If there is one science that has been studied profusely by the theatre, it is the science of love. This play by Thomas Shadwell is (yet another) treatise on the various forms of emotional relationships between human beings. It depicts marital and extramarital relationships, platonic, romantic and carnal loves. And the other side of these loves too — disenchantment, contempt, rejection, anger, betrayal, and revenge.

Bruce and Longvil are two young men in love with Miranda and Clarinda, but their loves are intertwined — Bruce likes Clarinda who likes Longvil who likes Miranda who likes Bruce. In addition to this mismatch of affections, the girls are under the thumb of an uncle and aunt, Sir Nicholas Gimcrack and Lady Gimcrack, who make it difficult for them to pursue their love interests with the supposed aim of safeguarding the honour of the young maidens. In a classic example of the saying ‘Watch what I say, not what I do’, the uncles each have their own extramarital adventures.

In order to get closer to their nieces, the two young men pretend to be interested in the scientific experiments that Sir Nicholas is carrying out. He, a paradigmatic example of the first explorers of modern science, is closely followed by an inveterate orator — Sir Formal Trifle — who eulogises and applauds his scientific activity, while trying to get close to the young Clarinda.

These characters are joined by the clandestine lovers of the Gimcrack couple, who themselves have a romantic relationship with each other, and old Snarl — Sir Nicholas’ uncle — who is a great defender of the old days and a fierce critic of the degenerate behaviour of the new generations.

It’s an intricate plot that unfolds in The Virtuoso, in which the brand new science of modernity mixes with the age-old science of love.