Everyman's Theatre 40-12-20 (12) The Women Stayed at Home

Summary

Podcast Summary: Harold's Old Time Radio – Everyman's Theatre 40-12-20 (12) The Women Stayed at Home

Episode Title: The Women Stayed at Home
Release Date: July 25, 2025
Host: Harold's Old Time Radio

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Overview

In this evocative episode of Everyman's Theatre, entitled "The Women Stayed at Home," listeners are transported to the tumultuous era of the European conflict during the Golden Age of Radio. Through a poignant narrative, the play delves into the profound emotional toll of war on the home front, particularly focusing on the experiences of women who are left to navigate loneliness, loss, and enduring love amidst the chaos of wartime.

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Main Characters

• Celia Harris: The protagonist, a widow grappling with profound loneliness and loss after the deaths of her parents and later, her fiancé.
• John Clark / Carl: Initially introduced as John Clark, he becomes a central figure representing both love and the complexities of wartime relationships.
• Arch Ober: The writer and creator of the play, who provides narration and sets the scene.
• Mr. Stanford: A figure from the village who symbolizes the intrusion of war into personal lives.
• Supporting Characters: Includes villagers, Norma Shearer (acting as herself), and others who contribute to the unfolding drama.

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Plot Summary

Setting the Scene ([00:27] - [02:21])

The play opens with Arch Ober introducing a windswept coastal setting at night. Celia Harris and an old man sit quietly by the shore, their solitude amplified by the calm yet ominous sea. The backdrop is enhanced by Wagner's Tristan and Isolde, underscoring the emotional depth of the narrative.

Celia's Loneliness and the Arrival of John Clark ([02:21] - [07:17])

Celia expresses her deep-seated loneliness, reflecting on her isolated upbringing and the deaths of her parents:

"Is that enough for a girl?" ([02:21])

Her solitude is briefly interrupted by the arrival of John Clark:

John Clark: "Hello, girl." ([04:18])

Their ensuing conversation reveals mutual loneliness and a spark of connection. Their bond intensifies, culminating in their marriage, celebrated by the village:

"He told me the village was so happy the day we married. It's good to remember." ([05:23])

However, tragedy strikes when John dies shortly after, leaving Celia devastated:

"He was dead. I think it. I can't say it. It's been so long." ([07:17])

Celia's Struggle with Loneliness and the Onset of War ([07:17] - [12:34])

Celia grapples with profound grief and an intensified sense of isolation:

"An empty day after an empty night. That's what was ahead of me." ([08:09])

Amidst her despair, rumors of war reach the village. Celia contemplates ending her life by walking into the sea but is interrupted when she rescues a drowned stranger, Carl, whom she nurses back to health:

"I dragged him out of the water to the beach. A stranger drowned in the sea." ([09:40])

As Carl recovers, a deep bond forms between them, offering Celia a glimmer of hope amidst her sorrow.

Conflict and War's Impact ([12:34] - [20:28])

The narrative intensifies as war overtakes the village. Celia faces conflicting emotions about Carl, who is perceived as an enemy soldier. She wrestles with her love for him versus the societal pressures and the relentless tide of war:

"War means something to those who have something to live for, to fight for. But when you have nothing." ([10:24])

Meanwhile, Mr. Stanford arrives, urging Celia to contribute to the war effort by teaching children at the district schoolhouse:

Mr. Stanford: "A chance to do your duty. Yes. And I'm the one who's fixed it for you." ([17:42])

Celia's internal conflict deepens as she grapples with her responsibilities and her enduring love for Carl.

Climax and Resolution ([20:28] - [25:19])

Tragedy strikes again as Celia loses her only brother to the war, heightening her despair. In a climactic moment, Carl confesses his true identity and his lack of animosity towards her:

Carl: "The hate is not ours, not yours, not mine." ([21:53])

Their love rekindles, and for a brief moment, Celia envisions a future free from loneliness. However, the omnipresent fear of being discovered forces Carl to leave, leaving Celia once more in solitude:

"Carl, where are you? Carl, gone." ([25:19])

The play concludes with Celia's acceptance of the ongoing conflict and her hope for peace, emphasizing the enduring human spirit amidst adversity.

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Key Themes

1. Loneliness and Isolation: Celia's journey underscores the profound loneliness experienced by those left behind during times of conflict.
2. Love and Loss: The delicate balance between love and the devastating impact of loss is a central motif.
3. War and Its Impact on the Home Front: The narrative explores how war infiltrates personal lives, altering relationships and societal dynamics.
4. Hope and Resilience: Despite overwhelming grief, Celia's resilience and hope for a better future persist.

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Notable Quotes

• Celia Harris ([02:21]):
  "Is that enough for a girl?"

• John Clark ([04:18]):
  "Hello, girl."

• Celia Harris ([05:23]):
  "He told me the village was so happy the day we married. It's good to remember."

• Celia Harris ([08:09]):
  "An empty day after an empty night. That's what was ahead of me."

• Carl ([21:53]):
  "The hate is not ours, not yours, not mine."

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Insights and Conclusions

"The Women Stayed at Home" masterfully captures the emotional complexities faced by women during wartime. Through Celia Harris's character, the play delves into themes of isolation, love, and resilience, portraying the silent strength of those who endure loss and uncertainty. The interplay between Celia and Carl symbolizes the enduring human spirit's capacity to find connection and hope even in the darkest times.

The use of Wagner's Tristan and Isolde interlude enriches the narrative, providing a classical backdrop that heightens the emotional resonance of the story. Arch Ober's meticulous craftsmanship ensures that listeners are deeply immersed in the historical and emotional landscape of the era.

Overall, this episode serves as a poignant reminder of the often-overlooked sacrifices and emotional burdens borne by women during periods of conflict, offering both a historical perspective and an enduring message of hope and resilience.

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Postscript

Listeners are encouraged to explore more episodes of Everyman's Theatre on Harold's Old Time Radio, where the rich tapestry of classic radio plays comes to life, preserving the essence of an era where storytelling was a cherished family pastime.

Transcript

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[John Clark]

Void where prohibited by law 21 + terms and conditions apply in those early years of the European conflict, vague rumors of atrocities had begun. But who could believe, could possibly, possibly believe in the safety of our homes that soon there would be ashes of men, women and children sifting out of the crematoriums? And so I and Norm Shear, the premier actress of the time at MGM Studios, the two of us did not hate Everyman's Theater. Written and created by Arch ober Oxidol presents Ms. Norma Shearer in a thrilling love story. The women stayed at home with the special symphonic accompaniment of Wagner's Deathless Love Music, Tristan and Isolde. And here is our writer creator, Arch Ober, who will introduce tonight's play. The scene A windswept coast. It is night. For once the sea is calm. It waits ominously upon the edge of shore where sits a woman and an old man. For a long time they've sat quietly. And now the woman speaks to the old man. And her words lift out to the sea on the rush of the wind.

[Celia Harris]

Lonely. Yes, I was lonely. And I did what I did because I was lonely, I can tell you. This is a quiet place. My father built here because he and mother had each other. And they wanted the lonesomeness. The village over there. And we away from all the rest. My father wanted it that way. When I was very young, it was all right. I could run with the other children, it was all right. But when I grew older, it was lonely. The sea, the wind, the gulls flying. Is that enough for a girl?

[John Clark]

Yes.

[Celia Harris]

I was very lonely. Father died, it seemed a storm. His boat. Then mother. For the first time I really was alone. People who have nothing remember the little things they've had, don't they? I remember things so clearly. The way the clouds were. One day when the sun went down. A boat that stood out on the horizon. And then in a second way under the way so many of know. Why talk of that. I'll tell you of John. He Came to the village a month after Mother died. He had a pack on his back and a smile that lifted the heart. I met him right where we sit.

[John Clark]

Hello, girl.

[Celia Harris]

Oh.

[John Clark]

Oh, I'm sorry if I startled you.

[Celia Harris]

I. I didn't know that.

[John Clark]

Yes, I know. My mother used to say it of me, too. I had to walk like a cat on tiptoe. Ah, it's a pleasant day.

[Celia Harris]

Yes, isn't it?

[John Clark]

Where are you from?

[Celia Harris]

That house.

[John Clark]

Oh. It's a strange, lonely place to build a house, isn't it?

[Celia Harris]

Yes.

[John Clark]

May I tell you my name? It's John Clark.

[Celia Harris]

How do you do?

[John Clark]

Would you tell me yours?

[Celia Harris]

Celia Harris.

[John Clark]

Celia. There's a name. Yes. From a boat.

[Celia Harris]

What?

[John Clark]

Oh, I beg your pardon. It's your name, isn't it? I've no right to use it.

[Celia Harris]

You said a boat.

[John Clark]

Yes. Yes, my boat. I'm gonna make a living at fishing. That's why I came here. And I've got a new boat. Well, not exactly new. And I've been beating out the inside of my head trying to think of a lucky name for it. Celia. Ah, It's a lovely name. Do you mind if I tell you that? Do you?

[Celia Harris]

I didn't mind. I didn't mind anything. He told me the village was so happy the day we married. It's good to remember.

[John Clark]

See you.

[Celia Harris]

Yes. Darling.

[John Clark]

How's the chance?

[Celia Harris]

What?

[John Clark]

To get away from them.

[Celia Harris]

Oh, but, John.

[John Clark]

Now, quiet. I slip easy as a ghost. Round the corner. Now, come on.

[Celia Harris]

Run. Oh, they'll never forgive us.

[John Clark]

Go on now. It's the dancing and the drinking that they're after.

[Celia Harris]

Now, come on. I can't. I can't.

[John Clark]

Yes, you can see it.

[Celia Harris]

Come on now. Oh, no, John. No.

[John Clark]

What?

[Celia Harris]

I can't. Not another step. Beating so. My heart.

[John Clark]

My heart, John. Oh, I want you.

[Celia Harris]

I'm yours.

[John Clark]

Always mine. Always mine.

[Celia Harris]

Always mine. He said that. Always mine. Tell me, how long is always? Is always the moment he held me. And his lips were tight on mine. And his arms held me. And he. No. Why should I ask? I really know. Always with him was that night. Because the next night.

[John Clark]

Pass off.

[Celia Harris]

Goss off. Hi, Ives.

[John Clark]

Good food.

[Celia Harris]

See ya.

[John Clark]

Goodbye, darling. I'll be thinking about you. Popping a good catch home for you. I'll see you in a fortnight, darling. Just in a fortnight.

[Celia Harris]

He said that to me. But in a fortnight he was dead. I think it. I can't say it. It's been so long. And yet I can only think it.

[John Clark]

Dare think.

[Celia Harris]

Do you know what that means?

[John Clark]

We have come here to say the last words for the soul of the one whom the sea has taken to the Lord. Goodbye, John Clark. The Lord in his wisdom has buried you in the boundless grave of the ocean. We bow our heads and we weep our tears. We have the memory of you.

[Celia Harris]

Do you know what that meant? I was alone again. Yes. Alone again. The widow cloud. Hi. The widow crowd. I ran from the village back up the long path to my house. And all the way it was tearing in me. I was alone again. Alone again. But a new loneliness. A horrible loneliness. When you've had nothing, all right, you know nothing. But I've known something now. His look. His laugh. His lips. His arms. The crush of his arms. I was alone again. A day and a night. A day and a night. One after the other. An empty day after an empty night. That's what was ahead of me. And that's what I had. An empty day and an empty night. An empty day and an empty night. Over and over and over. And there was no end. There could be no end until there was an end of me. No end to it until there was an end of me. And then I heard it from Dafar down the village. I couldn't quite understand one of the men waving his arms at me and.

[John Clark]

Shouting, war with war.

[Celia Harris]

War. War. But everybody had said, but wait. If war had come, there'd be. There'd be something for me to do. Yes. Fill the emptiness in me with something to do. Yes.

[John Clark]

I'm sorry, widow Clark, but there's nothing for you to do. Everything's being taken care of in the proper manner. Sorry, widow Clark. There's nothing for you to do.

[Celia Harris]

Nothing for me to do. Nothing for me. Nothing for me.

[John Clark]

Navy blockades of you are naval. Naval submarines. Army. Navy.

[Celia Harris]

Army.

[John Clark]

Navy.

[Celia Harris]

But nothing for me. War means something to those who have something to live for, to fight for. But when you have nothing. Empty days after empty nights. Over again, over again and again. I began to think. No end to it until there is an end to me. Why not walk into the sea? Let the sea fill my emptiness, cover my loneliness? Why not? Why not? I left the house and walked toward the sea. The sand crushed beneath my feet the way it did that night. That night he ran with me. The water was dark. I was at the edge. And into it. Deeper and deeper into it. Cold against me. Cold as the days and nights. But this coldness would end. And with that ending put a finish to the ache in me. And then something touched me. I looked down, white in the water. A hand John. The thought echoing in my head. And then. No. No. A stranger. Someone. I dragged him out of the water to the beach. A stranger drowned in the sea. Dead, yes, but no. My ear against the wetterfin. His heart, yes. The beat of it, faint. But the beat of it dragged him. Carried him to the house, Warmed him. Hour after hour. And slowly the beat lifted. With the blood in him. Stronger and stronger. Morning. He opened his eyes. In the first light of the sun. I saw they were blue. As blue as John's had been.

[John Clark]

Mozart.

[Celia Harris]

His first words. What?

[John Clark]

Mozart.

[Celia Harris]

Who? I ran to where I'd thrown the clothes, the buttons. Words on them. He was. He was the enemy. The enemy. I knew what I had to do.

[John Clark]

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[Celia Harris]

Go down to the village. Say, listen, everybody. A man from an enemy boat caught him. Come and get him. An enemy. Come and get him. I went back to where he lay. He was sleeping now. Sleeping. I looked at him. Something twisted in my heart. He slept the way John that night. Head in the crook of his arm. Sandy hair curling down on her forehead. Smooth and brown. He slept that night. Listen, everybody. An enemy. Yes. I must tell him. I must. He slept. Woke for a few hours, then slept again. Let him sleep, I told myself. Would be time to tell him tomorrow. But I didn't tell him tomorrow. He was sick. I had to make him well. Then I would tell them. How many days went? I don't remember. All I remember is moments.

[John Clark]

But.

[Celia Harris]

What did you say? No, no, that's a bird. Bird.

[John Clark]

Bird.

[Celia Harris]

That's very good. Pretty bird.

[John Clark]

Pretty bird. Pretty bird.

[Celia Harris]

So I began to teach him how to speak my language.

[John Clark]

I? You. Me.

[Celia Harris]

Why not? I wanted him to speak the way I did in the prison camp. It would help him to know our language. So I taught him sleep.

[John Clark]

I am Carl. I am Carl. I am Carl.

[Celia Harris]

Good, good. Now try something else.

[John Clark]

I am Carl. You are. You are Celia.

[Celia Harris]

Say, how do you do, Celia?

[John Clark]

How are you do, Celia?

[Celia Harris]

No, no. How do you do?

[John Clark]

How do you Do Xavier. I am Carl. I am Power.

[Celia Harris]

Soon he was well enough to be up and about. I gave him a suit of John's to wear. He would sit in the window looking out at the sea. And I would work and listen to him. It was good. It was good to know that someone was there. Suddenly, I realized something. I wasn't lonely anymore. Not lonely. Can you understand what that means? To have had nothing? And then. Then to have something, someone to talk to, to listen to and to laugh with. To.

[John Clark]

Naval battles, submarines. Army. Navy. Army.

[Celia Harris]

Navy.

[John Clark]

Army. Navy.

[Celia Harris]

But I had to tell them. I had to. Had to. And then I began to ask myself why. What had I to do with war? What had I to do with enemies?

[John Clark]

Sorry, Widow Clark. There's nothing for you to do. Everything's been taken care of in the proper manner. Sorry, Widow Clarke. There's nothing for you to do. Cecilia, you are very good to me.

[Celia Harris]

He was no enemy to me. Just Carl. And his eyes were blue. His face was gentle. And when he smiled, his lips. No. How could I tell him? And then it happened.

[John Clark]

Senior. Who? Who is there?

[Celia Harris]

I don't know. No one ever comes up here.

[John Clark]

You must answer.

[Celia Harris]

Hi.

[John Clark]

No trouble. The police, they'll take.

[Celia Harris]

Hide. I'll tell you quickly.

[John Clark]

Well, well, well. I begun to wonder if you were home.

[Celia Harris]

Oh, Mr. Stanford. What? What do you want?

[John Clark]

Want? Now there's a question. Climb all the way down that infernal path and you look at me as if I brought you bad news. Well, I don't, and that's a fact. Well, I'll tell you plain enough. A chance to do your duty. Yes. And I'm the one who's fixed it for you.

[Celia Harris]

What?

[John Clark]

What? Have you no other word but what? Your duty in this war, of course. The district teacher's off to join his regiment. You come down to the district schoolhouse three times a week and teach the children a chance to do your duty, Widow Clark. For God and country.

[Celia Harris]

For God and country. Teach the children. Come down to the schoolhouse. Leave him.

[John Clark]

I will be all right, Celia. Go. I will be all right.

[Celia Harris]

So I went down to the village again and heard of many things. Down in the village, they're drowning all men.

[John Clark]

They're counting. The lifeboat.

[Celia Harris]

They, they, they. Oh, yes, the enemy. Drowning and bombing and killing. They, they, they. The enemy. All day long, all I heard the enemy. I climbed the path back to the house. At sundown, he was waiting.

[John Clark]

Celia, I'm very happy to see you.

[Celia Harris]

I said nothing. What could I say? We ate. It grew dark. He didn't speak Again. Just looked at me. And then suddenly it was as if he were gone and as if I had told him and he'd been taken away. I was alone again. Alone again and lonely. No one near me. No one to talk to. The emptiness of the days again. Oh, no. I couldn't go back to that again. I couldn't. The next day, down to the village again. I wouldn't listen this time, I told myself. But in the schoolhouse. My brother, ma'.

[John Clark]

Am, on the boat they torpedoed yesterday.

[Celia Harris]

They killed my only brother. Ma'.

[John Clark]

Am.

[Celia Harris]

They again. They again. They again. They're drowning our men. They're killing our sons.

[John Clark]

They're killing our father. Routing our men. Rowing our men.

[Celia Harris]

No. No. I ran. I ran away from them. They. They. No more days. He was only one. Only one. And he was in my house and he was in my heart. All right, I said it. He is my heart. He spoke to me that night.

[John Clark]

Celia. Celia, I. I want to say something to you. Please.

[Celia Harris]

Yes, Carl.

[John Clark]

You. You are not happy.

[Celia Harris]

No.

[John Clark]

It is me. I know. I. I'm.

[Celia Harris]

Carl, please.

[John Clark]

If I could speak well enough to tell you that all these days I've been with you, I've been thinking and I have been learning that what you and your people think is right. And because it is right, it will live. I know that now. And so the hate is not ours. Not yours, not mine. Oh, Carl, See you. Not yours. Not mine.

[Celia Harris]

I love you, Carl. I love you, Carl. So I said it. And his arms came close around me. And there was no earth or sky or dead death. The days after that, days that stood still in wonder and then in rush, were gone. Warm days, lazy days, wonderful days. Days when the sky reached down and lifted us up to the clouds and we. Oh, Carl. Carl. And then a new day. A morning sun awakened me. Stretched out my hand. Carl. No. Carl. Carl, where are you? Carl, where are you? Carl. Gone. Gone. I cried. Not very long. You see, I understood. Always in our days together, there'd been a cloud. And with each passing day, that cloud would have grown larger and larger until there was no warmth of sun for us. The cloud of fear. Fear that someone of the village would see us, see him. And seeing him end my world for me. And he knew that. And so he went away. Where? I don't know. I like to think he took a boat during the night and. And sailed out to sea in it. Back to where he came from. Back to his small village by the cliffs. I like to think that. I know someday the fighting will be over. It must end. He said it.

[John Clark]

And so the hate is not ours, not yours, not mine.

[Celia Harris]

It will end. He'll come back to me. And I'll never be lonely anymore.

[John Clark]

This is Arch Ober. Tonight it has been a great privilege to bring you Nora Mashear in my play, the Women's State at Home. All of us here, and I know you out there, are grateful to Mishear for her stirring performance. With Mishear were Hans Conreid and Howard Duff. The special arrangement of Wagner's Tristan Nisoli was arranged and conducted by Gordon Jenkins. Step into the world of power, loyalty and luck. I'm gonna make him an offer he can't refuse. With family, cannolis and spins mean everything. Now you want to get mixed up in the family business. Introducing the Godfather at champacasino. Com. Test your luck in the shadowy world of the Godfather slots. Someday I will call upon you to do a service for me. Play the Godfather [e-mail]. welcome to the family. No purchase necessary. VGW Group void where prohibited by law, 21 plus terms and conditions apply.