Theatre Archive Project: Interview with Peter Bartlett
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Charles Frohman: Manager and Man, by Isaac 1
Charles Frohman: Manager and Man, by Isaac 1 Charles Frohman: Manager and Man, by Isaac The Project Gutenberg eBook, Charles Frohman: Manager and Man, by Isaac Frederick Marcosson and Daniel Frohman, et al This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Charles Frohman: Manager and Man Author: Isaac Frederick Marcosson and Daniel Frohman Release Date: July 29, 2008 [eBook #26146] Charles Frohman: Manager and Man, by Isaac 2 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CHARLES FROHMAN: MANAGER AND MAN*** E-text prepared by Robert Cicconetti, Chuck Greif, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 26146-h.htm or 26146-h.zip: (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h/26146-h.htm) or (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h.zip) CHARLES FROHMAN: MANAGER AND MAN by ISAAC F. MARCOSSON and DANIEL FROHMAN With an Appreciation by James M. Barrie Illustrated with Portraits New York and London Harper & Brothers M.C.M.X.V.I Charles Frohman: Manager and Man Copyright, 1916, by Harper & Brothers Copyright, 1915, 1916, by International Magazine Company (Cosmopolitan Magazine) Printed in the United States of America Published October, 1916 To The Theater Charles Frohman: Manager and Man, by Isaac 3 That Charles Frohman Loved and Served Nought I did in hate but all in honor! HAMLET Contents CHARLES FROHMAN: AN APPRECIATION I. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
A Short History Of
Formerly the Actors’ Orphanage Fund & the Actors’ Charitable Trust, TACT. A sketch of ACT’s history th to mark our 125 birthday by Robert Ashby, executive director Mrs Kittie Carson, wife of the editor of the Stage newspaper, became increasingly concerned about the welfare of actors and others connected with the theatre, particularly women and children. She felt that provision by other charities and friendly societies was inadequate; she disliked the requirement of several for one to be a member in order to benefit, that many had age restrictions, and that all were run by men. Mrs Carson’s first move in November 1891 was to found the Theatrical Ladies’ Guild (today The Theatrical Guild). Its purpose was quite simply to provide clothing, whether committee members’ cast-offs, donations from supporters, or items sewn and tailored by the Guild’s members themselves. Mrs Carson’s reasoning was that actresses who constantly travelled and who struggled to make ends meet, had no time to sew, and unemployed actresses certainly could not afford new clothes. Her new charity became closely linked with the Ladies’ Needlework Guild, and committee meetings seemed intertwined with ‘sewing bees’. Mrs Carson’s husband, Charles, alerted readers of the Stage to the need for help. The response from readers reinforced Mrs Carson’s sense of urgency in helping the profession’s children. Care of the young “would add solidity and prestige to the drama and its exponents”. Although the Actors’ Benevolent Fund had been asked repeatedly to take on responsibility for the children since 1888, it had been unwilling, already having so many incapacitated adult actors to support. -
Black & White Illustrated Budget
BUACR&WHITE Vol. v.—No. 93.] UDGET [July 20, 1901 Regd. at the G.P.O. as a Newspaper.] [Price 2(1. Post fre«, z^d. angloboerwar.com THE PATRIOTIC MEETING AT THE GUILDHALL — MR. THEOPHILUS SCHREINER ADDRESSKNG THE OVERFLOW MEETING FROM THE WINDOW OF THE ART GALLtRY" [Photo by the London Stereoscopic Co. 514 BLACK AND WHITE BUDGET July 20, 1901 the citiz-ens of London." Nothing more pitiable has occurred in "politics" since the time of the Tailors three. At the Guildhall the larger part of the two huge meetings were citizens and freemfyi, and all were residents of London. » ** Far from the noise oi war— unless it be a small grumbling about Sweden — lies Norway, with its wondrous hills and fiords. Thither many Britons have gone for a holiday, and a fine holiday it is. In our illustration are two strapping fisherwomen of Bergen watching a few tourists prowling abcH.it. The fisher-people of Bergen are called " Striler." * * ¥ A FINE Specimen of the Giant Lily Ls to be seen in Royal Park, Greenwich. An idea of the size is given by comparing it with the gardener alongside. He is standing level with the tree, although he appears to be kneeling. The sur- rounding plants come up to his knee. The lily has just added two more, making nineteen in all at the time of writing. It is nine feet high and eleven inches round the stalk near the ground. It is worth a visit. On page 540 is a list of the subscriptions received by me on behalf of the widow and four children of Joseph Thomp- son, who was killed while attempting to stop a runaway horse. -
Dramatic Opinions and Essays with an Apology by Bernard Shaw
DRAMATIC OPINIONS AND ESSAYS WITH AN APOLOGY BY BERNARD SHAW CONTAINING AS WELL A WORD ON THE DRAMATIC OPINIONS AND ESSAYS OF BERNARD SHAW BY JAMES HUNEKER VOLUME ONE NEW YORK: BRENTANO‟S, MCMXXII CONTENTS A Word on the Dramatic Opinions and Essays of Bernard Shaw by James Huneker The Author‟s Apology by Bernard Shaw Slaves of the Ring Two New Plays King Arthur Poor Shakespeare! An Old New Play and a New Old One Mr. Pinero‟s New Play The Independent Theatre Repents L‟Œuvre At the Theatres Two Bad Plays Spanish Tragedy and English Farce Mr. Irving Takes Paregoric The Two Latest Comedies A New Lady Macbeth and a News Mrs. Ebbsmith Sardoodledom Two Plays Duse and Bernhardt La Princesse Lointaine Mr. Daly Fossilizes Poor Shakespeare! Toujours Daly The Season‟s Moral 2 Romeo and Juliet Pinero As He Is Acted The Chili Widow More Masterpieces The New Magdalen and the Old Trilby and “L‟Ami des Femmes” The Case for the Critic-Dramatist Manxsome and Traditional The Divided Way Told You So The Old Acting and the New Mr. John Hare One of the Worst New Year Dramas Plays of the Week Michael and His Lost Angel Church and the Stage Dear Harp of My Country! The Tailor and the Stage Two Plays Pinero and Grundy on G.B.S. The Return of Mrs. Pat Boiled Heroine Mary Anderson 3 Nietzsche in English Two Easter Pieces Punch and Judy Again The Immortal William The Farcical Comedy Outbreak Henry IV Resurrection Pie G.B.S. on Clement Stone 4 A WORD ON THE DRAMATIC OPINIONS AND ESSAYS OF BERNARD SHAW BY JAMES HUNEKER THIS book is composed of selections from the dra- matic criticisms of Bernard Shaw, which ap- peared in the London Saturday Review, begin- ning January 5th, 1895, and ending May 21st, 1898— a notable period in the history of that journal, for it inaugurated the regime of Frank Harris, and the ad- vent of such brilliant writers as Shaw, Harris, MacColl, Runciman, Cunninghame Graham, and other distin- guished spirits. -
University Miaonlms International
INFORMATION TO USERS Tins reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality o f the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “ target" for pages apparently lacking from the document photographed is “ Missing Pagc(s)". If it was possible to obtain the missing pagc(s) or section, they arc spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method o f “ sectioning" the material has been followed. It is customary to begin filming at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
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. -
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. -
1 'Believe ME OR Not'
1 ‘Believe me or not’ Actresses, female performers, autobiography and the scripting of professional practice Maggie B. Gale Confessing the professional Borrowed for the title of my chapter, Believe Me or Not! was the first of two autobiographies written by the Gaiety Girl, stage and screen performer, writer and celebrity raconteur Ruby Miller (1889–1976). Published in 1933, after the early death of her husband, the pianist Max Darewski, the book takes the reader on a chronological journey through Miller’s career, from objectified ‘stage beauty’ to silent film star and society celebrity – with an uncanny onscreen resemblance to the film ‘vamp’ Pola Negri (Darewski [Miller], 1933: 178; Miller, 1962: 111–12). Miller’s intense autho- rial voice shifts in register between a woman concerned to assert her professional achievements and one still grieving for a love lost too soon. Her second autobiography, Champagne from My Slipper (Miller, 1962), repeats numerous anecdotes from the 1933 autobiography, but covers an additional thirty years of professional activity: it speaks to an altered market and an ageing, differently nuanced readership. Both autobiogra- phies articulate a professional presence in an industry transformed from one end of the century to another – by war, the emancipation of women, the development of the film industry and its impact on live theatre, by class conflict and shifts in the relationship between class and leisure, and by changed understandings of the social and cultural function of theatre. Miller challenges us to ‘believe her or not’ – and questions, up front, the precarious and fluid relationship between fact and fiction, through time and within the frame of autobiographical writing. -
By Doreen Helen Thompson BA, Unive
PROPRIETY AND PASSION: Images o£ the New Woman on the London Stage in the 1890s by Doreen Helen Thompson B.A., University of Victoria, 1982 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the A ( ' C i' T 1) Requirements for the Degree of ' a c u l rY I.M ' ! I. uLj!t;> DOCTOR OF PHILOSOPHY in the Department of Theatre OATF-__ We accept this thesis as conforming to the required standard Dr. Alan Hughes, ^Sapervisor "(bepartment of Theatre) Dr. Michael R. Booth, Departmental Member (Department of Theatre) Professoy Linda. Hardy, Departmental Member (Department of Theatre) Dr. Anthony W. Jenkins, 0uts4de Member (DC^T^tme^jof English) Dr. G»<Jrdana Lazarevich'. OutXide Member (Department of Music) r --- :-- 7— rr-- r------------- t-7------- :----- 7--------------- ;----- r Dr. JojA Kaplan, Exterr)#! Examiner (Department of English) (cT) DOREEN HELEN THOMPSON, 1992 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. ii Supervisor: Dr. Alan Hughes ABSTRACT The emergence of the New Woman in the 1890s was the result of a broad spectrum of feminist demands: equal advantages with men in education, entrance into "male" professions, and a share in the government of the country. Women's desire for personal freedom led to the removal of conventional restrictions with regard to dress, manners, and modes of living and to a rebellion against inequalities in marriage and double standards of morality. Within the theatre community, bold new patterns of thought developed out of a growing discontent with outworn forms. -
The Story of My Life by Ellen Terry</H1>
The Story of My Life by Ellen Terry The Story of My Life by Ellen Terry Produced by Suzanne Shell, Linda Cantoni and PG Distributed Proofreaders [Illustration: Ellen Terry drawn from photographs by Albert Sterner] THE STORY OF MY LIFE RECOLLECTIONS AND REFLECTIONS BY ELLEN TERRY [Illustration] page 1 / 522 ILLUSTRATED NEW YORK DOUBLEDAY, PAGE & CO. MCMIX _1908, The McClure Company_ 1907, 1908, The S.S. McClure Company 1907, 1908, Ellen Terry TO EDY CONTENTS INTRODUCTION page 2 / 522 I. A CHILD OF THE STAGE, 1848-56 The Charles Keans, 1856 Training in Shakespeare, 1856-59 II. ON THE ROAD, 1859-61 Life in a Stock Company, 1862-63 1864 III. ROSSETTI, BERNHARDT, IRVING, 1865-67 My First Impressions of Henry Irving IV. A SIX-YEAR VACATION, 1868-74 V. THE ACTRESS AND THE PLAYWRIGHT, 1874. Portia, 1875 Tom Taylor and Lavender Sweep VI. A YEAR WITH THE BANCROFTS VII. EARLY DAYS AT THE LYCEUM VIII. WORK AT THE LYCEUM IX. LYCEUM PRODUCTIONS page 3 / 522 X. LYCEUM PRODUCTIONS (_continued_) XI. AMERICA: THE FIRST OF EIGHT TOURS What Constitutes Charm XII. SOME LIKES AND DISLIKES XIII. THE MACBETH PERIOD XIV. LAST DAYS AT THE LYCEUM My Stage Jubilee Apologia The Death of Henry Irving Alfred Gilbert and others "Beefsteak" Guests at the Lyceum Bits From My Diary INDEX LIST OF ILLUSTRATIONS Ellen Terry page 4 / 522 Mr. and Mrs. Benjamin Terry Charles Kean and Ellen Terry in 1856 Ellen Terry in 1856 Ellen Terry at Sixteen "The Sisters" (Kate and Ellen Terry) Ellen Terry at Seventeen George Frederick Watts, R.A. -
5 November 1866 the Story of Henry Irving and Dion Boucicault’S Hunted Down, Or, the Two Lives of Mary Leigh
Maria Serena Marchesi 5 November 1866 The Story of Henry Irving and Dion Boucicault’s Hunted Down, or, The Two Lives of Mary Leigh Σ Skenè Texts • 1 Skenè Texts • 1 Maria Serena Marchesi 5 November 1866 The Story of Henry Irving and Dion Boucicault’s Hunted Down, or, The Two Lives of Mary Leigh Σ S K E N È Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi, Alessandro Serpieri. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editor Lisanna Calvi. Assistant Managing Editor Francesco Lupi. Copyeditors Marco Duranti, Flavia Palma, Antonietta Provenza. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Marco De Marinis, Tobias Döring, Pavel Drabek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Russ McDonald, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Supplement to SKENÈ Journal of Theatre and Drama Studies Copyright © 2016 S K E N È All rights reserved. ISBN 978-88-96419-82-3 ISSN 2464-9295 Printed in October 2016 No part of this book may be reproduced in any form or by any means without permission from the publisher S K E N È Theatre and Drama Studies http://www.skenejournal.it/texts-studies/index.php/TS [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. MBE150) Viale Colonnello Galliano, 51, 37138 Verona (I) Table of contents Chapter 1: 5 November 1866 1.1.