A subplot covers the blossoming romance between Peggy (Monroe) and Joe Doyle (Keith Andes). Others in the cast included Silvio Minciotti as Papa D'Amato and J. Carrol Naish as Uncle Vince. Television Five years after the movie, the Odets play was adapted for television. John Frankenheimer directed the Playhouse 90 production, telecast live June 13, 1957 on CBS with Kim Stanley in the lead role of Mae D'Amato, E. G. Marshall as Jerry D'Amato and Lloyd Bridges as Earl Pfeiffer. Also in the cast were John Bleifer and Edgar Stehli. Current Clash by Night is still performed today. John Mossman directed a revival in 2006 at Chicago's The Artistic Home that brought rave reviews, including Time Out: The latest of Artistic Home's resurrections of great writers' assumed-dead works, Mossman's razor-sharp production slices open Odet's hard-boiled poem of the people. What's revealed is utterly devastating. An earlier revival was by John McCormack's All Seasons Theater Group, a 1998 production with actress Jodie Markell. Peter Marks reviewed in The New York Times: Clash by Night is best known as a flaccid 1952 B movie, directed by Fritz Lang and starring Barbara Stanwyck, that chronicles Mae's anguish in her marriage to a simple, hard-working guy, and her subsequent affair with a complicated, drifting layabout. The filmmaker tried to inject some energy by transplanting the story to California (and, for some reason, the fishing industry) and tacking on a happy ending. (In the play, Mae's affair comes to a violent end; in the movie, she ends the affair and goes back to her bland but loving husband.) The revival, directed by Richard Caliban, returns the play to its more credible roots, Staten Island just before the American entry into World War II. Mr. Caliban understands that this is, more than anything else, a period piece, the period marking the growing power and prominence of the blue-collar class. The director immerses us in a specific time and place; the evening begins with a young couple performing, in reverse chronological order, the dance crazes and musical styles of the last half of the 20th century, until they arrive in the summer of 1941 on Mae and Jerry's suitably ramshackle porch, designed by George Xenos. Still, even with global war looming, Odets and Ms. Markell can make it seem as if the only significant problem in the world is Mae's paralyzing depression. Because some of the other