Outward Bound is a play in three acts written by Sutton Vane.
The Story: A group of seven passengers meet in the lounge of an ocean liner at sea. Each eventually discovers that they are dead, and that they have to face judgment to determine whether they go to Heaven or Hell.
"I have put into ‘Outward Bound' my ideas of what happens to us directly after we die. I believe that when a person dies he or she is not aware of the fact. You and I might both be dead at that moment but we may not have time to discover that we are dead. For stage purposes, I have given my people tobacco, whiskey, books, and everyday clothes. They had not in the opening act found out that they are deaf and they Imagine things as they knew them and were accustomed to them. Gradually - it is impossible to say when because time in whatever comes beyond that life is doubtless not what we knew as time - I think those who die come to realize that they are dead.” ~ Sutton Vane
The play was originally produced in London on September 27, 1923. Vane could not find a producer for such an adventurous show, so he staged it himself, painting his own backdrops and building his own sets. The play proved to be a huge success, becoming the hit of the 1923 London season.
Producer William Harris Jr. purchased the American rights before the play even opened in the West End.
The America cast included Leslie Howard and Alfred Lunt. A year earlier, Lunt had honeymooned in Atlantic City with his bride, Lynn Fontanne. Lunt had proposed while on a day off from performing in Atlantic City, so honeymooning there was natural.
The American premiere of Outward Bound took place at the Apollo Theatre in Atlantic City New Jersey.
The surreal play found a hostile audience in Atlantic City during the Christmas holidays. The New York Times reported that there was hissing!
“Not that I am blaming the good folk of Atlantic City. No. One can understand the annoyance of people who expect a jolly crook play and suddenly discover they have been inveigled into viewing one man’s conception of the judgement day and life in the hereafter.” ~ Leslie Howard in the New York Times, May 1924
In Washington DC the cast worked hard on the script to be ready for the Broadway première.
“Rehearsal for purpose of rehashing play. Various authors, wives and retinues arrive. Great fun altering play. Which version do we play tonight? Do we know we’re dead or alive?” ~ Leslie Howard, January 2, 1924
Directed by Robert Milton, the Broadway production premiered January 7, 1924, at the Ritz Theatre, running for 144 performances.
“Utterly futile rehearsal at 12 a.m. — for which little Leslie one hour late. Dinner with Alfred Lunt. Opening of ‘Outward Bound’ at Ritz Theatre. Much heart-pounding and jumping of nerves. Get through pretty well. Audience reduced to jelly.” ~ Leslie Howard, January 7, 1924
There were London revivals in 1926, 1928, 1940, and 2012.
In December 1938, the play was revived on Broadway at the Playhouse Theatre running for 255 performances. This production was directed by Otto Preminger, and featured Laurette Taylor, Helen Chandler, and Vincent Price.
Vane wrote a novelization of his play, Outward Bound: A Novel, published in 1929.
A film adaptation titled Outward Bound (1930) was produced by Warner Bros. The studio engaged Robert Milton, director of the Broadway production, to direct the motion picture. Dudley Digges, Beryl Mercer and Lyonel Watts reprised their Broadway roles; Leslie Howard, who had played Henry in the stage production, starred in the role that had been played by Alfred Lunt.
The film was remade as Between Two Worlds (1944), with some changes reflecting World War II.
There were television versions in 1949, 1952, 1955, and 1956.
Outward Bound is referenced by Ronald Harwood in his 1980 play The Dresser, as well as the 1983 film:
NORMAN: Sixteen years. I wish I could remember the name of the girl who got me into all this. We’d been together in ‘Outward Bound’, the Number Three tour, helped with wardrobe I did, understudied Scrubby, the steward. That’s all aboard a ship, you know. Lovely first act. “We’re all dead, aren’t we?” And I say, “Yes, Sir, we’re all dead. Quite dead.” And he says, “How long have you been – you been – oh you know?” “Me, Sir? Oh, I was lost young.” And he says, “Where – where are we sailing for?” And I say, “Heaven, Sir. And hell, too. It’s the same place, you see.” Lovely. Anyway.
