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The reintroduction of Margarett Sargent, whose works haven’t been exhibited since 1936, brings back a lost world of wealth and privileged bohemianism. These intriguing paintings conjure a creator in whom independence, self-indulgence intelligence, passion and a restless quest for beauty mingle to both productive and self-destructive effect.  
—Art in America
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    Fall 2015 and Spring 2016

    Honor will be teaching at the New School MFA Program where is she entering her third year as Nonfiction coordinator
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    Tuesday
    Nov092010

    The New Women’s Theatre (Vintage Books, 1977)

    “During the sixties, much of the theatre did not touch real women in spite of the number of female dramatists. But in the seventies, with the shift in the theatre away from ‘absurdism’ and back to a kind of realism, women have begun to write from their own experience. The women playwrights of the seventies are not part of a single movement; they write in many different styles and come to the theatre with many different life-histories….All over the country, women are beginning to create plays, not only from their own lives, but that dramatize history, bring our foremothers to life.

    The volume includes Honor Moore’s play “Mourning Pictures.”

    Press

    Review of Mourning Pictures from After Dark THE NATIONAL MAGAZINE OF ENTERTAINMENT, September 1974 

    “In Boston”
    by Laurence Senelick 

    Genuine theater is very much alive and quite well, thank you, in Massachusetts this summer. The Lenox Arts Center at Wheatleigh, brainchild of producer Lyn Austin, is an exciting, seething kettle of creativity. The Manhattan Project’s manic, irreverent version of The Seagull, a classic seen in a new light, was followed by Mourning Pictures, a new play by Honor Moore and one which may become a classic.

    Mourning Pictures, which casts a slightly fictionalizing veil over the death of the author’s mother by cancer, is a harrowing comedy—harrowing because the slow, degenerative process is in no way palliated; a comedy because the ultimate feeling is affirmative, the triumph of the individual human spirit over the adventitious indignities of dying. The play is conceived in a brilliant theatrical idiom: a mélange of hard- edged poetry, brief dialogues, and the counterpoint of various pop song-styles, playing under, over, around, and through the action. The effect is reminiscent of Oriental theater, intense, yet detached, somewhat as if Emily Dickinson had written Noh plays.

    It is welt served by its actors. Leora Dana, ravaged, gaunt, dry as a bone, and smart as a whip, has the role of her career, making of the dying mother a very real, very specific woman whose plight is universal. As the eldest daughter, who cannot reveal her love through fear, guilt, and disgust, Kathryn Walker has the luminosity of embodied intelligence; her final “aria” is delivered with a dazzling virtuosity few young actresses can command. Talk is that the show will be brought to New York in the fall. 

    Mr. Senelick is head of Theatre at Tufts University and a director, actor and translator.

     

    Mourning Pictures

    (Excerpt copyright 1974 by the author, all rights reserved.)


    Introduction

    The mourning picture, which usually showed agravestone with the survivors grieving beside it, was an art form popular inthe early nineteenth century, especially in New England. Young womenstitched or painted them for bereaved friends.

     “I remember being on the Eastern Shuttle going to visit mymother in Washington, D.C., while she was dying of cancer. There were allthese very strong feelings inside me that seemed to have an almostindependent life. I was just sitting there, and none of the other passengersknew, or, I thought, would have wanted to know, what I was feeling. So I opened my journal and wrote, ‘Ladies and gentlemen, my mother is dying …‘ because I couldn’t say it—that was thefirst part of Mourning Pictures.” 

    At the age of ten, Honor Moore collaborated with her sixth-grade class on a play about Ancient Egypt. That was the beginning of anobsession which kept her in the theatre, in nearly every capacity, for manyyears. In 1970, after co-producing The Nest by Tina Howe off-Broadway, shebegan to write full time. “Because I always performed my poems andbecause of my theatre background, it seemed natural to say yes when MarySilverman and Lyn Austin asked me to write a play about my mother’sdying, instead of the book of poems I’d planned.” MourningPictures, Moore’s first play, was produced by Austin and Silverman atthe Lenox Arts Center with Leora Dana and Kathryn Walker in the leadingroles; Kay Carney directed, and Susan Am composed the music. In November1974, the same production moved to the Lyceum Theatre on Broadway.

     

    Part One
    MARCH THROUGH MAY
    March 29. Afternoon.
    Kent, Connecticut.

     

    MARGARET
    The telephone rings. I answer.
    Hello? I hear nothing.
    It frightens me.

    MAGGIE
    Margaret.

    MARGARET
    It’s my mother. It doesn’t sound
    like her. A week ago I wrote
    her, I love you.

    MAGGIE
    Margaret.

    MARGARET
    Not the perfunctory “I
    love you.” A new one. The real one.

    MAGGIE
    I went to the gynecologist.
    She examined me.
    Tomorrow I go to
    the hospital for tests. She found—

    MARGARET
    Alone in a red coat she walks
    down a long white hall—

    MAGGIE
    She
    found a lump in my right
    side. Margaret—

    MARGARET
    In bed in a room. They
    hold her wrist.

    MAGGIE
    I’m scared!

    MARGARET
    I love you.

    MAGGIE
    Why is this happening?

    MARGARET
    I’m here, Mom. I love you.

    I refuse to share her terror.
    My new ability to say
    “I love you” right out to
    my own mother is an
    act of courage great enough to
    save the whole world.

    March 31. Two AM.
    Kent, Connecticut.

    MARGARET
    I am sleeping. The phone rings. It is dark.
    The clock says two. It is my father.

    PHILIP
    I just want
    to tell you—Maggie’s
    in the hospital.

    MARGARET
    I was sleeping. Wasn’t
    it just for tests?

    PHILIP
    We don’t know for sure—

    MARGARET
    I don’t want to wake up.

    PHILIP
    —the surgeon
    says it’s probably cancer.
    The question is how far the tumor’s spread.

    MARGARET
    I can’t comfort him. I want to go back
    to sleep.

    PHILIP
    I’m sorry.

    MARGARET
    I’ll call—

    PHILIP
    I’ll call after
    we know more.

    MARGARET
    I know this call
    at two A.M. means he wants more than to
    tell me—

    PHILIP
    Good night, Margaret.

    MARGARET
    —but I am cold.
    I run to bed. It is easy to sleep.

    May 20.
    New York

    MARGARET
    Ladies and gentlemen, my mother is
    dying. You say “Everyone’s mother dies.”
    I bow to you, smile. Ladies, gentlemen,
    my mother is dying. She has cancer.
    You say “Many people die of cancer.”
    I scratch my head. Gentle ladies, gentle
    men, my mother has cancer, and, short of
    some miracle, will die. You say “This has
    happened many times before.” You say “Death

    is something which repeats itself.” I bow.
    Ladies and gentlemen, my mother has cancer
    all through her. She will die unless there’s
    a miracle. You shrug. You gave up religion
    years ago. Marxism too. You don’t believe
    in anything. I step forward. My mother
    is dying. I don’t believe in miracles.
    Ladies and gentlemen, one last time: My
    mother’s dying. I haven’t got another.

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