Vivian Beaumont Theater
The Vivian Beaumont Theater is a Broadway theater located in the Lincoln Center for the Performing Arts complex at 150 West 65th Street on the Upper West Side of Manhattan. It is New York City's only Broadway-class theater, not located in the Theater District near Times Square; the building was one of the last structures designed by Eero Saarinen, a Finnish-born mid-century architect. It is the home of Lincoln Center Theater; the theater is named after Vivian Beaumont Allen, a former actress and heiress to the May Department Stores fortune, who donated $3 million in 1958 for a building to house a permanent dramatic repertory company at Lincoln Center. Allen died in 1962, after several delays and estimated construction costs of $9.6 million, the Vivian Beaumont opened on October 21, 1965, with a revival of the 1835 play Danton's Death by Georg Büchner. The cast included Stacy Keach. From 1965–66, the theater was operated by the Repertory Theater of Lincoln Center, under the direction of Jules Irving and Herbert Blau.
From 1973 until 1977, it was managed by the New York Shakespeare Festival, under the direction of Joseph Papp. Following a three-year period of inactivity, it reopened in 1980 under the auspices of the Lincoln Center Theater Company, directed by Richmond Crinkley, he had the ad hoc assistance of a five-member directorate consisting of Woody Allen, Sarah Caldwell, Liviu Ciulei, Robin Phillips, Ellis Rabb, with Edward Albee as the company playwright. A contemplated $6.5 million interior reconstruction of the Vivian Beaumont led to its being closed between 1981 and 1983. These plans, which would have changed its configuration from a thrust stage to a more traditional theater with a proscenium arch, were abandoned. However, other substantial improvements to the theater's acoustics and technical facilities have been made over the years. On rare occasions the theater has been rented to commercial producers, such as Alexander H. Cohen and Hildy Parks, who presented Peter Brook's production of La Tragedie de Carmen in 1983.
Since 1985, the Vivian Beaumont has been operated by Lincoln Center Theater. In the lower level of the building is the Mitzi E. Newhouse Theater known as the Forum and renamed in 1972 for a woman who had donated much money for the theater, it is an intimate, 299-seat venue in which Lincoln Center Theater presents its Off-Broadway-style plays and musicals. In 2012, Lincoln Center Theater opened the Claire Tow Theater on the Beaumont's roof, a new third stage that features work by emerging playwrights and designers. Tickets are only $20 each, it stages three to four productions a year. The auditorium is named for Claire Tow, whose husband, Leonard, a board member, donated $7.5 million. The structure was designed by Finnish American architect Eero Saarinen, Jo Mielziner was responsible for the design of the stage and interior; the travertine-clad roof houses stacks of the New York Public Library for the Performing Arts, designed by Gordon Bunshaft. The Vivian Beaumont differs from traditional Broadway theaters because of its use of stadium seating and its thrust stage configuration.
Located on the Vivian Beaumont’s planted green roof, the Claire Tow Theater seats 112 people in a fixed configuration. Designed by Hugh Hardy and built at a cost of $42 million, the two-story, 23,000-square-foot glass box has the same width as the glass base of the Beaumont, it houses rehearsal space, dressing quarters, a pocket lobby with a bar. The structure is wrapped inside a grille of aluminum louvers. In designing the interior, Hardy used simple materials, stained oak for the lobby floors and walnut for the theater’s sloping walls; the bar features a sculpture by Kiki Smith. Official Lincoln Center Theater website Vivian Beaumont Theatre at the Internet Broadway Database Mitzi E. Newhouse Theater at the Internet Off-Broadway Database Claire Tow Theatre at the Internet Off-Broadway Database Vivian Beaumont Theater seating chart, at Playbill
Lincoln Center for the Performing Arts
Lincoln Center for the Performing Arts is a 16.3-acre complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. It hosts many notable performing arts organizations, which are nationally and internationally renowned, including the New York Philharmonic, the Metropolitan Opera, the New York City Ballet and the New York City Opera. A consortium of civic leaders and others led by, under the initiative of, John D. Rockefeller III built Lincoln Center as part of the "Lincoln Square Renewal Project" during Robert Moses' program of urban renewal in the 1950s and 1960s. Respected architects were contracted to design the major buildings on the site, over the next thirty years the diverse working class area around Lincoln Center was replaced with a conglomeration of high culture to please the tastes of the consortium. Rockefeller was Lincoln Center's inaugural president from 1956 and became its chairman in 1961, he is credited with raising more than half of the $184.5 million in private funds needed to build the complex, including drawing on his own funds.
The center's three buildings, David Geffen Hall, David H. Koch Theater and the Metropolitan Opera House were opened in 1962, 1964 and 1966, respectively. While the center may have been named because it was located in the Lincoln Square neighborhood, it is unclear whether the area was named as a tribute to U. S. President Abraham Lincoln; the name was bestowed on the area in 1906 by the New York City Board of Aldermen, but records give no reason for choosing that name. There has long been speculation that the name came from a local landowner, because the square was named Lincoln Square. City records from the time show only the names Johannes van Bruch, Thomas Hall, Stephan de Lancey, James de Lancey, James de Lancey, Jr. and John Somerindyck as area property owners. One speculation is that references to President Lincoln were omitted from the records because the mayor in 1906 was George B. McClellan Jr. son of General George B. McClellan, general-in-chief of the Union Army early in the American Civil War and a bitter rival of Lincoln's.
Architects who designed buildings at the center include: Diller Scofidio + Renfro: Public spaces, Hypar Pavilion and Lincoln Ristorante, The Juilliard School, Alice Tully Hall, School of American Ballet, Josie Robertson Plaza, Revson Fountain, President's Bridge and Infoscape Max Abramovitz: David Geffen Hall, original design of Josie Robertson Plaza Pietro Belluschi: The Juilliard School. Modified by Diller Scofidio + Renfro in association with FXFOWLE Architects Gordon Bunshaft: The New York Public Library for the Performing Arts Wallace Harrison: the center's master plan, the Metropolitan Opera House, original design of Josie Robertson Plaza Lee S Jablin: 3 Lincoln Center, the adjacent condominium built by a private developer Philip Johnson: New York State Theater, now known as the David H. Koch Theater, original design of Josie Robertson Plaza and original Revson Fountain Eero Saarinen: Vivian Beaumont Theater Davis and Associates: The Samuel B. and David Rose Building. Billie Tsien, Tod William: The David Rubenstein Atrium Hugh Hardy/H3 Hardy Collaboration Architecture LLC: The Claire Tow Theater WET Design: Revson Fountain The first structure to be completed and occupied as part of this renewal was the Fordham Law School of Fordham University in 1962.
Located between Columbus and Amsterdam Avenues, from West 60th to 66th Streets in Lincoln Square, on Manhattan's Upper West Side, the complex was the first gathering of major cultural institutions into a centralized location in an American city. The development of the condominium at 3 Lincoln Center, completed in 1991, designed by Lee Jablin of Harman Jablin Architects, made possible the expansion of The Juilliard School and the School of American Ballet; the center's cultural institutions make use of facilities located away from the main campus. In 2004, the center expanded through the addition of Jazz at Lincoln Center's newly built facilities, the Frederick P. Rose Hall, at the new Time Warner Center, located a few blocks to the south. In March 2006, the center launched construction on a major redevelopment plan that modernized and opened up its campus. Redevelopment was completed in 2012 with the completion of the President's Bridge over West 65th Street; when first announced in 1999, Lincoln Center's campuswide redevelopment was to cost $1.5 billion over 10 years and radically transform the campus.
The center management held an architectural competition, won by the British architect Norman Foster in 2005, but did not approve a full scale redesign until 2012, in part because of the need to raise $300 million in construction costs and the New York Philharmonic's fear that it might lose audiences and revenue while it was displaced. Among the architects that have been involved were Frank Gehry. In March 2006, the center launched the 65th Street Project – part of a major redevelopment plan continuing through the fall of 2012 – to create a new pedestrian promenade designed to improve accessibility and the aesthetics of that area of the campus. Additionally, Alice Tully Hall was modernized and reopened to critical and popular acclaim in 2009 and the Film Society of Lincoln Center expanded with the new Elinor Bunin Munroe Film Center. Top
Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
Mikhail Alexandrovich Bakunin was a Russian revolutionary anarchist and founder of collectivist anarchism. He is considered among the most influential figures of anarchism and one of the principal founders of the social anarchist tradition. Bakunin's enormous prestige as an activist made him one of the most famous ideologues in Europe, gaining substantial influence among radicals throughout Russia and Europe. Bakunin grew up in Pryamukhino, a family estate in Tver Governorate, where he moved to study philosophy and began to read the French Encyclopédistes, leading to enthusiasm for the philosophy of Fichte. From Fichte, Bakunin went on to immerse himself in the works of Hegel, the most influential thinker among German intellectuals at the time; that led to his embrace of Hegelianism, bedazzled by Hegel's famous maxim: "Everything that exists is rational". In 1840, Bakunin traveled to Saint Petersburg and Berlin with the intention of preparing himself for a professorship in philosophy or history at the University of Moscow.
In 1842, Bakunin moved from Berlin to Dresden. He arrived in Paris, where he met Pierre-Joseph Proudhon and Karl Marx. Bakunin's increasing radicalism—including staunch opposition to imperialism in east and central Europe by Russia and other powers—changed his life, putting an end to hopes of a professorial career, he was deported from France for speaking against Russia's oppression of Poland. In 1849, Bakunin was apprehended in Dresden for his participation in the Czech rebellion of 1848 and turned over to Russia where he was imprisoned in the Peter-Paul Fortress in Saint Petersburg, he remained there until 1857. Bakunin escaped to Japan made his way to the United States and London, where he worked with Alexander Herzen on the journal Kolokol. In 1863, he left to join the insurrection in Poland, but he failed to reach his destination and instead spent some time in Switzerland and Italy. In 1868, Bakunin joined the socialist International Working Men's Association, a federation of trade unions and workers' organizations, which had sections in many European countries as well as in Latin America and in North Africa and the Middle East.
The Bakuninist or anarchist trend expanded in influence in Spain, which constituted the largest section of the International at the time. A showdown loomed with Marx, a key figure in the General Council of the International; the 1872 Hague Congress was dominated by a struggle between Marx and his followers, who argued for the use of the state to bring about socialism. Bakunin could not attend the congress. Bakunin's faction present at the conference lost and Bakunin was expelled for maintaining a secret organisation within the international. From 1870 to 1876, Bakunin wrote some of his longer works, such as Statism and Anarchy and God and the State. However, Bakunin remained a direct participant in struggles. In 1870, he was involved in an insurrection in Lyon, which foreshadowed the Paris Commune; the Paris Commune corresponded to many elements of Bakunin's anarchist programme—self-management, mandates delegates, a militia system with elected officers and decentralisation. Anarchists like Élisée Reclus and those in the tradition of Pierre-Joseph Proudhon—who had influenced Bakunin—were key figures in the Commune.
Despite declining health, much a result of his years of imprisonment, Bakunin sought to take part in a communal insurrection involving anarchists in Bologna, but was forced to return to Switzerland in disguise, where he settled in Lugano. He remained active in the workers' and peasants' movements of Europe and was a major influence on movements in Egypt and Latin America. Mikhail Alexandrovich Bakunin was born to a Russian noble family "of only modest means" in the Pryamukhino village situated between Torzhok and Kuvshinovo, his father Alexander Mikhailovich Bakunin was a career diplomat who spent years serving in Italy and France and upon his return settled down at the paternal estate and turned a Marshal of Nobility. According to the family legend, the Bakunin dynasty was founded in 1492 by one of the three brothers of the noble Báthory family who left Hungary to serve under Vasili III of Russia. In reality, the first documented ancestor was a Moscow dyak Nikifor Evdokimov nicknamed Bakunya who lived during the 17th century.
Alexander's mother, knyazna Lubov Petrovna Myshetskaya, belonged to the impoverished Upper Oka Principalities branch of the Rurik dynasty founded by Mikhail Yurievich Tarussky, grandson of Michael of Chernigov. In 1810, Alexander Bakunin married Varvara Alexandrovna Muravyova, 24 years younger than him, she came from the ancient noble Muravyov family, founded during the 15th century by the Ryazan boyar Ivan Vasilievich Alapovsky nicknamed Muravey, granted lands in Veliky Novgorod. Among her second cousins were Nikita Muravyov and Sergey Muravyov-Apostol, some of the key figures of the Decembrist revolt. Alexander's commitment to liberal ideas led to his involvement with one in the Decembrist clubs. After Nicolas I became an Emperor, he gave up politics and devoted himself to the estate and his children—five girls and five boys, the oldest of whom was Mikhail. At the age of 14, Bakunin left for Saint Petersburg and became a Junker at the Artillery School (known as Mikhailovskaya Military Artillery A
Sir Tom Stoppard is a Czech-born British playwright and screenwriter. He has written prolifically for TV, radio and stage, finding prominence with plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, The Invention of Love, Rosencrantz and Guildenstern Are Dead, he co-wrote the screenplays for Brazil, The Russia House, Shakespeare in Love, has received an Academy Award and four Tony Awards. His work covers the themes of human rights and political freedom delving into the deeper philosophical thematics of society. Stoppard has been a key playwright of the National Theatre and is one of the most internationally performed dramatists of his generation. In 2008, The Daily Telegraph ranked him number 11 in their list of the "100 most powerful people in British culture". Born in Czechoslovakia, Stoppard left as a child refugee, he settled with his family in Britain after the war, in 1946, having spent the three years prior in a boarding school in Darjeeling in the Indian Himalayas.
After being educated at schools in Nottingham and Yorkshire, Stoppard became a journalist, a drama critic and in 1960, a playwright. Stoppard was born Tomáš Straussler, in Zlín, a city dominated by the shoe manufacturing industry, in the Moravia region of Czechoslovakia, he is a physician employed by the Bata shoe company. His parents were members of a long-established community. Just before the German occupation of Czechoslovakia, the town's patron, Jan Antonín Baťa, transferred his Jewish employees physicians, to branches of his firm outside Europe. On 15 March 1939, the day the Nazis invaded Czechoslovakia, the Straussler family fled to Singapore, where Bata had a factory. Before the Japanese occupation of Singapore, his brother, their mother were sent on to Australia. Stoppard's father remained in Singapore as a British army volunteer, knowing that, as a physician, he would be needed in its defence. Stoppard was four years old. In the book Tom Stoppard in Conversation, Stoppard tells how his father died in Japanese captivity, a prisoner of war but has said that he subsequently discovered that Straussler was reported to have drowned on board a ship bombed by Japanese forces whilst trying to flee Singapore in 1942.
In 1941, when Tomas was five, the three were evacuated to India. The boys attended Mount Hermon School, an American multi-racial school, where Tomas became Tom and his brother Petr became Peter. In 1945, his mother, married British army major Kenneth Stoppard, who gave the boys his English surname and, in 1946, moved the family to England. Stoppard's stepfather believed that "to be born an Englishman was to have drawn first prize in the lottery of life" —a quote from Cecil Rhodes —telling his 9 year-old stepson: "Don't you realise that I made you British?" Setting up Stoppard's desire as a child to become "an honorary Englishman". "I often find I'm with people who forget I don't quite belong in the world we're in", he says. "I find I put a foot wrong—it could be pronunciation, an arcane bit of English history—and I'm there naked, as someone with a pass, a press ticket." This is reflected in his characters, he notes, who are "constantly being addressed by the wrong name, with jokes and false trails to do with the confusion of having two names".
Stoppard attended the Dolphin School in Nottinghamshire, completed his education at Pocklington School in East Riding, which he hated. Stoppard left school at seventeen and began work as a journalist for the Western Daily Press in Bristol, never receiving a university education. Years he came to regret not going to university, but at the time he loved his work as a journalist and felt passionately about his career, he worked at the paper from 1954 until 1958, when the Bristol Evening World offered Stoppard the position of feature writer, humor columnist, secondary drama critic, which took Stoppard into the world of theater. At the Bristol Old Vic—at the time a well-regarded regional repertory company—Stoppard formed friendships with director John Boorman and actor Peter O'Toole early in their careers. In Bristol, he became known more for his strained attempts at humor and unstylish clothes than for his writing. Stoppard wrote short radio plays in 1953–54 and by 1960 he had completed his first stage play, A Walk on the Water, re-titled Enter a Free Man.
He noted that the work owed much to Robert Bolt's Flowering Cherry and Arthur Miller's Death of a Salesman. Within a week after sending A Walk on the Water to an agent, Stoppard received his version of the "Hollywood-style telegrams that change struggling young artists' lives." His first play was optioned, staged in Hamburg broadcast on British Independent Television in 1963. From September 1962 until April 1963, Stoppard worked in London as a drama critic for Scene magazine, writing reviews and interviews both under his name and the pseudonym William Boot. In 1964, a Ford Foundation grant enabled Stoppard to spend 5 months writing in a Berlin mansion, emerging with a one-act play titled Rosencrantz and Guildenstern Meet King Lear, which evolved into his Tony-winning play Rosencrantz and Guildenstern Are Dead. In the following years, Stoppard produced several works for radio and the theatre, including "M" is for Moon Among Other Things, A Separate Peace and If You're Glad I'll Be Frank. On 11 April 1967 – following acclaim at the 1966 Edinburgh Festival – the opening of Rosencrantz and Guildenstern Are Dead in a National Theatre producti
Ethan Green Hawke is an American actor and director. He has been nominated for four Academy Awards and a Tony Award. Hawke has directed three feature films, three Off-Broadway plays, a documentary, he has written three novels. He made his film debut with the 1985 science fiction feature Explorers, before making a breakthrough appearance in the 1989 drama Dead Poets Society, he appeared in various films before taking a role in the 1994 Generation X drama Reality Bites, for which he received critical praise. Hawke starred alongside Julie Delpy in Richard Linklater's Before trilogy: Before Sunrise, Before Sunset and Before Midnight, all of which received critical acclaim. Hawke has been nominated twice for both the Academy Award for Best Adapted Screenplay and the Academy Award for Best Supporting Actor. Hawke was further honored with SAG Award nominations for both films, as well as BAFTA Award and Golden Globe Award nominations for the latter, his other films include the science fiction drama Gattaca, the contemporary adaptation of Hamlet, the action thriller Assault on Precinct 13, the crime drama Before the Devil Knows You're Dead, the horror film Sinister.
In 2018 he garnered critical acclaim for his performance as a protestant minister in Paul Schrader's drama First Reformed receiving numerous accolades including New York Film Critics Circle Award for Best Actor and nominations at the Independent Spirit Awards and Critics' Choice Awards. In addition to his film work, Hawke has appeared in many theater productions, he made his Broadway debut in 1992 in Anton Chekhov's The Seagull, was nominated for a Tony Award for Best Featured Actor in a Play in 2007 for his performance in Tom Stoppard's The Coast of Utopia. In 2010, Hawke directed Sam Shepard's A Lie of the Mind, for which he received a Drama Desk Award nomination for Outstanding Director of a Play. Hawke was born in Austin, Texas, to Leslie, a charity worker, James Hawke, an insurance actuary. Hawke's parents were high school sweethearts in Fort Worth and married young, when Hawke's mother was 17. Hawke was born a year later. Hawke's parents were students at the University of Texas at Austin at the time of his birth, separated and divorced in 1974.
After the separation, Hawke was raised by his mother. The two relocated several times, before settling in New York City, where Hawke attended the Packer Collegiate Institute in Brooklyn Heights. Hawke's mother remarried when he was 10 and the family moved to West Windsor Township, New Jersey, where Hawke attended West Windsor Plainsboro High School, he transferred to the Hun School of Princeton, a secondary boarding school, from which he graduated in 1988. In high school, Hawke aspired to be a writer, but developed an interest in acting, he made his stage debut at age 13, in a production at The McCarter Theatre of George Bernard Shaw's Saint Joan, appearances in West Windsor-Plainsboro High School productions of Meet Me in St. Louis and You Can't Take It with You followed. At the Hun School he took acting classes at the McCarter Theatre on the Princeton campus, after high school graduation he studied acting at Carnegie Mellon University in Pittsburgh dropping out after he was cast in Dead Poets Society.
He enrolled in New York University's English program for two years, but dropped out to pursue other acting roles. Hawke obtained his mother's permission to attend his first casting call at the age of 14, secured his first film role in Joe Dante's Explorers, in which he played an alien-obsessed schoolboy alongside River Phoenix; the film was met with favorable reviews but had poor box office results, a failure which Hawke has admitted caused him to quit acting for a brief period after the film's release. Hawke described the disappointment as difficult to bear at such a young age, adding "I would never recommend that a kid act."In 1989, Hawke made his breakthrough appearance in Peter Weir's Dead Poets Society, playing one of the students taught by Robin Williams's inspirational English teacher. The Variety reviewer noted "Hawke, as the painfully shy Todd, gives a haunting performance." The film received considerable acclaim, winning the BAFTA Award for Best Film and an Academy Award nomination for Best Picture.
With revenue of $235 million worldwide, it remains Hawke's most commercially successful picture to date. Hawke described the opportunities he was offered as a result of the film's success as critical to his decision to continue acting: "I didn't want to be an actor and I went back to college, but the success was so monumental that I was getting offers to be in such interesting movies and be in such interesting places, it seemed silly to pursue anything else." While filming Dead Poets Society he auditioned for what would be his next film appearance, 1989's comedy drama Dad, where he played Ted Danson's son and Jack Lemmon's grandson. Hawke's next film, 1991's White Fang, brought his first leading role; the film, an adaptation of Jack London's novel of the same name, featured Hawke as Jack Conroy, a Yukon gold hunter who befriends a wolfdog. According to The Oregonian, "Hawke does a good job as young Jack... He makes Jack's passion for White Fang real and keeps it from being ridiculous or overly sentimental."
He appeared in Keith Gordon's A Midnight Clear, a well-received war film based on William Wharton's novel of the same name. In the survival drama Alive, adapted from Piers Paul Read's 1974 book, Hawke portrayed Nando Pa
The Real Inspector Hound
The Real Inspector Hound is a short, one-act play by Tom Stoppard. The plot follows two theatre critics named Moon and Birdboot who are watching a ludicrous setup of a country house murder mystery, in the style of a whodunit. By chance, they become involved in the action causing a series of events that parallel the play they are watching; the play was written between 1961 and 1962, drawing on Stoppard's experiences as a Bristol theatre critic. It was named The Stand-ins and The Critics, it is a parody of the stereotypical parlor mystery in the style of Agatha Christie's The Mousetrap, as well as of the critics watching the play, with their personal desires and obsessions interwoven into their bombastic and pompous reviews. The title is a direct reference to the ending of The Mousetrap, a play well known for guarding the secrecy of its twist ending, although the producers of Agatha Christie's play could not publicly object without drawing more attention to the fact; the Real Inspector Hound, much like Stoppard's earlier play Rosencrantz & Guildenstern Are Dead, examines the ideas of fate and free will, as well as exploring the themes of the'play within a play'.
Stoppard's play is an example of absurdism as well as farce and satire. While the story is set in a theatre, the play within the play is set in Muldoon Manor, a lavish manor surrounded by "desolate marshes" and "treacherous swamps" and paradoxically located near a cliff, it is a direct parody of Agatha Christie’s "closed" settings in which no one can enter or leave, so the characters know that the murderer must be one of them. The manor itself is described as having a large settee; the play is set, as spoken by Mrs Drudge, in the "drawing room of Lady Muldoon’s country residence one morning in early spring." Moon – a second-string theatre critic, called to the production to review it in the absence of Higgs, another critic. Moon's jealousy of Higgs' superior reputation seems to make him question his own purpose, with Moon's ultimate thoughts being of Higgs' death. Birdboot – a theatre critic and a womaniser, who catapults young actresses to stardom by delivering dazzling reviews in return, we assume, for sexual favours.
While married to Myrtle, he is having an affair with the actress who plays Felicity in the play within the play. Higgs – the senior critic, Moon is his stand-in. Puckeridge – the third-string theatre critic, or Moon's stand-in. In early versions of the play, this character was called "McCafferty". Mrs Drudge – The maid, or char, of Muldoon Manor. One of Stoppard's primary vehicles for emphasising the satirical character of the story, her cockney accent adds to the humour of Stoppard's play. Simon Gascoyne – New to the neighbourhood, Simon has had affairs with both Felicity and Cynthia, he takes an instant dislike to Magnus. In the play, Birdboot assumes the role of Simon Gascoyne, vice versa. Felicity Cunningham – A beautiful, young friend of Cynthia's who has had an affair with Simon and Birdboot, she is sweet and charming, but soon seeks ruthless revenge. Cynthia Muldoon – Apparent widow of Lord Albert Muldoon who disappeared ten years ago, she claims to be upset about her husband's disappearance, but the audience is led to think otherwise.
Sophisticated and beautiful. She has had an affair with Simon. Major Magnus Muldoon – Lord Albert Muldoon's crippled half-brother who just arrived from Canada. Has a desire for his late brother's widow, Cynthia. Takes an instant dislike to Simon, as they are both in love with Cynthia. Inspector Hound – Appears from outside the house in the middle of the play to investigate an alleged phone call. Moon assumes this role near the end of the play, vice versa; the Real Inspector Hound opens with two theatre critics and Birdboot. Since Moon's superior, Higgs, is unavailable, Moon is called upon to review the production; the other critic, seems to have an interest in the young actress playing Felicity Cunningham. Birdboot states that he is a "respectable married man", yet Moon's comments direct the audience to doubt this statement; the play within the play is set in "Lady Muldoon's country residence one morning in early spring" and opens with a body lying on an otherwise empty stage. The help, Mrs. Drudge, gravitates to the radio, oblivious to the corpse, turns it on just in time for an overly expository police message explaining that police are searching for an escaped madman in the swamps surrounding the manor.
Simon, a mysterious young man new in the neighbourhood enters the house, it is revealed that he has dumped Felicity Cunningham for her friend Cynthia Muldoon, lady of the house. In the audience, Birdboot has mentally done the same. Major Magnus Muldoon, Cynthia's brother-in-law, is in love with Cynthia. Inspector Hound from the police force arrives on the scene searching for the madman, the company notices the body; the company splits up to look for a man of suspicion, when Simon is left alone on stage with the body, he bends over it and seems to recognise the victim, at which point he is shot by an unknown assailant. During the play the two theatre critics discuss things they may write about this typical whodunit, but they are sidetracked by their soliloquies, Moon's concerning his professional jealousy of Higgs and Birdboot's concerning his newly found "love", the actress playing Cynthia; as they talk, the telephone on stage begins to ring incessantly. He walks up on stage to answer it only to discover that Myrtle, is on the line.
Birdboot speaks to her and as he hangs up, the play starts again and he gets trapped in it, mistaken for Simon, leading to his inevitable demise as he executes the role to its end, jus