Overview
Synopsis
Set against the backdrop of ancient Rome, A Greek Slave tells the lighthearted tale of Chrysalus, a clever slave who continually outwits his pompous master and the Roman elite. The story weaves together romance, mistaken identity, and satirical commentary as noble Romans pursue their loves and ambitions, only to be thwarted or embarrassed by Chrysalus’ quick wit. His schemes create a series of comic misunderstandings that highlight the absurdities of both love and social pretension, while giving him moments of surprising influence over those far above his station.
At the heart of the story are several romantic entanglements: noblemen falling for young maidens, disguises and deceptions leading to farcical twists, and the slave himself using his ingenuity to alter the course of events. With its mix of witty dialogue, parody of classical themes, and tuneful songs by Sidney Jones and Lionel Monckton, the show balances romance and comedy with gentle satire of Roman society. Ultimately, the plot resolves in harmony, pairing off lovers and rewarding cleverness, while treating audiences to the spectacle and charm typical of Edwardian musical comedy.
Show Information
Context
When A Greek Slave premiered at Daly’s Theatre in London on 8 June 1898, it was part of the golden age of Edwardian musical comedy, a genre that bridged the gap between operetta and the modern musical. Produced by the influential George Edwardes, the show followed the phenomenal success of The Geisha (1896) and continued the trend of lavishly staged productions filled with romance, comedy, satire, and catchy melodies. Audiences of the time sought light, escapist entertainment, and *A Greek
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Act I - The Household of Heliodorus, Rome
Opening Scene: Diomed is one of many Greek slaves in the household of the Persian Heliodorus, the mightiest wizard in Rome. The opening establishes that Roman patricians routinely pay to consult Heliodorus on matters of love and fortune.
The Love Triangle: Diomed is in love with Maia, the wizard's daughter and protégé, but he feels his position as a slave makes him unworthy of her love. This central romantic conflict drives much of the plot.
The
to read the plot for A Greek Slave and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Soprano |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Male |
Tenor |
|
|
Supporting |
Female |
Soprano |
|
|
Supporting |
Female |
Soprano, Mezzo-Soprano |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Bass, Baritone |
|
|
Featured |
Female |
Soprano, Mezzo-Soprano |
|
|
Featured |
Female |
Soprano, Mezzo-Soprano |
|
|
Featured |
Female |
Soprano, Mezzo-Soprano |
|
|
Featured |
Female |
Mezzo-Soprano, Soprano |
|
|
Featured |
Female |
Soprano, Mezzo-Soprano |
|
|
Featured |
Female |
Soprano |
|
|
Featured |
Male |
Tenor, Baritone |
|
|
Featured |
Male |
Baritone |
|
|
Featured |
Male |
Baritone, Tenor |
|
|
Featured |
Male |
Baritone |
|
|
Featured |
Female |
Mezzo-Soprano |
|
|
Ensemble |
Not Specified |
|
Songs
Act I
Act II
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
Edwardian Musical Comedy was a popular British theatrical genre from the 1890s through the early 1910s that blended operetta traditions with witty dialogue, romance, and lavish spectacle. Pioneered by producer George Edwardes at Daly’s Theatre, these shows featured catchy, accessible songs, glamorous chorus numbers, and light satirical plots that reflected contemporary society. They served as a key bridge between 19th-century operetta and the development of the modern musical.
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
Parody is a comedic imitation of a style, genre, or work that exaggerates its features for humorous or satirical effect. In theatre, it playfully mocks conventions, characters, or cultural icons while still relying on audience recognition of the original. Parody can both celebrate and critique its subject, often blurring the line between homage and ridicule.
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Themes, Symbols & Motifs
Themes
Class and Social Order At its heart, A
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Guide Written By:
Jason Engleman
Humming show tunes day and night.