Prologue

At the prestigious head of a sumptuous banquet table, the Thirteenth Earl of Gurney raises his glass in a theatrical toast to England, declaring, “Ruled not by superior force or skill / But by sheer presence.” As the guests sip to his impassioned words, the scene gracefully transitions to the Earl’s chamber. Here, the Earl embarks on his peculiar nightly routine, which involves slipping into a ballet tutu and a whimsical three-cornered hat before briefly swinging from a silk noose, mischievously prepared by his aging butler, Dan Tucker. Alas, this evening's ritual goes awry, leaving the Earl tragically hanging by his own hand.

Act I, Scene i

The solemn atmosphere of the Earl’s funeral is presided over by Bishop Lamptron, an elderly man whose presence is made grander by his ornate stole and towering mitre, despite his breathless wheezes.

Act I, Scene ii

Within the cold, stone walls of the family castle, a tense debate ensues over the inheritance of the Earl’s estate. When the lawyer proclaims that Jack, the Fourteenth Earl, is the heir, Sir Charles—brother to the deceased Earl—and his wife, Claire, are struck with disbelief, as is their dull-witted son, Dinsdale. Their outraged protests are abruptly halted by Tucker, now wealthier by a generous 20,000 pounds bequeathed to him. He shatters a vase in dramatic fashion to seize their attention, announcing the arrival of Jack, the Fourteenth Earl, who appears dressed as Jesus, proclaiming with fervor that he is God.

Act I, Scene iii

Determined to have Jack committed as a paranoidschizophrenic, Sir Charles enlists the help of Jack’s psychologist, Dr. Herder.

Act I, Scene iv

In a candid conversation with Claire, Jack reveals that he is convinced of his divinity, as speaking to God is akin to conversing with himself. His seemingly logical yet mad declarations about love and equality unnervingly echo communist ideals to his conservative family.

Act I, Scene v

Tucker, aware of the family's scheming, attempts to warn Jack of their plots. However, Jack dismisses such "negativity" outright.

Act I, Scene vi

As Jack lounges on a grand cross affixed to the wall, the household enjoys tea. Two earnest church ladies arrive, requesting Jack to officiate at their Church party. They find themselves swept into an unexpected vaudeville dance number with him. They suggest a non-political topic for his speech, like “Hanging, Immigration, the Stranglehold of the Unions.” Yet, Jack’s impassioned discourse on love and sexuality sends them hurriedly away. The family’s notion to control Jack through a potential heir surprises them when Jack announces he is already wed—to the “Lady of the Camelias.”

Act I, Scene vii

Unable to persuade Jack that he’s married to mere fantasy, the exasperated family challenges him to perform a miracle. Jack attempts to levitate a table, a feat seen only by the inebriated Tucker before he collapses. Offstage, the sweet, haunting voice of the Lady of the Camelias drifts through the air.

Act I, Scene viii

Claire and Charles exchange heated words over his scheming to thrust Grace Shelley—playing the Lady of the Camelias—onto Jack, a woman once intended for his now-deceased brother. Despite her initial resistance, Claire acknowledges that her husband’s plot might actually succeed.

Act I, Scene ix

In a whimsical love ritual, Grace and Jack chirp like courting birds, only for Dinsdale to puncture Jack’s bliss by revealing Grace’s true identity. Once more, Jack dismisses this "negative insinuendo," a term he cleverly coins to describe insidious insinuations brought on by a negative reaction to his father’s positive influence. This brush with reality drives Jack back to his comforting cross.

Act I, Scene...