I am already fifteen minutes late as I enter the Mint Theater Company. I take the elevator up to the third floor, hurry down the hallway, and find the room presenting George Kelly’s 1931 play, “Philip Goes Forth.” In the pitch black lounge, the usher tells me that my front row seat has been given away. I’m too exhausted from running across mid-Manhattan to even argue. I follow him through the dimmer room and into the theater. As I take my seat in the corner of the seventh and last row, the entire audience turns its attention to me. I cannot help but notice that the majority of the audience was older, gray-haired people; nevertheless, I am excited. I strap myself in, cast my eyes on the brightly lit stage, and go along with Philip to experience the humor, fury, love, thrill, trauma, and disappointment in his pursuit to become a playwright in New York City.

The first act is set in an elegant, classical sitting-room “in a City five hundred miles from New York.” The golden light from the chandelier reflected off the pure white love seats, spotless rug, engraved mantle, and fresh white flowers to create a very formal and noble overtone. In the seats are Philip’s extremely proper aunt, Mrs. Randolph (Christine Toy Johnson), and her foil, the pompous friend, Mrs. Oliver (Carole Healey). Mrs. Randolph explains Philip’s decision to leave his father’s business to be a playwright in New York City; both women are taken aback and seem unable to accept his decision. Then, they move on to gossip about Cynthia (Natalie Kuhn), Mrs. Oliver’s daughter, and Philip’s relationship, with Mrs. Oliver giggling the whole time. Soon after, Mr. Eldridge (Cliff Bemis), Philip’s father enters. Stating that her ship is leaving soon, Mrs. Oliver takes her leave, but not without harmlessly teasing Mr. Eldridge, leaving him red-faced and speechless and the audience, including me, hollering with laughter. After Mrs. Randolph leaves with Mrs. Oliver, Philip (Bernado Cubría) enters the room. The pleasant mood immediately shifts to a heavy and ominous atmosphere. Philip’s confirmation of his decision immediately rouses a curt reprimand from Mr. Eldridge, “Don’t imagine, whenever you get tired floating up there in the clouds that you can drop right back into your place down here; that isn’t the way things go.” Mr. Eldridge essentially breaks his ties with Philip and storms out, slamming the door behind him. Just as Philip droops into the sofa, Cynthia comes into the room. Philip brushes himself off and proceeds to learn that Cynthia is going abroad to have a vacation with her mother. Hearing that, Philip can’t help but say that he is leaving to New York City. To his surprise, Cynthia is completely supportive of Philip’s vision. Furthermore, she says that she will definitely go to see one of his plays. They stand closer and closer until they are no more than a foot from each other. I can practically see the cupids of love floating above their heads. Finally, Cynthia gives Philip a quick peck on the lips. Philip, all wide-eyed, yells, “Oh, Cynthia!” and takes her in his arms and gives her a passionate kiss square on the lips, much like the kiss from the photograph V-J Day in Times Square. Just like young people in love, Cynthia giddily leaves the room and Philip jumps in joy, ending Act One.

The second act takes place six months later in a common room in New York City. The room is very artistic and unique with mint-green walls clad with abstract paintings, richly colored curtains and sofas, a writing desk, and a piano. Mrs. Randolph, visibly concerned about Philip, enters the room and asks for Philip. The owner of the boarding house and famous actress from many years ago, Mrs. Ferris (Kathryn Kates), explains that he is just about to arrive. She also answers Mrs. Randolph’s anxious questions by asserting that Philip is very determined and diligent; he is working very successfully as a salesperson during the day, and typing away on his typewrite in the dead of night. As Mrs. Ferris takes her leave and Philip enters the room, Mrs. Randolph quickly brushes away her tears. Mrs. Randolph settles down, and then pleads Philip to return home. She stresses that he can continue to write plays back at home; also his proof that he can support himself will make his father reconcile with him. Philip is furious; he rejects her offer and insists on staying. Mrs. Randolph finally accepts Philip’s decision. She invites him to dinner and exits. Almost immediately, Mrs. Ferris comes in with a stern face. She declares that Philip should go home. She states that she has met many people with aspirations to achieve a career in the arts, and with her experience, she says that Philip does not have it in him. Philip rejects this and Mrs. Ferris continues by revealing that Philip has not touched his typewriter in two months and that his first play, regarded as a joke and a waste of time by the theater company, was sent back. Philip continues to circumvent this by arrogantly saying that there are more theater companies out there. Suddenly, a shot goes off. The house assistant, sobbing, barges in and exclaims that the pianist, ironically the one who was depressed and unsuccessful, shot himself. The situation keeps plummeting south, taking a turn for the worst.

The third and final act takes place on the next day. Upon hearing the shooting, Mr. Eldridge rushes over to see Philip. After finding out that Philip is fine, they run out of things to say, forcing them to have a strained conversation about the wonderful tapestry. Out of the blue and to my surprise, Philip says that he wants to return home. The men try to be strong, but the quivering in their voices and their actions of looking away reveal that they subtly agree with each other. They forgive and forget and sit beside one another, joking about Mr. Eldridge’s botched attempt at writing a play, as the curtains close.

I am certainly astonished by the ending. Philip’s ambition and spunk remind me of myself, so, through the ups-and-downs of the play, I still rooted for Philip to reach his goal. However, “Philip Goes Forth” depicts a very real perspective of the achievability of the American dream. Many people dream of going into big cities and completely transforming their lives. Stories make it sound easy, but in reality, it is not. The road to one’s dreams can have many twists and turns, as demonstrated by Philip’s experience. But the message is not to discourage big dreams; rather, it is to take in and learn from the experience. As Greg Anderson wisely said, “Focus on the journey, not the destination.”