That Awful Letter: A Comedy for Girls

In Short

This brief, lighthearted comedy follows the social maneuvering of Margaret Neilson, a status-conscious young woman living in New York City. Horrified by the prospect of hosting a "backwoods" cousin, she writes a deliberately insulting letter to discourage the visit. The cousin, Elizabeth, turns the tables by arriving in a grotesque, exaggerated costume to embody the very caricature Margaret expects. Through this witty masquerade, the play explores the absurdity of social pretension and the necessity of humility, offering a charming, period-specific look at the clash between urban vanity and country authenticity.

The Story

The narrative opens in the sitting-room of the Neilson household, where Margaret is in a state of high agitation. Her father has insisted that she invite her country-bred cousin, Elizabeth, to visit for two weeks. Margaret, desperate to maintain her standing in an "aristocratic" social circle and anxious to impress a local girl named Edith Browning, fears that her cousin’s arrival will expose her own humble origins. With the help of her friend Helen, Margaret drafts a biting, insolent letter designed to humiliate Elizabeth and force a cancellation.

The second scene shifts to the country, where Elizabeth reads the letter. Far from being cowed, she immediately recognizes the malice behind the words. She identifies Margaret as the daughter of her Uncle Jerry, a man whose wife famously prioritized social climbing over family ties. Deciding to teach her cousin a lesson, Elizabeth resolves to accept the invitation but to arrive playing the part of the "poor country cousin" Margaret expects to see. She gathers costumes from her attic and prepares to debut her role as a boorish, unrefined caricature.

Back in the city, Margaret is terrified by the arrival of an impossibly garish figure. Elizabeth enters wearing ridiculous clothes and carrying an old-fashioned telescope, speaking in a crude dialect that immediately mortifies Margaret. Throughout the day, Margaret and Helen attempt to hide their "embarrassing" relative, especially when Edith Browning is expected for tea. However, the plan backfires when Edith arrives and immediately recognizes Elizabeth as her dear friend "Beth," a popular and talented girl from Erskine College.

The truth unfolds as Edith reveals that Beth had planned to visit her all along and had mentioned her intention to "take down a peg" the snobbish cousin who had written such a cruel letter. Realizing she has been outmaneuvered and exposed, Margaret is overcome with shame. She acknowledges her own vanity and the cruelty of her actions. Elizabeth, having achieved her goal of humbling her cousin, drops the ruse and reveals her true, refined self. The play concludes with a reconciliation; the girls set aside their social pretenses, and the four young women stand with crossed hands, signaling a new beginning for their friendship.

How It Unfolds

The conspiracy of snobs Margaret and her confidante Helen plot to drive away a country cousin by writing a letter so rude that no self-respecting person would accept the invitation. They are driven by an obsession with social status and a fear of being associated with "backwoods" commonality.

The performance begins Upon receiving the insult, Elizabeth decides to lean into the stereotype. She dons absurd clothing and maps out a plan to humiliate Margaret by acting as the exact "freak" her cousin anticipates.

The arrival of the caricature Elizabeth arrives at the Neilson house in full costume, instantly horrifying Margaret and baffling the housemaid. She maintains her character with unwavering commitment, mocking the house’s "grandeur" and making the girls endure her presence.

The mask slips The arrival of Edith Browning triggers the climax, as Edith warmly greets the "country cousin" as a dear friend and celebrated actress from college. Margaret is forced to confront the reality that her own snobbery has been the instrument of her undoing.

A shift in perspective Margaret admits her shame and apologizes for her cruelty. Elizabeth explains her motivations, and the tension dissolves into a genuine attempt at friendship, ending the play on a note of reconciliation.

The People

Margaret Neilson is the central antagonist of her own life, defined by an intense desire for social validation. She begins the story as a superficial, anxious snob who believes that worth is determined by ancestry and city polish. By the end, she is forced to confront the ugliness of her own behavior and undergoes a humbling, painful awakening.

Elizabeth Norton, also known as Beth, serves as the story’s catalyst and moral compass. She is intelligent, self-possessed, and a gifted actress. Her goal is not to punish out of malice, but to use humor and performance to expose the emptiness of Margaret’s pretensions. She ends the play having successfully reshaped the social landscape of the household.

Helen Montgomery acts as Margaret’s sidekick, though she is often the one to point out the absurdity of their situation. She is pragmatic and observant, serving as a mirror for Margaret’s flaws.

Edith Browning is the social prize that Margaret covets. She is portrayed as genuinely kind and unpretentious, serving as the bridge that connects the "snobbish" Margaret to the authentic, talented Beth. She ultimately facilitates the reconciliation by revealing the true character of the girl Margaret thought she could treat with disdain.

In Its Own Voice

"This is a cousin from the backwoods and just imagine the kind of figure she’d cut in our set!"

Margaret voices her primary anxiety to Helen, revealing her fear of social exposure.

"I’ll dress and act the part of the poor country cousin she’s looking for."

Elizabeth determines her course of action after reading the cruel letter.

"I’ve been as nasty and snobbish as I could, and you don’t know how mean I’ve felt ever since I wrote that awful, awful letter."

Margaret finally acknowledges her own flaws once her ruse has been exposed by her cousin.

What It's Really About

At its core, the play is a critique of the "snobbishness" that prioritizes appearance over substance. It argues that social status is a hollow pursuit, particularly when it requires the sacrifice of kindness and family integrity. The text poses a fundamental question: who is the truly "common" person? Through the juxtaposition of the performative "backwoods" cousin and the genuinely shallow city girl, the story posits that true refinement is found in character, forgiveness, and the ability to laugh at oneself, rather than in the clothes one wears or the social circles one claims to frequent.

Why Read It Today

This play offers a brief, charming glimpse into the social anxieties of the early 20th century, capturing a time when "city vs. country" tropes were at the forefront of popular humor. Readers who enjoy stories of "tables turned"—where the arrogant are humbled by their own mistakes—will find Margaret’s journey particularly satisfying. The dialogue is snappy and often funny, anchored by Elizabeth’s sharp wit and the sheer absurdity of her masquerade.

Readers should be prepared for the period-specific language, which includes occasional "country" caricatures and slang that reflect the era's sensibilities. While the plot moves quickly—as is expected in a short, amateur comedy—it remains an effective study in the power of empathy to dismantle prejudice. The play feels like a light, theatrical performance, best enjoyed for its warmth and its clear, moral resolution. It leaves the reader with a gentle reminder that behind the "labels" we assign to people—whether "snob" or "country gawk"—there is often a person capable of growth and genuine connection. It is a nostalgic, quick, and ultimately rewarding read.