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Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905. -
Henry Irving in England and America 1838-84
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES il -.;^ >--i ; . An?' Mi:-''' 4 ,. 'f V '1 \ \v\V HENRY IRVING. y^wn. «. /i/ur€e?ytayi/i Oy, J^f ..><? PPa/^»^. HENRY IRVIN.G IN ENGLAND and AMERICA 1838-84 BY FREDERIC DALY ' This ahozie all : To thine own self he true i Ami it mustfollow, as the niglit the day, Thou canst not then befalse to any )iian." Shakespeare " ' PeiseTerance keeps honour bright.' Do your duty. Be fatthfnl to the /inblic to "whom we all appeal, and that public loill be faitliful to you.'— Henky Irving ]] riH VIGNETTE PORTRAIT ETCHED DY AD. LALAUZE T. FISHER UNWIN 26 PATERNOSTER SQUARE 1884 " ^5 IN A MIRROR, WE SEE IN FLA YS IVHA T IS BECOMING IN A SERVANT, WHAT IN A LORD, WHAT BECOMES THE YOUNG, AND WHA7 THE OLD. CHRISTIANS SHOULD NOT ENTIRELY FLEE FROM COMEDIES, BECAUSE NOW AND THEN THERE ARE COARSE MATTERS IN THEM. I OR THE SAME REASON J IE MIGHT CEASE TO READ THE BIBLE.''— Mautix Lutiiku. XTA8 CONTENTS. CHAPTER I. EARL V A SSOCIA TIONS. I'AGK February 6, 1838—A Schoolmaster Alarmed— "It's a Bad " ' — . I Profession A Curious Coincidence . CHAPTER H. PROBATION. A Spiteful Faii-y—The First Disappointment—Hamlet : An Augury—London at Last ...... 10 CHAPTER HL FIRST SUCCESSES IN LONDON. A Monojjoly of Stage \'illains — Stirring Encouragement — A Momentous Experiment — At the Lyceum — "The " Bells"— Pleasant Prophecies— Charles L"—"Eugene Aram"—A too subtle Richelieu — "Philip"— Hamlet: a Fulfilment— Shakespeare spells Popularity . iS CHAPTER I\". SHAKESPEARE AND TENNYSON. Tradition at Bay — "Queen Mary"—Academic Honours— " " Exit Cibber— The Lyons Mail "— Louis XL"— End of the Bateman Management ..... -
When the Invisible Man Came to Swansea the Year 2012 Seems
When the Invisible Man Came to Swansea The year 2012 seems especially rich with the anniversaries of famous events that took place many years ago. There has, for example, been much publicity about the 100th anniversary of Captain Scott’s tragic dash for the South Pole; about the sinking of the Titanic; and about the bi-centenary of the birth of Charles Dickens. There is, however, another 100th anniversary that, it seems, will pass by largely unnoticed. For 2012 also marks the 100th anniversary of the death of an author who, while not as prolific or as successful as Charles Dickens, nevertheless gave us a character as equally famous as Oliver Twist, David Copperfield or Ebenezer Scrooge. This author, who died in 1912, and his casual links to Swansea only recently came to my attention. Swansea’s Grand Theatre has an enviable display of historic posters which advertise some of its long-forgotten shows by usually long-forgotten artistes. They adorn the walls of the Circle as well as the Stalls and provide an intriguing glimpse of the Grand’s long and varied history. At Grand Theatre events over many years, having finished my interval tub of Joe’s ice cream, I have browsed some of these posters, occasionally spotting the name of a famous, but long dead, artiste which still echoes to us down the ages. During a January 2012 visit my attention was drawn to a name I had not expected to see on a Grand Theatre poster. The title of this article may lead the reader to assume that I am referring to H.G. -
The Relapse by Sir John Vanbrugh
THE RELAPSE BY SIR JOHN VANBRUGH SPONSORED BY IBM UNITED KINGDOM ----------------- ------·---- ------- PRESENTED BY THE QJESTORS THEATRE ◊ lHE QUESfORS lHFATRE COMPANY First performance October 9th 1982 SIR JOHN VANBRUGH has a unique doubJe distinction in our history. Not only is he one of the most popular of Restoration playwrights, but he is also one of the most original and colourful of English architects. In addition he was a soldier, a spy, a herald (the Clarenceaux King of Arms} and a leading member of the famous Kit-Cat Club. His father was a prosperous sugar merchant of Dutch descent who had 18 children. John Vanbrugh was born in 1664, in London. Our next news of him is in 1692 when, as Captain Vanbrook, he was arrested in Calais for making drawings of the fortifications. He was imprisoned in the Bastille in Paris and turned his quite pleasant incarceration to good account by drafting a comedy. This later saw the light at Drury Lane, called The Provok'd Wife which The Questors presented in 1972. On his release Vanbrugh took up soldiering again as a Captain of Marines and developed a lasting admiration for the Duke of Marlborough. He also much admired a play by Colley Cibber called Love's Last Shift and particularly the character of Sir Novelty Fashion (acted by Cibber), so much so that Vanbrugh wrote a sequel to the play, which he did in six weeks. This play was The Relapse and Sir Novelty Fashion became Lord Fopping ton. At its first night the actor playing Worthy, according to Vanbrugh, 'waddled on the stage' blind drunk and nearly ravished Amanda for real. -
ACTORS (19Th Century)
Library of Little Masterpieces In Forty-four Volumes LITTLE MASTERS OF AUTOBIOGRAPHY: ACTORS (19th Century) Edited by GEORGE ILES VOLUME XXXVI 1 Table of Contents PREFACE 5 JOSEPH JEFFERSON 6 HOW I CAME TO PLAY RIP VAN WINKLE 7 THE ART OF ACTING 10 PREPARATION AND INSPIRATION 10 SHOULD AN ACTOR "FEEL" HIS PART 11 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS 13 THE JEFFERSON FACE 13 EDWIN BOOTH 15 TO HIS DAUGHTER: BOOTH'S THEATER, NEW YORK, November 15, 1871. 16 TO HIS DAUGHTER: CHICAGO, March 2, 1873. 16 TO HIS DAUGHTER: April 23, 1876. 17 TO HIS DAUGHTER: CHICAGO, October 9, 1886 17 TO HIS DAUGHTER: NEW YORK, January 5, 1888, 17 TO HIS DAUGHTER: DETROIT, April 04, 1890. 18 TO HIS DAUGHTER: THE PLAYERS, NEW YORK, March 22, 1891. 18 TO MISS EMMA F. CARY SAINT VALENTINE'S DAY, 1864. 19 TO MISS EMMA F. CARY [Three weeks after the assassination by his brother, John Wilkes Booth, of President Lincoln.] Saturday, May 6, 1865 20 TO MR. NAHUM CAPEN: [In response to an inquiry regarding his brother, John Wilkes Booth.] WINDSOR HOTEL, NEW YORK, July 28, 1881. 21 ADVICE TO A YOUNG ACTOR: [TO WALTER THOMAS] NEW YORK, August 28, 1889.21 CHARLOTTE CUSHMAN 23 AS A CHILD A MIMIC AND SINGER 24 FIRST VISITS TO THE THEATRE 24 PLAYS LADY MACBETH, HER FIRST PART 25 TO A YOUNG ACTRESS [PART OF A LETTER] 25 TO A YOUNG MOTHER [FROM A LETTER] 26 EARLY GRIEFS. ART HER ONLY SPOUSE [FROM A LETTER TO A FRIEND] 27 FAREWELL TO NEW YORK 28 CLARA MORRIS 29 SOME RECOLLECTIONS OF JOHN WILKES BOOTH 30 THE MURDER OF PRESIDENT LINCOLN 32 WHEN IN MY HUNT FOR A LEADING MAN FOR MR. -
William Wycherly's the Gentleman Dancing-Master
WILLIAM WYCHERLY'S THE GENTLEMAN DANCING-MASTER: A THESIS PRODUCTION FOR THE ARENA STAGE by MARY JEAN THOMAS B. S., Fort Hays Kansas State College, 1955 A THESIS submitted in partial fulfillment of the requirements for the degree MASTEK OF SCIENCE Department of Speech KANSAS STATE COLLEGE OF AGRICULTURE AND APPLIED SCIENCE 1958 2(j,&f ii ' TH IIS"? c .2_ TABLE OF CONTENTS £)ocurA*>^TS INTRODUCTION 10 RESTORATION COMEDY 1 ANALYSIS OF THE HISTORICAL PERIOD IN WHICH THE PLAY WAS WRITTEN. 9 Reviev; of Important Historical Events Leading to the Restoration ..... ....9 Political, Religious, and Social Atmosphere of England after the Restoration 13 The Author and His Place in Restoration Society 18 THE STAGING OF RESTORATION COMEDIES 21 Theatrical Developments from 1600 to 1660 21 Early Theaters 21 Scenes and Machines 23 The Closing of the Theaters 25 Theatrical Facilities after the Restoration 27 The Theaters 2? Onstage and Backstage 28 Box, Pit, and Gallery 30 Stage History and Criticism of The Gentleman Dancing-Master . .32 PHILOSOPHY AND PROBLEMS OF PRODUCTION J>k Directorial Concept and Approach JM General 3^ Direction 36 Acting 'tO Analysis of the Play ¥* Summary of the Action by Acts ^9 Technical Concept and Approach. 57 General 37 Setting 57 ill Lighting 58 Costuming 61 Problems of Production 64 Description of Scenery and Its Construction 64 Lighting Plots and Effects 69 Description and Construction of Costumes • 70 Properties and Miscellaneous Effects .... 80 Casting, Rehearsals, Special Problems, and Performance . .84 EVALUATION AND CONCLUSIONS 87 BIBLIOGRAPHY 90 ACKNOWLEDGMENTS 95 APPENDICES 96 INTRODUCTION TO RESTORATION COMEDI In turning over the pages of the best comedies, we axe almost transported to another world, and escape from this dull age to one that was all life, and whim, and mirth, and humour. -
"H.B." and Laurence Irving
WILLIAM HUE 2 NO VISCOUNT LEVERHULME " H.B." and Laurence Irving "H. B." "H.B." and Laurence Irving By Austin Brereton With Eight Illustrations London Grant Richards Ltd. mdccccxxii ?N Ttbt PRINTED IN GREAT BRITAIN BV THE RIVERSIDE PRESS LIMITED EDINBURGH Contents PART I. "H.B." CHAPTER I. CHILDHOOD . .15 II. OXFORD . ?6 III. THE STAGE OR THE BAR . .40 " " IV. YOUNG HAMLET . -53 V. MARRIAGE AND LONDON . .62 VI. CRICHTON AND JEFFREYS . .68 VII. IN AMERICA . .81 VIII. His OWN MANAGER . .92 IX. MATHIAS IN LONDON . 101 X. HAMLET . .120 XI. AUSTRALIA AND HOME . 139 XII. AUTHOR AND CRIMINOLOGIST . -149 PART II. LAURENCE XIII. MARLBOROUGH TO RUSSIA . 165 XIV. ACTOR AND AUTHOR .... 172 XV. SUCCESS IN SHAKESPEARE . .177 XVI. BRIEUX AND DOSTOIEVSKY . 183 XVII. HAMLET AND SKULE .... 189 XVIII. TYPHOON AND CANADA . 199 XIX. A TRAGIC END . .216 APPENDIX . .227 INDEX . .235 5 Illustrations " H.B." . Frontispiece PAGE " " HARRY . .... 48 THE BROTHERS . .96 HARRY AS HAMLET . .128 " H.B." AND LAURENCE . .144 With the Bust of their Father LAURENCE IRVING ..... 163 LAURENCE AS CHARLES SURFACE . 176 LAURENCE AS RICHARD LOVELACE . 192 " The portrait of" Harry is from a photograph by Elliott and Fry, that of The Brothers by Window and Grove, of Laurence Irving by J. Beagles and Co., of Laurence as Charles Surface by W. and D. Downey, of Laurence as Richard Lovelace by Norman May and Co., Cheltenham. 6 Introduction the afternoon of a summer day, nearly thirty-nine years ago, a lonely man sat in ONhis study awaiting the arrival of his two sons. He was at the zenith of his career. -
A Study of the Fop in Residqration Drama 1
A STUDY OF THE FOP IN RESIDQRATION DRAMA 1 AGRWUL Ti: I' L . , SEP 27 193" A STUDY OF THE FOP IN RESTORATION DRAMA By KATHERINE MORONEY 11 Bachelor or Science Oklahoma .Agrioul tural and Meehanioal College .. Stillwater, Oklahoma Submitted to the Department ot English Oklahoma Agricultural and Mechanical College In Partial Fulfillment or the Requirements For the degree or MAST.ER OF ARTS 1938 . '") . .... • • i. .-. -· .,. ' . .' . ' . ., • J . • . .• . .. .: . .. .:.... C: • • ~ • . • • • t • .(,. ..• • . ~ .. .- ~ .. ; .: ; -.= ~ .... 11 ,,, ... 414.._ i APPROVED: Chairman or ihe !iigilsh Department 108568 111 To the Memory ot Nat P. Lawrence Teacher,. Scholar, Friend iy TABLE OF CONTENTS CHAPTER I. ORIGIN OF THE 10P Pagel Engli.eh Anoeetors ot the Fop Bis Frenoh Cousins CH.AP?ER II. THE BESTORA'l'I ON FOP Page lV A Oharaot•r ot the !"op His sooial Oharaoter The Fop' a .Intellect CHAPTER III. OONOLUSION Page 60 INTRODUCTION: ORIGIN OF THE FOP English Ancestors£! l!!!, Fop To say that the fop was produced by mutation in seventeenth century literature would claim undue encomiums for the Restoration dramatists. The :fop is the clown, the :rool, the buffoon, the coxcomb of the Restoration stage. He is the man in whom the essence of most or the satire in the play is found in one comical character. However, in earlier comedies ean be found characters showing evidence that they must have influenced his creation enough to be called literary prototypes. "Comedy," wrote Aristotle over two thousand years ago, "is an imitation of characters of a lower type. It consists in some defect or ugliness which is not painful or destruc tive."1 For many centuries the comic character was a soeial interpretation of this quotation. -
The Relapse by John Vanbrugh
The Relapse by John Vanbrugh ACT I. SCENE I. A Room in LOVELESS'S Country House. Enter LOVELESS reading. Love. How true is that philosophy, which says Our heaven is seated in our minds ! Through all the roving pleasures of my youth, (Where nights and days seem'd all consum'd in joy, Where the false face of luxury Display'd such charms, As might have shaken the most holy hermit, And made him totter at his altar,) I never knew one moment's peace like this. Here, in this little soft retreat, 10 My thoughts unbent from all the cares of life, Content with fortune, Eas'd from the grating duties of dependence, From envy free, ambition under foot, The raging flame of wild destructive lust Reduc'd to a warm pleasing fire of lawful love, 1 6 The RELAPSE; [Acn. My life glides on, and all is well within. Enter AMANDA. How does the happy cause of my content, [Meeting her kindly. My dear Amanda ? You find me musing on my happy state, 20 And full of grateful thoughts to Heaven, and you. Aman. Those grateful offerings Heaven can't receive With more delight than I do : Would I could share with it as well The dispensations of its bliss ! That I might search its choicest favours out, And shower 'em on your head for ever. Love. The largest boons that Heaven thinks fit to grant, To things it has decreed shall crawl on earth, Are in the gift of women form'd like you. 30 Perhaps, when time shall be no more, When the aspiring soul shall take its flight, And drop this pond'rous lump of clay behind it, It may have appetites we know not of, And pleasures as refin'd as its desires But till that day of knowledge shall instruct me, The utmost blessing that my thought can reach, {Taking her in his arms. -
ABSTRACT ANDERSON, JENNIFER. Author's Choice
ABSTRACT ANDERSON, JENNIFER. Author’s Choice: The Relevance of Author as Casting Director on the Restoration Stage. (Under the direction of Dr. John Morillo.) During the Restoration playwrights were often able to act as directors when their works reached the stage. Playwrights were also very public about their intentions within their plays: the attitudes they wished the audience to take and the emotions they hoped their works to instill. As a result, we are able to examine the author/director’s choice of cast and determine how those choices were intended to directly affect interpretation. With the loss of a play’s original cast, much of the author’s intent was lost. John Dryden wrote his story of Antony and Cleopatra, All For Love, as a tragedy, with the intent of evoking the pity of the audience. His choice of cast for the play’s premiere in 1677 reflects this intent. Though the play was still highly popular in 1718, the changing cast had counteracted the intended pity. In 1696, Sir John Vanbrugh wrote The Relapse in response to Colley Cibber’s move toward sentimental comedy in Love’s Last Shift. Vanbrugh’s play immediately met criticism from moralists, and by the time of its performance in 1716 the changing cast indicated the first shift of many that took the play from a reaction against sentimental comedy to a specimen of the same. Dryden’s most extravagant heroic drama, The Conquest of Granada, used the personalities of its original cast to add depth to the play. By the play’s final production in 1709, the new cast was unable to sustain the claims and characterizations necessary to the genre. -
A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714
Changing Scenes and Flying Machines: A Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Lyndsey Bakewell A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University October 2015 ©Lyndsey Bakewell, 2015 i Abstract Changing Scenes and Flying Machines: A Re-examination of Spectacle in Restoration Theatre, 1660-1714. Key words: Restoration Theatre, Spectacle, Plays, Machinery, Scenery, Costumes, Performers, Puppetry, Automata, Special Effects. This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music.1 By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. -
Introduction
Notes Introduction 1. The new series was called the Acme Library Series and the first novel pub- lished in the series was Arthur Conan Doyle’s The Parasite in 1894. 2. See Hughes (2000). Glover’s (1996) and Hughes’s monographs were instru- mental in the development of Stokerian criticism at this period. Hughes and Smith’s collection of essays on Stoker, Bram Stoker: History, Psychoanalysis and the Gothic (1998), was also published in this period. 3. For sexual and gender readings, see, for instance, Roth (1997), Craft (1984) and Cranny-Francis (1988). On the colonial resonances of Dracula, see Arata (1990). For a study of the vampire figure, see Frayling (1991), Senf (1988) and Auerbach (1995). 4. See, for instance, Moses (1997). 5. Tóibín, however, describes Irving as ‘tyrannical’, but the relationship between Irving and Stoker was complex and should not be interpreted as one of tyranny and subjugation. 6. See Hopkins (2007), Wynne (2006, 2011, 2012) and Hoeveler (2012). Daly connected the Irish playwright Dion Boucicault to Stoker’s The Snake’s Pass (1995, 1999). 7. For instance, there are only fleeting references to Stoker in Foulkes’s excel- lent collection of essays on Henry Irving (2008). 8. Peter Haining and Peter Tremayne argue that between 1870 and 1876 the Wildes ‘acted in loco parentis to Bram and undoubtedly had an influence imparting information on Irish folklore to him’ (1997: 68). 9. In an unpublished letter to Stoker written from Paris and dated 24 July 1875, Ward asks Stoker to convey her love to the Wildes and describes how her mother has planted the ivy which they brought from the Wilde garden (Stoker Correspondence).