Showlist 1930-1939
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WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1. -
The North of England in British Wartime Film, 1941 to 1946. Alan
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production. -
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change. -
Some Persons Unknown by E
1 SOME PERSONS UNKNOWN BY E. W. HORNUNG NEW YORK CHARLES SCRIBNER'S SONS 1898 COPYRIGHT, 1898, BY CHARLES SCRIBNER'S SONS TROW DIRECTORY PRINTING AND BOOKBINDING COMPANY NEW YORK KENYON'S INNINGS I Kenyon had been more unmanageable than usual. Unsettled and excitable from the moment he awoke and remembered who was coming in the evening, he had remained in an unsafe state all day. That evening found him with unbroken bones was a miracle to Ethel his sister, and to his great friend John, the under-gardener. Poor Ethel was in charge; and sole charge of Kenyon, who was eleven, was no light matter for a girl with her hair still down. Her brother was a handful at most times; to-day he would have filled some pairs of stronger hands than Ethel's. They had begun the morning together, with snob-cricket, as the small boy called it; but Kenyon had been rather rude over it, and Ethel had retired. She soon regretted this step; it had made him reckless; he had spent the most dangerous day. Kenyon delighted in danger. He had a mania for walking round the entire premises on the garden wall, which was high enough to kill him if he fell, and for clambering over the greenhouses, which offered a still more fascinating risk. Not only had he done both this morning, he had gone so far as to straddle a gable of the house itself, shrieking good-tempered insults at Ethel, who appealed to him with tears and entreaties from the lawn below. -
Regulatory Compliance Guide, Or RCG, Is a Companion Piece to the Chapter 6400 Regulations; It Should Be Used Along with the Regulations, Not Instead of Them
Office of Developmental Programs REGULATORY COMPLIANCE A Tool for Community Home Regulators, Operators, and GUIDE Stakeholders 55 Pa.Code Chapter 6400 Community Homes for Individuals with an Intellectual Disability or Autism February 3, 2020 Edition Introduction What is this guide, and why do I need it? 55 Pa.Code Ch. 6400 (Relating to Community Homes for Individuals with Intellectual Disabilities or Autism) establishes the minimum requirements to operate a community home for individuals with intellectual disabilities or autism in the Commonwealth of Pennsylvania. The Regulatory Compliance Guide, or RCG, is a companion piece to the Chapter 6400 regulations; it should be used along with the regulations, not instead of them. The explanatory material in this guide is not meant to be “new regulations” or to extend meaning of the regulations beyond their original intent. In most cases, the regulations speak for themselves. There are, however, some regulations that require additional clarification. Even when the meaning of a regulation is very clear, the purpose and intent of the regulation may not be. There are also different ways to measure regulatory compliance, and both operators and licensing staffs need to know how compliance will be determined. This guide is meant to help operators and licensing staffs better understand and apply the regulations. This guide has been developed to provide clear explanations of the regulatory requirements of Chapter 6400 to help providers provide safe environments and effective services to individuals through regulatory compliance, and to help regulators protect individuals by conducting consistent and comprehensive inspections. It provides a detailed explanation of each regulatory requirement, including expectations for compliance, guidelines for measuring compliance, and the primary purpose for the requirement. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
2019 Richardson Helen 09664
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The economics of opera in England 1925-1939 Richardson, Helen Joanna Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 The Economics of Opera in England: 1925-1939 Helen Richardson King’s College London August 2019 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Music. -
Discovering Erik Chisholm by John France Introduction the Exciting
Discovering Erik Chisholm by John France Introduction The exciting new release from Hyperion Records of Erik Chisholm’s orchestral music is an excellent introduction to the music of a composer once described by Arnold Bax as “the most progressive composer that Scotland has ever produced”. Despite many subsequent advanced Scottish composers such Thea Musgrave, Iain Hamilton and James MacMillan, this opinion, I believe, holds good to this day. Chisholm was a great innovator as well as a synthesiser. His main achievement was the fusion of Scottish Bag Pipe Music and Hindustani Ragas with mainstream European modernism. In this sense, he mirrors Bartok’s success in assimilating the music of the Balkans to his own genius. Listeners will discover in Erik Chisholm a composer who is bursting with energy, conscious of his own unique voice and commanding a wide-ranging palette that successfully coheres, despite the seeming disparities of styles and musical influences. This new CD cements the “Chisholm Triangle” of influences in listeners’ minds: Scottish, Hindustani and Modernist. Life and Times There are now several helpful sources for establishing a biographical understanding of the composer’s life and achievement. The easiest to access are the excellent webpages maintained by the Erik Chisholm Trust. John Purser’s Chasing a Restless Music: Erik Chisholm: Scottish Modernist 1904-1965, (Boydell and Brewer, 2009) is more detailed and makes essential reading. There are the usual references in the various musical dictionaries, and the inevitable Wikipedia entry. Erik Chisholm was born on 4 January 1904 at 2 Balmoral Villas in Cathcart, an attractive suburb of Glasgow. -
The Irish Ring Cycle & Its Victorian Popularity Jerry Nolan the Irish Ring Entered the British Musical Repertoire As a Resul
The Irish Ring Cycle & its Victorian Popularity Jerry Nolan The Irish Ring entered the British musical repertoire as a result of the practice of Victorian operatic companies, who often presented three very popular operettas in sequence, during the last quarter of the nineteenth century. At first, the sequence was known as the English Ring, but gradually it became better known as the Irish Ring. The operettas brought together were Michael William Balfe’s The Bohemian Girl, William Vincent Wallace’s Maritana and Julius Benedict’s The Lily of Killarney. The composers of these works never envisaged anything like such a Ring Cycle, which nevertheless became popular with music-lovers in opera houses throughout the world, and continued to be frequently performed in Britain into the twentieth century by companies like the Carl Rosa Opera Company. The Bohemian Girl was first produced at Drury Lane Theatre on November 27, 1843 when Julius Benedict was the musical director there and had invited Michael William Balfe, a much travelled Dubliner, to conduct the first performance with stage direction by Alfred Bunn. Balfe’s operetta, using the bare bones of a story which can be traced back to Cervantes, was given a hurried and somewhat misleading title because the heroine was an Austrian who had been raised as a gypsy, a fact which the English title obscures with its mistranslation of the French term ‘bohemienne’, which means ‘Gypsy Girl’, (although the operetta’s setting was, indeed, Bohemia). In spite of some harsh reviews from the London critics, The Bohemian Girl ran for more than a hundred performances and that 1 success was quickly followed by German, Italian and French performances which ensured the European-wide and American popularity of The Bohemian Girl. -
George Musgrove
GEORGE MUSGROVE George Musgrove worked briefly for W.S. Lyster before finding success as a producer in 1880 with Offenbach’s Tambour Major (Melbourne Opera House). With J.C. Williamson and Arthur Garner he ran the most successful theatrical firm in the Antipodes during the 1880s, and between 1892 and 1899 was a partner in Williamson and Musgrove (running the UK end of the business). He continued to produce shows in England and Australia until 1914. Musgrove was also closely associated with Australian actress/singer, Nellie Stewart. George Musgrove was born at Surbiton on Thames, England, on 21 January 1854. His mother, Fanny Hodson, was an actress related to the Kemble family, and was a sister of Georgina Hodson (who married W.S. Lyster) and Henrietta Hodson (a well known London actress). Musgrove came to Australia at age 12 with his parents and was educated at the Flinders School, Geelong, Victoria. After completing his schooling he took up a position as Lyster's treasurer before returning briefly to England in 1879. Back in Australia the following year Musgrove staged a remarkable production of Offenbach's La Fille du Tambour Major at the Melbourne Opera House. The record run of 101 performances effectively established his reputation as an entrepreneur eventually led to him becoming part of the Australian theatrical "triumvirate," Williamson, Garner and Musgrove. Source: Nellie Stewart My Life's Story (1923), 242. J. C. Williamson, Arthur Garner and George Musgrove joined forces in July 1882 to lease the Theatres Royal in Melbourne and Sydney. By the mid to late-1880s, the partnership had established itself as the leading Australian- based theatrical organisation of the era. -
May 1919) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1919 Volume 37, Number 05 (May 1919) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 37, Number 05 (May 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/657 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE PRESSER’S MUSICAL MAGAZINE MAY 1010 PRICE, 20 CENTS $1.75 A YEAR THE ETUDE 1919 Page 265 NOTICE:—On January 1, 1919, the Subscription Price of THE ETUDE Advanced to $1.75 the Year II1 SELECTED RECENT PUBLU^TIONSOFJIEWT 1 5* 1 W During Past Months * :By the Theodore Presser Company: Alb^s o FIFTY-ONE OLD HUNGARIAN ALBUM OF PIANO PIECES BY MELODIES FOR THE PIANO ALBUM OF DESCRIPTIVE PIECES WOMEN COMPOSERS Price, $1.00 By Arthur Hartmann Price, $1.00 Price, $1.00 In this unique book some of the most distinctive Owing: to the characteristic style of the pieces, Women composers have made wonderful strides which afford a change from the conventional forms and characteristic of the Hungarian folk-songs have 'been collected. -
The Lady of Ascot Edgar Wallace
THE LADY OF ASCOT BY EDGAR WALLACE The Lady Of Ascot CHAPTER I Curiosity being one of the besetting sins of John Morlay, it was impossible that he should pass the entrance to the lodge or fail to witness the signs of activity which were there to hold and detain the attention of the idle. He saw Little Lodge through a narrow gap in a trim box-hedge—a little too narrow for the curse-mumbling workmen who were carrying in a wardrobe and were expressing their views accordingly. Yet the gap was not accidental. Behind, folded back, he saw a pair of even narrower ironwork gates; beyond those, a little shaven lawn, something that might have been a lily-pond, and a tiny house. It was a pseudo-Queen Anne manor, so small that it might have been built by some plutocrat to give his young and pampered daughter the joys of a practicable doll's house. It was very red, had little iron lanterns at the door, and trim windows with chintz curtains. This was Little Lodge, discoverable only to such explorers as John Morlay, who preferred by-ways to the roaring, smelling high road. And this was not even an ordinary by-road, but a cul-de-sac from a rambling blind alley that led nowhere. There are scores of such places in and around Ascot. Obviously a new tenant was moving in—or was it a new proprietor? He followed the workmen staggering with their load up a gravelled path, recently weeded. The baby lily-pond was full of ridiculously clean water.