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Timothy West in a towering performance is Sir Edgar Naseby, a leading academician. He is a distinguished middle-aged public figure, eulogised amongst university colleagues worldwide. But behind the public facade is a priapic old drunk, only too anxious to bed a female student should the chance arrive. But a particular female student submits her thesis as part of an advance degree.

The play's problem is firstly that it would work far better on television or radio, and secondly, that it has been written about 50 years too late. Scales exemplifies the kind of Sixties Oxbridge spinster who would devote her life to a brilliant, but unattainable male don. Although the female student's allegations spark off the play's action, the real core of the drama lies in [Anne Hatton]'s love for [Edgar Naseby] and her burning desire to protect his genius. The academic politics and corruption of the external examiner are mere details: this is a distinctly pre-feminist tale of selfless adoration.

[David Colt] at first announces he will tell the truth and shame the devil. He must, after all, preserve the honour of the university and, for Sir [Edgar Naseby]'s own good, remove him before his drinking gets him into worse trouble. But couldn't Colt be motivated by just a teeny bit of envy and spite? The university rejected his own application, and he now teaches at the insignificant Orwell College. And, considering that Naseby can decide whether Colt's first article is published, would the truth, however admirable in principle, actually be a good idea?