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Sir Harry Wildair

Play · 1701

Sir Harry Wildair is a 1701 comic play by the Irish writer George Farquhar. It is a sequel to the 1699 hit The Constant Couple, portraying the further adventures of the most popular character from the earlier play. The original Drury Lane cast included Robert Wilks as Sir Harry Wildair, John Mills as Colonel Standard, Benjamin Johnson as Captain Fireball, Colley Cibber as Marquis, William Pinkethman as Clincher, Henry Norris as Dicky, Henry Fairbank as Shark, Thomas Simpson as Lord Bellamy, Susanna Verbruggen as Lady Lurewell, Jane Rogers as Angelica and Jane Lucas as Parly. Farquhar, an Irish Protestant from Derry, dedicated the play to William of Orange.

Sir Solomon Single

Play · 1670

Sir Salomon; Or, The Cautious Coxcomb is a 1670 comedy play by the English writer John Caryll. It has often been staged under the title Sir Solomon Single. It was first performed by the Duke's Company at the Lincoln's Inn Fields Theatre in London. It is part of the tradition of Restoration comedy. The original cast included Thomas Betterton as Sir Solomon, Henry Harris as Peregrine Woodland, William Smith as Single, Samuel Sandford as Wary, Cave Underhill as Timothy and Mary Betterton as Julia.

Sir Thomas Overbury

Play · 1723

Sir Thomas Overbury is a 1723 tragedy by the British writer Richard Savage. It is based on the life of Thomas Overbury an associate of the Jacobean royal favourite Robert Carr whose apparent murder while incarcerated in the Tower of London provoked a trial and major scandal. Savage played the title role himself when it was staged at the Drury Lane Theatre. Other cast members included Roger Bridgewater as the Earl of Northampton, Theophilus Cibber as the Earl of Somerset and a Mrs. Bret as Isabella. Aaron Hill produced and revised the text of the play. It was published in October 1723. Historian Richard Holmes said the work is "clumsy, sub-Shakespearean, historical melodrama". (Whether any historical play from that period is not "sub-Shakespearean" is, of course, debatable.) Before his death, Savage completed a new version of Sir Thomas Overbury. In his Life of Mr Richard Savage (1744) Samuel Johnson described this version of the play as preserving only "a few lines" of the original, as having "a total alteration of the plan"—with "new incidents, and introduc[ing] new characters; so that it was a new tragedy". This revised version of Sir Thomas Overbury was first produced and published in 1777.

Sir Walter Raleigh

Play · 1719

Sir Walter Raleigh is a 1719 tragedy by the British writer George Sewell. It is based on the downfall of Walter Raleigh a successful courtier and sailor in the reign of Elizabeth I who was executed in the reign of her successor James I. It was originally staged at the Lincoln's Inn Fields Theatre, one of the two patent theatres operating in London. The original cast featured James Quin as Walter Raleigh, Lacy Ryan as Howard, John Leigh as Young Raleigh, John Corey as Salisbury, Christopher Bullock as Gundamor, Thomas Smith as Sir Julius Caesar, John Egleton as Carew, John Ogden as Wade, Anna Maria Seymour as Lady Raleigh and Jane Rogers as Olympia.

Sister Mary Ignatius Explains It All for You

Play · 1979

At a Christmas lecture, a nun named Sister Mary Ignatius explains to the audience the basic tenets of Catholicism. She is assisted by her favorite student, seven-year-old Thomas. From time to time, she asks him catechism questions and gives him a cookie for every right answer. Her speech is interrupted when four of her former students Gary Sullivan, Diane Symonds, Philomena Rostovich, and Aloysius Benheim enter dressed as Saint Joseph, the Virgin Mary, and two halves of a camel. The four remind Sister that she had asked them to come perform the pageant they had performed when they were students in her class. After the pageant, it becomes apparent that the four have strayed from Mary Ignatious's teaching: Diane has had two abortions (the first one from a rape at age 18); Philomena is an unwed mother; Aloysius is an alcoholic who beats his wife and contemplates suicide; Gary is gay. They reveal that they were never asked to come in and merely wanted Mary Ignatius, because they each have a reason for hating her: Aloysius was refused bathroom privileges frequently and now has bladder problems; Philomena was hit for being a poor student; Gary is there on behalf of his boyfriend Jeff; and Diane had believed Mary Ignatius's teachings until her mother died of breast cancer and she was raped the same day. Diane reveals that she has brought a gun to kill Sister, something the other three were not aware of. Sister grabs a gun from behind her lectern and shoots Diane in self-defense. She also shoots Gary, proclaiming that she has sent him to heaven, as he'd been to confession earlier that day. She then points the gun at Aloysius, who needs to go to the bathroom, before handing it to Thomas so she can take a nap. The play ends with Thomas pointing the gun at Aloysius while explaining the perfections of God, Diane and Gary's dead bodies on the floor, and Sister asleep.

Six Degrees of Separation

Play · 1990

A young black man named Paul shows up at the home of art dealer Flan Kittredge and his wife Louisa, known simply as "Ouisa", who live overlooking Central Park in New York City. Paul has a minor stab wound from an attempted mugging, and says he is a friend of their children at Harvard University. The Kittredges are trying to get the money to buy a painting by Paul Cézanne, and now have this wounded stranger in their home. Paul claims he is in New York to meet his father, Sidney Poitier, who is directing a film version of the Broadway musical Cats. Paul continues to charm them with his story, though in reality, it is all a lie: Paul is no Harvard student and obtained details on the Kittredges from a male student he had seduced. Eventually Paul uses their home for an encounter with a hustler, but is caught red-handed. The police are called, but Paul escapes. Soon after, Paul starts up another con against a sensitive young man named Rick and his live-in girlfriend, Elizabeth. The naive young couple are new to the big city having just moved to New York from Utah and, based on Paul's con, invite him to live with them until he gets everything sorted out with his wealthy father—who Paul tells them is Flan Kittredge. The trio become good friends, with Paul spinning a tale of being estranged from his racist father, but still, the girlfriend tells Rick not to lend Paul any money. One night Paul takes Rick out on the town and seduces him in order to get the money. Later that night, Rick tells Elizabeth that Paul is gone, that he has all their money, and that he and Paul had sex. In a fit of fury, she cruelly suggests that Rick's father had always questioned his son's sexuality. Soon afterwards Rick commits suicide. In desperation, Paul calls the Kittredges for assistance. Partly due to strained relations with her children, Ouisa finds herself feeling emotionally attached to Paul, hoping to be able to help him in some way despite the fact that he has victimized them. Over a protracted and laborious phone call, he agrees to give himself up to the police; however, during the arrest, he and the couple are separated. Despite their efforts—Ouisa's more than Flan's—his fate is unresolved, except for a possibly tragic end. Towards the end of the play, in a climactic moment of reflection, she delivers the play's most famous monologue:

Sizwe Banzi Is Dead

Play · 1972

The play opens in the photography studio of a man named Styles. The studio is located in New Brighton, Port Elizabeth, South Africa. After reading a newspaper article on an automobile plant, Styles tells a humorous story to the audience about an incident that occurred when he worked at the Ford Motor Company. Styles continues to read the paper and talks about his photography studio. His musings are interrupted when a customer, Sizwe Banzi, arrives. He asks to have his picture taken, but when Styles asks him for his deposit and name, Sizwe hesitates, then says his name is Robert Zwelinzima. Styles asks Sizwe what he will do with the photo, and Sizwe tells him he will send it to his wife. When the picture is taken, the moment is frozen into what the photograph will look like. It comes to life and Sizwe dictates the letter to his wife that will accompany the photo. In the letter, Sizwe tells his wife that Sizwe Banzi is dead. He writes that when he arrived in Port Elizabeth from their home in King William’s Town, he stayed with a friend named Zola who tried to help Sizwe find a job. His employment search was unsuccessful; as a result, he was told by the authorities that he must leave in three days. Sizwe went to stay with Zola’s friend, Buntu. The play returns to the present time. Staying at Buntu’s house, Sizwe tells Buntu about his problems — unless a miracle happens, he will have to leave town in three days. Buntu is sympathetic to the problem and suggests he work in the mines in King William’s Town. Sizwe rejects the idea as too dangerous. Buntu decides to take him out for a treat at Sky’s place, a local bar. The focus switches back to Sizwe as he continues to compose the letter to his wife. He describes his experiences at Sky’s shebeen, where he was served alcohol by a woman in a respectful manner. The scene shifts to the outside of Sky’s after Sizwe and Buntu have been drinking. Buntu decides that he needs to get home to go to work tomorrow. He goes into an alley to relieve himself and finds a dead man there. Sizwe wants to report the body to the police. Buntu rejects the idea, but he retrieves the dead man’s identity book to find his address. Buntu finds that the man, named Robert Zwelinzima, has a work-seeker’s permit — the very thing that Sizwe needs to stay in town. They take the book. At Buntu’s house, Buntu switches the photographs in the books. He proposes that they burn Sizwe’s book — effectively making him dead — and have Sizwe adopt the dead man’s identity so he can stay in Port Elizabeth. Sizwe is unsure about the plan; in particular, he worries about his wife and children. Buntu contends that they can remarry. After much discussion, Sizwe agrees to the switch. Sizwe finishes dictating the letter to his wife. In it, he tells her that Buntu is helping him get a lodger’s permit. The scene shifts back to Styles’ photography studio; Sizwe is getting his picture taken.

Skeleton Crew

Play · 2016

Set in Detroit in 2008, the play follows the workers of an automotive factory, known as the skeleton crew, led by Faye, currently experiencing homelessness. As a longtime employee and union representative who has spent 29 years on the line, she currently works alongside Dez and Shanita. When factory supervisor Reggie reveals that the factory is set to close, Faye must choose between protecting her own stability and standing in solidarity with her fellow workers.

Skylight

Play · 1995

East London school teacher Kyra Hollis is visited by Edward Sergeant and, later on the same night, his father Tom Sergeant. Kyra had been living with the Sergeant family years earlier but left after her affair with Tom was discovered by Tom's wife, who has since died. Edward now accuses Kyra of having left him as well, as he saw her as a big sister, and he demands to know why she left his life. Shortly thereafter, Tom, a wealthy restaurateur, with real-life references to Terence Conran, appears unheralded and for no apparent reason. Kyra's less-than-glamorous lifestyle leads him to poke fun at her to the point of insult, accusing her of self-punishment. After Kyra cooks a spaghetti dinner (which the actress cooks on stage), the talk turns to their relationship. It becomes clear that their chances to be rekindled rest on whether one of them can change preconceived notions of the other.

Slave Play

Play · 2017

At McGregor Plantation, a southern cotton plantation in pre-Civil War Virginia, the song "Work" by Rihanna plays in the overseer cottage. Kaneisha, a slave, begins to twerk to the song when Jim, a white slave owner, walks in holding a whip. Jim is repeatedly uncomfortable when Kaneisha calls him "Master," but berates her for not cleaning the room better and throws a cantaloupe on the ground and tells Kaneisha to eat it. As Kaneisha eats the cantaloupe, she begins to dance again, which confuses and arouses Jim. When she asks to be called a "nasty, lazy negress," he instead proceeds to perform cunnilingus. Phillip replies that he is unsure. Gary has Dustin lick Gary's boot clean; this causes Gary to orgasm. He starts crying and cannot be comforted by Dustin. They are on Day Four of the therapy, which focuses on fantasy play. Dustin begins by noting that Gary came, which he could not do before, but Gary counters that Dustin was uncomfortable in making his whiteness hyper-visible. Alana enjoyed the release of the fantasy and asks Phillip if he enjoyed it too, noting that he got an erection when he had trouble before. Jim begins to initiate foreplay and the music rises while Kaneisha continues that the relationship went downhill three years ago, when she stopped feeling sexual pleasure because she began to see him as foreign and frightening. She saw Jim's whiteness and power, and that he also has "the virus", because though he is not American, he benefits from being white while being unaware of the privilege that whiteness gives him. She says that Antebellum Sexual Performance Therapy and the fantasy play gave her a sense of peace because she feels the elders watching her again; the elders do not care that she is with "a demon / who thinks he’s a saint", but simply want the two of them to know he is a demon.

Slavs!

Play · 1994

The action begins in Moscow in March 1985 as Mikhail Gorbachev succeeds Konstantin Chernenko as general secretary of the Communist Party. Katherina is a feisty lesbian security guard at a Soviet archive facility that holds the brains of the USSR's late leaders. After getting her the job at the facility, Popolitipov (Jones), an apparatchik, attempts to woo her. Unfortunately for Popolitipov, she has already fallen for the oncologist Bonfila (Schulz), a descendant of one of the fathers of the revolution. Serge is a Bolshevik whose obsession with the future has deadly results. Vodya is a young girl that is dying from nuclear waste poisoning. She appears as both an apparition during a man's inebriated state and again in 1992 in Siberia but this time alive and mute. It is there in Siberia where Katherina and Bonfila confront the fallout and human misery caused by nuclear waste.

Sleuth

Play · 1970

The play is set in the Wiltshire manor house of Andrew Wyke, an immensely successful mystery writer. Wyke's home reflects his obsession with the inventions and deceptions of fiction and his fascination with games and game-playing. He lures his wife's lover Milo Tindle to the house and persuades him to stage a robbery of her jewellery. This proposal sets off a chain of events that leaves the audience trying to decipher where Wyke's imagination ends and reality begins. Shaffer said the play was partially inspired by one of his friends, composer Stephen Sondheim, whose intense interest in game-playing is mirrored by the character of Wyke, and by mystery writer John Dickson Carr, whose stories featured complex plots and seemingly "impossible" crimes.

Sly Fox

Play · 1976

Sly Fox is a comedic play by Larry Gelbart, based on Ben Jonson's Volpone (The Fox), updating the setting from Renaissance Venice to 19th century San Francisco, and changing the tone from satire to farce. The play revolves around the character of the very wealthy Foxwell J. Sly, and his indentured servant Simon Able. Sly has the town duped into believing that he is dying, and four citizens vie for his inheritance. Jethro Crouch is willing to will away his son’s inheritance to Sly on the promise that he receives Sly’s money after Sly has died; Abner Truckle solicits his wife to Sly under the impression that it will sway Sly to name him as his heir; Lawyer Craven defends the dignity of Sly in court after the Captain discovers him molesting Mrs. Truckle, for the same promise of riches; Merrilee Fancy, the most popular harlot in the bay town, finds herself in the family way and hopes to marry Sly for his wealth. None of them realize the trick, and even Able, Sly’s closest confidant and student, is unable to outfox the master of deception. It premiered on Broadway December 14, 1976 at the Broadhurst Theatre. Directed by Arthur Penn, the play featured George C. Scott, Bob Dishy, Hector Elizondo, Jack Gilford, Gretchen Wyler, and Sandra Seacat. Scott was succeeded by Robert Preston. According to his biography at tcm.com, Jackie Gleason was touring in the lead role of Sly Fox in 1978 when he suffered a heart attack and had to permanently leave the show, undergoing a triple bypass. The play was revived on April 1, 2004 at the Ethel Barrymore Theatre, again directed by Arthur Penn, featuring Richard Dreyfuss, Bob Dishy, Eric Stoltz, René Auberjonois, Professor Irwin Corey, Elizabeth Berkley, Rachel York, Peter Scolari, and Bronson Pinchot.

Small Miracle

Play · 1934

Small Miracle is a 1934 play by Norman Krasna, presented on Broadway with Joseph Calleia in the featured role. Directed by George Abbott with a single setting designed by Boris Aronson, the three-act melodrama opened September 26, 1934, at the John Golden Theatre, New York. It continued at the 48th Street Theatre November 11, 1934 – January 5, 1935. On February 7, 1935, the play began a run at the El Capitan Theatre in Hollywood, with Calleia, Joseph King and Robert Middlemass reprising their Broadway roles. It was Krasna's second play, written in the evenings while he was working as a Columbia Pictures contract writer during the day. He adapted the play for the Paramount Pictures film Four Hours to Kill! (1935).

Small Mouth Sounds

Play · 2015

Small Mouth Sounds is a dramatic absurdist stage play written by American playwright Bess Wohl. The play tells the story of six adults who run away from their hectic inner city life to a silent retreat in upstate New York. They then have to make peace with the silence of their own minds while trying to find ways to connect without words. The play is unique in that there is very little dialogue and requires the actors to express their emotions and feelings physically rather than verbally.

Smilin' Through

Play · 1919

Smilin' Through is a 1919 play by Jane Cowl and Jane Murfin, written under a pseudonym, Allan Langdon Martin. Cowl also starred in the play in a double role and co-directed it with Priestly Morrison. Smilin' Through was produced by The Selwyns and opened at the Broadhurst Theatre on Broadway on December 30, 1919. It included in the cast Orme Caldara as Kenneth and Jeremiah Wayne, Henry Stephenson as John Carteret and Ethelbert D. Hales as Dr. Owen Harding. Scenic design was by Joseph Urban. The play was a popular hit and ran for 175 performances. It also played for a long run on the road, and was one of Jane Cowl's greatest commercial successes. The story is a sentimental romantic tale of a young Irish woman, Kathleen Dungannon. Her romantic attachment to Kenneth Wayne is opposed by her adopted father John Carteret, who bears the painful memory of his thwarted love for her aunt, Moonyean Clare. Moonyean visits John as a ghost. The roles of Kathleen and Moonyean were both played by Jane Cowl. The popular story was first filmed in 1922 by First National Pictures, and was later remade twice by MGM, in 1932 and 1941. In 1932, it was also made into an unsuccessful Broadway operetta, Through the Years, with music by Vincent Youmans. The title song of the operetta, however, became a hit. Smilin' Through is also the title of a 1919 ballad with lyrics and music by Arthur A. Penn. The creation of the song and play were independent but intertwined. According to Isidore Witmark in his history of the Witmark and Sons publishing house, Cowl's play was partially rewritten after the song was published, based upon the imagery of the lyrics. Both the title and the music of the song were incorporated into the play when it was completed and produced.

Smoky Cell

Play · 1930

Smoky Cell is a thriller play by the British writer Edgar Wallace first staged in 1930. In America a group of detectives hunt down a notorious racketeer. It ran for 103 performances at Wyndham's Theatre in the West End from 16 December 1930 to 14 March 1931. The original cast included Finlay Currie, Percy Parsons, Charles Farrell, Harold Huth, Roy Emerton and James Carew, and was directed by Carol Reed. It marked Canadian actor Alexander Knox's London stage debut. It was an inspired by a visit Wallace had recently made to the United States, which also led him to write his even more successful play On the Spot the same year. In 1935, following Wallace's death, his former assistant Robert Curtis wrote a novel of the same title based on the play.

Somebody Knows

Play · 1932

Somebody Knows is a 1932 mystery play by the British writer John Van Druten about an entertainer who is accused of strangling a prostitute. Following a court case there is not enough evidence to convict him, leaving the audience unsure of his actual guilt. It was staged at St Martin's Theatre in the West End, running for 43 performances between 12 May and 18 June 1932. The cast included Frank Lawton, Lawrence Hanray, Enid Stamp-Taylor and Cathleen Nesbitt. It was comparatively unsuccessful at a time when many of Van Druten's work's were enjoying commercial success. He attributed this to the fact that audiences expected a standard whodunnit while he was interested in developing a character study.

Someone Waiting

Play · 1953

Someone Waiting is a 1953 thriller play by the British writer Emlyn Williams. It premiered at the Royal Court Theatre, Liverpool before transferring to the Globe Theatre in London's West End where it ran for 156 performances between 25 November 1953 and 10 April 1954. The cast included Williams himself as well as Gabrielle Brune, Adrianne Allen, Gladys Henson, Campbell Cotts and John Stratton. It appeared at the John Golden Theatre on Broadway in February 1956 with Leo G. Carroll, Jessie Royce Landis and Norah Howard in the cast, but this lasted for only 15 shows. In 1957 it was adapted into the film Time Without Pity directed by Joseph Losey. In 1965 the play was staged by the Edinburgh Gateway Company, directed by Victor Carin.

Someone Who'll Watch Over Me

Play · 1992

Someone Who'll Watch over Me is a play written by Irish dramatist Frank McGuinness. The play focuses on the trials and tribulations of an Irishman, an Englishman and an American (Edward, Michael, and Adam) who are kidnapped and held hostage by unseen Arabs in Lebanon. As the three men strive for survival they also strive to overcome their personal and nationalistic differences. Related to this is each individual's own attempt to maintain sanity under the watchful eye of both captors and supposed comrades. At times the dramatic dialogue reaches a level of Beckettian absurdity, as even the audience is unable to draw a distinction between the characters' insanity and humour. We are made witness and accomplice to a humour based on something apparently ghastly, the loss of rationality.

Sons of the Prophet

Play · 2011

Brothers Joseph Douaihy (29 years old) and Charles Douaihy (18 years old), who live in a run-down area of Nazareth, Pennsylvania, are left alone after their father dies of a heart attack two weeks after a car accident. That accident was caused by a prank by the local football star, Vin, who is sent to a juvenile detention center as punishment. Their family has emigrated from Lebanon and is distantly related to Kahlil Gibran. The brothers are forced to not only take care of themselves but care for their aging uncle, Bill. Joseph, who has mysterious pains, goes to work for Gloria, a book-packager, to get health insurance. Gloria tries to convince Joseph to write a book about his family, thinking this will return her to success in the publishing world. Joseph, who is gay, starts a romance with a reporter named Timothy. The play ends at Vin's trial which is reported on by Timothy. The Douaihy family has chosen to not try to stop Vin from playing football. Which is followed by Vin’s apology and him reciting Gibran’s Prayer to Saint Rafka. The court goes into recess and Timothy asks for photos from the family, where he is then lambasted by Joseph for trying to exploit them. An open mic portion begins and Gloria unexpectedly appears giving an emotional speech empathizing with the Douahiy family, and saying she feels as if she was a part of their family. Gloria then asks Joseph to drive her home in which she yells “Take a fucking taxi!” at her. A video of Joseph yelling at Gloria then goes viral leading to Gloria securing a book deal. The play uses the device of projections with "a title inspired by the chapter headings in Gibran’s The Prophet."

Sophonisba

Play · 1730

Sophonisba is a 1730 verse drama tragedy by the British writer James Thomson. The play is written in blank verse. It is based on the story of the Carthaginian noblewoman Sophonisba who committed suicide rather than be paraded in a Roman triumph at the end of the Second Punic War. The story has been made into a number of plays including Nathaniel Lee's restoration tragedy Sophonisba and Voltaire's later Sophonisbe. The original Drury Lane cast included Robert Wilks as Masinissa, John Mills as Syphax, Charles Williams as Scipio, John Roberts as Narva, Roger Bridgewater as Laelius and Anne Oldfield as Sophonisba.

Spanish Love

Play · 1920

Spanish Love is a three-act play by Avery Hopwood and Mary Roberts Rinehart, who adapted an earlier Spanish play, María del Carmen by Josep Feliu i Codina. Producers Lincoln Wagenhals and Collin Kemper staged it at the Maxine Elliott Theatre on Broadway, where it opened on August 17, 1920. Although critics had reservations about the play, the production was a success, running for over 300 performances. However, the play's success was overshadowed by the tremendous popularity of The Bat, another collaboration between Hopwood and Rinehart that opened on Broadway the following week. The story focuses on Javier and Pencho, two young Spanish men who are contending for the love of Maria del Carmen. Pencho is arrested after he injures Javier in a fight. Maria agrees to marry Javier to stop the prosecution of Pencho, but Javier dies before the wedding.

Speculation

Play · 1795

Speculation is a 1795 comedy play by the British writer Frederick Reynolds. It premiered at the Theatre Royal, Covent Garden in London on 7 November 1795. The original cast included William Thomas Lewis as Tanjore, John Quick as Alderman Arable, Joseph Shepherd Munden as Project, John Fawcett as Jack Arable, James Middleton as Captain Arable, William Claremont as Sir Fred Faintly, Charles Farley as Vickery, Mary Ann Davenport as Lady Project and Tryphosa Jane Wallis as Emmeline. The Irish premiere took place at the Crow Street Theatre in Dublin on 22 February 1796.

Speed the Plough

Play · 1800

Mrs Ashfield is at the market when she is approached by a handsome young nobleman who gives her a letter to deliver to her husband. When Mr Ashfield reads it, he finds that it is from his daughter Susan, and he is astonished to learn that their former servant-girl, the middle-aged woman Nelly, has just married Sir Abel Handy. The gardener Mr Evergreen arrives to tell them that his master, Sir Philip Blandford, has just returned from twenty years abroad to have his daughter marry the son of Sir Abel Handy, Robert. Mr Ashfield starts for Sir Philip's castle to receive Sir Abel and his son. Sir Abel arrives, encumbered by his inventions, and unrolls a plan of the castle, which his son will receive from Sir Philip as a dowry. Mr Ashfield points out the many problems with the tumbledown place, but the enterprising Sir Abel is untroubled, and mentions that he plans to further local agriculture by holding a ploughing match, so that his jack-of-all-trades son Robert can demonstrate his father's newly invented plough. Robert turns up, and his father asks him why he did not meet him in London. Robert says that he did not wish to disturb him on his honeymoon. He then playfully spars with Mr Ashfield. Two strangers, Morrington and Gerald, confer in a grove. The ploughman Henry, who is following them, overhears the sentence "The infant certainly died with its mother" which he has reason to think refers to himself: he has no knowledge of his own ancestry. He asks Mr Evergreen about this, but the gardener responds that he is sworn to silence, and warns him to avoid Sir Philip forever after. Robert Handy soliloquizes about his dilemma: whether to marry Miss Blandford (for money) or Susan Ashfield (for love). He encounters Mrs Ashfield, who is making lace, and wishing to demonstrate his skill at all tasks he sits down to show her the "Mechlin method", causing Sir Abel much embarrassment when he arrives with Miss Blandford. However, she is not bothered, and they are soon happily absorbed in conversation about London. After a few minutes, Mr Ashfield comes to tell his wife that their daughter has returned home with Lady Handy, and also to warn Sir Abel that his wife has "ordered" him to come too. At the house of the Ashfields, the parents embrace Susan and initially overlook Lady Handy, their former servant. They are puzzled by Nelly's makeup, which Mr Ashfield compares to the paint which he uses to identify his sheep. Susan leaves to prepare a room for Lady Handy. When Robert Handy arrives, his new stepmother curtsies to him and he tries to correct her manner of doing so. Sir Abel hands her a fan and, when she fans herself, Robert again tries to demonstrate the correct manner. She storms off. When Susan comes back into the room, Robert privately hands her a letter. A countryman turns up to tell them that the ploughing contest is about to begin. In the parlour, Mr and Mrs Ashfield discuss the letter they saw Robert give Susan. They are interrupted by Henry, who borrows Mr Ashfield's best plough for the contest, in the hope of meeting Sir Philip; then they see Susan crying as she locks away the letter she has received. In her absence, they unlock the box, but cannot bring themselves to read the letter, and put it back. When they ask her about it, she will only say that Robert had previously declared his love for her, and she was not unmoved, but that the letter was disgraceful to him. The contest is won by Henry, as Robert completely loses control of his horses, and Miss Blandford takes Henry's hand for the dance. Inside the castle, Mr Evergreen tells Sir Philip that Henry has agreed never to meet him. But when Sir Philip's daughter talks about the ploughing contest, she accidentally lets slip the fact that she is in love with someone other than Robert and, on meeting him, Sir Philip realizes that it is Henry. He demands Henry leave immediately and never return. Sir Philip tells his daughter some of the story of his past. As a young man on the Continent, he gambled all his possessions away to a masked man named Morrington; he began a new life, marrying a woman of humble birth, but the day after their wedding they received an anonymous packet containing ten thousand pounds. Twenty years later, his wife died, and his daughter received an offer of marriage from Sir Abel; when he returned to England he was surprised to discover that no-one claims his castle, and he wonders whether Morrington has died without claiming it, or simply awaits his return for the sake of inflicting a greater humiliation. Sir Philip meets Mr Ashfield and promises to forgive a 150-pound debt if he will turn out Henry. Mr Ashfield refuses. Morrington and Gerald turn up at the Ashfields' house and present a bond worth one thousand pounds to Henry, asking him to take it to Sir Philip to settle Mr Ashfield's debts, and accept the rest of its value for himself. But when Henry does so, he learns that Morrington was the man who ruined Sir Philip and he tears up the bond in Sir Philip's presence. The old man exclaims "Blandford" and Henry guesses that it is his original surname. Sir Philip says that he will say nothing more, ever, unless Henry leaves immediately. After Henry's departure, Robert comes and tells Sir Philip that his father is busy renovating the east wing of the castle. Sir Philip panics and demands that they leave immediately. He shows Robert a portrait of his brother, and confesses that he stabbed him twenty years before on discovering him kissing his fiancée: this was why he had fled to the Continent. Robert immediately goes to Susan Ashfield and asks for her hand in marriage. Sir Abel is astonished, but then Gerald approaches him and asks if he will pay five thousand pounds to be rid of his own tempestuous wife. Gerald, it turns out, was Lady Handy's first husband, whom she thought dead after his disappearance twenty years ago. Sir Abel accidentally sets fire to the castle during a science experiment. Henry rescues Miss Blandford, then rushes back to the ruins to search the east wing, where he finds a knife and a bloody cloth. He confronts Sir Philip, who confesses that Henry's father was the brother he thinks he murdered. At this point, Morrington enters the scene and uncovers his face to Sir Philip. "Morrington" is in fact Sir Philip's brother, who survived the attempt on his life, and revenged himself at the card table, only to be filled with remorse ever after.

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