Marching Song

Marching Song is an exemplary publication in many ways. Opening with Welles’s touching 1982 eulogy to the editor’s grandmother, the book contains a magnificent preface by Simon Callow emphasizing how important Hill’s mentorship of the young Welles was in that very creative environment that the Todd school represented, one that puts many traditional establishments past, present, and futire, to shame. Without the encouragement of Hill, it is doubtful whether the future director would have gone on to contribute to the artistic glory of innovative cinema. . . . Significant works contain a relevance not just to their period of origin but also beyond. In his astute editing, Todd Tarbox recognizes the validity of this important axiom making his edition of Marching Song all the more relevant today. * Film International *
The play’s themes of racial justice remain significant and the text offers a glimpse of the young author’s immense creativity and burgeoning social conscience; however, the supplementary essays are what make this publication a particular treat. . . the cumulative effect of the play, the essays, and rare photos and illustrations makes for an engaging and thought-provoking read. * Book & Film Globe *
A significant cultural event. . . One of the first things that strikes the reader about Marching Song is that it is more advanced in its approach—one might say, far more advanced—than virtually anything else in the American theater in the 20th century—including the efforts, as sincere and serious as they certainly were, of Eugene O’Neill, Arthur Miller, Clifford Odets, Tennessee Williams, William Inge, Edward Albee, etc. Welles’ play owes far more to Shakespeare and other epic traditions than it does to the cramped psychological drama so beloved by American playwrights. * The World Socialist Website *
[Marching Song] is intensely vatic. . . . what a lot of people do not know is that Welles, for all of the (inaccurate) charges against him of cupidity and sloth, was a veritable crusader in the cause of equal rights. His civic-minded radio programmes reflect this dedication, as do his under­appreciated newspaper columns. Welles even used his pulpit in print to chase down race-motivated murderers. The rediscovered Marching Song makes for an interesting reading experience. It is overlong – an irony given Welles’s penchant for cutting. (He sliced and diced Shakespeare like no one has, and he was good at it.) But it also has something of the dyadic approach of Kane: a ladling of fear, a coating of mystery, with proto-noir touches. Welles scholars will be drawn to those connections, but the thing is damn autonomous, and more clear-eyed than one could think the work of a boy could be. * Times Literary Supplement *
I can't recommend the book highly enough. The play itself is a fascinating piece of work, perhaps classifiable as juvenilia but marked by a passion and commitment that's remarkable in an artist of any age. Welles was a special kind of humanist, one who knew that idealism without works is dead. Hence his portrayal of Brown. Hence his 1946 radio addresses on Isaac Woodard, Jr., which are reproduced in the copious and sensitive supporting materials buttressing the play at both ends of the volume. * Glen Kenny, Some Came Running *
This script of an action-filled play about John Brown that was never performed on stage raises profound questions about the role of violence in the crusade against slavery. The drama is compelling--no surprise, since one of the playwrights was Orson Welles, master of stage, screen, and radio, who uses this medium to illustrate a key event that brought on the Civil War. -- James M. McPherson, author of Battle Cry of Freedom
Those of us who love Orson Welles owe a large debt of gratitude to Todd Tarbox for continuing to fill in the amazing puzzle pieces of Welles’ extraordinary creative life. That Orson was able to write as mature a piece as Marching Song at the age of 17 defies belief. But then he did make Citizen Kane at 25, not to mention all the masterpieces that followed, including The Other Side of the Wind, shown for the first time 40 years after he shot it, and still it seems ahead of its time. But even from the grave, Orson is unstoppable. -- Peter Bogdanovich, Director of The Last Picture Show
A must-have for any serious Welles fan, Marching Song: A Play is bookended by two illuminating essays by Tarbox. [It] will be devoured by those looking for insight into the mind of one of the most creative men of the 20th century. -- Ray Kelly, Wellesnet.com