Theodora Goes Wild

Theodora is a Sunday school teacher in Lynnfield and the secret author behind a sensational novel published under the pen name Caroline Adams. She challenges the town’s strict social norms while craving personal freedom and romance. Her wit and impulsiveness push her toward risk in order to pursue happiness with Michael Grant, even as publicity threatens her carefully guarded life.

Michael Grant is a talented illustrator and the publisher’s son who returns to his hometown. He is confident, charming, and initially amused by Theodora’s defiance, yet he longs for a genuine connection beyond status and reputation. His pride clashes with his love as his father’s political demands cloud their path to happiness.

Jed Waterbury is a pragmatic newspaper owner who must navigate public opinion and the pressures of censoring sensational installments. He embodies the tension between responsible reporting and the pull of a scandal-driven readership. His decisions illustrate how media power interacts with personal and social dynamics.

Rebecca Perry leads the Lynnfield Literary Circle, a gatekeeper of propriety whose opinions shape the town’s moral climate. She uses gossip as a tool to police behavior and protect community standards. Her actions catalyze Theodora’s struggle between authenticity and social acceptance.

Arthur Stevenson is Theodora’s publisher, a cultured man navigating confidentiality and public scrutiny. He hosts social gatherings that pull him between professional discretion and personal relationships, reflecting the era’s social networks. His actions, influenced by wife and public opinion, shape the course of Theodora’s revelation.

Ethel Stevenson is Arthur’s wife, whose social ambitions and appetite for gossip complicate Theodora’s entrance into New York society. Her influence in the social circle underscores the pressure to perform propriety. She embodies the entrenched interests that attempt to regulate women’s lives through gossip and status.

Uncle John is Theodora’s black sheep relative who embodies the contrast between mainstream respectability and freer living. His presence in New York signals Theodora’s break from her hometown constraints. He serves as a foil to the town’s moral policing and a reminder of wider networks beyond Lynnfield.

Adelaide Perry appears within the Perry social circle as part of the high-society milieu surrounding Theodora’s world. She participates in the social tapestry that frames romance, marriage, and reputation in the public eye. Her presence underscores the performative nature of social events in New York’s elite circles.

Agnes Grant is Michael’s estranged wife, whose desire for divorce and public reputation drives her to act with calculated restraint. She embodies the politics of status and image within marriage and divorce in a reputation-conscious era. Her presence adds tension to the central romance and the family’s political stakes.

Jonathan Grant is Michael’s father and a prominent Lt. Governor who pressures his son to maintain political propriety and marital alliances. His insistence on tradition and public appearances tests Michael’s romantic choices. He represents the institutional power that can shape private lives for political gain.

Aunt Mary is one of Theodora’s two aunts, a guardian of tradition who embodies Lynnfield’s moral expectations. She supports the town’s conventional values while harboring concern for her niece’s safety and reputation. Her stance highlights the pressure of familial duty within the community.

Aunt Elsie is Theodora’s other aunt, offering practical, conventional counsel and a stabilizing influence in the family’s response to scandal. She represents the affectionate but firm backbone of the town’s social order. Her presence reinforces the contrast between reform-minded impulses and entrenched norms.