The remarkable stage success of Coleridge's tragedy Remorse in early 1813 finished off the version called Osorio he had written fifteen years earlier and left its shade to hang in the seldom opened closet much of posterity for so long dismissively marked “Romantic Drama.” That gothic fate was sealed, ironically, by condescension to the very ideologies of stageability that had led Richard Sheridan, owner of Drury Lane, who had invited Coleridge to submit a tragedy, to reject Osorio late in 1797 because of “the obscurity of the last three acts.” This chapter offers Osorio a spectral airing, partly in the hope that it might come to haunt the imaginations of those engaged in efforts to breathe life into Coleridge's frequently overlooked powers as a dramatist and on the role theater might play in times of political conflict and ministerial tyranny.