Abstract
Well, all true in a way, but how much it leaves out, not least the ending of Bond's new play (first perfonned at the Royal Court Theatre, London, 2 July 1981), which is on a high and sombre note. If, as Bond once said, The Sea dealt with tragedy but was a comedy, then Restoration deals with comedy but is a tragedy. More precisely, it begins as an extremely funny parody of a familiar comic mode and, without ever quite parting company with the comic, moves inexorably closer to melodrama -the pure, primitive melodrama of the early nineteenth century to which Bond gives another dimension by the force of his wit.
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