The Busie Body

The Busie Body is a Restoration comedy written by Susanna Centlivre and first performed at the Drury Lane Theatre in 1709. It focuses on the legalities of what constitutes a marriage, and how children might subvert parental power over whom they can marry.[1] The Busie Body was the most popular female authored-play of the eighteenth century, and became a stock piece of most anglophone theatres during the period.[1][2]

Plot

The main heroine, Miranda, is an orphaned heiress. She loves Sir George Airey, but her father's will specifies that Miranda will lose her inheritance if she marries before twenty-five without obtaining the written permission of her guardian, Sir Francis Gripe. Sir Francis plans to marry Miranda himself and gain permanent control of her fortune. Miranda verbally promises to marry Sir Francis, but when he gives her the necessary written permission, she tricks him into not putting down the name of the partner. Miranda and Sir George are then free to marry without losing her fortune.

A subplot deals with Isabinda, the daughter of Sir Jealous Traffick. Sir Jealous plans to marry her to Seignior Diego Babinetto, but Isabinda is in love with Charles (the son of Sir Francis). Charles disguises himself as Diego, and the oblivious Sir Jealous allows him and Isabinda to marry.

Marplot, the well-meaning but foolish busy-body of the title, meddles in these romantic affairs with humorous results.

The play ends with a dance, where Sir Jealous concludes:

"By my Example let all Parents move,

And never strive to cross their Childrens Love;

But still submit that Care to Providence above."[3]

Reception

The play was very popular with audiences: there were 475 recorded performances during the eighteenth century, and in reality the number was probably far higher.[2] William Hazlitt said that The Busie Body had been played "a thousand times in town and country, giving delight to the old, the young, and the middle aged".[2] Centlivre wrote a sequel featuring the character Marplot: Marplot, or the Second Part of the Busie Body (1710).

The Busie Body was revived at the Southwark Playhouse in 2012 (called "The Busy Body").

gollark: Oh, but I can't incubate another for 4 days, how lovely.
gollark: Oh cool, the 24h eggslot thing only applies to deliberately killed eggs. Now to pick a new one to sacrifice.
gollark: Oh well, hopefully I'll coordinate better next time!
gollark: Aaand gone.
gollark: Well, we have about 15 seconds.

References
  1. Collins, Margo (1999). "Centlivre v. Hardwicke: Susannah Centlivre's Plays and the Marriage Act of 1753". Comparative Drama. 33 (2): 179–198 (p. 179, 193). doi:10.1353/cdr.1999.0029. ISSN 1936-1637.
  2. Maggie Gale (ed.), Jacky Bratton (2001). "Reading the Intertheatrical". Women, theatre and performance : new histories, new historiographies. Manchester University Press. p. 17. ISBN 0719057124. OCLC 614915127.CS1 maint: extra text: authors list (link)
  3. Centlivre, Susanna (1872). The Dramatic Works of the Celebrated Mrs. Centlivre: Love's contrivance. Busy body. Marplot. Platonick lady. Perplex'd lovers. Cruel gift. J. Pearson. pp. 126.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.