit is at home, unaltered. Mrs. Baxter forces Willie to retrieve his clothes from the second-hand shop and take them home. Jane runs back in to say Willie wouldn't listen to her. (
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the grounds they had no exclusive rights to dramatize the novel, and his tryout version of the play owed little to their treatment. Walker then signed
Tarkington to a production contract in March 1918. The partners filed a lawsuit which went to trial in April 1919. Stange and Mears were awarded $ 4900 on May 3, 1919, of the back royalties they had sought. The dispute went to New York's highest court of appeals in 1921, where the original judgement was upheld.
29:
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performances of
Gregory Kelly (Willie), Judith Lowry (Mrs. Baxter), Neil Martin (Johnnie), and Lillian Ross (Jane), but were dubious about Agatha Rogers as the "Baby-Talk Girl". Her performance was hindered by artificial mannerisms and a stuffed Flopit instead of a real dog. A local critic reported "the acting version of
1018:
The lack of a formal production contract between
Tarkington and the partners Stange and Mears led to a legal dispute. Walker continually asked Mears and Stange to provide a copy of the contract, which they ignored. When the play reached Broadway in January 1918, he cut off their royalty payments, on
997:
after it had completed two months on
Broadway. Broun decried the lack of theatricality in the production and lamented the thin plot, saying "The story is over before the play ends". He wrote "Lillian Ross does an amazingly fine piece of work. We understand that she is less than twenty and an actress
882:
had its first performance at the Murat
Theatre in Indianapolis on June 18, 1917. Booked for one week, it was extended for another, partly for popular demand but also so Walker could tighten up the performance. A local reviewer had suggested as much as twenty minutes could be cut. Critics praised the
496:
in August 1916, but didn't convey to them an exclusive right for same. He also didn't make any commitment to production, other than ask the partners to pay him 40% of royalties if they did mount a production. The movie rights had already been disposed of during 1916, so any production contract could
508:
A young-looking teenage actress (Lillian Ross) was used to play 10-year-old Jane Baxter, casting made easier by Walker's version of the play excluding events in the last three chapters of
Tarkington's novel. Stange and Mears' version of the play had included them, wherein 10-year-old Rannie Kirsted
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felt
Tarkington would have done a better job dramatising his novel than Stange and Mears. His characters were what made the play work, while the playwrights writing "is without definite form", "merely a series of episodes". Darnton praised the acting of Kelly and Ross, but emphasized Ruth Gordon's
504:
contacted
Tarkington in April 1917 to discuss dramatization, he was referred to Mears and Stange. Walker entered into a contract with the partners in late April to produce their as yet unwritten play. When they completed their play, its suitability was to be tested with a tryout in Indianapolis in
959:
felt the play's success owed more to Walker's "theatre genius" than to the writing of Stange and Mears. They also favored the acting of
Lillian Ross as Jane ("delightfully natural"), while opining Gregory Kelly's acting needed "more spontaneity and less self-conciousness". Charles Darnton at
169:. It is a four-act comedy with six scenes and two settings. The story concerns a seventeen-year-old boy in a small town who is smitten with a visiting beauty, enduring the pangs of a crush with the humiliation of not being accepted as adult by his family and friends.
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reached its 250th performance on August 24, 1918, just one week before it closed on August 31, 1918, due to prior scheduling at the Booth
Theatre. The final count of performances was either 257 or 258, depending on whether wartime restrictions were still in effect.
937:
Following a holiday hiatus, the production re-opened at the Lyric Theatre in Cincinnati on December 23, 1917. It went to Detroit's Garrick Theatre on December 31, 1917, where the first night house was full and enthusiastic.
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June 1917. Walker disliked it and wrote another with Maximilian Elser before the tryout. The play as published in 1924 was copyright to Walker in 1917, though it listed Stange, Mears, and Walker on the title page.
512:
The settings were designed and built by Frank J. Zimmerer, a graduate of the Chicago Art Institute and former head of the Kansas City Art Institute. He was assisted by actor Arthur Wells, who played Wallie Banks.
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of brief experience. She played the child so well that we were sure she must be at least forty". He had praise for Gregory Kelly, Judith Lowry, and Neil Martin, but "Some of the rest are not so good".
184:. It had a tryout at Indianapolis in June 1917, followed by an opening tour starting September 1917. It premiered on Broadway during January 1918 and ran through August 1918 for over 250 performances.
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The question of her real age was widely asked at the time. She told one interviewer during January 1918 she was 17, but then told another a month later she turned 18 on August 1, 1917.
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is introduced, and in the last chapter, revealed as Wille's "bride-to-be". The Stange and Mears stage version had ended with a flash forward and the marriage of Willie and Rannie.
930:. He also disagreed with Tarkington's assessment of Kelly as the best possible "Willie", and after praising other actors failed to mention Ruth Gordon. After 100 performances,
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emphasized how quickly the play captured the audience's approval, thought Lillian Ross "extraordinarily clever", but also remarked on Gregory Kelly's self-consciousness.
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During World War I, New York theatres were requested to remain dark two nights per week instead of just Sunday. According to Ruth Gordon's memoir, Tuesday was
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is a 1940 film, produced by Paramount, written by Agnes Christine Johnston and Stuart Palmer from the play by Walker, Stange, and Mears. It starred
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promoted to playing May Parcher. Despite her poor reviews from June, Rogers was kept on as understudy to Gordon. Following two nights in Columbus,
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Hugh Stanislaus Stange and Benjamin Stannard Mears, Plaintiffs-Respondents, against Stuart Walker and Maximilian Elser, Jr., Defendents-Appellants
981:
also complimented Kelly, Gordon, and Ross, but said that Walker had rearranged and revised what Stange and Mears had written. The critic for
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thought the acting in general was good, but saved his greatest praise for Lillian Ross, even suggesting the title should be changed to
1924:
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Principal cast during the opening tour and the Broadway run. The production was on hiatus from July 1 through September 16, 1917.
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The play covers most of the novel published in March 1916, ending at the Parcher's party and omitting the last three chapters.
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thought the writing was fine and gave Kelly, Gordon, and Ross plaudits for their performances. J. Alexander Pierce of the
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Hammond deplored the "British accents" of Henry Crosby, an actor whose name does not appear on any cast list for
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has been changing gradually since opening night", with Walker promising a further 10 minutes of cuts to come.
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is a mongrel that follows Genesis, mostly apparent only from off-stage sounds and reactions by others.
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played a series of one-night engagements for two weeks, before going into a steady run at Chicago.
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from the stage play, with music by William B. Kernell and lyrics by Donnelly. It was directed by
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is the suffering father of the household where Lola is staying as a guest of his daughter, May.
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is a friend of Willie and Johnnie, a bit belligerent, considered too sarcastic by May Parcher.
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is 18, a beautiful visitor whose "baby-talk" conceals a perceptive and socially adroit person.
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is a heavy young lady at the Parcher's party, who gives Willie a clue to the real Lola Pratt.
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is 19 and a cousin of Johnnie; a big pushy fellow, he lives in Blairsville and owns two cars.
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is 18, Lola's friend at college. She has decided Johnnie Watson is her best bet for a beau.
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version of Tarkington's novel. A musical version of the stage play was produced in 1926 as
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Willie explains to his father the moniker comes from reversing his first and middle names.
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Ross, playing a 10-year-old, impressed critics with her fidelity to the character's age.
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Rogers, known as Aggie, was kept as understudy, but left acting after the Chicago run.
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Hugh Stanislaus Stange and Stannard Mears in collaboration with Stuart Walker (1924).
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Seventeen: A Tale of Youth and Summer Time and the Baxter Family Especially William
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called Sylvanus, is Willie and Jane's father, though he sometimes wishes he wasn't.
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Paul Kelly (no relation) took over when Gregory Kelly went to Walker's new play.
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Hugh Stanislaus Stange and Stannard Mears in collaboration with Stuart Walker.
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G. P. G. (January 1, 1918). "Garrick Theatre--"Seventeen," A Masterful Study".
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Kelly, 26 when he started playing this part, had been on stage for 13 years.
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opened in Chicago at the Playhouse on October 1, 1917. Percy Hammond of the
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Besides his small feature part, Wells helped design and build the settings.
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is a Black handyman whom Jane thinks is nice but Willie barely tolerates.
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Gordon was cast by Gregory Kelly over the objections of Stuart Walker.
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is 10, Willie's eavesdropping younger sister, and the bane of his life.
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The production resumed on September 17, 1918, at Columbus, Ohio, with
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Martin was a drama critic and press agent before becoming an actor.
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made in 1951, went back to the Tarkington novel for its storyline.
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The Baxter home and Parcher's front porch, in a small Indiana town.
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Scene 1: Same as Act II Scene 2, the following Friday at twilight.
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called Mary, is Willie and Jane's very patient and caring mother.
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Characters are listed in order of appearance within their scope.
1860:. New York, New York. February 19, 1926. p. 40 – via
1419:. New York, New York. February 10, 1918. p. 25 – via
268:
is Willie's best friend, who persists in calling him Silly Bill.
1899:
Seventeen: A Play of Youth and Love and Summertime in Four Acts
1612:. Chicago, Illinois. December 15, 1917. p. 18 – via
1575:. Indianapolis, Indiana. June 25, 1917. p. 20 – via
1556:. Indianapolis, Indiana. June 19, 1917. p. 13 – via
1534:. Indianapolis, Indiana. June 23, 1917. p. 14 – via
1515:. Indianapolis, Indiana. June 19, 1917. p. 23 – via
1491:. Brooklyn, New York. January 22, 1918. p. 12 – via
1299:. Brooklyn, New York. January 29, 1918. p. 23 – via
1295:"Brooklyn Girl Makes A Success As Jane In Comedy "Seventeen"".
1228:. Indianapolis, Indiana. April 29, 1919. p. 2 – via
1179:
Seventeen: A Play of Youth and Love and Summertime in Four Acts
1789:. Brooklyn, New York. August 25, 1918. p. 14 – via
1713:. New York, New York. January 22, 1918. p. 9 – via
1672:. New York, New York. January 22, 1918. p. 9 – via
1631:. Cincinnati, Ohio. December 23, 1917. p. 34 – via
1368:. Brooklyn, New York. August 18, 1918. p. 15 – via
1349:. Indianapolis, Indiana. June 15, 1918. p. 7 – via
1770:. New York, New York. August 22, 1918. p. 7 – via
1268:. New York, New York. April 23, 1919. p. 12 – via
1930:
Supreme Court of the State of New York, Appellate Division,
1064:(Johnnie) in support. It opened on January 12, 1926, at the
1330:. Dayton, Ohio. September 18, 1918. p. 13 – via
336:
is a white lap dog that Lola dotes on and carries around.
1469:. Lima, Ohio. September 17, 1917. p. 7 – via
366:
The living-hall of the Baxter home, noon on a June day.
1690:
Darnton, Charles (January 22, 1918). "The New Plays".
16:
1917 play by Hugh Stanislaus Stange and Stannard Mears
1875:
Nugent, Frank S. (February 29, 1940). "The Screen".
1571:""Seventeen" Begins Second Week at Murat Tonight".
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Scene 2: Same as Act II Scene 2, three hours later.
176:, with settings by Frank J. Zimmerer, and starring
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1728:Pierce, J. Alexander (January 22, 1918). "Drama".
405:Scene 2: Porch of the Parcher house, same evening.
323:is a young woman who comes to the Parcher's party.
1437:Hammond, Percy (October 2, 1917). ""Seventeen"".
387:Scene 1: Same as Act I, two weeks later, evening.
1747:Broun, Heywood (March 10, 1918). ""Seventeen"".
1313:Supreme Court, Testimony of Gregory Kelly, p.518
227:, is 17, romantic, imaginative, whose ideal is
934:closed at the Playhouse on December 15, 1917.
1879:. New York, New York. p. 15 – via
1837:J. C. F. (January 13, 1926). "The New Play".
1751:. New York, New York. p. 30 – via
8:
1841:. Brooklyn, New York. p. 6 – via
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1732:. New York, New York. p. 9 – via
1694:. New York, New York. p. 8 – via
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1441:. Chicago, Illinois. p. 15 – via
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317:is a young man, friends with Willie's gang.
1345:"Notes and Comment on Plays and Players".
906:replacing Agnes Rogers as Lola Pratt, and
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172:The play was first produced and staged by
27:
18:
1913:My Side: The Autobiography of Ruth Gordon
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419:Same as Act I, about mid-August, evening.
199:adaptation. Another stage musical of the
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770:This was a stage name for the producer
1530:"New Tarkington Comeddy Big Success".
1282:Stange, Mears, and Walker, title page.
953:on January 21, 1918. The reviewer for
1668:""Seventeen" Deals With Puppy Love".
1487:""Seventeen" Wins Audience at Once".
492:the right to make a dramatization of
7:
1709:"The Tragi-Comedy of 'Seventeen'".
643:Lowry should not be confused with
14:
1068:and closed February 20, 1926, at
993:wrote an idiosyncratic review of
1815:Supreme Court, Exhibit 13, p.572
187:The play had been preceded by a
1251:Supreme Court, Exhibit 1, p.560
1242:Supreme Court, Exhibit 2, p.561
1214:Supreme Court, Exhibit 3, p.562
1044:. It starred Richard Keene and
1036:was a 1926 musical, adapted by
967:beauty rather than her acting.
942:Broadway premiere and reception
658:Gordon in her 1976 memoir said
1608:"Amusements: Playhouse (ad)".
1598:Stange, Mears, and Walker, p.3
1511:"Willie Baxter in the Flesh".
1465:"Neil Martin In "Seventeen"".
1119:The play satirizes the use of
1:
1908:. Grosset & Dunlap, 1916.
497:only cover the stage rights.
1415:"Two Girls of "Seventeen"".
1048:as Willie and Lola, and had
859:Sep 17, 1917 - Aug 31, 1918
849:Jun 18, 1917 - Jun 30, 1917
835:Jun 18, 1917 - Aug 31, 1918
822:Jun 18, 1917 - Aug 31, 1918
809:Jun 17, 1918 - Aug 31, 1918
797:Jan 21, 1918 - Jun 15, 1918
787:Jun 18, 1917 - Jan 19, 1918
767:Jan 21, 1918 - Aug 31, 1918
757:Jun 18, 1917 - Jan 19, 1918
744:Jun 18, 1917 - Aug 31, 1918
729:Jun 18, 1917 - Aug 31, 1918
714:Jun 18, 1917 - Jun 15, 1918
699:Sep 17, 1917 - Aug 31, 1918
687:Jun 18, 1917 - Jun 30, 1917
673:Jun 18, 1917 - Aug 31, 1918
662:rather than Hart filled in.
655:Jun 17, 1918 - Aug 31, 1918
640:Jun 18, 1917 - Jun 15, 1918
626:Jun 18, 1917 - Aug 31, 1918
613:Jun 18, 1917 - Aug 31, 1918
599:Sep 17, 1918 - Aug 31, 1918
586:Jun 18, 1917 - Jun 30, 1918
573:Aug 19, 1918 - Aug 31, 1918
562:Jun 17, 1918 - Aug 17, 1918
549:Jun 18, 1917 - Jun 15, 1918
1224:"Jurors Hear "Seventeen"".
1974:
1181:. Samuel French, New York.
149:is a 1917 play by writers
122:Scenes of late adolescence
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717:Gaul played this role in
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1856:"Maxine Elliot's (ad)".
1839:The Brooklyn Daily Times
1785:"At The Booth Theatre".
1364:"At the Booth Theatre".
1264:"Playwrights Seek Pay".
1070:Maxine Elliott's Theatre
984:The Brooklyn Daily Eagle
1629:The Cincinnati Enquirer
1552:"Murat-- "Seventeen"".
1467:The Lima Times-Democrat
221:William Sylvanus Baxter
1901:. Samuel French, 1924.
1202:Tarkington, pp.286-329
1123:at such a small party.
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490:Hugh Stanislaus Stange
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446:
400:
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151:Hugh Stanislaus Stange
55:Hugh Stanislaus Stange
1953:Plays based on novels
1766:"Plays and Players".
1573:The Indianapolis News
1554:The Indianapolis Star
1532:The Indianapolis News
1513:The Indianapolis News
1347:The Indianapolis News
1226:The Indianapolis Star
898:
875:
473:
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1824:Supreme Court, p.638
1489:Brooklyn Daily Eagle
1366:The Brooklyn Citizen
1297:Brooklyn Daily Eagle
1417:The New York Herald
1266:The New York Herald
1093:as Willie and Lola.
856:Henrietta McDannel
684:Dorothea Carothers
660:Elizabeth Patterson
523:
461:Original production
1904:Booth Tarkington.
1877:The New York Times
1711:The New York Times
1648:Detroit Free Press
972:The New York Times
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536:Notes and sources
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1692:The Evening World
1328:Dayton Daily News
963:The Evening World
949:premiered at the
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764:Eugene Stockdale
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111:Original language
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1917:Harper & Row
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1038:Dorothy Donnelly
1002:Broadway closing
978:New York Tribune
754:V. L. Granville
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488:and his partner
482:Booth Tarkington
477:and Lillian Ross
195:, followed by a
189:1916 silent film
163:Booth Tarkington
96:January 21, 1918
79:Booth Tarkington
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1391:Gordon, p.66-69
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1062:George E. Stone
1058:Elisha Cook Jr.
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893:
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846:Beatrice Maude
779:George Crooper
667:Johnnie Watson
519:
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101:Place premiered
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40:
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1892:Bibliography
1876:
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1806:Gordon, p.71
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891:Opening tour
884:
879:
878:
843:Mary Brooks
783:Edgar Stehli
736:Joe Bullitt
681:May Parcher
670:Neil Martin
645:Judith Lowry
634:Mrs. Baxter
620:Jane Baxter
610:Lew Medbury
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1881:NYTimes.com
1715:NYTimes.com
1156:Seventeen's
1121:dance cards
1091:Betty Field
1060:(Joe), and
1056:(Genesis),
1034:Hello, Lola
1023:Adaptations
904:Ruth Gordon
816:Ethel Boke
794:Paul Kelly
751:Mr Parcher
710:George Gaul
607:Mr. Baxter
595:Ruth Gordon
580:Lola Pratt
321:Mary Brooks
297:Mr. Parcher
291:Joe Bullitt
272:May Parcher
260:Mrs. Baxter
254:Jane Baxter
193:Hello, Lola
182:Ruth Gordon
161:, based on
85:Directed by
38:Ruth Gordon
1948:1917 plays
1942:Categories
1858:Daily News
1166:References
558:Paul Kelly
466:Background
309:Ethel Boke
248:Mr. Baxter
242:Supporting
235:Lola Pratt
207:Characters
167:1916 novel
51:Written by
1627:"Lyric".
1187:Citations
1143:Seventeen
1083:Seventeen
1007:Seventeen
995:Seventeen
947:Seventeen
932:Seventeen
918:Seventeen
912:Seventeen
885:Seventeen
880:Seventeen
719:blackface
494:Seventeen
201:same name
197:1940 film
146:Seventeen
74:Seventeen
43:Seventeen
22:Seventeen
1919:, 1976.
1052:(Jane),
805:Ben Lyon
706:Genesis
484:granted
347:Synopsis
340:Clematis
279:Featured
69:Based on
1934:, 1922.
1670:The Sun
956:The Sun
455:Curtain
423:Curtain
415:Act III
409:Curtain
391:Curtain
370:Curtain
285:Genesis
223:called
135:Setting
119:Subject
114:English
1923:
868:Tryout
533:Dates
530:Actor
429:Act IV
383:Act II
334:Flopit
328:Canine
225:Willie
157:, and
130:Comedy
61:, and
45:(1918)
1098:Notes
1028:Stage
527:Role
500:When
362:Act I
127:Genre
1921:ISBN
1089:and
1077:Film
726:TBD
517:Cast
215:Lead
180:and
36:and
928:Ten
165:'s
77:by
41:in
1944::
1915:.
1829:^
1799:^
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1318:^
1287:^
1256:^
1207:^
1195:^
774:.
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153:,
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449:(
431:(
417:(
403:(
385:(
364:(
231:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
