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Act One Quotes
SIDNEY: [chuckling knowingly] I don't imagine the wife of a banker will particularly choose to spend her evening in our kitchen. Smart as it is.
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As the play begins, Sidney and Jane Hopcroft are preparing for a Christmas party. Jane is concerned with cleaning every room of the house, including the kitchen—even though Sidney, her husband, insists that none of the guests will want to go in there. As it turns out, Sidney is wrong: the guests do go in the kitchen, and in fact, the entire play is set in three different kitchens, across three different years. So the line is an ironic joke that sets the tone for the rest of the play. Contrary to what Sidney condescendingly claims, the guests will look Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. P
JANE: No, but it's special tonight, isn't it? I mean, with Mr. and Mrs. Brewster-Wright and Mr. and Mrs. Jackson. It's important.
SIDNEY: Don't forget Dick and Lottie Potter. They're coming, too.
JANE: Oh, well, I don't count Dick and Lottie. They're friends.
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Jane and Sidney are nervous about hosting their Christmas party, as many hosts would be. They want to make good impressions on their guests, and make it clear that they have a lovely, respectable suburban home. But as this passage makes clear, not all the guests are equal in the Hopcrofts’ eyes. Some are more important and respectable than others. The Brewster-Wrights, in particular, are people who Jane and Sidney see as very important. The passage establishes one of the key themes of the play: there’s an intricate social hierarchy, and every one of the Hopcrofts’ friends belongs in a Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita
MARION: Just look at these working surfaces and you must have a gorgeous view from that window, I imagine.
SIDNEY: Well…
MARION: It must be stunning. You must look right over the fields at the back.
SIDNEY: No—no.
JANE: No, we just look into next door's fence.
MARION: Well, which way are the fields?
JANE: I've no idea.
MARION: How extraordinary. I must be thinking of somewhere else.
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In this scene, there’s a subtle contest between the host and their guests. Marion Brewster-Wright and her husband, Robert, are clearly wealthier and more socially distinguished than the Hopcrofts. As Marion examines the Hopcrofts’ home, she makes various comments suggesting that it’s not a very nice place to live: it doesn’t have a good view, for example (a house with a nice view being one of the quintessential signs of social status, all the more so because having a nice view is “useless”). Marion’s tone seems dismissive and even derisive, and the Hopcrofts seem embarrassed and intimidated by their wealthier Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi.
MARION: [bending to read the dial] What's this? Whites-coloureds—my God, it's apartheid.
JANE: Beg pardon?
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In this brief scene, the Hopcrofts give Marion a tour of their house and point out their washing machine. Marion notices that the machine has a colored / white setting, and makes a feeble joke about apartheid. (The idea being that apartheid, the South African system of racial segregation, involved separating human beings into white and black, or “colored,” groups. It’s really not a funny joke.) It’s notable that this is one of the only times in the play when the characters discuss politics, culture, or “the world at large.” And it’s no coincidence that Jane doesn’t get the joke, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut
SIDNEY: What?
EVA: Did I put that glass in there?
SIDNEY: Er—yes.
EVA: My God, I knew it, I'm going mad. I am finally going mad.
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Eva Jackson, the wife of Geoffrey Jackson, suffers from some kind of mental illness, and has to take pills every three hours in order to stabilize her mood. As a result of her condition, she can be somewhat volatile, and in this scene, she casually throws a glass into a trash can without realizing—only to catch herself a moment later. The strange thing about Eva is that, while she’s ostensibly the only character with a defined mental “problem,” she’s also the only character who seems aware of her own problems, and shows some willingness to get better. By contrast, the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur m
MARION: Oh, that's lovely. Just that teeny bit stronger. You know what I mean. Not too much tonic . . .
SIDNEY: No, well . . .
MARION: Perfect.
SIDNEY: Actually, that's neat gin, that is.
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Marion complains that her gin and tonic doesn’t have enough tonic (in fact, it doesn’t have any). Then, Sidney goes to find some tonic water to add to her beverage. A moment later, he returns to Marion, without having done anything to the drink. Marion sips the drink and claims that it now has the perfect amount of tonic water in it. The exchange isn’t just a perfect example of the “placebo effect.” It’s also a sign that the characters are out of touch with reality. The mere power of suggestion—the fact that Marion thinks Sidney has added tonic to Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provi
RONALD: Ah. Well, as long as you know about him. Might have been after your silver. I mean, you never know. Not these days.
SIDNEY : No, indeed. No, he—he was from the off-licence.
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Jane goes out to buy tonic waters and, through a series of farcical mishaps, winds up having to trudge through the front door in a soaking wet raincoat, leading Ronald to believe that a strange little man has intruded on the Hopcrofts’ party. When he points this out to Sidney, Sidney improvises and claims that the “man” was really a deliveryman from the shop around the corner, a lie that Ronald finds perfectly plausible. First, note that Ronald obviously doesn’t know either of his hosts too well, or he would’ve recognized Jane when she was wearing her husband’s raincoat. Second, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae
GEOFFREY: Oh now, come off it. Nonsense. She chooses to live with me, she lives by my rules. I mean we've always made that perfectly clear. She lives her life to a certain extent; I live mine, do what I like within reason. It's the only way to do it...
SIDNEY: Good gracious.
RONALD: I wish you'd have a chat with Marion. Convince her.
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Geoffrey Jackson, another one of the guests at the Hopcrofts’ party, is a charismatic, handsome man who likes to brag to his male friends about his sexual conquests. In oblique terms, Geoffrey suggests that he cheats on his wife all the time, but adds that she’s learned to “play by his rules.” In other words, Geoffrey uses adultery to assert his authority over Eva: he’s the “king of the castle,” and Eva has to support him in whatever he does. The passage is a grating, satirical example of “guy talk.” The three male characters crack little jokes about adultery, at Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequu
MARION: This really is a simply loathsome little house. I mean how can people live in them. I mean, Geoff, you're an architect, you must be able to tell me. How do people come to design these sort of monstrosities in the first place, let alone persuade people to live in them?
GEOFFREY: Well...
MARION: Oh, God. Now he's going to tell me he designed it.
GEOFFREY: No. I didn't do it. They're designed like this mainly because of cost and people who are desperate for somewhere to live aren't particularly choosey.
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Just as the Hopcrofts predicted, the Christmas party is in reality a subtle game of one-upmanship, in which the different couples quietly judge one another for social status. Marion, the wife of the successful banker Ronald Brewster-Wright, doesn’t seem to think much of Sidney and Jane, and in this passage Marion makes it clear why. She thinks they’re beneath her in the economic hierarchy: their house is cheap and ugly-looking, so they can’t be very wealthy at all. As Ayckbourn makes clearer and clearer as the play goes on, however, Marion and Geoffrey’s obsession with ranking other peoples’ social status Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita d
SIDNEY: These people just weren't anybody. They are people in the future who can be very, very useful to us...
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After the guests have left, Sidney and Jane discuss their party. Sidney makes it clear how he feels about things: he thinks the party was a great success because he was able to convince Ronald to give him a bank loan. Sidney doesn’t really think of his party guests as intrinsically valuable human beings; instead, he sees them as “useful,” because of what they can do for him. Therefore, a guest like Ronald is someone who he respects and admires, whereas a guest like Dick Potter is someone he doesn’t care about impressing. Sidney doesn’t even seem to care about Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaec
Act Two Quotes
GEOFFREY: Yes, I know. You’re very anxious, aren't you, that I should go and work for the up and coming Mr. Hopcroft? So is up and coming Mr. Hopcroft.
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As Act Two begins, one year has gone by since the last Christmas party, and things have changed. Sidney, first encountered as a pathetic, struggling businessman (in some vaguely defined field), is now a successful businessman (his jobs has something to do with real estate, but Ayckbourn says almost nothing more about it). Geoffrey Jackson, who in Act One comes across as a cocky, ambitious young architect, is now a cynical, prematurely jaded fellow, who clearly envies Sidney for his sudden success. In the turbulent world of the 1970s middle class, Ayckbourn suggests throughout the play, fortunes are always rising Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati.
GEOFFREY: Eva—I'm being very patient. Very patient indeed. But in a minute I really do believe I'm going to lose my temper. And we know what happens then, don't we? I will take a swing at you and then you will feel hard done by, and by way of reprisal, will systematically go round and smash everything in the flat. And come tomorrow breakfast time, there will be the familiar sight of the three of us, you, me and George, trying to eat our meals off our one surviving plate.
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A year after the Christmas party in Act One, Geoffrey and Eva’s marriage has disintegrated. Geoffrey is contemplating leaving Eva, perhaps forever, and claims that he’s been seeing another woman. Eva, chatty and energetic in Act One, has become quiet and apparently suicidal. Furthermore, Geoffrey alludes to having hit his wife in the past—perhaps on many occasions. Beneath the idle, banal façade of the characters’ lives, there’s a lot of violence in this play. Geoffrey and Eva seem like a typical thirty-something couple, but in fact Geoffrey is an abusive husband who often takes out his anger on his wife, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea su
GEOFFREY: Now, I'm going to phone the doctor. I’ll just be two minutes, all right? Now, you sit there. Don't move, just sit there like a good girl.
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In this passage, Geoffrey Jackson realizes that Eva Jackson, his wife, has tried to kill herself. Appallingly, he decides to leave her alone while he phones the doctor. This seems like a foolish thing to do, since—just moments ago—she tried to jump out of a window. One would think that Geoffrey should stay with his wife. The passage is a good example of how the actors and director of a theatrical production—not just the playwright—get a hand in interpreting it. On paper, it’s unclear if Geoffrey is just clueless, and doesn’t know any better than to abandon his wife, or Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio
JANE: I must clean that oven if it kills me.
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As Act Two goes along, its tone becomes more and more farcical. Here, Jane walks into the room and—seeing Eva stick her head in an oven—assumes that Eva is trying to clean her oven. Jane has become so blinded by her obsession with cleaning things that she assumes everyone else is just like her. The idea that Eva is sticking her head in an oven to commit suicide (which, of course, she’s doing) doesn’t even occur to her. The passage is also a good example of dramatic irony, since Jane uses the phrase “if it kills me” idiomatically and not Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequ
JANE: Shall I tell you something—Sidney would get so angry if he heard me saying this—but I'd far sooner be down here on the floor, on my knees in the oven—than out there, talking. Isn't that terrible. But I’m never at ease, really, at parties. I don't enjoy drinking, you see.
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In this rare moment of candor from Jane Hopcroft, she admits that she doesn’t enjoy drinking or going to parties. This is interesting, since we first met Jane when she was about to host a Christmas party. In many ways, Jane is the most sympathetic character in the play. She doesn’t really buy in to the culture of drinking and shallow conversation that Ayckbourn satirized in Act One (and continues to satirize now). And her desire to find happiness in the act of cleaning, while somewhat pathetic, is also rather poignant. However, whatever sincerity and openness one finds in Jane’s Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accu
SIDNEY: Now. I'll give you a little tip, if you like. You’ll never get a sink unblocked that way.
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After Jane begins scrubbing Eva’s oven, her husband Sidney walks into the room. Noticing that Eva is bending over the sink (she’s dropped the sleeping pills on which she is trying to overdose), Sidney wrongly assumes that Eva is trying to repair her sink. Just like his wife, Sidney is so used to thinking about household appliances (mostly as status symbols) that he can’t see the blatant truth; Eva is trying to end her life. When Sidney begins repairing Eva’s sink, the play becomes more savagely funny and satirical. Act One of the play, while hyperbolic in some ways, was Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo min
RONALD: Had a good year. Must be pretty pleased.
SIDNEY: Oh, yes. Had a few lucky hunches. Seemed to pay off.
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In this scene, Sidney and Ronald talk about Sidney’s recent successes as a businessman. However, because Sidney’s exact profession is almost unknown to the audience, their conversation is confusing. Sidney doesn’t even talk about what business deals, in particular, have left him so much better off than he was a year ago. Instead, he just says that he’s had some lucky hunches. The word “lucky” is important, since Sidney’s good fortune as a businessman seems unrelated to his talent or ambition. Sidney hasn’t earned success for himself—just as he suggests here, he’s just been lucky. Success “happened” to him; he Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus.
SIDNEY: Don't do that! Don't do that! It's too late for that. Look at this shirt. This is a new shirt.
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Sidney has been busily repairing Eva’s pipes (even though she hasn’t asked him to do anything of the kind, and in fact hasn’t spoken at all). Then Jane accidentally runs the faucets, spilling dirty water all over Sidney’s new shirt. Sidney becomes surprisingly angry when this happens—he yells that his shirt has been permanently ruined (although one would think that he could just throw it in his washing machine). But the fact that Sidney would become so angry about a shirt suggests that, in the year between Act One and Act Two, he’s become even more selfishly materialistic, and even Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Ap
Act Three Quotes
RONALD: Drink? No, I don't honestly think so. She's always liked a—I mean, the doctor did say she should lay off. But that was only because it was acting as a stimulant—She hasn't touched it lately.
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As Act Three begins, another year has gone by. Ronald’s wife Marion has become bedridden for vaguely-defined reasons. Eva suggests that Marion is an alcoholic, while Ronald refuses to believe this. However, as the act goes on, it becomes clear that Eva is exactly right. Ronald’s refusal to believe the obvious truth about Marion is a form of denial: he can’t accept the painful truth that his wife is addicted to alcohol (even though he begins to admit that she is, and then cuts himself off). The passage is a telling example of the way Ronald—and all the other characters—hide Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Pro
EVA: Darling, I hate to remind you but ever since the ceiling of the Harrison building caved in and nearly killed the Manager, Sidney Hopcroft is about your only hope of surviving as an architect in this city.
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In this expository line of dialogue, it’s revealed that Geoffrey Jackson’s career is in crisis. He designed and built a shopping complex, but the building collapsed, nearly killing a few people. Now, nobody in town will hire Geoffrey, with the possible exception of Sidney Hopcroft, a man who, as we’ve seen already, Geoffrey despises. As was the case in Act Two, it’s unclear why Geoffrey’s fortunes have plummeted. We’re given so little information about the collapse of the shopping complex that it’s impossible to tell if the collapse was a product of Geoffrey’s carelessness, or just an unrelated mistake. More Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam elige
RONALD: Both my wives, God bless them, they've given me a great deal of pleasure over the years but, by God, they've cost me a fortune in fixtures and fittings. All the same. Couldn't do without them, could we?
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Ronald delivers a long monologue about his marriages, and about his relationships with women in general. He mentions having been married once before marrying Marion, his current wife. However, his way of discussing his two wives is surprisingly clinical and bloodless. He shows no real affection for either woman; instead, he speaks about women as if they’re investments, measuring the risks against the rewards and coming to the bland conclusion that he can’t do without them. Ronald, no less than the other characters in the play, is a vulgar materialist, somebody who measures everything in life—even other people—based on how Dolorem et quae. Exercitatione
RONALD: Nobody wants your damn picture, now shut up.
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In this passage, Marion Brewster-Wright has come down from her room and proceeds to deliver a long monologue about how she was once a beautiful woman. She’s clearly upset at having lost her looks (in part because she’s drank so much in the last couple years). But instead of offering his wife sympathy, comfort, or even constructive advice, Ronald just tells her to shut up. His reaction, while cold and unfeeling, is typical of the way the male characters in the play treat their partners: they make no effort to provide sympathy or compassion. The failure of communication between husbands Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dol
MARION: Why don't you just go in the hall and shout "Go away" through the letter-box?
RONALD: Because he happens to have a very large deposit account with my bank.
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The Hopcrofts have arrived at the Brewster-Wrights’ house, and now they’re trying to get in. Nobody inside wants to see the Hopcrofts; they seem to find them annoying. Furthermore, neither Geoffrey nor Ronald wants to talk to Sidney Hopcroft, who’s become increasingly successful over the last two years. Their envy for Sidney’s financial success is palpable. But at the same time, Sidney’s financial success is the only reason that Ronald doesn’t tell Sidney to go away; he needs Sidney’s business at his bank, which, we’ve already heard, is on the verge of going under. So because Ronald is so financially Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor
SIDNEY: Yes. Up at Walter's place. Walter Harrison.
RONALD: Oh—old Harrison's.
SIDNEY: Oh of course, you'll know him, won't you.
RONALD: Oh, yes.
GEOFFREY: Yes.
SIDNEY: Oh, yes, of course. Asking you if you know old Harrison. I should think you do know old Harrison. He certainly remembers you. In fact he was saying this evening...
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At Ronald’s party, Sidney is his usual obnoxious self. He brags about having gone to another party before Ronald’s, hosted by Walter Harrison—seemingly a powerful, wealthy member of the community (and therefore a symbol of Sidney’s newfound social status). Furthermore, Sidney brings up the fact that Geoffrey knows Walter, since it was Geoffrey who designed the ill-fated shopping complex Walter owned. The passage is another good example of why it’s up to the actors to interpret a playwright’s work. On paper, it’s unclear if Sidney is trying to mock Geoffrey for his failings and brag about his own success, or Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia
SIDNEY: That's it. Dance. Come on. Dance. Dance. Come on. Dance. Dance. Dance. Keep dancing. Dance . . .
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The play ends with a funny yet disturbing image of the characters playing a humiliating game. According to the rules of the game, the characters must dance, and then stop at the same time that the music stops. The last person to be caught dancing must accept a “forfeit,” i..e., must carry an object that makes it harder for them to continue dancing. None of the characters wants to play this game. But because Sidney (who’s tried and failed to introduce party games in each of the last two acts) is now such a powerful businessman, the characters feel that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti s
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