History Theatre / GoodnightDesdemonaGoodMorningJuliet

* ForWantOfANail: Constance's entrance into the stories of ''Theatre/{{Othello}}'' and ''Theatre/RomeoAndJuliet'' changes the course of both storylines, diverting them away from their tragic ends. Her first actions in each story are to out Iago's devious plot to Othello, prevent Mercutio's death and tell Tybalt of Romeo's marriage.

* PoisonousFriend: After his attempts to brainwash Othello are ruined by Constance, Iago starts working on Desdemona instead, convincing her that Constance is a witch who is after her husband.

* XanatosSpeedChess: When Constance outs Iago's scheming, he quickly recovers, and uses the opportunity to insinuate to Desdemona that Constance is trying to steal Othello from her.

* ForWantOfANail: Constance's entrance into the stories of ''Theatre/{{Othello}}'' and ''Theatre/RomeoAndJuliet'' changes the course of both storylines, diverting them away from their tragic ends. Her first actions in each story are to out Iago's devious plot to Othello, and reveal Romeo and Tybalt's new familial relationship to them.

* SweetPollyOliver / DisguisedInDrag: Juliet and Romeo both dress up as each other, in attempts to win Constance's love. Constance also inadvertently becomes this when she is mistaken as a man.

'''Goodnight Desdemona, Good Morning Juliet''' is a 1988 play by Canadian author and playwright Ann-Marie [=MacDonald=]. The protagonist, Constance Ledbelly, is a professor of English literature at Queens University; she is working on a thesis that ''Theatre/{{Othello}}'' and ''Theatre/RomeoAndJuliet'' were originally comedies, and are prevented from being so only because of the absence of the Wise Fool archetype - and further, that the original comedic idea for each play originates from the mysterious Gustav Manuscript. A moment of despair, brought on by a visit from her critical boss, causes her to plunge into a subconscious journey of self-discovery through the worlds of the two plays.

!This play contains examples of the following tropes:

* [[Crossover]]: Desdemona ends up in the world of ''Theatre/RomeoAndJuliet'', where she ends up vying with Juliet for Constance's love. The ghost from ''Theatre/{{Hamlet}}'' has a presence there too.

--> '''Constance:''' "I've wrecked a masterpiece! I've ruined the play! I've turned Shakespeare's ''Othello'' into a farce!"

'''Goodnight Desdemona, Good Morning Juliet''' is a 1988 play by Ann-Marie [=MacDonald=]. The protagonist, Constance Ledbelly, is a professor of English literature at Queens University; she is working on a thesis that ''Theatre/{{Othello}}'' and ''Theatre/RomeoAndJuliet'' were originally comedies, and are only prevented from being so only because of the absence of the Wise Fool archetype - and further, that the original comedic idea for each play originates from the mysterious Gustav Manuscript. A moment of despair, brought on by a visit from her critical boss, causes her to plunge into a subconscious journey of self-discovery through the world of the two plays.

'''Goodnight Desdemona, Good Morning Juliet''' is a 1988 play by Ann-Marie [=MacDonald=]. The protagonist, Constance Ledbelly, is a professor of English literature at Queens University; she is working on a thesis that ''Theatre/{Othello}'' and ''Theatre/RomeoAndJuliet'' were originally comedies, and are only prevented from being so only because of the absence of the Wise Fool archetype - and further, that the original comedic idea for each play originates from the mysterious Gustav Manuscript. A moment of despair, brought on by a visit from her critical boss, causes her to plunge into a subconscious journey of self-discovery through the world of the two plays.

* AlternativeCharacterInterpretation: InUniverse.
** Desdemona turns out to be more fiery, assertive, warlike and vengeful than she was indicated to be in Shakespeare's play; [[lampshaded]] by Constance.
** Romeo and Juliet are both bisexual.

* [[Crossover]]: Desdemona ends up in the world of ''Theatre/RomeoAndJuliet'', where she ends up vying with Juliet for Constance's love. The ghost from ''Theatre/Hamlet'' has a presence there too.

* DeusExMachina: Constance herself ends up being this in ''Theatre/{Othello}'' and ''Theatre/RomeoAndJuliet'', as she comes in from outside both worlds and secures the happy ending.
* DidYouJustPunchOutCthulhu: Within a minute of Constance's arrival in ''Theatre/{Othello}'', she unthinkingly exposes the scheming of Shakespeare's arguably most brilliant villain. He quickly finds another target, however...
* ForWantOfANail: Constance's entrance into the stories of ''Theatre/{Othello}'' and ''Theatre/RomeoAndJuliet'' changes the course of both storylines, diverting them away from their tragic ends. Her first actions in each story are to out Iago's devious plot to Othello, and reveal Romeo and Tybalt's new familial relationship to them.

* GratuitousIambicPentameter: Upon arriving in the world of ''Theatre/{Othello}'' at the beginning of Act 2, Constance finds herself automatically and effortlessly talking in iambic pentameter, just like the characters around her.

* MyGodWhatHaveIDone: Constance has this reaction when she realizes that she has irrevocably altered the course of ''Theatre/{Othello}''.
--> "I've wrecked a masterpiece! I've ruined the play! I've turned Shakespeare's ''Othello'' into a farce!"
* PoisonousFriend: After his attempts on Othello are ruined by Constance, Iago starts working on Desdemona instead, convincing her that Constance is a witch who is after her husband.

* TrappedInTVLand: Constance finds herself plunged into the worlds of ''Theatre/{Othello}'' and ''Theatre/RomeoAndJuliet''.