F. L. Lucas · aftercurtain

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Land's End

Writer · Play · 1935

Land's End, Cornwall. A remote old cliff-top house, rocked by equinoctial gales. It belongs to explorer and hunter, Hector Galbraith, who is away in Africa. His charwoman, the macabre Mrs Newsome, warns her favourite, Hector's daughter Valentine, 20, a student home from Oxford, that her mother Judith (who has been out shooting) is having an affair with her visitor, the writer Hugh Gifford. Valentine, a hard virginal individualist, devoted to her father and hostile to Gifford, is indignant. Her brother Vernon, 19, a student home from Cambridge, is indifferent to bourgeois morality; he is a Communist, dislikes his father, and finds Hugh charming. Judith has grown estranged from her husband since he pressured their elder son, Ivor, into an Amazon expedition, in which Ivor died. Relations between mother and daughter are also strained. Now Mrs Newsome confides in Valentine: she has written to the absent master, and the latter has just returned secretly to England to surprise the adulterous pair. He is on his way to Cornwall. She persuades Valentine not to tell the others. (End of Act One.) That evening, while Valentine and Vernon are in Penzance at a dance and the two lovers are alone in the gale-buffeted house (the scene never changes from this cluttered claustrophobic drawing-room), Galbraith walks in. After amusing himself by toying with the trapped lovers, he takes control of his house, downing brandy, throwing open the windows, brandishing a revolver, telling Judith she is starting for Africa with him (a plane is standing by at Lympne aerodrome), and giving Gifford five minutes to get out. Judith and Hugh refuse to separate. Galbraith locks Judith out of the room, tosses a second revolver at Hugh, and reminds him of the rules of duelling. If Hugh is killed, he is told, his petrol-drenched motor will be rolled off the cliff road with his body inside. Galbraith counts to three. Hugh, a veteran of the Western Front, fires well wide, in the honourable Turgenev tradition. Galbraith levels his revolver for the kill. A shotgun barrel is seen at the window. Judith blasts Galbraith. The shaken lovers hurriedly discuss their options, and decide that, as no one is likely to have seen Hector arrive, they should dispose of him as he had planned to dispose of Hugh. They drag his body out. (End of Act Two.) An hour and a half later the pair return from the deed, to clean up bloodstains. Just in time: Valentine and Vernon come back early from the dance, full of news: a car has gone over the cliff and is still burning in the cove! Vernon tells how he clambered down and managed to poke some burnt luggage out of the wreck. The luggage is examined: it contains an African death-mask. The distraught Valentine now realises who the victim of the "accident" was, and confesses she knew her father was coming home. Judith and Hugh feign shock. By ill luck, Valentine sees in the grate a tell-tale Russian cigarette stub, discarded by Hector before the duel – and recognises its significance. She confronts her mother. Judith, finding evasion impossible, confesses to killing her husband in defence of Hugh. Valentine, near-hysterical, decides she must call the police. Judith and Hugh try to dissuade her, as does Vernon. All three argue that concealment is possible, but that confession will be catastrophic. Valentine is anguished and torn. At that moment Mrs Newsome and a grizzled fisherman arrive, to ask if everyone is all right (the latter had seen the fire and gone straight to the Galbraiths' housekeeper). Valentine, sickened by Mrs Newsome's meddling, sends her packing, and picks up the telephone to call the police. To the end, we do not know what she will tell them.

Messene Redeemed

Playwright · Play · 1938 est

An Old and a Young Reciter frame two episodes in Messenia’s wars against Sparta. The first dramatizes Aristodemus’s sacrifice of his daughter Laodice and the eventual defeat and enslavement of the Messenians. The second follows Aristomenes’s resistance, the doomed defense of Eira, and the people’s exile. The reciters bring the history forward to the 369 BC return of the exiles and founding of a new Messene.

The Bear Dances

Writer · Play · 1932

Moscow, Spring 1930. Two OGPU officers search the room of Father Anton Kirillitch, who has been banned from his church and ordered to stop preaching. He shares the room with Grigori Orlov, ejected from his chair at the university for a "reactionary" refusal to give a Marxist slant to his literature lectures. Both live in poverty, in half a room of Grigori's former house, now seized by the State. To visit Grigori come his son, Andrey, and his son's wife, Elizaveta, both 35, who eloped to England in 1914 and are now naturalised British. Andrey, a left-wing writer in London, is horrified by his father's treatment and by the workings of the Soviet régime. Elizaveta, a doctor in London, has tried the West and found it wanting. She is more open-minded about the USSR, and finds a non-sentimental attraction in the work to be done. Their marriage is in trouble: she no longer loves Andrey. Vera Levine, 19, Elizaveta's sister whom she last saw before the War, arrives, an "agricultural expert" full of youthful enthusiasm for the New Russia, along with Leonti Levine, their father, a former antiques-dealer now Inspector of Collective Farms in northern Ukraine. With the Levines is Vladimir Blok, 30, an OGPU official and Revolutionary Judge. Vera suggests that the returned émigrés visit "her" collective farm in Ukraine. Vladimir gives permission (Orlov son might perhaps be pressured to write positively about the USSR when he returns to London) and allows Grigori to accompany them. Act One closes with the arrest by the OGPU of Father Anton, who knows this means the Lubyanka and liquidation. Act Two takes place three days later at a railway station in western Russia, where the travelling party are waiting for a connection. Behind the political arguments, Elizaveta and Vladimir are sexually attracted; Andrey and Vera are falling in love. Leonti loathes Grigori from pre-Revolution days (they quarrelled over their children's elopement). When Leonti briefly leaves his luggage unattended, Grigori glances at Levine's pocket-book, finds something compromising inside, darts to the cloakroom to make a copy, then returns the book to the frantic Leonti, who thought it had been stolen. On the collective farm in Act Three, in the Soviet House, Vera is in her element and full of pride. We witness a workers' wedding where the Soviet girls dance with spirit. Elizaveta tells Andrey their marriage is over: she has chosen Vladimir and will stay on in the USSR. The atmosphere darkens with a series of peremptory trials presided over by Vladimir: crimes against the individual are punished leniently, crimes against property (and therefore the State) with terrible vengeance. When some peasants are accused of being kulaks and sentenced to the Gulag for "hoarding" small quantities of grain, Andrey, watching, can take no more. He snatches Blok's pistol and shoots him dead. He is seized and knows he will be executed. Grigori, to save his son, tells Elizaveta what he found in her father's pocket-book: Leonti has been smuggling goods across the nearby Polish frontier (an "anti-Soviet" activity). Elizaveta, he insists, must blackmail her father with the threat of telling the fanatical Vera, to smuggle Andrey across the frontier. Andrey, however, will only attempt the escape if his father comes too. Elizaveta confronts Levine, who, terrified of Vera, caves in. The telephone line is cut. After delivering Vladimir's funeral oration offstage (which we hear), a tearful Vera enters to say goodbye to Andrey before he is carried off to Kiev. After a minute or two, she realises that the muffled figure in the dark room she has been addressing is not Andrey, but Elizaveta. The Orlovs have escaped. Elizaveta hints at what has happened; we guess Levine will not return. Vera raises the alarm – in vain. The play ends with Elizaveta attempting to console her weeping sister.

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