Discuss Shaw’s Attitude to Marriage and Family Life as Revealed in You Never Can
Bangla "
CHARACTERS :
Dr. Valentine, the dentist
Mr Crampton- FATHER Gloria
Gloria Clandon, the eldest daughter – Miss Lanfrey Clandon
Dolly Clandon, twin to Philip –
Philip Clandon, twin to Dolly –
Mrs. Clandon, the mother –
Mr. Fergus Crampton,
Mr. Finch McComas,
The Parlor-maid –
SUMMERY :
Conall Morrison’s production highlights the escapism of the seaside setting, with Liam Doona’s stage design creating a picture-book island surrounded by dappled water and sunlight. In these surroundings, Mrs Clandon’s recollections of her violent husband seem incredible to her children, who insist on learning the identity of their father, from whom they have been separated since childhood. When, through a series of coincidences, they meet him, the antipathy is mutual. “This family is no place for a father,” Mr Crampton says, observing their unconventional ways, and a debate ensues about the duty and respect owed to a father, even if he has done nothing to deserve it. With reconciliations orchestrated by an old family friend and the absurdly deferential hotel waiter (Niall Buggy), a dramatic version of Sense and Sensibility unfolds.Buggy’s spot-on comic timing makes some of the other performances seem heavy handed. Gerard Byrne, temporarily standing in for Eamon Morrissey as Mr Crampton, has an impressively light touch also. Eleanor Methven captures Mrs Clandon’s bitter disappointment in her marriage, an experience that led her to change her name and publish a series of treatises on marriage and parenthood. A figure of fun to an extent, a parody of the New Woman of the 1890s, Mrs Clandon also makes acute observations on women’s lack of autonomy. Her eldest daughter Gloria (Caoimhe O’Malley) is adamant that she will have nothing to do with marriage – until she falls in love. The “duel of sex” between Gloria and the penniless dentist Valentine (Paul Reid) poses a central question: can a woman retain self-determination within the institution of marriage? Differences seem to dissolve in a gorgeous carnival finale, but Shaw leaves us in no doubt that compromise is not as easy as it looks.
At Abbey theatre, Dublin, until 6 February. Box office: +353 (0)1878 7222.
As 2020 begins…
… we’re asking readers, like you, to make a new year contribution in support of the Guardian’s open, independent journalism. This has been a turbulent decade across the world – protest, populism, mass migration and the escalating climate crisis. The Guardian has been in every corner of the globe, reporting with tenacity, rigour and authority on the most critical events of our lifetimes. At a time when factual information is both scarcer and more essential than ever, we believe that each of us deserves access to accurate reporting with integrity at its heart.
More people than ever before are reading and supporting our journalism, in more than 180 countries around the world. And this is only possible because we made a different choice: to keep our reporting open for all, regardless of where they live or what they can afford to pay.
We have upheld our editorial independence in the face of the disintegration of traditional media – with social platforms giving rise to misinformation, the seemingly unstoppable rise of big tech and independent voices being squashed by commercial ownership. The Guardian’s independence means we can set our own agenda and voice our own opinions. Our journalism is free from commercial and political bias – never influenced by billionaire owners or shareholders. This makes us different. It means we can challenge the powerful without fear and give a voice to those less heard.
None of this would have been attainable without our readers’ generosity – your financial support has meant we can keep investigating, disentangling and interrogating. It has protected our independence, which has never been so critical. We are so grateful.
As we enter a new decade, we need your support so we can keep delivering quality journalism that’s open and independent. And that is here for the long term. Every reader contribution, however big or small, is so valuable.
Question :
Give a Short Sketch of Shaw’s Philosophy of Life Force the Reference to You Never Can Tell.
Discuss You Never Can Tell as a Drama of Ideas.
Discuss Shaw’s Attitude to Marriage and Family Life as Revealed in You Never Can Tell.
YOU CAN NEVER TELL AS AN ANTI ROMANTIC COMEDY ? BANGLADESHI STUDENTS
Bangla "
Dr. Valentine, the dentist
Mr Crampton- FATHER Gloria
Gloria Clandon, the eldest daughter – Miss Lanfrey Clandon
Dolly Clandon, twin to Philip –
Philip Clandon, twin to Dolly –
Mrs. Clandon, the mother –
Mr. Fergus Crampton,
Mr. Finch McComas,
The Parlor-maid –
SUMMERY :
Conall Morrison’s production highlights the escapism of the seaside setting, with Liam Doona’s stage design creating a picture-book island surrounded by dappled water and sunlight. In these surroundings, Mrs Clandon’s recollections of her violent husband seem incredible to her children, who insist on learning the identity of their father, from whom they have been separated since childhood. When, through a series of coincidences, they meet him, the antipathy is mutual. “This family is no place for a father,” Mr Crampton says, observing their unconventional ways, and a debate ensues about the duty and respect owed to a father, even if he has done nothing to deserve it. With reconciliations orchestrated by an old family friend and the absurdly deferential hotel waiter (Niall Buggy), a dramatic version of Sense and Sensibility unfolds.Buggy’s spot-on comic timing makes some of the other performances seem heavy handed. Gerard Byrne, temporarily standing in for Eamon Morrissey as Mr Crampton, has an impressively light touch also. Eleanor Methven captures Mrs Clandon’s bitter disappointment in her marriage, an experience that led her to change her name and publish a series of treatises on marriage and parenthood. A figure of fun to an extent, a parody of the New Woman of the 1890s, Mrs Clandon also makes acute observations on women’s lack of autonomy. Her eldest daughter Gloria (Caoimhe O’Malley) is adamant that she will have nothing to do with marriage – until she falls in love. The “duel of sex” between Gloria and the penniless dentist Valentine (Paul Reid) poses a central question: can a woman retain self-determination within the institution of marriage? Differences seem to dissolve in a gorgeous carnival finale, but Shaw leaves us in no doubt that compromise is not as easy as it looks.
At Abbey theatre, Dublin, until 6 February. Box office: +353 (0)1878 7222.
As 2020 begins…
… we’re asking readers, like you, to make a new year contribution in support of the Guardian’s open, independent journalism. This has been a turbulent decade across the world – protest, populism, mass migration and the escalating climate crisis. The Guardian has been in every corner of the globe, reporting with tenacity, rigour and authority on the most critical events of our lifetimes. At a time when factual information is both scarcer and more essential than ever, we believe that each of us deserves access to accurate reporting with integrity at its heart.
More people than ever before are reading and supporting our journalism, in more than 180 countries around the world. And this is only possible because we made a different choice: to keep our reporting open for all, regardless of where they live or what they can afford to pay.
We have upheld our editorial independence in the face of the disintegration of traditional media – with social platforms giving rise to misinformation, the seemingly unstoppable rise of big tech and independent voices being squashed by commercial ownership. The Guardian’s independence means we can set our own agenda and voice our own opinions. Our journalism is free from commercial and political bias – never influenced by billionaire owners or shareholders. This makes us different. It means we can challenge the powerful without fear and give a voice to those less heard.
None of this would have been attainable without our readers’ generosity – your financial support has meant we can keep investigating, disentangling and interrogating. It has protected our independence, which has never been so critical. We are so grateful.
As we enter a new decade, we need your support so we can keep delivering quality journalism that’s open and independent. And that is here for the long term. Every reader contribution, however big or small, is so valuable.
Question :
Give a Short Sketch of Shaw’s Philosophy of Life Force the Reference to You Never Can Tell.
Discuss You Never Can Tell as a Drama of Ideas.
Discuss Shaw’s Attitude to Marriage and Family Life as Revealed in You Never Can Tell.
YOU CAN NEVER TELL AS AN ANTI ROMANTIC COMEDY ? BANGLADESHI STUDENTS
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