The Quaker Girl a Musical Play in Three Acts. Book by JAMES T
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Appendix 3 Operettas with English Librettos by Composers for the German Stage
Appendix 3 Operettas with English Librettos by Composers for the German Stage Fall, Leo The Eternal Waltz, Hippodrome, London, 22 Dec. 1911, 100 perfs. Clara Evelyn & Ackerman May (as Feo Lahll). Bk & lyrs: Austen Hurgon (one act); SD: Austen Hurgon; MD: Leo Fall. The Eternal Waltz, Palace Theatre, New York, 24 Mar. 1913 (12 perfs). Opening production at Palace Theatre. Fall, Richard Arms and the Girl, London Hippodrome, 29 Apr. 1912, 95 perfs. G. P. Huntley, May de Sousa, & Jean Aylwin. Bk & lyrs: Austen Hurgon. Felix, Hugo The Merveilleuses (later, The Lady Dandies), Daly’sTheatre,London,27 Oct. 1906, 197 perfs. Robert Evett (Dorlis) & Denise Orme (Illyrine). Bk: Basil Hood (after Victorien Sardou); Lyrs: Adrian Ross; P: George Edwardes; SD: J. A. E. Malone; MD: Barter Johns; DD: Willie Warde. Tantalizing Tommy, Criterion Theatre, New York, 1 Oct. 1912, 31 perfs. Bk: Michael Morton, after Paul Gavault’s play La Petite Chocolatière; Lyrs: Adrian Ross; P: A. H. Woods; SD: George Marion; MD: Hans S. Linne. The Pearl Girl, Shaftesbury Theatre, London, 25 Sep. 1913, 254 perfs. Bk & lyrs: Basil Hood; Music by Hugo Felix & Howard Talbot; P & SD: Robert Courtneidge; MD: Arthur Wood; DD: Willie Warde. 319 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 01 Oct 2021 at 18:51:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 320 Appendix 3 Operettas with English Librettos Pom-pom, Cohan Theatre, 28 Feb. 1916, 128 perfs. Bk & lyrs: Anne Caldwell; P: Henry W. -
Mag 31 Duplex
No.31 Billy & Bogey Patrons:Patrons: EricEric Parkin, Parkin, Susan Susan Tomes Tomes PeterPeter Jacobs Jacobs Feb. 2014 2 3 Contents : Feb. 2014 Page number “Old ones, new ones, loved ones, neglected ones” Semprini ................................................................................... 3 Brian Willey takes a personal look at the life and times of pianist SEMPRINI Philip Martin CD review ......................................................... 6 Christopher Duckett concert DVD ....................................... 7 Sir Malcolm Arnold CD review .............................................. 8 Frederick Hodges concert DVD .......................................... 9 Alex Hassan concert DVD .................................................. 12 Lionel Monckton ..................................................................... 14 BMS business ........................................................................... 15 BMS calendar of events ............................................................ 16 Editorial It seems the BBC's music channel, Radio 3, are planning an emphasis Semprini on British composers in the year ahead and inviting listeners to let them know which are their favourite works by natives of these shores. This Albert Semprini was a friend. I knew him to be an exceptionally gifted pupil. seems a good opportunity to remind them that they (shamefully) from the day he began his BBC The First World War was to have a broadcasting career and was responsible material effect upon the family's life. In neglect -
The Mousmé and the Cultural Mobility of Musical Comedy
6 Henry Balme Yale University, USA Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy Edwardian musical comedy had been sidelined in music and theatre histories due to its conservative design and frivolous narratives, but it is now being critically reassessed for the role it played in the creation of a first globalised network of theatre. The Mousmé is a work that exemplifies the process of performative re- contextualisation that accompanied musical comedies as they travelled from London’s West End across the world, as far as Yokohama and Tokyo. The work appealed to British audiences because it was held to be a realistic reconstruction of Japanese culture and society, but it was also enjoyed by Japanese audiences, despite its stereotypical portrayal of their people. This apparent dichotomy is explored in this essay, which presents little-known documents surrounding the production and its travels. It sheds light on how musical theatre became culturally mobile during the first age of globalisation. Henry Balme is a full-time Ph.D. candidate in Music History at the Department of Music of Yale University. He completed his M.St. at the University of Oxford (2015) and his B.Mus. at City, University of London. Keywords: Bandmann Opera Company, cultural mobility, Edwardian musical comedy, Florence Smithson, George Edwardes, globalisation, japonism, Maurice E. Bandmann, modernity ulture is rarely stable or fixed.1 This claim is corroborated by the global Ctransmission and reception of Edwardian musical comedy. For a long time the genre had been considered an obscure part of musical theatre history and thus demoted to the sidelines of musicology and theatre studies.2 It is now being critically re-assessed for the importance it played in the globalisation of theatre during the first fifteen years of the twentieth century: musical comedy became a medium of extraordinary mobility, transmitted via the transnational travel and communication networks that had been put into place during the nineteenth century. -
PDF Downloaden
Volkswirtschaft und Theater: Ernst und Spiel, Brotarbeit und Zirkus, planmäßige Geschäftigkeit und Geschäftlichkeit und auf der anderen Seite Unterhaltung und Vergnügen! Und doch hat eine jahrhundertelange Entwicklung ein Band, beinahe eine Kette zwischen beiden geschaffen, gehämmert und geschmiedet. Max Epstein1 The public has for so long seen theatrical amusements carried on as an industry, instead of as an art, that the disadvantage of apply- ing commercialism to creative work escapes comment, as it were, by right of custom. William Poel2 4. Theatergeschäft Theater als Geschäft – das scheint heute zumindest in Deutschland, wo fast alle Theater vom Staat subventioniert werden, ein Widerspruch zu sein. Doch schon um 1900 waren für die meisten deutschen Intellektuellen Geschäft und Theater, Kunst und Kommerz unvereinbare Gegensätze. Selbst für jemanden, der so inten- siv und über lange Jahre hinweg als Unternehmer, Anwalt und Journalist mit dem Geschäftstheater verbunden war wie Max Epstein, schlossen sie einander letztlich aus. Obwohl er lange gut am Theater verdient hatte, kam er kurz vor dem Ersten Weltkrieg zu dem Schluss: „Das Theatergeschäft hat die Bühnenkunst ruiniert“.3 In Großbritannien hingegen, wo Theater seit der Zeit Shakespeares als private, kommerzielle Unternehmen geführt wurden, war es völlig selbstverständlich, im Theater eine Industrie zu sehen. Der Schauspieler, Direktor und Dramatiker Wil- liam Poel bezeugte diese Haltung und war zugleich einer der ganz wenigen, der sie kritisierte. Wie auch immer man den Prozess bewertete, Tatsache war, dass Theater in der Zeit der langen Jahrhundertwende in London wie in Berlin überwiegend kom- merziell angeboten wurde. Zwar gilt dies teilweise bereits für die frühe Neuzeit, erst im Laufe des 19. -
THE TOREADOR (THE BULL FIGHTER) MUSICAL COMEDY in TWO ACTS by James T
This is a Temporary Program issued on account of the Strike of the Print- ing Press Feeders' Union ======= THE AUDITORIUM. MILWARD ADAMS, Manager. TWO WEEKS BEGINNING Monday, October 5th, 1903 Annual Benefit of the Policemen's Benevolent Association SAM S. SHUBERT AND NIXON & ZIMMERMAN Presenting Jefferson DeAngelis and Company In Mr. George Edwardes' Reigning London Gaiety Theatre Success THE TOREADOR (THE BULL FIGHTER) MUSICAL COMEDY IN TWO ACTS By James T. Tanner and Harry Nichols. Lyrics by Adrian Ross and Percy Greenbank. Music by Ivan Caryll and Lionel Monckton ALFRED DALBY, Musical Director. CAST OF CHARACTERS. AugustusTraill, of the British Consulate at Villaya Mr. John Dudley Pettifer, a dealerin Wild animals Mr. Wm Blaisdell Sir Archibald Slackett, Bart Mr. Edgar Norton Rinaldo, a Carlist Mr. Chas. Dungan Governor of Villaya Mr. F. S. Heck Bandmaster of Asylum Band Mr. Chas. V. Clark Carajolo, a Toreador Mr. Edw. Metcalfe Mr. Probitt, a Solicitor Mr. Edgar James Moreno, Carajolo's friend Mr. William Pullman Sammy Gigg, a footmanor tiger Mr. Jefferson DeAngelis NancyStanton Miss MargaretMcKinney Dora Selby, a ward in chancery. Miss Norma Bell Susan, proprietressof the Magazine des Fleurs, Grand Hotel, Biarritz Miss Edna Burd Mrs. Malton Hoppings, a rich widow Miss Bertha Ricci Dona Teresa Miss Adine Bouvier Lady Visitors—Misses Vorce, Clemens, Anderson, L. Fallin, Clemens and Gilmore. Bridesmaids—Misses De Silva, N. Metcalfe, Weston, Barry Fallin and E. Johnstone. Shop Girls Misses Hartford, Canavan Merrill, DuPont, Kavanaugh,Waldo,— Robinson, Belding, Hamilton and Stevens. English Girls—Misses Arden and Weldon. The Asylum Baud—Messrs. Rabon, Clark, Robinson, Collins and LaMar. -
The Circus Girl
THE CIRCUS GIRL A musical play in 2 acts, 4 scenes: Book by James T. Tanner and Walter Palings; Lyrics by Harry Greenbank and Adrian Ross; Music by Ivan Caryll; additional numbers by Lionel Monckton. Daly's Theatre, Broadway- 23 April, 1897 (75 perfs) Reopened 16 August 1897 (97 perfs) total perfs 172. Gaiety Theatre, London - 5 December, 1896 (494 perfs) SYNOPSIS Dick Capel deputized occasionally at a Paris circus as "The Cannon King", impressing pretty Dora Wemyss, a school girl. Dick, however, is engaged to be married. Dora's father, Sir Titus, an English tourist, has been hiding in the cannon, because he has been flirting with the circus girls and is avoiding his wife. Dick shoots Sir Titus out of the cannon. Meanwhile Bugs, a silly American bartender, agrees to fight a celebrated wrestler, The Terrible Turk, in order to win over Lucille, the girl who walks the slack wire. La Favorita is a bareback rider. MUSICAL NUMBERS: 1. Mi Carême - Opening Chorus 2. The Barman - Biggs and chorus 3. I Love Her - Dick, Reggie and Biggs 4. The Uses of Advertisement - Drivelli and chorus 5. La Favorita - La Favorita 6. Professions - Lucille and Biggs 7. A Paris - Dora 8. In the Ring - Dora and Dick 9. Now You Know Your Way - Gaston and chorus 10. A Wet Day - Dick and chorus 11. The Master of the Ring - Albertoni 12. A Circus Girl - La Favorita 13. She Never Did the Same Thing Twice - Dick and chorus 14. Farandole - Chorus 15. Wine, Women and Waltz - Gaston 16. A Simple Little String - Dora 17. -
London Musicals 1920-1924.Pub
1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original. -
The Théâtre Musical Léger in Europe: from the Operetta to the Music-Hall
INTERNATIONAL CONFERENCE The THÉÂTRE MUSICAL LÉGER in Europe: From the Operetta to the Music-hall 5-7 October 2015 Lucca, Complesso Monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane, Venice PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org The THÉÂTRE MUSICAL LÉGER in Europe: From the Operetta to the Music-hall International Conference 5-7 October 2015 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice ef Scientific Commitee Olivier Bara (CNRS-Université Lyon 2) Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini) Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Michela Niccolai, Conference director (Bibliothèque Historique de la Ville de Paris – ART) ef Keynote Speakers Olivier Bara (CNRS-Université Lyon 2) Michela Niccolai (Bibliothèque Historique de la Ville de Paris – ART) MONDAY 5 OCTOBER 9.30-10.30: Welcome and Registration 10.30-11.00: Opening • Fulvia Morabito (President Centro Studi Opera Omnia Luigi Boccherini) • Étienne Jardin (Palazzetto Bru Zane, Venice) • Michela Niccolai (Bibliothèque Historique de la Ville de Paris – ART) 11.00-12.30: Entertainment System in the European Countries: United Kingdom (Chair: Clair Rowden, Cardiff University, UK) • William A. Everett (University of Missouri-Kansas -
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. -
Jan. 2008 No. 25
Jan. 2008 No. 25 Patrons: Sir Richard Rodney Bennett Eric Parkin, Susan Tomes, Peter Jacobs 3 2 Contents January 2008 Page No. SWCD33 Dizzy Fingers, Piano Rolls Selected & Played by Philip Legg The history of recorded performances of Dizzy Fingers Alex Hassan 3 to breathe life into, when in comes to rolls. player piano rolls, on LPs and Cds, is Sport Model Encore a review. Mike Harth 4 Forgive me, Phil, but I fast-forwarded indeed a checkered one. Whether the through said tracks...On the other hand, Sometimes when we touch. John Watson 6 Edwardian Musical Comedy Mike Harth 9 ghastly honky-tonked sound of there are some real dazzlers here: the title My Friend Bill John Archer 12 lacquered hammers striking poor, track, for example. Victor Arden, one of defenseless piano strings at runawa train Bugatti Step & Fidgety Digits Mike Lorenzini 15 the preeminent pianist-arrangers of the tempi on 1950s LPs, or the pathetic 20s, breathes imaginative life into what Editor : Mike Harth, artwork & layout : Mike Lorenzini, typing :Kathy Lorenzini attempts of Joseph "Sony Superscope" was to become a fairly tired chestnut of the ------------------------------------------------------------------------------------------------- Tushinsky to reanimate classical pianists novelty repertoire. The uncredited of the past in his Keyboard Immortals arrangement of "It All Depends on You" is The BMS now has updated its website. www.billymayerlsociety.co.uk LPs of the 60s, or compilations of a wonderful toe-tapper. J.L.Cook's 1930s courtesy of BMS member Roy Wainwright ragtime/novelty, well into the 1970s, that Kern medley is gorgeous. Arden's "Toot to include a lot of the artwork covers to Billys music.