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“What makes for a hit is always an enigma, but one element certainly is common ground between the writer and his audience,” Gibson wrote decades later in the New York Times. His 1982 sequel about Sullivan, “The Monday After the Miracle,” flopped.
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Gibson was Oscar-nominated for his screenplay. When it comes, the physical contact of the child and the teacher - a contact that is for the first time meaningful and for the first time affectionate - is overwhelming.”īancroft and Patty Duke, who had played the stage roles of Sullivan and Keller, respectively, won Academy Awards when repeating the parts for the 1962 film version. Theater critic Walter Kerr said Gibson “dramatized the living mind in its incredible energy, in its determination to express itself in violence when it cannot arrange itself into thought. One of the finest examples was the water-pump scene from “The Miracle Worker,” in which a determined Sullivan achieves a language breakthrough with her deaf and blind pupil who had resisted communicating beyond animal grunts and violent grasping. Gibson occasionally was criticized for sentimentality and structural clunkiness, but his best stage moments achieved a compelling emotional clarity. starred in the Broadway production, which earned respectable reviews and ran for 18 months under Penn’s direction. The second was a musical version of his friend Clifford Odets’ 1930s boxing drama and which he took over writing after Odets’ death.