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The Many Faces of Kate: Exploring Performance in Oliver Goldsmith's She Stoops to Conquer, 1773-2017 Sidney Allison Turner

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! THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS & SCIENCES

THE MANY FACES OF KATE: EXPLORING PERFORMANCE IN OLIVER GOLDSMITHÕS SHE STOOPS TO CONQUER, 1773-2017

By SIDNEY TURNER

A Thesis submitted to the Department of English in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring, 2018

! The members of the Committee approve the thesis Sidney Turner defended on September 19, 2017.

____________________________________ Dr. Helen Burke Thesis Director

____________________________________ Dr. Robert Bowman Committee Member

____________________________________ Dr. Elizabeth Osborne Outside Committee Member

The Many Faces of Kate 1

The Many Faces of Kate 2 Abstract Plays are a form of entertainment that can be enjoyed on the page and on the stage. A playwrightÕs work is versatile, and is able to take on varying interpretations and modes of expression. The script itself is only one means of interpreting a play, it is left incomplete when not embodied or performed. When reading it is not possible to grasp the full experience that a play has to offer because plays are written with the intent of a performance. Actors, actresses, directors, costumes, settings, and audience all influence the experience of a play. All of these factors and past adaptations impact the interpretations of a play as people bring their own experiences and backgrounds to the performance. The directors and performers thus have the task of balancing the audienceÕs expectations with their own. In this thesis I explore the performances associated with Kate Hardcastle, one of the key characters in She Stoops to Conquer. Goldsmith wrote She Stoops to Conquer in 1773 as a comedy for the purpose of entertaining the audiences of the eighteenth-century theater. The play exceeded GoldsmithÕs expectations as it has entertained audiences throughout the centuries. It is a comedy that has experienced the shifts in modes of entertainment as time progresses, but its humor is still applicable today. She Stoops to Conquer is now available to audiences via scripts, play performances, and movies. Alongside this shift in modes of entertainment there is a change in cultural and societal expectations that influence the backgrounds of performers and the audience. This thesis explores how actress choice, time period, and method of presentation influence the audience experience of GoldsmithÕs character Kate Hardcastle in She Stoops to Conquer. This development is tracked from the original performance of 1773 to the current day, focusing on selected stage and film productions.

The Many Faces of Kate 3 Introduction: The Origins of Kate GoldsmithÕs original production of She Stoops to Conquer at the London Covent Garden Theater on March 15, 1773 was unique due to the fact that Goldsmith was not only the playwright but also the director of the first production of She Stoops to Conquer. He was a man of many talents, and made a name for himself as a poet, author and playwright with his various works. He was born in 1728, to a religious family in Ireland, left his home in his late teens to travel Europe, and settled in London following his medical studies in Edinburgh. It is not clear if Goldsmith actually obtained a medical degree, but it is known that he eventually found himself failing as a physician in London. In 1957, he took up a new career in the literary world as a writer, editor, and proofreader for various magazines in London, and eventually became a published novelist, poet and playwright. Goldsmith had a difficult personality, as he was a shy, stubborn, and unattractive man, which did not assist his financial struggles that haunted him till death. His life experiences impacted his writing as he saw and walked in the shoes of many of his characters. Goldsmith is known to take moments from his own life and use them as the basis for various scenes that he created for the audienceÕs pleasure. His death in April of 1774 cut his life short, and in his final days he struggled to complete the various writing projects that he took up prior to his kidneys shutting down. She Stoops to Conquer was GoldsmithÕs last play production, and it truly challenged his patience as he struggled to gain support, but in the end the play was a success and brought him joy. Goldsmith wrote She Stoops to Conquer with the intent of writing a comedic play that audiences would want to see. His characters, however, were not the sole creation of GoldsmithÕs imagination, but written with specific performers in mind to fill the roles. Kate Hardcastle, the main character in Oliver GoldsmithÕs She Stoops to Conquer, challenges the bounds of her

The Many Faces of Kate 4 traditional role as a middle class daughter in the eighteenth century. This character was written with the intent of Mrs. Abington playing the role. Mrs. Abington was a very popular actress of the time who rose from poverty to success on the stage (Highfill, 1: 12-20). Mrs. Abington was not immune to negative reviews, though, and experienced personal relationship problems throughout her career. She was idolized by the public and became a true celebrity as a trendsetter in fashion, and the focus of gossip. Mrs. Abington built herself up into a success as an independent woman, but she intimidated the men in her life in personal and professional settings. This strong character and fashion interest can be seen as an inspiration for Kate Hardcastle. KateÕs interest in fashion is established within the first act, as Mr. Hardcastle makes a point to share with the audience her interests in the current fashion trends of the time. Kate does not hesitate to speak her mind around the men in her life, and takes control of the antics that are occurring in the house spinning the situation to her advantage as she tests MarlowÕs character in order to determine if he is a good fit to be her husband. Mrs. AbingtonÕs influence of Kate is furthered with Goldsmith writing the original opening of the play as a song to be sung by Mrs. Abington. She was GoldsmithÕs muse when it came to Kate Hardcastle, as he wanted a top actress to lead his production to success. However, Goldsmith failed to take into account the rivalry between the houses of Covent Garden Company and Drury Lane when deciding on Mrs. Abington as his inspiration for Kate Hardcastle. Mrs. Abington refused the role of Kate Hardcastle on the basis that she was contracted with Drury Lane Company and could not participate in GoldsmithÕs She Stoops to Conquer, which was being produced at Covent Garden. Her refusal was no surprise when considering her allegiance to her house, and the location of the production. Mrs. AbingtonÕs part was taken over by a younger woman. This actress was Mrs. Bulkley who worked with Goldsmith

The Many Faces of Kate 5 to alter the role of Kate Hardcastle to better fit her talents. Mrs. BulkleyÕs lack of singing talent forced Goldsmith to change his original opening lines to what appears in the reprints of his script today. It is unclear what else Goldsmith had to edit as the cast changed, but it is known that Mrs. Bulkley only received positive feedback from the critics for her performance as Kate Hardcastle. Mrs. Bulkley was another famous actress of the eighteenth century, who took on multiple roles with varying character demands (Highfill, 2: 393-398). She was not who Kate Hardcastle was written for, but her acting skills pleased Goldsmith during the performances. The change in casting added to the dimension of She Stoops to Conquer, allowing for an expansion of the world that Goldsmith created. Despite the praises following She Stoops to Conquer Mrs. Bulkley received unhappy reactions from the audience in various roles throughout the years. Beginning her career as a dancer Mrs. Bulkley had a foundation of discipline and her body reflected that of a healthy athletic shape. There have been comments regarding her beauty and appeal, which only added to her visual appeal on the stage. She proved that she was not afraid to take on a challenging role that may not be received fondly, as seen when she played characters that were booed off the stage. She can also be perceived as a promiscuous woman considering her three marriages, and the rumors of affairs. This may have contributed to Mrs. Bulkley being considered a modern woman of her time, adding to the dimensions of KateÕs character. You can imagine Mrs. Bulkley flirting with Marlow, and allowing the audience to laugh along at her private joke in fooling him. Mrs. Bulkley pushed the boundaries of society in regards to marriage, and embraced the joys of shock value when it came to acting. The stage was BulkleyÕs home, and in a way she allowed the world to become her personal stage as she seemed to do whatever she wanted. Abington, Bulkley and Hardcastle are all women who could be

The Many Faces of Kate 6 characterized as independent thinkers, and it is clear that they enjoyed pushing the boundaries of their current periodÕs expectations. GoldsmithÕs intentions and expectations for She Stoops to Conquer were realized on the stage through his direction and specific selections of actors. However, the inability to watch the live or recorded version of GoldsmithÕs personal direction and production of this play presents a challenge when it comes to discovering these intentions. He was forced to change various aspects of the play to better fit his cast in order to have a successful production (Balderston, xlii). This need for change mirrors that of subsequent productions which lack stage direction from Goldsmith, and which are thus vulnerable to time and the changes that it brings. Readers, directors and performers who follow GoldsmithÕs words have the opportunity to express their own interpretations of She Stoops to Conquer, and create a unique Kate. Every reader and actress who takes on the role of Kate Hardcastle adds dimension to her character, allowing for a new experience of a comedic and timeless character. The first chapter of this thesis evaluates GoldsmithÕs written work of She Stoops to Conquer by pinpointing and analyzing specific scenes from the written play that display Kate HardcastleÕs character. Kate appears in seven scenes throughout the playÕs five acts. During these scenes Kate primarily interacts with Mr. Hardcastle and Marlow. In 1.1, 3.1, 5.1, and 5.3 KateÕs relationship with her father, Mr. Hardcastle, is revealed to the audience. The conversations in these four scenes demonstrate a progressive father-daughter relationship, one that shows Mr. Hardcastle supporting KateÕs independent nature. In 2.1, 3.1, 4.1, and 5.3 Kate plays a game with Marlow as she takes on the role of an actress portraying herself as a daughter, lady, and barmaid. She slowly reveals more of her true character throughout the playÕs

The Many Faces of Kate 7 progression. These scenes will be used as reference points for analyzing adaptations regarding the portrayal of Kate Hardcastle. The second and third chapters of this thesis focus on the productions of She Stoops to Conquer performed after the 1773 production on the cinematic screen. Alongside technological changes in modes of production there are also shifts in cultural and societal expectations as time progresses. These shifts influence the backgrounds that actresses bring to the role of Kate Hardcastle. The performances of the two actresses, Monica Dolan in Max Stafford-ClarkÕs 2003 film production of She Stoops to Conquer and Susannah Fielding in Tony BrittenÕs 2008 film production, will be analyzed, focusing on the key scenes identified in chapter one of this thesis. I will focus on how the interactions between Kate and other characters and the tone of voice and the body language utilized by these two actresses influence the portrayal of Kate. This will provide insight into how Monica Dolan and Susannah FieldingÕs performances of Kate Hardcastle are influenced by the portrayal of Kate by past actresses. Marvin Carlson in The Haunted Stage makes a point that there is a recycling in any performance of remnants from previous performances. Such ÒghostingÓ influences the women who have performed the role of Kate Hardcastle, but, as I will show, these actresses also add new dimensions to GoldsmithÕs fictional character (Carlson, 29). They are actresses who make the performance their own, and at the same time fulfill GoldsmithÕs and the audienceÕs expectations. The fourth chapter of this thesis analyzes a present day live stage performances of GoldsmithÕs She Stoops to Conquer. Goldsmith wrote She Stoops to Conquer with the intention of providing a live performance for the stage, which makes it imperative to include a discussion on current live theatrical performances. Specifically, I look at director Jerrold ScottÕs 2017 production of She Stoops to Conquer, which was performed at the Cleveland Playhouse in Ohio.

The Many Faces of Kate 8 Sarah Cuneo played Kate Hardcastle in ScottÕs adaptation. The analysis here focuses on the directorÕs intent, the impact of the set, the impact of the theater layout, the casting of Kate Hardcastle, and KateÕs performance regarding the key scenes discussed in chapter one of this thesis. Chapter I.

Enter Kate Hardcastle

This chapter will evaluate GoldsmithÕs text, She Stoops to Conquer by pinpointing and analyzing specific scenes from the written play that display Kate HardcastleÕs character. Kate Hardcastle is Mr. HardcastleÕs only daughter, and she appears within the first act of She Stoops to Conquer, making her presence known and establishing herself as not only a main character but also an independent woman. In this first act we discover that KateÕs father, Mr. Hardcastle, has arranged a marriage for Kate with a young Mr. Marlow, whose father is a close friend of Mr. Hardcastle. An arranged marriage was a common practice for the upper class of the time, where marrying for titles or money was not unheard of. However, the relationship between Mr. Hardcastle and Kate challenges the status quo of a tyrant father and subservient daughter. As we see from this act, Kate is free to speak her mind with Mr. Hardcastle, and he respects her opinion and encourages her to follow her passions. Mr. Hardcastle wants Kate to marry young Mr. Marlow, not only to ensure KateÕs future but also to strengthen his friendship with Sir Charles, MarlowÕs father. However, as we will see, these reasons encouraging the arrangement do not seal KateÕs fate as the future Mrs. Marlow. KateÕs father provides her the option of not marrying Mr. Marlow if he does not meet her expectations. Mr. Hardcastle also gives Kate a reality check by reminding her that Marlow can just as easily turn away Kate as a possible wife. This forward thinking of allowing a marriage out of love rather than parental desires demonstrates a shift towards progressive marital traditions.

The Many Faces of Kate 9 The audience might assume that Kate would be offended at the notion of rejection, but she contradicts the expected feminine reaction of a girl determined to find love in favor of a confident and independent response: My dear Papa, why will you mortify one so? Well, if he refuses, instead of breaking my heart at his indifference, IÕll only break my glass for its flattery, set my cap to some newer fashion, and look for some less difficult admirer. (1.1.133-139) This dialogue reflects a key character component of Kate Hardcastle. It reveals that she is not engrossed with the idea of marriage, and will not play into the fairytale need to make her supposed prince, Mr. Marlow, fall in love with her. Kate makes it clear that she is not interested in any man who does not value her as an equal partner or feels that marrying her is settling. Kate will simply look for a Òless difficult admirerÓ who will reflect her values and desire her wholeheartedly. The idea of Mr. Marlow not liking Kate does not upset her; if anything it gives her the opportunity to demonstrate her strength to her father. Mr. Hardcastle has raised Kate to not concern herself with feminine ideals of living for a man, and instead she lives to find her own happiness, accepting nothing less. Mr. Hardcastle supports his daughterÕs stance on marriage, wanting her to find happiness over a stable partnership with a man who does not care for her. He introduces a realist perspective on the situation by telling her ÒAy, Kate, but there is still an obstacle. ItÕs more than an even wager he may not have youÓ (1.1.131-132). This openness, at the possible expense of KateÕs feelings, demonstrates the protective nature of Mr. Hardcastle who does not want his daughter to be caught off guard. He truly wants the best for her and applauds her nonchalant attitude towards the possibility of the arrangement not working, telling her Òbravely resolvedÓ

The Many Faces of Kate 10 (1.1.137). KateÕs confidence in herself and her independent nature allows her to not harp on a life of marriage that is still far out of reach. Mr. Hardcastle has encouraged her to stand up for herself, encouraging her to speak her mind, and finds her indifference to finding an alternative husband comforting. He knows that his little girl will not be crushed if Marlow turns out to not be a proper fit, and it gives him peace of mind knowing he will not have to put her emotions back together if Marlow rejects her. Kate is a passion driven individual, as seen in 1.1 when defending her love of fashion. There is an agreement made between Kate and Mr. Hardcastle regarding KateÕs ability to wear a fashionable dress during the day when meeting with people, while wearing a simple housedress in the evenings when at home. In this sense Kate fulfills the feminine role of caring for appearance, and she displays her strength in defending her interest in fashion, which makes her happy. Mr. Hardcastle wants Kate to remain his little girl, but he is willing to allow her to make decisions and express her opinion: HARDCASTLE. ThereÕs my pretty darling Kate; the fashions of the times have almost infected her too. By living a year or two in town, she is fond of gauze, and French frippery, as the best of them. Blessings on my pretty innocence! Dressed out as usual my Kate. Goodness! What a quantity of superfluous silk has thou go about Thee, girl! I could never teach the fools of this age, the indigent World could be clothes out of the trimmings of the vain. MISS HARDCASTLE. You know our agreement, sir. You allow me the Morning to receive and pay visits, and to dress sin my own manner; And in the evening, I put on my housewifeÕs dress to please you. (1.1.81-92)

The Many Faces of Kate 11 Kate Hardcastle respects her father, but, as we see from this exchange, she is also not afraid to challenge him if she believes it is necessary. This interaction demonstrates a compromise between an old and young generation, and allows for a comparison between the upper and lower classes of society when considering what the dresses represent. Following this dialogue it becomes clear that Mr. Hardcastle is not a tyrant of his household; he rather allows his family members to have their own opinions and make decisions for themselves. KateÕs ability to express herself through dress is important throughout the playÕs progression as she uses her housewife dress to pass as a barmaid when interacting with Mr. Marlow in 3.1. Kate Hardcastle appears next in the first scene of the second act in She Stoops to Conquer. In this scene, she meets Mr. Marlow for the first time and is excited to speak with her suitor with the hopes of determining if he is the man with whom she wants to spend the rest of her life. During their walk through the garden, however, Marlow falls short of KateÕs expectations as he stares at the ground and speaks minimally through the duration of their encounter. Kate later tells her maid that ÒI vow I thought so, for though we spoke for some time together, yet his fears were such, that he never once looked up during the interviewÓ (3.1.234236). Marlow could not even hold a conversation, let alone show Kate respect by looking at her face when talking to her. Instead his eyes remained planted on the ground, leaving Kate feeling less than desirable. However, Kate does her best to remain upbeat and encouraging, not wanting the conversation to die simply because Mr. Marlow was struggling to speak in front of a lady. Reflecting on their first interaction Kate proceeds to analyze the situation: Ha! Ha! Ha! Was there ever such a sober sentimental interview? IÕm certain he scarce looked in my face the whole time. Yet the fellow, but for his unaccountable bashfulness, is pretty

The Many Faces of Kate 12 well too. He has good sense, but then so buried in his fears, that it fatigues one more than ignorance. If I could teach him a little confidence, it would be doing somebody that I know of a piece of service. But who is that somebody? That, faith, is a question I can scarce answer. (2.1.468-475) At this point Kate is still viewed as a lady by Mr. Marlow. However, she does give herself the role of MarlowÕs confidence builder following their conversation. She is determined to get to know the true Marlow and not the bashful man who is afraid of upper class women with high values and morals. Kate finds the situation funny, and she laughs at MarlowÕs behavior when talking to the audience at the end of the walk. She maintains control of the situation, demonstrated by her dominance in the conversation and also through her acknowledgment of an audience that would not be called for in a real life scenario. Kate does not allow MarlowÕs behavior to leave her doubting her ability to talk to men; she does not even consider the awkward conversation she had with Marlow as a reflection on herself. Self-blame is not a thought-process that Kate endorses. This is a shift away from the assumed feminine response of taking the blame for the manÕs behavior, and further reflects KateÕs progressive independent nature. As a result of this Kate decides to help Marlow despite the fact that he was rude to her. This can be perceived as Kate taking on a challenge meant to entertain Kate while Marlow stays in her home. She decides to Òteach himÓ how to be confident, with the hopes of benefiting from his shift in character--attributes that are reflected in her flirtation with the audience when stating, Òit would be doing somebody that I know of a piece of serviceÓ (2.1.473-474). Kate, if anything, is physically attracted to Marlow and does not mind the time commitment of making Marlow comfortable around her if it means that he could possibly become the man she desires. This goal

The Many Faces of Kate 13 sets up the initial motivation behind the rest of Marlow and KateÕs interactions throughout the play. Act 3 begins with Kate and Mr. Hardcastle evaluating MarlowÕs behavior thus far in the performance to determine if he is a viable suitor. Kate believes that Marlow was not his true self when they first encountered each other and later on in the play, she uses shyness as an excuse for his reserved behavior. However, Mr. Hardcastle, who by this time has also met Marlow, does not want to consider him as a husband for his daughter anymore following the contrasting version of Marlow he experienced. Marlow was indifferent and rude to Mr. Hardcastle, treating him as an innkeeper from the working class rather than as a gentleman. It becomes clear from this interaction that Marlow changes his behavior depending on who is in the room. This behavior continues in later scenes when Marlow believes that Kate is a bar maid, who is of a low social standing and assumedly looser morals than that of a lady. However, Kate believes that there is another side to Marlow, one that reflects his true personality as a gentleman with a confident mouth. Kate states that Òyet there may be many good qualities under that first appearanceÓ (3.1.68-69). In other words, there may be more to Mr. Marlow beyond that of first impressions. Kate thus challenges her father, bargaining that if Marlow proves himself more of a gentleman than that of a rude spoiled man then Kate may consider a marriage with him. She puts faith in the idea that Marlow is a good man, and that he will prove to be a gentleman worthy of approval despite her lack of proof. This reflects another part of KateÕs character; by standing up for what she wants she demonstrates a confidence that many women lack in this period. She is head strong, and by defending Marlow to her father she proves to the audience that she does care for Marlow, even though he seems to have a split personality.

The Many Faces of Kate 14 KateÕs father is protective of his daughter, not wanting her to associate or live with a man who treats others with no respect. This is a reflection of Kate and Mr. HardcastleÕs father daughter relationship. There is a mutual respect displayed as Kate attempts to please her fatherÕs wishes by humoring Marlow as a possible husband, and the trust that Mr. Hardcastle has in believing KateÕs word over what he perceives as truth. In this scene, Mr. Hardcastle also gives Marlow another chance at interacting with his daughter because of KateÕs insistence. Her passion in proving that Mr. Marlow is a viable suitor and is not simply a rude or shy man blinds her to her fatherÕs concerns. Mr. Hardcastle eventually gives in to Kate, Òbut if young Mr. Brazen can find the art of reconciling contradictions, he may please us both, perhapsÓ (3.1.78-79). By providing Kate the opportunity to plead her case and prove him wrong, Mr. Hardcastle demonstrates a more open dialogue and progressive relationship with his daughter. This contrasts greatly with the typical patriarchal and controlling fathers seen in plays reflecting the societal norms of the time period. As this scene progresses Kate runs into Marlow and is given the opportunity to further test his character. This is the point where the confusion of who Kate is takes form. Marlow does not recognize Kate in her ÒhousewifeÕs dress,Ó and proceeds to take on a different persona than the one Kate first encountered in act two. He flirts with Kate and takes on an air of confidence one would expect in a ladies man and not in the shy Mr. Marlow from their earlier meeting. Kate keeps up this ruse in order to better know Marlow and allow herself some fun. Taking on the character of a barmaid she is able to escape from her own life and make pretend of how things might have been if she was born into another social class. Unlike Marlow, she does not hide aspects of her personality even when pretending to be someone she is not. Kate maintains her

The Many Faces of Kate 15 vocal nature, and is not afraid to call Marlow out when he crosses the line. For instance, there is the following exchange: MISS HARDCASTLE. Pray, sir, keep your distance.. One would think you wanted to know oneÕs age as they do horses, by mark of mouth. MARLOW. I protest, child, you use me extremely ill. If you keep me at this distance, how is it possible you an I can be ever acquainted? MISS HARDCASTLE. And who wants to be acquainted with you? I want no such acquaintance, not I. IÕm sure you did not treat Miss Hardcastle that was here awhile ago in this obstropalous manner. IÕll warrant me, before her you looked dashed, and kept bowing to the ground, and talked, for all the world, as if you were before a justice of the peace. (3.1.297-307) Kate flirts with Mr. Marlow here as she pretends to be a barmaid, struggling to keep his sexual advances in check. Mr. Marlow does not treat Kate in this scene like a lady, as he believes she is of the working class and thus should work for him however he sees fit. Kate seems to enjoy the attention, though, as she does not leave the room or correct Mr. Marlow on his behavior. She maintains the ruse going as far as misusing words like ÒobstropalousÓ instead of saying ÒobstreperousÓ to prove her lack of education, thus reflecting the stereotypes of a working woman of the time. KateÕs bold confidence is expressed as she uses the situation to call Marlow out for his poor interaction with Miss Hardcastle earlier that day. Kate and Marlow banter with each other, and she shocks him with her sharp tongue and treatment of him as an equal. Mr. Marlow is not able to take advantage of Kate in this scene. She holds all of the power in this

The Many Faces of Kate 16 interaction as demonstrated when she tells Marlow to keep his distance, referring to him as Òa justice of the peaceÓ (3.1.307). She attempts to hurt MarlowÕs ego with the intent of rousing a reaction to determine the depth of his confidence and character when societal pressures do not exist. Marlow is not expected to respect a barmaid according to the current society, and the lack of pressure to be a gentleman around a lady leaves him vulnerable and at KateÕs discretion as she maintains the power of a lady under the guise of a servant. Throughout She Stoops to Conquer, Goldsmith critiques the social class structure of the England of his own day demonstrating both the snobbery of the elite and the ignorance of the working class. MarlowÕs treatment of the Hardcastle family when believing Mr. Hardcastle and Kate to be of the working class is a prime example of this bigoted behavior. Kate takes on the role of a dual class background as she is from that of the elite but later pretends to be of the working lower class when interacting with Mr. Marlow. Mr. Hardcastle encourages Kate to remain a common girl at home, released from the expectations of the upper elite and left to be herself. This is not the role that Kate takes on, though, when Mr. Marlow enters her home. As we see from this encounter, she enjoys the lack of expectations associated with a lady and becomes an actress feeding into the role that Marlow desires. Kate allows herself to be sexualized and takes advantage of MarlowÕs display of his own sexuality and loose tongue. In her next encounter with Marlow (4.1) Kate continues to reflect the talents of an actress as she controls her emotions and changes her personality to best service her situation. She is now fully aware that Marlow does not believe her to be Kate Hardcastle and she has learned he believes her home is an inn. However, instead of revealing her true identity Kate decides to encourage the confusion by fully embracing a different role as the HardcastleÕs poor relative who comes from poor background. At this point Marlow follows along with the ruse, not pushing for

The Many Faces of Kate 17 further answers, as he is embarrassed by his previous behaviors. Kate wants Marlow to fall in love with her because of her looks and personality, not because of her money. This is a progressive concept, where Kate wants to be seen as a person, even if it means she may not marry the boy in the end. Kate places a higher value on herself rather than achieving a marital status. This reflects her confident independent nature, but the fact that she is feeding into MarlowÕs embarrassment for her own motives displays a need for validation. The knowledge that Marlow finds her beautiful and desirable fills Kate with a confidence that only encourages her deceptive behavior as she waits to hear more admiration from Marlow. She desires his attention, ÒIÕm sure I should be sorry (pretending to cry) if he left the family on my account. IÕm sure I should be sorry, people said anything amiss, since I have no fortune but my characterÓ (4.1.210-213). At this point Kate is verifying that Marlow is interested in her as a person, and not as Mr. HardcastleÕs daughter. She forces herself to cry in order to gain the extra dramatic incentive that forces Marlow to prove that he likes Kate regardless of her background. He unfortunately is forced into a corner where he wants the barmaid but does not want to disappoint his father by marrying below his social class. Marlow tells Kate, Òand were I to live for myself alone, I could easily fix my choice. But I owe too much to the opinion of the world, too much to the authority of my father, so thatÑI can scarcely speak itÑit affects meÓ (4.1.233235). He must choose between following his heart and respecting his obligations not only to his social status, but also to his father. This dilemma reflects the strain that marrying out of love rather than duty creates, and the absurdity of marrying someone because you are told to, even if you are in love with somebody else. Marlow is a noble man, and this consistency in respect strikes Kate to the core as he displays a character that cannot only be confident when necessary but also considerate of the people in his life. This obligation to oneÕs duty is an old fashioned

The Many Faces of Kate 18 concept regarding marriage, but it is one that is also commendable and that Kate finds attractive in a man. Kate continues her charade into 5.1 of She Stoops to Conquer. However, prior to KateÕs entrance in this scene, Marlow encounters Mr. Hardcastle and Sir Charles, and has discovered that the Hardcastle home is not an inn. After this discovery, Marlow is in an embarrassed state and continuously denies his interest in Kate. It is clear that he is misled and actually does want to marry Kate, but he does not realize yet that the poor woman who has captured his heart is indeed Kate Hardcastle. MarlowÕs behavior in denying his interest in Kate confuses Mr. Hardcastle as earlier, in act three, he saw with his own eyes Marlow flirting and grabbing his daughter with desire. Kate must thus straighten out the confusion so in the final act she includes Mr. Hardcastle and MarlowÕs father, Sir Charles, in her plan to prove that the young Marlow loves her. Kate tells the two fathers: Then what, sir, if I should convince you to your face my sincerity? If you and my papa, in a bout half an hour, will place yourselves behind that screen, you shall hear him declare his passion to me in person. (5.1.113-116) These grown men play along with KateÕs game, as they both want to discover the truth of MarlowÕs feeling towards Kate. Kate places the future of her marriage to young Mr. Marlow in the outcome of her conversation with him while the two fathers hide within hearing range. In this scene, Mr. Hardcastle and Sir Charles take on a feminine role as demonstrated by their gossip and unquestioning following of KateÕs requests. KateÕs behavior as a leader in this scene stems from Mr. HardcastleÕs upbringing of Kate; with their open dialogues encouraging KateÕs

The Many Faces of Kate 19 confidence since she was a child it is no surprise that she is able to convince these grown men to go along with her scheme. Scene 5.3 begins with KateÕs final act where she is also behaving in Òher own natural mannerÓ (5.3.11). This is the point in the play where KateÕs different characters combine, leaving Marlow with the decision of accepting or refusing Kate Hardcastle, the lady. However, KateÕs true identity is not revealed until Mr. Hardcastle speaks out from behind his hiding place. At this point Marlow is mortified that he mistook Kate as anything but a lady, especially since they walked together in 2.1. This does not stop Kate from joking with Marlow over his confusion. Mr. Hardcastle does not want his daughter to miss out on a marriage that stems from genuine love, and steps in as a father saying: HARDCASTLE. I see it was All a mistake, and I am rejoiced to find it. You shall not, sir, I tell You. I know sheÕll forgive you. WonÕt you forgive him Kate? WeÕll All forgive you. Take courage, man (They retire, she tormenting him to the back scene). (5.3.89-92) Kate refuses to act as a gracious lady, honored to have received MarlowÕs interest, and instead takes on the role as a friend willing to poke fun at MarlowÕs shortcomings of failing to notice KateÕs true identity. Both Marlow and Kate care deeply for each other, and Mr. Hardcastle comforts both parties saying that Kate will forgive Marlow for his lack of observance, and Marlow will forgive Kate for maintaining the deception throughout the playÕs entire progression. If Kate had not pretended to be women of lower standing neither party would have realized the potential for a future with one another. Kate truly stoops as an individual by deceiving Marlow with the potential of hurting him, but in the end she does conquer his heart and he her heart.

The Many Faces of Kate 20 Chapter II. Cinematic Experience Filming allows for an immortalizing of a performance and a freezing of time that does not change once the final cut is edited. There is an opportunity for actors to not only permanently capture their characters but also to create a memory of a time in their lives that will remain unchanged on the film reel. The experience of film differs from that of live performances on a stage from the perspective of the performers and also the audience. This chapter will focus on one such film performance: Susannah FieldingÕs portrayal of Kate Hardcastle in Tony BrittenÕs 2008 film production of She Stoops to Conquer. This adaptation of GoldsmithÕs play was not intended to be performed live on a stage, making this adaptation very different from the original production of 1773. Britten decided to direct a movie that could be replayed over and over again by a range of audiences beyond the limited number of those sitting in front of a stage. BrittenÕs decision to utilize film rather than directing a live performance changes the audience experience and creates a different set of expectations and challenges for his cast to contend with compared to those found in theater. The adaption from the stage allows GoldsmithÕs work to reach a broader range of viewers and it forced the cast to take on their characters with an acting style that changes the perception of said characters. This production is unique not only for its acting and set but also its accessibility. It is an extension of GoldsmithÕs work, reflected in a twenty-first century light. Familiarities remain in BrittenÕs production like the cast and the setting; throughout the entire production, this director sticks strictly to the setting established by Goldsmith. There are, however, differences that seem to revolve mainly around the fact that there is a camera capturing the scenes rather than an individual eye from the audience. Films create the experience of an audience looking into the intimate lives of people rather than sitting and watching a play. This experience of watching a

The Many Faces of Kate 21 film allows the audience to immerse themselves in a world where imagination is not necessarily warranted to the same degree as a play. As an audience member you are always aware when watching a play -- that the performance is exactly that, a performance. With film the ability to look beyond the stage and props becomes second nature, while editing and retakes allow for a seamless presentation of a production. Both film and theater are alike in some respects, but at the same time they are art forms in their own right as early film critics noted: Early film theorists such as Erwin Panofsky, Siegfried Kracauer, and Rudolf Arnheim sought to reinforce film's status as an art form in its own right, rather than as merely a technology used to record theatrical events, by highlighting the differences between theatre and film. In 1934, Panofsky famously insisted that "the imitation of a theater performance with a set stage, fixed entries and exits, and distinctly literary ambitions is the one thing the film must avoid.Ó (Saltz, 1). BrittenÕs production differs from the characteristics of theater as the layout of the manor and estate in this play are assumed but never truly made clear to the audience due to the lack of established shots. There is accessibility to the world of the play, but it is limited to the shots and scenes that the director allows the audience to see of the recorded lives. There is a change in the audience experience as fleeting moments that would pass on a stage are now recordable when filmed on a set. This allows for a preservation of memory and the ability to look at one scene from many angles outside of the first experience. BrittenÕs 2008 She Stoops to Conquer will be performed in the same way with every rewind, creating a loop of a performance that freezes the actors in their character. Susannah Fielding is forever Kate Hardcastle. Her performance is immortalized in the sense that no matter how many roles she takes on or the changes that time brings Fielding as a human being, she will forever be remembered as a youthful Kate Hardcastle

The Many Faces of Kate 22 whenever BrittenÕs film is replayed. This allows future generations to take part in an audience experience that used to be limited to the constructs of time. Of course the experience of film is different than a live performance, but the experience remains individual and is left to the mercy of the participants who take part in the productions. The original viewing of BrittenÕs 2008 film She Stoops to Conquer was presented on British television by Sky Arts in five sections to assist in the delineation of the five original acts of GoldsmithÕs production. The duration of BrittenÕs adaptation was a little over three hours long, making the segmentation useful for maintaining the audienceÕs attention. However the segmentation did not occur at the end of each of the five acts. Instead, Britten broke up the playÕs progression at notable turning points in the narration. For example, the first break of the play followed the character introductions while the second segment started with the first conversation between Marlow, Hastings and Mr. Hardcastle about a quarter of the way through act two. This allowed the performance to be broadcasted in episodes similar to that of a television program. Today, the 2008 adaptation can be viewed as a film with all segments combined, allowing for a natural flow of the playÕs scenes. Britten ensured that no scene or line would be cut from this film production of She Stoops to Conquer, allowing for a purist presentation of GoldsmithÕs original work. Despite the opportunities presented with the use of film, Britten thus attempted to create an authentic eighteenth century experience for his audience, ensuring that costumes and props within the set followed the expectations that an audience would have of a time period piece. Another detail regarding the filming style that is worth noting is the various ways Britten decided to present the asides. Most of the characters in She Stoops to Conquer utilize asides in order to share with the audience the personal thoughts that they do not want other characters

The Many Faces of Kate 23 hearing. In some cases these thoughts are snarky or critical of characters that are in the same vicinity as the character who is currently speaking. Britten used two methods of including the asides in his production. Some of the asides became internal monologues while others remained in a soliloquy format that seemed to follow GoldsmithÕs intentions. However, there is a confusion created when adapting the asides traditionally found in a live performance of She Stoops to Conquer to the film adaptation. There is a clear understanding that these thoughts are not being heard by neighboring characters, but the inconsistency of presenting these lines leaves the audience wondering if the lines voiced out loud have a deeper impact on the performance than the lines presented as thoughts or vice versa. For example, in act two during Kate and Mr. MarlowÕs stroll through the garden MarlowÕs asides are spoken out loud while KateÕs are left as a stream of consciousness as she evaluates their conversation. Concerns and questions similar to this take away from the story line, leaving the audience to decide if vocalized thoughts presented in a soliloquy reflects a madness within the characters. Tony Britten is best known for being a British composer of classical music. The She Stoops to Conquer 2008 film adaptation is one of the few films that Britten has directed during his career (IMBd). Britten maintained his role as a composer during production, ensuring that the scenes included an original score that fit the tone and setting, creating the feel of an eighteenthcentury backdrop for the film. Because of this, the music score of the 2008 film She Stoops to Conquer plays a larger role in creating the filmÕs overall tone; it is not simply being used as a transitional noise filler. BrittenÕs vision seeps out from the film, making his influence audible throughout the progression of the performance. Music is used during transitional moments throughout the film in order to highlight major scene changes within the play. The music maintains an upbeat tempo through the use of various orchestra instrumentals, creating a regal

The Many Faces of Kate 24 feel throughout the film. The tone and mood set by these musical interludes directs the audienceÕs understanding, emphasizing the playful nature of the performances while also indicating that the characters come from the upper echelon of British society. BrittenÕs 2008 filming of She Stoops to Conquer took place on location at Wiveton Hall in Norfolk, England (Britten). This is a Jacobean manor house built in the 17th century with a walking garden maintained to the original condition of the home (Wiveton Hall). It looks like a mansion compared to the homes found in America. When working on a period piece for film the cast and director are faced with the challenge of knowing how traditional to the original period a set and performance should be in order to maintain the audienceÕs interest and not leave them confused or bored. Britten takes advantage of this location aiding the desire to present a realistic eighteenth century life, despite the plays exaggerated and farcical portrayal of life in GoldsmithÕs script. However, similar to that of a stage production, on location shooting presents its own challenges forcing Britten and his cast to perform within the limitations of the manorÕs layout. With the need to maintain a traditional representation of the eighteenth century very little lighting was used in getting many of the desired shots. During darker scenes candles can be seen in use on the set, adding to the ambiance of eighteenth-century life. Britten also utilizes multiple rooms within the manor and takes advantage of the natural light and backdrop of the gardens in many scene settings that theater productions struggle to recreate on the stage. In addition, the ability to have fully furnished rooms creates a more historically accurate audience experience when it comes to the aesthetic value of BrittenÕs film production. This provides a homey feel for the film and a realism that enables a smoother immersion of the audience into the world of the film. With the inclusion of the outdoors GoldsmithÕs vision for the play can be achieved, leaving less to the imagination of the audience to fill in. The audience is able to take the BrittenÕs

The Many Faces of Kate 25 production at face value with little effort to fill in aesthetic gaps that would be seen on theatrical stage. The camera is able to dictate how an audience will view a scene, and editing allows for a manipulation of material to create a unique audience experience. Britten uses a technique of cutting in between scenes occurring at the same time while overlaying the voice of one person talking from the originally presented scene. This creates a visual game for the audience to follow, which in some cases can be assumed to maintain the audienceÕs attention throughout the performance. It also gives the director an opportunity to provide more plot and character development so that the audience is not left guessing during the filmÕs progression. The lack of electricity being used to light up the hallways of the manor allowed for an exaggeration of shadows. These scenes with prominent shadow can be tied with the scenes filmed in the dark as the points in the play that reflect a deceptive nature. The deeper the deception grew in both storylines present in the production, the darker the shadows. For example in act three when Kate pretends to be a barmaid there is a lot of use of shadows. Complete darkness correlating with deception can be seen, too, in the performance when Mr. Lumpkin (KateÕs clownish brother) tricks his mother into believing that he had driven her to her sisterÕs home instead of around the property. By contrast, the scenes using bright light, like that in the day outside or the ending scene in the living room reflect an honesty found amongst all the characters. Susannah Fielding took on the role of Kate Hardcastle in BrittenÕs film production of She Stoops to Conquer bringing her gusto and charm to the set. Fielding is known as a theater, television, and film actress proving versatile in many roles that demand various technical skill sets of actors. Fielding is not foreign to drama in her own life, and even created a stage name believing that her given last name of ÒGlanville-HearsonÓ would not assist her career (Realf).

The Many Faces of Kate 26 This choice is a reflection on the character of Susannah Fielding as a person; she clearly plays a role outside of her home in order to reflect a persona she perceives to better fit the publicÕs desires. This attitude is similar to that of Kate Hardcastle herself and will be analyzed later on in this chapter. Fielding is from England and has had a successful acting career thus far. Following her graduation from the Guildhall School of Music and Drama, she landed roles at the National Theater and made her television debut in the show Firewall alongside her first film production starring as Kate Hardcastle in 2008 (Berman). At this point in time it would be strange to see Susannah Fielding performing a classical adaptation, as her niche is currently television and the occasional live theatrical performance. FieldingÕs participation in BrittenÕs film adaptation of She Stoops to Conquer marks a moment in her life that preserves her past as Kate that can be watched for the enjoyment of later generations. Not many can say that they have seen Fielding perform on a live stage, but it only takes a simple Google search to pull up a filmed theatrical performance, like that of BrittenÕs 2008 film She Stoops to Conquer, attributed to FieldingÕs prominent days as a theater actress. Fielding took on the task of reflecting an authentic Kate Hardcastle without physical exaggerations, relying solely on her ability to present her lines with the emotion required in each scene. FieldingÕs costumes and Òup doÓ hairstyle allows for a believable presentation of an eighteenth-century lady. BrittenÕs production of She Stoops to Conquer did not have to rely on over the top costume design or dramatic make-up to convince the audience of the charactersÕ stations in life and their role within the production. Fielding has an olive tone to her skin making her appear sun kissed which would assumedly be due to Kate spending her leisure time in the gardens on her fatherÕs large manor. Kate appeared happy throughout the progression of the play, smiling often and talking as if in conversation instead of reciting lines. This ability to speak with

The Many Faces of Kate 27 little exaggeration beyond an accent and dialect reflects the acting style required in film where the audience wants to feel as if they are watching a real conversation instead of one that is scripted. During a live theatrical performance actors must get their voices to travel and rely solely on their voices and movements to educate and convince the audience of the current tone and emotions experienced on the stage. Fielding was able to create an authentic dialogue with her fellow cast members on set, mainly due to the filming style of looking in on the lives of the characters and refusing to have the actors acknowledge the camera. There is barely any attention paid to costumes in this adaptation of She Stoops to Conquer, mostly due to the decision to reflect a traditional eighteenth-century experience. KateÕs fancy dress does not appear over the top as Fielding wears a light pink dress and assumedly a corset underneath. The housedress that Kate wears for the rest of the plays duration following act two is also a pretty dress of all white that continues to flatter FieldingÕs figure. Compared to her maidÕs outfit of a simple brown frock and bonnet, Kate still appears to be a lady in these scenes of deception. It becomes difficult to believe that Marlow actually thought Kate was a barmaid when her dress was not that of a working girl. If anything the simplicity of the outfit was supposed to give off the air of a poor girl, but lacking a hat it still leaves the audience in shock that Marlow did not assume that the woman who was asking Òdid he callÓ was a barmaid (3.1.258). Based on KateÕs accent as a poor working girl, the confusion can be understood, but when putting the two together the audience begins to question MarlowÕs intelligence and the authenticity of the production at this point in the playÕs progression. Kate is very proud of her bar cant and is seen fooling around with her maid as she pokes fun at the accent (Britten, She Stoops to Conquer).

The Many Faces of Kate 28 As noted above, KateÕs wardrobe is intentionally included within GoldsmithÕs written script of She Stoops to Conquer in order to provide a reflection of KateÕs character and the relationship she had with her father. BrittenÕs adaptation of this introductory scene barely mentions the argument over what Kate should wear and focuses instead on the proposal of a marriage. It must be noted that Britten changed the settings of various scenes and conversations within the play, creating a unique experience separate from that of the typical stage production. In GoldsmithÕs written script of She Stoops to Conquer Kate enters the room where her father resides and her mother had just exited; however in the 2008 film adaptation Mr. Hardcastle walks over to the flower filled portion of the garden to talk to Kate. Mr. Hardcastle thus seeks out his daughter in this scene, placing an emphasis on the news that he is sharing regarding the arrival of Marlow. Kate continues to pick flowers passing off the comments regarding her dress as trivial and simply as part of the conversation. She does not look at her father until he mentions ÒI shall have occasion to try your obedience this very eveningÓ (1.1.94-95). At this point Kate becomes agitated due to the anxiety of not being prepared as seen by the wrinkling of FieldingÕs forehead. She jumps into higher spirits, however, as Mr. Hardcastle shares attractive details about Marlow, thus allowing the audience to see the playful nature that Kate possesses. Her character is not overly dramatic: she is simply an excitable young woman. The conversation is relaxed between the father and daughter allowing the audience to infer that the two have a generally open dialogue regardless of the societal expectations about womenÕs subservience at this point in history. Kate walks away from her father to collect more flowers knowing that he will follow so that they can continue the conversation. This is not done to spite Mr. Hardcastle but to demonstrate that this father/daughter relationship seemed to mirror that of a friendship.

The Many Faces of Kate 29 In act three Britten makes use of the manorÕs layout by having Marlow and KateÕs first deceptive encounter occur in a hallway leading to a staircase. Marlow makes facial expressions and deepens his voice in order to display a confidence that Kate has not yet experienced. They seemed to perform as if dancing. Kate speaks her saucy words without looking Marlow straight in the eye as she attempts to stay out of his reach throughout the conversation: And who wants to be acquainted with you? I want no such acquaintance, not I. IÕm sure you did not treat Miss Hardcastle that was here awhile ago in this obstropalous manner. IÕll warrant me, before her you looked dashed, and kept bowing to the ground, and talked, for all the world, as if you were before a justice of the peace. (3.1.297-307) She calls Marlow out, and he likes her forwardness as it further challenges him to banter back with her. Her desire for Marlow is overplayed here compared to her individual desire for independence and her determination not to be told her fate. There is tenderness to her performance that cannot be ignored, as Fielding plays innocence well within the film. Nevertheless, there is a problem with this scene in that it seems that Marlow is not physically attracted to Kate till the very end. It could be assumed that the level of his desire would remain consistent or at least gradually increase rather than switching so drastically as he does in the last encounter before the final revelation. Kate made faces at her maid periodically during her deception as a barmaid. The maid is hiding behind a door and Kate flashes shocked looks as she takes in the cocky lies that Marlow spewed as he attempted to impress her: Yes my dear, a great favourite. And yet, hang me, I donÕt

The Many Faces of Kate 30 see what they find in me to follow. At the ladies Club in town, IÕm called their agreeable Rattle. Rattle, child, is not my real name, but one IÕm known by. My name is Solomons. Mr. Solomons, my dear, at your service (3.1.315-319). Here Marlow is attempting to show off to Kate but to little avail, as she knows how he truly acted around ladies. The inclusion of the maidservant, which is not included in GoldsmithÕs rendition of the performance, adds to our sense of the life style of such characters as we feel that the maid lives for the drama of her masters. She is among the silent faces against the walls that hold the secrets of the house. Marlow is far more dramatic in this adaptation of She Stoops to Conquer, than Kate who maintains a level head and simply plays a trick on Marlow when it comes to her identity. The lack of exaggerations attests to KateÕs character, and the ability of Fielding to present a comical role without turning that character into a fool. Kate appears genuine with her level voice. The only time that Kate truly leaves her station as a lady is when talking with Marlow as a barmaid and then as a poor family relation. She relishes these moments of pretend that allow her the chance to act outside of her station and that permit her to present to the audience a side of herself that is generally taboo in eighteenth-century society. The way that the manor was built allows for a smooth transition from MarlowÕs forward flirting to Mr. HardcastleÕ s distressed conversation over seeing MarlowÕs inappropriate behavior. Mr. Hardcastle in BrittenÕs adaptation is a character that is not to be messed with. He maintains the manners of an upper class man, but when it comes to his children is protective and uncaring of societyÕs expectations of his behavior. After he has experienced MarlowÕs rudeness, Kate has to talk her emotionally disgruntled father down from kicking Marlow out that very second. The ability of Kate to calm Mr. Hardcastle here and convince him to give Marlow one

The Many Faces of Kate 31 more chance at proving worthy of her is to be admired. As this production shows, her father is putty in her hands as he respects her and does not want to upset her by kicking Marlow out. They make a deal, with Kate asking Ògive me that hour then, and I hope to satisfy you,Ó but it requires a great deal of patience on Mr. HardcastleÕs part and a lot of faith in MarlowÕs character on KateÕs part (3.1.367). Fielding takes on the role of Kate Hardcastle with an air of charm as she commands every scene that she is in. KateÕs underlying confidence as an independent woman becomes a reality in the words of Fielding, as she remains level headed and provides coy facial expressions when necessary. Her face speaks volumes in those places where her lines leave Kate in a secondary position to that of men in the room. In act 5, where KateÕs deception of Marlow is undone as the truth of her background as a lady and a Hardcastle is made known, she does not have many lines but Fielding does not let her scrappy lady down and ensures that her face lets the audience and the men in the room know that she is simply playing with Marlow and would love to be his wife. The focus of the camera in this scene differs from that of the perspective offered by a stage. Generally Kate Hardcastle is pushed to the back as Mr. Hardcastle presents his final lines and takes over the audienceÕs attention. Fielding, however, maintains her role as Kate Hardcastle, and does not let her Kate become a possession of Marlow; she rather remains her own individual person who happens to be MarlowÕs lover by the end of the play. Britten takes it upon himself to add in a final scene into the play of all the characters gathering around a dinner table, allowing the audience to see final facial expressions and ensure the audience of a happy ending. This adds a new dynamic to the characters. Kate and Marlow appear to be welcoming domestic life as they sit next to each other smiling and as Marlow begins to cut the turkey. This creates an alternate

The Many Faces of Kate 32 ending with a more concrete future established for the characters within the world of She Stoops to Conquer. This screen production of She Stoops to Conquer does not pass the Bechdel Test due to the female conversation revolving around men and the tasks necessary to reach their goal of marriage, but it does reflect feminist character traits of presenting strong women characters. The ability to control situations, speak freely, and remain confident even when a room full of men doubt you are all reflected in this adaptation. FieldingÕs portrayal of Kate is that of a fierce woman. Her speaking patterns and lack of dramatized emotion speaks to an intelligence that may not be hinted at by GoldsmithÕs original work but this intelligence nevertheless is acknowledged as occurring in FieldingÕs performance. Chapter III. Preserving the Performance A cinematic experience is created by Robin LoughÕs 2003 video production of She Stoops to Conquer with his recording of Max Stafford-ClarkÕs live stage production that took place at the Theatre Royal, Bath on April 8 and 9 in 2003. This adaptation allows those outside of the original audience to participate in a theatrical experience of watching Monica Dolan take on the role of Kate Hardcastle at the Theatre Royal. However, the theatrical experience is not replicable and instead LoughÕs production creates a new production of GoldsmithÕs work allowing for a sense of the stage without actually attending a performance. The experience has changed the stage production, creating opportunity, but also problems for LoughÕs production. The limitations of not sitting in the audience revolves around the acting style used by StaffordClarkÕs cast who cater to the needs of the stage rather than the needs of a camera. This creates a fly on the wall experience when watching LoughÕs recorded production that leaves the audience questioning if they are meant to be seeing this film. It has a home video vibe that is associated

The Many Faces of Kate 33 with weddings and childrenÕs performances that cannot be shook despite camera technique and editing. The audience is exposed to details and angles that would not be viewed from a seat amongst the crowd. On the other hand, LoughÕs production of She Stoops to Conquer provides an opportunity for the audience to see a staged production through a different perspective as he attempts to add cinematic components to a stage focused production. The close-ups and various camera angles used to capture the scenes ensure that those watching LoughÕs production of She Stoops to Conquer will not feel as if they are sitting in Stafford-ClarkÕs audience. During a live play the audience is able to watch all of the actors on the stage deciding for themselves what part of the stage will grab their attention. Lough presents a new perspective but it steals form the live experience and forces a cinematic style that the actors do not necessarily follow. She Stoops to Conquer gains the ability to be watched over and over again, but it is only from the perspective of a camera instead of a theater seat. The audience is fully aware that the stage is not moving, and it leaves them questioning what are the other actors doing during LoughÕs close ups or cropping angles. This limits the audience experience and diminishes the grandness of a stage. In a typical filming directors use multiple settings ranging from on location to various staged rooms in order to film and create a believable backdrop for their actors to live amongst. This proves to be a limiting factor in this production, bringing up the question if live theater performances should not be recorded and instead enjoyed in a theater during the scheduled production times. The shift in camera location to limiting the audienceÕs view of scenes are all technical decisions that assist in the justification of an adaptation using another adaptation as its source of scenes. However, more often than not LoughÕs production leaves the audience at a loss feeling that they are missing out on an aspect of the production that a camera cannot capture, and unsure of exactly what that attribute is. Lough

The Many Faces of Kate 34 cannot change the vision that Stafford-Clark established, and is left replicating the production to preserve the performance and search for ways to make the production unique and accessible for a cinematic screen. Monica Dolan takes on the role of Kate Hardcastle in Stafford-ClarkÕs production of She Stoops to Conquer. She is a strong British actress who is no stranger to theater. She has made her mark taking on various roles, including in time period pieces by Shakespeare, performing in the Royal Court Theatre, The Bush Theatre, National Theatre, and the BAM Harvey Theater (IMBd). Dolan has experience of being in a filmed play, as seen in her role as Hermia in Adrian NobleÕs 1996 film production of A Midsummer NightÕs Dream. She is an actress who does not limit her career to the theater. She is also a television actress winning a British Academy Television Award for Best Supporting Actress in the television series Inappropriate Adult, and is currently writing and performing in her own theater production of the B*easts in the summer of 2017 (BWW News Desks). Dolan is someone who has taken charge of her career, and this drive is reflected in her performances; it shines through as her presence commands the stage. This essence of Dolan can be seen as she takes on the role of Kate Hardcastle in Stafford-ClarkÕs She Stoops to Conquer. She performed as Kate in 2002, playing a teenager from the eighteenth century despite being in her mid thirties in her own life. An audience would not be able to pick up on the aging looks of the actors and actresses from their seats during a theater performance, but with LoughÕs close ups within the film Dolan struggles to pass as a young lady as her face contradicts the teenage character she is portraying. Regardless of the visual complexities that make up could not cover up, however, Dolan performs Kate with the enthusiasm and sass that anyone would expect from a young lady discovering her love life and the power that beauty has over undiscerning men.

The Many Faces of Kate 35 DolanÕs makeup, like that of the other women on stage, highlights her features, creating a natural look without drawing attention or using exaggerated makeup to amplify the humor of the show. Maintaining an Òup doÓ the plays entire progression DolanÕs face is completely visible, allowing the audience to clearly see the satirical and sassy expressions she makes while expressing KateÕs moods and feelings. Dolan adds to KateÕs character a commanding charm that calls for the audienceÕs attention. During her asides she speaks with a strong and enthused voice, allowing her face to reflect the inner thoughts that Kate and the audience share in regards to the words and actions of the men in her life. Her dresses takes on muted colors of whites and purples, not drawing the attention one would expect from a young lady who seems to have a great interest in fashion. It appears to be silk with layers of lace in the front of the skirt, and a deep purple cape trailing behind her back. It is a detailed gown, showing a lot of cleavage which would fit the fashions of the eighteenth century, but the overall assemblage of the outfit seems a better fit for an older woman than a young lady. Her housedress is more conservative with no lace and little cleavage seen as the top of the dress drowns her arms. Dolan continues to wear a hoopskirt and corset in these scenes allowing her figure to still be admired by Mr. Marlow. The colors remain muted tones of brown, red and blue, allowing her outfit to continue to fit the theme of a more realistic outfit rather than an extravagant aesthetic of the stage. However, in my view, the two looks do not fit the personality of Kate Hardcastle that Goldsmith created for the audience to enjoy. The dresses blend into the dark set void of color, leaving the actors with the task of livening up the place. The decision to not take advantage of bright and jeweled gowns forces the audience to focus on the words and body language of the cast. The acting abilities are the showcase of Stafford-ClarkÕs production leaving LoughÕs videography lacking contrast between the set and the cast as the fade together on the screen. The muted look may be

The Many Faces of Kate 36 considered accurate for the time but the wardrobe department failed to take advantage of the stage-quality exaggerations of show that draw many audience members to their seats, and it failed Kate as they allowed her interest in fashion to simply be words rather than providing aesthetic proof. Stafford-Clark goes beyond GoldsmithÕs script as edits are made to dialogue in order to better fit his vision. This production of She Stoops to Conquer places emphasis on the presentation of dialogue. The actors must use inflections and exaggerations to inform the audience on the tone and their current emotions in their scenes. The stage lacks lighting and the dull color pallet of the set also forces the actors to pick up the slack forcing them to rely on their acting abilities rather than being bolstered by their surroundings. It becomes clear during the first scene of She Stoops to Conquer that Mr. Hardcastle and Kate Hardcastle are the commanding figures on the stage. They set the tone for the play allowing their voices to travel and empower their characters. Despite the number of asides shared amongst the characters DolanÕs stand out as she makes the most of her shared moments with the audiences ensuring that they feel connected to Kate. Dolan demands the attention of the audience and draws their interest with her voice inflections and eye contact create an intimacy with the audience. Mr. Hardcastle is the first to interact with the audience, going off script, as he hands a gentleman in the front row a drink he had prepared on stage telling him to Òtaste thatÓ (Stafford-Clark, 2003). These two characters set the tone for the play to be a humorous one where the role of the audience is not strictly to act as spectators; instead they become drawn into an active role in the production. Of course their responses do not matter; it is the illusion that a response is welcomed that creates a unique audience-actor relationship. Kate looks out into the audience inquiring their thoughts on her rhetorical questions. In this way, Dolan uses KateÕs asides as an opportunity to further engage

The Many Faces of Kate 37 the audience rather than simply using them as opinions and thoughts that no one else in the cast can hear. KateÕs relationship with her father, Mr. Hardcastle, as noted above, is an important dynamic that reflects her upbringing and aspects of her character that would not be displayed when talking with Mr. Marlow. She is a listener who does not want to disappoint her father, and this is reflected when Kate proceeds to tell her father ÒYou know our agreement, sir. You allow me the morning to receive and pay visits, and to dress in my own manner; and in the evening, I put on my housewifeÕs dress to please youÓ (1.1.90-92). In this production, Kate follows her fatherÕs rules and is quick to remind him that she is not disobeying him when Mr. Hardcastle makes a fuss over her outfit. Mr. Hardcastle, in other words, is the head of his household, and he makes it clear to the audience that he is the one in charge. He is presented as an older gentleman with a deep commanding voice, and he does not use exaggerated body language to make his points or express his feelings. He is a man the audience respects and warms up to as he interacts with the viewers, and sets the tone for the play. Mr. Hardcastle is excited to match his daughter with Mr. Marlow. Kate remains a doting daughter as she attempts to please Mr. Hardcastle even if that means interacting with a presumably boring man, or risking the possibility of never having Marlow as a husband. She gambles on her fate, and is willing to give it all up at her fatherÕs disapproval. Within the first act during Mr. Hardcastle and KateÕs first encounter on the stage, as noted above, Mr. Hardcastle informs the audience of KateÕs time in town and her interest in fashion but in this production he leaves out Òthe fashions of the time have almost infected her tooÓ (1.1.83-84). This does not impact the progression of the play, but it removes an insight about Kate that would shape the audienceÕs perception of her. She is interested in fashion, as Mr.

The Many Faces of Kate 38 Hardcastle points out in the back story and as he highlights when pointing to the Òsuperfluous silkÓ Kate wears as she enters the room. Kate is a girl of the late eighteenth century who is a part of a cultural shift in society. Her progressive behavior of speaking freely around the house is an example of such a change. However, by not including the ÒalmostÓ in this line the audience is left to assume that Kate is a full blown materialistic fashinoista who only wears her housedress to appease her father and to avoid punishment instead of doing this listening out of respect. She is stuck between her desires and her duty to listen to Mr. Hardcastle. The ÒalmostÓ tells the audience that she still respects his word and is not one to rebel, unlike her brother. Mr. Hardcastle makes a point of telling Kate ÒIÕll never control your choiceÓ, when it comes to the final say on whom Kate will marry (1.1.105). This stance on marriage is progressive for the time, and gives Kate the opportunity to decide how her future will be shaped. The characters have to balance their desires with that of their responsibilities, and some are better at this task than others. For instance Miss Neville, KateÕs cousin, is going to marry Mr. Hastings, no matter the scenario, despite Mrs. HardcastleÕs arrangement for her to marry Tony Lumpkin. Mr. Lumpkin is another character that fails to have respect for his responsibilities or elders as he blatantly tells his mother that he will never marry Miss Neville. If Mr. Lumpkin was in KateÕs shoes it can be assumed he would prank Marlow until he ran out of the HardcastleÕs home, especially if marriage was not what Mr. Lumpkin wanted. This attitude is assumedly a reflection on Òthe fashions of the timeÓ. Kate, in Stafford-ClarkÕs production is never given the chance to prove herself an individual who balances between the old and new times with the elimination of Mr. HardcastleÕs line. DolanÕs acting style is exaggerated, similar to that of her fellow cast members. She shares the spotlight with Mr. Hardcastle and Mr. Marlow but she remains equal if not more

The Many Faces of Kate 39 domineering in these scenes as she competes with these strong willed characters. Dolan takes on a high-pitched tone that creates and maintains a mischievous fast pace. She speaks her lines with confidence, her words appearing to come from her thoughts rather than memory. She presents a believable performance as her tone fluctuates paralleling her characterÕs emotions as she goes from surprised to pleased to offended to mischievous as the scenes demand. Kate is never sad or worried throughout the production, remaining happy and excited as she progresses in her mission of proving Mr. Marlow is a proper gentleman whom she should marry. At some points DolanÕs presentation of her lines made Kate appear spoiled as her whine and high pitched screech pierce the audienceÕs ears. Specifically these moments of annoyance can be heard in act one when Kate whines to her father about Mr. Marlow visiting and shrieks when talking with her cousin Miss Neville. Kate shrieks at Ms. Neville ÒIÕm glad youÔve come, Neville, my dear. Tell me Constance, how do I look this evening? Is there anything whimsical about me?Ó (1.1.47-48). There is a giddy nature to their talk as the girls gossip and their voices get higher as they become more enthralled in their drama. Once the audience adjusts to DolanÕs pitch Kate becomes charming and a source of humor as she exaggerates her reactions, has a reaction to everything around her, and when not given a line, will be found making expressive faces ensuring the audience is always aware of Kate. LoughÕs use of close-ups and focusing in on her face also made Kate the center of all her scenes. The use of the camera in these instances creates the perception that the audience should be focused on Kate. The audience follows her as she runs about the room, and they are left feeling as if they are companions during her asides. Dolan draws the crown into her words, allowing Kate to be aware that there are people watching her and use the energy from the crowd to further fuel her antics while deceiving Mr. Marlow.

The Many Faces of Kate 40 In Act 3, Stafford-ClarkÕs Marlow begins this interaction with Kate the barmaid in a very controlled and tame way as he responds to her in a calm conversational tone. Kate insists on asking if Marlow has called for her service, which would be irritating to anyone if they constantly had to repeat saying ÒnoÓ when they are busy in their own thoughts. In StaffordClarkÕs production Marlow does not take on an irritable tone when telling Kate ÒI tell you, noÓ (3.1.2778). He remains level headed and unbothered until he looks at KateÕs face. Following this glance the conversation between the two becomes flirtatious; Marlow becomes aggressive as Mr. Hardcastle sees him picking Kate up out of lust. Dolan does a wonderful job exaggerating her voice in order to reflect the various characters that Kate takes on in this scene. However, the variations in KateÕs characters still reveal her true identity, making it hard to believe that Marlow would not catch on to her ruse in their third encounter where she pretends to be a poor relative of the Hardcastle family. It could be perceived that Marlow is simply so blinded by his affection for Kate that he simply cannot remember the sound of Lady HardcastleÕs voice, or the unique bar cant that Kate the barmaid takes on when he first looks at KateÕs face in Act 3. His ignorance in these scenes reflects a selfish and self-entitled nature that Marlow projects throughout his entire performance. This behavior takes center stage in the second act when Marlow acts as if the world is ending when he is forced to speak to a lady. He further displays these less than attractive character traits with his refusal to wear his full formal attire or shoes, requesting Mr. Hardcastle to wash them. KateÕs barmaid accent pierces ears with its high pitch sound as she struggles to keep MarlowÕs advances at bay and she can be heard struggling as she screeches out ÒHold, sir; you were introducing me to your club, not to yourselfÓ (3.1.320-321). It is hard to believe that Marlow does not realize that a ruse is being played as KateÕs tone and speech are one that would be heard all over England. MarlowÕs language in this scene is very controlled and empowering as

The Many Faces of Kate 41 his exaggerated stammer from act two in the gardens is no longer in evidence. Similar to DolanÕs portrayal of Kate, Marlow displays a ridiculous range of emotions with his voice, which draws the audienceÕs attention and encourages a farcical reading of the performance. Following MarlowÕs physical outburst of affection Kate is left bargaining with Mr. Hardcastle for another chance to prove that her intended lover is a gentleman worthy of her for marriage. The two dance around the room as they discuss their reasons for liking or hating Marlow. At one point Kate is physically begging Mr. Hardcastle for permission to keep talking to Marlow. She kneels at Mr. HardcastleÕs knees as he sits in his chair with the angry face of a man who is done being disrespected. The body language of Mr. Hardcastle and Kate here reflects further on their father daughter dynamic. When read on script this conversation can be perceived as simply a dialogue as the two compromised on giving Mr. Marlow one more chance to prove himself. In this production, however, Kate is submissive to her father kneeling at his feet with a desperate look as she begs ÒSir I ask but this night to convince youÓ (3.1.364). Kate gets her way, but it is clear that Mr. HardcastleÕs mercy stems from his desire to please his daughter rather than from his personal feelings towards Marlow. By begging, KateÕs role in the house is made clear to the audience, and her feelings are made clear to her father. Mr. Hardcastle wants his daughter to be happy, and this is reflected as he agrees to KateÕs plan stating, ÒWell and hour let it be then. But IÕll have no trifling with your father. All fair and open do you mind meÓ (3.1.368-369). He makes it clear that despite humoring KateÕs he will not have any more tricks played or energy wasted on proving Marlow a gentleman. Kate in this production is shown to be a victim of the time period as she struggles to remain respectful as a daughter and follow her own desires. Kate nonetheless remains spunky and sassy, and through her tones and facial expressions, Dolan does not fail to share her spirit with the audience.

The Many Faces of Kate 42 Beyond the few edits to dialogue, Stafford-Clark and LoughÕs combined adaptations add small nonverbal encounters between Kate and her brother, Mr. Lumpkin. These moments are used to fill the space between scene changes as many scenes involving Kate tend to be followed with an appearance by Mr. Lumpkin and vice versa. Kate Hardcastle is only seen in the living room that serves as the main set for the production. The addition of these small interludes connects the two plots that are unfolding on stage together. This decision reinforces the notion that both storylines are of equal importance during the playÕs progression. The two do not speak to each other leading the audience to believe that Kate and Mr. Lumpkin do not get along. Even though there are no lines spoken, these transitional moments create a new feel for GoldsmithÕs play. Stafford-Clark and Lough explore the sibling dynamic despite the fact that Goldsmith never included an interaction between the two in his script. The lack of dialogue does not keep Kate and Mr. Lumpkin from revealing their relationship dynamic to the audience. They stare at each other, acting as if they find each other as an annoying nuisance, as many brothers and sisters do when they are currently on a mission and cannot be bothered by their siblings. Their facial expressions and body languages add to the level of drama the two characters reflect while adding more humor to the play, such as when Kate is seen storming out of the set when her brother startles her as he runs to the center of the living room. Kate and Mr. Lumpkin are central characters within She Stoops to Conquer, and the clashing of their worlds brings a reality to the stage that reflects real households where chaos and secrets often go hand in hand. Stafford-Clark, like many theater directors, has actors playing multiple roles to fill in the need for extras. Usually in a movie audiences would not see a main character taking on more than one role; however due to the unique nature of LoughÕs production being a filming of Stafford-ClarkÕs theatrical performance there seems to be more obvious double castings, and that

The Many Faces of Kate 43 may leave the audience confused. Dolan takes on the role of not only Kate Hardcastle but also an extra in the bar scene of Act 2. She wears a new outfit with a large hooded cape to help hide her face from the audience. In a theater the audience may not be aware of DolanÕs two roles but it is very obvious on film that the crazy wench of the bar is no other than the Kate Hardcastle the audience had just met not even twenty minutes prior. Stafford-Clark ensures that the audience recognizes Dolan as he provides her close up as she partakes in the singing and antics instigated by Mr. Lumpkin. It is not a notable moment in DolanÕs performance in the grand scheme of the production, but it is a moment that has the ability to confuse the audienceÕs relationship with Kate. LoughÕs camera work and Stafford-ClarkÕs casting breaks the immersion with this character and further highlights that the performance is simply an act and not a true reality. Dolan is also playful in this scene clearly acting as a wench rather than a lady. The audience remembers her face and the humorous antics of the stage continue to push the agenda of a farce. DolanÕs exaggerations in speech and body language encourage the humor that Goldsmith integrated throughout the script, and match that of her fellow cast members. Despite the distortions in presentation that takes place in LoughÕs film adaptation Dolan presents a confident Kate who remains a crowd pleaser. Chapter IV. The Stage Today This chapter will focus on the portrayal of Kate Hardcastle in Jerrold ScottÕs 2017 production of She Stoops to Conquer, which was performed at the Cleveland Playhouse in Ohio on March 24th, 2017. This production is a reflection of the current generationÕs interpretation of GoldsmithÕs play. The director, Jerrold Scott, a professor at Case Western Reserve University, cast the play and directed the performance as an aspect of the graduate level course he was teaching. The cast was made up of graduate students who took on the challenge of GoldsmithÕs

The Many Faces of Kate 44 She Stoops to Conquer as an exercise of mastering a period piece that forces them to take on a different mindset and accent as they attempted to perform a traditional interpretation. The performance took place in a small theater room with the actors at eye level to the audience, allowing for an experience that felt as if you were literally sitting on a couch in the HardcastleÕs home. I enjoyed the productionÕs decision not to cut any scenes of She Stoops to Conquer and also the humor that the cast brought to the stage. However, I believe that the unique changes made to this production left the desired outcome contradicting the directorÕs direction as each cast member struggled to claim ownership of the stage. Live performances of She Stoops to Conquer have a track record of sticking to a purist presentation of the play, as can be seen in the lack of reviews of adaptations not performed as period pieces. There is a desire to transport the audience to another world when taking on a period piece. However, if not represented correctly this type of performance can lead the audience into confusion as they try to determine what the characters are trying to say and whether or not the performance is a spoof or a respectful reflection of the past. ScottÕs production of She Stoops to Conquer created such confusion as reflected in make up, wardrobe, and dialect choice throughout the performance. This was a teaching moment for the actors of this production, and the emphasis on learning allowed for them to express and push their abilities further as they learned their limits and practiced skills on stage. In some cases the actors flourished in these roles. The actress who performed Mrs. Hardcastle, for example, commanded the stage and left the audience in constant laughter, but others like that of Sarah Cuneo who performed Kate Hardcastle struggled to command the stage in comparison and were swallowed by their roles.

The Many Faces of Kate 45 The director, Jerrold Scott, said he had a vision for his graduate theater students to master the dialect of eighteenth-century performance; thus his vision for She Stoops to Conquer was that of the original production. He placed emphasis on the stage, outfits, accents and adaptation of the play to reflect that of a timepiece. However, this emphasis overshadowed the performance as a whole, making the goal of faithfully reflecting the original performance of 1773 a desire rather than a reality for the production. The cast relied solely on their director for background information on the play, on the eighteenth century, and on the various dialects needed for the production. This reliance contributed to the lack of understanding exhibited by the cast and production as a whole when it came to representing GoldsmithÕs work in an authentic manner. The cast lacked exposure to GoldsmithÕs work, and besides a select few, the majority had no experience performing eighteenth-century pieces (Scott). Without a working knowledge of the time period, it is nearly impossible to successfully produce a traditional production that respects the original directorÕs intent. The lack of research led the actors to lack confidence in their scripts. There was an exaggeration of the humorous scenes, and a change in the jokes or words from time to time throughout the duration of the performance. The cast said that they did this to ensure that todayÕs audience enjoyed the performance and that they themselves were not left anxious on stage knowing something was funny but not receiving the audience feedback that the joke was taken well (Cast of She Stoops to Conquer, 2017). Their job as actors in this production seemed to be ensuring that their audience enjoyed the production, and in order to do so they relied on their own lens as graduate students when determining the worthiness of GoldsmithÕs words. Their editing took away from the original production, even though Scott ensured that no scene was cut out of the production. The decision not to cut a scene left the plot whole, but perhaps applied too

The Many Faces of Kate 46 much pressure on the actors to create a relatable humor in every scene. The casting for ScottÕs 2017 production did not deviate from the cast list created by Goldsmith, or the gender assignment originally placed on the characters that assisted in ScottÕs goal of maintaining a traditional production. However, the lack of confidence, and an approach focused on dialect left the actors striving for laughs and perfection rather than fully embracing their roles. There is a shift in language choice as slang evolves over time with variations between social and cultural groupings. When performing a piece with authenticity in mind many directors will have their actors take on the lifestyle of the characters while on stage. This requires dialect change based on geographical setting, an adjustment to various speech patterns, and clothing styles that reflect the time of the playÕs original production that are unfamiliar to today. Scott decided to have the cast take on British accents that reflected their station either as a part of the elite or the working class, and he wanted them to be able to speak without hesitation when taking on lines written with an eighteenth-century language structure. This was a challenge that Scott directed his actors to take on while prepping for the performance of She Stoops to Conquer. In some instances, however, the accents came across as forced, especially when the actors took their time to enunciate and allow the audience to catch up to the dialogue. Scott was not present for every performance between opening night and the last show, and he mentioned that he noticed that the actors took it upon themselves to change dialogue and actions. This seemed to disgruntle the director, but it showed the contrasting opinions and decisions that occur on stage between actors and directors when visions clash. Sarah Cuneo was the actress who took on the role of Kate Hardcastle in ScottÕs 2017 theatrical production of She Stoops to Conquer. As Cuneo told me, she found her inspiration and guidance regarding her representation of Kate by focusing in on the asides this character had

The Many Faces of Kate 47 with the audience. It was in these moments Cuneo felt that KateÕs true intentions and character shined through during the production. Even though Kate acted between three personas, her true self was reflected in these side comments where she was honest and provided insight into her intentions. Similarly, in those moments when Kate was playing pretend, and in order to take on one of her side roles of a common girl, Cuneo felt she had to first fully grasp the true persona of Kate Hardcastle (Cuneo). Cuneo thus reflected a moral Kate whose focus was strictly on winning over Marlow while balancing her fatherÕs expectations. This actress portrayed Kate as an innocent girl who attempted to have fun with an arranged marriage she did not expect to occur. Despite her tricks she demonstrated a kindness in her words that confirmed with the audience her lack of malicious intentions. Cuneo took her role of Kate Hardcastle seriously, and analyzed KateÕs inner character to reflect a respectful representation of GoldsmithÕs character. However, this left her clashing with her cast members who seemed solely focused on the job of performing a farce rather than reflecting the fully-rounded potential of their characters as individuals. Cuneo seemed to have mastered the psychological aspect of Kate, and portrayed her with a confidence that in my view was sadly overshadowed by the showy nature of the other actors who seemed more focused on humor and embracing the farcical nature of the play rather than fully reflecting GoldsmithÕs characters. CuneoÕs focus on Kate as an individual character rather than an aspect of the play left her struggling to maintain the audienceÕs attention as the farcical and exaggerated humor of the other actors left the audience wondering what the next antic would be. From reading the play, one would assume that Kate Hardcastle would be a pretty girl with pale skin, thus fitting the expected upper class look of an eighteenth-century British girl. There was a clash, however, between the traditional look that Scott desired and the farcical interpretation of GoldsmithÕs work evidenced by the costume, make up, and various actions of

The Many Faces of Kate 48 the cast. CuneoÕs make up came across as more suitable to a dramatic farce, and it undermined the good girl persona that Kate took on throughout the playÕs progression. Cuneo was the only actress to have exaggerated rosy cheeks, and this gave her an extreme air of innocence and a look that clashed with the other female actresses whose makeup appeared more cohesive with the rest of the performance. The makeup encouraged the audiences to characterize Kate Hardcastle as a comic, innocent character but it displayed a lack of confidence in CuneoÕs acting ability to project the layers of this character without the use of makeup as a visual assistance. Over the course of the play, Kate does the outfit change that her father demands in Act 1, exchanging the elegant gown she wears in the morning and while on visits for a housedress in the evening while at home. As noted above, these outfits are important not only for the audience to understand the deceptive joke that Kate Hardcastle plays on Marlow but also to enable the audience to gain a better understanding of eighteenth-century social expectations. In addition, they provide the actress an opportunity to embody Kate aesthetically. All of the actresses in ScottÕs production of She Stoops to Conquer wore corsets and the traditional dress of the eighteenth century. This hindered their breathing and physical movements, but allowed the actresses to participate in method acting which encouraged them to better understand how their characters would behave in the eighteenth century while dressed in traditional outfits. The dresses themselves, however, were less helpful with the goal of reflecting eighteenth-century life as they were not always appropriate or accurate. Cuneo wore a cream embroidered and jeweled gown throughout act one and two when dressing as a lady. But when she was speaking to her father prior to her ÒbarmaidÓ encounter with Marlow, she was wearing a housedress that looked like a rag dress, and not an outfit that Kate Hardcastle would have worn out of choice based off her personality. It was baggy on Cuneo, and looked out of place on the actress, as she appeared

The Many Faces of Kate 49 swallowed up by the dress. This may be the assumed traditional dress of the eighteenth century, but even the actual housemaid in the play wore a figure-flattering outfit while on stage. Aside from the physical defects of KateÕs portrayal, Cuneo created a spunky Kate who knew what she wanted and was not afraid to speak her mind at any point in the play. The physical appearance of Kate did impact the audience experience of understanding Kate, but it did not take away from the main focus that Kate was using her housedress to crossover between social classes and trick Mr. Marlow. First impressions on the stage set the tone of the character and allow the audience insight into said character as they piece together which characters are important and the beginnings of the story line. Sarah Cuneo entered the stage in act one in the embroidered gown mentioned above, greeting her father with a large smile. Her large rosy cheeks, however, left the audience under the impression that she was na•ve and very innocent. CuneoÕs voice shifted from perky to saucy in this conversation as she discussed her desire to wear fashionable dresses from time to time and the fact that she did not particularly want a suitor. Cuneo decided to exaggerate KateÕs voice, giving it a whining tone, to make it clear that she felt her father had done here a disservice when the marriage was first proposed. But then she sharply sprang back to a joyous tone when she started to seriously consider the marriage. With a self-deprecating attitude Kate made it clear to her father that he has thrown her off guard stating, ÒI wish I had known something of this beforeÓ in regards to the marriage proposal (1.1.100) (Cuneo, perf. 2017). However, at the very end of this interaction in a personal aside Kate shared with the audience, she revealed her ÒrealÓ thoughts on Marlow in a tone that was not exaggerated but rather conveyed a wishful excitement. It excited Kate that a man was coming to see her, and she relished her fatherÕs attention. KateÕs relationship with her father is on full display, and reveals a toxic precedent set between the two.

The Many Faces of Kate 50 Through ScottÕs interpretation of their relationship, Mr. Hardcastle consistently gives into KateÕs wishes in any situation, regardless of his role or personal opinion, as long as she bats her eyes with a girlish charm. By presenting Mr. Hardcastle as a pushover in the first encounter with his daughter Scott took away Mr. HardcastleÕs backbone, setting the audienceÕs expectations for Mr. Hardcastle to be a weak character and Kate determined to get whatever she desires. The Kate of this play seems to live for the drama that breaks up her mundane life, later sharing with her cousin her fate when gossiping telling Miss Neville ÒI have been threatenedÑI can scarce get it outÑI have been threatened with a loverÓ (1.1.154-155). Cuneo fed into this desire for attention when, in delivering these remarks, she playfully exaggerated her fatherÕs proposed marriage arrangement. It was clearly made into a joke at this point in the production, as it was understood that Kate would not disappoint her father by at least humoring her suitor. Mr. Hardcastle babied his daughter the entire production, taking away KateÕs autonomy within the opening scene despite offering Kate the opportunity to disagree with the marriage. It was obvious that Mr. Hardcastle wanted the arrangement to work and Kate being a dutiful daughter felt an urge to oblige as she became excited over meeting a boy picked out meant to woo her off her feet. At the very end of the first meeting of Mr. Hardcastle and his daughter Kate shared with the audience in an aside her thoughts on Marlow in a tone that was not exaggerated, but Cuneo ensured her tone maintained a wishful excitement: Lud, this news of PapaÕs, puts me all in a flutter. Young, handsome; these he puts last, but I put them foremost. Sensible, good-naturedÑI like all that. But then reserved, and SheepishÑthatÕs much against him. Yet canÕt he be cured of his timidity, by being taught to be proud of his wife? Yes, and canÕt IÑ

The Many Faces of Kate 51 But I vow IÕm disposing of the husband, before I have secured the lover. (1.1.140-146) (Cuneo, perf. 2017) It was at the end of this scene that Cuneo made a point to elongate the aside Kate had with the audience. It was important that the audience understood KateÕs longing to meet Marlow and see what entertaining encounters she will have in the near future (Cuneo). It was at this point that the audience saw the perkiness that never left KateÕs demeanor as she found a sense of joy even though she lacked true independence from her father and was set up for an arranged marriage she did not request. Despite Mr. Hardcastle being a pushover, this production suggested that his word finally was law in the household leaving Kate to pull at his emotions and desire to please her. This trick to getting what she wants from her father proves trickier to pull off as the play progresses. The actor portraying Mr. Hardcastle babied Kate, and wanted her to simply be happy. He was clearly a patient man, but this did not mean that Mr. Hardcastle remained limp the entire production. Once pushed beyond his breaking point regarding MarlowÕs behavior and the shenanigans occurring in the side plot between his wife and stepson, he broke. ÒBy the hand of my body I believe his impudence is infectious! DidnÕt I see him seize your hand? DidnÕt I see him haul you about like a milkmaid?Ó (3.1.352-353). In this production it was clear that Mr. Hardcastle did not care for Mr. MarlowÕs entitled attitude, and was very upset when seeing Marlow being forward with his daughter. However, Mr. Hardcastle allowed Marlow a second chance thus further supporting the notion that he is a man that lacks a backbone. This decision feeds into the reflection of a toxic father daughter relationship where despite Mr. Hardcastle technically being in charge of his home, he allowed his desire to please his little girl to blind him from maintaining his patriarchal role and respect in his own home. This was an oversight on the

The Many Faces of Kate 52 actorÕs part; he failed to emphasis the importance of Hardcastle protecting his child from an awful marriage and he thus leaves Kate to handle her future on her own. At the beginning of Act 2 Kate meets Marlow for the very first time and is looking forward to seeing this gentleman who may become her future husband. Unlike GoldsmithÕs written play, Kate and Marlow did not go outside and walk around the gardens as Marlow struggled to communicate. In ScottÕs production of She Stoops to Conquer there was a setting change in order to best serve the goal of utilizing the setup of a living room as the main set for the performance. This change of scenery from outside to inside made it even more difficult to believe that Marlow never saw Kate Hardcastle prior to act three when Marlow believed she is a barmaid. Marlow still struggled to talk to Kate, and both characters performed their asides to the audience effectively which allowed for humor to flow easily within this scene. However, in order to avoid seeing KateÕs face Marlow wandered all around the room and clumsily knocked things over. This was a new character development for Marlow, one not included within GoldsmithÕs original script. It created a deeper sense of MarlowÕs pathetic nature as his voice quivered while talking to Kate. The nervous tone and frazzled speech remained consistent with that of GoldsmithÕs original writing with Marlow struggling to form simple sentences. This resulted in him spewing nonsense: Òwhen a total want of courage, destroys all theÑand puts usÑupon aÑ aÑaÑÓ (2.1.454-455). Cuneo put on an annoyed face under her hat in this scene when she dealt with MarlowÕs shenanigans. Logically it was strange that she would be wearing a hat in doors, raising the question as to why the director or costume designers did not suggest an alternative solution to create a smoother sense of reality for the audience experience. Cuneo allowed KateÕs innocence to shine through at this point in the production, as she blushed at the idea of a man as handsome as Marlow eventually marrying her. The idea of Marlow being a challenge for Kate to

The Many Faces of Kate 53 conquer did not resonate with the audience as Cuneo allowed her actions to support the fantasy of marriage rather than displaying KateÕs need for Marlow to prove that he could be a wellrounded partner. Within this scene there was a lack of chemistry between Marlow and Kate, especially when compared to Hastings and Constance Neville. KateÕs cousin, Ms. Neville, was clearly in love with Hastings, and their conversations proceeded with ease, as the two knew that at the end of the day they simply wanted to be together. Marlow and Kate had a very different relationship as people newly meeting, but the lack of chemistry in their first encounter led the audience to doubt the authenticity of their interest in each other in the following scenes. Hastings and Ms. NevilleÕs relationship overshadowed that of Kate and Marlow in ScottÕs production as they had a stronger stage presence perhaps due to their confident louder voices, and the stronger chemistry between the actors. This took away from KateÕs story line, as the audience would rather see more of Hasting and Ms. NevilleÕs story through the progression of the play. The lack of chemistry harmed the progression of Marlow and KateÕs romance even as Kate took on various personas. Cuneo skillfully fed into the humor called for during her scenes as a working class woman. As Kate, she proudly demonstrated her acting ability with her maid telling her ÒI think I have got the true bar cant. ÑÔDid your honour call?ÕÑÔAttend the Lion thereÕÓ (3.1.248-249) (Cuneo, perf. 2017). Here Cuneo maintained the dialect of a western country girl, and ensured that her poor education was clearly reflected in her slower speech and language choice. She also exaggerated her voice in order to enhance her disguise as barmaid and poor cousin Kate, and to make the audience aware of the clear stereotyping within of the eighteenth-century social classes. Marlow, by contrast, was vocally aggressive in expressing his sexual attraction to Kate in act three, but he did not get physical with Kate. This more reserved

The Many Faces of Kate 54 behavior made Marlow appear as he had in other scenes with Mr. Hardcastle where he disrespected people based on his perception of their social class. Within act three Scott failed to have his actors distinguish the difference between Marlow behaving passionately versus being unconsciously disrespectful. Cuneo succeeded at portraying a performing Kate, but her portrayal suffered as Marlow struggled to overcome his awkward bashfulness and express his desires on the physical level that the audience craved. The audience was left with a craving for passion alongside the comedy, but Cuneo could not be expected to fulfill these desires without the assistance of a more involved Marlow with stronger chemistry between the lovers. Kate could not shake away her background as a lady, regardless of the working class accent she acquired in act three. ScottÕs emphasis on reflecting an authentic dialogue that would be heard on the eighteenth-century stage was muddled by the perplexing choices of the various actorsÕ inflections throughout the performanceÕs use of archaic language. Originally, GoldsmithÕs production of She Stoops to Conquer took place in London, England with actors who lived in London. This has caused critics to believe that GoldsmithÕs characters reflected a LondonerÕs speech patterns with exaggerations of the differences between the language of the poor and rich, a social group, in this case, made up of Mrs. Hardcastle, Marlow, Hastings, and Sir Charles. However, in ScottÕs production it was not clear where the characters originated in a geographical sense. Some, like Tony Lumpkin, sounded like country folk despite pedigree, while others maintained an upper class tone but failed to distinguish their geographical origins through their dialects. This left the audience confused as some actors decided to exaggerate their language to further the farce, while others attempted to remain dignified in their speech patterns allowing the words themselves to generate laughter. KateÕs speech patterns were effective in the portrayal of her as a common working girl when she allowed Marlow to believe her to be a

The Many Faces of Kate 55 barmaid. Cuneo had to exaggerate a lack of education in her language and word choice in order to sell the idea that she was of the working class. For example, Kate used the word ÒobstropalousÓ instead of ÒobstreperousÓ attempting to come across as a workingwoman who wanted to impress Marlow. In order to keep up the fa•ade of a uneducated woman Kate purposely used the improper word. However, the dialect occasionally felt forced during these scenes, and gave Marlow an unexpected power within the scenes as his lines flowed and KateÕs were rough and obviously calculated in order to maintain her ruse. The last interaction between Marlow and an acting Kate was during act four when Kate confirms that the house was not an inn but the HardcastleÕs home. This is a pivotal moment in KateÕs development as a character because she has pushed Marlow to choose between loving her and respecting his fatherÕs desires. In the script, Kate goes as far as faking tears on the couch in order to hear Marlow voice that he truly does love her regardless of money or social class. With these tears Kate tested MarlowÕs character by pretending to be a poor relation of the Hardcastle family stating ÒIÕm sure I should be sorry, people said anything amiss, since I have no fortune but my characterÓ (4.1.211-212) (Cuneo, perf. 2017). This is a reference to the need for love to be blind to social expectations, but it also adds a hypocritical dimension to KateÕs character since she stated earlier in the performance that MarlowÕs looks and background are major contributors of his attractive qualities. Cuneo made this hypocrisy evident with a fake cry that clearly should not have been believed by Marlow. The fact that Marlow does not catch on to the fake fa•ade that Kate portrays demonstrates that he most likely is not ready for a relationship as he remains a selfish individual so wrapped up in himself that he failed to notice KateÕs trick. Love was thus made into a joke in this production as both Marlow and Kate exaggerated their voices and physical actions in order to demonstrate not only the depth of each characterÕs passion, but also

The Many Faces of Kate 56 to feed into the farcical nature of the play. Within this scene it was clear that the play was selfaware of its goals and actions through the use of exaggerations that fed into the comical nature of the production. This adds a depth to GoldsmithÕs production with the cast inputting their own directions that may not have been present in the 1773 production.

The Many Faces of Kate 57 Bibliography Balderston, Katharine C. The Collected Letters of Oliver Goldsmith. Cambridge: Cambridge University Press, 2015. Print. Berman, Nat. Susannah Fielding: 10 Things About the Great Indoors Star. 15 November 2016. www.tvovermind.com/tv-news/10-things-didnt-know-susannah-fielding BWW News Desk. Monica Dolan's The B*easts will Preview at Bush Theatre before Edinburgh. January 2017. www.broadwayworld.com/uk-regional/article/Monica-Dolans-THEBEASTS-Will-Preview-at-Bush-Theatre-Before-Edinburgh-20170601 Carlson, Marvin. The Haunted Stage. Michigan: University of Michigan Press, 2003. Print. Goldsmith, Oliver. "Collected Works of Oliver Goldsmith." Friedmann, Arthur. Clarendon Press, 1966. Goldsmith, Oliver, ÒShe Stoops to Conquer.Ó Oxford English Drama She Stoops to Conquer and other Comedies, edited by Nigel Wood, Oxford University Press, 2007, pp. 159-226. Print. Highfill, Philip H., Jr., et al. ÒAbington, Mrs James, Frances, nŽe Barton1737Ð1815, actressÓ. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800. Vol. 1. Carbondale, Southern Illinois University Press, 1973. 12-20. eBook Collection (EBSCOhost). web. Highfill, Philip H., Jr., et al. ÒBulkley, Mrs George, Mary, nee Wilford, later Mrs Ebenezer Barrisford, 1748-1792, actress, dancer.Ó. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800. Vol. 2. Carbondale, Southern Illinois University Press, 1973. 393-398. eBook Collection (EBSCOhost). web.

The Many Faces of Kate 58 IMBd. Monica Dolan. www.imdb.com/name/nm0230826. ÑTony Britten. www.imdb.com/name/nm0110139. Naremore, James. An Invention without a Future: Essays on Cinema. University of California Press, 2014. Web. Nussbaum, Felicity. Rival Queens. Philadelphia: University of Pennsylvania Press, 2010. Print. Realf, Maria. Spotlight: actress Susannah Fielding, who is shaking up Shakespeare, Vegas-style! December 2014. www.dailymail.co.uk/home/you/article-2871487/Spotlight-actressSusannah-Fielding-shaking-Shakespeare-Vegas-style.html Saltz, David Z. ÒEditorial Comment: Film and Theatre.Ó Theatre Journal, vol. 58, no. 4, 2006. JSTOR, www.jstor.org/stable/25069914. She Stoops to Conquer. Dir. Robin Lough. Perf. Monica Dolan, Ian Redford and Christopher Staines. Heritage Theatre/BBC. 2003. She Stoops to Conquer. Dir. Tony Britten. Perf. Susannah Fielding, Mark Dexter and Ian Redford. Capriol Films, Sky Arts. 2008. Wiveton Hall. N.d. http://www.wivetonhall.co.uk/