the modern representation of the Don Juan character (in Act III, Shaw notes Don Juan's resemblance to Tanner: "Besides, in the brief lifting of his face, now hidden by his hat brim, there was a curious suggestion of Tanner. A more critical, fastidious, handsome face, paler and colder, without Tanner’s impetuous credulity and enthusiasm, and without a touch of his modern plutocratic vulgarity, but still a resemblance, even an identity"). The very name "John Tanner" is an anglicisation of the Spanish name "Juan Tenorio", which is the full name of Don Juan. Violet Robinson, sister of Octavius Robinson. She has been secretly married to Hector Malone, Jr. Mrs. Whitefield, mother of Ann, and widow of the late Mr. Whitefield. Susan Ramsden, the spinster sister of Roebuck Ramsden. Hector Malone, Jr., an American gentleman who is secretly married to Violet Robinson. Octavius Robinson, an amiable young man who is in love with Ann Whitefield. Brother to Violet Robinson. He represents "Don Ottavio" from the Don Juan myth. Roebuck Ramsden, an aging civil reformer who was friend to the late Mr. Whitefield. He corresponds to the statue in the Don Juan myth, who is in turn the representation of the spirit of Don Gonzalo, the father of Doña Ana (in Act III, Shaw writes of The Statue, "His voice, save for a much more distinguished intonation, is so like the voice of Roebuck Ramsden"). Mendoza, an anarchist who collaborates with Tanner. Mendoza is the "President of the League of the Sierra," a self-described brigand and a Jew. He corresponds to Shaw's conception of the Devil as he would be portrayed in the Don Juan myth (Shaw writes of "The Devil" in Act III: "A scarlet halo begins to glow; and into it the Devil rises, very Mephistophelean, and not at all unlike Mendoza, though not so interesting"). Interpretation and performances Don Juan Play The long third act of the play, which shows Don Juan himself having a conversation with several characters in Hell, is often cut. Charles A. Berst observes of Act III: Paradoxically, the act is both extraneous and central to the drama which surrounds it. It can be dispensed with, and usually is, on grounds that it is just too long to include in an already full-length play. More significantly, it is in some aspects a digression, operates in a different mode from the rest of the material, delays the