R,WOT"F ^'^ HOPWOOD S CREWE? 42 °New Bond Street

Total Page:16

File Type:pdf, Size:1020Kb

R,WOT permission From a rphoTooraph byh/nd ofA/fre/Ws. upperBakerS* M h/. 'oc/ii Scoffe, G/-net Vrro in Cloth, lOj-net D R,WOT"f ^'^ HOPWOOD S CREWE? 42 °New Bond Street. W AGENTS: WHITE-SMITH, MUSIC PUBLISHING CO., BOSTON, NEW YORK 4 6HICM30. COPYRIGHT 1SSS. BY HOPWOOD 1 CHEW. tmcerts, may be »">«/ at < All performing Ritjhh w this Opera arc reserved. Single detanked numbers or Actum. In no rate not more Hum two nt one. Concert, but they must he given tvithout Stage Costume right of performing must such performance be announced as a "Selection" from the Opera. Application for Theatre, London. the ahore (Jp<o-a must he, made to Mr. GEORGE EDWARDES, Duly'* THE GEISHA. A STORY OF A TEA HOUSE. H Japanese flfousical flMa^ IN TWO ACTS LIBRETTO BY LYRICS BY OWEN HALL. HARRY GREENBANK. MUSIC BY SIDNEY JONES. Authors of " An Artist's Model" and "A Gaiety Girl." VOCAL SCORE ... 6s. net Do. (Bound in Cloth) ... 10s. „ PIANOFORTE SOLO ... 3s. „ LYRICS ... 6d. „ Pontoon HOPWOOD & CREW, Ltd., 42, New Bond Street, W. Boston, New York and Chicago: The White-Smith Music Publishing Company. Germany and Austria : Messrs. Bote & Bock. Budapest: Bard Ferencz es Testvere. Copyright 1896 by Hopwood & Crew. All performing Rights in this Opera are reseri'ed. Single detached numbers may be sung at Concerts, not mot than two at one Concert, but they must be given without Stage Costume or Action. In no case must such performance be announced as a "Selection" from the Opera. Application for right of performing the above Opera must be made t« Mr. GEORGE EDWARPES, Daly's Theatre, London. — — Performed at Dalys Theatre, London- Uramatts personam O Mimosa San (Chief Geisha) Miss Marie Tempest. to as Interpreter) Miss Juliette Nesyille. Juliette Diamant ... (A French Girl, attached Tea House Nami (Wave of the Sea) (an Attendant) Miss Kristixe Yudall. (Chrysanthemum) Miss Emelie Herve. Kiku Sax ^ Ha>-a San (Blossom) Miss Mary Fawcett. (Geisha) Kinkoto Sax (Golden Harp) Miss Elise Cooke. Komurasaki San (Little Yiolet) Miss Mary Collette. Lady Constance Wynne (an English Visitor in Japan, travelling in her Yacht) Miss Maud Hobsox. Miss Marie Worthtnoton ... Miss Blanche Massey. Miss Ethel Hurst (English Ladies, Guests of Lady Miss Hetty Hamer. Miss Mabel Grant Constance) Miss Alice Davis. Miss Louie Plumpton... Miss Margaret Fraser. Miss Molly Seamore... Miss Letty Llnd. Eeglxald Fairfax Mr. Hayden Coffin. Dick Cunningham Mr. Louis Bradfield (Officers of H.M.S. "The Turtle") Arthur Cuddy ... Mr. Leedham Baxtock. George Grlmstox Mr. Sydney Ellison. Tommy Stanley (Midshipman) Miss Lydia Flopp Captain Katana (Captain of the Governor's Guard) Mr. William Philp Takemtne (Sergeant of the Governor's Guard) Mr. Fredk. Eosse, WUX-HI ... (a Chinaman; proprietor of Tea House) Mr. Huntley Wright. The Marquis Lmari .. ...(Chief of Police and Governor of the Province) Mr. Harry Monkhousb Coolies, Attexdants Mousmes, Guards, &c. ACT I. The Tea Home of Ten Tliousand Joys. ACT II. A Chrysanthemum Fete in the Palace Gardent, Time—The present. The action of the play takes place in Japan outside the Treaty Limits. " " ' CONTE NTS. > < 2lct i. Pagb " 1. Opening Chobus ... " Happy Japan 1 2. Entrance of Officers "Here they come" 14 3. Song "Jack's the Boy" 25 4. Song "The dear little Jappy-Jap-Jappy 28 5. Song "The Amorous Goldfish" ... 32 6. Duet "The Kissing" 35 7. Concerted Piece... ..."Xf you will come to tea" ... 39 8. Chorus "Lamentation" 48 9. Concerted Piece... "We're going to pall on the Marquis" 55 10. Duet "The Toy" 60 11. Song "A Geisha's Life" 64 " " 12. Eecttative... Attention, pray ! 68 12a. Song "Chivalry" 73 13. Song "ChonKina" 77 14. Finale "Though of staying too long" 85 &ct 51, 15. Entr'acte ... 107 16. Chorus "Day born of Love" 111 17. Song "The Toy Monkey" 120 18. Duet " Ching-a-ring-a-ree ! 124 19. Concerted Piece... "Geisha are we" 128 20. Song "Star of my Soul" 135 21. Song "If that's not Love—what is?" 138 22. Entrance of Chorus 141 23. Entrance of Geisha "With splendour auspicious" 143 24. Song ... "Chin Chin Chinaman" 149 45. Song "Love! Love!" 155 ' 26. Song ' Hey-diddle-diddle ! when man is in love 159 27. Song , "The Interfering Parrot" ... 165 28. Finale "Before our eyes" 172 SUPPLEMENTARY NUMBERS. 29. Quartette "What will the Marquis do?" 176 30. Quartette "Jolly young Jacks are we" 181 31. Song "The Jewel of Asia" ... 185 " 32. Song "I can't refrain from laughing 188 33. Song & Chorus "The Wedding" 193 34. Song "Molly Mine" 200 35. Song ... "It's coming off To-day"... 203 Geisha— Vocal. "THE GEISHA." (A STORY OF A TEA HOUSE.) A JAPANFSE MUSICAL PLAY. Words by LYRICS BY MUS!C BY OWEN HALL- HARRY GREENBANK. SIDNEY JONES X? 1. OPENING CHORUS— "HAPPY JAPAN.' Allegro moderato. S P a # wmmi- iH3 PIANO- tr 3 i ^ggss mm r=r t^ ^^ §s ^S ^^ i si — * a g ro* m **S3=3g p ^ ^ « f s I 1 4— n £ ^ l i I i M ' . _' . do i / /•> • at ^ ^ ^s Cupy right 18.96, by Hop* nod JbCrrw. Vr S Here we hast en pit ter §£ * Z2Z Here we hast _ en pit ter i ^ a • Dawns the lay in East _ ern sky £ -G £ . IS- as # £ P ^ Dawns the day in East . ern sky j}-LU i=ii ^ J i < ^^ ^^ fe£ £ u i J ft « J fei as f ^ # i* i i pat _ ter... Where the ti - ny tea - cups clat . ter; * a I pal _ ter Where the ti - ny tea - cups clat . ter; i Mounts the Mounts the C> es fe i m £ i IH o=i XJj: J-Ji: X^?: a^P ¥5 ^ fal — J- > I r i 'r m Shad . ed from his fu ry heat _ ed ^ 1 i J J J Shad . ed from his fu ry heat . ed i - f—F-4-f "O ; gold . en Sun . God hUJK~ gold Sun . God high : ^^ M « ^ ^ =£= r , _ -- m ££ p^p i Comes the night and calls to * J J • 1 ? m Comes the night and calls $ m day to wards the west, T as m M I | day to - wards the west rust Then we leave with eigh and sor . row No more m$m zzz m s rest &*- P ft* b: .. _^ a « ^P P ^^ ^ ^f # 1f ^ TJUJ-TTJ' P^P tea un _ til to _ mor - row No more tea m w m r ' r 3 No more tea 5^5 S f5=f No more tea ^ 42 m_ ~3S ¥ No more tea «-^- 23 5i ^y # f ^ i-ii- £ ^E+Vn f» K ^ jg _ til to . mor row. i —Ov a • ^ J5F til to mor row. -+- g* i J P tt $M ta to _ mor row i. gj 1 r S ^ ^ IS til to TZt. m m. cresc. m ^ f S e 1 S -. 3 ft* W 2 wm -J—i-J-^-r Hap.py Ja _ pan, Gar . den of glit . ter! Flow.er and fan mm m m m Hap - py Ja - pan, Gar _ den of glit _ ter! Flow.er and fan ¥^ m Hap.py Ja - pan, Gar . den of glit . ter! Flow.er and fan £= a m ' ^p r ' r r =F^^ Hap .py Ja _ pan, Gar . den of glit . ter! Flow.er and fan * tt i W f ?m^ # ^ ^ p ^ fe^ r y=i ^^ For . ce.lain too. Tea - iray and lacquer. Hap.py Ja _ pan. Tr^-t a ^m Por . ce.lain too, Tea - tray and lacquer. Hap.py Ja _ pan, 1 # P f*- f-L-f-Lf. ^m Por - ce.lain too, Tea - tray and lacquer. Hap.py Ja pan, m.eppp m^=± ^ mm Por _ ce.lain too, Tea - tray and lacquer. Hap.py Ja . pan, £ A JJ=i LAiLL S^U i^g £ =£=£ I £ =*=*= mSp P a=rf £ Allegretto. 2=3* |g Hap py Ja pun , -4— H Hap py Ja pan ^s> E Hap py Ja pan V # „• F , v S 1 =g=g= I Shall we sing you while they bring you Tea or cof _ fee, Sirs, Dain _ ty ly _ ric " " J J "- Jlj ' i J ' I i* f;t ;. j;j j 'r g Shall we sing you while they bring you Tea or cof. fee, Sirs, Dain . ty ly. ric roira f mm^~^ m 1 1 M ±=m *^ ^^E r r r r N— §£ *E=SzEEe£ KT~N 5£ pan . e _ gyr . ic Of the gen. tie . men We've a so . lo touch, ing po.lo $ ^-ii JU ^^ K \ V pan . e.gyr. ic Of the gen. tie . men We've a so.lo touch, ing po.lo ^8 i m p JF3-JE ** . T gg£3—a,—_rr——__ eS= r r r g^gtail* \-rn- E fe K K a s » i r i J *=£ £ P «=je m For the of.fi . cers And a ron . do rather fond, O sent, i . men.tal \ V K fex « ). r 1 BZ3ZJ J e J J fa J « =a J J jH For the of.fi . cers And a ron. do rather fond, O sent, i _ men.tal men. r V — q^=fE f / r EY jlr c g iTT^ 1 £ Of a hymn in praise of wo .men Are you fan.ci . ers, Or a son . net N- !> -•"=—•—#- ,-.ili m m m jlj, jg.j £| ^^ Of a hymn in praise of wo -men Are you fan.ci - ers, Or a son . net in rsn i 4 m t¥=P OMMamm ^* TZ T T r V— • • f £=^* j tJ -' *=^ ^^g m* I P r to a bon.net Su.per.cil.i' _ ouj? We've a dit .
Recommended publications
  • Theater Souvenir Programs Guide [1881-1979]
    Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Lulu Adams Collection
    Lulu Adams Collection Monographs and Articles 178B17 Photographs and Postcards 178C83 Newspaper Cuttings 178G5 Business Records 178H10 Programmes 178K34 Notebooks 178P4 Handbills 178T26 Original Artworks 178V6 Various 178Z23 178B17.1 The Pickwick Treasury of Wit or Joe Miller’s Jest Book Dublin, James Duffy, 1840. 384pp. Illus. 12cm. Lulu Adams Collection 178B17.2 Virgil’s Aeneis translated by John Dryden The Works of Virgil, contains the Pastorals, the Georgics and the Aeneis London, published by J. Walker, 1819 499pp. contains 2 illustrations on the first pages 130mm x 78mm x 25mm Lulu Adams Collection 178B17.3 G. Dumont-Lespine Nos Recettes au Four Electrique [in French] (Our Recipes for the Electric Oven) Paris, Compagnie Parisienne de Distribution d’Electricité 88pp. containing b&w illustrations. Contains 3 cuttings from magazines 195mm x 270mm x 10mm Lulu Adams Collection 178C83 392 black and white photographs dating between 1880s and 1950s including a small amount of negatives containing a mixture of business and family archive showing performers, animals, circuses, family members such as Joe Craston and the Crastonians and Lulu, also 4 additional photo albums and 2 postcards of Joe Craston Lulu Adams Collection 178F16.1 7 letters of personal nature relating to the Craston, Cashmores and Adams 1926-1961 Lulu Adams Collection 178F16.2 4 letters and 2 cards of business nature relating to Lulu Adams, The Crastonians, Lulu’s doll making business, Joe Cashmore and Joe Craston, of which 3 are in French 1919-1958 Lulu Adams Collection
    [Show full text]
  • PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography Compiled by Christian Zwarg for GHT Wien Diese Diskographie Dient Ausschließlich Forschungszwecken
    PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography compiled by Christian Zwarg for GHT Wien Diese Diskographie dient ausschließlich Forschungszwecken. Die beschriebenen Tonträger stehen nicht zum Verkauf und sind auch nicht im Archiv des Autors oder der GHT vorhanden. Anfragen nach Kopien der hier verzeichneten Tonaufnahmen können daher nicht bearbeitet werden. Sollten Sie Fehler oder Auslassungen in diesem Dokument bemerken, freuen wir uns über eine Mitteilung, um zukünftige Updates noch weiter verbessern und ergänzen zu können. Bitte senden Sie Ihre Ergänzungs- und Korrekturvorschläge an: [email protected] This discography is provided for research purposes only. The media described herein are neither for sale, nor are they part of the author's or the GHT's archive. Requests for copies of the listed recordings therefore cannot be fulfilled. Should you notice errors or omissions in this document, we appreciate your notifying us, to help us improve future updates. Please send your addenda and corrigenda to: [email protected] master 2-9000 master 2-9001 master 2-9002 master 2-9003 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. Where My Caravan Has Rested — Song (Hermann Löhr / Edward Teschemacher) Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9004 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. RIGOLETTO (Giuseppe Verdi / Francesco M. Piave) I/ 1: Questa o quella — Ballata {Duca} Questa o quella Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9005 1911.08. D30 AN GBR: London, Beka Record Co.
    [Show full text]
  • Class, Respectability and the D'oyly Carte Opera Company 1877-1909
    THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [Show full text]
  • This Item Is Held in Loughborough University's Institutional Repository
    This item is held in Loughborough University’s Institutional Repository (https://dspace.lboro.ac.uk/) and was harvested from the British Library’s EThOS service (http://www.ethos.bl.uk/). It is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ CAROLINE CHISHOLM 1808-1877 ORDINARY WOMAN - EXTRAORDINARY LIFE IMPOSSIBLE CATEGORY by Carole Ann Walker A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University 2001 Supervisor: Dr. M. Pickering Department of Social Science © Carole Walker, 2001. ABSTRACT Caroline Chisholm Australia Nineteenth century emigration Nineteenth century women's history Philanthropy The purpose of this thesis is to look at the motivations behind the life and work of Caroline Chisholm, nee Jones, 1808-1877, and to ascertain why British historians have chosen to ignore her contribution to the nineteenth century emigration movement, while attending closely to such women as Nightingale for example. The Introduction to the thesis discusses the difficulties of writing a biography of a nineteenth century woman, who lived at the threshold of modernity, from the perspective of the twenty-first century, in the period identified as late modernity or postmodernity. The critical issues of writing a historical biography are explored. Chapter Two continues the debate in relation to the Sources, Methods and Problems that have been met with in writing the thesis. Chapters Three to Seven consider Chisholm's life and work in the more conventional narrative format, detailing where new evidence has been found.
    [Show full text]
  • The Richard L. Coe Early Scrapbook Finding
    Richard L. Coe early scrapbook. Contents: [312] items, [307] pieces on first 74 pages of 155 p. volume. lccn: 2010414967 Call no.: PN2093.C65 1866 (Items with bold no. indicate separately cataloged titles) p. [Ii. Newspaper clippings from the Alexandria Gazette and Virginia Advertiser “The Rambler’s Note-Book” from Aug. 13, 1892, August 27, 1892, October 1, 1892 and Octoeber 8, 1892. Also clipping “Our Frank in Atlanta” correspondence of the Richmond Dispatch, n.d. (5 items. 8 pieces; portion of three clippings formerly folded, broken away) p. [2]. “The Rambler’s Note-Book” clippings from June 16, 1892, July 23, 1892, Nov. 19, and Nov. 23, 1892 (4 items, 5 pieces) p. [3]. “The Rambler’s Note-Book” clippings from Sept. 24, 1892, Sept 3, 1892, Oct. 29, 1892 and January 14, 1893 (4 items, 5 pieces) p. [4] “The Rambler’s Note-Book” clippings from Dec. 16, 1892, Dec. 15, 1892, Nov. 19, 1892, Dec. 12, 1892. 2 additional clippings:”Communicated” and “Communicated. A suggestion” undated (6 items, 7 pieces) p. [5]. The Rambler’s Note-Book clipping from Oct. 17, 1892. Additional clippings from January 23, 1891, Nov. 24, 1892, and December 22. 1891 and additional undated clippings: 5 notices. I clipping of verse and I clipping “The Return of Joy” by George Newell Lovejoy. (11 pieces) p. [6]. Clippings of verse: “The Old Road” by Oliver Dufour, poem by Mrs. A.L. Ruter Dufour, “The Bride’s Farewell”, “Silenus” by James B. Kenyon, “Renouncement” by Alice Mevnell, “Old time songs: “Annie Lisle”, “Do they miss me at home”, “Ossian’s serenade”.
    [Show full text]
  • Imagining China in London Musical Theatre During the 1890S: the Geisha and San Toy
    Imagining China in London Musical Theatre during the 1890s: The Geisha and San Toy William A. EVERETT University of Missouri-Kansas City Conservatory of Music and Dance 4949 Cherry Street, Kansas City, MO 64110-2229, USA E-mail: [email protected] (Received: March 2016; accepted: June 2016) Abstract: For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese them- selves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese char- acter is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English. Keywords: Orientalism, China, Operetta, The Geisha, San Toy How the British imagined China and the Chinese at the end of the nineteenth century was a complex, multi-faceted, and sometime contradictory affair. London at the time had a Chinese population of only about 300, and most Londoners as- sociated the Chinese with laundries, catering businesses, or opium dens.1 (Charles Dickens’ The Mystery of Edwin Drood provides a vivid example for the last of these images, with its menacing atmosphere filled with mystery and unknowing.) 1.
    [Show full text]
  • The Circle.’ Back Row, Left to Right, Travis Vaden, Dou- Glas Weston, Nancy Bell, John Hines, Rebecca Dines and John-David Keller
    38th Season • 365th Production MAINSTAGE / AUGUST 31 THROUGH OCTOBER 7, 2001 David Emmes Martin Benson Producing Artistic Director Artistic Director presents by W. SOMERSET MAUGHAM Scenic Design Costume Design Lighting Design RALPH FUNICELLO WALKER HICKLIN YORK KENNEDY Composer/Sound Design Production Manager Stage Manager MICHAEL ROTH TOM ABERGER *SCOTT HARRISON Directed by WARNER SHOOK AMERICAN AIRLINES, Honorary Producers PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Elizabeth Champion-Cheney ............................................................................ *Nancy Bell Arnold Champion-Cheney, M.P. ....................................................................... *John Hines Footman ................................................................................................. *John-David Keller Mrs. Anna Shenstone .................................................................................. *Rebecca Dines Teddie Luton ............................................................................................. *Douglas Weston Clive Champion-Cheney ...................................................................... *Paxton Whitehead Lady Catherine Champion-Cheney ........................................................... *Carole Shelley Lord Porteous .................................................................................. *William Biff McGuire Jr. Footman .....................................................................................................
    [Show full text]
  • GILBERT and SULLIVAN PAMPHLETS† Number Two
    1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924.
    [Show full text]
  • Theater Playbills and Programs Collection, 1875-1972
    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
    [Show full text]