DOCSLIB.ORG

PANTOMIMES, EXTRAVAGANZAS & BURLESQUES Catalogue: Helen Smith & Ed Nassau Lake

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PANTOMIMES, EXTRAVAGANZAS & BURLESQUES Catalogue: Helen Smith & Ed Nassau Lake JARNDYCE 508 Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 7631 4220 (opp. British Museum) Fax: 020 7631 1882 Bloomsbury, Email: [email protected] London www.jarndyce.co.uk WC1B 3PA VAT.No.: GB 524 0890 57 CATALOGUE CCXLI SUMMER 2020 PANTOMIMES, EXTRAVAGANZAS & BURLESQUES Catalogue: Helen Smith & Ed Nassau Lake. Production: Carol Murphy & Ed Nassau Lake. All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items marked with a dagger (†) incur VAT (20%) to customers within the EU. A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD, Bank Transfer and Sterling Cheque. High resolution images are available for all items, on request; please email: [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE include: The Museum; The Dickens Catalogue; XIX Century Fiction, Part I A-K; Turn of the Century; Women Writers Parts I-IV; Books & Pamphlets 1505-1833; Plays, 1623-1980. JARNDYCE CATALOGUES IN PREPARATION include: 17th & 18th Century Books & Pamphlets; The Romantics, part I: A-C; XIX Century Fiction Part II, L-Z; English Language, including dictionaries. PLEASE REMEMBER: If you have books to sell, please get in touch with Brian Lake at Jarndyce. Valuations for insurance or probate can be undertaken anywhere, by arrangement. A SUBSCRIPTION SERVICE is available for Jarndyce Catalogues for those who do not regularly purchase. Please send £30.00 (£60.00 overseas) for four issues, specifying the catalogues you would like to receive. PANTOMIMES, EXTRAVAGANZAS & BURLESQUES ISBN: 978 1 910156-33-9 Price £10.00 Front cover adapted from item 469; back cover adapted from item 510 Brian Lake Janet Nassau INTRODUCTION Pantomime developed from the commedia dell’arte character of Harlequin; the ‘harlequinades’ of the early eighteenth century were mimed, with ‘slapstick & tomfoolery’. But David Garrick, at Drury Lane Theatre, successfully reworked the harlequinade with a speaking Harlequin; Henry Woodward wrote new plays based on old English folk stories like Dick Whittington, Robin Hood, and The Children of the Wood. As pantomime evolved, more domestic stories and topical satire began to replace classical tales. After Joseph Grimaldi’s performance in Mother Goose at Covent Garden in 1806, the clown began to take over from Harlequin as the star. The pantomime increased in popularity with the introduction of elaborate scenery and stage effects in the fairytale extravaganzas of James Robinson Planché, first staged at the Olympic Theatre in 1831, and the reintroduction of ‘Harlequin’ in many new guises. Until 1843, there were restrictions on the use of spoken word in performances, but the Theatres Act allowed any theatre without a royal patent to produce a play with purely spoken dialogue. Now witty puns, word play and audience participation were added to the repertoire of mime, daring chase scenes and spectacular transformations. Favourite fairytale characters, magical animals, principal boys and pantomime dames all became part of the experience. ‘Burlesques’ of the period followed the form of pantomimes and extravaganzas, but had the specific quality of caricaturing well-known, serious, plays. By the late nineteenth century, the most extravagant productions at the largest London theatres could last up to five hours and featured clever stage tricks, stunning costumes and huge casts. It became customary for pantomimes to open on Boxing Day, linking pantomime with Christmas. This catalogue consists largely of ‘word books’ for productions from the mid- eighteenth through to the mid-twentieth century. The first section lists the primary texts chronologically by title; part two records less famous pantomimes as well as extravaganzas and burlesques, alphabetically by author. Part three lists pantomime and other playbills by place & theatre, the catalogue concluding with a miscellany of associated material. Two people have made this catalogue possible: Henry Hoppe and Helen Smith. Henry sold us a large part of his pantomime collection and the following note is by him: “A long time ago the Third Programme transformed my life. On Christmas night the annual pantomime was broadcast from The Players Theatre in London. At the time I knew nothing of The Players’ tradition of editing and adapting early Victorian pantomimes in a way that made them enjoyable for a twentieth- century audience. Sadly, The Players are no more, but through their pantomimes I became acquainted with ‘pantomimists’ such as H.J. Byron and E.L. Blanchard. I was charmed by their rhyming couplets, appalling puns and pretty little ditties sung to melodies like the Londonderry Air. It was all very different to my local theatre in Windsor where 1960s’ audiences were enthralled by the beautiful daughters of John Counsell and entertainers such as Joe Brown, Bryan Burdon and Julian Orchard. These productions where written almost entirely in prose, larded with slightly risqué jokes and included the latest from the world of pop music. I wanted to know how and why the pantomime tradition had changed so dramatically. I read all the books I could find and made friends with a number of dealers in theatrical memorabilia and books. My speciality became pantomime word books and with the help of booksellers, I built up a fairly large collection. Many of these were rarities and often sold at prices which were a challenge for the pocket of a young civil servant. These ‘books of words’ provided me with a unique insight into how pantomimes responded to social changes in the nineteenth and twentieth centuries; the stiff formality of the theatre of pre- Dickensian London changed under challenge, as the uninhibited stars of the music hall laid siege to pantomime. Then came the khaki-clad stars of the Great War pantomimes who valiantly tried to cheer up the wives and children of British Tommies. Finally I saw the glamour and grandeur of the Lyceum pantomimes of the 1920’s and 30’s trying to draw audiences away from the cinema. I loved my collection and I hope it gives pleasure to others.” This is the final catalogue of Helen Smith, who worked for Jarndyce for 35 years but sadly died in 2018. One of Helen’s specialities was theatre – she worked for the V&A’s Theatre Museum, and curated a Garrick collection for the British Library – and she was responsible for nearly a dozen Jarndyce catalogues of Plays and Theatre History. She took a particular interest in the popular theatre of the Victorian era – and the musical hall, which developed from tavern entertainments of the 1830s. The final section of this catalogue includes books on pantomime history from Helen’s personal reference collection which are marked **. Brian Lake, Janet Nassau, Ed Nassau Lake April 2020 *Note on scarcity: Most of the items offered here are ephemeral; many are unrecorded, or only recorded in one or two copies on Copac (now transitioning to the unhappy acronym ‘JISChub’) The V&A has the best collection in the U.K., but the poor holdings of other major libraries show that pantomime has been a neglected area. 83 CONTENTS items I. THE MAJOR PANTOMIMES Word Books by Title 1-190 II. BURLESQUES, EXTRAVAGANZAS & OTHER PANTOMIMES Word Books by Author 191-384 III. PLAYBILLS By Theatre 385-464 IV. BOOKS ABOUT PANTOMIME Including Programmes 465-547 TITLE INDEX AUTHOR INDEX THEATRE INDEX ALADDIN I THE MAJOR PANTOMIMES Word books by Title ALADDIN A folk tale of Middle Eastern origin, Aladdin was introduced to Great Britain in One Thousand and One Nights. The first pantomime based on the tale was written by John O’Keeffe for the Theatre Royal, Drury Lane, in 1788: Aladin; or, The Wonderful Lamp. A Pantomime entertainment. 1. À BECKETT, Gilbert Abbott. (Aladdin.) The Wonderful Lamp in a New Light; being an illustrated edition of the story of Aladdin. First performed at the Princess’s Theatre, on Thursday, July 4th, 1844. W.S. Johnson. Disbound. 24pp. ¶ Cambridge & Durham only. [1844] £45 2. ADAMS, Marion L. (Aladdin.) The Slave of the Lamp. A fairy-tale play. Stead’s Publishing House. (Books for the Bairns, no. 117.) 4pp ads; sl. browned. Orig. pink printed paper wrappers; dulled. 58pp. ¶ Oxford & V&A only. ‘Or, Aladdin in Japan’ on wrapper. [1905] £30 BIRMINGHAM 3. ANDERTON, John. (Aladdin.) Grand Christmas Pantomime, entitled, Aladdin. 1892-3. Book of the words. n.p. Ads. Orig. orange wrappers printed in red & black; sl. marked with minor tears at edges. 52pp. ¶ Not on Copac. The Prince of Wales Theatre, Birmingham pantomime, price 2d. The Theatre Royal, Birmingham Book of words 1896-7 is in exactly the same style. 1892 £35 4. ANONYMOUS. Aladdin; or, The Wonderful Lamp: a grand romantic spectacle, in two acts. ... John Cumberland. Front. by R. Cruikshank; marked. Disbound. 36pp. ¶ Cambridge & NLW only. Listing Covent Garden casts from 1826 and 1836 so not the version by George Soane. It may be related to the 1813 Covent Garden pantomime with the same title which was devised by Charles Farley. [1836?] £30 5. BLANCHARD, Edward Leman. Aladdin. Book of the Words (Book of the Words.) Music by Oscar Barrett. Invented, staged, and produced at the Theatre Royal, Drury Lane 1885-6, by Augustus Harris. Alfred Gibbons. Illus, music, ads. Without wrappers. Disbound. 60pp. ¶ Glasgow & V&A only. 1885 £38 ‘BY THE BROTHERS GRINN’ 6. (BLANCHARD, Edward Leman & GREENWOOD, Thomas Longdon) (Aladdin.) Harlequin Aladdin and the Wonderful Lamp, or The Flying Palace and Big Ben of Westminster. Written by the Brothers Grinn, and produced under the direction of E.F. Edgar. Aubert’s Steam Printing Works. Orig. orange printed wrappers; badly dusted and creased or chipped at corners. 24pp. ¶ Oxford only. Title headed: Royal Aquarium (Great Yarmouth) Grand Christmas Pantomime. 1878-79. Wrapper title is simply ‘Aladdin’. 1878 £35 BYRON, Henry James 7.
Load more

Recommended publications
  • Recollections and Reflections, a Professional Autobiography
    ... • . .... (fcl fa Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the estate of MARION WALKER RECOLLECTIONS AND REFLECTIONS. RECOLLECTIONS AND REFLECTIONS OF J. E. PLANCHE, (somerset herald). ^ |]rofcssiona( gaifobbcjrapbtr. " I ran it through, even from my boyish days, To the very moment that he bade me tell it." Othello, Act i., Scene 3. IN TWO VOLUMES. VOL. II. LONDON: TINSLEY BROTHERS, 18, CATHERINE STREET, STRAND. 1872. ..4^ rights reserved. LONDON BRADBURV, EVANS, AND CO., PRINTERS, WHITBFRIAR,-!. ——— CONTENTS. CHAPTER I. VAGK Another Mission to Paris—Production of " Le Domino Noir"— Mr. and Mrs. Charles Gore—Dinner at Lord Lyndhurst's Mons. Allou, Vice-President of the Society of Antiquaries of France—The Duke D'Istrie and his Collection of Armour Her Majesty's Coronation—" Royal Records "—Extension of Licence to the Olympic and Adelphi Theatres—" The Drama's Levee"—Trip to Calais with Madame Yestris and Charles Mathews previous to their departure for America—Visit to Tournehem—Sketching Excursion with Charles Mathews Marriage of Madame Vestris and Charles Mathews—They sail for New York—The Olympic Theatre opened under my Direc- tion—Farren and Mrs. Nisbett engaged—Unexpected return of Mr. and Mrs. Mathews—Re-appearance of the latter in " Blue Beard "— " Faint Heart never won Fair Lady "—"The Garrick Fever"—Charles Mathews takes Covent Garden Theatre CHAPTER II. Death of Haynes Bayly—Benefit at Drury Lane for his Widow and Family—Letters respecting it from Theodore Hook and Mrs. Charles Gore—Fortunate Results of the Benefit—Tho Honourable Edmund Byng—Annual Dinner established by him in aid of Thomas Dibdin—Mr.
    [Show full text]
  • I‟Ve Done a Lot of Lecturing. Well. Talking. I‟Ve Talked
    I‟ve done a lot of lecturing. Well. Talking. I‟ve talked to journalism students, I‟ve talked to film production students, I‟ve talked to people who want to be radio presenters. I talk on the radio quite a lot. I‟ve even talked to Women‟s Institutes and Rotary clubs. Once, I accidentally talked to a classroom full of police officers while in the line of a duty as a local newspaper reporter. When I say accidentally, I mean in the literal sense - an accident being an unfortunate incident that happens unexpectedly. I‟ll come back to that. But this is something of a first. Lecturing at this festival about this particular subject. Thank you for being here at the special moment when a journalist, writer and broadcaster becomes a man. That is to say, a bona fide, Ilkley Lit Fest lecturer. First I have to say thank you to the Walter Swann Trust for asking me to deliver this inaugural lecture. A genuine privilege to honour a really good man and one who I know meant a lot to this community. He meant a lot to this beautiful town. Actually, I should say this beautiful, somewhat gentrified, Yorkshire town. Because that is, after a fashion, going to be the subject of this lecture. Me, standing here, in this beautiful, somewhat gentrified, Yorkshire town, talking about theatre. When preparing for tonight, I read that you should give your lecture a title. So the inaugural Walter Swan lecture is called: Gentrification, storming the Castle and Accidentally Lecturing a Classroom Full of Police Officers.
    [Show full text]
  • Visuality and the Theatre in the Long Nineteenth Century #19Ctheatrevisuality
    Visuality and the Theatre in the Long Nineteenth Century #19ctheatrevisuality Henry Emden, City of Coral scene, Drury Lane, pantomime set model, 1903 © V&A Conference at the University of Warwick 27—29 June 2019 Organised as part of the AHRC project, Theatre and Visual Culture in the Long Nineteenth Century, Jim Davis, Kate Holmes, Kate Newey, Patricia Smyth Theatre and Visual Culture in the Long Nineteenth Century Funded by the AHRC, this collaborative research project examines theatre spectacle and spectatorship in the nineteenth century by considering it in relation to the emergence of a wider trans-medial popular visual culture in this period. Responding to audience demand, theatres used sophisticated, innovative technologies to create a range of spectacular effects, from convincing evocations of real places to visions of the fantastical and the supernatural. The project looks at theatrical spectacle in relation to a more general explosion of imagery in this period, which included not only ‘high’ art such as painting, but also new forms such as the illustrated press and optical entertainments like panoramas, dioramas, and magic lantern shows. The range and popularity of these new forms attests to the centrality of visuality in this period. Indeed, scholars have argued that the nineteenth century witnessed a widespread transformation of conceptions of vision and subjectivity. The project draws on these debates to consider how far a popular, commercial form like spectacular theatre can be seen as a site of experimentation and as a crucible for an emergent mode of modern spectatorship. This project brings together Jim Davis and Patricia Smyth from the University of Warwick and Kate Newey and Kate Holmes from the University of Exeter.
    [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]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Brotherton Library Nineteenth-Century Playbills Handlist of Playbills of the Nineteenth Century Given to the Library by Mrs Blan
    Brotherton Library Nineteenth-Century Playbills Handlist of playbills of the nineteenth century given to the Library by Mrs Blanche Legat Leigh (died 194 5) and Professor P.H. Sawyer. The collection is shelved in Special Collections: Theatre: Playbills Contents Pages 1-7: 1-65: Given by Mrs Leigh Pages 8-9: 66-75: Given by Professor Sawyer Pages 10-2 9: Index of Authors, Titles and actors 1 -65: Playbills given by Mrs Leigh 1. 7th Feb. 1806. Theatre Royal, Drury Lane. The Travellers; or, Music's Fascination, by Andrew Cherry (17 62 -1812). Three Weeks after Marriage, by Arthur Murphy (1727-1805), 2. 14th Feb. 1807. Theatre Royal, Drury Lane. The Jealous Wife, by George Colman the elder (1732-94); Tekeli; or, The Siege of Montgatz, by Theodore Edward Hook (17 88-1841). 3. 10th Nov. 1808. Theatre Royal, Drury Lane. The Siege of St. Quintin; or, Spanish Heroism, by T . E. Hook; : The Spoil'd Child, by Isaac Bickerstaffe (173 5-1812), 4. 24th July, 1810. Lyceum Theatre, English Opera. The Duenna, by Richard Brinsley Sheridan (1751- 1816); Twenty Years Ago! by Isaac Pocock (17 82 -183 5). 5. 1st April, 1811. King's Theatre, Haymarket. The Earl of Warwick. .6. 10th Oct. 1812. Theatre Royal, Drury Lane. Hamlet, Prince, of Denmark, by William Shakespeare (1564 -1616); The Devil to Pay; or, The Wives Metamorphosed, by Charles Coffey (d.1745) and John Mottley (1692-1750). 7. 25th May, 1813. Theatre Royal, Covent Garden. The Gameste; by Mrs Susannah Centlivre (1667-1723); The Devil to Pay, by C. Coffey and J.
    [Show full text]
  • Spring 2015 Incorporating Islington History Journal
    Journal of the Islington Archaeology & History Society Journal of the Islington Archaeology & History Society Vol 5 No 1 Spring 2015 incorporating Islington History Journal Threat to Angel landmarks Crossrail is called on to change its plans, so Angel’s historic buildings – including its former inn – will not be demolished to make way for the new railway How language affects how we understand history l Film to show changes in a square over 50 years l Visit the Clerks’ Well l Growing up in postwar Islington l Dolls’ houses reflect architecture and society l The industrious inventor Mr Coan l Bedlam burial records go online l Stepping in for Shoreditch l Books and events l Your local history questions answered About the society Our committee What we do: talks, walks and more Contribute to this and contacts heIslington journal: stories and President Archaeology&History pictures sought RtHonLordSmithofFinsbury TSocietyishereto Vice president: investigate,learnandcelebrate Wewelcomearticlesonlocal MaryCosh theheritagethatislefttous. history,aswellasyour Chairman Weorganiselectures,tours research,memoriesandold AndrewGardner,andy@ andvisits,andpublishthis photographs. islingtonhistory.org.uk quarterlyjournal.Wehold Aone-pagearticleneeds Membership, publications 10meetingsayear,usually about500words,andthe and events atIslingtontownhall. maximumarticlelengthis CatherineBrighty,8 Wynyatt Thesocietywassetupin 1,000words.Welikereceiving Street,EC1V7HU,0207833 1975andisrunentirelyby picturestogowitharticles, 1541,catherine.brighteyes@ volunteers.Ifyou’dliketo
    [Show full text]
  • Convert Finding Aid To
    Peter Glenville: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Glenville, Peter, 1913-1996 Title: Peter Glenville Papers Dates: 1914-2001 Extent: 37 document boxes, 5 oversize boxes, 4 oversize flat files (osf) (17.64 linear feet) Abstract: The Peter Glenville Papers embrace correspondence, business records, address books, appointment books, photographs, clippings, and personal documents. Spanning the years 1914 to 2001, the collection is largely in its original order, with the material in each series arranged alphabetically by original file title. Language: English Access: Open for research. Some materials have mold damage; see the Condition Note concerning access to these materials. Condition Note: Portions of the Peter Glenville Papers were damaged by mold during storage in the years after Glenville’s death. Most of the damaged materials were in sufficiently sound condition to permit the Ransom Center’s Conservation Department to clean them so that they could be safely handled and viewed with proper precautions. During cataloging, preservation photocopies were made of all personal correspondence located within the moderately mold-damaged materials (boxes 30-37) and these surrogates are now interfiled in the undamaged papers (boxes 1-29) to facilitate use of the collection. All photocopies are marked "Preservation photocopy of mold-damaged original in the Peter Glenville Papers." Researchers wishing to access the moderately mold-damaged originals located in boxes 30-37 are cautioned that while the Conservation Department has treated these manuscripts for mold infestation by aspiration and/or dry cleaning, mold may still be present. Users sensitive to mold should wear gloves and a dust/mist respirator while handling this material.
    [Show full text]
  • An Actors Story
    AN ACTOR ’S STORY B RA N S BY WILL IA M S FVITH N UAIE R 0 US [ LL US TRA T1OA 'S L O N DO N ° C HA P A N HA L L LTD (5 . M , I 9 0 9 M Y W IF E P R E FA C E bo o k IN submitting this to the public , con o n scious of all its shortcomings , I can ly hope for the same good-natured indulgence in my new 7618 off the stage as is invariably given me - in my well tried 77576 5 on it . The bo o k owes its existence to my many friends w ho have pressed me into this new “ it nu part . H aving accepted , not a little willingly—for I know my limitations perhaps better than they— I can but trust that the public will be lenient in its judgment of my performance . am am I bound to confess , however, that I seized with no little amount of “ stage fright ” now that I make my fi rs t appearance in this new character , although I was as willing to try my hand at autho t ship as the gentleman Vll viii P R E FA C E c o u d a who , when he was asked if he l pl y the “ ’ violin , said , I never have , but I don t mind trying ” ! My best thanks are offered , for kind per M r. G mission to use photographs , to . Hana, M r Bedford Street , Strand . Reinhold Thiele , M R Pr th ro e r.
    [Show full text]
  • The Farces of John Maddison Morton
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage­ ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr.
    [Show full text]
  • Contemporary Productions of Gilbert & Sullivan's the Pirates of Penzance
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance Julia Winstead University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Winstead, Julia, "Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance" (2007). Electronic Theses and Dissertations, 2004-2019. 3414. https://stars.library.ucf.edu/etd/3414 FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN’S THE PIRATES OF PENZANCE. by JULIA COURTNEY WINSTEAD B.A. Murray State University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts & Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ABSTRACT The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D‟Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done.
    [Show full text]
  • Music Hall, C
    NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available NOTE TO USERS The cassette is not included in this original manuscript. It is available for consultation at the author's graduate school library. From the Provinces: The Representation of Regional Identity in the British Music Hall, c. 1880-1914 by Nicole Amanda Gocker A Thesis submitted to the Department in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada June, 1998 O Nicole Amanda Crocker National Libtary Bibliothbque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON K1A ON4 OFtawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lîbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or selI reproduire, prêter, distn'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othhse de celle-ci ne doivent être imprimes reproduced without the author's ou autrement reproduits sans son oennission.
    [Show full text]