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Gas Light

Play · 1938

The play is set in fog-bound London in 1880, at the upper middle class home of Jack Manningham and his wife Bella. It is late afternoon, a time that Hamilton notes as the time "before the feeble dawn of gaslight and tea." Bella is clearly on edge, and the stern reproaches of her overbearing husband (who flirts with the servants in front of his wife) make matters worse. What most perturbs Bella is Jack's unexplained disappearances from the house: he will not tell her where he is going, and this increases her anxiety. It becomes clear that Jack is intent on convincing Bella that she is going insane, even to the point of assuring her she is imagining things. The appearance of a police detective called Rough leads Bella to realise that Jack is responsible for her torment. Rough explains that the apartment above was once occupied by one Alice Barlow, a wealthy woman who was murdered for her jewels. The murderer was never found. Jack goes to the flat each night to search for the jewels, and lighting the apartment's gas lights causes the lights to dim in the rest of the building. His footsteps in the supposedly empty apartment persuade Bella that she is "hearing things". Rough convinces Bella to assist him in exposing Jack as the murderer, which she does, but not before she takes revenge on Jack by pretending to help him escape. At the last minute she reminds him that, having gone insane, she is not accountable for her actions. The play closes with Jack being led away by the police.

Gem of the Ocean

Play · 2003

The play is set in 1904 at 1839 Wylie Avenue in Pittsburgh's Hill District. Aunt Ester, the drama's 285-year-old fiery matriarch, welcomes into her home Solly Two Kings, who was born into slavery and scouted for the Union Army, and Citizen Barlow, a young man from Alabama searching for a new life and in search of redemption. Aunt Ester is not too old to practice healing; she guides Barlow on a soaring, lyrical journey of spiritual awakening to the City of Bones.

Gemini

Play · 1976

Set in the backyard of a blue-collar neighborhood in South Philadelphia early in the summer of 1973, the comedy-drama focuses on the 21st birthday celebration of Harvard student Francis Geminiani. In attendance are his divorced father Fran and Fran's widowed girlfriend Lucille, next-door neighbor Bunny Weinberger and her overweight son Herschel, and Francis' classmates, the wealthy WASP Hastings siblings; Judith (who seeks romance with Francis) and Randy (the object of Francis' unexpressed affection), who have arrived unexpectedly, much to their friend's dismay. All are dysfunctional to varying degrees, and the interactions among them provide the play with its comic and dramatic moments.

Generation

Play · 1965

Generation is a 1965 Broadway play written lyrics and by William Goodhart, directed by Gene Saks, produced by Frederick Brisson and Victor Samrock, incidental music by Jerry Bock, stage and lighting design by George Jenkins, costume design by Albert Wolsky. Its first preview opened with Henry Fonda in the lead role on September 29, 1965, at the Morosco Theatre. The play official premiered on October 6, 1965, at the same theatre. It ran for 300 performances, and was nominated for a Tony Award in 1966 for the Best Featured Actor in a Play (for A. Larry Haines).

Gentlemen of the Press

Play · 1928

Gentlemen of the Press is a three-act play written by Ward Morehouse. Producers Thomas E. Jackson and H. S. Kraft opened it on Broadway at Henry Miller's Theatre on August 27, 1928. George Abbott directed the production, which ran for 128 performances. The play is a comedy about Wick Snell, a journalist who decides to take a job as a publicist for a real estate firm. After a dispute with his new boss, Snell goes back to journalism. Morehouse was a journalist who had worked for several different newspapers. The main character in Gentlemen of the Press was inspired by one of his co-workers who frequently complained about the difficulties of working in journalism.

George and Margaret

Play · 1937

The play portrays a day in the lives of a middle-class London family and their servants. They are thrown into chaos by the suddenly announced arrival of their old friends George and Margaret for dinner that evening. The snobbish and domineering mother forces all family members to attend, despite the resentment of her children. However, the anticipated arrival eventually provides a catalyst for various members of the family to resolve their personal crises. The play ends without the title characters George and Margaret ever having appeared on stage.

Getting Gertie's Garter

Play · 1921

Getting Gertie's Garter is a play written by Wilson Collison and Avery Hopwood. Producer A. H. Woods staged it on Broadway, where it opened at the Republic Theatre on August 1, 1921. Hazel Dawn played the role of Gertie. The play was a sex farce, but unlike most productions of its type, the setting was a hayloft instead of a bedroom. It was a success at the box office, running for 15 weeks with 120 performances on Broadway, then moving to touring companies. The play had tryouts starting in Brooklyn, then in Boston and Chicago under the reduced title of Gertie's Garter. Dawn found her role unsatisfying due to its similarity to her part in Up in Mabel's Room, an earlier farce produced by Woods, but stuck with the show. She eventually left the Broadway production in September to take the lead in another Woods-produced farce, The Demi-Virgin.

Getting Married

Play · 1908

1908: Edith, youngest daughter of Bishop Bridgenorth, is about to be married. Her uncle General Boxer Bridgenorth, will give her away, as he has all her sisters. As at all the other weddings he proposes to Lesbia Grantham, the bride's aunt, who refuses him for the "tenth and last" time. Lesbia wants a family, but not a husband who smokes and is as untidy as the general. The General is soon shocked to find that his disreputable brother Reginald will be at the wedding. Reginald was recently divorced by his wife for assaulting her and for his adultery with a prostitute. Even more distressingly, his ex-wife Leo is coming too. When the divorcees arrive they are not at all embarrassed. It seems that Leo and her ex-husband arranged the "assault" and the "prostitute" so that they could separate without any blame attaching to Leo, who wishes to marry another man - St John Hotchkiss. However problems arise when the bride refuses to leave her room. She says she is reading a pamphlet on marriage! Apparently Cecil Sykes, her husband-to-be, is also reading a pamphlet. Both refuse to go to the church until they are finished. The couple finally emerge from their rooms. It seems that the pamphlets have revealed to them the dangers of marriage. She has learned that if her husband becomes a criminal lunatic she cannot divorce him. He has learned that he may be liable for his wife's debts. The bishop, who is writing a book on the history of marriage, suggests that Edith and Cecil should revive the Roman concept of marriage by contract, but he thinks a traditional marriage is better. The Bishop's chaplain, a lawyer, tries to draw up a contract, though it proves a difficult task. All the characters have ideas about what should be in the contract, based on their own experience. There is disagreement on medical, religious, financial and other matters. Eventually they give up, agreeing that a standard marriage is easier, at least with the possibility of divorce. Cecil and Edith leave together and return married - though the ceremony involved the Beadle giving away the bride. They have arranged with an insurance company a deal that will free Cecil of responsibility for any future debt incurred by his wife. In return Cecil has provided a document declaring that if he commits a crime while insane, his wife may divorce him. Hotchkiss, who, it turns out was being pursued by Leo rather against his own wishes, falls in love with the siren-like Mrs George Collins. Leo therefore tells her ex-husband that their divorce must be revoked.

Ghost Stories

Play · 2010

The play is notable for running only 80 minutes (with no interval) and for its publicized warnings advising against anyone under the age of 15 attending. The marketing of the show outside the theatre is unusual in that there are no production photographs, just stills and video monitors showing the shocked reactions of audience members. An announcement at the end of the play asks the audience to "keep the secrets of Ghost Stories" so that new audiences do not have the experience spoiled with any prior information about the play. Its plot and specific moments are sampled from various TV series and films including, most obviously, the episode ‘During Barty’s Party’ from Beasts by Nigel Kneale, Don’t Look Now, Halloween and Le Serpent. Reviews of the show have confined themselves to outlining the basic structure of the plot, which revolves around Dr. Goodman, a Professor of Parapsychology delivering a lecture on ghost stories. In the lecture, he discusses a website featuring ghostly pictures, scienceofghosts.com. He has recorded interviews with three people who claim to have had a supernatural experience. Each story seems to hinge on guilty feelings. As each interview is played back, the story is re-enacted on stage. The stories are recounted by a night watchman, a teen driver and a businessman awaiting his first child. These stories are then drawn together at the end, with a twist, as it becomes clear that the Professor is a participant in the stories and not simply a narrator.

Ghosts

Play · 1882

Helen Alving is about to dedicate an orphanage, which she has built in memory of her late husband, Captain Alving. Despite her husband's affairs, Mrs. Alving stayed with him to protect her son Oswald from the taint of scandal and for fear of being shunned by the community. In the course of the play, she discovers that Oswald (whom she had sent away to avoid his being corrupted by his father) is suffering from syphilis, which she believes he inherited from his father. She also discovers that Oswald has fallen in love with her maid Regina Engstrand, who is revealed to be the illegitimate daughter of Captain Alving and is therefore Oswald's half-sister. A sub-plot involves a carpenter, Jacob Engstrand, who married Regina's mother when she was already pregnant. He regards Regina as his own daughter. He is unaware (or pretends) that Captain Alving was Regina's father. Having recently completed his work building Mrs. Alving's orphanage, Engstrand announces his ambition to open a hostel for seafarers. He tries to persuade Regina to leave Mrs. Alving and help him run the hostel, but she refuses. The night before the orphanage is due to open, Engstrand asks Pastor Manders to hold a prayer-meeting there. Later that night, the orphanage burns down. Earlier, Manders had persuaded Mrs. Alving not to insure the orphanage, as to do so would imply a lack of faith in divine providence. Engstrand says the blaze was caused by Manders' carelessness with a candle and offers to take the blame, which Manders readily accepts. Manders in turn offers to support Engstrand's hostel. When Regina and Oswald's sibling relationship is exposed, Regina departs, leaving Oswald in anguish. He asks his mother to help him avoid the late stages of syphilis with a fatal morphine overdose. She agrees, but only if it becomes necessary. The play concludes with Mrs. Alving having to confront the decision of whether or not to euthanize her son in accordance with his wishes.

Gisippus

Play · 1842

Gisippus is an 1842 tragedy by the Irish writer Gerald Griffin. It premiered at the Theatre Royal, Drury Lane in London on 23 February 1842. It was staged posthumously as Griffin had died from typhus in 1840, and was likely written before 1838. The original cast included William Macready as Gisippus, James Robertson Anderson as Titus Quintus Fulvius, Edward Elton as Pheax, George Bennett as Lycias, Charles Selby as Macro and Helena Faucit as Sophronia. Its opening resembles William Shakespeare's Julius Caesar, but with the setting switched from Rome to Athens. The play was a popular success. It went on to appear in New York at the Park Theatre in 1847 and Broadway Theatre in 1848.

Glencoe

Play · 1840

Glencoe; or, the Fate of the Macdonalds is a historical tragedy by the British writer Thomas Talfourd. It premiered at the Theatre Royal, Haymarket on 23 June 1840. The cast included William Macready as Halbert MacDonald, Helena Faucit as Helen Campbell, Henry Howe as Henry MacDonald, Benjamin Webster as MacIan, Samuel Phelps as Captain Robert Campbell, Priscilla Horton as Alaster MacDonald, Walter Lacy as Lindsay and Mary Warner as Lady MacDonald. Talfourd dedicated the published version to the literary critic Lord Jeffrey. It was revived at the Surrey Theatre in October 1849. It is inspired by the Massacre of Glencoe which took place in 1692 the wake of a failed Jacobite Rising in Scotland. The current dispute between Jacobites and supporters of William III is subsumed into the long-standing rivalry between the MacDonalds and their arch-enemies the Campbells.

Glengarry Glen Ross

Play · 1983

Setting: a Chinese restaurant Scene 1: Shelly Levene tries to convince office manager John Williamson to give him some of "the Glengarry leads" (names and phone numbers of promising potential clients for expensive properties). Williamson is willing to sell some of the prime leads, but demands cash in advance. Levene cannot come up with the cash and must leave without any good leads to work with. Scene 2: Dave Moss and George Aaronow hate the pressure management has put on them to succeed. Moss tells Aaronow that they need to strike back by stealing all the Glengarry leads and selling them to another real estate agency. Moss's plan would require Aaronow to break into the office, stage a burglary, and steal all the prime leads. Aaronow wants no part of the plan, but Moss intimidates him, claiming that he is already an accomplice simply by listening to Moss's pitch. Scene 3: Ricky Roma delivers a monologue to James Lingk. Roma does not bring up the real estate he wants to sell to Lingk until the very end. Instead, Roma preys upon Lingk's insecurities, and his sense that he has never done anything adventurous with his life. Setting: a real estate sales office The burglary is discovered. Williamson has summoned a police detective. Shelly Levene is happy, because he has finally sold a large plot of land to a couple named Nyborg. James Lingk enters the office, looking for Ricky Roma. Lingk's wife has ordered him to cancel the sales contract he signed with Roma. Roma attempts to smooth-talk Lingk into not canceling the contract, informing Lingk that his check has not yet been brought to the bank; this begins to have its intended calming effect on Lingk, who is clearly agitated. Levene supports the ruse, but Williamson, thinking Lingk is worried about the safety of his check, accidentally ruins Roma's ploy when he tells Lingk that his check has just been deposited. Lingk abruptly leaves, telling Roma he's sorry for letting him down. Roma is furious at Williamson, who has blown a big sale. Levene picks up where Roma left off, and begins insulting Williamson. Mid-rant, Levene accidentally reveals his knowledge that Williamson made up the claim about the check being cashed, information he could not have known unless he had been in Williamson's office. Williamson accuses Levene of robbing the office. Levene quickly folds and admits that he and Dave Moss were the thieves. Levene tries to bribe Williamson, offering half of his future sales. Williamson reveals that the Nyborg sale is worthless, as the couple is elderly, mentally ill, and just like talking to salesmen because they're so lonely. Levene asks why Williamson wants him turned in, and why he wouldn't give him the leads in the first place. Williamson simply states he doesn't like Levene, for the years of verbal abuse, and the old man's flippant nature. Roma comes back from his interrogation and Williamson goes in the back room to speak with the detective. Alone with a devastated Levene, Roma proposes the two men work together. The door opens and the detective demands to speak with Levene, shoving him into the back room. Roma, unaware of Levene's fate, reveals his true intentions behind the partnership. Roma orders Williamson to not only continue to hand him the best leads, but to add half of Levene's commissions. Williamson tells Roma not to worry about it but Roma won't listen. (This exchange is omitted in both the published play script and film adaptation.) Aaronow enters the office, desperate to know if they found the perpetrators. Roma says no and heads out to the restaurant.

Gloriana

Play · 1676

Gloriana; Or, The Court of Augustus Caesar is 1676 tragedy by the English writer Nathaniel Lee. It was first performed by the King's Company at the Theatre Royal, Drury Lane in London. The original cast included Michael Mohun as Augustus Caesar, Charles Hart as Caesario, Edward Kynaston as Marcellus, Edward Lydall as Tiberius, William Cartwright as Agrippa, Philip Griffin as Mecaenas, Thomas Clark as Ovid, Martin Powell as Leander, Rebecca Marshall as Gloriana, Elizabeth James as Julia and Mary Corbett as Narcissa. The published play was dedicated to the Duchess of Portsmouth, mistress of Charles II. The play is set in the Roman Empire during the reign of the first Roman Emperor Augustus. Amongst other things it portrays the Emperor's banishment of the poet Ovid from Rome.

Go Back for Murder

Play · 1960

Go Back for Murder is a 1960 mystery play by the British writer Agatha Christie. It is an adaptation of her 1942 novel Five Little Pigs, with the principal character of the book Hercule Poirot removed from the story. Much of the detective work is taken over by Carla Crale, daughter of the murder victim, with the assistance of Justin Fogg, a lawyer. It premiered at the King's Theatre in Edinburgh. It then transferred to the Duchess Theatre in London's West End where it ran for 37 performances. It received a poor reception from critics. The London cast included Robert Urquhart, Lisa Daniely, Ann Firbank, Margot Boyd, Mark Eden, Dorothy Bromiley and Nigel Green. It was directed by Hubert Gregg.

Golda's Balcony

Play · 2003

The play follows the trajectory of the life of Golda Meir from Russian immigrant to American schoolteacher to a leader of international politics as the fourth Prime Minister of Israel. Much of its focus is on the period surrounding the 1973 Yom Kippur War, when Israel's forces in the Golan Heights and Sinai were attacked by Egypt and Syria. Gibson's drama suggests Meir threatened Richard Nixon and Henry Kissinger with the launch of nuclear weapons against her enemies, conceivably starting World War III, unless the U.S. came to her country's aid. The term "Golda's Balcony" refers to the nickname given to an area inside the secretive Dimona nuclear weapons facility from which visiting VIPs can observe some of the activity taking place in the underground portion of the facility.

Golden Boy

Play · 1937

Joe Bonaparte, a young Italian American man and talented violinist, dreams of becoming a professional musician. Joe, however, fights a boxing match for manager Tom Moody, which he wins. Joe's father, Mr. Bonaparte, has scraped up enough money to afford a top-of-the-line violin for Joe's 21st birthday. However, upon learning of Joe's fight from Joe's brother Frank, Mr. Bonaparte decides not to give Joe the violin. Two months later, Joe has become a successful boxer for Moody and Roxy Gottlieb, a prizefight promoter. However, Joe won't throw punches, attempting to protect his hands. Later, Joe prepares to go on a boxing tour, where Mr. Bonaparte presents Joe with the violin. Joe plays it, but tells his father to return it. Six months later, Joe's career continues to advance. Infamous gangster Eddie Fuseli approaches Moody and Roxy, demanding to be signed on as a partner, which Joe agrees to. Moody, believing Joe to be distracted by his fame, convinces his girlfriend Lorna to talk to Joe. She does so, and the pair profess their love to each other. Despite this, Lorna cannot bring herself to break off her relationship with Moody. Feeling that he has lost Lorna as well as his father's respect, Joe no longer holds back in the ring. In his next match, Joe defeats his opponent, but breaks a hand, thereby ruining any future career he may have had as a violinist. Six months later, Joe has become a top-ranked prizefighter. He has become disillusioned with his fame and his managers, and has become more vicious in the ring. After learning Lorna is engaged to Moody, Joe confronts her and they argue, where Lorna accuses Joe of being a killer like Fuseli. Disoriented, Joe is unable to stay focused against his opponent, but pulls through with a victory. Before the celebration begins, Joe learns his final blow has killed his opponent. Meanwhile, Joe's managers arrive at the Bonaparte home to wait for Joe and Lorna. Frank receives a call informing him that Joe and Lorna have died in a car accident. Mr. Bonaparte prepares to retrieve the body, saying he will bring Joe "home... where he belongs."

Golden Days

Play · 1919

Act I: The Bud (The Simmonds sitting room, Farmdale, Connecticut. Afternoon in June 1917.) Mrs. Simmonds and Betsy clean, while Miss Slissy sits and gossips. When Mary Anne brings in flowers, Miss Slissy upsets her with talk about Billy and Elaine. Mrs. Kirkland and Felice arrive soon after with Dick Stanhope. He is introduced to Mrs. Simmonds and Mary Anne. Elaine and Trelle Webb arrive after Dick has left. They push uninvited into the house and ask for tea, ignoring that the tea shop is only the front porch. Mary Anne asks Betsy to serve them anyway. Elaine taunts Mary Anne, and insinuates Billy deceived her; he will be coming too, she adds. Mary Anne goes to the kitchen. Lloyd and Billy join the two girls. Billy wants to invite Mary Anne to the party, but Elaine protests. Mary Anne returns, having donned her best dress and hat. The two city girls slyly mock her country apparel, and twit Billy about her. After they go, Betsy tells Mrs. Kirkland what they said about Mary Anne. Mrs. Kirkland calls for Felice, and they discuss in French a quick makeover for Mary Anne. (Curtain) Act II: The Blossom (Parlor of the new Farmdale Hotel. Same evening.) Some soft dance music is heard in the background, as party goers spill out the hotel ballroom into the parlor. They are all young members of society in New York, friends who have come to Farmdale for the new hotel's opening. Between dances they discuss Billy and Elaine, who are arguing on a side porch, and tease Miss Slissy. Suddenly Dick Stanhope, the beau ideal of this social circle, appears escorting "Marion", who wears a chic new dress straight from Manhattan, and has a sophisticated new hairstyle. The young men are all captivated, the young women puzzled as to who is this new girl. Elaine and Trelle are shocked to learn she is the niece of the wealthy and influential Mrs. Kirkland. (Curtain) Act III: The Full Blown Rose (An upstairs sitting room in Mrs. Kirkland's home in New York City. Summer 1917.) Mrs. Kirkland presides over a soiree in her salon, with "Marion" as her protege. The young men present wear the uniform of privates in the US Army, save for Billy, who has declined to join up. They are soon to leave for France, and the occasion is a farewell party. Billy is overcome by the change in Mary Anne, and longs to renew the spurned courtship. But she is no longer interested in him. Instead, as the young soldiers depart, she realizes that Dick Stanhope is now the focus of her attention. (Curtain) Act IV: The Perfume of Romance (Same as Act I, June 1919.) The whole crowd has gathered at the Simmonds' home to celebrate Mary Anne's return from France, where she had volunteered as a Salvation Army canteen worker. The young men are now in civilian dress, with only Dick missing. Mary Anne fears he has been lost in the war, but a letter from him that went astray before she could read it is suddenly discovered. Dick reappears in timely fashion to join the party. Elaine makes her peace with Mary Anne; she is no longer insecure about Billy. Dick and Mary Anne confess their mutual attraction as the play ends. (Curtain)

Golden Eagle

Play · 1946

Golden Eagle is a 1946 historical play by the British writer Clifford Bax. It portrays the reign of Mary, Queen of Scots. It ran for 39 performances at the Westminster Theatre in London's West End between 29 January and 2 March 1946. The original cast featured Claire Luce as Queen Mary and also included Arthur Wontner, David Horne and Torin Thatcher. It was produced and directed by Anmer Hall. The play's music was composed by the author's brother Arnold Bax with whom he often collaborated.

Good Losers

Play · 1931

Good Losers is a British mystery play by Michael Arlen and Walter Hackett. It was originally performed at the Whitehall Theatre in London's West End where it ran for 134 performances between 16 February and 13 June 1931. The original cast included Ian Hunter, Francis Lister, Ronald Shiner, Anthony Holles, Eric Maturin, Joan Marion, Marion Lorne and Cathleen Nesbitt. It was followed at the theatre soon after by another Hackett's plays, the horseracing farce Take a Chance.

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