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Counting the greed in the old Doctor as a reluctant Hyde, but nevertheless a Hyde, his wife and daughter a pair of ravenous female Hydes, the art broker and the art critic as evil spirits of Hyde conjuring up a life of luxury and ease out of the sale of those priceless paintings held by the maid, there was a five-fold buildup of the desire to possess those paintings.
As a result it was touch and go all the way from the moment those aids to greed were lined up and identified to the audience. Touch and go because pity for the doctor mounted with every move he made to get hold of the paintings. But the desire to possess those paintings was the factor that singularized every relatively non-sympathetic pursuit in the play.
In Christopher Bean the audience never knew from one moment to the next which would claim the good doctor, the greed in him or the man God made upright, and that in essence is man equally divided against himself, the exact situation in which the father in The Three Smart Girls suddenly found himself.
That father was neither openly nor decisively for the three smart daughters he hadn't seen for ten years nor staunchly for the fortune-hunter to whom he was engaged. Like the old doctor in Christopher Bean, he was caught squarely between two natures, but in his case the romantic and paternal.
Indecision took the father the moment the children arrived and held him right through to the end, when, victorious, the three daughters dragged him off to the pier to welcome their mother. However, romance made him no less reliable than his daughters' newly-acquired boy friends. All were so hopelessly in love that as aids in getting their Daddy back to their mother they were a total loss. Even the tippling Count who had been hired to lure the siren off fell into the love-sick category. Secondary pursuits were singularly romantic and unreliable or paternal and steadfast throughout.
In Theodora Goes Wild, first it was smug smalltown pretension that "there ain't no evil," smug repression of natural instincts, smug fear of scandal that typified the people who cramped Theodora's style; smug, warped minds and self-righteous holier-thanthou types that kept Theodora's frustration alive.
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