Books with title The second Mrs Tanquery

The Second Mrs. Tanqueray was the theatrical sensation of the London stage in 1893. It established Pinero as the leading English dramatist of serious social issues, and created a star out of Mrs. Patrick Campbell in the title role. The play recounts the marriage of a “woman with a past” and how it fails because of the double standard of morality applied unequally and hypocritically by Victorian society to men and women. This Broadview edition includes a thoroughly revised text based on the author’s manuscript, the prompt copy for the first production, and the published first edition; it also incorporates pertinent stage directions from the first production. The critical introduction examines all facets of the play and its production, and the appendices make accessible a wide variety of hard-to-find contemporary contextual materials related to the play.

When Aubrey Tanqueray marries for the second time, he knows that his new wife, Paula, is a 'woman with a past'. But he has no idea how that past will catch up with him in the end. More probing than Oscar Wilde, more accessible than Ibsen, Pinero's The Second Mrs Tanqueray (1893) is one of the masterpieces of the Victorian theatre: sexy, dramatic, funny and very moving.|6 women, 5 men

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Arthur Pinero wrote The Second Mrs. Tanqueray in 1893 after penning several successful farces. Playing on the "woman with a past" plot that was popular in melodramas, Pinero steered it in a more serious direction, centering the play around the social consequences arising when Aubrey Tanqueray remarries in an attempt to redeem a woman with a questionable past. The play's structure is based on the principles of the "well-made play" popular throughout the 19-century. But just as Wilde manipulated the conventions of the "well-made play" to produce a new form of comedy, so did Arthur Pinero manipulate it, forgoing the happy ending to produce an elevated form of tragedy. The Second Mrs. Tanqueray was first performed in 1893, at the St. James Theatre, London, at a time when England was still resisting the growing movement in Europe towards realism and the portrayal of real social problems and human misconduct. But while it was regarded as shocking, it ran well and made a substantial profit. Theatre historian J. P. Wearing phrased it thus: "although not as avant-garde as Ibsen's plays, Tanqueray confronted its fashionable St. James's audiences with as forceful a social message as they could stomach."

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