Charles Marlow, the son of Sir Charles Marlow, finds himself at the center of a whirlwind of mistaken identities and social mishaps. As Kate Hardcastle's love interest, Marlow's visit to her home is primarily driven by the intent to facilitate his friend Hastings' elopement with Constance. Ironically, while he is the romantic lead, Marlow becomes the greatest victim of deception, as nearly every character devises or engages in some charade at his expense. This is largely because Marlow, unlike Tony Lumpkin, who presents a consistent persona, is perceived differently by each individual he encounters: a loyal friend to Hastings, a stammering gentleman to Kate, a confident flirt to Kate when she poses as a barmaid, and an insolent guest to Mr. Hardcastle. These divergent impressions stem from Marlow's nervousness around upper-class women, a consequence of his life spent in inns and colleges, leaving him inexperienced with ladies of high society.

Despite his bashful nature, Marlow is regarded as a scholar—handsome, brave, and generous, yet "one of the most bashful and reserved young fellows in the world," as Mr. Hardcastle describes. While his timidity with women of his own class makes him a puzzling suitor for Kate, it simultaneously unveils a softer side when he mistakes her for a servant. Kate, intrigued by Marlow's unintentional charm, resolves to marry him, hoping his timidity can be tempered by love.

Kate Hardcastle, the charming daughter of Mr. Hardcastle, is known for her intelligence and adaptability. Her pursuit of a compatible partner rather than one of wealth or status sets her apart. Kate's cleverness shines through when she masquerades as a barmaid to gauge Marlow's true character, leveraging his lack of composure with women of his own class. Her ingenuity aligns her with Shakespearean heroines such as Viola and Rosalind. Although she has social ambitions akin to her stepmother, Mrs. Hardcastle, Kate's pragmatic approach to marriage prioritizes affection and compatibility, evidenced by her agreement to alternate between fashionable and simple attire to appease her father.

Constance Neville, an orphan and the cousin of Tony Lumpkin, is deeply entwined in the play’s romantic and financial intrigues. Her steadfast devotion to her suitor, George Hastings, underscores her name, which signifies constancy and stability. Despite being under the watchful eye of her aunt, Mrs. Hardcastle, who wishes to keep Constance's fortune within the family by forcing her into a marriage with Tony, Constance remains resolute. Her pragmatic disposition contrasts with Hastings' impulsive nature—while he dreams of eloping with little thought for financial security, Constance delicately balances her desire for love with the practical concerns of her inheritance.

Constance and Hastings' plan to elope is nearly thwarted by Mrs. Hardcastle, who is easily deceived by Tony's antics. Yet, Constance's clever manipulation and her alliance with Kate ultimately free her to marry Hastings, with Mr. Hardcastle’s blessing and the fortune intact.

Tony’s surname, “Lumpkin,” refers to a clumsy, unintelligent person and in sound is reminiscent of “bumpkin.” He is the son of Dorothy Hardcastle from her first marriage and the stepson of Richard Hardcastle. He is well-off, owing to an annuity paid out by his birth father, which allows him to pursue his country pleasures freely, with little concern for his future prospects. He is also illiterate and sickly, and he resents his mother’s controlling nature. Most notably, he criticizes her habit of lacing his food with mood-altering medication. 

Most of the characters in the play (except for his mother) hold a negative view of him as a profligate and idle troublemaker. For the first acts of the play, Tony does lend himself well to that impression. Contrary to this “witless and unhelpful” name, however, Tony serves both as the play’s fool and its unlikely hero. He can be viewed as the prime mover of the play, as his tricks are what set the central conflicts into motion. He also later proves to be a key force in the deliverance of Constance from Mrs. Hardcastle.

True to his surname, which evokes firmness and regard for one’s home, Richard Hardcastle is a traditionalist who is firm in his dealings with his family and his estate. However, he is also tolerant and kind. This can be seen in his easy-going relationship with his servants, his daughter Kate (with whom he is willing to bargain receptively), and his stepson, Tony (whom he grumbles about but never restricts). This also proves true later in the play in his reactions to Marlow’s deluded actions. Although Mr. Hardcastle perceives Marlow’s behavior as impudence, he is nevertheless patient while demonstrating a firm limit. When he understands the cause of Marlow’s attitude, he has the good humor to forego any grudges and instead laugh about it.

His rural conservatism provides the basis for certain misunderstandings: His old-fashioned mansion (as his wife complains) looks like an inn, and his insistence that his daughter Kate should wear plain clothes leads her to be mistaken for a barmaid.

Dorothy is the doting mother of Tony Lumpkin and the closest thing the play has to an antagonist. She is highly interested in London society and contemporary fashion, but, unlike Marlow or Kate, displays an apparent inability to discern what is fashionable or not. This ties in thematically with her poor ability to see through appearances, which is a notable disadvantage in a play that is about making up appearances. For example, she makes vain attempts to lie about her own age (and also about Tony’s age). In her conversations with Hastings, her understanding of contemporary fashion is hinted at as being poor, and she falls for Hastings’s obvious flattery. She suspects nothing of Constance and Hastings’s plot until she reads a letter which flatly lays it out. She remains clueless as to what people really think of her (like Hastings, who refers to her as “the hag”). Finally, during the climax of the play, she is misled about the region around her own estate and mistakes even her own husband for a highwayman. This final mistake can be read as an indication of her acquisitve, greedy nature.

George Hastings, a friend to Marlow and the devoted lover of Constance Neville, brings an element of impulsivity to the play. His desire to elope with Constance without regard for financial security underscores his romanticism and, true to his surname, his haste. Although his love for Constance is sincere, his willingness to deceive Marlow to maintain their plans reveals a complexity in his character; he is not entirely forthright, yet his intentions are genuine.

Hastings’ interactions with Mrs. Hardcastle, where he mocks her ignorance of London’s geography, add layers of humor, further demonstrating his playful side. Ultimately, his partnership with Tony and Mr. Hardcastle ensures his successful union with Constance.

Diggory, the bumbling yet good-natured servant, contributes to the comedic texture of the play with his lack of table manners and broad humor. His attempts to master formal service under Mr. Hardcastle’s tutelage result in amusing failures, adding to the play’s exploration of social pretensions. Diggory unwittingly aids in the central conflict by delivering a letter to Tony that inadvertently sets off a chain of misunderstandings, showcasing the role of minor characters in driving the plot.

Sir Charles Marlow is a peripheral yet pivotal figure, as his recommendation of his son as a suitable match for Kate catalyzes the play’s romantic entanglements. As an old friend of Mr. Hardcastle, his presence and eventual involvement help resolve the misunderstandings surrounding young Marlow’s behavior, securing his son’s place as a fitting suitor for Kate.