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Plays

With the important exception of his magnum opus Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions to Webster, Thomas Middleton, William Shakespeare and Thomas Kyd in The Waste Land. In a 1933 lecture he said: "Every poet would like, I fancy, to be able to think that he had some direct social utility. ... He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."^[31]

After The Waste Land (1922), he wrote that he was "now feeling toward a new form and style." One project he had in mind was writing a play in verse with a jazz tempo featuring Sweeney, a character who had appeared in a number of his poems. Eliot did not finish it. He did publish separately two pieces of what he had written. The two, Fragment of a Prologue (1926) and Fragment of an Agon (1927) were published together in 1932 as Sweeney Agonistes. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.^[32]

A pageant play by Eliot called The Rock was performed in 1934 for the benefit for churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses.^[32] George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later asked Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. After this, he worked on commercial plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play.