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August: Osage County

Play · 2007

The action takes place over the course of several weeks in August inside the three-story home of Beverly and Violet Weston outside Pawhuska, Oklahoma. The play opens with Beverly Weston, a once-famous poet, interviewing Johnna, a young Cheyenne woman, for a position as live-in cook and caregiver for his wife Violet, who is being treated for mouth cancer due to heavy cigarette use for most of her life. Violet is a heavy drinker addicted to several different kinds of prescription drugs and exhibits paranoia and mood swings. Beverly, who freely admits that he is an alcoholic, lightly converses about Violet's current problems, most of which Beverly concedes are the result of personal demons too powerful to be cured by drugs. Violet enters the scene clearly affected by her drugs. After an incoherent and combative argument with Beverly, Violet returns upstairs. Beverly hires Johnna, lends her a book of T.S. Eliot's poetry, and continues to drink. Several weeks later. Beverly Weston has not been seen for five days. Several family members have gathered in the house to provide support for Violet including her daughter Ivy, her sister Mattie Fae and Mattie Fae's husband Charlie. When Violet is not making calls attempting to track down her husband or popping pills, she spends the time sniping at her family, particularly Ivy, whom she criticizes for her mode of dress and lack of a romantic life. The news comes that Beverly's boat is missing, furthering the fear that he has died by suicide. Ivy's older sister Barbara arrives from Boulder, Colorado, with her husband Bill and 14-year-old daughter Jean. Barbara has not visited her mother in several years, and has mixed feelings about returning to the house because of the confrontational nature of their relationship. They fall into an argument almost immediately, during which Violet accuses her of abandoning her family and breaking her father's heart. Later in the evening, Jean bonds with Johnna after the older woman allows her to smoke some marijuana in her room. She confides to Johnna that her parents are separated and are attempting to hide the fact from the family. Bill and Barbara argue over the cause of their separation as they make a bed out of the fold-out sofa in the living room: Bill is sleeping with a much younger woman, one of his students at the university where he teaches. At five AM, the local sheriff, Deon Gilbeau (Barbara's high school boyfriend) rings the doorbell and breaks the news that Beverly has been found drowned. Barbara goes to identify the body as Violet comes downstairs in a drug-addled fog. The act ends with her spiraling into confusion. Several days later. The family has come from Beverly's funeral. Violet spends a quiet moment alone in Beverly's office, bitterly reproaching him for leaving her, and takes some more pills. Before the memorial dinner prepared for the family by Johnna, several family arguments and scenes arise. Ivy and Barbara's sister Karen has flown in from Florida with her new fiancé and can talk about nothing except her wedding plans, distressing Barbara. During an argument with her mother and Mattie Fae, Ivy unwittingly confesses that she is seeing someone romantically but refuses to say whom. Mattie Fae and Charlie's son Little Charles has overslept and missed the funeral. His father is sympathetic but Mattie Fae is, as usual, rude to and critical of her son. Karen's fiancé Steve discovers that Jean is a pot-smoker and offers to share his stash with her, lewdly flirting with the teenaged girl. In a private moment, it is revealed that Ivy's lover is actually Little Charles, her first cousin. Dinner is served, and Violet begins insulting and needling all of her family members. After inappropriately discussing Beverly's will at the table, she cruelly exposes Barbara and Bill's separation. When Barbara starts to fight back, Violet tauntingly reveals the full extent of her addiction, and the tensions develop into a violent confrontation, culminating in Barbara physically attacking her mother. After family members separate them, Barbara takes control of the situation, ordering that the family raid the house to discover all of Violet's hiding places for her pills. Several hours later things have calmed down, but the pain of the dinner confrontation has not gone away. Barbara reports that Violet's doctor thinks she has brain damage, and the three sisters share a drink in their father's study, discussing their mother. Ivy reveals that she and Little Charles are planning to run away to New York, and refuses to acknowledge the need for someone to take care of Violet. She reveals that it was Violet, not Beverly, who was heartbroken when Barbara left Oklahoma. Violet enters, now more coherent and off her drugs but no less incorrigible, is resigned to dealing with her demise on her own terms. She discusses a depressing story from her childhood with her daughters. In a private moment, Barbara and Violet apologize to each other, but it is uncertain how long the peace will last. Mattie Fae observes a tender moment between Little Charles and Ivy, and begins taunting him again when the ever-patient Charlie finally loses his temper with his wife, berating her for her cruelty to her own son and promising her that unless she can find a way to be kind to Little Charles, he is going to leave her. The lecture is accidentally overheard by Barbara, who confirms when pressed that Little Charles and Ivy are lovers. She is shocked when Mattie Fae reveals that Little Charles is not just Ivy's first cousin but also her half-brother, the result of a long-ago affair between Mattie Fae and Beverly. Mattie Fae refuses to tell Ivy or Little Charles the truth, leaving it up to Barbara, who knows that the news will destroy Ivy, to find a way to end the incestuous affair. Later that night, Steve and Jean share a joint, and before long, Steve attempts to molest Jean. Johnna walks in on the scene and attacks Steve with a skillet; the noise brings Jean's parents and Karen to the scene. An ugly argument follows when Jean defensively lashes out at her parents with hurtful comments about her father's affair, and Barbara slaps her. Karen leaves with Steve, choosing to lie to herself and mistakenly blaming Jean for what happened. Bill elects to return to Boulder with Jean and admits, when Barbara confronts him, that he is not going to come back to her. He leaves as Barbara tells him she loves him. Two weeks pass. Barbara, now drinking heavily, offers Johnna a chance to quit and leave the toxic environment of the Weston house, but she chooses to stay. Sheriff Gilbeau drops by the house with the news that Beverly had stayed at a motel shortly before he died by suicide. He and Barbara nearly share a tender moment, but she is too emotionally exhausted and drunk to consummate it. Several days later, Ivy has dinner with Barbara and Violet. Ivy attempts to tell her mother, over Barbara's objections, of her plans with Little Charles but Violet suddenly confesses that she already knows that Little Charles is Beverly's son. Ivy recoils in shock and horror, rebuffing Barbara's attempts to comfort her, and says that she will never tell him and leaves for New York anyway. Before she goes, Ivy angrily accuses Barbara of turning into Violet, stunning Barbara. Violet calmly reveals that she has deliberately destroyed Ivy and Charles' affair, which she knew of the entire time. Barbara and her mother have one last angry confrontation during which Violet blames Barbara for her father's suicide. Violet also reveals his suicide might have been preventable since she knew which motel he stayed in the night he left the house, but did nothing to help him until after she removed money from the couple's joint safe deposit box. Barbara, realizing that her mother has slipped beyond her help, leaves the house. Violet breaks down and is left only with Johnna, who ends the play with a quotation from a T.S. Eliot poem: "This is the way the world ends, this is the way the world ends."

Aunt Edwina

Play · 1959

Aunt Edwina is a 1959 comedy play by the British writer William Douglas Home. It premiered at Devonshire Park Theatre in Eastbourne, before beginning a run of 101 performances in London between 3 November 1959 and 6 February 1960.The production was staged initially at the Fortune Theatre in the West End before transferring to the Lyric Theatre in Hammersmith. The London cast included Henry Kendall, Margaretta Scott, Cyril Raymond (later replaced by Geoffrey Lumsden), Nicholas Selby, Peter Cellier and Hilary Tindall.

Aurelio and Miranda

Play · 1798

Aurelio and Miranda is a 1798 play by the British writer James Boaden, inspired by Matthew Gregory Lewis 1796 novel The Monk. It premiered at the Theatre Royal, Drury Lane on 29 December 1798. The original cast included John Philip Kemble as Aurelio, Sarah Siddons as Miranda, William Barrymore as Raymond, Charles Kemble as Lorenzo, John Bannister as Christoval, Walter Maddocks as Hilario, Ralph Wewitzer as Pedro, Jane Powell as Agnes, Charlotte Tidswell as St. Agatha, Maria Bland as Zingarella, Sarah Sparks as Leonella and Elizabeth Heard as Antonia.

Bab

Play · 1920

The play was colored by the then recent passage of the Volstead Act, which lent possession of alcohol an illicit air, and mention of drinking a clandestine glamor. Act I (The library at the Archibald's country house. An afternoon late in May.) Bab's school has shut due to an outbreak of measeles, so she has returned home. A family crisis has occurred over Leila inviting Clinton Beresford, whom her father detests, for the weekend. Carter Brooks and James Archibald are dragged to a tea party with Mrs. Archibald and Leila. While they're gone, Jane Raleigh comes over. Bab opens her suitcase to show Jane a play she wrote at school, but it turns out to be filled with men's clothing and a whisky bottle. Bab realizes she mixed up suitcases with a young man on the train. William brings that young man, holding Bab's suitcase, into the library. He turns out to be Beresford. Bab is incensed when her mother nixes attendance at a party for Beresford. Bab decides to invent a lover named Harold Valentine, to display her maturity, and enlists Eddie Perkins' help in carrying out the deception. (Curtain) Act II (Scene 1:Same as Act I. The next day.) Bab returns home from a store with a postcard photo of a handsome young man. She inscribes the photo as if he had given it to her, and "hides" it in the library. She then writes a letter to "Harold Valentine", including a love poem, and addresses the envelope. She asks Hannah to mail it, knowing the maid will instead give it to her mother. Flowers arrive for Bab from "H" (sent by Eddie). Mrs. Archibald confronts Bab with the missive and burns the letter. She threatens to pack Bab off to Great Aunt Veronica. Carter finds the photo and recognizes the image; he quickly tumbles to Bab's scheme. He intercepts a second letter in which Bab suggests marriage with "Harold", intending to put more pressure on her mother. (Three Minute Curtain) (Scene 2:Same as Act I. That night at 11pm.) Jane and Eddie are surprised to see Bab at the party, wearing Leila's old evening frock. Eddie, trying to act grownup in front of the girls, smokes a cigar and becomes ill. Carter arrives with a new guest: the young man in the photo! Carter tells an astonished Bab he has brought "Harold" just for her, but will tell everyone else he is Guy Grosvenor. Harold invites Bab to dance, pretending they are close, while she denies knowing him. Mr. Archibald, tipped off by Carter, puts his arm around "Harold" and pronounces him a fine young man, fit for joining a good family. Guy then asks to speak alone with Mr. Archibald, as if he were planning to ask for Bab's hand. Thoroughly alarmed, Bab realizes she must get back the letter. (Curtain) Act III (Bachelor's Quarters in the Archibald Boathouse. Just before midnight.) Beresford, having retired to his guest quarters, is surprised to find an armed burglar in his room. Bab, wearing a shabby old cap and coat of her father, has come looking for the letter. She hadn't realized Guy and Beresford shared a room. After a talk, Bab learns Beresford has a contract from the British Government to award to Mr. Archibald's company, but didn't want to seem like he was trying to buy Leila. He helps Bab search Guy's things; the letter is found and destroyed. But Carter and Guy turn up, a bit snockered, and insist on Beresford joining them in a drink. Bab, hiding in a closet, hears the details of Carter's plan. Guy has called it off, afraid Bab might commit suicide if pushed any further. Suddenly there is a gunshot from the closet, shocking the three men. Pulled into the room, Bab is unhurt. She had sneezed, causing her to jerk the trigger. Her parents and Leila, alarmed by the gunshot, rush into the boathouse. Bab sneezes again; she has the measeles. (Curtain) Act IV (Same as Act III. An afternoon, three weeks later.) Recovered from the measeles, Bab has been confined to the family property for her sins. She is determined on another scheme, Leila's elopement. A carefully worded message brings Beresford with the British Government contract options he holds. Bab briefs him on bringing a motorboat to the dock when he sees a signal flag go to half-mast. Jane and Eddie are to lower the flag when Leila enters the boathouse. But Bab's father comes in after Leila, whom Bab hastily conceals behind the door. Bab maneuvers her father so he no longer can see the doorway; Leila slips out unseen as the motorboat horn sounds. Mrs. Archibald now strolls in, guessing what happened. Bab mollifies her father with the contract options signed over to his company by Beresford. Carter comes to say goodbye; he is on his way to Poland, to help with its post-war reconstruction. Bab finally learns Carter loves her, but now must wait for his return. (Curtain)

Baby with the Bathwater

Play · 1983

Two parents who are completely unprepared for parenthood bring home their newborn baby. The two cannot seem to name the baby. John thinks the baby is a boy, but Helen says the doctors said they could decide later. When the baby cries, the two cannot quite decide what to do. To their rescue comes Nanny – who enters their apartment as if by magic, and is full of abrupt shifts of mood, first cooing at the baby soothingly, then screaming at it. In subsequent scenes, John and Nanny have an affair, Helen takes baby and leaves, only to come back a moment later rain-soaked and unhappy. By the time the baby is a toddler, Daisy has finally been named. At this age Daisy has a penchant for running in front of buses and for lying, depressed, in piles of laundry. The audience hears an alarming essay Daisy has written in school, and the principal, the terrifying Miss Willoughby, is oblivious to the essay’s cry for help, and instead gleefully awards it an "A" for style. Years later, Daisy enters dressed as a girl, but obviously a young man. The audience follows his years of therapy, where he alternates between feelings of depression and anger, and is unable to complete his freshman essay on Gulliver’s Travels despite having been in college for five years. In a scene reminiscent of the beginning of the play, Daisy (who has since chosen a new name) and his young bride fondly regard their own baby, determined not to repeat their parents' calamitous mistakes.

Bad Habits

Play · 1974

Wheel-chaired marriage counselor Dr. Jason Pepper treats his patients in a country club setting complete with a clay tennis court and freely flowing cocktails. Roy and April Pitt arrive as the play opens; they are recently married movie stars who are already seeking couples therapy because of their frequent bickering. Anal-retentive Harry Scupp has been at Dunelawn for three months, and on this day his wife Dolly decides to drive up to encourage him to come home. Hiram and Francis are old friends of questionable sexuality who have been at Dunelawn since it opened years ago, content to stay indefinitely courtesy of Francis' family fortune. Meanwhile, manservant Otto mixes the drinks, carries luggage, and keeps the grounds. Over the course of the play the various couples meet, interact, argue, and even wrestle, with Dr. Pepper encouraging them to do whatever feels good. Very little has changed by the end of the day, except that Harry has decided to return home while Dolly is going to check in. A day in a rehab centre that deals with various "bad habits". The three patients that are introduced through the dialogue are an alcoholic, a drag queen and a perverted sadistic deluded man. Doctor Toynbee, the man in charge of the centre, is described throughout as a great man, a saint, revered by everyone in his presence. The doctor has developed a “serum” that is meant to help get rid of his patients' flaws and worries. However, it lasts momentarily and the effects don't seem to eliminate any amount of the patients’ previous bad habits as a sign of gradual elimination of their bad habits. The play takes place over the course of a sunny afternoon at the centre. Bruno, a worker who helps out Ruth Benson and Becky Hedges, the nurses, and tends to the garden, brings the patients out one by one, where the nurses are giving patients serum, some sun and some fresh air. As he goes back and forth, he “leers” at Hedges, attempting to seduce her. As they wait for Bruno to bring along the next patient, we learn about the two nurses, their own bad habits, past lives, regrets and their striving for reformation. We learn of the trigger for their quest: men; at least in Ruth Benson's case, one man: Hugh Gumbs.

Badger's Green

Play · 1930

Badger's Green is a 1930 British comedy play written by R.C. Sheriff. A company has ambitious plans to redevelop the quiet, picturesque village of Badger's Green. The inhabitants mount a resistance campaign and it is eventually decided to settle the future of the village by playing a cricket match. The play originally opened in June 1930 at London's Prince of Wales Theatre, where it ran for only 35 performances. It has however, been adapted for the screen three times: a 1934 version starring Valerie Hobson, a 1938 version starring Maurice Denham and a 1949 version starring Garry Marsh. It was also adapted for television twice: a now-lost 1938 version on BBC television and a 1958 version as part of ITV Television Playhouse, also lost.

Barefoot in the Park

Play · 1963

Corie and Paul Bratter are a newlywed couple. For their first home, they live in an apartment on the top floor of a brownstone in New York City. Corie is optimistic about their future together, while Paul, the more anxious and grounded half of the couple, worries about the various flaws in the apartment, such as a hole in the skylight, their leaky closet, and the lack of a bathtub. Shortly after moving in, Corie attempts to set her mother up with their eccentric neighbor Mr. Velasco. During the course of four days, the couple learns to live together while facing the usual daily ups-and-downs. Corie wants Paul to become more easy-going: for example, to run "barefoot in the park".

Becket

Play · 1959

The play is a re-enactment of the conflicts between King Henry II and Thomas Becket as the latter (Henry's best friend) ascends to power, becoming the king's enemy. Becket begins as a clever, but hedonistic, companion; as a result of being created Archbishop of Canterbury, he is transformed into an ascetic who does his best to preserve the rights of the church against the king's power. Ultimately, Becket is slaughtered by several of the king's nobles; and lastly we find the king thrust into penance for the episcopicide.

Becky Sharp

Play · 1899

Becky Sharp is a play in four acts by Langdon Elwyn Mitchell. The work is based on William Makepeace Thackeray's novel Vanity Fair (1847–1848) and is named for the novel's main character, Becky Sharp. It was first staged on Broadway at the Fifth Avenue Theatre where it opened on September 12, 1899, in a production starring Minnie Maddern Fiske in the title part. It ran for 116 performances. Fiske also co-directed this production with Fred Williams, and Gates and Morange designed the sets for this show. Lyceum Theatre (1911), and the Knickerbocker Theatre (1929). It was the basis for the 1935 film Becky Sharp.

Beggar on Horseback

Play · 1924

Beggar on Horseback is a 1924 play by George S. Kaufman and Marc Connelly. The play is a parody of the expressionistic parables that were popular at the time; its title derives from the proverb "Set a beggar on horseback, and he'll ride at a gallop," "Set a beggar on horseback, and he'll ride to hell," or "Set a beggar on horseback, and he will ride to the devil," meaning that if you give wealth to the undeserving, they will be the worse for it. The play rails against the perils of trading one's artistic talents for commercial gain. At its core is Neil McRae, a poor, young classical composer. Concerned about how hard he is working at odd jobs to meet his financial obligations, his friends - a doctor visiting from back home and his neighbor, Cynthia Mason, in whom he has more than a passing interest - urge him to marry Gladys Cady, whose father is a wealthy industrialist. However, the man also favors the Tin Pan Alley school of musical composition, to which McRae is staunchly opposed. Conflict arises when he is offered a job making widgets at a substantial salary if he agrees to give up his "foolish" interest in the classics. The original Broadway production opened on February 12, 1924 at the Broadhurst Theatre, where it ran for 223 performances. The cast included Roland Young, Osgood Perkins, Spring Byington, and Frederic Richard Sullivan. The play was revived with most of the original cast a mere seven months later, opening on March 23, 1925, at the Shubert Theatre, where it ran for 16 performances. Forty-five years later, after 13 previews, another revival opened on May 14, 1970, at Lincoln Center's Vivian Beaumont Theater, where it ran for 52 performances. The cast included Leonard Frey and Susan Watson.

Begone Dull Care

Play · 1808

Begone Dull Care is an 1808 comedy play by the English writer Frederick Reynolds. It premiered at the Theatre Royal, Covent Garden in London on 9 February 1808. The original Covent Garden cast included Alexander Pope as Sir Arthur St Albyn, Charles Kemble as Algernon St Albyn, William Thomas Lewis as Modern, John Brunton as Danvers, John Fawcett as Lord Blushdale, John Emery as Solace, William Chapman as Trusty, Samuel Simmons as Geoffrey, Sarah Smith as Selina, Mary Ann Davenport as Deborah. The Irish premiere took place at the Crow Street Theatre in Dublin on 30 March 1808.

Believe Me, Xantippe

Play · 1913

The 1918 published play divides the work into four acts, as does the Boston production synopsis. However, from Broadway reviews, it appears the play was presented there in three acts, with the last act broken into two scenes, separated by a brief curtain. The following synopsis conforms to the published play. Act I (MacFarland's Apartment at Sherry's in NYC. October 5th) Incensed by a burglary at his apartment, George MacFarland tells his friend Thornton Brown that police, detectives, and sheriffs are incapable of catching any crooks but the most incompetent. Brown demurs, but MacFarland insists, offering to bet $10,000 he could avoid arrest for a year. Brown takes him on, and telephones his detective friend Arthur Sole, who upon arrival also agrees to bet $20,000. MacFarland takes one of Brown's blank checks and forges his signature for $100, payable to George E. MacGinniss, the alias he'll adopt in flight. Sole pays him $100 cash for the forged check and offers to try depositing it, so as to trigger the forgery's discovery. The bet is lost if any detective or law enforcement officer within the US arrests MacGinnis within one year's time. The three of them agree that only they should know of the bet and that MacGinnis is really MacFarland. Sole takes detailed physical measurements of MacFarland, and borrows a photo of him. Brown lets Sole know quietly that MacFarland is partial to using the expression "Believe me, Xantippe". Sole cautions MacFarland that upon arrest, he must immediately wire Brown or himself, to avoid being incarcerated. MacFarland, using a ruse, escapes from the apartment unnoticed, taking Sole's hat with him. (Curtain) Act II (Hunting Shack in Southwest Colorado. September 30th, following year.) Buck and Dolly Kammen have been staying at the shack while hunting. Buck has to return to town, but Dolly persuades him to let her stay one more night. While she sees off her father, MacFarland enters from another door. He is surprised by the returning Dolly. Realizing he is a tenderfoot, Dolly coaxes from him the admission that he can neither shoot nor ride. Despite his scruffy appearance, Dolly is at ease with him, until he utters the phrase "Believe me, Xantippe". She disarms him, and forces him to climb into a camp bed, since it is night and she can't take him to jail in the dark. While they converse, Simp Calloway enters quietly, catching Dolly unaware. Recognizing him, she allows him to think she is MacFarland's wife. A series of comical twists and turns ends with MacFarland catching Simp in the dark, and tying him up when Dolly lights a candle. Simp is stowed in the bed. Dolly has no intention of letting MacFarland escape, even though he helped her. At gunpoint, she makes him climb into bed beside Simp. She tells the men she never got a deer while hunting, but has now "bagged two bucks". (Curtain) Act III (Sheriff's office at county jail in Delta, Colorado. Two days later.) Dolly had brought her prisoners into Delta, where they now sat in separate cells (off stage). Buck was so pleased with his daughter that he made her a deputy sheriff. On the jail house wall is a "Wanted" poster for MacGinnis, offering a $5000 reward. Dolly outargues Wrenn Rigley, whose orders were to keep everyone out of the cell block. She visits MacFarland in his cell, while first Buck Kammen and then Martha arrive. They are outraged when Dolly strolls out of the cell block. Later MacFarland strolls into the jail office to give Dolly his cell's key, which she had left in the lock. She learns from him the story of the wager that led to him becoming a fugitive. Dolly then sends the telegrams to Sole and Brown for MacFarland. Meanwhile, Violet tries to get Simp Calloway sprung from jail by accusing MacFarland of being one of their gang, The only result is she winds up in a cell next to Simp. (Curtain) Act IV (Same as Act III. Four days later.) Buck Kammen is summoned by telephone to the scene of holdup near the town. The eastern "lawmen" are due at the railroad station to pick up MacFarland. As a joke, Brown sends a telegram to MacFarland at the jail, falsely claiming the duo were lost at sea. Dolly, realizing MacFarland will now be imprisoned for forgery, releases him and gives him a horse on which to get away. So inept at riding is MacFarland that he falls off the horse at Aunt Martha's house and she recaptures him. Dazed by the fall, he does not resist as she brings him to jail in a wheelbarrow. Buck returns and is impressed with his sister-in-law's resourcefulness. Martha and Buck rebuke Dolly for having let him escape. Dolly is stunned when Sole and Brown are introduced. Buck is upset that the whole fandango was for a prank wager. Sole tells MacFarland he has lost the bet since Dolly is a deputy sheriff, which the latter accepts. However, Dolly corrects Sole: she wasn't made a deputy until after she brought in MacFarland and Simp Calloway. Sole and Brown give MacFarland the checks totaling $30,000. Buck hugs Martha, evidently seeing her in a new light. They all leave quietly as MacFarland woos Dolly. Wrenn comes in, sees the situation, and quickly leaves. MacFarland proposes to Dolly, saying he "will be her prisoner for life", and she accepts. (Curtain)

Bell, Book and Candle

Play · 1950

Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly because she is attracted to him. He falls head over heels in love with her at once and wants to marry her. But witches, unfortunately, cannot fall in love, and this minute imperfection leads into a number of difficulties. Ultimately, the lady breaks off with her companions in witchery, preferring the normal and human love offered her by the attractive publisher. But before the happy conclusion of the romance, Gillian comes very near to losing him—but doesn’t. Regarding the play itself, author Druten stated in an interview: “Originally Bell, Book and Candle was a rather more serious play, but then I asked myself what constitutes witchcraft... and I felt the answer lies in the fact that witches primarily seem to exist for their own self-gratification. However, one has to stop living in terms of ‘self’ if aspects of love are ever to be realized.”

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