Characters: Edward Chamberlayne

Much of the play centers around the problems between Edward and his wife, Lavinia. Edward is a lawyer, a boring and unimaginative man who feels that he is being stifled by Lavinia. When the play begins he has been having an affair with Celia Copplestone, a fact that does not come out until later. Left in the awkward position of hosting a dinner party that Lavinia arranged before she left him, he makes up a flimsy excuse about her being away to...

Characters: Lavinia Chamberlayne

Lavinia is absent from the stage during the first two scenes and much of the third, having left her husband, Edward. It is not until later that the audience finds out that she has seen the psychiatrist for two months, that she had an affair with Peter, and that during the time she was gone, she checked herself into what she thought was a sanatorium. Lavinia is such a controlled and controlling person that her husband is entirely surprised by both...

Characters: Celia Copplestone

At the beginning of the play, Celia does not appear to be a significant character, just one of the crowd; by the end, however, she turns out to have chosen to live in a free and giving way, giving her life the sort of meaning that all of the other characters have been hoping love would bring. She starts out as a poet interested in the art of film. The first time attention is brought to bear on Celia is when Peter asks Edward's advice about how...

Sir Henry Harcourt-Reilly, initially introduced as an unidentified guest at the Chamberlayne cocktail party, is later revealed to be the psychiatrist who significantly impacts the lives of the characters. His casual and philosophical demeanor belies a strategic mind that devises solutions for his patients even before they seek his help. Sir Henry’s treatment philosophy involves reconciling individuals with the human condition, or, as in Celia’s case, leading them on a mysterious journey of self-discovery. His reaction to Celia’s death, expressed through a complex poem, hints at his foresight and acceptance of her fate as part of a grand existential tapestry. His role underscores the profound influence he wields over the characters' transformations.

Julia Shuttlethwaite is a friend of the Chamberlaynes who initially presents as a meddlesome and somewhat scatter-brained matron. Despite this perception, she plays a crucial role in catalyzing the events that lead to the Chamberlaynes' and others' emotional awakenings. She is instrumental in orchestrating the actions that prompt the characters to confront their personal challenges, guiding them towards significant personal growth. Julia's strategic interventions, often masked by her gossipy demeanor, reveal her as a guardian figure, particularly influential in Celia's journey to self-realization. Her pointed questions and seemingly idle conversations are, in fact, carefully crafted to trigger introspection and change among those she interacts with.

Peter Quilpe, a shy young man enamored with Celia, is unaware that his feelings are unreciprocated. Previously involved in an affair with Lavinia, Peter plays a part in her seeking psychiatric help. Heartbroken over Celia, he relocates to California, where he achieves success in the film industry. By the play's conclusion, he is on the verge of producing a film about British aristocracy, indicating his tendency towards constructing imagined realities. The news of Celia’s death deeply affects him, contrasting starkly with the artificial world he wishes to capture on film, revealing his struggle between reality and illusion.

Alexander (Alex) MacColgie Gibbs, a friend of the Chamberlaynes, initially appears as another meddlesome character. However, he...

Miss Barraway, the secretary to Sir Henry Harcourt-Reilly, executes his precise instructions in managing patient interactions, appearing briefly to facilitate the flow of individuals on and off the stage. Her presence highlights the meticulous planning underlying Sir Henry's seemingly spontaneous interventions, emphasizing the structured and controlled environment he maintains within his practice.

The Caterer's Man appears in the third act during the preparation of Edward and Lavinia's cocktail party, symbolizing their ongoing adherence to societal norms. His presence underscores the absence of genuine private behavior, as the couple continues to project a facade even within their own home, maintaining appearances for the sake of social expectations.