aftercurtain.
Loading navigation…

Plays

Upcoming shows

8284 shows

Clear filters

The Athenian Captive

Play · 1838

The Athenian Captive is an 1838 tragedy by the British writer Thomas Talfourd. It was originally intended to be performed at Covent Garden in London but after rehearsals the illness of one of the actresses forced delays. This led him to take it instead to the Theatre Royal, Haymarket where it premiered on 4 August 1838. The Haymarket cast was led by William Macready as Thoas and Mary Warner as Ismene, and the production enjoyed success. Other cast members included James Prescott Warde as Creon, Henry Howe as Lycus and Helena Faucit as Creusa. Talfourd dedicated the play to Lord Denman, the Lord Chief Justice.

The Autumn Garden

Play · 1951

The events of the play unfold over the course of one week at Constance Tuckerman's boarding house on the Gulf Coast. A few of her regular guests are enjoying post-dinner cocktails. Rose Griggs is trying to get her husband, General Benjamin Griggs, to admire her dress, which she has put on for a party. Young Frederick Ellis and his grandmother Mrs. Mary Ellis are reading the galleys for a novel that Frederick is about to publish. His mother Carrie Ellis and Edward ("Ned") Crossman are the other guests in the lounge, as the play opens. Frederick is engaged to be married to Sophie Tuckerman, who was adopted by Constance and brought to America from France when she was 13. She works with Leon to help Constance run the boarding house. Constance is overwrought with anxiety over the impending arrival of Nina and Nicholas Denery, who will spend the weekend at her house. Nicholas was the love of her life, before he left to become an artist in New York. It does not take long for the fissures in all of the characters' facades to show themselves. The Griggs are elegantly adversarial towards one another. Carrie is desperate to impose her will on her son. Nicholas, contrary to Constance's continued delusion, is a failed artist, and his marriage to Nina is crumbling. Sophie does not love Frederick, but she believes marrying him will be an acceptable way to end her dead-end existence in the boarding house. Constance is horrified to realize that Sophie will not marry for love, and insists, despite all the evidence surrounding her to the contrary, that marriages must be based on love. As the week progresses, the characters grow more disillusioned with themselves and each other. Nicholas gets frightfully drunk one night and breaks up with Nina again. Later, he propositions Sophie, who allows him to kiss her. He passes out in her bed. The next morning, the house is scandalized by his presence in her bed, knowing that the neighbors can see through the window, and Sophie will be the talk of the town. As Nina is leaving, Nicholas talks his way back into her heart, and she is happy to continue their destructive cycle by reuniting. Before she leaves, Nina is cornered by Sophie who demands $5,000 for the shame that Nicholas has caused her. Revealing how sophisticated she really is, she consoles Nina to not think of it as blackmail, but so much as a premium to be paid for the privilege of continuing to play at happiness with Nicholas a little while longer. Nina agrees to pay her the money. Sophie decides that she will use it to return to France. Rose Griggs presents a letter from her doctor to the General. He has asked her for a divorce, but she reveals that she has heart trouble that could kill her. The doctor's note explains that with the right treatment, she could be healthy again in a year. She begs the General to stay with her for the year and promises to divorce him afterward. The General agrees, and confesses to Edward Crossman that he was almost relieved to have an excuse to not go through with the divorce. Constance finally confesses to Edward her feelings for him, and she asks him to marry her. He declines, explaining that he is just a drunk, who gets drunker every year. He confesses that coming to her boarding house every year is a vain attempt to sustain the illusion of a dignified life that he does not actually live.

The Bad Man

Play · 1920

Playwright Porter Emerson Browne declares a certain timeliness of theme by employing the former Mexican bandit, Pancho Villa, as a hero of the proceedings, though he thinly disguises him under the name of Pancho Lopez. The scene is a cattle ranch near the Mexican border in Arizona. Gilbert Jones, a young American, is the ostensible owner of the ranch, but the $10,000 with which he bought it was borrowed from his uncle, Henry Smith of Bangor, Maine, who is living with him. A year after the purchase young Jones enlisted in the American army, saw service in France, and when he returned found his property practically worthless. Mexican bandits had stolen most of his cattle and such crops as had been planted had failed. In an effort to save the property he mortgaged the ranch to Jasper Hardy, the sheriff of the county, and the play opens the day the mortgage is to be foreclosed by Hardy.

The Bad Seed

Play · 1954

The play focuses on the seemingly perfect little girl Rhoda Penmark, who is able to charm her way into getting just about anything she wants. Anything, except a highly coveted penmanship medal that her teacher has awarded to Claude Daigle, one of Rhoda's classmates. During a school outing near the shore, Claude goes missing and it is soon discovered that Claude has drowned near a pier. Rhoda's mother, Christine, begins to suspect that Rhoda had something to do with the boy's death when she finds Claude's penmanship medal hidden in Rhoda's room. Gradually Christine comes to believe that Rhoda was behind other sudden deaths surrounding the family. Her suspicions challenge Christine to look into her own past, and she learns not only that she was adopted, but also that her biological mother was a ruthless serial killer. Near the end of the play, Christine decides to take both Rhoda's life and her own. She gives Rhoda a large quantity of sleeping pills, telling her they are vitamins. Then she shoots herself in the head, killing herself. Rhoda survives because the sound of the gunshot has alerted her neighbors to investigate and they find Rhoda just in time to save her.

The Banditti

Play · 1686

The Banditti is a 1686 comedy play by the English writer Thomas D'Urfey. It is also known by the longer title The Banditti: or, a Lady's Distress. It was originally staged by the United Company at the Drury Lane Theatre. The original cast included Edward Kynaston as Don Antonio, Joseph Williams as Don Fernand, Anthony Leigh as Don Ariell, Cave Underhill as Don Diego, Thomas Gillow as Don Garcia, Thomas Percival as Lopez, Thomas Jevon as Frisco, Philip Griffin as Leon, Sarah Cooke as Dona Elvira, Katherine Corey as Eugenia and James Nokes as Megaera.

The Bank Note

Play · 1795

The Bank Note: Or Lessons for Ladies is a 1795 comedy play by the Irish writer and actor William Macready the Elder. Its plot draws inspiration from William Taverner's The Artful Husband as well as other earlier plays. Macready's play premiered at the Theatre Royal, Covent Garden in London on 1 May 1795. The play is notable for including the first known printed use of the word 'smithereens':I join you with all my heart,—and wish he was hang'd, shot, cut in smithereens.

The Bare Idea

Play · 1938

The Bare Idea is a 1938 comedy play by the British writer Gordon Sherry. A farce debuting in Hull in 1938, the West End appearance was produced during the Phoney War period of the Second World War. It revolves around a nudist camp being turned into a centre of financial scheming. It ran for 31 performances at the Comedy Theatre between 10 and 27 January 1940. The cast included Ellen Pollock, Gerald Case, Oliver Gordon and Roddy Hughes. The theatre was under the control of Archibald Nettlefold. The sets were designed by Hal Burton.

The Basic Training of Pavlo Hummel

Play · 1971

The Basic Training of Pavlo Hummel is a play by David Rabe. Rabe's first play in his Vietnam War trilogy that continued with Sticks and Bones and Streamers, its story is bracketed by scenes depicting the death of the everyman-like title character, who mindlessly grabs at a live hand grenade tossed into the Saigon brothel he is visiting. A born loser who is drafted into the United States Army, Hummel immediately encounters difficulties with both his sergeants and fellow recruits, none of whom trust him. As he stumbles through basic training and comes ever closer to the battlefield, he is guided by Ardell, a mysteriously ambiguous character who seemingly is an officer but serves as Hummel's conscience and a Greek chorus-like figure as well. Although injured repeatedly, Hummel is so determined to be a soldier he passes up a chance to go home, a decision that ultimately proves fatal.

The Bat

Play · 1920

Elderly, single Cornelia Van Gorder is renting an old, isolated Long Island mansion owned by the estate of Courtleigh Fleming, a bank president who had reportedly died several months before. On a stormy evening, the electricity flickers on and off. Most of the servants, convinced that the house is haunted, have made excuses and fled. According to a news report, a mysterious criminal known as "the Bat" has eluded police in the area. Cornelia is in the house with her maid, Lizzie, and Billy, a Japanese butler who is part of Fleming's household staff. They are joined by Brooks, a gardener recently hired by Cornelia's niece, Dale Ogden. Dale and Dr. Wells, the local coroner and an old friend of Fleming's, arrive for a visit. They tell Cornelia that Jack Bailey, a cashier at Fleming's bank, has disappeared and is suspected of stealing over a million dollars. Cornelia tells Lizzie and Dale that she has invited a police detective to visit because someone has been trying to break into the house at night. Wells leaves, and Detective Anderson arrives. Cornelia tells Anderson that she suspects Fleming embezzled from the bank and hid the money in the house. While Cornelia shows Anderson to his room, Dale warns Brooks (who is actually Jack Bailey, and Dale's fiancé) that Anderson is a detective. Brooks also believes that Fleming hid the money, and wants to clear himself by finding it. Dale summons Fleming's nephew, Richard (who rented the house to Cornelia), to learn about possible hiding places. Richard shows her a blueprint of the house, with a hidden room where the money might be. While they fight over the blueprint, a figure appears in the darkness and shoots Richard, ending the first act. Cornelia calls Dr. Wells back to the house to examine Richard's body. Dale asks Wells to hide the blueprint she took from Richard because the others might think that she killed him for it. Reginald Beresford, a lawyer waiting in his car after he drove Richard to the house, comes inside. Reginald recognizes Jack, and the exposure of her fiancé makes Dale admit that she gave Wells the blueprint with the hidden room. Wells claims that he does not have the blueprint; Cornelia reveals other evidence incriminating him, and Anderson asks to question him alone. Wells knocks Anderson unconscious during the interrogation and drags him into another room. Before Wells can go to the hidden room, a stranger claiming to have lost his memory after he was attacked and tied up in the garage appears at the terrace door. When the guests try to identify the unknown man, they discover that they have been locked in the house. At the end of the second act, Cornelia finds the Bat's calling card, a black paper bat, tacked to a door. The third act begins on the upper floor of the house, where a masked man is seen in the previously-hidden room taking a money bag from a safe. When Dale finds the room, the man flees, leaving her and the money locked inside. The others find her there, unconscious. Anderson reappears and accuses Wells of stealing the money and killing Richard. Cornelia begins to present an alternative theory, but is interrupted when the unknown man comes upstairs and Anderson asks him about his amnesia. Cornelia says that she sees a man on the roof, and most of the group leaves to look for him. Cornelia uses the distraction to tell Dale, Jack and the unknown man that she thinks the money is still in the room. When they search for the money, Jack finds the body of Courtleigh Fleming, who was killed only recently. As Cornelia, Dale and Jack argue about what has happened, the unknown man locks the door and orders them to be quiet. When the masked man sneaks in through a window, the unknown man apprehends him and reveals that he, the unknown man, is the real Detective Anderson; the Bat (the masked man) had pretended to be Anderson.

The Bath

Play · 1701

The Bath; or, The Western Lass is a 1701 comedy play by the English writer Thomas d'Urfey. The original Drury Lane cast included Philip Griffin as Lord Lovechace, Henry Norris as Sir Oliver Oldgame, Benjamin Johnson as Sir Carolus Codshead, John Mills as Colonel Philip, William Pinkethman as Charles, William Bullock as Harry, Colley Cibber as Crab, Frances Maria Knight as Lydia, Jane Rogers as Sophronia, Mary Kent as Delia, Susanna Verbruggen as Gillian and Henrietta Moore as Combrush.

The Bath Unmasked

Play · 1725

The Bath Unmasked is a 1725 comedy play by the British writer Gabriel Odingsells. The action takes place in the fashionable spa town of Bath. Staged at the Lincoln's Inn Fields Theatre in London it lasted for six performances, considered a reasonable run for a comedy at the time. The original cast included Lacy Ryan as Sprightly, Anthony Boheme as Wiseman, John Egleton as Pander, John Hippisley as Sir Captious, Richard Diggs as Sharper, Jane Egleton as Lady Ambsace, Jane Rogers as Liberia, Henrietta Morgan as Tippet, Anne Parker as Cleora and Thomas Walker as Frippou.

The Battle of Eddington

Play · 1796

The Battle of Eddington: Or, British Liberty is a 1796 historical tragedy play written by the English author John Penn. It first appeared at Richmond Theatre before its West End premier at the Theatre Royal, Haymarket in London on 28 March 1796. It featured songs by the composer John Wall Callcott. It is inspired by the Battle of Edington in 874 when the English forces of Wessex under Alfred the Great defeated a Viking army. Penn dedicated the play to the prime minister of the United Kingdom William Pitt.

The Battle of Hastings

Play · 1778

The Battle of Hastings is a 1778 play by the English writer Richard Cumberland. It is a tragedy set around the Battle of Hastings in 1066. It was staged at the Drury Lane Theatre in October 1778 by Richard Brinsley Sheridan. Sheridan later mocked Cumberland's sensitivity to criticism by modelling the character Sir Fretful Plagiary, in his 1779 play The Critic, after him. The original Drury Lane cast included Robert Bensley as Harold Godwinson, John Henderson as Edgar Atheling, John Palmer as Earl Edwin, William Brereton as Prince Waltheof, James Aickin as Earl of Northumberland, Richard Hurst as Raymond, Elizabeth Younge as Matilda and Mary Ann Yates as Edwina.

The Battle of Hexham

Play · 1789

The Battle of Hexham is a 1789 history play by the British writer George Colman the Younger. It is based around the 1464 Battle of Hexham, a decisive Yorkist victory during the War of the Roses. It revived Colman's career after the disappointment of his works following his earlier hit Inkle and Yarico. It premiered at the Haymarket Theatre in London on 11 August 1789 with a cast that included John Edwin and Maria Theresa Kemble. It helped reinvigorate the history genre. It combined a mixture of comedy, pathos and mystery and owned a great deal of its inspiration to Shakespeare's histories.

The Bear Dances

Play · 1932

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

The Beauty Queen of Leenane

Play · 1996

Maureen Folan, a 40-year-old spinster, lives in the Irish village of Leenane, Connemara, in the early 1990s with her 70-year-old mother Mag, for whom she acts as caretaker. While Maureen is out, the Folan home is visited by Ray Dooley, a young man, who invites both women to a farewell party for his visiting American uncle. When it seems Mag is incapable of remembering this message, Ray writes it down for Maureen. As soon as he leaves, Mag destroys the note in the furnace. Upon Maureen's return, she admonishes her mother for depending on her as if she were an invalid; despite her bad back and burnt hand, Maureen thinks Mag is capable of doing more for herself. Maureen has already learnt of the party from Ray, whom she passed on her way in, so she punishes Mag for her dishonesty by forcing her to drink lumpy Complan. Maureen, a virgin who has only ever kissed two men, buys a new dress and attends the party. She brings Ray's older brother, Pato, home with her. Pato is a construction worker who lives primarily in London, though he is unhappy both there and in Leenane. He reveals that, although he has barely spoken to Maureen in 20 years of acquaintance, he has secretly thought of her as "the beauty queen of Leenane" for a long time. She brings him to her bedroom. In the morning, Mag empties her bedpan into the kitchen sink, a daily habit that disgusts Maureen. Pato emerges from the bedroom and prepares breakfast for a shocked Mag, revealing that Maureen insisted he not sneak out. Maureen then emerges, dressed only in her underwear, and flaunts her intimacy with Pato in front of Mag. Incensed, Mag accuses Maureen of having deliberately burnt her hand by pouring hot oil over it, and then reveals that it is actually she who is legally responsible for Maureen after having signed her out of an English "loony bin." After Mag goes to find the papers that prove this, Maureen tells Pato that Mag burnt herself trying to cook unsupervised, but she admits that she truly did suffer a nervous breakdown while working as a cleaner in England, 15 years earlier, when she was unable to endure the teasing of her English coworkers. She claims Mag sometimes tries to tell lies about the past, thinking Maureen is unable to discern them from reality. Pato is sympathetic, telling her that his opinion of her is unchanged. However, when he urges her to dress herself for warmth, she becomes insecure about her appearance and throws a tantrum. Mag returns with the documents, but Pato ignores her, departing after telling an upset Maureen that he will write to her. Some time later, Pato writes from London, telling Maureen that he is going to work for his American uncle in Boston, and he wants Maureen to come with him as soon as she can. The letter also reveals that he was unable to perform sexually when they were together, but he tells her that it was only because he had drunk too much. He also tells her that there will be a going away party for him. He sends the letter to Ray, with explicit instructions to put it directly into Maureen's hands. However, when Ray comes to the house, Maureen is out and Mag persuades him to leave the letter with her, playing on his resentment of Maureen for failing to return his swingball that fell in the Folan yard when he was a child and for snubbing him recently in the street. After Ray leaves, Mag reads and burns the letter. On the night of Pato's farewell party, Maureen is aware of Pato's plans but assumes he is uninterested in pursuing a relationship. However, she tells Mag that it was she who ended things with him. When she continues to talk about the sexual encounter, Mag teases her and accidentally lets slip that she is aware of Pato's impotence. Seizing on it, Maureen tortures Mag with hot oil until she confesses the letter's existence and contents. Leaving Mag writhing on the floor, Maureen quickly puts on her dress and rushes out to the party. She returns home after midnight, telling an unmoving Mag that she caught Pato at the train station before he left, and they recommitted themselves to one another. At the end of the scene, Mag slumps to the floor, dead. Maureen has bashed her head in with the poker. A month later, Mag's funeral is held following an inquest that exonerated Maureen. Ray visits, bringing word from Pato. However, it soon becomes clear that Maureen imagined her reunion with Pato; he actually left by taxi without ever seeing Maureen, and is now engaged to a woman with whom he danced at the party. Maureen asks Ray to send Pato a message, "The beauty queen of Leenane says 'Goodbye.'" Ray leaves after discovering and seizing his lost swingball. Left alone in the house, Maureen puts on Mag's sweater, sits in her rocking chair, and adopts her mannerisms.

The Beaux' Stratagem

Play · 1707

Aimwell and Archer are two fashionable beaux, on the lookout for an heiress to marry so they can repair their fortunes. To help their scheme, Archer poses as Aimwell's servant when they arrive in the city of Lichfield. Aimwell insinuates himself into friendship with the beautiful Dorinda, daughter of Lady Bountiful. Meanwhile, Archer strikes up an extremely worldly friendship with Kate, Dorinda's sister-in-law. She is unhappily married to Sullen, a parody of a country squire, mad for hunting and eating and (especially) drinking. Obstacles to a happy ending include the fact that Kate's husband despises her; that the innkeeper's saucy daughter, Cherry, has fallen in love with Archer; that Lady Bountiful, who is extremely over-protective of Dorinda's virtue, mistakenly believes herself to be a great healer of the sick, while a band of brigands plans to rob Lady Bountiful that very night.

The Beggar's Daughter of Bethnal Green

Play · 1828

The Beggar's Daughter of Bethnal Green is a five-act comedy play by the Irish writer James Sheridan Knowles. It was first staged at the Theatre Royal, Drury Lane in 1828 in London. It takes its name from a traditional popular song of the same name. On its opening night the audience began heckling in the second act, and by the third act, their dissatisfaction had become so tumultuous that the stage manager "implored a patient hearing, pledging himself that if the opinion of the audience was so decidedly against the piece at its conclusion, it should be withdrawn". The play was harshly criticised by the press for its weakness, lack of action, thinly sketched characters and lack of originality. In 1834 a revised version entitled The Beggar of Bethnal Green was staged at the Victoria Theatre. The action takes place in London and Romford, then in Essex. The original Drury Lane cast included Charles Mayne Young, William Farren, John Pritt Harley, John Liston, Henry Gattie, Paul Bedford, Harriet Elizabeth Savill and Mary Ann Knight. Knowles dedicated the published version to the Scottish politician Kirkman Finlay.

The Belle of Amherst

Play · 1976

The Belle of Amherst is a one-woman play by William Luce. Based on the life of poet Emily Dickinson from 1830 to 1886, and set in her Amherst, Massachusetts, home, the 1976 play makes use of her work, diaries, and letters to recollect her encounters with the significant people in her life – family, close friends, and acquaintances. It balances the agony of her seclusion with the brief bright moments when she was able to experience some joy. After one preview, the original Broadway production, directed by Charles Nelson Reilly and starring Julie Harris, opened on April 28, 1976, at the Longacre Theatre, where it ran for 116 performances. The Wall Street Journal reviewer wrote "With her technical ability and her emotional range, Miss Harris can convey profound inner turmoil at the same time that she displays irrepressible gaiety of spirit." Harris, who portrayed 15 different characters in the play, won the Tony Award for Best Actress in a Play, earned a Drama Desk Award nomination for Unique Theatrical Experience, and won a Grammy Award for Best Spoken Word Recording. She appeared in a televised PBS production and extensively toured the country with the play for a number of years. Dickinson biographer Lyndall Gordon criticized the play for perpetuating Mabel Loomis Todd's chaste, hermit-like image of Dickinson, as opposed to the lively, witty, provocative, and sometimes erotic Dickinson present in her work and known to those who knew her more personally. The Spanish translation of the play was done by Argentinean poet Silvina Ocampo for the Buenos Aires premiere starring China Zorrilla in January 1981. The production ran for more than 500 performances and Zorrilla embarked on a Latin American tour that ended at New York's Hunter College in 1983 and Washington's Kennedy Center. With Emily, the Uruguayan actress made a triumphant comeback to her country after 10 years of proscription for political reasons. In 1999, the play was presented by Cesear's Forum at Playhouse Square, Cleveland, Ohio. The production presented Dickinson in the attic of her home as a kind of apparition. Keith Joseph of Cleveland Scene found the work bizarre, mysterious and poignant. Of Cleveland actress Sheila E. Maloney, he writes: "Her poetess, instead of suggesting the usual fragility of one of the world's most famous recluses, has the mad glee of Arsenic and Old Lace's Brewster Sisters. Her approach is hearty and hale."

The Belle's Stratagem

Play · 1780

The play's double plotline concerns the romance between Letitia Hardy and Doricourt, as well as the relationship between Sir George Touchwood and his wife, Lady Frances Touchwood. The story comes to a dénouement at the masquerade ball of the last act. As described by the press office of the Oregon Shakespeare Festival, "Set in 1780s London, The Belle's Stratagem is the tale of Letitia Hardy, promised to the charming Doricourt whom she hasn't seen since childhood. Her plan to enchant him with her wit and charm is turned upside-down when she discovers she's fallen madly in love with him, and he seems quite unmoved by her. Desiring to marry a man who adores her equally, she plans a bold deception--to have love as she likes it. Interwoven with Letitia's scheme to trick Doricourt into passion is the story of the newly married Touchwoods. Sir George is wildly jealous of his lovely country-bred wife and his fear of her being corrupted by fashionable life encourages plots by his acquaintance to turn Lady Frances into a fine lady in order to spite Sir George." The role of the ingenue heroine, Letitia Hardy, proved to be a successful vehicle in Paris for Harriet Smithson, who infatuated Hector Berlioz. It was also "a favorite role" for Ellen Terry, who was both photographed and engraved in her character's costume. Characters include... Kitty Willis, Tony, Saville, Courtall, Doricourt, Flutter, Villers, Mrs. Racket, Letitia Hardy, Old Hardy, Sir George Touchwood, Miss Ogle, Lady Frances Touchwood

The Best Man

Play · 1960

At the Presidential nominating convention in the summer of 1960 in Philadelphia, Secretary of State William Russell lives by his principles, but is haunted by recent health problems that threaten his career and vote-winning potential. Senator Joe Cantwell presents himself as the people's candidate; his determination to win at all costs is also his great flaw. Cantwell is faced with the revelation of sexual indiscretions, threatening both his marriage and his career. These two frontrunners for their party's presidential nomination fight for the support of the outgoing president and resort to mudslinging in a very public contest.

The Big Bonanza

Play · 1875

The stuffy and elitist Lucretia Cawallader is intent on seeing that her daughter, Eugenia, should be properly married to someone of sufficiently high position in society. She becomes irate when she learns that Eugenia was seen in public with an unknown disheveled-looking young man. Her husband, the Wall Street investor Jonathan Cadwallader, further adds to her distress by his incessant arguing with Lucretia's visiting cousin, Professor Agassiz. Jonathan makes a $30,000 wager with Agassiz betting that the professor, if given the opportunity to invest that money, could not successfully net a positive return in a month's time. Agassiz makes the attempt, and fails. However, it is revealed that the wager was not fair, as Jonathan's clerk had purposefully disobeyed Agassiz's instructions regarding how to invest the funds. The mysterious you man returns, and it is revealed he is Bob Ruggles, Jonathan's nephew. Reconciliation are made, and Bob and Eugenia are given the family's blessing to marry.

The Big Knife

Play · 1949

Garfield played major movie star Charlie Castle, whose idealistic wife Marion has left him. She has warned him not to sign a new contract with studio boss Marcus Hoff, or she will not return to him. Hoff has covered up a fatal hit-and-run committed by Castle, and he threatens Castle with the revelation of his secret if he does not sign the contract. Castle signs the contract, but subsequently commits suicide with the knowledge that he can never reclaim his lost idealism that he had sacrificed for success.

The Birth-day

Play · 1799

The Birth Day or The Birth-day is a 1799 comedy play by the British author Thomas John Dibdin. It was based on the work Die Versöhnung by the German author August von Kotzebue, which Dibdin translated and rewrote for the English stage. It premiered at the Theatre Royal, Covent Garden on 8 April 1799. The Covent Garden cast included Joseph Shepherd Munden as Captain Bertram, John Fawcett as Jack Junk, John Henry Johnstone as Harry Bertram, Charles Murray as Mr. Bertram, John Waddy as Lawyer Circuit, Jane Pope as Emma and Mary Ann Davenport as Mrs Moral. Fawcett's character Jack Junk, a sailor, was a reprisal from the popular 1798 musical The Mouth of the Nile by Dibdin. The Irish premiere took place at the Crow Street Theatre in Dublin on 25 November 1799.

The Blue Flame

Play · 1920

In the first act, irreligious scientist John Varnum has developed a device to bring the recently dead back to life. His sweet, religious fiancée, Ruth Gordon, does not approve of his experiments and hopes to reform him. When she is struck by lightning and killed, she becomes the first person to be revived by his machine. Before she is reanimated, the audience sees her soul visibly leave her body as the "blue flame" of the title. With no soul, the revived Ruth has an entirely different personality. Upon waking, she asks John for a kiss, then suggests they marry immediately so they can begin having sex. In the second and third acts, Ruth seduces a young man named Larry Winston and steals him away from his fiancée. She takes Larry to New York's Chinatown, where she gets him hooked on cocaine and steals an emerald from an idol. She meets another young man, Ned Maddox, whom she seduces and kills for insurance money, framing another man for the murder. In the final act, Ruth's death and revival is revealed to be a dream John was having. Upon waking he understands the importance of the soul; he embraces religion and destroys his life-restoration device.

The Blue Goose

Play · 1940

The Blue Goose is a comedy play by the British writer Peter Blackmore. It was first staged at Richmond Theatre on 8 April 1940. The following year it transferred to the Comedy Theatre in London's West End where it ran for 68 performances between 23 January and 15 March 1941. The West End cast included Viola Lyel, Ian Fleming, Iris Hoey, Billy Merson, Davina Craig and John Warwick who was replaced during the run by Ballard Berkeley. In 1951 Blackmore produced a novelisation of the play, published by Ward Lock. The play is set in the small coastal town of Weymouth Regis, where the annual operatic society's performance of The Mikado is taking place. The lead role is played, as always by Mrs Portal the wife of a council official. Meanwhile, one of her daughters plans to elope with the captain of the yacht The Blue Goose. However, when the captain falls overboard and she drifts out to sea, the lifeboat crew are called out still wearing their costumes from the performance.

Showing 5,257–5,376 of 8,284 shows

Load more shows