"Wanted, a Young Lady" : A Farce, in One Act — A Reader’s Guide

Diction and Verbal Play

Suter's dialogue relies on brisk exchanges and repeated misunderstandings. Simon's speech is peppered with colloquialisms and malapropisms: he claims he can "sleep quietly on both sides of your face," then admits he "couldn't do it." His line about reddening his nose through access to the cellar becomes a running joke. Frank, in disguise as a widow, responds to Adelaide's criticism of his appearance with "Well, beauty is all a matter of opinion," a line that works both as a deflection and a nod to the gender-bending disguise. The play also uses aside remarks to clue the audience into deceptions: Frank mutters "My grandmother—phew! I should never have known her" when Adelaide enters in old-lady garb. These asides create dramatic irony, as the audience knows more than the characters on stage.

Physical Comedy and Stage Business

The farce depends heavily on physical actions specified in stage directions. Simon stumbles across the stage, takes a cushion from an easy chair as a pillow, and carries a bottle as a nightcap. Frank rams a scent bottle against Simon's nose and later pushes him offstage. The repeated shaking of the locked door (L.) builds tension and comic effect. Costume changes are integral: Frank enters in a travelling suit, later appears in an old lady's hood, silk gown, shawl, spectacles, and stick, then reverts to his first dress. Adelaide similarly switches from a travelling dress to a silk bonnet, veil, spectacles, shawl, and stick. These transformations happen within the single act, requiring quick backstage work and contributing to the farce's frantic pace.

Structure and Pacing

The play is a one-act farce with a running time of forty minutes, as noted on the title page. The action unfolds in a single interior scene, with entrances and exits through three doors (C., R., L.) and a closet at back. The plot hinges on a series of missed encounters: Frank arrives to find his grandparents away, Simon is left alone, and Adelaide enters disguised. The gate bell rings offstage at a crucial moment, prompting Frank to remark, "Luckily there is no one to be disturbed here." This tight structure—limited setting, small cast, and continuous time—forces characters into rapid confrontations and resolutions. The farce builds to a climax where Frank, still in disguise, is accused of wearing one of Adelaide's gowns, a moment that threatens to expose his ruse.

Recurring Details and Motifs

Several details recur throughout the excerpts. Simon's obsession with the cellar keys and his nose turning red is mentioned multiple times, tying his character to drunkenness. The scent bottle appears twice: first when Frank uses it on Simon, and later when it is placed on the table. The easy chair is a locus of comfort and confusion—Simon sits in it, takes a cushion from it, and later retrieves a bottle from it. The clock is noted at the start ("Seven o'clock!") and time pressure is implied by the evening setting and the lamp. The play also uses the motif of letters or messages: Adelaide mentions a letter from "Dunstable" about the companion, suggesting off-stage correspondence drives the plot. These small, repeated elements give the farce a cohesive texture.

Readers approaching this farce should pay attention to the stage directions, which are as essential as the dialogue. The costume changes and physical business are not mere embellishments but the engine of the comedy. Suter's play is best appreciated as a performance text, where timing and sight gags carry the humor. The excerpts suggest a tight, energetic piece that rewards attention to verbal and physical detail alike.

Sometimes a farce’s frantic disguises remind me of the older stagecraft in A Select Collection of Old English Plays, Volume 07 — Text and Context. Both trust that a slammed door or a quick-swapped coat can say what words cannot. They share a patient mischief, a wink across the centuries. I find that quiet kinship comforting, like meeting an old friend’s grandchild.