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Purlie Victorious

Play · 1961

The 2023 revival performs the show without intermission. Act I Purlie Victorious Judson returns to his small hometown in Georgia, with Lutiebelle Gussie Mae Jenkins and a plan to win back his family inheritance from Ol’ Cap’n Cotchipee, the plantation owner. Purlie’s dream is to buy back Big Bethel, the community’s church, so that he can preach freedom to the cotton pickers. Purlie shares his plan with his brother Gitlow and sister-in-law Missy, who despite their initial skepticism agree to help. Later that afternoon, in the back office of the village commissary, Idella is tending to Charlie, Ol’ Cap’n Cotchipee’s son, who got a black eye in a barroom brawl the previous night over his support of racial integration. Ol’ Cap’n Cotchipee does not share or respect his son’s progressive values and arrives to punish Charlie. Charlie distracts his father by delivering the cotton and commissary reports. Every negro family is in debt, and Charlie challenges his father’s “cheating” ways. Ol’ Cap’n becomes agitated, and Charlie holds his ground; Gitlow comes into the commisary and gives evasive answers when Ol' Cap'n asks him whether or not he joins Charlie in supporting racial integration. Ol’ Cap’n runs him off and then collapses due to the stress; Gitlow tries to comfort him by singing old spirituals. Act II It is time for Purlie’s plan. Gitlow lets Purlie and Lutiebelle into the back door of the commissary. Lutiebelle is dressed up as Purlie’s deceased Cousin Bee, whom she will pretend to be to win back the family inheritance. Purlie and Lutiebelle rehearse one last time before Ol’ Cap’n arrives. All does not go according to plan, but Purlie jumps in and wins Ol’ Cap’n over with flattery. Ol' Cap'n agrees to give the money, but when he asks Lutiebelle to sign a receipt, Lutiebelle accidentally signs her real name, rather than signing as Cousin Bee. This exposes their ruse, and a fight ensues. The sheriff is called, but Purlie and Lutiebelle escape. Two days later, Purlie returns to Missy and Gitlow’s shack. Idella is there looking for Charlie, who is missing. Missy thanks her for getting Ol’ Cap’n to drop the charges against Purlie and encourages Purlie to ask Lutiebelle to marry him. He is determined to get his Church back. Gitlow returns bragging that he has secured the $500 inheritance from Ol’ Cap’n, in exchange for Lutiebelle working at the house. Purlie fumes. Lutiebelle enters in a disheveled state. Ol’ Cap’n has cornered her in the pantry. Furious, Purlie heads up to the house to confront Ol’ Cap’n. Act III Later that night, Lutiebelle and Missy wait at the shack for Purlie to return. Gitlow arrives without news. He suspects Purlie has fled rather than confront Ol’ Cap’n. Lutiebelle and Missy worry. Finally, Purlie returns with $500 and Ol’ Cap’n’s bull whip. Purlie tells the others how he sought vengeance on Ol’ Cap’n. The others celebrate his victory until Idella arrives and reveals the truth about how Purlie has secured the money. During a final confrontation with Ol' Cap'n, it is revealed that when Charlie purchased Big Bethel, against his father's orders, he registered the deed in Purlie's name, shocking Ol' Cap'n into dying of a heart attack. Epilogue The play concludes with Purlie at the pulpit in Big Bethel during a funeral for Ol' Cap'n, offering a unique and heartfelt blessing for unity and freedom for all.

Pygmalion

Play · 1913

On a rainy summer evening at Covent Garden in London, various pedestrians seek shelter under the portico of St. Paul's Church. Among them are a mother and daughter in evening dress - Mrs Eynsford-Hill and Clara - waiting for Clara's brother Freddy to secure a taxicab. Freddy returns unsuccessful after an extensive search and is dispatched once more by the impatient women. In his haste, he collides with a young flower girl, scattering her violets. Mrs Eynsford-Hill provides the girl with sixpence in compensation. An elderly gentleman in evening attire then takes shelter. The flower girl attempts to sell him a bloom. A bystander draws attention to a man who has been recording the conversation in a notebook. The flower girl, fearing the note-taker to be a police informant who might compromise her respectability, becomes agitated. The note-taker calms the gathering and proceeds to identify the geographic origins of several individuals solely from their speech patterns, correctly placing the flower girl in Lisson Grove and the elderly gentleman in a sequence of locations including Cheltenham, Harrow, Cambridge, and India. As the rain ceases, Mrs Eynsford-Hill and Clara depart on foot. The note-taker and the elderly gentleman introduce themselves: the former is Henry Higgins, a specialist in phonetics and author of a universal alphabet; the latter is Colonel Pickering, a student of Indian dialects who has travelled expressly to meet Higgins. The two men arrange to continue their acquaintance. Higgins asserts that, through phonetic training, he could enable the flower girl to pass as a duchess within three months. Before leaving with Pickering, he deposits a quantity of coins in her basket. Freddy reappears with a taxicab, only to discover that his mother and sister have already gone. The flower girl engages the vehicle and directs it first, for effect, toward Buckingham Palace before instructing the driver to convey her to her modest lodging in Angel Court, Drury Lane. Upon arrival, she counts her unexpected gains and retires to bed. The next morning, in Higgins's laboratory at his residence in Wimpole Street, Higgins and Pickering examine phonetic apparatus and discuss the science of speech. Mrs Pearce, the housekeeper, announces the arrival of a young woman, the flower girl they encountered the previous evening. Identifying herself as Eliza Doolittle, she requests instruction in refined speech so that she may secure employment in a flower shop rather than sell flowers on the street, offering one shilling per lesson. Higgins initially dismisses her as of no further phonetic interest, but Pickering proposes a wager: he will cover all expenses of the experiment if Higgins succeeds in training Eliza to pass as a duchess at an ambassador's garden party within six months. Intrigued by the challenge and by Eliza's pronounced Cockney dialect, Higgins accepts. He instructs Mrs Pearce to bathe and reclothe the girl at once, treating the undertaking as a scientific project. Mrs Pearce expresses practical and moral reservations concerning Eliza's welfare, family circumstances, and future prospects once the experiment concludes. Higgins remains largely indifferent to these considerations, regarding Eliza primarily as material for linguistic study. After some resistance, Eliza is compelled to bathe and is provided with clean attire. During this interval, Pickering seeks assurance that Higgins will behave honorably toward their pupil; Higgins affirms that pupils are regarded as sacred. Mrs Pearce further admonishes Higgins regarding his habitual language and personal manners, which she deems unsuitable for the girl's presence. Alfred Doolittle, Eliza's father and a dustman, then arrives. He first appears to demand his daughter's return, but soon reveals that he seeks financial compensation for relinquishing her. He describes himself as one of the "undeserving poor" and argues that middle-class morality systematically disadvantages men of his sort. After a rhetorical exchange, Higgins presents him with five pounds, which Doolittle accepts with the declaration that the sum will be spent promptly rather than saved. Eliza reappears, thoroughly cleansed and dressed in a Japanese kimono. Her transformation astonishes both her father and the two gentlemen. After Doolittle departs, Eliza shows growing awareness of her altered appearance and circumstances, and Higgins and Pickering acknowledge the formidable task they have undertaken. At the residence of Higgins's mother on Chelsea Embankment, Higgins arrives uninvited during her regular afternoon reception and informs her of his progress with Eliza. He has arranged for Eliza to attend the gathering as a preliminary test of her ability to pass in polite society, restricting her conversation to the weather and matters of health. The visitors are the Eynsford-Hills, followed by Pickering. Eliza is elegantly attired and speaks with precise and refined pronunciation. She conducts herself with outward composure and makes a favourable first impression. When the conversation turns to health, however, her recounting of an aunt's death, which contains references to possible foul play and alcoholism, reveals both her original social background and residual habits of speech. Her utterance of the phrase "not bloody likely" upon her departure causes marked consternation among the company; Clara subsequently adopts the expression as fashionable. After the guests depart, Mrs Higgins confronts her son and Pickering with the experiment's complications, particularly the question of Eliza's future once her linguistic training is complete. The two men remain absorbed in the technical success of their undertaking and dismiss her concerns. Later, Eliza appears in full evening dress with Higgins and Pickering at a formal reception at a London embassy. A former pupil of Higgins named Nepommuck, acting as an interpreter, examines her speech and concludes that she is a Hungarian of royal blood, precisely because her English is too perfect to be that of a native; the hostess and other guests accept this assessment. Eliza thus succeeds in passing as a person of high rank, thereby fulfilling the terms of the wager between Higgins and Pickering. One midnight in Higgins's laboratory, Higgins and Pickering return from a series of engagements that included a garden party, a dinner, and the opera. They are relieved that the wager has been won and that the lengthy effort is finished, regarding the social obligations as tedious and artificial. Eliza, still in full evening attire, remains silent and largely disregarded while the two men discuss the day's events and prepare to retire. Eliza retrieves Higgins's slippers and places them before him without comment. After Pickering withdraws, she loses her composure and hurls the slippers at Higgins. She accuses him of indifference to her fate now that the experiment has succeeded and demands to know what is to become of her. Higgins, surprised by her outburst, treats the matter lightly. He suggests that she might marry or that Pickering could establish her in a florist's shop, and he fails to recognize the depth of her distress. Eliza then inquires whether the clothes and accessories she wears belong to her or to Pickering, noting that her original garments were destroyed. She removes and returns the hired jewels and a ring that Higgins had purchased for her. Higgins, chucking the ring into the fireplace, is offended at what he regards as her ingratitude and angrily departs. Left alone, Eliza feels a brief sense of triumph before retrieving the ring. The next morning, Higgins and Pickering arrive at Mrs Higgins's residence in considerable agitation, having discovered that Eliza left Wimpole Street during the night and having informed the police of her disappearance. Mrs Higgins criticizes their conduct and their presumption in treating Eliza as property. Alfred Doolittle enters, transformed in appearance and circumstances. An American philanthropist, acting upon a casual recommendation once made by Higgins, has bequeathed him an annual income of three thousand pounds on the condition that he lecture for a moral reform organization. Doolittle laments that the bequest has destroyed his former independence as one of the undeserving poor and has subjected him to the constraints of middle-class respectability. He is on his way to marry Eliza's stepmother at St. George's, Hanover Square. Mrs Higgins discloses that Eliza is upstairs and recounts her sense of having been disregarded after the successful conclusion of the experiment. Eliza then appears, composed and self-possessed. She expresses gratitude to Pickering for the courtesy that first gave her self-respect, while observing that Higgins continues to regard her merely as the product of his instruction. She agrees to attend her father's wedding. After the others depart for the ceremony, Higgins and Eliza remain. She refuses to resume a subordinate role in his household and asserts her intention to maintain her independence, whether by teaching phonetics or by marrying Freddy. Higgins acknowledges that he has grown accustomed to her presence and will miss her, yet he declines to alter his manner or to offer conventional affection. He expresses satisfaction at her newfound strength of character, and Eliza leaves with dignity, declining to perform a list of errands for him. Left alone, Higgins self-assuredly chuckles at the idea of Eliza marrying Freddy.

QED

Play · 2001

Set in June, 1986, less than two years before Feynman's death, in Feynman's office at the California Institute of Technology in Pasadena, the play follows Feynman through a day of his life. As the real Feynman does in his books What Do You Care What Other People Think? and Surely You're Joking, Mr. Feynman!, the stage character talks directly to the audience; we learn from this and from phone calls with off-stage characters that Feynman is to appear that night playing his bongo drums in a student production of the musical South Pacific, that he is expecting a delegation from the Russian Republic of Tuva, which Feynman is whimsically determined to visit (as detailed in Ralph Leighton's book, Tuva or Bust!), and that he is eager to make his views known in the final report of the Rogers Commission charged with the Challenger disaster. From phone conversations between Feynman and his doctors, we also learn that Feynman's cancer has returned, and that his doctors are urging him to undergo further surgical procedures, which are not without their own risk. Feynman's conversation with the audience also touches on a number of additional topics well-known to readers of his autobiographical writings: the Manhattan Project and safe-cracking, how he learned to draw, his father, as well as musings on physics and, more generally, on the nature of science and knowledge. In the second act, the play returns to Feynman's study later at night on the same day, after the performance is over. We meet the only other character in addition to the main protagonist: a (fictional) young student by the name of Miriam Field, who has attended one of Feynman's lectures and both witnessed his bongo performance and attended the after-play party. Where Feynman had earlier grown dispirited both by his own condition and by memories of his long-dead wife, Miriam manages to pull him out of his depression. Feynman informs his doctors that he will consent to have surgery, after all; but requests that they awaken him from anesthesia if they determine that he is about to die intraoperatively, because "that would be an interesting experience".

Quality Street

Play · 1901

The play is set in Napoleonic times. Act 1 There is heightened anticipation as the local gossips of the town discuss the developing relationship between Miss Phoebe Throssel and Valentine Brown. Phoebe then confesses to her sister, Susan, that Brown intends to drop by later that day, and both are certain he means to propose. When he finally does appear, it is not to ask for Phoebe's hand in marriage but to announce his intention to join the fight in Europe against Napoleon. This leaves the girls devastated. Act 2 Ten years after the departure of Brown, we find the girls have set up a school in order to pay the rent. Phoebe has not accepted any other suitor and has allowed herself to become an "Old Maid" and school mistress. Phoebe, however, longs for her youth, and the return of Captain Brown only deepens her melancholy. "I am tired of being lady-like," she declares. With some encouragement from her maid, Patty, she creates the fictional character of Miss Livvy, a more energetic, flirtatious and naughty version of her younger self, and begins to tease Captain Brown who, captivated by her, persuades her and Susan to accompany him to the ball. Act 3 At the ball, and Phoebe is still playing the part of Miss Livvy. In this guise, she has captured the eyes of many of the young men and the scorn of ladies. However, Phoebe is now annoyed that Brown seems to prefer this unsubstantial 'young' flirt that she has created to her true personality and qualities. Her actions cause events to come to a head as her act is almost brought to light by the local gossiping girls Fanny Willoughby and Henrietta Turnbull. In a final confrontation with Captain Brown, we discover that he has found his love for Miss Phoebe and not for Miss Livvy, as he insists that "I have discovered for myself that the schoolmistress in her old maid's cap is the noblest Miss Phoebe of them all." Act 4 Miss Livvy still hangs heavy over the sisters: having been created, she is now difficult to dispose of. The local gossips watch for any sign of Miss Livvy and frequently visit the sisters' home. Brown comes to ask for Phoebe’s hand and is turned down without explanation. As a result, he becomes aware of the disguise and the sisters' plight and sets out to right all wrongs, even his own.

Queen Elizabeth Slept Here

Play · 1949

Queen Elizabeth Slept Here is a comedy play by the British writer Talbot Rothwell. It was inspired by Moss Hart and George S. Kaufman's 1940 Broadway play George Washington Slept Here, with the setting switched to England and many alterations to the plot and characters. The story takes place at an Elizabeth era cottage in Buckinghamshire. A hit, it ran for 349 performances at the Strand Theatre in London's West End between 3 November 1949 and 2 September 1950. The original West End cast starred Dulcie Gray, Michael Denison and also included Kenneth Connor and Julien Mitchell. Later on in the run the lead roles were taken over by Rosalyn Boulter and Jimmy Hanley. Direction was by Richard Bird Rothwell was emerging at the time as a popular writer, and later became known for his scripts for the Carry On film series.

Quid Pro Quo

Play · 1844

Quid Pro Quo is an 1844 comedy play by the British writer Catherine Gore, best known for her novels. It premiered at the Theatre Royal, Haymarket in London on 18 June 1844. The original cast included Louisa Cranstoun Nisbett as Lord Bellamont, Robert Strickland as Jeremy Grigson, John Buckstone as Captain Sippet, William Farren as Sir George Mordent, Henry Howe as Rivers, Julia Bennett as Lady Mary Rivers, Julia Glover as Mrs. Grigson, Mrs. Edwin Yarnold as Ellen and Anne Humby as Bridget Prim. The prologue was spoken by Benjamin Webster. The play was selected in a competition by a special committee led by Charles Kemble out of ninety six entries, for which Gore was rewarded with £500.

Quiz

Play · 2017

Quiz is a play written by James Graham. Originally commissioned by theatre producer, William Village, it made its world premiere at the Minerva Theatre, Chichester, in November 2017, before transferring to the Noël Coward Theatre in London's West End in March 2018. The play centres on the true story of Charles Ingram and the coughing scandal that surrounded his 2001 win of £1,000,000 on Who Wants to Be a Millionaire?. In 2020, the stage play was adapted for a TV series of the same name.

Rabbit Hole

Play · 2006

Rabbit Hole is a play written by David Lindsay-Abaire. It was the recipient of the 2007 Pulitzer Prize for Drama. The play premiered on Broadway in 2006, and it has also been produced by regional theatres in cities such as Los Angeles, Philadelphia and Pittsburgh. The play had its Spanish language premiere in San Juan, Puerto Rico in the autumn of 2010. The play deals with how family members survive a major loss and includes comedy as well as tragedy. Cynthia Nixon won the 2006 Tony Award for Best Performance by a Leading Actress in a Play for her performance as Becca in the New York production, and the play was nominated for several other Tony awards.

Race

Play · 2009

A racially charged sex crime takes place which leads to charges being made against Charles Strickland, a wealthy resident in his town. He quickly goes to his friend Jack Lawson, a criminal attorney, and retains him to defend his case. Lawson agrees and begins to rely on help from a young black attorney he calls Susan working in his three-lawyer office. As evidence and police reports begin to accumulate for the preparation of the defense of the case, Jack begins to suspect deep flaws in the police investigation of the crime scene. He notes that although the crime reports clearly identify the crime victim as having worn a red sequin dress on the night of the sex crime that something is wrong with the details in the police reports. From his personal experience, he explains to his fellow law office partners (Susan and Brown) how fragile sequin dresses are in general, and how even the slightest incident of jarring or simple out-on-the-town wearing of a sequin dress inevitably leads to sequins popping and falling off almost without any provocation whatsoever. However, the police reports, although otherwise seeming to be thorough, do not mention red sequins being missing or lying around the victim's room in question where an apparent extensive struggle had taken place. The other law partners are impressed by the startling omission, and all three partners come to the conclusion, with increasing and visible confidence before each other, that this omission by the police is very deeply flawed. They are convinced that the credibility of the police reports cannot withstand questioning in the courtroom. All three lawyers feel that their client will be exonerated. The next day, however, news come to the lawyers that a maid in the hotel has "remembered" that she saw sequins under the bed. In the process of further interviews with his client, discussions with his partner, and with Susan, Jack becomes aware of even further complications in the case. The ethnic prejudices of his old friend whom he is defending turn out to be highly suspect and pejorative. More importantly, he begins to suspect that Susan's hand in the activities taking place in the law office after receiving the case may be tainted. Susan turns out to have strong feelings about racially motivated sex crimes and she is far from unbiased in the representation of the case. As Jack continues to quiz her and challenge her on her own beliefs it becomes clear that Susan had come to play a part in the statement of the maid materialising overnight and invalidating the fragile sequin theory the partners were planning to use. It becomes clear by the final curtain that Susan had leaked the information concerning the basis of Jack's planned defense, the fragile sequin theory, to the police and/or DA. It becomes clear that Susan had done this in order to influence the outcome in a matter of justice involving a question of bigotry and of race.

Radio Golf

Play · 2005

Harmond Wilks, an Ivy League-educated man who has inherited a real estate agency from his father, his ambitious wife Mame, and his friend Roosevelt Hicks want to redevelop the Hill District in Pittsburgh, Pennsylvania. The project, called the Bedford Hills Redevelopment Project, includes two high-rise apartment buildings and high-end chain stores like Starbucks, Whole Foods, and Barnes & Noble. Harmond is also about to declare his candidacy to be Pittsburgh's first black mayor. Roosevelt has just been named a vice-president of Mellon Bank and has been tapped by a Bernie Smith to help him acquire a local radio station at less than market value, which is possible through a minority tax incentive. A complication arises when Harmond discovers that the house at 1839 Wylie, slated for demolition, was acquired illegally. Harmond offers the owner of the property market value for the house, but the owner refuses to sell. Harmond decides the only way to proceed is to build around the house, which will require minor modifications to the planned development, and calls the demolition company to cancel the demolition. Roosevelt sees no reason to delay since no one but Harmond, Roosevelt, Mame, and the house's owner know the truth, a view Mame supports. When, on the day of the demolition, which Roosevelt has put back into motion, Harmond refuses to be swayed from his stand, Roosevelt announces he will be buying Harmond out and Bernie Smith will be helping him. Harmond accuses Roosevelt of being Smith's "black face" and the two argue over the consequences of Harmond demanding changes in the development plans and if Roosevelt is allowing himself to be used by Bernie Smith. Harmond tells Roosevelt to leave the Bedford Hills Redevelopment office, which is owned by Wilks Realty. The scene ends with Harmond leaving the office to join the group of Hill residents at 1839 Wylie protesting the demolition.

Rafta, Rafta ...

Play · 2007

Rafta, Rafta... is a comedy by British Pakistani playwright Ayub Khan-Din adapted from the 1963 Bill Naughton play, All in Good Time. The play is set in the working class English town of Bolton, and examines a story of marital difficulties within an immigrant Indian family. Ishwar Dutt is a first-generation immigrant and patriarch of the family. He has a troubled relationship with his newlywed son Atul, whose married life with Vina Patel has got off to a rocky start. The play deals with setting out and resolving these various conflicts.

Red

Play · 2009

"There is only one thing I fear in life, my friend... One day the black will swallow the red." Mark Rothko is in his New York studio in 1958/59, having been commissioned to paint a group of murals for the expensive and exclusive Four Seasons restaurant. He gives orders to his assistant, Ken, as Ken mixes the paints, makes the frames, and primes the canvases. Ken, however, eventually brashly questions Rothko's theories of art and his acceding to work on such a commercial project. For his part, Rothko dislikes the rise of pop art. Ultimately, Rothko stops working on the project and decides to return the money. He explains to Ken that the Four Seasons is an inappropriate place for his murals to be seen. He then fires Ken and tells him to go make something of his own in the art world.

Red Harvest

Play · 1937

Red Harvest is a play in three acts by Walter Charles Roberts that uses pages from an American Red Cross nurse's diary detailing her experiences working with the Red Cross in France on the Western Front during World War I as its source material. Set in American Red Cross Hospital 111, a field hospital in Jouy-sur-Morin, the play takes place in 1918 at the time of the Battle of Château-Thierry. Produced by Brock Pemberton and The Theatre Foundation of America, Red Harvest premiered on Broadway on March 30, 1937 at the National Theatre.

Red Light Annie

Play · 1923

Tom and Fanny Campbell move from a small town to New York City, where the only people they know are Fanny's stepsister and brother-in-law, Dorothy and Nick Martin. The Martins are criminals who frame Tom for theft. When Tom is sent to prison for three years, Fanny falls prey to cocaine addiction and becomes a prostitute. When Tom is released, Nick attempts to blackmail the Campbells, but Fanny kills him. A sympathetic detective helps her avoid a murder conviction.

Red Light Winter

Play · 2005

In the first act, friends Matt, a writer, and Davis, a book editor, are vacationing in Amsterdam. Matt is lonely and suicidal; he is attempting to hang himself when Davis returns to their shared hotel room with Christina. Christina is a prostitute that Davis has hired as a present for Matt. Christina has sex with Matt, although she is more interested in Davis. In the second act, Matt and Davis have returned home to New York City. Christina goes to New York looking for Davis, but finds Matt, who has been obsessed with her since their earlier encounter.

Red Velvet

Play · 2012

The play begins with Aldrige in later life, nearing the end of a brilliant career. A young Polish journalist, Halina Wozniak, sneaks into his dressing room to interview him about his success, and especially to find out why he has steadfastly refused to play Covent Garden Theatre since playing the lead in a production of Othello decades before. The play revisists crucial moments in Aldridge's past, especially the Othello performance, in which he stepped in for an ailing Kean, hoping to bring some authenticity to the part, but is viciously treated by critics.

Regulus

Play · 1744

Regulus is a 1744 tragedy by the British writer William Havard. It portrays the career of Marcus Atilius Regulus, a Roman Consul at the time of the First Punic War. It ran for seven performances during the season. The original Drury Lane cast included David Garrick as Regulus, Havard himself as Decius, Dennis Delane as Corvus, William Mills as Metullus, Edward Berry as Manlius, James Taswell as Attilus Regulus, Edward Woodburn as Emelius, Howard Usher as Second Ambassador, Anne Budgell as Clelia and Anna Marcella Giffard as Martia.

Reluctant Heroes

Play · 1950

Reluctant Heroes is a comedy play by the British writer Colin Morris. It premiered at the White Rock Theatre in Hastings before transferring to the Whitehall Theatre in London's West End where it ran for 1,610 performances between 12 September 1950 and 24 July 1954. The original West End cast included Brian Rix, Larry Noble, Dermot Walsh, Wally Patch, Bruce Belfrage and Elspet Gray. Other actors who appeared during the run included John Slater, Peter Hammond, Darcy Conyers, Bernard Fox and Gene Anderson. It was the first of the Whitehall farces, and concerns a group of National Service recruits.

Remains to Be Seen

Play · 1951

Remains to Be Seen is a play written by Howard Lindsay and Russel Crouse. Producer Leland Hayward opened it on Broadway at the Morosco Theatre on October 3, 1951. Bretaigne Windust directed the production, which ran for 199 performances. The play is a comedy about the investigation of the murder of an anti-pornography crusader. Following his death, various characters gather at his Park Avenue apartment, including his niece Jody, his attorney, his butler, the apartment building's young janitor, and a doctor. In the process, the attorney falls in love with Jody, but she chooses to leave with the janitor instead.

Return to Tyassi

Play · 1950

Return to Tyassi is a 1950 play by the British writer Benn Levy. The plot concerns a woman with a shady past who attempts to redeem herself. Levy directed the play, which featured his wife Constance Cummings in the lead role. It premiered at the Theatre Royal, Brighton before transferring to the Duke of York's Theatre in London's West End where it ran for 29 performances between 29 November and 23 December 1950. The original cast included Constance Cummings, Alexander Knox, Helen Haye and John Justin. Poorly received, it was noted "some critics have knocked this play about severely, and may have done it irreparable damage".

Revolt. She Said. Revolt Again.

Play · 2014

Revolt. She Said. Revolt Again. presents thirteen stand-alone scenes or vignettes over four acts. The scenes begin with a dialogue between a man and woman discussing sex as she takes control of his education. Then, another couple discuss marriage after a rejected proposal. A woman and her employer discuss work obligations as the woman wishes to take Mondays off. Then a shopper strips naked in a grocery store after a sexual assault. A woman and her non-verbal daughter address the woman's mother's absence from their lives. Following this scene, the play becomes more abstract as scenes blend into each other, including critiques of pornography, a salesperson selling T-shirts with feminist slogans, and a person selling hymens. The final scene discusses the future, overthrowing systems and eradicating all men.

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