unearths some literary gems.
From Late Victorian Farce, by Jeffrey H. Huberman:
***
The windows and especially the doors of an enclosed set (in contrast to the open pathways of flat wings) provided a physical and audible mechanism for allowing characters bearing complications to appear or disappear with a literal bang....The doors of a box set...served as concrete representations of suspense through which a character might burst at any moment, sending the plot off in a new, frantic direction.
***
[A few more snippets attached--as you'll see, the farce scholar likes to do the math! It's also fun to encounter new-to-me terminology for familiar devices, e.g., "object-chase" and "parrot speech." Btw, I sought Confusion online and began reading it, but imo it didn't live up to this synopsis. As with Victorian farces I've explored in the past, the dramatis personae (including, in this instance, Mortimer Mumbleford, Christopher Blizzard, and Miss Lucretia Tickleby) were pretty much the highlight.]
[Bonus: I notice that a play called The Great Pink Pearl debuted, appropriately enough, at the Strand.]
