Sweethearts is a comic play billed as a "dramatic contrast" in two acts by W. S. Gilbert. The play tells a sentimental and ironic story of the differing recollections of a man and a woman about their last meeting together before being separated and reunited after 30 years. It was first produced on 7 November 1874 at the Prince of Wales's Theatre in London, running for 132 performances until 13 April 1875. It enjoyed many revivals, thereafter, into the 1920s. The first professional production of Sweethearts in Britain in recent memory was given in 2007 at the Finborough Theatre in London, along with Arthur Sullivan's The Zoo. Background This romantic comedy of manners was written for Squire Bancroft and his wife Marie (née Wilton), managers of the Prince of Wales's Theatre, and starred Mrs. Bancroft. Gilbert wanted his friend John Hare to play the male lead, to take advantage of Hare's naturally boyish appearance and of his talent for impersonating elderly men, contrasting the character in youth in the first act and old age in the second. In rehearsal, however, Hare struggled with playing the young romantic lead, and the Bancrofts were not satisfied with him, and so another company member, Charles Coghlan, played the role. The Bancrofts had produced the best plays of Tom Robertson in the 1860s, and Sweethearts was Gilbert's tribute to Robertson's "realist" style. The importance of small incidents is emphasised, characters are revealed through "small talk," and what is left unsaid in the script are as important to the play as what is said in the dialogue. These are all Robertson trademarks, though they are not key features of Gilbert's other plays. However, the play combines sentiment with a typically Gilbertian sense of irony. The story of the play deals with themes such as the differences between men's and women's recollections of romantic episodes, and the spread of housing developments to greenfield land. The initial production of the play ran for 132 performances until 13 April 1875. The Times was much impressed with Mrs. Bancroft and the little play, commenting, "the subtlest of mental conflicts and the most delicate nuances of emotion are expressed in graceful dialogue.... That the piece is thoroughly successful, and that it will be much talked about as one of the theatrical curiosities of the day, there can be no doubt". Coghlan received generally good notices, though one critic commented that