Mistaken identity in theatre is an idea as old as the hills, but when done well, as it is here, the results are often hilarious, occassionally very moving and extremely satisfying.

Still troubled over the ambush, Sir Leon also concludes that, since their route had been a secret, there must be a traitor in their midst. But thinking that Beatrice's brother was dead, Clarice has fallen in love with another man, Silvio, and the two have become engaged.A highlight of the evening was the hilarious rapid series of humorous tableaux commencing the second half, to the tune of a hurdy-gurdy (yes, a genuine hurdy-gurdy player onstage! His earliest drafts had large sections that were reserved for improvisation, but he revised it in 1789 in the version that exists today. Morgana is still unimpressed and warns him to do better before going out herself to collect firewood. They later devise a plan to free him of the Fomorroh's control by destroying the mother beast, which Morgana has locked up in her hovel.

The Fomorroh will suck out his life force, consuming his personality until only her instruction remains, and he will not rest until it's done. So a few good scenes and funny dialogue but, overall, a weak ending to what was the third season in terms of original UK screenings. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. Arlechinno, a cunning servant, gets a lucky break finding himself engaged in the service of two masters. Beatrice:**Sister of Federigo Rasponi, Beatrice comes to Venice disguised as her brother and hoping to acquire the dowry owed to Federigo by Pantalone.Pantalone sees the two shake hands and takes it to mean that they have agreed to wed and sets out to tell Doctor Lombardi. The problem with this episode is that the viewer knows Cowley too well by this point to believe he would sell out. As the wedding agreement is being signed, the hilarious and confused Truffaldino enters to announce the arrival of his master, Federigo Rasponi of Turin. Editor Joseph Farrell's accessible Introduction includes a plot synopsis, a commentary on the dramatic, social and political context, and on the themes, characters, language and structure of the play, as well a list of suggested reading, questions for further study and a review of performance history. Updating the comedy for the reader and audience, this version is thoroughly accessible, whilst also portraying the plot's tricks and absurdities with comic flair.