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Sabrina Fair
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Sabrina Fair
First edition 1954
Written bySamuel A. Taylor
CharactersLinus Larrabee Jr.
Sabrina Fairchild
David Larrabee
Maude Larrabee, Julia Ward McKinlock, Linus Larrabee Sr., Margaret, Gretchen, Mr. Fairchild, A Young Woman, A Young Man, Another Young Woman, Another Young Man, Paul D'Argenson
Date premieredNovember 11, 1953
Place premieredNational Theatre
New York City, New York
Original languageEnglish
GenreRomantic comedy
SettingThe North Shore of Long Island about an hour from New York.

Sabrina Fair (subtitled A Woman of the World) is a romantic comedy written by Samuel A. Taylor and produced by the Playwrights' Company. It ran on Broadway for a total of 318 performances, opening at the National Theatre on November 11, 1953. Directed by H. C. Potter, with sets and lights designed by Donald Oenslager, it starred Margaret Sullavan and Joseph Cotten, with Cathleen Nesbitt, John Cromwell, and Russell Collins in major supporting roles.

The critic for The New York Times, Brooks Atkinson, praised both the script and the production for its droll wit, writing that "One of the most attractive qualities of Sabrina Fair is the opportunity it provides for enjoying the foibles and crises of some fairly scrupulous human beings."[1] For Atkinson, the play's clever dialogue placed it beyond a Cinderella romance and into the more exalted realm of high comedy, in the tradition of S. N. Behrman, Philip Barry, and W. Somerset Maugham.[1]

The play has been adapted into two films, a 1954 version starring Audrey Hepburn and a 1995 remake with Julia Ormond.

Plot

[edit]

Sabrina Fairchild is the daughter of a chauffeur to the wealthy Larrabee family, who live in a mansion on the North Shore of Long Island. Returning from a stay in Paris after working as the private secretary to the "Assistant Economic Commissioner Office of Special Representative for Europe Economic Cooperation Administration", she presents herself as a young woman of beauty, charm, incredible sophistication and zest for living, so different from the domestic's daughter the family had largely ignored. She proclaims her desire "to do everything and see everything, sense everything; to know that life is an enormous experience and must be used. To be in the world, and of the world, and never stand aside and watch."

Although she once had a crush on David Larrabee, the young playboy of the family, and returns to America with a wealthy French suitor in tow, she finds herself drawn to Linus Larrabee, whose intelligence, lack of sentimentality, and knowledge of the world stimulate her. He, of all the Larabees, is the one she is attracted by. When it is revealed that Sabrina's father has amassed a fortune on the stock market over the past decades, she wants to return to Paris, which she feels is her home. As her financial, as well as intellectual, equal, she falls in love with Linus.

The title cites John Milton's song from his masque Comus (1634), which is quoted in the play:

Sabrina fair,
Listen where thou art sitting
Under the glassy, cool, translucent wave,
In twisted braids of lilies knitting
The loose train of thy amber-dropping hair;
Listen for dear honour's sake,
Goddess of the silver lake,
Listen and save.

With its patrician setting, witty dialogue, and development of a romantic plot between two clever and committed idealists across class lines, Sabrina Fair has much in common with Philip Barry's 1928 comedy Holiday.

Films

[edit]
Main articles: Sabrina (1954 film) and Sabrina (1995 film)

The play is the basis for the 1954 film Sabrina, directed by Billy Wilder,[2] and its 1995 remake of the same name directed by Sydney Pollack.[3] Wilder's extensive revision of the plot led to Taylor's quitting the project and his replacement by Ernest Lehman.[4]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sabrina Fair

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from Grokipedia
Sabrina Fair (subtitled "A Woman of the World") is a romantic comedy play in four acts written by American playwright Samuel A. Taylor.
It premiered on Broadway at the National Theatre on November 11, 1953, directed by H. C. Potter with scenic design by Donald Oenslager, before transferring to the Royale Theatre and closing on August 21, 1954, after 318 performances. Set on the North Shore of Long Island in the 1950s, the story revolves around Sabrina Fairchild, the intelligent and elegant daughter of the Larrabee family's chauffeur, who returns home transformed after two years studying fashion in Paris. Upon her arrival, Sabrina rekindles a flirtation with the family's carefree younger son, David Larrabee, a playboy whose romantic entanglements threaten the family's business empire. To avert disaster, the pragmatic elder brother, Linus Larrabee—a workaholic executive—intervenes by courting Sabrina himself, leading to unexpected romantic developments and a humorous exploration of class differences, family dynamics, and true love. The play's witty and themes of and forbidden romance critical acclaim and commercial on Broadway, where it starred as Sabrina alongside as Linus Larrabee and as David Larrabee in the original cast. Sabrina Fair served as the basis for Billy Wilder's 1954 film adaptation Sabrina, starring in the alongside and , which was nominated for six . A 1995 remake directed by , also titled Sabrina and featuring and Julia Ormond, further extended its cultural legacy, while regional and community theater productions continue to revive the work for its timeless appeal.

Creation and Production

Development

Samuel A. Taylor, born in Chicago in 1912, began his writing career after attending the University of California at Berkeley in the early 1930s and working as a merchant seaman, later moving to New York in the mid-1930s to pursue opportunities in journalism and radio scripting. Following his Broadway debut with the successful comedy The Happy Time in 1950, adapted from Robert Fontaine's novel, Taylor conceived Sabrina Fair in the early 1950s as a romantic comedy exploring class distinctions and romantic complications within affluent American society. The work drew inspiration from the style of playwright Philip Barry, particularly in its charming yet satirical portrayal of the wealthy elite, akin to The Philadelphia Story. Taylor completed the script around 1952–1953, setting the story amid the opulent estates of Long Island's North Shore to highlight social hierarchies. The play, titled Sabrina Fair with the subtitle A Woman of the World to underscore the protagonist's evolving sophistication, initially planned a Broadway premiere on October 27, 1953, with Barbara Bel Geddes in the lead role of Sabrina. However, Bel Geddes withdrew in August 1953 due to dissatisfaction with script revisions, and the opening was postponed to November 11, 1953, with Margaret Sullavan replacing her as Sabrina. It received production support from the Playwrights' Company, a collective including Maxwell Anderson and Elmer Rice that backed emerging works. This collaboration facilitated its path to Broadway, under director H. C. Potter.

Original Broadway Production

Sabrina Fair premiered on Broadway on , 1953, at the National in , where it initially ran until , 1954, before transferring to the Royale for its final leg. The production was directed by H. C. Potter, known for his work on elegant comedies, and featured sets and designed by Oenslager, which evoked the opulent North Shore estates of . Produced by the Playwrights' , a collaborative venture of prominent playwrights including Maxwell Anderson and S. N. Behrman, the show achieved a solid run of 318 performances, closing on August 21, 1954. The original cast was led by in the of Sabrina Fairchild, bringing her renowned poise and emotional depth to the chauffeur's transformed by Parisian . portrayed Larrabee Jr., the pragmatic elder brother, while played the matriarch Maude Larrabee with characteristic and . John Cromwell assumed the of the Larrabee Sr., supported by as the chauffeur Fairchild. Other notable performers included as Larrabee and in a supporting . Structured as a four-act play, the production unfolded allowing for intermissions that heightened the romantic tension. was handled by Stroock, with designs emphasizing the refined attire of Long Island's upper class, from tailored suits to evening gowns that underscored the social divides central to the story. These elements combined to create an intimate yet lavish staging, capturing the era's blend of glamour and restraint.

Content

Plot Summary

The play Sabrina Fair is set on the North Shore of in the , primarily at the opulent estate of the wealthy Larrabee . Sabrina Fairchild, the of the 's , has harbored a long-standing with Larrabee, the 's younger and a carefree . In the first act, the story establishes Sabrina's past unrequited love for David and her departure to Paris for five years of professional experience in a U.S. government overseas office, where she gains sophistication and exposure to the diplomatic scene. The second act begins with Sabrina's return from Paris as a poised and elegant young woman fluent in French, well-educated, and with executive experience abroad. David, now intrigued by her newfound allure, begins to court her seriously, leading to romantic encounters that culminate in his proposal of marriage. However, this development alarms Linus Larrabee, the elder brother and pragmatic head of the family conglomerate, who fears the union could jeopardize a crucial business merger with a socially prominent family. To safeguard the deal, Linus embarks on a calculated courtship of Sabrina, taking her to cultural events and engaging her in intellectual conversations to divert David's attention. As the third act unfolds, complications arise with the arrival of a wealthy French suitor whom Sabrina met in Paris, who proposes and adds to her divided affections. Through her interactions with , Sabrina discerns his but also recognizes his growing genuine , while remains oblivious. The resolves as class differences are bridged by revelations of personal circumstances, including the chauffeur's savvy investments that have amassed significant , allowing Sabrina to embrace her growth and choose a partner based on mutual respect rather than social constraints.

Characters

Sabrina Fairchild serves as the central protagonist of the play, portrayed as the daughter of the Larrabee family's chauffeur, who returns from five years in Paris transformed into a sophisticated and glamorous young woman in her mid-20s. Initially depicted with a naive and lovesick demeanor toward her longtime crush, she evolves into a bright, well-educated individual with executive experience abroad, highlighting her personal growth and central role in navigating romantic entanglements. Linus Larrabee Jr., the elder of the wealthy Larrabee , is characterized as a pragmatic and successful businessman in his mid-30s to early , often described as cynical yet good-humored while controlling the fortune as a tycoon. His and contrasts with his , positioning him as a key figure who influences dynamics and romantic pursuits. David Larrabee, the younger son, embodies the charming but irresponsible playboy archetype in his late 20s to early 30s, handsome and carefree, serving as Sabrina's initial object of affection from her youth. His lighthearted, romantic personality fuels sibling tensions with Linus, underscoring themes of rivalry within the privileged Larrabee household. Among the supporting characters, Maude Larrabee acts as the wise and perceptive matriarch in her late 50s, the mother of Linus and David, who provides insightful commentary on family matters. Linus Larrabee Sr., the patriarch in his 60s, represents the retired head of the family with a quirky passion for attending funerals, adding eccentric depth to the Larrabee lineage. Julia Ward McKinlock, a sharp and observant socialite houseguest in her late 50s, serves as a witty outsider who keenly observes the unfolding events. Thomas Fairchild, Sabrina's father and the Larrabees' loyal in his 50s to 60s, embodies working-class with interests in dabbling and reading, bridging the divide between the families. Minor servants include , the Larrabees' in her 40s to 60s and a friend to Sabrina, and , David's ex-wife in her late 20s to early 30s, who contribute to the household's interpersonal layers. Paul D’Argenson, a French businessman in his 30s to 40s with an accent, appears as Sabrina's sophisticated acquaintance, enhancing the romantic and cultural contrasts. The characters' relationships reveal underlying class tensions between the chauffeur's , represented by Sabrina and her , and the affluent Larrabees, amplifying social barriers in romantic contexts. between the pragmatic and the impulsive further drives the familial conflicts, with each brother's traits influencing their interactions with Sabrina and the broader .

Themes and Style

Central Themes

Sabrina Fair explores the tensions of social class as a central barrier to romance, portraying the Larrabee family as emblematic of elite privilege on their Long Island estate, contrasted sharply with Sabrina Fairchild's working-class origins as the daughter of their chauffeur. The narrative critiques these divisions by depicting Sabrina's infatuation with the carefree David Larrabee, which initially seems doomed by societal expectations, yet ultimately suggests that individual merit and genuine connection can transcend such obstacles. This theme is resolved through Sabrina's pursuit of Linus Larrabee, the elder brother, highlighting how romance across class lines challenges rigid hierarchies in mid-20th-century America. Personal growth and identity form another core idea, illustrated by Sabrina's transformation following her time in Paris, where she evolves from a shy, overlooked teenager into a poised and self-assured woman. This journey underscores the play's emphasis on self-discovery, as Sabrina navigates her desires beyond her initial familial role, gaining the confidence to assert her agency in romantic pursuits. Her development serves as a catalyst for reevaluating personal worth independent of social standing, emphasizing resilience and reinvention as pathways to fulfillment. The play also delves into family and business pressures, particularly through Linus Larrabee's internal conflict between his obligations to the family's vast corporate empire and his emerging personal affections. As the responsible heir tasked with mergers and expansions that prioritize financial gain over emotional bonds, Linus embodies the strain of dynastic duty, where business decisions often override individual happiness. This tension culminates in his realization that authentic relationships can coexist with professional responsibilities, offering a nuanced view of balancing legacy and love.

Literary Influences and Style

Sabrina Fair is a that blends elements of and to explore among the . The play's is balanced, progressively building from setup and character introductions to a central climax of romantic and familial tensions, culminating in a resolution that affirms themes of transformation and reconciliation. The title draws direct inspiration from John Milton's poem "Sabrina Fair" in his 1634 masque Comus, where Sabrina is invoked as a nymph symbolizing mythical purity and salvation, evoking motifs of personal transformation that subtly underpin the protagonist's journey from naivety to self-assurance. Taylor's style echoes the sophisticated dialogue and urbane of playwrights S. N. Behrman and Philip Barry, featuring artificial comedy centered on civilized characters navigating high-society intrigues with droll satire and light mockery. Stylistically, the play employs sharp banter and ironic twists to heighten comedic effect, delivered through elegant that reflects the polished manners of its setting, while the terrace locale amplifies contrasts between class backgrounds and emotional undercurrents. This approach creates a sparkling, incredulous tone that prioritizes social over dramatic intensity, aligning with the .

Adaptations

1954 Film Adaptation

The 1954 film adaptation of Samuel A. Taylor's play Sabrina Fair, retitled Sabrina for its U.S. release, was produced and distributed by Paramount Pictures and premiered on September 23, 1954, in Los Angeles and New York, with a wider October release. Directed by Billy Wilder, the screenplay was co-written by Wilder, Taylor, and Ernest Lehman, adapting the story into a romantic comedy-drama that stars Audrey Hepburn as the titular Sabrina Fairchild, the chauffeur's daughter who transforms after time abroad; Humphrey Bogart as the pragmatic older brother Linus Larrabee; and William Holden as the carefree younger brother David Larrabee. The title change from Sabrina Fair to Sabrina was made to center the focus on the female protagonist and distance the film from associations with highbrow theater, while international releases retained the original play's name. Principal photography took place at Paramount Studios in Hollywood and various locations on Long Island, such as the Glen Cove train station, with the Larrabee mansion exteriors and interiors filmed at the George Lewis Mansion in Bel Air, Los Angeles, and included a notable montage sequence depicting Sabrina's transformative experiences in Paris, adding visual flair not as emphasized in the stage production. The screenplay streamlines the play's for cinematic pacing, condensing character arcs and enhancing comedic and romantic elements through visual , such as the interlude where Sabrina attends culinary and emerges stylish and confident. Taylor, initially involved in the , grew dissatisfied with Wilder's substantial alterations to his original work and departed the midway through , prompting Lehman to join as co-writer to complete . As Hepburn's follow-up to her Oscar-winning performance in (1953), the film marked a significant showcase for her emerging power in Hollywood. Produced on a of approximately $2.2 million, Sabrina achieved as a worldwide hit and earned six Academy Award nominations, including for Best Picture, Best Director (Wilder), Best Actress (Hepburn), Best Art Direction–Set Decoration (Black-and-White), Best Cinematography (Black-and-White), and Best Writing–Screenplay; it won for Best Costume Design–Black-and-White (Edith Head).

1995 Film Adaptation

The film adaptation of Sabrina Fair is an American romantic comedy-drama directed by and released by on , 1995. The screenplay was written by Barbara Benedek and , adapting A. Taylor's original play and Billy Wilder's . It stars as Sabrina Fairchild, the chauffeur's daughter who transforms after time in ; as the workaholic elder brother Linus Larrabee; and in his debut as the charming younger brother David Larrabee. To appeal to a modern audience, the film updates the story from its mid-20th-century origins to a contemporary setting, incorporating to emerging like flat-panel displays and emphasizing corporate dynamics in the Larrabee family's . Key changes include an expanded intrigue , where Linus schemes to secure a lucrative merger threatened by romantic complications, adding layers of professional ambition absent in earlier versions. The adaptation also heightens focus on gender equality, depicting Sabrina and other women as strong, independent professionals navigating personal and career aspirations in a post-feminist context. Produced primarily at Kaufman-Astoria Studios in , New York, with in Paris, the film faced delays shifting its from summer to to capitalize on star power. It garnered mixed , with a 60% approval rating on based on 53 reviews, though it was often praised for its lush visuals, elegant , and romantic that evoked fairy-tale . Original playwright had no direct involvement in the , despite Pollack consulting him on potential updates; Taylor reviewed the script but expressed mild disappointment at its lack of bolder innovations. Casting choices were pivotal to the remake's contemporary feel, with Ormond selected from dozens of actresses for her Hepburn-esque elegance, poise, and ability to convey alongside newfound . Ford was chosen for Linus to leverage his dramatic intensity and proven box-office —over $2 billion in prior —resulting in a more emotionally guarded, portrayal than Humphrey Bogart's original.

Reception and Legacy

Critical Reception

Upon its Broadway premiere on November 11, 1953, at the National Theatre, Sabrina Fair earned positive reviews for its blend of humor, romance, and sophisticated dialogue. Brooks Atkinson of The New York Times hailed it as a "humorous, romantic comedy" performed with "style and taste" by leads Margaret Sullavan and Joseph Cotten, suggesting the production "ought to be in the neighborhood indefinitely" as appealing light entertainment. Other critics echoed this sentiment, commending Samuel Taylor's script for its witty take on class dynamics and familial tensions without delving into heavier drama. The play's success translated to a solid run of 318 performances, establishing it as a modest hit in the 1953-1954 season. Billy Wilder's 1954 film adaptation of Sabrina Fair, retitled Sabrina, was widely acclaimed upon release, with praise centered on Audrey Hepburn's enchanting performance as the chauffeur's daughter and Wilder's deft direction that balanced comedy and romance. Bosley Crowther of The New York Times credited Wilder for his "unerring sense of form" and realistic visual style, which elevated the material. The film secured six Academy Award nominations, including Best Actress for Hepburn, Best Director for Wilder, and Best Screenplay (adapted by Wilder, Samuel Taylor, and Ernest Lehman). It proved commercially successful, grossing over $10 million at the domestic box office against a budget of approximately $2.2 million. The 1995 remake, directed by Sydney Pollack, received mixed critical response, often faulted for lacking the original film's effervescent charm and chemistry despite its fidelity to the source. While Roger Ebert praised its emotional depth and Julia Ormond's credible turn in the lead, others, including Peter Travers in Rolling Stone, dismissed it as a "dud" that failed to recapture the 1954 version's sparkle. The film achieved modest box office results, earning $53.7 million worldwide on a $58 million budget. Scholarly analyses position Sabrina Fair as a cultural snapshot of America, illustrating themes of class mobility through inter-class romance where social barriers are resolved via personal transformation and familial . In her dissertation on and the , Donna Marie Komp emphasizes how Taylor's play, like its adaptations, uses to "smooth over class divisions," reflecting postwar about upward mobility.

Revivals and Cultural Impact

Following its Broadway premiere, Sabrina Fair saw several notable revivals in the mid-1950s, including a production at the Palm Beach Playhouse starring Constance Bennett and Tod Andrews, which opened the theater's fourth season on January 31, 1955. The play also gained traction in educational theater, ranking among the top ten most produced works on college and university stages during the 1955-1956 season with at least ten documented performances across institutions. Community theaters contributed as well, with stagings such as the one at Des Moines Playhouse in the 1955-1956 season, reflecting the script's early appeal for regional and amateur groups. In the 2010s, regional professional revivals brought fresh interpretations, often updating the play to address contemporary social issues. A prominent example was Ford's Theatre's 2010 production in Washington, D.C., which employed nontraditional casting by featuring Black actress Susan Heyward as Sabrina, thereby highlighting themes of class and race alongside the original's social conventions. This approach infused the 1950s-set comedy with modern resonance, examining barriers to love through an interracial lens without altering the script. Other regional efforts included a 2015 staging reviewed by the Los Angeles Times for its faithful yet engaging take on the romantic entanglements. The play maintains a strong presence in educational and community theater, with frequent high school and college productions underscoring its accessibility and teachable elements of wit and character-driven comedy. Examples include Cary-Grove High School's 2017 mounting, which emphasized the story's romantic core, and Florida Atlantic University's 2019 production directed by Jean-Louis Baldet as a "beautifully written romantic comedy." More recent interpretations continue this trend, such as Ocoee Theatre's 2025 staging at Cleveland Middle School, adapting the chauffeur's daughter's tale for younger audiences amid evolving discussions of class dynamics. Culturally, Sabrina Fair has influenced the genre through its Cinderella-inspired narrative of cross-class romance and sharp social satire, elements that echo in later works blending humor with aspirational love stories. Its legacy endures via ties to the and adaptations, which have amplified the original script's and prompted renewed in versions, even as the cinematic iterations often overshadow the play in popular . In theater circles during the , the work revisited for its timeless , particularly in productions that incorporate diverse to reflect ongoing social changes.

References

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  2. https://www.ibdb.com/broadway-production/sabrina-fair-2387
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  32. https://www.nytimes.com/1954/09/23/archives/screen-sabrina-bows-at-criterion-billy-wilder-produces-and-directs.html
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