Phoebe

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“Glad to Be Your Man” — scribbling on the reappearance of Arthur Swann

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Categories: base instruments, development, looking ahead, scenes, Tags: , , ,

Base Instruments is likely to have a very large cast. That's not ideal for produceability, but more and more I suspect I just need to adapt these Mrs. Hawking stories into a miniseries or something, so I'm not worrying about that stuff when I'm just trying to figure out what happens in each installment.

Arthur Swann, a young policeman, was introduced in Vivat Regina, and though nothing happened beyond getting to know him a little, it was pretty clear he was positively impressed by Mary. Because I think Base Instruments will end up being a murder mystery, I think it will be necessary to have Arthur reappear in this story, especially since I'm planning on him becoming more and more of an important character. That means the relationship between him and Mary will have to progress. One of his traits is that he's supposed to be charming in a way that respects and admires Mary's capability and independence, which I want to demonstrate in his pursuit of her. However, I have to be careful to not push things too hard, as I want the attentions of Nathaniel's brother Justin to be a legitimate distraction for Mary in this story. Justin'll seem less special and remarkable if lots of dudes are throwing themselves at her. I may be able to rely on the fact that he's very good-looking and a gentleman, the sort of man Mary never would have expected to give her a second look, while Arthur is a bit more ordinary-seeming. But I can balance that out later. Here's a shot at looking what Arthur reappearing in Mary's life would begin with.

I really love him calling her "rare bird," given the significance of the bird motif in these stories. :-)

Glad to Be Your Man
by Phoebe Roberts

MARY STONE, house maid and assistant society avenger
ARTHUR SWANN, a policeman

London, England, 1883
~~~

(Officer ARTHUR SWANN leans against a lamp post. He notices MARY as she walks by.)

ARTHUR: As I live and breathe. Evening, rare bird.

(MARY turns.)

MARY: I beg your pardon?

ARTHUR: Don't you remember me? Because I couldn't forget you.

MARY: You're that policeman. Who needed some help with a ruffian.

ARTHUR: And you're the girl what gave it to me. Mary Stone.

MARY: Goodness. It's been more than a year, hasn't it?

ARTHUR: I'm like to recall a maid who can swing a poker like that. You know, ever since that night I've been keeping a weather eye out for you, hoping you might come back again this way. But you never have.

MARY: I'm sorry, I've had no cause.

ARTHUR: Shame on you, then. Who knows what trouble I might have gotten into without you around to watch my back? Could you bear to carry that on your conscience?

(MARY laughs.)

ARTHUR: So, then. Can you stay a spell to visit?

MARY: Forgive me, I've things to do.

ARTHUR: More important business, eh? Like German spies slipping away in the night from embassies?

(MARY fights to keep her expression neutral.)

MARY: I… I don't know what you mean.

ARTHUR: Well, it isn't as if us walking bobs often receive tips about when to bust up foreign spy activity. And when it comes after I've only just met a remarkable young lady clearly staking out the embassy…

(MARY laughs breezily.)

MARY: Staking out? Oh, heavens.

ARTHUR: I may look like just a pretty face, but there's a tick or two working behind my baby blues. Thank you kindly for that, by the by. My captain was fair chuffed with me.

MARY: Sir. I really don't know what you're talking about.

ARTHUR: No worries, miss. I'm not about to say anything, have no fear of that.

MARY: Perhaps I'd best be on my way.

ARTHUR: I won't keep you. Only I hope if you've a moment sometime, you might spare it to have a chat with me. And you know… if you ever need another copper to show up at the right time… I'd be glad to be your man.

MARY: Well… that's kind of you, I suppose.

ARTHUR: If I might see you again, I'll do a lot more than that.

(He tips his cap.)

ARTHUR: And remember, the name's Arthur Swann. In case you ever need it again.

8/20/14

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“Family Dinner” — Hawking drama I’m not sure about

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Categories: base instruments, character, development, scenes, Tags: , , ,

I started this scene for inclusion in Base Instruments, but the more I wrote it the less sure I was about it. While it’s roughly in character– Nathaniel wants Mrs. Hawking to show up to a family dinner while his brother Justin is in town, Mrs. Hawking doesn’t want to go –I don’t feel like the motivations are necessarily strong enough.

Yeah, Nathaniel wants his aunt to act like she’s part of the family, but he knows that she and Justin don’t like each other and it’s not likely to be a pleasant evening for anyone involved. I feel like he would be wiser than to force everybody into a situation that’s likely to make the whole family miserable; he would instead pick his battles to work on developing relationships with her that both mattered to him more and had more of a chance of success, such as his and hers, or even hers and Clara’s. Also, I think if Mrs. Hawking didn’t want to go to an event, she just wouldn’t; she’s starting to value Nathaniel and his feelings more, but the concept of “but we’re your faaaaaamily” just doesn’t matter to her. She wouldn’t make herself miserable to do any service to that. I don’t like making characters do thing for the sake of drama or the plot that I don’t feel are really in character.

I tried to make it work. I tried to give Nathaniel an outside reason for why he would insist on this– tying it into his issues with Justin rather than just letting it rely on his desire to make his aunt connect with family. And I tried to make it so she was only trying to minimize her own misery by agreeing to the dinner on his terms, because the alternative would be worse. But I’m not sure I buy it. Also I don’t know if I actually want to include that dinner happening in the story; I’m not sure what dramatic purpose it would serve. Although it might be funny just to see all these people fighting with each other under the guise of polite conversation, with Nathaniel frantically trying to make everybody just be nice to each other for one evening for God’s sake.

Ah, well. Even if I don’t use it, it’s practice. And I won’t have to try to recreate it if I decide that I want to.

Family Dinner
by Phoebe Roberts

VICTORIA HAWKING, lady’s society avenger
NATHANIEL HAWKING, her nephew and assistant

London, England, 1883
~~~

NATHANIEL: Here’s the research you asked for! Interviews with the company members, and diagrams of the crime scene. And not a soul will know you’ve had them.

(He hands over a folder and she inspects it.)

MRS. HAWKING: Hmm. That was neatly done. Thank you, Nathaniel.

NATHANIEL: Glad to do it, Auntie. And I’ll have the floor plans for the theater on Monday.

(Pause.)

NATHANIEL: Are you pleased?

MRS. HAWKING: I am. I must concede, you’ve been a great help and very little trouble in the recent past.

NATHANIEL: I’m glad to hear it! And I promise not to trouble you by dropping by while you’re ruminating for the rest of the week.

(She freezes suddenly and stares at NATHANIEL in suspicion.)

MRS. HAWKING: What do you want?

NATHANIEL: Now, don’t get cross, Auntie…

MRS. HAWKING: Out with it.

(NATHANIEL takes a deep breath.)

NATHANIEL: Justin is coming to London for a visit, and I’d like you to come to family dinner.

(She turns to walk away.)

NATHANIEL Oh, come on, Aunt Victoria!

MRS. HAWKING: Go chase yourself.

NATHANIEL: It’s only just an evening!

MRS. HAWKING: Which you seem intent to ruin for everyone.

NATHANIEL: Justin’s in town so rarely. Can’t we spend one night at least pretending we can get on like a normal family?

MRS. HAWKING: To what end?

NATHANIEL: My occasional peace of mind.

MRS. HAWKING: Best not to rely on delusions for comfort, nephew.

NATHANIEL: He won’t be here long. He’ll be on to the country in a few days to see Father.

MRS. HAWKING: Then let your father bear him. Your brother is an entitled rake who never stops talking.

NATHANIEL: I thought that was what you thought of me.

MRS. HAWKING: You’re not a rake, I grant you.

NATHANIEL: Indeed? Oh, goodness, Auntie, I never knew you cared.

MRS. HAWKING: Justin, however, I can’t stand across even a dinner table.

NATHANIEL: Oh, come now. It’s rare to have so much of the family together.

MRS. HAWKING: Perhaps think on why that is for a moment.

NATHANIEL: Clara wants you to be there.

MRS. HAWKING: No, she doesn’t.

NATHANIEL: The children never see you!

MRS. HAWKING: By design, Nathaniel.

NATHANIEL: Careful there, Auntie, that’s my flesh and blood you’re talking about.

MRS. HAWKING: I don’t care for children, why should you subject yours to me?

NATHANIEL: Because I want them to know you.

MRS. HAWKING: Whatever for?

NATHANIEL: Because you’re important to me! My God, woman, is that so hard for you to grasp? Would I keep coming back for more of your trouble if you weren’t?

(She raises an eyebrow at him. He sighs.)

NATHANIEL: If you must know, Justin has opined to me, loudly and often, that he doesn’t understand why I’ve gone to so much trouble to keep you in my life. If you can manage to bear up through one family dinner without being particularly horrible, it might give the appearance that my efforts haven’t come to nothing, and perhaps it will shut him up. For a moment. Could you possibly see your way to helping me with that? I don’t ask much of you, Auntie.

MRS. HAWKING: Ha!

NATHANIEL: All right, then. In that case, I promise you, if you don’t come, Clara will commandeer this house and have a party laid in ambush for you in your own dining room. And there won’t be any getting rid of us then.

(Pause.)

NATHANIEL: And don’t think Mary won’t help me. Because you know she will! So, what shall it be, then?

MRS. HAWKING: You are becoming quite the ruthless strategist, aren’t you, boy?

(NATHANIEL laughs.)

NATHANIEL: I’ve been learning from the best.

(He goes to retrieve his coat from the rack.)

NATHANIEL: Do cheer up, Auntie. Perhaps little Beatrice might do with your influence.

(MRS. HAWKING looks at him, considering. He smiles.)

NATHANIEL: Imagine what might come of that.

8/16/14

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“Vivat Regina” to have staged reading with Theatre@First’s Bare Bones!

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Vivat Regina, the second installment in the Mrs. Hawking series, is going to be having a staged reading with Bare Bones, the reading series hosted by Somerville, MA theater troupe Theatre@First!

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Bare Bones previously hosted a reading of the original Mrs. Hawking in April of 2013, which was performed to great success. I’m very fortunate that the excellent actors who portrayed the three leads, Elizabeth Hunter as Mrs. Hawking, Gabrielle Geller as Mary, and Ryan Kacani as Nathaniel, have all agreed to return to play their characters again in the reading of the sequel. I’m so excited to work with them again!

Auditions for the remaining roles will be held on Tuesday, September 2nd at Unity Somerville at 6 William Street, Somerville, MA. I will be looking for one man to read for Arthur Swann and two women, one for Clara Hawking and one to be double-cast as Mrs. Braun and Frau Gerhard. The ability to do a German accent would be welcome for the latter actress but is not required. Any interested parties are welcome and encouraged to try out!

If you’re interested in coming out, please go to the Bare Bones website for relevant information and how to sign up for an appointment!

The reading will be held one night only, on Thursday, October 2nd at 8PM at Unity Somerville. Admission is free but there is a $5 suggested donation to support Theatre@FIrst.

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The two Victorias

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Categories: character, influences, vivat regina, Tags: , ,

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In choosing to name my hero Victoria in this setting, I cannot help but invite comparison to the most famous Victoria in history, the queen who gave her name to the period. Indeed, I briefly considered titling the second story “Victoria Regina” instead of the more generic “Vivat Regina,” to hammer the parallel home. The first explicit reference I make to this comparison is the conversation in act 1 scene 5 of Vivat Regina. Mary makes the assumption I imagine that many people would make, that Mrs. Hawking would approve of a willful, prominent female leader who wielded so much personal authority. But the queen, despite her own place, was not a supporter of women in public positions, and in fact found the growing feminist movement to be godless and unseemly. She promulgated a social order and a standard of morality that reinforced many of the structures Mrs. Hawking is struggling to tear down, which gives our hero a particular resentment for having been her namesake.

My thinking on her is very influenced by an excellent documentary called Queen Victoria’s Children, which also gave me the idea for who might bring the problem in Vivat Regina. The documentary characterizes the queen as a strong, imperious personality, but also thrown by whims and rages and compelled to regard everything around her as a prop to her own existence. I plan to use this image of her if I ever actually depict her onstage in the story. At the moment I have no plans, but I have established that she and Mrs. Hawking have encountered one another in the past. I’m sure they owe each other favors, in fact, or at least have each other in some sort of Mexican standoff. I’ve not exactly decided what their history is, but I am certain it resulted in an uneasy coexistence where they do not work together, but occasionally find they must work around each other. I’ll have to figure out exactly how that works if I ever write them actually sharing a scene together.

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Mr. Ambrose Hawking

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Categories: character, scenes, themes, Tags: , , , , , ,

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Though I’ve written very little in his voice, I’ve thought a great deal about the patriarch of the respectable, successful middle-class Hawking family, and the father of Justin and Nathaniel. While his younger brother Colonel Reginald Hawking served in the military, Ambrose built the family business from the ground up, turning a series of small investments into a thriving venture capital firm with interests all across the empire. He was close to and very proud of his brave younger brother, with Reginald’s choice to marry the fiery, inscrutable Victoria Stanton being the only difference to ever come between them. This conflict is referenced in Like a Loss, a ten-minute play featuring the Colonel and his valet.

Ambrose is a bastion of traditional Victorian masculinity, accustomed to authority and privilege and very skeptical of the notion of women having agency. The world and its accompanying systems have done well for him, and so he is loath to see them change. His younger son Nathaniel, however, is beginning to question and even reject the assumptions to which his father raised him. It will come as quite a shock when he is confronted by Nathaniel’s new perspective on things, especially when it comes to affect the way Nathaniel decides to raise his own son.

I don’t know if or when Ambrose will ever actually appear in the plays. Even in the upcoming third one, in which I plan for other members of Nathaniel’s family to appear and drive the conflict, I don’t know if there will be room for him. Still, I think the influence of a traditionally Victorian patriarchal father is important for Nathaniel’s sorting out of how he’s going to engage with feminism. If nothing else, I’m sure he will be mentioned, as he is in Like a Loss, or perhaps show up in another in-universe short piece.

Here is a small chunk I felt compelled to write, just as a way of exploring the slightly more human side of him. One thing is clear, he cared very deeply about his brother the Colonel, and what pained Reginald was also pain to him. I also think it serves to make his strong antipathy towards Victoria a lot more understandable. So, in service of that, here is a conversation I could picture them having about the Colonel.

~~~

NATHANIEL: Did you think he ever knew just how… strongly she felt?

AMBROSE: Are you joking? Of course he did. He wasn’t a fool.

NATHANIEL: How do you know?

AMBROSE: Everyone knew. You could read it in her every glance, she never tried to hide it. And it cut him.

NATHANIEL: Did he tell you?

AMBROSE: He didn’t have to. I was his brother, I could see it in his eyes.

NATHANIEL: You never told me.

AMBROSE: By Jove, Nathaniel, do you fancy I hate her just because she’s unpleasant at dinner parties? The woman my brother loved despised him above all else. And he had to live with that. You may have found a way to forgive her, boy, but I never shall.

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Early development for Mrs. Hawking 3

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Categories: base instruments, development, looking ahead, themes, Tags: , , , , , , , ,

I won’t be able to truly tackle this for a while yet, as I have other projects that are currently more pressing, but I do have a fair bit of preliminary work done on creating the third installment in the Mrs. Hawking story. As I’ve mentioned in earlier entries, it will deal primarily with the three following themes:

– Mary’s establishment of what kind of protégé she truly wants to be.

– A hinting at Mrs. Hawking’s fear of her eventual decline into old age.

– The reaction of Nathaniel’s family

I’ve talked a great deal about the first two themes in this space. The third will be dealing with the first time Nathaniel’s involvement in Mrs. Hawking’s work (and his growing feminism, in sharp contrast to the common values of the day) is scrutinized by the by and large conventional members of his family. I’d like to have his brother Justin show up, to demonstrate a clashing ideology, and have his wife Clara actually be informed of what’s really going on and have to respond to it. I want to explore how Nathaniel will handle experiencing the threat of disapproval for basically the first time in his life, and realizing just how much at odds his new worldview is with the rest of society.

The case they shall be working in the course of this episode will be brought to them by a ballet dancer, in order to introduce the ballet motif that will expose Mrs. Hawking’s inner struggle. I haven’t figured out exactly what the problem will be, but it occurs to me that we’ve yet to see Mrs. Hawking deal with a true mystery. The problems in the first and second installments were entirely known quantities— return a stolen child, capture a miscreant hiding behind diplomatic immunity. I’d like to show her actually having to figure out what happened based on the gathering of clues and applying deductive reasoning. I enjoy mysteries a great deal, as the need to seek out more information is a compelling way to pace things, and I love the way it allows stories to unfold.

I struggle a great deal with titles; though I’m pretty happy with “Mrs. Hawking” and “Vivat Regina,” I rarely think I’ve come up with good ones. But I have an idea, at least, of what I’d like to call this third story. I’m leaning towards either “Base Instruments,” regarding to the imperfections of those people who struggle to deliver grand results, or “The Burden of Regard,” in reference to the weight placed on people from whom important things are expected. The first two have a quality of irony about them, which I would like to maintain in this third title if possible. Opinions on what works better are of course welcome.

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The arc-cycles that make up the story

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My boyfriend and frequent artistic collaborator Bernie Gabin has been instrumental in the development of much of the plotting of these stories. While not a particularly dedicated writer himself, he is incredibly talented when it comes to forming the mechanics of a logical, internally consistent plot that unfolds at the correct pace, and I often consult him on related matters. It was he that first proposed I regard, and move forward shaping, the Hawking stories as a series of what I’ll call “arc-cycles,” stories grouped off in sets of three that each develop a certain central idea.

The first arc-cycle we refer to as the Origin Cycle. Mrs. Hawking, Vivat Regina, and the upcoming third one that does not yet have a title. The point of these is to establish the team, so to speak. We learn who Mrs. Hawking, Mary, and Nathaniel are, what obstacles they’re going to face, and how they’re going to build themselves into this little unit that works together and supports one another.

The second arc-cycle is less well-formed yet, but I know for certain that it will, as any serialized storytelling form must, involve upping the stakes. We will have established with the first trilogy that our three main characters make a formidable force for justice when they are banded together. But in this arc-cycle we will challenge that—we will up the challenge level of the things they face. I want to tell the story of Mrs. Hawking’s early life, in flashback in relation to a current case, that demonstrates why she’s become what she is today. I want to introduce Mrs. Hawking’s Moriarty, who will present her with her greatest challenge yet. And I want to send her up against that quintessential Victorian baddie, Jack the Ripper, whose violence against the most downtrodden and helpless women in society make him a perfect villain for our hero’s purpose. And all this will even culminate in the smashing of the new establishment in a way that changes the characters forever.

The third arc-cycle, then, will have to be about what’s built in its place. This is where the notion of the Hawk Family will come, as Mary proposes they become an organization rather than just a few stalwarts holding back the storm. I have even less of a firm notion of these, as they’re so far down the line yet, but I know that in all drama things that do not change die, and in serial storytelling in particular things must continue to grow into new forms. Changing the nature of the game is an appropriate direction for it to go, especially since Mary’s ascendance from Mrs. Hawking’s protégé to her successor will be a major theme of this arc-cycle. And if a different person is in charge, you can bet things are going to have to work a little differently.

Beyond that, I’ve no idea. I think at least for the moment that’s more than enough stories to tell. But who knows how far we can go once we get there?

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The ballet metaphor

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Categories: base instruments, development, looking ahead, themes, Tags: , , , ,

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I’ve always been fascinated by the art of ballet. First of all, I just find it beautiful, a pure pleasure to watch. But from an intellectual standpoint I’m enthralled by the contradictions. It is viewed as a very delicate, refined art, coded feminine in most modern people’s eyes. But those who practice it at the highest levels is run like an army with just as much discipline. The dancers look frail and delicate, but they have to be unimaginably fit and strong, not to mention able to endure an enormous amount of pain. The dance is so demanding that careers tends to be very short, as many ballet dancers end up physically destroyed by the effort. The image of the broken down ballerina— whose tragedy is that she can no longer practice what she has sacrificed everything to be able to do —is one I return to again and again in my writing.

I find this could make for a perfect parallel to Mrs. Hawking. I want the next story to include a ballerina who is facing inevitable breakdown in order to use her as a metaphor for everything Mrs. Hawking fears. Her work, which involves so much physical punishment, will eventually wear her body down, and age will at some point make it so she can no longer continue. The ballerina character will speak to this part of her, and cause her to ponder how she will eventually address this.

This could tie nicely into the protégé conflict, where she will be trying to mold Mary into a new version of herself. Her fear of her not being able to do her work anymore will motivate her to make Mary into someone she feels like she can trust to properly carry things on— literally, another her. We will see that things won’t exactly go her way on that score, but Mary will in time prove capable of taking up the mantle, if not exactly in the manner Mrs. Hawking initially hopes.

The staged reading of Base Instruments by Phoebe Roberts will go up on June 10th at 8PM at with the Bare Bones reading series, brought to you by Theatre@First.

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Notes on Vivat Regina: plot

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Categories: character, development, influences, vivat regina, Tags: , , , , , ,

Warning: spoilers contained herein for Vivat Regina.

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In addition to character arcs, it needed an over-plot to give it structure, a mission for them to go on as part of Mrs. Hawking’s work. The idea for this one sprung out of the notion I had of a recognizable figure from this part of Victorian history coming incognito to the ladies to ask for their help. This figure is embodied in Mrs. Braun, who it is clear is not using her real name. I will not say her real identity right now, because I would rather not spoil it yet, but what I wanted was for the audience to have a suspicion who this person was even if they weren’t sure. She ties in nicely to the point Mrs. Hawking makes about of the problems of the establishment, even if you don’t fully grasp what her connection to the establishment is. After the first reading, Ben Federlin confirmed for me that it was interesting to leave some ambiguity as to who she was. But Lenny Somervell said that it needed to be clear enough that even somebody without any knowledge of Victorian history would still be able to have a decent guess. Certain other aspects of the story are more compelling if you can make that connection, so I wanted it to be accessible without necessarily being too obvious.

You may have noticed that her entrance into the story bears a strong resemblance to a similar scene in the Sherlock Holmes story, “A Scandal in Bohemia,” by Sir Arthur Conan Doyle. A German-accented person with a noble bearing that they are to some degree trying to conceal who at first introduces themselves by a false comes in as a client to ask a delicate task of our hero. This was a very intentional echoing, down to her line of “You may address me as Mrs. Johanna Braun,” in reference to “You may address me as Count Von Kramm.” I’ve always loved that story– indeed, I once played Irene Adler onstage –and it was fun to pay it that tribute.

I’ve talked at length about why I felt the need to include the subplot with Clara, which you can read about here. I wanted to introduce her for later inclusion, and I wanted the presence of a character who was not overawed by Mrs. Hawking the way Mary and Nathaniel are, but I struggled to figure out what service she could provide to the plot to justify her presence. What I decided to go with, suggested chiefly by my friends Aaron Fischer and Lenny Somervell who were kind enough to give their always-discerning opinions, was that she could basically provide some outside perspective. Their little world of society avenging is so secretive (they can’t tell people about it for security reasons, after all) that they tend to have tunnel vision about it. When Mary is unable to see that she’s been good for Mrs. Hawking, Clara is a fairly objective observer who can let Mary know what a huge positive influence she’s been. They also suggested that her personal reason for doing it can be that, in the service of protecting her husband from Mrs. Hawking’s wrath, she means to cultivate Mary as an ally and a source of information. It will and won’t work, considering the unusual circumstances, but I think it’s a believable motivation for Clara, and the situation will also lead into the possibility of her becoming a genuine friend to Mary.

Vivat Regina and Base Instruments by Phoebe Roberts will be performed at 2PM and 6PM respectively at 274 Moody Street in Waltham, MA as part of the Watch City Steampunk Festival 2017.

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Sparking a romance

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Categories: character, development, themes, vivat regina, Tags: , , , , , , ,

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As you may have gleaned from reading Vivat Regina, I want to explore the idea of a relationship between Mary and Arthur Swann, the police officer she meets (and makes use of) in that play. All I wanted to do in that story was start a connection, but that meant I had to take care to get it off on the right foot.

I like the idea that romances begin because of something special that two people see in each other. Mary of course demonstrates she is brave and tough and quick-witted in a way Arthur didn’t expect, but Arthur shows he finds the fact that Mary saved him intriguing. He is not threatened by Mary’s capability, but impressed by and delighted with it. That immediate respect he shows makes an impression on her. Moreover, he’s not without wit and charm himself. These things altogether spark something that ultimately turns to romance.

I had Mary save Arthur to deliberately turn that damsel in distress trope on its head. Also I wanted to contrast it with the first meeting of Victoria and Reginald as the Colonel describes it in “Like a Loss.” Both men are impressed by the women’s display of courage and independence. But while Arthur wants to encourage and enable her to take her own action, Reginald’s impulse is to cocoon her protectively so that she doesn’t ever have to be brave or fierce or stand up for herself again. Arthur wants to nurture Mary’s strength, while Reginald wanted to neutralize it in Victoria. This makes for an interesting way to explore the effects of feminism, or the lack thereof, in our characters’ lives.

I haven’t figured out the whole trajectory of Mary and Arthur’s relationship, but I think it’s off to an interesting start. Especially in contrast to Mrs. Hawking and the Colonel.

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