The Rover | Copyright

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These eNotes are an offprint from Drama For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Dramas.

Drama For Students

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Drama for Students (DfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN DfS, VOLUME 16, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

African American Review, v. 31, Winter, 1997 for “The Motion of Herstory: Three Plays by Pearl Cleage,” by Freda Scott Giles. Reproduced by permission of the author.—Costerus 76: New Essays on American Drama, 1989. © Editions Rodopi NV, 1989. Reprinted by permission of Humanities Press International, Inc.—ELH, v. 56, Fall, 1989. © The Johns Hopkins University Press. Reproduced by permission.—English Studies in Canada, v. 13, June 1987 for “America’s First Tragedy,” by Stephen A. Black. © Association of Canadian University Teachers of English 1987. Reproduced by Permission of the publisher and the author.—Modern Drama, v. 33, December, 1990; v. 42, Spring, 1999. Both reproduced by permission.

COPYRIGHTED MATERIALS IN DfS, VOLUME 16, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Billington, Michael. From Stoppard: The Playwright. Methuen Publishing Company, 1987. Copyright © 1987 by Michael Billington. Reproduced by permission.—Brustein, Robert. An excerpt from “Henrik Ibsen” in The Theatre of Revolt. Little, Brown, and Company, 1962. Reproduced by permission.— Burbank, Rex. From Thornton Wilder. Twayne Publishers, Inc., 1961. Copyright © 1961 by Twayne Publishers, Inc. Reproduced by permission.— Lomax, Marion. From The Rover. W.W. Norton, 1985. © 1995 A&C Black (Publishers) Limited. Reproduced by permission.—Mazer, Cary M. From “Master Class and the Paradox of the Diva,” in Terrence McNally: A Casebook. Edited by Toby Silverman Zinman. Garland Publishing Inc., 1997. Copyright © 1997 by Toby Silverman Zinman. Reproduced by permission of Routledge, Inc., part of The Taylor & Francis Group.—Miliora, Maria T. From “Loss of Sense of Home, Family, Belonging: Narcissism, Alienation and Madness,” in Narcissism, the Family, and Madness: A Self- Psychological Study of Eugene O’Neil and His Plays. Peter Lang Publishing, 2000. © 2000 Peter Lang Publishing, Inc., New York. Reproduced by permission.—Sammels, Neil. From Tom Stoppard: The Artist as Critic. Macmillan, 1988. © Neil Sammells 1988. Reproduced by permission.— Shivers, Alfred. “Of Sceptred and Elected Races,” in Maxwell Anderson. Twayne Publishers, 1976. The Gale Group.—Voglino, Barbara. “Unsettling Ambiguity in Beyond the Horizon,” in “Perverse Mind:” Eugene O’Neil’s Struggle with Closure. Associated University Presses, 1999. © 1999 by Associated University Presses, Inc. Reproduced by permission.—Woods, Alan. From “The Night Thoreau Spent in Jail: Introduction,” in Selected Plays of Jerome Lawrence and Robert E. Lee. Ohio State University Press, 1995. Copyright © 1995 by the Ohio State University Press. Reproduced by permission of the author.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN DfS, VOLUME 16, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Anderson, Maxwell, photograph. The Library of Congress.—Baraka, Amiri, photograph. AP/Wide World Photos. Reproduced by permission.— Beaumarchais, Pierre-Augustin Caron de, engraving. Hulton/Archive. Reproduced by permission.— Behn, Aphra, engraving.—Bryant, Michael as Brand, holding walking stick and wearing backpack, standing on broken ice while Lynn Farleigh as Agnes looks on, scene from a 1978 production of Brand, written by Henrik Ibsen, directed by Christopher Morahan, performed at the Olivier Theatre, London, photograph. © Donald Cooper/Photostage. Reproduced by permission.—Carter, Helena Bonham as Rosine, speaking while Lee Cornes as Figaro looks on, scene from a 1992 production of The Barber of Seville, written by Pierre-Augustin Caron de Beaumarchais, directed by Lou Stein, performed at the Palace Theatre, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—Churchill, Caryl, photograph. © Jerry Bauer. Reproduced by permission.—Cleage, Pearl, photograph. © Barry Forbus. Reproduced by permission of Pearl Cleage.— Cover of Playbill, from the theatrical production of The Matchmaker, written by Thornton Wilder, directed by Tyrone Guthrie, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.—Cover of Playbill, from the theatrical production of The Secret Rapture, written and directed by David Hare, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Cover of Showbill, from the theatrical production of Brand, written by Henrik Ibsen, directed by Craig D. Kinzer, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Frontispiece for the 1775 edition of Le Barbier de Seville, written by Pierre-Augustin Caron de Beaumarchais, photograph. © Gianni Dagli Orti/ Corbis. Reproduced by permission.—Hare, David, photograph. AP/Wide World Photos. Reproduced by permission.—Ibsen, Henrik, photograph. AP/ Wide World Photos. Reproduced by permission.— (Left to right) Hugh Quarshie as Belvile, Jeremy Irons as Willmore and Peter Guinness as Frederick, all smiling as Willmore rests his head on Belvile’s shoulder, scene from a Royal Shakespeare Company production of The Rover, written by Aphra Behn, directed by John Barton, photograph. © Donald Cooper/Photostage. Reproduced by permission.— (Left to right) Paul Shelley as Tom French, Penelope Wilton as Marion French and Jill Baker (sitting) as Isobel Glass, gathered near rattan chairs and table, scene from a 1988 production of The Secret Rapture, performed at Lyttelton Theatre, written by David Hare, directed by Howard Davies, photograph. © Donald Cooper/Photostage. Reproduced by permission.—(Left to right) Walter C. Kelly as Solomon Fitzmaurice, looking at his pocketwatch, Shepperd Strudwick as Alan McClean, sitting in chair, and Mary Philips as Bus, staring at Kelly with stern look on her face, on cover of Playbill, from Maxwell Anderson production of Both Your Houses, directed by Worthington Miner, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.—(Left to right) William Hoyland as Harry Bagley, Jim Hooper as Betty, Antony Sher as Clive, Miriam Margolyes as Maud and Julie Covington as Edward, all standing together with glasses raised in a toast, scene from a 1979 production of Cloud Nine, written by Caryl Churchill, directed by Max Stafford-Clark, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—LuPone, Patti as Maria Callas, standing with her right index finger pointed upward, facing David Maxwell Anderson as Tony, scene from a 1997 production of Master Class, performed at Queen’s Theatre, written by Terrance McNally, photograph. © Donald Cooper/Photostage. Reproduced by permission.— Matthau, Walter as Horace Vandergelder, Barbra Streisand as Dolly Levi, and Marianne McAndrew as Irene Molloy, in a scene from the 1969 film Hello Dolly, directed by Gene Kelly, photograph. The Kobal Collection. Reproduced by permission.— McInnerny, Tim as Clive, on knees embracing Marion Bailey as Mrs. Saunders, stuffed leopard in background, scene from a 1997 production of Cloud Nine, performed at Old Vic Theatre, written by Caryl Churchill, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—McNally, Terrence, photograph. AP/Wide World Photos. Reproduced by permission.—O’Neill, Eugene, photograph. © Horace Bristol/Corbis. Reproduced by permission.—Playbill title page from theatrical production of Maxwell Anderson’s Both Your Houses, directed by Worthington Miner, at Ethel Barrymore Theatre, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.—Side profile of Zoe Caldwell as Maria Callas, superimposed over face of Maria Callas, on cover of Playbill, from theatrical production of Master Class, written by Terrence McNally, directed by Leonard Foglia, photograph. PLAYBILL ® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved.—Stoppard, Tom, photograph. © Jerry Bauer. Reproduced by permission.—Thoreau, Henry David, age 44, photograph. The Library of Congress.— Wilder, Thornton, photograph. AP/Wide World Photos. Reproduced by permission.—Wilson, Lanford, photograph. Hulton/Archive. Reproduced by permission.