Sorry wrong number summary and analysis
Sorry Wrong Number by NOT A BOOKThis is a perfect example of the volatile nature of drama. I imagine Sorry Wrong Number was quite tense in its day. I also imagine that it is a story most deserving of being performed and not simply read in script form. The problem is that the tension and originality have worn away over the years. This story remains worthy of accolades in a nostalgic sense, but the predictability and nonsensical hubris of the Mrs. Stevenson leave a reader wondering what this story could be with some more moving parts.
What I found most interesting was its novel use of the (relatively) new invention of the telephone and operator service. A play so suffocated by the passive treatment of the voices on the other line as an invalid woman is growing more and more hysterical is quite an intriguing idea. The paradox of something both so connective and so isolating is not without its charm. The concept is still pretty relevant actually. With technical advances, the conflict of Sorry Wrong Number has evolved into cinematic thrillers like Scream, Taken, and Unfriended. Still, much more could have been and has been done with this concept. Kudos to Fletcher to being a pioneer, but this play is most certainly a starting point and not an ending point for the genre.
Sorry, Wrong Number - Act 1, Part 1 Summary & Analysis
Lucille Fletcher's drama Sorry, Wrong Number was first performed as a radio play in In the preface to the published version, Fletcher writes, "This play was originally designed as an experiment in sound and not just as a murder story. However, when her play was performed, the playwright realized that the drama had even more potential. The drama, in the hands of her actress, took on the quality of a character study—a look into the mind of a desperate and helpless woman. As it was performed, the drama became a thriller, which, the dramatist writes, was much more than she "had originally intended. According to Lawrence Van Gelder, writing Fletcher's obituary for the New York Times , the playwright "transfixed a national audience with her radio drama. Barbara Stanwyck, who portrayed the protagonist, earned an Academy Award nomination for her performance.
Detailed plot synopsis reviews of Sorry, Wrong Number Leona Stevenson, as a bed-ridden woman alone in her bedroom at night. Husband Henry will be coming home late in from work and her caretakers are finished for the day, taking care of Stevenson. Leona frequently uses her phone to call family or friends to pass the time by but one phone call will be one that she will never forget. Click here to see the rest of this review. After making her rounds, she telephone Henry's office, but accidently dials the wrong number and is connected to two men's conversation that will shock her immensely.
Skip to content. Often, even during the golden age of radio, these were formulaic, poorly produced stories. But once in a while, something broke the radio drama mold. The story goes like this: On an average evening in the apartment where she lives alone, the bedridden Leona Stevenson picks up the phone to make a call. But the telephone operator connects her call incorrectly. The intended victim?
Sorry, Wrong Number
Sorry, Wrong Number is a play written by Lucille Fletcher in The main character is Mrs.
When the curtain rises, the stage is divided into three sections. Only the center section has lights. It is Mrs. It contains a bed, a phone, a nightstand, pill bottles, a mantel and a clock, as well as closed doors and windows. Stevenson is a nervous and self-centered woman, who is attempting to make a telephone call.