George Alexander Papers

Total Page:16

File Type:pdf, Size:1020Kb

George Alexander Papers george_alexander_papers This finding aid was produced using ArchivesSpace on September 24, 2021. English. Describing Archives: A Content Standard Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Rush Rhees Library Second Floor, Room 225 Rochester, NY 14627-0055 [email protected] URL: https://www.library.rochester.edu/spaces/rbscp george_alexander_papers Table of Contents Summary Information .................................................................................................................................... 3 Biographical/Historical note .......................................................................................................................... 3 Scope and Contents note ............................................................................................................................... 4 Administrative Information ............................................................................................................................ 4 Related Materials ........................................................................................................................................... 5 Controlled Access Headings .......................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 5 Series I: Plays from known playrights ....................................................................................................... 5 Series II: Plays from playwrights unknown ............................................................................................. 10 - Page 2 - george_alexander_papers Summary Information Repository: Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Creator: Alexander, George, Sir, 1858-1918 Title: George Alexander papers ID: D.178 Date [inclusive]: 1892-1913 Physical Description: 34 Volumes Language of the English Material: Preferred Citation [Item title, item date], George Alexander papers, D.178, Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester ^ Return to Table of Contents Biographical/Historical note The British actor-manager Sir George Alexander (1858-1918) was born in Reading, England. He began acting in amateur theatricals in 1875, and four years later embarked on a professional acting career, making his London debut in 1881. He played many roles in the leading companies, including Sir Henry Irving's Lyceum. In 1890 he produced his first play at the Avenue Theatre and in 1891 he became the manager of St. James's Theatre. Here he produced several of the major plays of the day such as Lady Windermere's Fan by Oscar Wilde (1892), The Second Mrs. Tanqueray by Sir Arthur Wing Pinero (1893), The Importance of Being Ernest by Oscar Wilde (1895), and The Prisoner of Zenda by Anthony Hope (1896). ^ Return to Table of Contents - Page 3- george_alexander_papers Scope and Contents note The collection consists of thirty-four typed, bound scripts used during the production of the plays at St. James's Theatre. Those having manuscript revisions, stage directions, and photographs of the production are noted in the following list of the plays. ^ Return to Table of Contents Administrative Information Publication Statement Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Rush Rhees Library Second Floor, Room 225 Rochester, NY 14627-0055 [email protected] URL: https://www.library.rochester.edu/spaces/rbscp Restrictions on Access The George Alexander Papers is open for research use. Researchers are advised to contact the Rare Books Special Collections & Preservation Department prior to visiting. Upon arrival, researchers will also be asked to fill out a registration form and provide photo identification. Immediate Source of Acquisition note Purchased from George S. MacManus Co., March 18, 1983. Restrictions on Use In consultation with a curator, reproductions may be made upon request. Permission to publish materials from the collection must be requested from a curator. Researchers are responsible for determining any copyright questions. ^ Return to Table of Contents - Page 4- george_alexander_papers Related Materials Related Archival Materials note Pearl Mary Teresa Richards Craigie Papers See also: Pinero, Sir Arthur Wing. The Second Mrs. Tanqueray (London, J. Miles, 1892). This copy belonged to Sir George Alexander and contains his notes, annotations, stage directions, etc. for the first production of the play in 1893. Rare Book Department call number: PR 5182 .S44 ^ Return to Table of Contents Controlled Access Headings • Theatrical producers and directors • England--London • Drama • Alexander, George, Sir, 1858-1918 • Saint James' Theatre (Organization : London, England) Collection Inventory Series I: Plays from known playrights Title/Description Instances Aide, Hamilton. Doctor Bill; a farcical comedy in three acts Volume 1 Scope and Contents Adapted from the French of Albert Carre. Bound typescript, ca 70 pages. Sketch of set design for acts I and II. George Alexander's bookplate. Beringer, Mrs. Oscar. The plot of his story; a play in one act Volume 2 Scope and Contents Founded on the short story by Morley Roberts. Bound typescript, 22 pages. Sketch of set design. George - Page 5- george_alexander_papers Alexander's bookplate. Opened at St. James's Theatre on 22 November 1900. Buchanan, Robert and Fred Horner. The struggle for life; modern Volume 3 drama in four acts Scope and Contents Adapted by "La Lutte pour la Vie". Bound typescript with many manuscript annotations and revisions, ca 75 pages. George Alexander's bookplate. Bulwer Lytton, Edward. Money Volume 4 Scope and Contents Bound printed copy of the play interleaved with pages containing numerous manuscript revisions of the dialogue, drawings of the sets, stage directions, prompts, etc., ca 100 pages. Inscribed on front fly-leaf "To George Alexander with all sweetest remembrance from James Fernandez, Drury Lane Theat, May 9/11". Calmour, Alfred C. The lady killer; a comedy in one act Volume 5 Scope and Contents Bound typescript, with few manuscript revisions, 21 pages. George Alexander's bookplate. Carton, Richard Claude. Lorrimer Sabiston--dramatist Volume 6 Scope and Contents Bound typescript with manuscript stage directions, ca 110 pages. George Alexander's bookplate. Opened at St. James's Theatre, 9 November 1909. Chambers, C. Haddon. The awakening Volume 7 Scope and Contents Bound typescript interleaved with blank pages; occasional revisions; ca 100 pages. Program laid in. George Alexander's bookplate. Opened at St. James's Theatre, 6 February 1901. Chambers, C. Haddon. The idler; a play in four acts Volume 8 Scope and Contents Typescript, ca 60 pages Fagan, James Bernard. Bella donna; a play in four acts Volume 9 - Page 6- george_alexander_papers Scope and Contents Adapted from the novel by Robert Hichens. Bound typescript with five mounted photographs of the sets, ca 120 pages. George Alexander's bookplate. Opened at St. James's Theatre, 9 December 1911. [Field, Julian]. Too happy by half Volume 10 Scope and Contents Bound typescript with manuscript revisions, 34 pages. Opened at St. James's Theatre, 5 January 1895. George Alexander's bookplate. Frith, Walter. Midsummer day; a new and original comedy in one Volume 11 act Scope and Contents Bound typescript with numerous manuscript revisions, 31 pages. Opened at St. James's Theatre, 30 March 1892. George Alexander's bookplate. Forbes, Athol. Lord Danby's affair; a society play Volume 12 Scope and Contents Bound typescript interleaved with blank pages; a few manuscript revisions, ca 100 pages Godfrey, G.W. The woman-hater Volume 13 Scope and Contents Bound typescript with numerous manuscript revisions, 22 pages Grundy, Sydney. A debt of honour; an original play in five acts Volume 14 and an epilogue Scope and Contents Bound typescript, with photographs of the scenery, drawings of the stage sets, manuscript corrections, printed program, 109 pages. Opened at St. James's Theatre, 1 September 1900 Hamilton, Cosmo. The fortune of war Volume 15 Scope and Contents Bound typescript, 13 pages. George Alexander's bookplate Hobbes, John Oliver [Mrs. Pearl Craigie]. The ambassador; a Volume 16 comedy in four acts - Page 7- george_alexander_papers Scope and Contents Bound typescript, ca 100 pages. Printed program laid in. George Alexander's bookplate. Opened at St. James's Theatre, 2 June 1898 Hobbes, John Oliver [Mrs. Pearl Craigie]. The wisdom of the Volume 17 wise; a comedy in three acts Scope and Contents Bound typescript with numerous manuscript revisions, ca 90 pages. George Alexander's bookplate Hope, Anthony [Sir Anthony Hope Hawkins]. Rupert of Hentzau; Volume 18 a play in four acts Scope and Contents Bound typescript, diagrams of stage settings, some manuscript revisions, ca 120 pages. Opened at St. James's Theatre 1 February 1900. George Alexander's bookplate. [Jones, Henry Arthur]. The ogre Volume 19 Scope and Contents Bound typescript with numerous revisions, stage directions, etc., ca 100 pages. Opened at St. James's Theatre, 11 September 1911. George Alexander's bookplate. [Le Marchant, P.] The turning point. English translation of the Volume 20 play La Flambee by Henry Hubert Alexandre Kistemaeckers Scope and Contents
Recommended publications
  • Copley Theatre the Doctor's Dilemma Program
    fepgrfrmf Playgoers A Magazine of P/ays> Players , —and a Program Sjeitrg IJiagera ®f)f (Eopleg S^ralrr 3|enrp 3Tciuett diapers (Arranged Alphabetically) E. E. Clive: In England with Charles Frohman, Arthur Bourchier, Drury Lane Theatre. Leonard Craske: In England with Ellen Terry and Martin Harvey, and in America with Annie Russell. Mary Hamilton: In England with Granville Barker, Court Theatre, Vedrenne & Barker. Owen T. Hewitt: With Henry Jewett Players, Boston. Nicholas Joy: In England with Lewis Waller and H. B. Irving. Noel Leslie: In England with Lewis Waller, Seymour Hicks, Fred Terry, Julia Neilson and Cyril Maude. Cameron Matthews: In England with Granville Barker; in America with Mrs. Patrick Campbell. Jessamine Newcombe: In England with Sir Herbert Tree and Oscar Asche. / Fred W. Permain: In England with Sir Johnstone Forbes- Robertson, Sir John Hare and Sir Charles Wyndham. William Podmore: In England with Miss Horniman’s Man- chester Players and Granville Barker. Phyllis Relph: In England with Granville Barker, Miss Horniman and Sir Frank R. Benson. Leile Repton: In England with ;Mrs. Patrick Campbell, Sir George Alexander and Mrs. Langtry. Viola Roach: In England with Sir Frank R. Benson, Sir Herbert Tree and Miss Horniman. H. Conway Wingfield: In England with Sir George Alexander, Arthur Bourchier and Sir Charles Wyndham. ^enrp Setoett, ^Director St. Valentine’s Night at Oflje fomsurick On Valentine’s Night dinner and •f supper in the Egyptian Room will be served a la carte. V Special attractions and appropriate souvenirs for this occasion. N Dancing from 6.30 P. M. M until 1 A.
    [Show full text]
  • The Staging of Oscar Wilde and His Contemporaries at the St
    Responding to the ‘power of attraction’: the staging of Oscar Wilde and his contemporaries at the St. James’s Theatre, 1892-1895. Lucie Sutherland Keywords: Actor-manager, George Alexander, Treasury Book, West End, Matinée, Repertoire William Archer, a cultural commentator most often associated with the promotion of dramatic naturalism, did not solely concern himself with dramatic form. He was also alert to the necessity for profit in professional theatre making, often demonstrating a concern with the economic viability of theatrical production in his writing. For example: It would of course be idle to suppose that the comparative popularity of two plays is exactly indicated by the length of their respective runs […] It is impossible, in short, without access to the books of the management, to measure with absolute precision the power of attraction exercised by any particular play.1 Archer states what theatre industry professionals and scholars of that industry know; only box office receipts can truly confirm the economic success of a production. Length of run and audience figures may be indicative, but accurate business records detailing the income generated by fee paying audience members will be the only way to ascertain the ‘power of attraction’ exercised by a piece of theatre. When Archer was writing, in the final decade of the nineteenth century, it was the role of the actor-manager to market a production as successful for the longest duration possible, frequently sustaining that production to demonstrate the ongoing prestige of the
    [Show full text]
  • 2018 Jewell Mainstage Play Guide Welcome
    2018 JEWELL MAINSTAGE PLAY GUIDE WELCOME A play about a good woman … and a fan. It’s the party of the social season, but instead of celebrating, Lady Windermere suspects her husband is having an affair with a mysterious and beautiful stranger. As rumors swirl and secrets are revealed, the Winderemeres’ lives are upended and threatened to end in disgrace. This comedy classic from Oscar Wilde will charm you with its cleverness and wit. What does it mean to be good? Who gets to decide? Upper-class Victorian England was a society of manners and social order and to defy the social standards of the time was scandalous. All societies have their own sets of social rules, both spoken and unspoken, and we have to decide for ourselves what we think of people who fall outside our concepts of societal norms. Often what we see on the surface is masking what a person is really like on the inside. A person of poor reputation might be capable of amazing generosity. A person who seemingly has it all together might be capable of unspeakable cruelty. Can someone be a good person without anyone knowing it? We would love to hear from you! Tag us on any of the social media platforms listed below. JEWELL MAINSTAGE 204 N 85th St Seattle, WA 98103 ADMINISTRATIVE OFFICES TABLE OF CONTENTS 212 N 85th St Seattle, WA 98103 206.781.9707 Box Office THE AUTHOR 206.781.9708 Group Sales 4 Oscar Wilde 206.781.9705 Administrative Office 5 Scandals and Imprisonment TAPROOTTHEATRE.ORG THE PLAY A Play Guide published by Taproot Theatre Company 6 About the Play 9 Costumes RESEARCHER: Anthea Carns, Dramaturg 10 Setting/Place EDITOR: Josh Krupke REHEARSAL PHOTOS: Robert Wade CULTURAL CONTEXT All rights reserved.
    [Show full text]
  • Centrality, Orthodoxy and Self-Reflexivity In
    Prague Journal of English Studies Volume 1, No. 1, 2012 '2,SMHV ISSN: 1804-8722 “Our Little Parish of St. James‘s”: Centrality, Orthodoxy and Self-Reflexivity in the 1890s London Theatre Rudolf Weiss In the 1890s the London theatre was governed by the idea of centrality. is most representative and most prestigious theatrical territory was ruled by the actor-manager, the monocratic director who also played the leading roles. Moreover, he was the arbiter in matters of dramatic aesthetics, in matters of dramatic ethics as well as audience reception. Henry Arthur Jones and Arthur Wing Pinero, the most popular playwrights of the period, provided them with leading parts which reflect their managerial functions in the dramatic world: the raisonneurs in their society dramas manipulate the action, advise the other characters and represent social and moral orthodoxy. e article explores the concept of centrality in the London theatre of the 1890s on various interconnected levels – theatre management, dramatic technique, functions of the raisonneur and ideological implications of the scène à faire as well as audience structure and audience taste. A special focus is placed on the essential (self)reflexivity of this “little parish”, where the managerial structures of the mainstream theatre are mirrored in the conventional dramatic aesthetics of society drama, the predominant genre in the repertoire, which echoes the mind-set of the majority of the spectators. 1. Introduction: the authority of the actor-manager In her introductory chapter to e Cambridge Companion to Victorian and Edwardian eatre Nina Auerbach claims that all the contributions in this volume “insist on the centrality of the theatre in nineteenth-century culture; until the end of the century, its broad popularity gave its conventions the aura of universality” (4).
    [Show full text]
  • Part I ∗ 1895–1946
    Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information part i ∗ 1895–1946 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information 1 British theatre, 1895–1946: art, entertainment, audiences – an introduction dennis kennedy In 1895 three major figures in the history of British theatre came centre stage in revealing ways. Henry Irving, master of theatrical illusion and the most famous performer of the age, knelt before Queen Victoria and rose as the first actor in history to be knighted. Oscar Wilde, that Dubliner brilliant in his plays and impudent in society,had two productions running simultaneously in London: An Ideal Husband and The Importance of Being Earnest.G.B.Shaw, virtually unknown as a playwright, began a three-year mission of modernity and social- ism as theatre critic for the Saturday Review. Shaw complained frequently that Irving, whom he greatly admired, wasted his talents on weak and insignificant work, and he was disturbed to find himself laughing mechanically at Wilde’s masterpiece. Shortly after The Importance of Being Earnest’s brilliant opening, Wilde was in grave trouble with the law over his homosexuality.Just as his play marks the high point of Victorian comedy,so Wilde’s trial signals a turn in the history of Victorian righteousness.
    [Show full text]
  • Copley Theatre Bunty Pulls the Strings Program
    P Sepcrtorg Ma^a^hie Plays Players, Playgoers A of ^ — and a Programme How far that little candle throws his beams! So shines a good deed in a naughty world Shakespeare, ji|enrg g§ (5npUg Scpertotg Qfljcatre g§. Jemett piagera (Arranged Alphabetically) E. E. Clive: In England with Charles Frohman, Arthur Bourchier, Drury^ Lane Theatre. Leonard Craske: In England with Ellen Terry and Martin Harvey, and in America with Annie Russell. Mary Hamilton : In England with Granville Barker, Court Theatre, Vedrenne & Barker. Owen T., Hewitt : With Henry Jewett Players, Boston. Nicholas Joy: In England with Lewis Waller and H. B. Irving. Noel Leslie: In England with Lewis Waller, Seymour Hicks, Fred Terry, Julia Neilson and C3^ril Maude. Cameron Matthews: In England with Granville Barker; in America with Mrs. Patrick Campbell. Jessamine Newcombe: In England with Sir Herbert Tree and Oscar Asche. Fred W. Permain: In England with Sir Johnstone Forbes- Robertson, Sir John Hare and Sir Charles Wyndham. William Podmore : In England with Miss Horniman’s Manchester Players and Granville Barker. Phyllis Relph: In England with Granville Barker, Miss Horniman and Sir Frank R. Benson. Leila Repton: In England .with Mrs. Patrick Campbell, Sir George Alexander and Mrs. Langtry. Viola Roach : In England with Sir Frank R. Benson, Sir Herbert Tree and Miss Horniman. H. Conway Wingfield : In England with Sir George Alexander, Arthur Bourchier and Sir Charles Wyndham. iJicnry Sircctor 2[l|e Srunamtck Revival of the Popular THE DANSANTS It will be pleasant for dance- lovers to learn that, at The Brunswick, the charming after- noon and early evening dances have been resumed.
    [Show full text]
  • Appendix I Films Made from Plays by Jones and Pinero
    Appendix I Films Made from Plays by Jones and Pinero The research for this appendix was carried out by Lisa Swinglehurst. Henry Arthur Jones 1914 The Lie (a rather free version produced by Lubin, USA) 1915 The Middleman (London Film Co.) 1916 The Morals of Weybury (based on The Hypocrites and produced by G. L. Tucker, UK) 1918 Mrs Dane's Defence (Paramount Artcraft; directed by Hugh Ford) 1918 A Society Exile (adapted from a play entitled We Can't Be as Bad as All That which was not produced in the West End; directed by George Fitzmaunce) 1920 The Call of Youth (from a play which was never staged; Famous Players - Lasky, directed by Hugh Ford) 1921 Beyond (apparently an original screenplay, though 238 Appendix I bearing some resemblance to The Rogue's Comedy; directed by Desmond Taylor) 1923 The Hypocrites (Granger-Binger; directed by Charles Giblyn) 1928 The Physician (Gaumont; produced by Maurice Elvey and directed by George Jacoby) 1929 The Silver King (Welsh-Pearson-Elder; produced by G. & D. Pearson and directed by T. Hayes Hunter; reputed to have cost about £60,000) 1933 Mrs Dane's Defence (National Talkies, Paramount; produced by Harry Rowson and directed by A. V. Bramble) Jones wrote four other scenarios, which were not pro­ duced. Arthur Wing Pinero 1915 Sweet Lavender (produced by C. M. Hepworth; Henry Ainley played Dick Phenyl) 1916 Trelawny of the 'Wells' (produced by C. M. Hep­ worth) 1916 Iris (produced by C. M. Hepworth; Henry Ainley played Maldonaldo) 1916 The Second Mrs Tanqueray (Ideal; directed by Fred Paul, with George Alexander as Aubrey Tan­ queray; reported to have cost £20,000) 1917 The Amazons (Paramount, directed by Joseph Kaufman) 1917 The Profligate (produced and directed by Meyrick M.
    [Show full text]
  • The Forces of Commerce and Capital in a Revival of Edward Bulwer-Lytton's Money
    Spring 2001 115 "The Arithmetic and Logic of Life": The Forces of Commerce and Capital in a Revival of Edward Bulwer-Lytton's Money James Fisher Though our brother is on the rack, as long as we ourselves are at our ease, our senses will never inform us of what he suffers... It is by imagination that we can form any conception of what are his sensations.1 —Adam Smith, Theory of Moral Sentiments The Vices and Virtues are written in a language the World cannot construe; it reads them in a vile translation, and the translators are FAILURE and SUCCESSl2 —Alfred Evelyn, Money, (V, III) Theatre students are frequently instructed that the vigorous and energetic theatrical world of the nineteenth century produced little drama of lasting significance prior to Henrik Ibsen's social problem plays. Most Victorian theatre was overly sentimental and melodramatic, as the cliche goes; quaint and colorful perhaps, but finally too simplistic and flatly-dimensioned for sophisticated audiences at the dawn of the twenty-first century. The era, it seems, applied its repressions too fiercely for dramatists to delve below the surface of human experience, hindering serious questioning of prevailing values. The naive moralizing and stereotypical characters of this period made for a barren dramatic age. The condescension directed at nineteenth century drama also results from another presumed hindrance. These supposedly unwatchable plays are often multi- scene works requiring large casts and are, as such, too daunting in scope for even the most adventurous of directors and producing organizations. Published scripts of many nineteenth century plays can be difficult (if not impossible) to locate; James Fisher, Professor of Theater at Wabash College, has authored five books, including The Theater of Tony Kushner: Living Past Hope (NY: Routledge, 2001), and has published articles and reviews in numerous periodicals.
    [Show full text]
  • Fashion Behind the Footlights: the Influence of Stage
    FASHION BEHIND THE FOOTLIGHTS: THE INFLUENCE OF STAGE COSTUMES ON WOMEN'S FASHIONS IN ENGLAND FROM 1878-1914 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen Adele Recklies, B.A., M.A. * * * * * The Ohio State University 1982 Reading Committee: Approved By Alan Woods George Crepeau Firman Brown, Jr. Advisor Department of Theatre Copyright Karen Adele Recklies 1982 I I I l I ~ ACKNOWLEDGMENTS I would like to thank the following, people for their help in preparing the dissertation: my advisor Alan Woods, George Crepeau, Firman Brown, Jr., Mary Millican, and my husband Don for his preparation of the illustrations. ii VITA 1971 ...................... B.A., Kent State University, Kent, Ohio 1971-72................... Teaching Assistant, Department of Theatre, Kent State Univer­ sity, Kent, Ohio 1974 ............... M.A., Kent State University, Kent, Ohio 1976-80 ................. Graduate Teaching Associate, Graduate Administrative Associ­ ate, Department of Theatre, The Ohio State University, Columbus, Ohio 1981-82 ................. Graduate Administrative Associ­ ate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio PUBLICATIONS AND PRESENTATIONS "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Part of the Competitive Costume Panel at the American Theatre Association National Convention, August 1981. "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Accepted for publication in Theatre Studies. FIELDS OF STUDY Major Field; Theatre Studies in Costume Design and Costume History. Professor Michelle Guillot Studies in Literature and Criticism. Professor John Morrow Studies in History.
    [Show full text]
  • Part I ∗ 1895–1946
    Cambridge University Press 0521827906 - The Cambridge History of British Theatre, Volume 3 Edited by Baz Kershaw Excerpt More information part i ∗ 1895–1946 © Cambridge University Press www.cambridge.org Cambridge University Press 0521827906 - The Cambridge History of British Theatre, Volume 3 Edited by Baz Kershaw Excerpt More information 1 British theatre, 1895–1946: art, entertainment, audiences – an introduction dennis kennedy In 1895 three major figures in the history of British theatre came centre stage in revealing ways. Henry Irving, master of theatrical illusion and the most famous performer of the age, knelt before Queen Victoria and rose as the first actor in history to be knighted. Oscar Wilde, that Dubliner brilliant in his plays and impudent in society,had two productions running simultaneously in London: An Ideal Husband and The Importance of Being Earnest. G. B. Shaw, virtually unknown as a playwright, began a three-year mission of modernity and social- ism as theatre critic for the Saturday Review. Shaw complained frequently that Irving, whom he greatly admired, wasted his talents on weak and insignificant work, and he was disturbed to find himself laughing mechanically at Wilde’s masterpiece. Shortly after The Importance of Being Earnest’s brilliant opening, Wilde was in grave trouble with the law over his homosexuality.Just as his play marks the high point of Victorian comedy,so Wilde’s trial signals a turn in the history of Victorian righteousness. Irving’s knighthood and Wilde’s disgrace: the poles of late Victorian attitudes to the theatre demonstrated within a single year, with Shaw as touchstone commentator.
    [Show full text]
  • Fashion Notes the Passing of the Actor- Manager
    April 25,1918] The Nation 513 child welfare, such as already exists in the English code of laws for children and in our own penal code. Four States The Passing of the Actor- have taken legislative action in the formation of children's codes, but the result has been somewhat discrepant on ac­ Manager count of their neglect to precede their action by a State­ wide study of existing conditions. The Oklahoma report, By WILLIAM ARCHER on the other hand, affords a sound basis for future recom­ HE death of Sir George Alexander, following so close mendations and legislation. The individual reports con­ Tupon that of Sir Herbert Tree, brings vividly home to tained in it throw light on the local questions of health work, us a fact of which we have been vaguely aware for some education, agriculture, poor relief, juvenile delinquency, and time—namely, that the period of the actor-managers is- probation; and their findings are not applicable solely to coming to an end, and that we are well over the threshold Oklahoma. But their real value is the proof they afford of a new period, in which another form of organization is of the interrelation and interdependence of these questions. evidently destined to prevail. Before considering the im­ plications of this change, however, let us cast a glance over the career of the notable man who has just left us. Fashion Notes Alexander was a graduate of the Lyceum school. Any one who saw Henry Irving during his American tours of By H. M. KINGERY 1884 and 1887 saw Alexander playing seconds to "the chief." ATURALLY the influence of the war will be felt this He was not, however, one of Irving's inveterate imitators.
    [Show full text]
  • The Importance of Being Shorter: the Staging of Oscar Wilde's Most
    The Importance of Being Shorter: The Staging of Oscar Wilde’s Most saggi Famous Comedy Paola Della Valle Oscar Wilde wrote the first draft of The Importance of Being Earnest during Au- gust and September 1894, while he was on holiday with his family in the town of Worthing (hence the surname of its protagonist, Jack/Ernest Worthing)1. Wilde was under economic pressure at the time, as his letters show. In July 1894 he had saggi begun to tempt George Alexander, the actor-manager of the St James’s Theatre, 21 with the promise of a play, «an amusing thing» with a «slight plot» and «lots of fun and wit», which he would soon write in exchange for an advance of money. Receiv- ing no answer and thinking that Alexander might consider the work too farcical, Wilde sent him a preliminary scheme for another play, a «modern comedy-drama» which would certainly be more suitable to the public and the repertoire of the St James’s2. As Alan Bird suggests, it is likely that the «amusing thing» was The Im- portance of Being Earnest, while the more serious play was the never written Mr and Mrs Daventry3. Despite Alexander’s cool reception, once The Importance of Be- ing Earnest was completed Wilde submitted the first copy to him at the end of Oc- tober, after having sent the manuscript for typing to Mrs Marshall’s typewriting agency. Its provisional cover title was Lady Lancing4. George Alexander had gone into management in 1889. Two years later he took the St James’s Theatre, building up its reputation for stylish and accomplished pro- ductions of well-written plays.
    [Show full text]