"Thy name is ""______, thy name is ______"" is a snowclone used to indicate the completeness with which something or somebody (indicated by the second part) embodies a particular quality (indicated by the first part), usually a negative one. In most instances, the usage is an allusion to the Shakespearean play ""Hamlet"" (). In this work, the title character is chastised by his uncle (and new stepfather), Claudius, for grieving his father so much, calling it unmanly. In his resultant soliloquy, Hamlet denounces his mother's swift remarriage with the statement, ""Frailty, thy name is woman."" He thus describes all of"
"Barbara Frietchie Barbara Frietchie, The Frederick Girl is a play in four acts by Clyde Fitch and based on the heroine of John Greenleaf Whittier's poem ""Barbara Frietchie"" (based on a real person: Barbara Fritchie). Fitch takes a good bit of artistic liberty and intertwines her story with that of his own grandparents' love story, which also takes place during the Civil War. Barbara Stanwyck took her film name from the name of the play, and a British actress named Joan Stanwyck who starred in one of the play's productions, perhaps in London. An illustrated version of the poem is"
"were passing through Frederick. This event is the subject of the 1864 poem: Her name was ""Barbara Hauer Frietchie"" Barbara Frietchie Barbara Frietchie, The Frederick Girl is a play in four acts by Clyde Fitch and based on the heroine of John Greenleaf Whittier's poem ""Barbara Frietchie"" (based on a real person: Barbara Fritchie). Fitch takes a good bit of artistic liberty and intertwines her story with that of his own grandparents' love story, which also takes place during the Civil War. Barbara Stanwyck took her film name from the name of the play, and a British actress named Joan"
"a stage adaptation of Mailer's 1980 book, ""Of Women and Their Elegance"". Mailer agreed to work on the play since it would be a pleasant diversion: ""Novel writing is a lonely business. Lonely business quickly becomes grim. In theater you're working with people. The climate is a lot warmer."" The stage adaptation was Mailer's second into the theater behind the adaptation of ""The Deer Park"". The play takes its title from an FBI code name for Monroe. According to Mailer, Strawhead represents ""(Marilyn's) ironic, whimsical, tortured way of thinking."" Mailer sees the fictional Monroe character in the play as ""having"
"Liberality and Prodigality Liberality and Prodigality (""A Pleasant Comedie, shewing the contention betweene Liberalitie and Prodigalitie"", also known as ""Contention between Liberality and Prodigality"") is a morality play by an unknown author from c.1567. Its title page also reads: ""As it was played before her Maiestie. London Printed by Simon Stafford for George Vincent, and are to be sold at the signs of the Hand in hand in Wood-street over against S. Michaels Church."" The copy of this play in the Garrick Collection appears to be the only one known. There is some internal evidence, from the allusion to the"
"as the female leads in the original play. Their surname is Stratford, a nod to Shakespeare's birthplace. Patrick's surname Verona references the home of his relative character Petruchio. The characters attend Padua High School, named after where the play is set. Cameron (Lucentio, who disguises himself as a tutor named Cambio) tutors Bianca in French and slips in a line from play while obsessing over her: """"I burn, I pine, I perish"""". Patrick's character reflects the outlandish behavior of Petruchio, and Michael coerces Patrick into the marching band incident with the words from Sonnet 56: """"Sweet love, renew thy force""""."
"Mankind (play) Mankind is an English medieval morality play, written . The play is a moral allegory about Mankind, a representative of the human race, and follows his fall into sin and his repentance. Its author is unknown; the manuscript is signed by a monk named Hyngham, believed to have transcribed the play. ""Mankind"" is unique among moralities for its surprising juxtaposition of serious theological matters and colloquial (sometimes obscene) dialogue. Along with the morality plays ""Wisdom"" and ""The Castle of Perseverance"", ""Mankind"" belongs to the collection of the Folger Shakespeare Library in Washington, D.C. as a part of the"
"the play, but most favor a date of 1606. A second quarto was issued in 1648 by Humphrey Moseley, with an attribution to Fletcher. The second imprint of this second quarto, issued in 1649, assigned the play to both Beaumont and Fletcher and added a subtitle to the play, calling it ""The Woman Hater, or The Hungry Courtier."" Like other previously-published plays, ""The Woman Hater"" was omitted from the first Beaumont and Fletcher folio of 1647. The play was later included in the second Beaumont/Fletcher folio in 1679. The song ""Come, Sleep"" from Act III has been anthologized under the"
"struggle ultimately leads to tragedy and despair. The title of the play was derived from the line ""Build thee more stately mansions, O my soul"" in the poem ""The Chambered Nautilus"" by Oliver Wendell Holmes. Against his wishes, O'Neill's widow, Carlotta Monterey, authorized Karl Ragnar Gierow of the Swedish Royal Dramatic Theatre to turn the unfinished work into an acting version. The play was the inaugural production at the Ahmanson Theatre in Los Angeles, where it opened on April 12, 1967 with Ingrid Bergman, Colleen Dewhurst, and Arthur Hill in the leading roles. Six months later, after eight previews, the"
"Charity (play) Charity is a drama in four acts by W. S. Gilbert that explores the issue of a woman who had lived with a man as his wife without ever having married. The play analyses and critiques the double standard in the Victorian era concerning the treatment of men and women who had sex outside of marriage, anticipating the ""problem plays"" of Shaw and Ibsen. It opened on 3 January 1874 at the Haymarket Theatre in London, where Gilbert had previously presented his 'fairy comedies' ""The Palace of Truth"", ""Pygmalion and Galatea"", and ""The Wicked World"". ""Charity"" ran for"
"woman in relation to a man. Her sins are deceit and murder (which also motivated a suicide). She lusts over ""manly men,” which Joseph himself strives to be. Valet – The Valet enters the room with each character, but his only real dialogue is with Joseph. We learn little about him, except that his uncle is the head valet, and that he does not have any eyelids, which links to Joseph because Joseph’s eyelids are atrophied. The play was widely praised when it was first performed. Upon its 1946 American premiere at the Biltmore Theatre, critic Stark Young described the"
"Shirley even gave an inadvertent guide to the extent of his revision: he changed the name of Fletcher's protagonist from Wildgoose to Wildbrain — but neglected to make the change consistently in the portions of the play he didn't revise. Inconsistencies in the text also reveal the revision. The most blatant example occurs in the final scene, when the Lady calls out ""Home!...Home, child!"" — though the scene takes place in her own house. Cyrus Hoy, in his study of authorship problems in the canon of Fletcher and his collaborators, argues for this breakdown in the play: Fletcher's original, which"
"Rich Girl (play) Rich Girl is a play by Victoria Stewart, which updates Henry James's 1880 novel ""Washington Square"" to the present. Playwright Stewart retains novelist James's plot structure essentially intact but updates the characters: The tone of the first act is light comedy as Henry courts Claudine and asks her to marry him. The second act turns dramatic as Eve, believing Henry is interested in Claudine only for her money, threatens to disinherit her if she marries him. In her insecurity Claudine believes he is her only chance for love and happiness. When Henry then leaves her, Claudine is"
"A Matter of Gravity A Matter of Gravity is a play by Enid Bagnold. The eccentric dowager Mrs. Basil chooses to live in only one room of her Oxford mansion. Her quiet existence is disrupted by the arrival of her grandson Nicky and four of his friends and new cook-housekeeper Dubois, who startles the mistress of the house by levitating in the air. The miracle confounds Mrs. Basil, who begins to question her lifelong belief that God does not exist. Originally produced as ""Call Me Jacky"" at The Oxford Playhouse (Oxford, UK) in 1967, starring Sybil Thorndike, the play eventually"
"My Fair Lady.jpg|thumb|Cinematographer Harry Stradling poses with [[Audrey Hepburn]] as Eliza Doolittle on the set of the 1964 movie musical ""My Fair Lady.""]] [[Category:1913 books]] [[Category:1913 plays]] [[Category:West End plays]] [[Category:Plays by George Bernard Shaw]] [[Category:Works originally published in Everybody's Magazine]] [[Category:Literature first published in serial form]] [[Category:Plays set in London]] [[Category:British plays adapted into films]] Pygmalion (play) Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to"
"Maternity (play) Maternity is a dramatic three act play that opened January 6, 1915, at the Princess Theatre on Broadway starring Richard Bennett. An English language version of Eugène Brieux's French play, ""Maternité"" (1904), the work was translated by Benjamin F. Blanchard. The play's book was adapted by Richard Bennett, whose Purpose Play Society produced. Unlike ""Damaged Goods"", Bennett's previous socially conscious play by Brieux, ""Maternity"" was not an artistic or financial success. Despite special matinées, which were well patronized in the final week, the production ran for only 21 performances before closing. ""Maternity"" deals with out-of-wedlock birth and the"
"play had ""the courage of true poetry ..."" The characters and story mimic Williams' own life more closely than any of his other works. Williams (whose real name was Thomas) closely resembles Tom; his mother, Amanda. His sickly and mentally unstable older sister Rose provides the basis for the fragile Laura (whose nickname in the play is ""Blue Roses"", a result of a bout of pleurosis as a high school student), though it has also been suggested that Laura may incorporate aspects of Williams himself, referencing his introverted nature and obsessive focus on just one aspect of life (writing for"
"The Libertine (play) The Libertine is a play by Thomas Shadwell published in 1676. It is an adaptation of the original plot of ""El burlador de Sevilla"", written by Tirso de Molina, which follows the story of a horrid womanizer who plays with his life and others as he commits sins and ""shapeshifts"" into a devil-like man. Like most of the adaptations, ""The Libertine"" is a story of a mischievous man condemned to pay for the actions of his sins. ""The Libertine"" begins with a preface and prologue. Both address the contemporary public of the latter 1600s and therefore should"
"She-tragedy The term she-tragedy, also known as """"pathetic tragedy"""" refers to a vogue in the late 17th and early 18th centuries for tragic plays focused on the sufferings of a woman, sometimes innocent and virtuous but often a woman who has committed some sort of sexual sin. Prominent she-tragedies include Thomas Otway's ""The Orphan"" (1680), John Banks' ""Virtue Betrayed, or, Anna Bullen"" (1682), Thomas Southerne's ""The Fatal Marriage"" (1694) and Nicholas Rowe's ""The Fair Penitent"" (1703) and ""Lady Jane Grey"" (1715). Rowe was the first to use the term ""she-tragedy,"" in 1714. When English drama was reborn in 1660 with"
"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. 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."" The show was originally produced on August 12, 2007 by the Steppenwolf Theatre Company at the Downstairs Theatre in Chicago. The Broadway production began previews"
"'Tis Pity She's a Whore <nowiki>'</nowiki>Tis Pity She's a Whore (original spelling: ""<nowiki>'</nowiki>Tis Pitty Shee's a Who""[""o""]""re"") is a tragedy written by John Ford. It was likely first performed between 1629 and 1633, by Queen Henrietta's Men at the Cockpit Theatre. The play was first published in 1633, in a quarto printed by Nicholas Okes for the bookseller Richard Collins. Ford dedicated the play to John Mordaunt, 1st Earl of Peterborough and Baron of Turvey. Giovanni, recently returned to Parma from university in Bologna, has developed an incestuous passion for his sister Annabella and the play opens with his discussing"
"evoking an interrogation of the value of superficial rational thought. Mrs. Wright also acts as the ""invisible"" heroine for women's rights as the play was written and set during the suffragette movement. The main ""players"" in the murder, Minnie (the murderer) and John Wright (the murdered), are never seen on stage. Their lives and personalities are fleshed out in the dialogue of other characters. The small cast and understated scenery both serve to turn the audience to the inward lives of the characters. The title is derived from Lewis Hale's line ""Well, women are used to worrying over ""trifles."" The"
"neither manuscript notes a title. Former owner Thomas Sharp referred to the play by the title "" ""Mind, Will, and Understanding"" "" (after the three major characters). The now common moniker "" “Wisdom” "" is shorthand for ""A Morality of Wisdom, who is Christ"", pioneered in an 1882 publication of the plays by the philologist Frederick James Furnivall. Much of the play’s theological material directly quotes the Vulgate Bible, including selections from Song of Songs, Psalms, Proverbs, Lamentations, Malachi, Ecclesiastes, Matthew, Romans, Ephesians, and Colossians. The characterization and costuming of Anima as the Bride of Christ come from passages of"
"have hope, earnestly as becomes those who speak out of the fullness of their experience"" and teach ""lessons of loving-kindness, patience, faith, forbearance, and charity."" Several phrases are echoed throughout the play. In Act I, for example, Fred describes Mrs. Van Brugh as ""beloved, honoured, and courted by all"" – a phrase that Mrs. Van Brugh will repeat in her Act II scene with Smailey (as seen in the quote to the right): ""Woman—loved, honoured, courted by all. Woman—shunned, loathed, and unutterably despised, but still—Woman"", foreshadowing the change in status that she will undergo by the end of the play."
"Twigs (play) Twigs is a play by George Furth which premiered on Broadway in 1971. The play consists of four sections involving three sisters and their mother, each focusing on one of the women as she confronts various issues with the man in her life. Emily is a recent widow, relocating to a new apartment, who finds herself attracted to the owner of the moving company. Celia is the wife of a bigoted ex-Army Sergeant whose reunion with an old pal leaves her out in the cold. Dorothy and her spouse discreetly try to learn if each has been faithful"
"following lines in ""A Drunk Man Looks at the Thistle"" (1922): Also referenced in George B. Shaw's play ""You Never Can Tell"" by the twins, Philip and Dolly. Douglas (play) Douglas is a blank verse tragedy by John Home. It was first performed in 1756 in Edinburgh. The play was a big success in both Scotland and England for decades, attracting many notable actors of the period, such as Edmund Kean, who made his debut in it. Peg Woffington played Lady Randolph, a part which found a later exponent in Sarah Siddons. The opening lines of the second act are"
"sexual frustration, narrowness, and racism. Into this scene steps Val, a young man with a guitar, a snakeskin jacket, a questionable past, and undeniable animal-erotic energy and appeal. He gets a job in the dry goods store run by a middle-aged woman named Lady, whose elderly husband is dying. Lady has a past and passions of her own. She finds herself attracted to Val and to the possibility of new life he seems to offer. It is a tempting antidote to her loveless marriage and boring, small-town life. The play describes the awakening of passion, love, and life – as"
"Extremities (play) Extremities is an off Broadway play by William Mastrosimone and directed by Robert Allan Ackerman. It opened at the Westside Theatre in New York on December 22, 1982 and ran for 325 performances. A young woman, Marjorie, is attacked in her home by a would-be rapist, Raul, and manages to turn the tables on him, tying him up in her fireplace. Her roommates come home to discover the attacker bound with cords, belts and other household items. Terry and Patricia, the roommates, express different points of view about rape in society. Terry, a rape victim herself as a"
"is a gritty, ""overwhelmingly capacious"", outspoken, Irish septuagenarian, Maddy Rooney, plagued by ""rheumatism and childlessness"". ""Beckett emphasized to Billie Whitelaw that Maddy had an Irish accent: The opening scene finds Maddy trudging down a country road towards the station, renamed ""Boghill"" in the play. It's her husband's birthday. She's already given him a tie but decides to surprise him by meeting him off the 12:30 train. It is a fine June morning, a Saturday since her husband is leaving his office at noon rather than five. In the distance the sounds of rural animals are heard. She moves with difficulty."
"to the other as they celebrate their 25th wedding anniversary. Last of all is Ma, the stubborn Irish matriarch who rises from her deathbed in order to have a priest sanctify her common-law marriage to a Dutchman. Furth wrote his play intending it to be a tour de force for a single actress playing all four roles. The title is derived from the quote, ""Just as the twig is bent, the tree's inclined"", written by Alexander Pope in his ""Moral Essays"" in 1773. The play premiered on Broadway at the Broadhurst Theatre on November 14, 1971 (previews from November 9)"
"was not entirely extinct in Shirley's era. Late examples include ""Four Plays in One"" (c. 1608–13), from the canon of John Fletcher, and ""The Sun's Darling"" (1624), a collaboration between Thomas Dekker and John Ford. As is often the case in the morality form, the characters in Shirley's ""Contention"" are known by generic titles more than personal names: Lady Honor, Lady Riches, Ingenuity, Gettings, the Courtier, the Soldier, the Vice, etc. (In the later expansion, ""Honoria and Mammon,"" the same characters are given personal names.) At the start of the play, Ingenuity, a scholar, pays court to the Lady Riches,"
"of 1679. The play's plot resembles that of another Fletcher play, ""Wit Without Money;"" the two dramas share some characters' names (Francisco, Valentine, and Launce). Though no sign of a second author or collaborator is present, the play does display the types of internal discontinuity that suggest revision — in this case, Fletcher's revision of his own earlier work. In the play's final scene, a character is addressed as ""Francisco, now no more young Callidon"" — which makes no sense, since the character in question has been identified as ""Frank"" throughout the play. The nickname ""Wild-oats"" is applied to two"
"the women because their extramarital affair is with him, but his power wanes during the duration of the play. In Act 5, Scene 4, Lady Fidget, Dainty Fidget, and Mistress Squeamish barge into Horner’s lodgings despite his protest, conveying “his lower position that alludes to his disguise: a lowly eunuch.” They talk about him as if he was not present, referring to him as a ‘beast,’ ‘toad,’ and eunuch. Cohen says, “As the ladies grow in aggressive self-confidence, Lady Fidget also ‘claps him on the back’ thereby revealing the altered socio-sexual roles that are now presented.” While Horner thinks he"