"The characters are well delineated, and fathers, lovers, mistresses, and servants all move about amidst a complication of errors from which there is no visible disentangling. The conversation between Valère and Ascanio in man's clothes, the mutual begging pardon of Albert and Polydore, the natural astonishment of Lucile, accused in the presence of her father, and the stratagem of Éraste to get the truth from his servants, are all described in a masterly manner, whilst the tiff between Éraste and Lucile, which gives the title to the piece, as well as their reconciliation, are considered among the best scenes of this play."
Another Pinero play. Biting satire this time, ironic comedy - not a farce. The Big Drum, a novel being written by Phil, one of the main characters, is "an attempt to portray the struggle for notoriety—for self-advertisement—we see going on around us to-day." "Oh, I believe any world would content me that's totally different from the world I've lived in so long; any world that isn't flat and stale and stifling; that isn't made up of shams, and petty aims and appetites; any world that—well, such a world as you used to picture, Phil, when you preached your gospel to a selfish, common girl under the chestnuts in the Allée de Longchamp and the Champs-Elysées! ... I've been waiting—waiting for you—in my dreams—for ten years! "
We had hoped that our drama's scene might lie on a pirate ship at sea. We had wished for a swaying mast, full-set with canvas—a typhoon to smother our stage in wind. We had hoped to walk a victim off the plank, with the sea roaring in the wings. But our plot deals stubbornly with us. Alas, our pirates grow old and stiff. They have retired, as we say, from active practice and live in easy luxury on shore. Yet we shall see that their villainy still thrives.
Lord Quex, after a life of philandering, has decided to reform and marry. But he is not believed, particularly by the guardian of his intended. The play shows the difficulties in shaking a discreditable past - and how it is different for a male Lord than for a woman.
According to the website www.stagebeauty.net, this is the 5th longest running play ever, with over 1200 original performances. Like Charley's Aunt (number 2 on the list and released by Librivox earlier in 2018), this also is a farce. An insurance investigator, a possible fraudulent injury claim, a lost necklace, an aged aunt with a more than passing resemblance to someone else, and of course, that Little Bit of Fluff - all conspire to cause great confusion.
A theater, various actors and actresses, their admirers, financial backers, etc. The star Rose Trelawny wants to leave the stage for love, but it is not an easy thing to fit into conventional society after a life onstage. And not easy to go back to the stage either.
Moliere: "Never was any Dramatic performance so hurried as this; and it is a thing, I believe, quite new, to have a comedy planned, finished, got up, and played in a fortnight. I do not say this to boast of an impromptu, or to pretend to any reputation on that account: but only to prevent certain people, who might object that I have not introduced here all the species of Bores who are to be found. I know that the number of them is great, both at the Court and in the City, and that, without episodes, I might have composed a comedy of five acts and still have had matter to spare."
A very early Moliere. From the Translator: "In this piece the plot is carried on ... by a servant, Mascarille, who is the first original personage Molière has created; he is not a mere imitation of the valets of the Italian or classical comedy; he has not the coarseness and base feelings of the servants of his contemporaries, but he is a lineal descendant of Villon, a free and easy fellow, not over nice in the choice or execution of his plans, but inventing new ones after each failure, simply to keep in his hand; not too valiant, except perhaps when in his cups, rather jovial and chaffy, making fun of himself and everybody else besides, no respecter of persons or things, and doomed probably not to die in his bed."
Subtitled "The Way to Win Him:, this play is placed in Paris - a change from many others of Farquhar's plays which used English settings - though still presented to the same English audience. "This comedy ... had a reception, on the first night of its appearance, far inferior to that of his other productions. It was, with difficulty, saved from condemnation; and the author ... boldly charged some secret enemies with having attempted its destruction." (I can sympathize with the author; I think this play is as complex and funny as all his rest. - thw)
I find it very hard to classify "The New York Idea" under any of the established rubrics. It is rather too extravagant to rank as a comedy; it is much too serious in its purport, too searching in its character-delineation and too thoughtful in its wit, to be treated as a mere farce. Its title—not, perhaps, a very happy one—is explained in this saying of one of the characters: "Marry for whim and leave the rest to the divorce court—that's the New York idea of marriage."
Like all the plays, from Sardou's "Divorçons" onward, which deal with a too facile system of divorce, this one shows a discontented woman, who has broken up her home for a caprice, suffering agonies of jealousy when her ex-husband proposes to make use of the freedom she has given him, and returning to him at last with the admission that their divorce was at least "premature." In this central conception there is nothing particularly original. It is the wealth of humourous invention displayed in the details both of character and situation that renders the play remarkable.
Lucas Cleeve is living in Venice with a widow, Mrs. Ebbsmith. His relatives do not accept this arrangement and come to intervene. Note that this is NOT a farce - the hypocrisy is not played for laughs.
Nothing can be more unlike The Pretentious Young Ladies or Sganarelle than Molière's Don Garcia of Navarre. The Théâtre du Palais-Royal had opened on the 20th January, 1661, with The Love-Tiff and Sganarelle, but as the young wife of Louis XIV., Maria Theresa, daughter of Philip IV., King of Spain, had only lately arrived, and as a taste for the Spanish drama appeared to spring up anew in France, Molière thought perhaps that a heroic comedy in that style might meet with some success, the more so as a company of Spanish actors had been performing in Paris the plays of Lope de Vega and Calderon, since the 24th of July, 1660. Therefore, he brought out, on the 4th of February, 1661, his new play of Don Garcia of Navarre. Molière wished to create a counterpart of Sganarelle, the type of ridiculous jealousy, and to delineate passionate jealousy, its doubts, fears, perplexities and anxieties, and in this he has succeeded admirably.
The plot resolves around a young woman being cited in court as "The Other Woman" in a divorce case, and how her family reacts to it. Says her uncle: I shall go out; people shall see me walking boldly through the streets: Portland Place—Regent Street—Fletcher Portwood, with his head up—his head up, they’ll say. I shall not turn my back on you, my poor little girl; don’t be frightened of that. You were always my favourite niece— I shall dine at the House, and then sup at the club. All London shall see me. “Look at Portwood!” everybody will say. “Then there can’t be the slightest foundation for this scandal about his niece——!”