Abstract: This essay outlines a probable casting of Three Ladies for eight players, and explains why this casting works for the physical doubling and theatrical thinking about how Love interacts with Conscience and Lucre on stage, specifically sorting out how the quick changes establish character in so few lines, thanks to Love’s vizard. This awareness of Wilson’s theatrical decisions sets the scene for the final ‘decision’ in court, a decision that is incomplete and basically indecisive, as the judge fails to give properly meaningful and legally consonant sentences. But then, that world is now a world too fully without love, money for good causes, or conscience to sit comfortably on those accused of crimes. ‘No one’ (Nemo) can give a verdict in a case where an oath and even law itself is rendered meaningless.
Citation: Ostovich, Helen, ‘Doubling Love’, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context, http://threeladiesoflondon.mcmaster.ca/contexts/HelenOstovich.htm.