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The Women's Conquest

Play · 1670

The Women's Conquest is a 1670 tragedy by the English writer Edward Howard. It was first staged by the Duke's Company at the Lincoln's Inn Fields Theatre with a cast that included Henry Harris as Tysamnes, William Smith as Foscaris, John Crosby as Andrages, John Young as Bassanes, Samuel Sandford as Toxaris, Philip Cademan as Alvanes, Henry Norris as Araxis, Mary Betterton as Parisatis, Jane Long as Mandana, Anne Shadwell as Clarina, Elinor Dixon as Melvissa and Mary Lee as Doranthe.

The Woods

Play · 1977

The play is about a couple, Nick and Ruth, spending a night at a house in the country. They push their relationship to the breaking point in a night of stories and fights, only to rediscover their need for one another in the morning. The play takes place on the front porch of Nick's family's summerhouse, where he and Ruth are spending the night. The Woods ends with a bed-time story, but the final reconciliation remains uncomfortably tempered by the violent core we now know to be hiding beneath the soothing words.

The Woodsman

Play · 2012

The play focuses on the story of Nick Chopper, a mortal woodsman who will eventually become the Tin Woodman in The Wonderful Wizard of Oz. In eastern section of the Land of Oz, Munchkin Country, the Munchkins live in fear of their master the Wicked Witch of the East. The Witch's rule has made everyone afraid to speak aloud – to that end, the play is almost entirely wordless, with the characters instead communicating through noise and mime. Two Munchkins brave the dangerous forest to try to find safety in Emerald City on the other side, but after finding a safe clearing decide to settle down in the woods instead. As they age, they give birth to Nick Chopper, who after their deaths inherits his father's practice as a woodsman and a locket belonging to his mother, along with their hope to eventually reach the Emerald City. The Witch has in her captivity a Munchkin named Nimmie, the daughter of a Munchkin sorcerer, who is forced to serve as the Witch's servant. Sent into the woods to retrieve items for the Witch, Nimmie is ambushed by a vicious Kalidah creature, but is saved by Nick. The pair having never seen another Munchkin, they quickly grow intrigued by each other: Nick shows off his skills with his axe and teaches Nimmie how to use it. They gradually fall for each other as Nick gifts Nimmie his mother's locket, but Nimmie recalls her mission and returns to the Witch. However, the Witch notices the locket and attempts to take it from Nimmie: Nimmie uses her latent powers of sorcery as well as her bravery she learned from Nick to fight the Witch into submission and escape. She reunites with Nick and the two become lovers, planning to build a home and family together. However, the Witch tracks down Nick and Nimmie while they are asleep and places a curse on his axe which causes him to lose pieces of himself every time he uses it. A group of Winkies, the Tinsmiths, help him by replacing each of his severed limbs with metal parts. Nimmie tries to stop Nick from continuing to use the axe, but he is too devoted to building their future together: eventually, the axe completely tears him to pieces. Nimmie recovers his parts and pleads with the Winkies for help, breaking her silence in the process. The Winkies build Nick a new body out of tin, and Nimmie uses her powers to revive him. However, realizing he lacks a heart and feeling he can no longer love Nimmie, Nick chooses to leave her. The Witch invites a devastated Nimmie to return to her, but Nimmie rejects her and vanishes into the woods alone. In the play's only song with lyrics, "Rusting Tin Man", the Woodsman devotes his existence to chopping wood in the field as the spirits of his parents sadly watch on. Eventually, his memories of Nimmie fade as he rusts until he is completely unable to move. Some time later, the Witch is crushed when a house falls from the sky, and a girl emerges, venturing into Oz.

The World in a Village

Play · 1793

The World in a Village is a 1793 comedy play by the Irish writer John O'Keeffe. It was staged at the Theatre Royal, Covent Garden in London on 23 November 1793. The original cast included John Powell as Sir Henry Check, John Henry Johnstone as Captain Mullinahack, James Middleton as William Bellevue, Joseph George Holman as Charles, Thomas Hull as Willows, William Cubitt as Captain Vanslueisen, William Macready as Briers, John Fawcett as Master Jack, William Thomas Lewis as Grigsby, Joseph Shepherd Munden as Jollyboy, Harriet Pye Esten as Louisa, Isabella Mattocks as Mrs Allbut and Susan Fawcett as Mrs. Bellevue. Its Irish premiere took place at the Crow Street Theatre on 25 November 1794.

The World's Full of Girls

Play · 1943

The World's Full of Girls is a play in three acts by Nunnally Johnson which was adapted from Thomas Bell's 1943 novel Till I Come Back to You. The work premiered on Broadway on December 6, 1943, at the Royale Theatre. The cast included Thomas W. Ross as Mr. Bridges, Eva Condon as Mrs. Bridges, Walter Burke as Nick, Julie Stevens as Hannah, Gloria Grahame Hallward as Florrie, Virginia Gilmore as Sally, Frances Heflin as Adele, Berry Kroeger as Miley, Thomas Hume as Dave, Charles Lang as Edward, Harry Bellaver as Sergeant Snyder, John Conway as Mel Fletcher, and Cora Smith as Mrs. Fletcher.

The Wrangling Lovers

Play · 1676

The Wrangling Lovers; Or, The Invisible Mistress is a 1676 comedy play by the English writer Edward Ravenscroft. It premiered at the Dorset Garden Theatre, performed by the Duke's Company with a cast that included Anthony Leigh as Count de Benevent, William Smith as Don Diego de Sluniga, Matthew Medbourne as Don Ruis de Moncado, Henry Harris as Don Gusmun, Cave Underhill as Sanco, Thomas Percival as Ordgano, Margaret Hughes as Octavia, Elizabeth Barry as Elvira and Anne Shadwell as Beatrice.

The Wren

Play · 1921

The setting is an old New England farmhouse on the coast near Ogunquit, Maine. The farmhouse's ground floor interior walls have been removed to leave a large open area, with a double door entry in the center stage back wall. Through the open doors may be seen an exterior veranda, the bay, and another cape. Act I (Interior of Cap'n Olds Place. A spring afternoon.) Cap'n Olds wheels himself in from the veranda, but gets stuck until Mrs. Freehart gives him a push. They are surprised by the unexpected arrival of Mr. Frazee. He asks Seeby for a room separate from that of his wife. Seeby stops Francis and the Captain from beleaguering Frazee with gossip about his wife and Roddy. When they do come in from a morning supposedly devoted to painting, their relationship is betrayed by identical daisy chains of flowers around their necks. Clara Frazee is surprised to find her husband waiting. She portrays Roddy as Seeby's beau when Frazee is around, only to flirt with Roddy when he is not. Seeby, meanwhile, realizes Roddy hasn't done any serious painting since Clara arrived. (Curtain) Act II (Same, that evening.) Francis and Mrs. Freehart go out walking together in the evening. Clara has encouraged Roddy to take Seeby for a walk and play up to her, to mislead Mr. Frazee. Clara plays the piano for Roddy when he and Seeby return. Seeby intervenes by calling Francis to bring his guitar. Seeby sings The Nightingale while Francis plays and backs her vocals. Mr. Frazee appears and asks Seeby to have his bill ready tomorrow morning, when he will leave... with his wife. Clara objects and pursues him back to his room. Seeby then has words with Roddy, who is hopeless when Clara is present. Seeby accuses him of leading her on last season and tonight. Roddy protests his sincerity, but is nonplussed when Frazee tells him Clara makes a habit of these liaisons with bohemian types. Frazee then tells Clara that Roddy cannot afford to keep her; Francis has told him that Roddy stays at Cap'n Olds Place at half-rates. (Curtain) Act III (Same, the next morning.) The next morning Francis bears the brunt of Seeby's displeasure with his gossiping. Roddy confesses to Clara that he has been living off the sale of two paintings since last year, and cannot afford to take her anywhere. Clara realizes she better return with her husband, who understands her and can indulge her need for occasional flings. Seeby sends Roddy out to do some painting, rejecting his request to come along with him. Francis, the Captain, and Mrs. Freehart watch out a window as Roddy makes off alone with his paint gear and lunch box. They tell Seeby how lonely he looks now. After a moment she runs out the door, while the old folks watch amazed at her volte-face. (Curtain)

The Young Man from Atlanta

Play · 1995

In 1950, Will Kidder, age 64, is at his office at the Sunshine Southern Wholesale Grocery, where he has worked since his early 20s. He and his wife Lily Dale have just moved into their new house in Houston and, in Will's words, "There's no finer house in Houston." He was poor as a child and had a successful career. However, Will is fired. Will talks about his only son, Bill, who had moved to Atlanta. Bill drowned six months ago, and Will suspects Bill actually committed suicide. Lily Dale refuses to consider that he committed suicide, instead believing that his death was an accident. Bill's roommate, Randy Carter, the "Young Man from Atlanta", had been trying to see Will, who believes that all he wants is money. Will learns that Bill had given Randy money, but eventually accepts that he knew Bill and "that's the only Bill I care to know about." A review in The New York Times titled "Nameless Menace in Latest by Foote" points out: "This being 1950, nobody in the play mentions the word 'gay,' or refers even euphemistically to the truth of the relationship between Bill and Randy." Lily Dale Kidder Will Kidder Pete Davenport Carson Tom Jackson Miss Lacey Ted Cleveland Jr. Clara Etta Doris Meneffree

The Younger Generation

Play · 1910

The Younger Generation is a comedy play by the British writer Stanley Houghton. It takes place in a dining room of a house in the suburbs of Manchester, during a period of twenty four hours. It premiered at the Gaiety Theatre, Manchester in 1910. It enjoyed a West End run of 131 performances between 19 November 1912 and 8 March 1913, originally at the Haymarket before transferring to the Duke of York's Theatre. The London cast included Nigel Playfair, Norman Page, Allan Jeayes and Kate Bateman.

Theodosius

Play · 1680

Theodosius; Or, The Force Of Love is a 1680 tragedy by the English writer Nathaniel Lee. It was first staged by the Duke's Company at the Dorset Garden Theatre. It takes place during the reign of the Roman Emperor Theodosius II. Incidental music for the play was composed by Henry Purcell. The original cast included Joseph Williams as Theodosius, Thomas Betterton as Varanes, William Smith as Marcian, John Wiltshire as Lucius, John Bowman as Atticus, Mary Betterton as Pulcheria and Elizabeth Barry as Athenais. The published version was dedicated to the Duchess of Richmond. The play remained popular and was revived numerous times over the following century and a half. A 1744 version at the Smock Alley Theatre in Dublin used fresh compositions from Thomas Arne, the leading English-born composer of the era. Actors who appeared in the title role included Lacy Ryan, Henry Giffard, Thomas Barry and John Philip Kemble.

There's Always Juliet

Play · 1931

There's Always Juliet is a 1931 comedy play by the British writer John Van Druten about an American architect who falls in love with an Englishwoman. It ran for 118 performances at the Apollo Theatre in London West End with a cast of Herbert Marshall, Edna Best, May Whitty and Cyril Raymond. It then transferred to Broadway's Empire Theatre with the same cast members. After a fairly lengthy run, however, producer Gilbert Miller was paid by a Hollywood studios to free Marshall for film work. He was eventually replaced by Roger Pryor, but the revived version was less successful. It was adapted for Australian radio in 1940 starring Peter Finch. In 1941, the play was updated into a loosely adapted film One Night in Lisbon starring Fred MacMurray, Madeleine Carroll and Patricia Morison. May Whitty reprised her role from the original play.

There's Wisdom in Women

Play · 1935

There's Wisdom in Women is a play written by Joseph Kesselring. Producer D. A. Doran staged it on Broadway in 1935. Walter Pidgeon played Leon Nordoff, a famous pianist who has cheated on his wife, Margalo (Ruth Weston). She must decide whether to stay with him, and seeks advice from her friend, Tony Cooke (Glenn Anders). In his review for The New York Times, Brooks Atkinson said the play was "old hat" produced by "routine playwrighting". Robert Benchley was similarly dismissive in The New Yorker, saying the play need not have been produced at all. The production closed in less than a month, after 46 performances.

There's a Girl in My Soup

Play · 1966

There's a Girl in My Soup is a stage comedy written by Terence Frisby. Set in the 1960s, it tells the story of a smooth-talking TV chef, Robert Danvers, who falls for a much younger woman, Marion. She leaves her hippie boyfriend, Jimmy, to live with Danvers, but eventually returns to Jimmy, leaving Danvers bereft. It opened on 30 May 1966 at the Golders Green Hippodrome and transferred soon after to the Globe Theatre. There's a Girl in My Soup ran for years until 1973 to become the longest-running comedy in the history of the West End. The play ran at the Globe Theatre for years, from March 1966 until 6 August 1969, when it transferred to the Comedy Theatre, opening there on 18 August 1969 and closing in 1973 after 2,547 performances. It was unprecedented for a comedy to run for such a long time. This record was later broken by No Sex Please, We're British and then Run for Your Wife. The title alludes to the well-known set-up line for a series of popular 20th century Anglo-American jokes about rude or sarcastic food servers: "Waiter, there's a fly in my soup."

These Charming People

Play · 1925

This synopsis was compiled from contemporaneous newspaper reviews. Scenes: Act I (Sir George's House in Chester Square.) Act II (The same. The next morning.) Act III (Sitting room of Bat and Ball Hotel at Guilford. The same day.) Sir George, long a sponge on friends and acquaintances, has become an MP by the influence of his son-in-law James Berridge, and obtained a large loan from him, secured by his London townhouse. When Berridge comes to tell Sir George of his daughter Julia's rumored adultery, Sir George is alarmed. Berridge is in line for a peerage, and cannot afford any hint of scandal. He threatens to evict Sir George, for he knows how the two daughters dote on their parasite of a father and will listen to him. Desperate to avoid losing his home and even worse his source of easy loans, Sir George starts a campaign to stop Julia's infidelity. But Julia finds her husband insufferably dull, while she dreads the thought of the attention a peerage will focus on their daily life. She is attracted to Geoffrey Allen, who has an engaging mind. Younger sister Pamela, however, prefers her man to be seen and not heard, which Miles Winter fulfills in his dunderheaded way to Sir George's annoyance. As Julia prepares to take the fatal step, she discovers an unpleasant fact: Geoffrey is the son of a cleaning woman and her father's butler Minx. Even more appalling, Minx is firmly against the illicit romance, not wishing his son to be allied with such disreputable nobs. Julia decides to meet with her husband and make a deal; if he will turn down the peerage, she will return to him. He agrees, and the play ends with Sir George hitting up both Berridge and Winter for loans.

They Walk Alone

Play · 1938

They Walk Alone is a 1938 thriller play by the British writer Max Catto. After premiering at the Q Theatre in Kew Bridge, it transferred to London's West End where it ran for 156 performances between 19 January and 3 June 1939 initially at the Shaftesbury Theatre before switching to the Comedy Theatre. The cast included Beckett Bould, Jimmy Hanley, Rene Ray, Carol Goodner and Beatrix Lehmann. It was produced by Berthold Viertel. It also ran for 21 performances at the Shubert Theatre on Broadway in 1941.

This House

Play · 2012

This House is based on true events that occurred between 1974 and 1979 in the House of Commons. These years involved very tense periods in Parliament, with the Labour and Conservative whips working hard to defend and remove the Government respectively. The February 1974 election had produced a 'hung parliament' (where no party has a majority to govern and pass laws). This deadlock led to the October 1974 general election, where the incumbent Labour government gained a majority of 1 seat – meaning that whips had to ensure every Labour MP voted whenever the Government needed to win a vote (which might have happened multiple times a day). This situation got more difficult between October 1974 and March 1979 as the Labour government lost MPs in by-elections and defections to other parties. The government was finally defeated in a vote of no confidence – by 1 vote – in March 1979. It is the job of parliamentary whips to win votes for their party, by tracking how many of their colleagues are going to vote and convincing (or threatening) reluctant colleagues to vote the way they want. Usually, when one member cannot be present at a division, the whips will attempt to 'pair' them, by striking an informal agreement with the opposition that one of their members will also miss the vote. As happened between 1974 and 1979, throughout the play, these relationships and pairing break down due to the tensions in the government with a small majority, or even none at all. At different times, both parties lost votes in circumstances where they felt that the other party had cheated the pairing (that is, the MP who promised not to vote had voted). Sick members were obliged to attend the House for their votes to be counted, and this was done even in circumstances where this may have contributed to their deaths. It is this tension, and the work it caused the party whips, which the play fictionalises.

Three Days of Rain

Play · 1997

Walker and his sister Nan met in an unoccupied studio in lower Manhattan in 1995. Walker, who had disappeared the day after his father's funeral, now months later is living in this apartment where his father, Ned Janeway and business partner, Theo Wexler, once lived and worked designing the famous "Janeway House". Walker has found their father's journal and attempts to use it to understand the relationship between Ned and Theo. Nan and Walker's childhood friend Pip (Theo's son) meets with them after the reading of Ned's Will, where the three have learned that Janeway House was left to Pip rather than Ned's children. Walker is furious and accuses Pip of "working on" Ned to bequeath him the house. Pip denies this and protests that he does not understand why the house was not left to Nan and Walker as next of kin. Pip reveals that he doesn't even like the house, which prompts another tirade in Walker. Fed up with Walker's ranting, Pip fights back at Walker verbally. Pip accuses Walker of secretly being in love with him for 18 years and reveals that he (Pip) and Nan were secretly sleeping with one another (behind Walker's back) when they were young. Walker runs off into the night. Pip says he may have gone too far and agrees with Nan to sell Walker the house. Nan tries to find Walker to tell him. Distraught when unable to find him, Nan decides to stay at the studio until he returns. After Walker returns, Nan apologizes and the two of them continue to parse Ned's concise and mysterious journal which opens with the entry: "1960, April 3–5. Three days of rain". Walker believes he's found a confession from Ned, hidden within the pages of the book, to the effect that Ned took credit for Theo's work on the house after Theo's death in 1966. Nan does not accept this interpretation but acquiesces to calm her brother. She tells Walker that Pip would sell him the house, but Walker's new-found "revelation" changes his mind about wanting it. Walker burns the diary, much to Nan's chagrin. Act two is set in April 1960, when Janeway House was designed. The same three actors portray members of the previous generation in the same apartment: the actor portraying Walker plays Ned; the actor portraying Pip plays Theo; and the actor portraying Nan plays Lina, Nan and Walker's mother. The assumptions their children made in the first half are shown to be wildly inaccurate. Rather than a callous, silent patriarch, Ned is a shy stutterer, who, while an immensely talented architect, has trouble making eye contact or holding a conversation with anyone. Theo is revealed to be charismatic, more concerned with fame and the idea of art, than the creation of any original art itself. Lina, a bohemian southern belle, is dating Theo and their arguments are loud enough for the entire neighborhood to hear. Theo and Ned attempt to design a house commissioned by Ned's parents, but Ned recognizes Theo's design as plagiarizing an existing house. Ned and Theo fight, and Theo leaves for a few days to try to work in solitude. A few days later, Ned runs into Lina during a rainstorm, and they return to the apartment to escape the downpour. Ned invites Lina to stay for dinner, which leads each to reveal issues plaguing them. Lina resolves to leave before succumbing to Ned's unintentional shy sweetness, only to overhear Ned practicing telling Lina that he secretly loves her. Lina confronts Ned, and they spend three days in bed. Theo returns earlier than expected from his work retreat, finding Ned and Lina together in the apartment. He is embarrassed and leaves, with Ned trailing him. Ned attempts to apologize, but learns Theo is upset not about Lina but about failing to return with an original design. Lina persuades Ned that Theo will be okay, and that Ned should apply his emotions to draw the house she knows he imagines. He sits down to draw, suggesting that it was he who designed Janeway House and not Theo, as Walker had concluded.

Three Men on a Horse

Play · 1935

Mild-mannered Erwin Trowbridge, bored with his suburban New Jersey life with his wife and brother-in-law and frustrated by his low-paying job writing greeting card verses, decides to declare his independence by skipping work and spending the day in a local saloon. There he meets three men who make a living by betting on horse races. When they discover Erwin has an almost supernatural ability to go through a racing form and pick the winners, they persuade him to join them at a New York City hotel and regularly give them tips. Complications arise when Erwin begins to miss his wife and job and his cronies insist he put some money on a horse himself, despite his claim he will lose his power if he places a bet.

Three Tall Women

Play · 1991

The play opens with the three major characters together in A's bedroom. Throughout the scene, A does most of the talking, frequently reminiscing and telling stories about her life. B humors her, while helping her do everyday things that have become difficult to do alone (sitting down, going to the bathroom, getting into bed). C, while getting a rare word in edgewise about the duties she is there to accomplish, is most often deterred by A's slipping into long-winded storytelling. C often challenges A's contradictory and nonsensical statements, but she is discouraged by B, who is clearly used to A and her habits. Act 1 ends when A, in the middle of one of her stories, has a stroke. The play picks up with a mannequin of A lying in a bed. A, B, and C are no longer the separate entities of Act 1, but represent A at different times in her life (their ages corresponding to those of A, B, and C in Act 1). Since A, B, and C in this act are all very coherent (unlike the senile A of Act 1), the audience gets a much clearer insight into the woman's past. At one point, the son comes in to sit by the mannequin. A and B (who are invisible to him) are not happy to see him, because of the rift between them. C (also unseen by the son) is none the wiser, because she is from a period in the woman's life before her marriage. He says nothing throughout, and leaves before the end of the play. The play ends with A, B, and C debating about the happiest moment in their life. A has the last word, saying, "That's the happiest moment. When it's all done. When we stop. When we can stop."

Three Weeks After Marriage

Play · 1776

Three Weeks after Marriage is a comedy play by the Irish writer Arthur Murphy. An afterpiece, it premiered at the Theatre Royal, Covent Garden in London on 30 March 1776. It was a reworking of an earlier play What We Must All Come To which was staged in 1764, which had a poor reception. The cast included William Thomas Lewis as Sir Charles Racket, John Quick as Drugget, Isabella Mattocks as Lady Racket, Ann Pitt as Mrs Drugget and Jane Green as Dimity. The entire play takes place at a country house about four miles outside London. It was met "with great applause" and became a standard work, being played every year for the remainder of the century. Its performances continued well into the nineteenth century. The role of Lady Racket later became a signature for Frances Abington, and was also played by Dorothea Jordan and Harriet Faucit.

Three Wise Fools

Play · 1918

Act I (Living room of the Washington Square home. A Thursday evening.) Theodore Findley and Dr. Richard Gaunt are spending a typical evening in the house they jointly own with Judge Trumbull. The latter stays late at the courthouse on Thursdays, and is not yet home. Findley taxes Gray and Mrs. Saunders with any deviation from established routine, going so far as to time their actions. Used to his finicky ways and having no fear of dismissal, for that would entail disruption of routine, the servants carry on calmly. Dr. Gaunt tweaks Findley over their highly-regulated life, suggesting they are "unburied dead", stuck in their daily ruts. Findley is further disturbed by the attitude of Gordon, who resists taking a sensible job in favor of volunteer work, since he is already wealthy. Gray brings in a police detective named Poole, who says the police are shadowing the Judge. Benny the Duck has escaped prison and sworn to get the judge who sentenced him. When the Judge arrives, a letter is brought in. It is from a dying Rena Fairchild, asking them to take of her child Sidney. The letter is two months old, and Rena has already died. The three old men agree among themselves to offer their home and protection, but are astonished when Sidney proves to be a young lady. Recovering quickly, they still offer her shelter and a chance to study law with the Judge. Gordon, plainly smitten with her, announces he will take up the job Findley offered him. (Curtain) Act II (Same as Act I. Four weeks later.) The three old bachelors have dined with Sidney to celebrate her one-month anniversary of residence. She has kept accounts for Findley, patient appointments for Dr. Gaunt, and helped prepare briefs with the Judge. She is made housekeeper, and given Findley's key ring, which also has a police whistle on it. They present her with a pearl necklace and announce they will take her to the opera. While the old fellows get ready, Gordon gives Sidney a watch he bought with his first month's wages. Sidney learns from him the house is being watched by detectives to protect the judge. As Gray answers the front door, Benny the Duck bursts in, knocking him out. Sidney screams and Benny grabs her; they recognize each other. Sidney pleads with Benny to leave the judge alone, he tries to get past her, and she blows the police whistle on the key ring. Sidney helps Benny escape by unlocking a skylight. Douglas opens the front door to admit Poole, Clancy and a policeman. Sidney is recognized by Clancy as the servant seen leaving the house each night. Questioned by the Judge, Sidney refuses to tell why she let Benny escape. The three old men are dejected at their misplaced trust, and Sidney rushes out. Gordon refuses to believe Sidney is guilty. He finds she has left the house, followed by Poole's men. Gordon accuses the old men of being fools, and goes with Poole to find Sidney. (Curtain) Act III (Same as Act I. A half-hour later.) Findley and Dr. Gaunt wait for Judge Trumbull to return from the local police station. Saunders, dismayed at the chaos and upset at Sidney's departure, gives notice. The Judge returns but without any news. Gordon strolls in, giving an apology but insisting he still means what he said. He accuses them of not having faith in Sidney, whom he intends to marry. Gordon explains it was Sidney who blew the police whistle, preventing Benny from attacking the Judge. He then reveals Poole has agreed to not arrest Sidney if the three Musketeers do not press charges. Gordon frankly admits to having bribed Poole, which none of the old men bats an eye at, not even the Judge. Poole enters: he has Sidney outside in the car, but she doesn't want to come in. Clancy brings in Benny, who refuses to say anything. The others leave Gordon alone when Douglas brings in Sidney. Gordon proposes; she thanks him but cannot answer any questions. She knows he bribed Poole for her freedom, but he tells her not to speak of it. They are at an impasse when Douglas brings in another man seeking Poole. John Crawshay and Findley recognize each other. Crawshay has come to give himself up to avoid trouble for Sidney. Seeing him, Benny spills that Crawshay is Sidney's father. Further, he confesses to having forged his signature so Crawshay can be released from custody. The three Musketeers are reconciled with Gordon and Sidney. (Curtain)

Tiger, Tiger Burning Bright

Play · 1962

Tiger, Tiger Burning Bright is a dramatic stage play written by American playwright Peter Feibleman. The play premiered on Broadway at the Booth Theatre in 1962. Claudia McNeil was nominated for the Tony Award for Best Actress in a Play for her performance in the production. Critically acclaimed, the play closed after only 33 performances, which was blamed on the 1962–1963 New York City newspaper strike. The play is a stage adaptation of Feibleman's novel A Place Without Twilight, first published in 1958. The title is taken from the poem by William Blake first published in 1794, titled The Tyger.

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