immediate well-made story line, and much of its subject matter is already implicit in the rest of the play. The play performs well without it. Don Juan in Hell consists of a philosophical debate between Don Juan (played by the same actor who plays Jack Tanner), and the Devil, with Doña Ana (Ann) and the Statue of Don Gonzalo, Ana's father (Roebuck Ramsden) looking on. This third act is often performed separately as a play in its own right, most famously during the 1950s in a concert version, featuring Charles Boyer as Don Juan, Charles Laughton as the Devil, Cedric Hardwicke as the Commander and Agnes Moorehead as Doña Ana. This version was also released as a spoken word album on LP, but is yet to appear on CD. In 1974–1975, Kurt Kasznar, Myrna Loy, Edward Mulhare and Ricardo Montalban toured nationwide in John Houseman's reprise of the production, playing 158 cities in six months. Ideas Although Man and Superman can be performed as a light comedy of manners, Shaw intended the drama to be something much deeper, as suggested by the title, which comes from Friedrich Nietzsche's philosophical ideas about the "Übermensch" (although Shaw distances himself from Nietzsche by placing the philosopher at the very end of a long list of influences). As Shaw notes in his "Epistle Dedicatory" (dedication to theatre critic Arthur Bingham Walkley) he wrote the play as "a pretext for a propaganda of our own views of life". The plot centres on John Tanner, author of "The Revolutionist's Handbook and Pocket Companion", which is published with the play as a 58-page appendix. Both in the play and in the "Handbook" Shaw takes Nietzsche's theme that mankind is evolving, through natural selection, towards "superman" and develops the argument to suggest that the prime mover in selection is the woman: Ann Whitefield makes persistent efforts to entice Tanner to marry her yet he remains a bachelor. As Shaw himself puts it: "Don Juan had changed his sex and become Dona Juana, breaking out of the Doll's House and asserting herself as an individual". This is an explicit, intended reversal of Tirso de Molina's play The Trickster of Seville and the Stone Guest, more widely known as the source of Da Ponte's Don Giovanni; here Ann, representing Doña Ana, is the predator – "Don Juan is the quarry instead of the huntsman," as Shaw notes. Ann is referred