Hamlet wishes to provoke the murderer, his uncle, and sums this up by saying " the play's the thing wherein I'll catch the conscience of the king.

The play is actually The Murder of Gonzago, but Hamlet answers metaphorically, since " the play's the thing " in which he intends to " catch the conscience of the king.

The episode takes its title from the concluding lines of Act II of Hamlet: " The play's the thing / Wherein I'll catch the conscience of the king.

Remarkably, it still works well enough in the theatre: audiences at the reconstruction of ' Shakespeare's Globe ' in London, many of whom have never been to the theatre before, let alone to a play by Shakespeare, seem to have little difficulty grasping the play's action.

The play's West End transfer, after an eight-month run at the National, gave an opportunity for re-appraisal and The Daily Telegraph commented: " I have never left a play more convinced that I had just witnessed a masterpiece ".

The play's crude writing, however, exposed it as a forgery, and it was laughed off stage and was never performed again.

At play's end, as Tom speaks, it becomes clear that Tom left home soon afterward and never returned.

He turned to his favourite of Shakespeare's plays, A Midsummer Night's Dream creating analogues of the play's main otherworldly characters and inventing the fiction that Shakespeare wrote the play to Dream's instructions to ensure that humans never forgot Faerie and its rulers, Lord Auberon and Lady Titania.

Claiming he made more money from his play, Donlin left baseball and vowed never to return to baseball but after 3 successful years, the play's popularity diminished and with Hite not able to land any successful roles, Donlin did return to baseball.

Presumably, ( although this is never explicitly stated, and it happens after the play's end ) the bride is afterwards killed as a sacrifice to restore the family's honor.

On at least one occasion in 1886, he played both Franz Moore and the play's hero, Franz's brother Karl Moore: in the play they never meet.

Macbeth's generally accepted indebtedness to medieval tragedy is often seen as significant in the play's treatment of moral order.

On the whole, everything Catholic is represented as bad, everything Protestant is represented as good: " The play's popularity 1592 has to be seen against the backdrop of an extraordinary efflorescence of interest in political history in the last two decades of the sixteenth century fed by self-conscious patriotic Protestantism's fascination with its own biography in history.

Thomas Edison hired the play's stars, May Irwin and John Rice, to recreate the kiss seen in act 1 of the play for the 1896 short film, The Kiss, made in Edison's Kinetoscope process.

The purpose of the organization is to further the interest of women students in recreational activities as a means of promoting physical efficiency, sportsmanship, and `` play for play's sake ''.

perhaps that is the Comedie's equivalent for thrusting this play's characters into our own time.

The play's device is to explore society's obsession with disaster and violence through the eyes of a group of artist's models who remain part of someone else's painting rather than just be themselves.

Michael Meyer argues that the play's theme is not women's rights, but rather " the need of every individual to find out the kind of person he or she really is and to strive to become that person.

Banquo is in a third of the play's scenes, as both a human and a ghost.

This and Ophelia's burial ceremony, which is characteristically Catholic, make up most of the play's Catholic connections.

Much of the play's Protestantism derives from its location in Denmark — both then and now a predominantly Protestant country, though it is unclear whether the fictional Denmark of the play is intended to mirror this fact.

Although many of these play's titles are known, only The Uplift of Lucifer is known to survive ( it was published in a limited edition in the 1960s ).

Toward the play's end, he is in a kind of boastful madness.

" For example, the play's Verona is situated on a tidal river and has a duke, and none of the characters have distinctly Italian names like in the later plays.

However, the play's principal source, the Spanish Diana Enamorada, would not be translated into French or English until 1578, meaning that someone basing a play on it that early could only have read it in the original Spanish, and there is no evidence that Oxford spoke this language.

The play's preface says that while the trial was its " genesis ," it is " not history.

" The theme is hinted at in the play's ironic title, and " earnestness " is repeatedly alluded to in the dialogue, Algernon says in Act II, " one has to be serious about something if one is to have any amusement in life " but goes on to reproach Jack for ' being serious about everything '".

Act II opens with Vladimir singing a recursive round about a dog, which could illustrate the cyclical nature of the play's universe, and also point toward the play's debt to the carnivalesque, music hall traditions, and vaudeville comedy ( this is only one of a number of canine references and allusions in the play ).

The play's title, which alludes to the English novelist Virginia Woolf, is a parody of the song " Who's Afraid of the Big Bad Wolf?

The film is described, by scholar Tony Howard, as the first adaptation to confront the play's disturbing sexual dimensions.

The play's set features a large table, which is used by the characters in both past and present.

The play's single set is the dingy Press Room of Chicago's Criminal Courts Building, overlooking the gallows behind the Cook County Jail.

The play's original Broadway production opened at the Empire Theater on 22 April 1895, but closed after only twelve performances.

Cardinal Richelieu's Académie Française acknowledged the play's success, but determined that it was defective, in part because it did not respect the classical unities of time, place, and action ( Unity of Time stipulated that all the action in a play must take place within a twenty-four hour time-frame ; Unity of Place, that there must be only one setting for the action ; and Unity of Action, that the plot must be centred around a single conflict or problem ).

Although these brief exchanges are the only direct references in the work to the play's title, they presage the fates of the two main characters: Thomasina's early death and Septimus's voluntary exile from life.

Calhern created the role of Oliver Wendell Holmes in the play's original Broadway production, and the part was his only starring role in a sound film.

Most scholars support 1607 or early 1608 as most likely, which accords well with what is known about the play's likely co-author, George Wilkins, whose extant literary career seems to span only three years, 1606 to 1608.

Debates into its meaning were intense and relentless ; the play's most vocal critic complained not only of the play's nonsensical phrasing but also its frequent use of semicolons.

Shaw wrote a preface for the play's publication, in which he derided the idea that charities should only take money from " morally pure " sources.

All the other characters who appear in the film version, such as the males in the ladies ' lives, are only referred to in the play's dialogue.

The play's only truly unpleasant character, Yasha represents the new, disaffected Russian generation, who dislike the staid old ways, and who provide the foot soldiers of the revolution.

It was only to comfort his wife Olga Knipper, who was recovering from a miscarriage, that he finally let her in on the play's title, whispering it to her despite the fact that the two were alone.

Cratinus argues that it is necessary for him to drink wine, because poets drinking only water cannot produce good plays, but some people ( probably the play's Chorus ), who do not like his drinking, decide to destroy his wine-containers.

Lucien Goldmann thought that Brook's naturalistic decor and acting style ( with the exception of Blin and Muselli's performances ) obscured the play's " symbolic, universal character " ( which an epic design, he suggests via a comparison with Mother Courage and Her Children, and defamiliarised mode of acting would have foregrounded ), while Brook's decision to transform the set only once ( dividing the play into a period of order and one of disorder ) distorted the play's tripartite structure ( of order, disorder, and the re-establishment of order ).

At the play's conclusion it is revealed that the cylinder was actually after the Doctor all along and the request for the three treasures was a trap-as only the Doctor could have retrieved them.

As the play's main antagonist, Beatrice is mainly narcissistic, domineering, and lethally short-tempered, which is only worsened by the drugs.

The only party permanently hurt was the Swan's impresario Francis Langley, who alone among the play's producers was not able to obtain relicensing.

A Variety critic called Damien " the play's only fully developed character " and commended Nesbitt for giving " the one strong, telling performance the cast ".

The early playbills were basic, with only enough pages to list the cast members and information on the play's locale and scenes.