| May 14 - June 20, 1982, SHE STOOPS TO CONQUER played at Theater 40 in Beverly Hills. In
        this 18th century setting, James Morrison had the part of
        Mr. Hastings. 
  Young Marlow, at the
        ordering of his father, is traveling to the country
        estate of his father's best friend, Mr. Hardcastle to
        explore the possibility of marrying Hardcastle's daughter
        Kate. Marlow's friend, Hastings, comes along because
        Kate's cousin and best friend Constance -- Hastings' love
        interest -- is a ward of the Hardcastle family.
 Marlow's only problem is that he is too shy with women of
        his own social class, though he is quite bold with
        servant girls. Hastings problem is that, besides
        Constance, he also values her dowry of jewels which are
        in the possession of his love's aunt, Mrs. Hardcastle.
        She wants Constance to marry her son by a previous
        marriage, Tony Lumpkin.
 
 To thwart Hastings advances, and also -- just for fun --
        Tony tricks Marlow and Hastings into thinking that
        Hardcastle's estate is an inn. So Marlow and Hastings --
        especially the snobbish Marlow -- treat the country
        gentleman like an innkeeper.
 
 More misunderstandings follow, of course. Seeing what a
        shy ass Marlow is, Kate determines to trick him into
        thinking she is a servant girl. In that guise she stirs
        his desire, then through adroit maneuvering Kate raises
        herself to the status of a gentle relation -- poor but
        otherwise socially acceptable. Yet as he grows warmer,
        she grows more aloof.
 
 Meanwhile the ardent young Hastings in pursuit of
        Constance expostulates, nearly babbling with eagerness
        and frustration, "My dear Constance, why will you
        deliberate thus? If we delay a moment, all is lost for
        ever
.Let us fly, my charmer." The object of
        his affection has only just barely escaped being taken
        away by her aunt to a three year confinement in the house
        of a distant relative, and Hastings is all adither at the
        possibility that she will slip from his grasp. "Let
        us date our happiness from this very moment."
        Hastings' feelings have driven him to such a state that a
        foolish speech escapes his lips, "Perish fortune.
        Love and content will increase what we possess beyond a
        monarch's revenue. Let me prevail."
 
 All this does not make Hastings a bad fellow. On the
        contrary, his willingness to spurn the jewels that are
        his sweetheart's rightful inheritance is proof that he is
        no mercenary fortune hunter like his friend. Hastings has
        a single flaw that must be corrected. Constance, like her
        friend Kate, must provide the balancing force that will
        give him an even keel for their journey through life
        together. Hastings is hasty but Constance is constant.
        She replies, "No, Mr. Hastings; no. Prudence once
        more comes to my relief, and I will obey its dictates. In
        a moment of passion fortune may be despised, but it
        produces a lasting repentance." Then she adds the
        climactic line of the play. "I'm resolved to apply
        to Mr. Hardcastle's (her uncle) compassion and justice
        for redress."
 
 Kate, however, growing impatient soon urges Marlow to
        leave - since his serious aims seem to be fixed on
        fortune. Marlow now proves his own character to be equal
        of his friend's, as he realizes money is not what he
        really wants. (And we know all along that this is not
        only the woman his father wanted him to marry in the
        first place, but also that she is really rich as well!)
        Synopsized from review by Bruce Begg for Reader
 
 "James
        Morrison manages to cut a compelling figure as the
        handsome resident straight-man Hastings." Patricia
        Freeman for Los Angeles Herald Examiner
 
 "James Morrison is good as Mr. Hastings, a vital and
        persuasive performance." Jack Holland for
        Drama-Logue
 
 
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