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This review is specifically about one play, Fair Maid of the West or A Girl Worth Gold. This is a fun, silly play with lots of duels, disguises, sea battles, a breeches part, the King of Fez, etc. It must be incredibly exciting to see on stage--my mom saw it with Sean Bean in it, and said it was the most fun she ever had at the theater. My only complaint is that it seems extremely short--there's just not enough of the sorts of things that make breeches-part plays so fun--seems like it could be over in an hour or so. If I was going to stage it, I'd pad out the adventure sections, for sure.
On the other hand, I've only read part 1; that's all that my collection of Heywood plays includes. Apparently part 2 is far less fun. Bess Bridges show more (the titular character) doesn't have much to do--she's more passive than she is in this earlier section. I'll definitely read Part 2 when I get a chance, but I'm in no great hurry. It's not so terrible that I'm not reading them together; contemporary audiences had to wait as much as 30 years for Heywood to get to the second part. Maybe he decided, like I did, that the first Part felt a little skimpy on its own.
This, like the last play I read, The Plain Dealer, is another "virtue tested" play, where a woman's suitor consciously puts her in a position of temptation to see if she can remain loyal to him. It's far less mean spirited here than in The Plain Dealer. I guess that's partly a function of the changing tastes--from the ebullience of the Elizabethan era (Fair Maid was performed as early as 1597-1603--Queen Elizabeth was probably still alive) versus the cynicism of the Restoration (The Plain Dealer was first performed in 1676). I vastly prefer Fair Maid, though it's hard to deny that The Plain Dealer is in many ways more sophisticated, if less successful. show less
On the other hand, I've only read part 1; that's all that my collection of Heywood plays includes. Apparently part 2 is far less fun. Bess Bridges show more (the titular character) doesn't have much to do--she's more passive than she is in this earlier section. I'll definitely read Part 2 when I get a chance, but I'm in no great hurry. It's not so terrible that I'm not reading them together; contemporary audiences had to wait as much as 30 years for Heywood to get to the second part. Maybe he decided, like I did, that the first Part felt a little skimpy on its own.
This, like the last play I read, The Plain Dealer, is another "virtue tested" play, where a woman's suitor consciously puts her in a position of temptation to see if she can remain loyal to him. It's far less mean spirited here than in The Plain Dealer. I guess that's partly a function of the changing tastes--from the ebullience of the Elizabethan era (Fair Maid was performed as early as 1597-1603--Queen Elizabeth was probably still alive) versus the cynicism of the Restoration (The Plain Dealer was first performed in 1676). I vastly prefer Fair Maid, though it's hard to deny that The Plain Dealer is in many ways more sophisticated, if less successful. show less
A woman killed with kindness -- The fair maid of the west -- The English traveller -- The wise woman of Hogsdon -- The rape of Lucrece
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Heywood is a good example of the professional dramatist who worked for Philip Henslowe, the theatrical manager, both as a playwright and an actor. By his own admission, Heywood claimed to have "either an entire hand or at least the main finger" in 220 plays, of which less than 30 survive. His best-known play, A Woman Killed with Kindness (1603), show more exemplifies domestic tragedy, in which sentiment and homely details are equally mingled. Heywood wrote an eloquent defense of the theater against Puritan attack called An Apology for Actors (1607--08). (Bowker Author Biography) show less
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