George S. Kaufman
George S. Kaufman – Life, Career, and Famous Quotes
Discover the extraordinary life and legacy of George S. Kaufman — the American playwright, director, critic, and humorist who shaped 20th-century American theatre. Explore his collaborations, Pulitzer Prize-winning works, wit, and timeless insights.
Introduction
George Simon Kaufman (November 16, 1889 – June 2, 1961) was one of America’s most influential dramatists and theatrical innovators. A playwright, humorist, director, and critic, Kaufman helped define Broadway comedy in the first half of the 20th century.
Known for his razor-sharp wit, flawless comedic timing, and incisive satire, he collaborated with some of the era’s greatest talents — including Moss Hart, Edna Ferber, and Marc Connelly — creating classics such as You Can’t Take It with You, Of Thee I Sing, and The Man Who Came to Dinner.
Kaufman’s humor was both urbane and biting; his characters embodied the ambitions, follies, and contradictions of modern America.
Early Life and Education
George S. Kaufman was born on November 16, 1889, in Pittsburgh, Pennsylvania, to Joseph Kaufman and Henrietta Myers Kaufman.
He attended Peabody High School and later briefly studied law at the University of Pittsburgh, though he never completed his degree. Restless and intellectually curious, Kaufman was drawn instead to words, humor, and the theatre.
In his early years, he worked as a hat salesman and later as a journalist, developing his facility with language and his acerbic wit — traits that would later become hallmarks of his writing.
Early Career in Journalism
Kaufman began as a reporter for The Washington Times, but soon moved to The New York Tribune and later to The New York Times, where he wrote theatre reviews.
As a drama critic (1917–1930), Kaufman became known for his incisive, unsparing reviews. He was famously reluctant to praise new plays — once remarking:
“I understand your play is full of laughter and pathos. Unfortunately, it also lacks wit, coherence, and originality.”
His wit and precision in criticism foreshadowed his gift for crafting crisp, elegant dialogue on stage.
Rise to Prominence as a Playwright
Kaufman’s first major success came in 1921 with Dulcy, co-written with Marc Connelly, a satire of shallow suburban society. The play’s success established him as a new comedic voice on Broadway.
Throughout the 1920s and 1930s, Kaufman became one of the most prolific and sought-after playwrights in America. He was a master collaborator, often working with other leading writers to create enduring comedies that balanced wit, humanity, and social observation.
Major Collaborations
-
With Edna Ferber:
-
The Royal Family (1927) – A humorous and affectionate portrayal of a theatre dynasty inspired by the Barrymores.
-
Dinner at Eight (1932) – A sharp ensemble satire about wealth, class, and crisis in Depression-era America.
-
Stage Door (1936) – Exploring the struggles of aspiring actresses in New York.
-
-
With Moss Hart:
-
Once in a Lifetime (1930) – A brilliant spoof of Hollywood’s transition to sound film.
-
You Can’t Take It with You (1936) – A Pulitzer Prize-winning comedy about individuality, freedom, and family eccentricity.
-
The Man Who Came to Dinner (1939) – A biting farce centered on an irascible radio personality stranded in small-town Ohio.
-
-
With Morrie Ryskind:
-
Of Thee I Sing (1931) – A musical satire of American politics, co-written with Ira and George Gershwin, and the first musical ever to win the Pulitzer Prize for Drama.
-
Kaufman’s collaboration with Hart, in particular, remains one of Broadway’s greatest creative partnerships.
Career Highlights
-
Broadway Titan: Over three decades, Kaufman wrote, directed, or produced more than 40 Broadway shows.
-
Film Work: His plays were frequently adapted for film, and he wrote screenplays including A Night at the Opera (1935) for the Marx Brothers.
-
Director & Producer: Kaufman directed numerous Broadway productions, known for his meticulous pacing and emphasis on rhythm.
He was also an early member of the Algonquin Round Table, the celebrated group of writers, critics, and wits that met daily at New York’s Algonquin Hotel. His dry humor and sardonic quips made him a standout even among Dorothy Parker, Robert Benchley, and Alexander Woollcott.
Style and Themes
Kaufman’s plays often fused satire, irony, and idealism. His humor targeted hypocrisy, pretension, and the absurdities of ambition — yet his characters were rarely cruel caricatures.
Hallmarks of Kaufman’s Style:
-
Crisp, fast-paced dialogue reminiscent of early screwball comedy
-
Witty repartee balanced by emotional realism
-
Satirical takes on politics, fame, love, and media
-
Emphasis on ensemble storytelling and rhythm
Kaufman once said:
“Satire is what closes on Saturday night.”
He understood the risks of social comedy, yet he used humor to hold a mirror to the age — exposing vanity, bureaucracy, and self-delusion with laughter.
Awards and Recognition
-
Pulitzer Prize for Drama (1932) – Of Thee I Sing (with Morrie Ryskind and the Gershwins)
-
Pulitzer Prize for Drama (1937) – You Can’t Take It with You (with Moss Hart)
-
Tony Award (1951) – Best Director for Guys and Dolls
-
Inducted into the American Theater Hall of Fame (1979)
These honors attest to Kaufman’s versatility — a dramatist who excelled as writer, director, and collaborator.
Personal Life
Kaufman married Beatrice Bakrow in 1917, and they had one daughter, Anne Kaufman Schneider.
He was known for his private, somewhat reclusive nature offstage, in contrast to the brilliance of his public work. Friends described him as a man who wielded humor like a scalpel — gentle yet precise.
Despite occasional bouts of depression, Kaufman’s intellect and craft remained sharp throughout his life.
He died on June 2, 1961, in New York City, leaving behind a body of work that continues to be performed and studied around the world.
Legacy and Influence
George S. Kaufman’s contribution to American theatre cannot be overstated. He helped bridge the gap between vaudeville-era comedy and modern Broadway sophistication, influencing generations of playwrights and screenwriters.
His plays remain staples of repertory theatre and high school drama programs alike — celebrated for their humanity, humor, and relevance.
He also paved the way for writers like Neil Simon, Mel Brooks, and Aaron Sorkin, all of whom inherited his sense of rhythm, structure, and social satire.
Kaufman’s humor was not merely entertainment — it was a reflection of intellect, skepticism, and compassion.
Famous Quotes by George S. Kaufman
“I understand your play is full of laughter and pathos. Unfortunately, it also lacks wit, coherence, and originality.”
“Satire is what closes on Saturday night.”
“The kind of man who wants the government to adopt and enforce his ideas is always the kind of man whose ideas are idiotic.”
“To be an ideal guest, stay at home.”
“I like terra firma — the more firma, the less terra.”
“Epitaph for a dead waiter: God finally caught his eye.”
Each line reveals Kaufman’s signature blend of irony and intellect — humor as observation, not escape.
Lessons from George S. Kaufman’s Career
-
Collaboration amplifies creativity.
Kaufman thrived through partnerships, proving that shared vision can elevate art beyond individual limits. -
Comedy can be serious art.
His plays used laughter to reveal truth, showing that humor can critique society with elegance and insight. -
Precision is everything.
Kaufman’s dialogue demonstrates that timing, rhythm, and word choice are the lifeblood of great writing. -
Humor ages well when rooted in truth.
His works remain relevant because they reflect enduring human follies, not passing trends. -
Wit is wisdom with a smile.
Kaufman’s humor reminds us that intellect and levity are not opposites — they’re allies.
Conclusion
George S. Kaufman’s life embodies the golden age of American theatre — a blend of intellect, wit, and craftsmanship that set the standard for stage comedy. His work continues to delight and inspire, not merely because it’s funny, but because it’s true.
In a world that changes endlessly, Kaufman’s insight remains timeless: laughter, when crafted with intelligence, is one of humanity’s highest forms of art.
“Life is not so bad if you have plenty of luck, a good sense of humor, and a little sense.” – George S. Kaufman