Knock Knock

by Jules Feiffer

Drama, Plays, Theatre, Literature, Reading, Learning

Genres: Plays, Drama

176 pages, Paperback

First published January 1, 1976

About the author

Jules Feiffer was an American cartoonist, playwright, screenwriter, and author whose work left a significant imprint on American satire and cultural commentary. Emerging from the postwar era of newspaper comics, he first gained recognition through his long-running comic strip published in The Village Voice, where his loose, expressive line drawings and psychologically sharp dialogue captured the anxieties, contradictions, and social performances of contemporary life. Feiffer used humor to critique politics, relationships, and everyday neuroses, developing a voice that felt conversational, self-aware, and deeply engaged with the shifting cultural moods of the United States. His graphic style, which often emphasized gesture and tone over detailed renderings, was equally distinctive, and helped expand the visual vocabulary of editorial and literary cartooning. Beyond his cartoons, Feiffer became an accomplished writer for stage and screen; his play Little Murders offered a darkly comic exploration of violence and alienation in urban America, while his screenplay for Mike Nichols’s film Carnal Knowledge drew widespread attention for its unflinching examination of intimacy and desire. Feiffer also wrote children’s books, including the popular The Phantom Tollbooth, for which he provided the illustrations that helped establish the book’s imaginative visual identity. He demonstrated an enduring commitment to making art accessible, engaging with students and general audiences alike through teaching and public appearances, and continued producing work across multiple genres throughout his life. His comics and writings were often autobiographical in spirit, even when fictionalized, providing commentary on his experiences growing up in New York and moving through decades of cultural change. Feiffer received numerous honors for his contributions to American arts, including major awards recognizing his innovation in cartooning, his influence on graphic storytelling, and his impact on theater and film. His later work included longer-form graphic novels and personal memoirs, reflecting on childhood, family, and the evolution of his artistic voice. Feiffer remained an active and inquisitive creator well into his later years, consistently exploring new creative forms and responding to contemporary political and social issues. His legacy is seen in the work of generations of cartoonists and writers who drew inspiration from his willingness to bring emotional depth, social critique, and literary ambition to comics and satire. Feiffer’s work stands as a testament to the power of humor to illuminate the complexities of human behavior and the cultural forces that shape everyday life.

Reviews

[David · Rating 3 out of 5]

A lesser effort by the usually terrific Feiffer. His work was on my mind recently and, even though I'd read this play when it first appeared, I was curious to revisit it. I recalled the premise. It's a very strong (fantasy-rooted-in-realism) premise, with the potential for high entertainment value.

Alas, the premise is the best thing about the play. It's not that its possibilities go unexplored - but they are mined in such a wayward (sometimes sloppy) way that the play simply spirals down to its conclusion.

Two 50-year-old men (an unemployed musician and a successful, retired stockbroker) have ended up (for 20 years) sharing life in a cabin in the woods. In intellectual terms, they are a sort of Oscar-and-Felix couple. As the play opens, they become involved in a philosophical discussion re: fairy tales which leads to a visitation by Joan of Arc (in tandem with her disembodied voices). Joan - who used to be Cinderella (it's that kind of play) - has come to engage the men in a mission for God.

All of this would be peachy if the play were funnier. Feiffer is a very funny guy but, here, though there are some laughs, much of the (at times, oddly vaudevillian) humor is forced. As well, there's a lot of very physical (at times destructive) stage action - not only difficult to pull off but what's the point? If Feiffer is giving (as it seems) his anarchic take on 'Waiting for Godot', the Beckett play makes much more sense.

All in all, a missed opportunity. I've been in productions of several Feiifer plays and can attest that, aside from being the uniquely wonderful cartoonist that he is, his plays can be a lot of satisfying fun to do. This one cries out for a more disciplined rewrite.

[Rick Jones · Rating 4 out of 5]

Great absurdity, and sparkling dialogue...it was fun to get a look at writing by a legendary cartoonist.