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She Stoops to Conquer Nov 15, 1989

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 Frederic Wood Theatre
SHE STOOPS
TO
CONQUER November 10th-25th
BOOKSTORE
6200 University Boulevard, Vancouver • 228-4741
Hours Mon, Tues, Thurs, Fri 8:30am-5:00pm
Wed 8:30 am-8:30 pm • Sat 9:30 am-5:00pm
'i :■ s     i •!*) i
ANNIVI KSAKY
Publishers' remainders,  "hurts", UBC Library book discards . . . and much more.
University of British Columbia
Frederic Wood Theatre
presents
SHE STOOPS
TO CONQUER
By
Oliver Goldsmith
Directed By
Kevin Orr
November 15-25
1989 Oliver Goldsmith
1730-1774
A Short Chronology
1730        Birth of Oliver Goldsmith, fifth child of the Rev. Charles
Goldsmith, Rector of Kilkenny West in Ireland.
1745 Enters Trinity College, Dublin.
1749 B.A. degree
1753 Studies medicine in Edinburgh.
1755 Wanders through Italy, Switzerland and France.
1757 Works as an apothecary's assistant and as an usher.
1759 Publication of AN ENQUIRY.
1760 Publication of first CHINESE LETTER.
1764 Publication of HISTORY OF ENGLAND.
1766 Publication of THE VICAR OF WAKEFIELD.
1770        Elected Professor of Ancient History to the Royal
Academy. Publication of THE DESERTED VILLAGE.
1773 First Night of SHE STOOPS TO CONQUER.
1774 Seriously ill; refuses medical care. April 4: Dies at Brick
Court., Middle Temple. A Note
on
SHE STOOPS TO CONQUER
Young Marlow has a problem. A shy, college-bred fellow who freezes
up before respectable women but treats lower-class females impudently,
he's been sent to the country to court the daughter of his father's old
friend. Object: matrimony. The prospect terrifies him.
Kate Hardcastle also has a problem. At a time when marriage is a
woman's best option, she is stuck in a lonely country house. And when
an official suitor finally appears, he's too shy even to look at her, though
he seems "pretty well" to Kate. How to proceed?
Oliver Goldsmith had problems, too. Always in debt, he would sign
contracts with publishers and spend their advances before writing the
book (he sold the copyright to SHE STOOPS a year before it opened).
His first comedy had been received tepidly, and one scene "hissed off as
too farcical. Goldsmith disliked the current vogue in comedy of
sententious dialogue between genteel lovers in drawing rooms,
preferring the older, earthier "laughing comedy" of Farquhar and
Shakespeare. Already sick with the first symptoms of his final illness, he
settled down to write at a farmhouse outside London, where he spent
summers for his health, and pondered how to embody his literary values,
his ideals of good nature and benevolence, and his love of nature, in a
play that would succeed commercially.
Goldsmith's creative solution to all their problems has two main parts.
First he gave Kate a mischievous step-brother, Tony Lumpkin, who tells
Marlow that Kate's house is an inn and generally serves as a farcical
Lord of Misrule. Then he let Kate put Marlow through his paces,
providing rich roles for both. As herself, of course, she paralyses him, so
"she stoops to conquer", playing the lively barmaid of the "inn" and
gaining Marlow's attention. Trouble is, he becomes quite forward. Now
the problem is to combine the ardor of Marlow #2 with the deference of
#1: to integrate his personality. Kate invents a middle character, the
"poor relation", for whom Marlow is brought to declare a respectful love
despite the consequences.
Kate not only salvages a suitor: she in effect synthesizes a
new Marlow from the schizophrenic who blundered in her
door. He presumably learns to treat people, including women,
according to "worth, not birth" (as his age liked to say), and
will not easily forget the lesson with Kate at his side.
Goldsmith's broader achievement is also one of synthesis.
Borrowing freely, he blended the various modes of English
comedy since Shakespeare-manners, humours, farce,
sentiment, satire-into a perennially fresh piece that teaches a
painless humanitarian lesson while it entertains. He brought
comedy out of the London drawing room into his beloved
countryside, yet managed as well to comment on the problem
of the arranged marriage, to express himself-he is both Marlow
and Tony-and to set a new standard for thoughtful laughter,
"...amusement of so pure a quality will never come our way
again," wrote Virginia Woolf; "...it is perfect of its kind."
Richard Bevis
Professor Richard Bevis teaches in the Department of
English at UBC. SHE STOOPS TO CONQUER
by
Oliver Goldsmith
Directed by Kevin Orr
Set Design by Kairiin Bright
Costume Design by Mara Gottlcr
Lighting Design by Robert Gardiner
Sound Design by Barry Levy
CAST
Prologue/Lord/Sir Charles Jonathan Seville
Mr. Hardcastle  Michael O'Donnell
Mrs. Hardcastle Eliza Grcen-Moncur
Tony Lumpkin  Guy Fauchon
Kate Hardcastle Kerry Davidson
Constance Neville Michele Mclland
Jack Slang/Roger Gavin Crawford
Aminidab/Servant Darien Edgeler
Tom Twist/Diggory Michael Johnson
Mug/Servant/Jeremy Kevin Ken-
Bet Bouncer  Martina Smyth
Marlow David Mackay
Hastings  Bill Melathopolous
Pimple, the Maid Laura Finch
There will be one 15 minute intermission.
Acknowledgements
The Vancouver Playhouse
Rowan Eberle
PRODUCTION
Technical Director  Ian Pratt
Properties  Sherry Milne, Darryll Patterson
Costume Supervisor Chelsea Moore
Set Construction  Don Griffiths, John Henrickson
Robert Moser
Costume Cutter  Jean Driscoll-Bell
Wigs  Blanka Jurcnka
Stage Manager  Nancy Lyons
Assistant Stage Manager   Tonnie Rafter
Wardrobe Mistress  Nancy Canning
Costume Assistants  Celine Boucher, Nancy Canning,
Kristen Johnson
Lighting Operator Nick Davis
Sound Operator  Jo Howitz
Set Design Assistant  Carin
Lighting Assistant   Alex Hocschmann
Properties Assistants   Parminder Mann, Michel Pare
Head Scenic Artist Elana Honcharuk
Paint Crew  Kathryn Broadbelt, Frances Grafton,
Tania Lazib, Deb Pickman, Julia Smith
Costume Crew  Jo Howitz, Christine Tan,
Barbara Wilson
Make Up  Nick Davis
Stage Crew  Jennifer Ames, Kevin McAllister,
Noyus Poon, Jodi Rapaich
Box Office  Carolyn Preiswerck, Mariascha Wright
Lisa Bcley
Program Book Coordinator   Nadenc Rchnby
Business Manager   Marjorie Fordham
Production Manager  Robert Eberle Two Views
on
SHE STOOPS TO CONQUER
Dr. Goldsmith has written a Comedy—no, it is the lowest of all
farces. It is not the subject I condemn, though very vulgar, but the
execution. The drift tends to no moral, no edification of any kind. The
situations, however, arc well imagined, and make one laugh, in spite of
the grossness of the dialogue, the forced witticisms, and total improbability of the whole plan and conduct. But what disgusts me most is, that
though the characters arc very low, and aim at a lower humour, not one
of them says a sentence that is natural or marks any character at all. It is
set up in opposition lo sentimental comedy, and is as bad as the worst of
them.
Horace Walpole, 1773
That delightful comedy, She Stoops to Conquer, would indeed
deserve a volume, and is the best specimen of what an English comedy
should be. It illustrates excellently what has been said as to the necessity
of the plot depending on the characters, rather than the characters
depending on the plot, as the fashion is at present... What a play! We
never tire of it. How rich in situations, each the substance of a whole
play! At the very first sentence the stream of humour begins to flow.
Percy Fitzgerald, 1870
Design Sketches by KAIRIIN BRIGHT
PMM YU?W
CErrfiou   vigw From
Book Corner
Here are five helpful books for a study of the world of Oliver
Goldsmith.
Frederick Boas     An Introduction to 18th Century Drama
New York 1953
Joseph Krutch      Comedy and Conscience after the Restoration
New York 1949
James Lynch        Box, Pit and Gallery: Stage and Society in
Johnson's London
Berkeley 1953
H.W. Pedicord      The Theatrical Public in the Time ofGarrick
New York 1954
K. R. Richards      Essays on the 18th Century English Stage
(Ed.) London 1972
These books can be ordered through the UBC Bookstore.
F GOLDSMITH
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' m..    \i *& Frederic Wood Theatre
Coming Attractions
SWEENEY
TODD
Music and Lyrics by
STEPHEN SONDHEIM
Book by HUGH WHEELER
January 17 - February 3
Directed by French Tickner
HERR PUNTILA
AND HIS
SERVANT MATTI
by BERTOLT BRECHT
March 7-17
Directed by Arne Zaslove
BOX OFFICE
228-2678
Department of Theatre
The University of British Columbia

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