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Maugham Plays 1

por W. Somerset Maugham

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'One of the most admired and widely read authors of this century This first volume of Somerset Maugham''s collected plays includes Sheppey, his last and best comedy of a Cockney barber who determines to give his sweepstake winnings to the poor; The Sacred Flame gives an unusual note of noir-ish suspense to a moving drama of protective maternal love; The Circle, widely regarded as Maugham''s masterpiece, deals wittily with the dilemma of a young woman intent on leaving her pompous husband; in The Constant Wife, an abrasive war-between-the-sexes comedy, his heroine is an early feminist who gains financial and emotional independence from her husband; Our Betters - whose London opening was delayed through fear of lawsuits - exposes the amoral society of an English aristocracy funded by the American heiresses who have bought their way into it.'… (más)
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Quite a disparate group of plays, encompassing "Our Betters," "The Sacred Flame," "The Circle," "The Constant Wife," and "Sheppey". The latter is perhaps the best of them, turning on the idea that society will happily profess Christian values so long as its members don't act on them. When a Cockney barber wins a sweepstakes and 'gets religion', the consequences are both comic and deeply ironic. "Our Betters" skewers the affectation of American heiresses and the intrigues and bankruptcy (moral and potentially financial) of the 'high society' they help fund. While I remember the other plays less vividly, "The Circle" is apparently highly regarded. ( )
1 vota Eurydice | Sep 19, 2005 |
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'One of the most admired and widely read authors of this century This first volume of Somerset Maugham''s collected plays includes Sheppey, his last and best comedy of a Cockney barber who determines to give his sweepstake winnings to the poor; The Sacred Flame gives an unusual note of noir-ish suspense to a moving drama of protective maternal love; The Circle, widely regarded as Maugham''s masterpiece, deals wittily with the dilemma of a young woman intent on leaving her pompous husband; in The Constant Wife, an abrasive war-between-the-sexes comedy, his heroine is an early feminist who gains financial and emotional independence from her husband; Our Betters - whose London opening was delayed through fear of lawsuits - exposes the amoral society of an English aristocracy funded by the American heiresses who have bought their way into it.'

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