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Lord Arthur Savile's Crime

Play · 1952

Lord Arthur Savile's Crime is a 1952 comedy thriller play by the British writer Constance Cox, based on the short story Lord Arthur Savile's Crime by Oscar Wilde. After a palm reader convinces him it is his destiny to commit murder before he can marry his fiancée, an aristocrat makes several inept attempts to kill people. It premiered at the Theatre Royal in Aldershot before transferring to the Court Theatre in London where it ran for 21 performances. The play was directed by Jack Hulbert and starred his younger brother Claude Hulbert in the title role, along with Peter Haddon and Jean Lodge. In 1960, Gerald Savory adapted Cox's play into an episode of the Armchair Theatre anthology series on the ITV network in the UK.

Lord Babs

Play · 1925

Lord Babs is a comedy play by the British writer Keble Howard. A farce, the plot revolves around an aristocrat who has to pretend he is a small child in order to avoid being arrested. It premiered at the Kings Theatre, Southsea in Hampshire in 1925. Donald Calthrop, the actor engaged to play the lead, had to withdraw at short notice due to illness. Keble Howard, the play's author and an amateur actor, stood in for the first two nights at Southsea while another professional actor prepared for the part. After Southsea, the play performed for a week each in Cardiff and Brighton, followed by two dates in North Wales. Three years later it enjoyed a run of 142 performances in London's West End between 26 January and 19 June 1928, initially at the Vaudeville Theatre before transferring to the Criterion Theatre. The West End cast included Billy Merson, Hermione Baddeley, Lawrence Anderson and Joan Barry.

Los Vendidos

Play · 1967

At Honest Sancho’s Used Mexican Lot, a secretary for Governor Reagan seeks a Mexican-American “type” for the administration. Sancho demonstrates four stereotyped models: a farm worker, a violent pachuco, a revolutionary bandit, and a polished, bilingual professional. When the secretary selects the last, he launches a protest and awakens the others. They reveal they are living people, leave together, and share the money, while Sancho is exposed as a robot.

Lost in Yonkers

Play · 1990

In Brooklyn in 1942, Evelyn Kurnitz has just died following a lengthy illness. Her husband, Eddie Kurnitz, needs to take a job as a traveling salesman to pay the medical bills incurred, so he decides to ask his stern and straight-talking mother (from whom he is slightly estranged) if his two early-teen sons, Jay and Arty (whom she insists on calling by their full given names, Jacob and Arthur, which she pronounces "Yakob" and "Artur"), can live with her and their Aunt Bella Kurnitz in Yonkers. She refuses. After a threat by Bella, she lets them stay without ever saying they could stay. Despite their grandmother owning and operating a candy store, Jay and Arty do not like their new living situation. They are afraid of their grandmother and find it difficult to relate to their crazy Aunt Bella, whose slow mental state is manifested by perpetual excitability and a short attention span, which outwardly comes across as a childlike demeanor. Into their collective lives returns one of Eddie and Bella's other siblings, Louie Kurnitz, a henchman for some gangsters. He is hiding out from Hollywood Harry, who wants what Louie stole and is hiding in his small black bag. Jay and Arty's mission becomes how to make money fast so that they can help their father and move back in together, which may entail stealing the $15,000 their grandmother has hidden somewhere. Bella's mission is to find a way to tell the family that she wants to marry Johnny, her equally slow movie theater usher boyfriend; the two could also use $5,000 of Grandma's hidden money to open their dream restaurant. And Louie's mission is to survive the next couple of days.

Love

Play · 1839

Love (also known as The Countess and the Serf) is an 1839 play by the Irish writer James Sheridan Knowles. It premiered at the Theatre Royal, Covent Garden on 4 November 1839 with a cast that included Charles Selby as Prince Frederick, James Vining as Sir Rupert, Alfred Wigan as Sir Conrad, William Payne as Stephen, Ellen Tree as Countess, Emma Brougham as Empress and Lucia Elizabeth Vestris as Catherine. Knowles was paid six hundred pounds for the work by the management of Covent Garden. Mary Shelley praised the play for its "inspiring situations founded on sentiment and passion". It went on to enjoy success in the United States where it became part of the repertoire, being performed at the Broadway Theatre in New York many times in the 1850s. It was celebrated by abolitionists who cheered its anti-slavery theme of a serf falling in love with a countess despite her father's disapproval and the threat of execution.

Love At First Sight

Play · 1704

Love At First Sight is a comedy play that has been released in 1704 by the writer David Crauford. The play was written with comedy and funny ideas, But David Crauford never thought about writing Comedy play, But this time he wrote one. It premiered at the Lincoln's Inn Fields Theatre in London. The original cast included Barton Booth as Courtly, George Powell as Lovewell, George Pack as Sir Nicholas Empty, William Fieldhouse as Gripeall, Francis Leigh as Hector, John Freeman as Jeremy, Joe Miller as Watchman, Mary Porter as Fidelia and Lucretia Bradshaw as Celinda.

Love Betrayed

Play · 1703

Love Betrayed is a 1703 comedy play by the English writer William Burnaby. It is also known by the longer title Love Betray'd; Or, The Agreeable Disappointment. It was a reworking of Shakespeare's Twelfth Night. The original cast included John Verbruggen as Moreno, George Powell as Drances, Barton Booth as Sebastian, Thomas Doggett as Taquilet, George Pack as Pedro, William Fieldhouse as Rodoregue, Elizabeth Barry as Villaretta, Abigail Lawson as Laura, Elinor Leigh as Dromia and Anne Bracegirdle as Caesario.

Love Finds the Way

Play · 1896

Love Finds the Way (originally titled The Right to Happiness) is a three-act play written by Marguerite Merington and first performed in 1896. Theatrical manager A. M. Palmer acquired the rights to a German play by Olga Wohlbrück, which Merington adapted into English. The adaptation debuted at the Grand Opera House in Wilmington, Delaware on November 30, 1896, with actress Minnie Maddern Fiske in the lead role. The title was changed to Love Finds the Way for Broadway, where it opened at the Fifth Avenue Theatre on April 11, 1898, with A Bit of Old Chelsea by Mrs. Oscar Beringer as a curtain raiser. (Fiske starred in both plays.) Love Finds the Way is a comedy-drama about a young woman who seeks romance despite an injury that has left her unhappy and alienated from her family.

Love Letters

Play · 1988

Love Letters is a play by A. R. Gurney that was a finalist for the Pulitzer Prize for Drama. The play centers on two characters, Melissa Gardner and Andrew Makepeace Ladd III. Using the epistolary form sometimes found in novels, they sit side by side at tables and read the notes, letters and cards – in which over nearly 50 years, they discuss their hopes and ambitions, dreams and disappointments, victories and defeats – that have passed between them throughout their separated lives. The play is a performance favorite for busy name actors, for it requires little preparation, and lines need not be memorized. It was first performed by the playwright himself with Holland Taylor at the New York Public Library, then opened in 1988 at the Long Wharf Theatre in New Haven, Connecticut, with Joanna Gleason and John Rubinstein.

Love Makes a Man

Play · 1700

Love Makes A Man; Or, The Fop's Fortune is a comedy play by the English writer Colley Cibber written and first performed in 1700, and first published in 1701. It borrows elements from two Jacobean plays The Elder Brother and The Custom of the Country by John Fletcher. It was originally staged at the Theatre Royal, Drury Lane with a cast that included Robert Wilks as Carlos, William Bullock as Antonio, Richard Cross as Charino, William Pinkethman as Don Lewis, Colley Cibber as Clodio, Henry Norris as Sancho, Thomas Simpson as Governor, John Mills as Don Duart, Susanna Verbruggen as Louisa, Henrietta Moore as Honoria and Frances Maria Knight as Elvira.

Love Triumphant

Play · 1694

Love Triumphant; Or, Nature Will Prevail is a 1694 tragicomedy by the English writer John Dryden. It was Dryden's final stage play. It was originally staged by the United Company at the Theatre Royal, Drury Lane. The first cast included Thomas Betterton as Alphonso, Edward Kynaston as Veramond, Joseph Williams as Garcia, John Verbruggen as Ramirez, Thomas Doggett as Sancho, George Powell as Carlos, Cave Underhill as Lopez, Mary Betterton as Ximena, Elizabeth Barry as Victoria, Anne Bracegirdle as Celidea, Susanna Mountfort as Dalinda and Mary Kent as Nurse. Incidental music was provided by John Eccles and Henry Purcell. The published version of the play was dedicated to Earl of Salisbury, who shared Jacobite sympathies with Dryden. It was printed by the publisher Jacob Tonson who secured exclusive rights to Dryden's work late in the writer's career.

Love and Kisses

Play · 1963

Love and Kisses is a play by Anita Rowe Block. Set in Michigan, the work is a comedy based around the topic of teenage marriage. It premiered in Boston in November 1963 at the Wilbur Theatre. It transferred to the Walnut Street Theatre in Philadelphia in early December 1963 before arriving at Broadway's Music Box Theatre where it opened on December 18, 1963. It ran for just thirteen performances; closing on December 28, 1963. Produced and directed by Dore Schary, the cast included Susan Browning as Elizabeth Pringle, Larry Parks as Jeff Pringle, Bert Convy as Freddy Winters, Michael Currie as T.J. Jones, Mary Fickett as Carol Pringle, Alberta Grant as Rosemary Cotts, Katharine Raht as Nanny, and Dennis Cooney as Buzzy Pringle. Helene Pons designed the costumes. The Boston Globe critic Kevin Kelly found the work to be "pleasant, funny but also mindless". the Glendale Centre Theatre (1990) in Los Angeles, and the Hale Centre Theatre (1995) in Utah. It was adapted into the 1965 film of the same name starring Ricky Nelson.

Love and Revenge

Play · 1674

Love And Revenge is a 1674 tragedy by the English writer Elkanah Settle. It was originally staged by the Duke's Company at the Dorset Garden Theatre in London. The cast featured William Smith as Clotair, John Crosby as Lewis, Henry Norris as Brisack, Matthew Medbourne as Clarmount, Thomas Gillow as Lamot, Thomas Percival as Burbon, Mary Lee as Nigrello, Margaret Osborne as Fredigond and Mary Betterton as Aphelia. When published in 1675 it was dedicated to the Duke of Newcastle, a wealthy aristocrat and patron of the arts.

Love and a Bottle

Play · 1698

Love and a Bottle is a 1698 comedy play by the Irish writer George Farquhar. Written shortly after Farquhar, an Irish Protestant originally from Derry, moved to London its central character is an Irishman Roebuck who has fled from Ireland after getting a woman pregnant. Resisting his father's demand that he marry the woman, he is followed to the English capital by the recent mother of his son. The original Drury Lane cast included Joseph Williams as Roebuck, John Mills as Lovewell, William Bullock as Mockmade, Benjamin Johnson as Lyrick, Joseph Haines as Pamphlet, William Pinkethman as Club, Jane Rogers as Lucinda, Mary Powell as Bulfinch, Henrietta Moore as Pindress, Maria Allison as Leanthe and Margaret Mills as Trudge. The published version was dedicated to the Marques of Carmarthen. His debut work in England, it lacked the impact that his subsequent work The Constant Couple had. However, following the success of his later plays it became a commonly-performed work during the eighteenth century.

Love for Money

Play · 1691

Love For Money, also known as The Boarding School, is a 1691 comedy play by the English writer Thomas D'Urfey. It was originally staged at the Theatre Royal, Drury Lane by the United Company. In 1733 it was adapted into a ballad opera The Boarding School by Charles Coffey. In 2025 a lost work from the play, the song As Soon as Day Began To Peep by English composer Henry Purcell, was rediscovered in the Worcestershire County Archives by Caro Lesemann-Elliott, a researcher on the 'Music, Heritage, Place' project (co-led by Kirsten Gibson, Stephen Rose, and Nancy Kerr); it was unknown to modern scholars. Announcing the find, music professor Stephen Rose said the song was written for a character called Monsieur le Prate, a French fop who is "not quite in control of his emotions" in trying to woo a woman: "He comically compares himself to a cat howling and scratching at the door of his beloved, with Purcell representing the miaows in music." He added that, at the play's performance in London, audience members booed it as a malicious attack on a girls’ boarding school in Chelsea where D’Urfey had stayed in 1690: "Purcell’s opera Dido and Aeneas was performed at the same school in around 1687, so it is interesting to see Purcell also involved in a play that satirised the venue of his opera and the girls who sang in it."

Love in Albania

Play · 1949

Love in Albania is a comedy play by the British writer Eric Linklater, which was originally performed in 1949. After appearing at the Lyric Theatre, Hammersmith it transferred to St James's Theatre in the West End. Directed by and starring Peter Ustinov the cast also included Brenda Bruce, Molly Urquhart, Peter Jones and Robin Bailey. It was staged with the support of the Arts Council of Great Britain. Ustinov played a buffoonish American military policeman searching for his long-lost daughter in wartime London.

Love in a Forest

Play · 1723

Love in a Forest is a 1723 comedy play by Charles Johnson. It is a substantial reworking of Shakespeare's As You Like It cutting out characters and passages, while borrowing from other Shakespeare plays amongst other things. The original Drury Lane cast included Charles Williams as Duke Frederick, Barton Booth as Alberto, Colley Cibber as Jacques, John Corey as Amiens, John Thurmond as Oliver, Robert Wilks as Orlando, John Roberts as Roberto, John Mills as Adam, Theophilus Cibber as Le Beau, William Mills as Charles, Hester Santlow as Rosalind, Sarah Thurmond as Celia, William Penkethman as Pyramus, Henry Norris as Wall and Joe Miller as Thisbe.

Love in a Riddle

Play · 1729

Love in a Riddle is a 1729 ballad opera by the British actor-manager Colley Cibber. It was part of a boom in ballad operas inspired by the enormous success of John Gay's The Beggar's Opera the previous year. The original Drury Lane cast included John Mills as Arcas, John Harper as Aegon, Charles Williams as Amyntas, Sarah Thurmond as Iphis, Colley Cibber as Philautus, Benjamin Griffin as Corydon, James Oates as Mopsus, Joe Miller as Cimon, Jane Cibber as Ianthe and Kitty Clive as Phillida. The prologue was spoken by Robert Wilks.

Love in a Wood

Play · 1671

Love in a Wood; Or, St James's Park is a 1671 comedy play by the English writer William Wycherley. His debut play, it was first staged at the Theatre Royal, Drury Lane by the King's Company. The original cast included Charles Hart as Ranger, Richard Bell as Vincent, Edward Kynaston as Valentine, John Lacy as Alderman Gripe, William Wintershall as Sir Simon Addleplot, Michael Mohun as Dapperwit, Elizabeth Boutell as Christina, Elizabeth Cox as Lydia, Mary Knep as Lady Flippant, Katherine Corey as Mrs Joyner and Elizabeth James as Isabel. The published version of the following year was dedicated to the Duchess of Cleveland, mistress of Charles II.

Love in the Dark

Play · 1675

Love In The Dark; Or, The Man of Bus'ness is a 1675 comedy play by the English writer Francis Fane. It was first staged by the King's Company at the Theatre Royal, Drury Lane in London. The epilogue was written by the Earl of Rochester, and may also have contributed some of the more libertine lines to the play. It is set in Venice. The original Drury Lane cast included Edward Lydall as Loredano, Nicholas Burt as Cardinal Colonna, William Cartwright as Hircanio, Philip Griffin as Grimani, William Wintershall as Cornanti, John Lacy as Intrigo, Edward Kynaston as Count Sforza, Michael Mohun as Tribultio, Joseph Haines as Visconti, Martin Powell as Proveditor, Elizabeth James as Aurana and Elizabeth Boutell as Bellinganna.

Love! Valour! Compassion!

Play · 1994

The setting is at a lakeside summer vacation house in Dutchess County, two hours north of New York City where eight gay friends spend the three major holiday weekends of one summer together for Memorial Day, Independence Day, and Labor Day. The house belongs to Gregory, a successful Broadway choreographer now approaching middle age, who fears he is losing his creativity; and his twenty-something lover, Bobby, a legal assistant who is blind. Each of the guests at their house is connected to Gregory's work in one way or another – Arthur and longtime partner Perry are business consultants; John Jeckyll, a sour Englishman, is a dance accompanist; die-hard musical theater fanatic Buzz Hauser is a costume designer and the most stereotypically gay man in the group. Only John's summer lover, Ramon, and John's twin brother James are outside the circle of friends. But Ramon is outgoing and eventually makes a place for himself in the group, and James is such a gentle soul that he is quickly welcomed.

Love's Sacrifice

Play · 1842

Love's Sacrifice is an 1842 play by the British writer George William Lovell. It premiered at the Theatre Royal, Covent Garden on 12 September 1842. The original cast included John Vandenhoff as Matthew Elmore, Walter Lacy as St. Lo, Alfred Wigan as Morluc, William Payne as Du Viray, Drinkwater Meadows as Jean Ruse, Charlotte Vandenhoff as Margaret, Harriette Deborah Lacy as Herminie de Vermont. It opened at the Bowery Theatre in New York the following year. It was well known in America by the 1850s.

Love, Loss, and What I Wore

Play · 2008

A character called "Gingy" acts as the narrator. The Los Angeles Times spent a full paragraph on a vignette about two high school prom dresses. The junior prom dress was a conservative powder blue gown to wear with a nerdy date. The senior prom dress was a sexy black mini dress that was befitting of her more desirable date. The dresses presented an identity crisis to one character: "Here's the thing – I've never really known for sure which of those two people I am – the girl who almost doesn't get asked to the prom at all or the girl who gets to go with the really cute guy. Every time I thought I knew which one I was, I turned out to be the other. Which is one reason I think I got married, to, like, end the confusion." The New York Times presented three stories that it felt were particularly emotional: the first about a woman who removed miniskirts from her college wardrobe after being raped, but continued wearing her favorite boots; another about wedding attire anxieties; and the third about the choice of adorning a newly reconstructed breast with a tattoo. The same article also noted a humorous ode to black as a part of a wardrobe or in fact as a wardrobe, as one character notes: "Sometimes I buy something that isn't black, and I put it on and I am so sorry." Other stories include recollections about the dress purchased for the date with a guy who subsequently married someone else; the foibles of spandex bras that result in a look known as the monoboob; issues involving toe cleavage; the Juicy Couture tracksuit that is a prominent staple of California wardrobes; wardrobe choice on the wrong day of the month; and the story about an incarcerated lover and the strategic hole in a certain pair of pants.

Lovers' Vows

Play · 1798

Act I: The play opens with Agatha being ejected from an inn when her money runs out. Too proud to beg, she is desperate. Frederick enters, sees her, and offers her money although it will mean he cannot pay for his own breakfast. She recognizes him as her son, absent for five years as a soldier. He has returned in order to find his birth certificate, which he needs in order to find employment. Distraught, Agatha tells him that there is no certificate; she was seduced at the age of seventeen by Baron Wildenhaim with a promise of marriage. Despite the resulting pregnancy, the Baron broke his promise and married another, wealthier woman. Agatha, turned out of her home, struggled to make ends meet and raise her son alone. Frederick is dismayed, and he arranges for his destitute mother to stay with some charitable cottagers. Act II: Frederick leaves, intending to beg for money. Not knowing her relationship to him, the cottagers tell Agatha of the recent history of Baron Wildenhaim, now widowed and with a daughter. She faints. Meanwhile, reluctant to force her inclination as his own was forced, the Baron tries to determine whether or not his daughter, Amelia, loves the affected and foppish Count Cassel. It becomes clear to the audience that she instead loves Anhalt, a poor clergyman, and he her. It also becomes clear that the Baron regrets the misdeeds of his youth and has long sought, fruitlessly, to make amends. Act III: Frederick, desperate as his begging has been unsuccessful, attempts to rob the Baron and the Count as they go hunting, not knowing who they are. He is arrested. Anhalt speaks to Amelia about matrimony, at the Baron's request, but she in turn confesses her love for him and forces his own confession. They are interrupted by Verdun, a versifying butler, with the news of Frederick's attack on the Baron. The Baron enters and Amelia pleads for the life of the unknown young man, but the Baron is adamant on the grounds that an example must be made. Act IV: Amelia takes Frederick food and he discovers who it was that he had threatened. He asks to meet the Baron privately. Amelia reveals to her father what she has learned from Verdun about the Count's sexual immorality. The Baron confronts the Count; he replies that he is a man of the world, and reminds the Baron that many men have behaved likewise. Confused and embarrassed, the Baron dismisses him. Amelia re-enters and reveals her love for Anhalt. They are interrupted by Anhalt, who tells the Baron that Frederick is in the next room and wants a private interview. Frederick reveals their relationship to the Baron, and then leaves. The Baron is much affected. Act V: Anhalt goes to Agatha at the cottage and explains some circumstances which mitigate the Baron's prior conduct. Frederick, and then Anhalt, insist to the Baron that he must marry Agatha. After some agitation due to the social difference between them, he agrees, and grateful to Anhalt for his advice, agrees also to let him marry Amelia, despite his poverty. Agatha enters the room and all are reconciled.

Loyalties

Play · 1922

The play is an exposé of antisemitism in English upper-class society in the 1920s. It is set in Meldon Court, a country house near Newmarket, the home of Sir Charles and Lady Adela Winsor. One of their guests, Ferdinand de Levis, has had £1000 stolen from his room, and he charges another of the guests, Captain Ronald Dancy, with the theft. However, de Levis is Jewish and Dancy is a war hero. Despite evidence that Dancy may be guilty, de Levis is threatened with social ostracism by the members of the gentleman's club to which he belongs. He is suspended from the club and in turn resigns. When Mabel, Dancy's wife, pleads with de Levis, as a gentleman, to withdraw the charge, he replies "I'm not a gentleman - I'm a damned Jew!" echoing what Dancy has previously called him. Dancy, under pressure from the members of his club and from his wife, agrees to bring court proceedings against de Levis. The trial begins, but the case ends prematurely when the culprit is discovered. During the play several characters admit that they don't like Jews, while at the same time phrasing their opinions in ways that seek to avoid a charge of prejudice. Early on, Charles Winsor says "I like Jews. That’s not against him—rather the contrary these days. But he pushes himself." A friend of Mabel's, Margaret Orme, says, "I know lots of splendid Jews,... but when it comes to the point—! They all stick together; why shouldn't we? It's in the blood." And when Lady Adela tells Margaret that she is proud of her Jewish great grandmother, Margaret says "Inoculated." A well-to-do grocer, Gilman, says, "I don’t like—well, not to put too fine a point upon it—’Ebrews. They work harder; they’re more sober; they’re honest; and they’re everywhere. I’ve nothing against them, but the fact is—they get on so." Gilman has come to give evidence in the case because he thinks that it will help Dancy against de Levis. Few of the characters come out well.

Lucius

Play · 1717

Lucius or Lucius, the First Christian King of Britain is a 1717 tragedy by the British writer Delarivier Manley. It is based on the life of Lucius of Britain, the second century ruler of Britain traditionally considered to have introduced Christianity to Britain. It was Manley's final play to be staged. It premiered at the Theatre Royal, Drury Lane on 11 May 1717 with a cast that included John Thurmond as Honorius, Lacy Ryan as Vortimer, Barton Booth as Lucius, John Mills as Arminius, John Bowman as Prince of Cambria, Anne Oldfield as Rosalinda and Christiana Horton as Emmelin.

Lucius Junius Brutus

Play · 1680

Lucius Junius Brutus; Father of his Country is a Restoration tragedy play by Nathaniel Lee from 1680. It depicts the life of Roman statesman Lucius Junius Brutus. It was first staged at the Dorset Garden Theatre by the Duke's Company. The original cast included Thomas Betterton as Lucius Junius Brutus, William Smith as Titus, Joseph Williams as Tiberius, John Wiltshire as Collatinus, Thomas Gillow as Valerius, Henry Norris as Horatius, William Fieldhouse and Thomas Percival as Fecilian Priests, James Nokes as Vindicius, Thomas Jevon as Fabritius, Mary Slingsby as Sempronia, Mary Betterton as Lucretia and Elizabeth Barry as Teraminta. It was published the following year by Jacob Tonson, and dedicated to the Earl of Dorset.

Lucky Guy

Play · 2013

Act I Mike McAlary, from 1985 to 1993, bounds from one New York City newsroom to another as he achieves career success, covering such stories as the tainted Tylenol case and the Buddy Boys of the 7-7 scandal. His salary increases as he ascends from being a cub reporter to star crime reporter to star columnist. In 1993, McAlary's suffers a near-fatal auto accident that leaves him physically impaired. Act II McAlary recovers from the accident and writes two defining stories of his career: the Jane Doe rape case, during which he is sued for libel after his column questions the truthfulness of the victim, and the Abner Louima story, for which he wins the Pulitzer. Eight months after he publishes the Louima story, on Christmas Day 1998, he succumbs to cancer at age 41.

Lucrece

Play · 1932

Lucrece is a play in six scenes by Thornton Wilder with incidental music by Deems Taylor. Wilder adapted André Obey's French play Le Viol De Lucrece into English, and Taylor composed the shows music. Obey's play was in turn based on William Shakespeare's poem The Rape of Lucrece about the Roman noblewoman Lucretia. Katharine Cornell and her husband Guthrie McClintic produced the work. It premiered at the Hanna Theatre in Cleveland, Ohio on November 29, 1932. It then played at the Teck Theatre in Buffalo before transferring to Broadway where it opened at the Belasco Theatre on December 20, 1932. Katharine Cornell portrayed the title role, and Robert Loraine and Blanche Yurka portrayed narrators reminiscent of a Greek chorus. Others in the cast included Brian Aherne as Tarquin, Charles Waldron as Brutus, Joyce Carey as Emilia, Pedro de Cordoba as Collatine, Brenda Forbes as Marina, and George Macready as both Valerius and a soldier.

Luke the Labourer

Play · 1826

The play's action takes place in an agricultural Yorkshire setting. Clara Wakefield receives financial help from farmhand Charles to free her father, Farmer Wakefield, from debtor’s jail. Luke, the titular character, is Farmer Wakefield's former employee whom he previously mistreated for being drunken, and has experienced extreme poverty resulting in the death of his wife. He has somehow saved enough money to lend to Farmer Wakefield, whose failing business cannot pay the debt. Clara frees her father, and he returns home to Clara and her mother. The local Squire, enlisting Luke's service, attempts to kidnap Clara, but she is saved by sailor Philip’s intervention. Philip is welcomed into the Wakefield household, where he reveals that he knew the family’s lost son, and is given Farmer Wakefield’s bed for the night. Luke, thinking that Philip is Wakefield, breaks in and tries to shoot him as revenge, but ends up being killed. In the chaos that ensues, an old local 'gypsy' reveals that he witnessed Wakefield's missing son being stolen and sold to a sailboat by Luke, and identifies Philip as the lost son.

Luther

Play · 1961

Act 1 Scene 1 – The Convent of the Augustinian Order of Eremites at Erfurt, 1505 Luther is accepted into St. Augustine's Monastery in Erfurt. His father, Hans, expresses scepticism and scorn for excessive religion. Luther displays anguished guilt at what he believes to be his own imperfections and sins. Scene 2 – The same. A year later Luther is preparing to conduct his first Mass as a priest. Another friar, Brother Weinand, tries to persuade him not to exaggerate his own wickedness, and gently dismisses Luther's anxiety as "a few imaginary sins". Luther, is tormented mentally by guilt and physically by constipation. Scene 3 – Two hours later In the refectory of the monastery after the celebration of Mass, Luther's father is a guest. He has most reluctantly accepted his son's monastic vocation but has nevertheless made a generous donation to the monastery's funds. He drinks too much at luncheon and his comments make clear his disappointment that his intellectually brilliant son has confined himself to a religious order. Act 2 Scene 1 – The Market Place, Jüterbog. 1517 Johann Tetzel, described by Osborne as "an ecclesiastical huckster", addresses a crowd of local people, persuading them to part with their money in exchange for papal indulgences (originally a remission of penance in exchange for a pious donation, but by 1517 represented by such as Tetzel as complete absolution for all sins). Scene 2 – The Eremite Cloister, Wittenberg. 1517 The Vicar General of the Augustinian Order, Johann von Staupitz, has sent for Luther. Staupitz respects and admires the young friar, and has much sympathy for Luther's scorn of relics and outrage at indulgences. He counsels Luther to be moderate in his public criticisms. Scene 3 – The steps of the Castle Church, Wittenberg. Eve of All Saints. 1517 Luther preaches a sermon scorning scholarly sophistication and insisting that faith alone is the key to salvation. He then nails to the church door his 95 theses against indulgences, issued as a challenge to Tetzel or anyone else to engage him in theological debate. Scene 4 – The Fugger Palace, Augsburg. October 1518 Cardinal Cajetan, the Papal Legate to Germany, has sent for Luther. The latter's views are by now seen by the Church as verging on heresy, and Cajetan tries, in vain, to persuade Luther to retract. Cajetan warns that Luther's views, if pursued, will cause the break-up of Christendom. Scene 5 – A hunting lodge, Magliana, Italy. 1519 Pope Leo X dictates a decree ordaining that unless Luther recants his views, he will be a heretic and will be excommunicated. Scene 6 – The Elster Gate, Wittenberg. 1520 Luther has by now broken completely from the Roman Catholic Church. He preaches a sermon denouncing the Pope. He burns the papal decree of excommunication and prays for God's support. Act 3 Scene 1 – The Diet of Worms. 1521 Luther engages in theological debate with Johann von Eck, who represents orthodoxy against Luther's revolutionary preachings. Luther demands that his opponents should refute his arguments by showing that the Bible contradicts them. He rejects the authority of the Pope and of church councils. Scene 2 – Wittenberg. 1525 A knight, who has until this point merely announced to the audience the time and place of each scene, now has a long speech commenting on the civil disorder that has erupted in the wake of Luther's religious revolution. He engages Luther in conversation, and it emerges that Luther is hostile to the peasant uprising. The knight is deeply disillusioned. Luther prepares to marry an ex-nun. Scene 3 – The Eremite Cloister, Wittenberg. 1530. Luther and his wife are living in the former monastery. Staupitz, now an old man, visits them, and looks round the building nostalgically. Luther expresses regret at turning Staupitz's world upside down. He is stung when he believes Staupitz disapproves of his siding with the princes against the peasants during the uprisings. Staupitz counsels moderation, as he had done in 1517. He leaves, and Luther muses aloud while cradling his baby son in his arms.

M'Lady

Play · 1921

M'Lady is a 1921 play by the British writer Edgar Wallace. It is a drama about a woman who tries to raise her daughter in high society, only for her husband to return from Broadmoor where he has been serving a sentence for killing a police officer. It was panned by theatre critics. It ran for twenty three performances at the Playhouse Theatre in the West End. The original cast included Frederick Leister, Frederick Worlock and Henrietta Watson. In 1930 Wallace adapted the play into a novel The Lady of Ascot.

M. Butterfly

Play · 1988

The first act introduces the main character, René Gallimard, a civil servant attached to the French embassy in China. In a prison, Gallimard is serving a sentence for treason. Through a series of flashbacks and imagined conversations, Gallimard tells an audience his story about a woman that he loved and lost. He falls in love with a beautiful Chinese opera singer, Song Liling. Gallimard is unaware that all female roles in traditional Beijing opera were actually played by men, as women were banned from the stage. The first act ends with Gallimard returning to France in shame and living alone after he asks his wife, Helga, for a divorce, admitting to her that he's had a mistress. It is revealed in act 2 that Song had been acting as a spy for the Chinese government, and she is actually a man who has disguised himself as a woman to seduce Gallimard and extract information from him. They stay together for 20 years until the truth is revealed, and Gallimard is convicted of treason and imprisoned. Unable to face the fact that his "perfect woman" is a man, he retreats deep within himself and his memories. The action of the play is depicted as his disordered, distorted recollection of the events surrounding their affair. In act three, Song reveals himself to the audience as a man, without makeup and dressed in men's clothing. Gallimard claims he only loved the idea of Butterfly, never Song himself. Gallimard throws Song and his clothing off the stage, but holds onto Butterfly's kimono. In scene three, the setting returns to Gallimard's prison cell, as he puts on makeup and Butterfly's wig and kimono. Then he stabs himself, committing suicide just as Butterfly does in the opera. For the Julie Taymor–directed revival in 2017, Hwang revisited the text to incorporate further information that had emerged about the Boursicot case, and address intersectional identities. Taymor and Hwang wanted their new approach to consider “present public discussion and awareness of nonbinary genders, the growth of China as a superpower, and details about the true story... which were not available to Hwang when he wrote the first version.” Changes include: Song Liling initially presents as male to Gallimard, only to claim to be physically female but made to dress up as a man by her parents. Hwang noted in an interview that the surprise reveal that Song Liling is actually a man no longer carried the shock value it did in 1988, especially after The Crying Game used the same tactic only a few years later. Another said it “was neither a critical nor a popular success…[but] an important, timely, and productive reconsideration of the play and its story in light of new acceptances of gender fluidity and the changing balance of power between Asia and the West.” Regarding the long-debated questions of Song and Gallimard's intimate relations, another reviewer said “Song’s defiant explanation to an over-curious French judge struck me as Hwang wanting to put an end to the prying once and for all.”

Ma Rainey's Black Bottom

Play · 1984

In a Chicago recording studio in 1927, Ma Rainey's band players Cutler, Toledo, Slow Drag, and Levee gather to record a new album of her songs. As they wait for her to arrive they tell stories, joke, philosophize, and argue. Tension is apparent between the young hot-headed trumpeter Levee who dreams of having his own band, and veterans Cutler, Slow Drag, and Toledo who all desire to stay true to Ma Rainey. By the time Ma Rainey arrives with entourage in tow, recording has fallen badly behind schedule, enraging producers Sturdyvant and Irvin. Ma's insistence that her stuttering nephew Sylvester speak the title song's introduction wreaks further havoc. As the band waits for various technical problems to be solved, Levee and Cutler come to blows. Levee is then simultaneously fired by Ma for his uncompromising behavior and rejected by producer Sturdyvant when he tries to get his own record deal. In a rage, Levee fatally stabs Toledo, destroying any possibility of a future for himself.

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