Biography

Eulalie Spence was born in 1894 in the West Indies, on the island of Nevis. After a hurricane devastated her father’s sugar cane farm, Spence’s family immigrated to the US in 1902 and took up residence in Harlem, which would serve as the setting for most of her plays. Spence was one of the most prolific black female dramatists of her time, and one of the few to be formally trained (with the Columbia University Laboratory Players and the National Ethiopian Arts Theatre program). Several of her works were awarded prizes from Crisis and Opportunity magazines; her comedy, Fool’s Errand, was recognized and published by Samuel French. She was an influential member of the W.E.B. Du Bois’ little theatre group, the Krigwa Players, where she was a featured performer and playwright. Unlike many Harlem Renaissance writers, Spence eschewed protest dramas, opting instead to focus on folk comedies and dramas geared toward entertaining her audience. From 1927 to 1958, Spence taught at the Eastern District High School in Brooklyn, one of the few black teachers to be placed in a predominantly white school. As the school’s drama coach, she served as mentor and guide to many youth; one student, future New York Shakespeare Theatre founder Joseph Papp, would credit Spence as a one of the most influential forces in his life – though he did not know for many years that his mentor had been an award-winning playwright.

Plays

The Starter (1923)

T.J. Kelly and his romantic partner, Georgia, discuss the possibility of marriage. Georgia, in an effort toward practicality, begins to ask the uncomfortable yet essential questions regarding finances and Kelly’s ability to financially support the both of them. Kelly, however, does not think the discussion of finances is appropriate nor relevant to her acceptance of his on-the-spot proposal. Though T.J. and Georgia do not end up coming to an official resolution regarding financial responsibility and matrimony, the curtains close on the couple snuggling in what seems to be peaceful romantic bliss.

Written in 1923, The Starter was first published in the 1927 anthology, Plays of Negro Life, edited by Alain Locke and Montgomery Gregory. It was first produced in 1932 by the Junius Craven's International Drama Workshop in San Francisco.

Cast Requirement: 4 (3f, 1m)

Characters: T.J. Kelly, Georgia, First Woman, Second Woman

Publication Info: Zora Neale Hurston, Eulalie Spence, Marita Bonner, and others : the prize plays and other one-acts published in periodicals. Prentice Hall, 1996. (Link)

The Starter, Alexander Street Press* (Link)

FOOL’S ERRAND (1927)

Cassie finds baby clothes hidden in her neighbor’s house and quickly deduces that Maza, the daughter of the household, must be in a family way. She rallies the church elders and Maza’s father to interrogate the girl and her two suitors. The situation soon gets out of hand, with one swain joining the accusers. Maza and her remaining beau seem doomed to a shotgun wedding - until the family matriarch arrives and saves the day.

Cast Requirement: 7+

Characters: Cassie, Sister Williams, Parson Williams, Maza, Jud, Freddie, Mom, Brethren and Sisters of the Church Council

Publication Info: Black Female Playwrights: An Anthology of Plays before 1950. Edited by Kathy A. Perkins. Indiana University Press, 1990. (Link)

Fool’s Errand, Alexander Street Press* (Link)

HeR (1927)

Martha, a resident/caretaker of a Harlem tenement, is convinced that the vacant upstairs rooms are haunted by the landlord's dead wife - a Filipino war bride driven to suicide by alienation and her husband's mistreatment. Martha's insistence on warning potential renters about "Her" frustrates John Kinney's attempts to fill the place, so he takes over himself one evening, and justice is finally delivered.

Cast Requirement: 6 (3f, 3m)

Characters: “Her” (non-speaking role), John Kinney, Martha, Pete, Sam, Alice

Publication Info: Black Female Playwrights: An Anthology of Plays before 1950. Edited by Kathy A. Perkins. Indiana University Press, 1990 (Link)

Her, Alexander Street Press* (Link)

hOT STUFF (1927)

Fanny, the story’s protagonist, assists her customers with playing their lottery numbers; however, audiences soon learn that she is not always honest. Besides cheating on her husband, Fanny also cheats people out of their money, like John Cole. Cole’s friend, Jennie, confronts Fanny and blackmails her into returning John's cash. After this unfortunate encounter, Fanny is visited by Isadore Goldstein, who bargains with her in order to sell her a beautiful ermine wrap. Fanny finally agrees to pay $100 in cash, along with her body, in exchange for the coat. As the two make their way into the bedroom, Fanny’s husband, Walter King arrives home. After physically attacking them both and kicking Isadore out, Walter angrily leaves. Fanny quickly recovers, and calls to reschedule her date with Jim, another man with whom she is having an affair.

Hot Stuff was awarded third prize in Crisis magazine's 1927 playwriting contest.

Cast Requirement: 6 (3f, 3m)

Characters: Fanny King, Mary Green, John Cole, Jennie Barbour, Isadore Goldstein, Walter King

Publication Info: Zora Neale Hurston, Eulalie Spence, Marita Bonner, and others : the prize plays and other one-acts published in periodicals. Prentice Hall, 1996. (Link)

Hot Stuff, Alexander Street Press* (Link)

The HUNCH (1927)

Mavis Cunningham, a young Harlemite (via Raleigh, NC), is preparing for her upcoming marriage to Bert Jackson. Her landlady, Mrs. Reed, enters to chat with the soon-to-be-bride, when the women begin to discuss Mavis’s former suitor, Steve, who has gone to Philadelphia "on a hunch," and has asked Mavis to play his number in his absence. When it turns out Steve's number has hit, Mrs. Reed suggests that Mavis pocket the money, but Mavis refuses to cheat her former beau. Mavis' fiancé, Bert, arrives, with news that he lost Steve's slip and only got part of the prize. Before they can depart for their wedding, Steve arrives with his "hunch" from Philadelphia: Bert’s wife. The revelation of Bert's attempt to deceive her in love (and to help himself to Steve's money) causes Mavis to consider going back South for good, but Steve assures her she couldn't leave Harlem "on a bet" and convinces Mavis to go dancing with him.

The Hunch was awarded second prize in Opportunity magazine's 1927 playwriting contest. It was first published in 1927 in Carolina magazine. No production information is available.

Cast Requirement: 6 (3f, 3m)

Characters: Mavis, Mrs. Reed, Mitchell, Bert, Steve, Lucinda

Publication Info: Zora Neale Hurston, Eulalie Spence, Marita Bonner, and Others: The Prize Plays and Other One-acts Published in Periodicals. Prentice Hall, 1996. (Link)

The Hunch, Alexander Street Press* (Link)

undertow (1927)

Hattie is visited by Clem, a former friend and her husband Dan's ex-lover. Clem informs Hattie that she and Dan have reunited and begs Hattie to give him a divorce. When Dan arrives on the scene, Clem reveals to both that she and Dan have a daughter, a respectable young lady who would be devastated to learn the truth about her parents. Hattie vows that she will not rest until the daughter knows everything, and Dan, in a fit of anger, accidentally kills his wife

Undertow was awarded third prize in The Crisis magazine's 1927 playwriting contest. It was first published in 1929 in Carolina magazine. The play was first produced in 1932 by the Howard University Players.

Cast Requirement: 5 (3f, 2m)

Characters: Dan, Hattie, Charley, Clem, Mrs. Wilkes

Publication Info: Black Female Playwrights: An Anthology of Plays before 1950. Edited by Kathy A. Perkins. Indiana University Press, 1990. (Link)

Undertow, Alexander Street Press* (Link)

EPISODE (1928)

Mamie Jackson worries that her young marriage is already in trouble - since their wedding, her husband Jim spends all his time out with the boys, leaving her lonely. She longs for something to bring them together again. Jim arrives with something that he promises will keep him home with her: a cornet. He intends to spend all his nights learning to play. Soon enough, it is Mamie who can't stand to be at home.

Cast Requirement: 6 (3f, 3m)

Characters: Jim Jackson, Mrs. Jennings, Mamie Jackson, Walt Gilbert, Mrs. Robinson, Harry Williams

Publication Info: Zora Neale Hurston, Eulalie Spence, Marita Bonner, and Others: The Prize Plays and Other One-acts Published in Periodicals. Prentice Hall, 1996. (Link)

Episode, Alexander Street Press* (Link)

The whipping (1933)

Based on a novel by Roy Flanigan. When Marigold, a woman of questionable morals, runs afoul of a small-town bigshot, he and his fellow Ku Klux Klan members punish her with a vicious whipping. Rather than slink out of town, Marigold uses the incident to increase her fame and punish her attackers.

The Whipping was Spence’s only full-length play, and featured a predominantly white cast. The play’s sole production, in Danbury, Connecticut, was yanked just weeks before it was scheduled to open. Shortly after, Spence sold the play to Paramount Pictures for $5,000, making it her most profitable writing venture.

Cast Requirement: 16+

Characters: Marigold, Stumpy, Dr. Wallace, Joey Carnes, Ida Tate, Ike Gardner, John Toombs, Glen Karly, Coley Cabe, Ted McCarthy, Bill Potts, Jim Slade, Cleo, Dr. Wicker, The Knights of the Red Circle, Reporters, Photographers, New Reel Men, Postmen, Messenger, Negro Chauffeur

Publication Info: The Whipping, Alexander Street Press* (Link)

BEING FORTY (1924)

Set in the 1890s, the play deals with a family feud, primarily between a bachelor and his younger sister.

First produced in 1924 by the National Ethiopian Arts Theater at the Lafayette Theater in Harlem, directed by George Currie, with the following cast:

FOREIGN MAIL (1927)

Foreign Mail received second prize in Crisis magazine's 1926 play contest. It was first produced January 17, 1927 by the Krigwa Players' Little Negro Theatre in the basement of the New York Public Library's 135th Street Branch; directed by Charles Burroughs.

Resources

other writing by spence

“A Criticism of the Negro Drama as It Relates to the Negro Dramatist and Artist.” Opportunity, 1928. Reprinted in The new Negro: readings on race, representation, and African American culture, 1892-1938. Edited by Henry Louis Gates, Jr. and Gene Andrew Jarrett. Princeton University Press, 2007. (Link)