NOTE: A printed script is available at the theatre for perusal. You can also find a digital copy at Archive.org

A warm, witty comedy with heart and bite, The Curious Savage invites actors into a world of vivid eccentrics, sharp family dynamics, and the delightful question of who the truly “sane” ones are.

Set in the living room of a gentle sanatorium, the play offers a rich ensemble of colorful, deeply human characters—each with distinctive quirks, emotional layers, and opportunities for both comic invention and genuine warmth. Performers get to explore contrasting styles: the playful, imaginative residents versus the polished, self-interested outsiders, all within a tone that balances light satire, pathos, and generosity of spirit.

John Patrick’s script rewards precise character work, strong ensemble listening, and the ability to play eccentricity with dignity rather than caricature. It’s a piece full of memorable moments, quick-witted dialogue, and the chance to celebrate kindness, individuality, and the joy of being gloriously unconventional.

Characters

Mrs. Ethel P. Savage (the protagonist) is a witty, kindhearted, quick-witted, and imaginative older widow (typically portrayed in her 50s–60s) with a youthful, mischievous, and eccentric spirit. She is generous, unconventional, and altruistic—intending to use her late husband’s ~$10 million fortune to fund others’ “foolish dreams” or create a “happiness fund” rather than preserve family wealth. She is clever and independent, sides with underdogs, scorns bullies and opportunists, remains poised and well-mannered even when feisty, and develops genuine warmth and acceptance toward the Cloisters residents. She often dyes her hair blue and carries a teddy bear.

The Cloisters Residents (gentle, warm, and dignified; contrasted with the “sane” outside world) These characters are portrayed with warmth and dignity rather than as stereotypes or caricatures; their quirks are coping mechanisms.

• Florence Williams: Elegant, maternal, nurturing, polite, kind, and dignified (often late 20s–40s). She has a gentle disposition and warm smile. She carries and treats a doll as her five-year-old son, John Thomas (who died in infancy), and maintains proper etiquette. She is the “mother” figure of the group.
• Hannibal: Sweet, kind, gentle, quirky, and friendly (30s, often described as pink, plump, and cherubic). A former government statistician who lost his sense of purpose after being replaced by an electronic calculator. He is gifted at mathematics, frequently references numbers or body-part placement, and believes he is a master violinist (though he can barely play). He mentally composes elaborate symphonies.
• Fairy May: Childlike, bubbly, cheerful, and energetic (early 20s), with the manner and speech of a young child. She is a compulsive liar who invents fantastical stories, is obsessed with being loved/approved of (wanting to hear “I love you” daily), and believes herself stunningly beautiful despite an unkempt appearance (frazzled hair, unflattering clothes, glasses). She is terrified of the outside world.
• Jeffrey (Jeff): Handsome, gentle, withdrawn, and dignified (20s–30s), with the bearing of an older man. A former concert pianist and WWII pilot/veteran whose plane was shot down (he was the sole survivor). He suffers from survivor’s guilt and is convinced he has a severe facial scar (purely imaginary), which he constantly hides; he has given up performing to avoid “traumatizing” audiences.
• Mrs. Paddy: Hostile, detached, and fierce on the surface (stout, middle-aged, of “awesome ferocity”), but ultimately part of the warm group dynamic. After her husband told her to shut up, she largely stopped speaking and instead lists (often at length) the many things she hates (lightning, skunk cabbage, custard, electricity, etc.). She paints simple seascapes (one undulating line) despite never having seen the ocean.

The Savage Stepchildren (antagonists; greedy, materialistic, and “respectable” but lacking kindness) They are driven by avarice, status, and self-interest, viewing Ethel’s plans as a threat to their inheritance and social standing. They contrast sharply with the residents.

• Titus Savage: Pompous, sober, humorless, direct, aristocratic, stuck-up, and temperamental (eldest stepson; a U.S. senator, often the least popular in Congress, who receives many threatening letters). Conservative, focused on political ambition, public image, and power; scornful of the Cloisters residents and especially impatient/angry with his stepmother.
• Lily Belle Savage: Arrogant, chic, self-assured, vain, selfish, impatient, snobbish, materialistic, and volatile (middle stepchild; a celebrity heiress who has been married multiple times—often six, including once to a Slovak prince). Social-climbing and status-obsessed; she has a history of viciousness toward Ethel (e.g., biting her as a child) and is highly concerned with money and prestige.
• Samuel Savage: Quieter, less distinguished, somewhat insecure or awkward, and often overshadowed (youngest stepson; a judge with a record of many overturned decisions). He follows his siblings’ lead, offers occasional short/sassy comments that are usually dismissed, and is self-serving regarding the fortune while lacking their more dominant presence.

Staff

• Dr. Emmett: Compassionate, reasonable, earnest, and professional voice of reason. He respects his patients and is interested in their (and Ethel’s) wellbeing.
• Miss Willie (Wilhelmina): Kind, practical, grounded, calm, and efficient nurse. She has personal reasons for working at the understaffed Cloisters.

The play’s central contrast is between the warm, loyal, imaginative residents (and Ethel) and the greedy, vain stepchildren, inviting the audience to question conventional ideas of “sanity.” Playwright John Patrick emphasized portraying the residents with warmth and dignity so the comedy and theme land properly.