Poem Explication on My Papa\'s Waltz by Theodore Roethke

¶ … Papa's Waltz"

The Play as Literature

In an art form which imitates the lives of Marilyn Monroe and Arthur Miller, the star -- Kitty -- is a needy, insecure, and unstable actress. Putting the entire movie production at risk -- and her own reputation, as well -- her hysteria and fragile emotional state keep everyone on the edge of outright hostility. How can a world famous actress -- loved by millions -- not see what the rest of the world sees?

Flora, one of the star's acting coaches, makes several references to her emotional need for love, yet too often, "Love is the Great Impossibility." The well-meaning intentions of svengali-like coaches and a mild-mannered but well-respected writer husband do nothing to quell the fear living within Kitty's heart.

As Kitty lies prone and naked on her bed, prostrate with her own fear and power, Jerome -- one of several acting coaches -- looking like a Freud-imitating drugstore cowboy and Derek -- the director of the doomed movie enter her room without a thought to her modesty or privacy. The hysteria and emotional turmoil spill over onto Jerome who feels he is being held accountable for Kitty's constant ailing excuses not to finish the movie. Her husband, Paul, makes a valiant effort to quiet her demons with physical restraint and comforting words but is ineffective; Kitty knows her power and wields it without remorse.

Actor Performances

Philip -- one of the studio owners -- goes to the set to take stock of the situation and try to salvage the movie from the ashes. The film crew demonstrates the trust and hope placed in his character for restoring sanity to the set.

Kitty appears to relate better with the acting coaches, Jerome and Flora than with anyone else in the crew or family. This pattern is undisguised as the one followed by Marilyn Monroe during the making of her last film, The Misfits.

Kitty's husband, Paul, suggests that his wife is seeking and will only be 'cured' by being loved but he knows she is incapable of accepting it.

Each character has a stake in Kitty's success; none, however, appear more concerned with her emotional condition than the movie. Philip, Derek, and Flora take a turn at trying to persuade Kitty to return to the set; her mumbles are indicative of her lack of interest in anything but her own problems. The clever camera work in showing extreme close-ups of her face portray her point-of-view without explanation.

Philip demonstrates a personal empathy and humanness toward Kitty -- surprising considering the scant history between them -- and encourages her to keep going with platitudes like, "all life is like a damaged apple, you have to eat around the bad parts."

It is Jerome who finally convinces Kitty to get back to work, but the appearance of Paul causes her to revert to hysteria at the sight of him. Paul -- nee Miller -- is resigned to the marriage's downward slide, stating they "had too much hope . . . we weren't able to save each other." Prophetic words in the real-life tragedy of Miller's own wife.