DOCSLIB.ORG

The Cambridge Companion to the Musical Edited by William A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cambridge Companion to the Musical Edited by William A Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the Musical Tracing the development of the musical both on Broadway and in London’s West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover the history of the genre from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception and traditions. All of the chapters from the first edition remain – several in updated forms – and five new chapters have been added, covering ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions. William A. Everett is Associate Professor of Musicology at the University of Missouri–Kansas City. Paul R. Laird is Professor of Musicology at the University of Kansas. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the MUSICAL ............ SECOND EDITION edited by William A. Everett and Paul R. Laird © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information University Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 4843/24, 2nd Floor, Ansari Road, Daryaganj, Delhi - 110002, India 79 Anson Road, #06-04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9780521680844 © Cambridge University Press 2002, 2008 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Second edition 2008 Reprinted 2009 A catalogue record for this publication is available from the British Library Library of Congress Cataloging in Publication data The Cambridge companion to the musical/edited by William A. Everett and Paul R. Laird. – 2nd edn. p. cm. Includes bibliographical references (p. 372) and index. ISBN 978-0-521-86238-7 (hardback) – ISBN 978-0-521-68084-4 (pbk.) 1. Musicals–History and criticism. 2. Musical theater–History. I. Everett,William A., 1962– II. Laird, Paul R. III. Title. ML2054.C35 2008 782.1´4–dc22 2007053042 ISBN 978-0-521-68084-4 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information Contents List of illustrations [page vii] Notes on contributors [ix] Preface to the second edition [xiv] Part I r Adaptations and transformations: before 1940 1 American musical theatre before the twentieth century Katherine K. Preston [3] 2 Non-English-language musical theatre in the United States John Koegel [29] 3 Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920 Orly Leah Krasner [54] 4 American and British operetta in the 1920s: romance, nostalgia and adven- ture William A. Everett [72] 5 Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess John Graziano [89] 6 The melody (and the words) linger on: American musical comedies of the 1920s and 1930s Geoffrey Block [103] Part II r Maturations and formulations: 1940–1970 7 ‘We said we wouldn’t look back’: British musical theatre, 1935–1960 John Snelson [127] 8 The coming of the musical play: Rodgers and Hammerstein Ann Sears [147] 9 The successors of Rodgers and Hammerstein from the 1940s to the 1960s Thomas L. Riis and Ann Sears [164] 10 Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein bruce d. mcclung and Paul R. Laird [190] Part III r Evolutions and integrations: after 1970 11 Stephen Sondheim and the musical of the outsider Jim Lovensheimer [205] 12 Choreographers, directors and the fully integrated musical Paul R. Laird [220] [v] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information vi Contents 13 From Hair to Rent: is ‘rock’ a four-letter word on Broadway? Scott Warfield [235] 14 The megamusical: the creation, internationalisation and impact of a genre Paul Prece and William A. Everett [250] 15 ‘Something borrowed, something blue’: the marriage of the musical and Europe Judith Sebesta [270] 16 New horizons: the musical at the dawn of the twenty-first century Bud Coleman [284] Part IV r Legacies and transformations 17 Why do they start to sing and dance all of a sudden? Examining the film musical Graham Wood [305] 18 Revisiting classic musicals: revivals, films, television and recordings Jessica Sternfeld [325] 19 The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked Paul R. Laird [340] Notes [353] Select bibliography [372] Index [386] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information Illustrations 1 Scenic design for Act 2 from Emma Abbott’s production of the opera Paul and Virginia by Victor Masse´ (1872) showing the interior of the plantation home of Mons. St. Crois on ‘a picturesque island off the coast of Africa’. Tams-Witmark Collection, University of Wisconsin-Madison [page 23] 2 ‘A Brivele dem Taten’ (A Little Letter to Papa) (1911). Words and music by Solomon Smulewitz (1868–1943), arranged by Joseph Rumshisky (1881– 1956) [41] 3 Libretto cover from ‘Klein-Deutschland’ (Little Germany) (1897) by Adolf Philipp [46] 4 Editorial cartoon concerning the popularity of The Merry Widow from The Evening American, 1909 [62] 5 The original New York production of The Student Prince with Ilse Marvenga and the Male Chorus. Photo courtesy of The Shubert Archive [78] 6 A production of Show Boat, c. 1938 at the St Louis Municipal Opera. Photo courtesy of the Municipal Theatre Association of St Louis [100] 7 Gertrude Lawrence with the doll that George Gershwin gave her to hold while singing ‘Someone to Watch Over Me’ in Oh, Kay! Photo courtesy of New York Public Library, Billy Rose Theatre Collection [121] 8 Programme cover from original production of Twenty to One (12 November 1935, Coliseum). Photo from private programme collection of John Snelson [128] 9 Programme cover from the 1945 revival at the Victoria Palace of Me and My Girl (original premiere 16 December 1937, Victoria Palace). The design is the same as the original cover and Lupino Lane starred in both productions. Photo from private programme collection of John Snelson [136] 10 Programme cover from the original production of Bless the Bride (26 April 1947, Adelphi Theatre). Photo from private programme collection of John Snelson [136] 11 Programme cover from original production of Gay’s the Word (16 February 1951, Saville Theatre). Photo from private programme collection of John Snelson [136] 12 Programme cover from Expresso Bongo (23 April 1958, Saville Theatre). Photo from private programme collection of John Snelson [136] 13 Shirley Jones as Maria with the children in the 1977 production of The Sound of Music at Starlight Theatre, Kansas City, Missouri. Photo courtesy of Starlight Theatre, Kansas City, Missouri [161] [vii] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information viii List of illustrations 14 Carol Channing in the 1977 production of Hello, Dolly! at Starlight Theatre, Kansas City, Missouri. Photo courtesy of Starlight Theatre, Kansas City, Missouri [187] 15 Lotte Lenya performing the song ‘Pirate Jenny’ with Leonard Bernstein conducting during concert production of The Threepenny Opera at Festival of the Creative Arts, Brandeis University, 1952. Photo courtesy of The Kurt Weill Foundation for Music [191] 16 Production of Company in 2001 at the Missouri Repertory Theatre. Photo courtesy of Kansas City Repertory Theatre [209] 17 Ann Reinking, P. J. Mann and Christine Colby Jacques in ‘Stout-Hearted Men’,a dance number from Bob Fosse’s Dancin’,in 1979. Photo courtesy of TimePix, Martha Swope Collection [227] 18 The original production of Hair in 1968. Photo by Dagmar [238] 19 The original London cast of Les Mis´erables, Palace Theatre, 1985. C Donald Cooper, Photostage [252] 20 Sarah Brightman and Michael Crawford in The Phantom of the Opera,Her Majesty’s Theatre, 1986. C Donald Cooper, Photostage [262] 21 German production of Elisabeth, courtesy of Stage Entertainment, Inc.
Load more

Recommended publications
  • GABRIEL Previews Begin Wednesday, February 20
    CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: DANGER, INTRIGUE LURK AS GABRIEL WASHES ASHORE IN WEST COAST PREMIERE AT NORTH COAST REP An Award-Winning Drama By Moira Buffini Performances Beginning Wednesday, February 20, 2019 Running Through Sunday, March 17, 2019 Directed by Christopher Williams Solana Beach, CA – It is 1943 in the wind-swept Nazi-occupied Isle of Guernsey. A mysterious, handsome man washes ashore and four British women decide to protect him through cunning deceptions and bravery. His presence creates an electrical charge in the household that is already burdened by wartime loss and ever-present danger. A New York Times Critic’s Pick, this powerful tale brims with suspense and intrigue that will keep audiences on the edge of their seats. Christopher Williams directs Jessica John, Catalina Zelles, Lilli Passero*, Anabella Price*, Richard Baird,* and Alan Littlehales,* in GABRIEL. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Ryan Ford (Sound), Elisa Benzoni (Costumes), and Phillip Korth (Props). Andrea Gutierrez* is the stage manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. For background information and photos, go to www.northcoastrep.org/press. GABRIEL previews begin Wednesday, February 20. Opening Night on Saturday, February 23, at 8pm. There will be a special talkback on Friday, March 1, with the cast and artistic director. It will play Wednesdays at 7pm, Thursdays through Saturdays at 8pm, Saturday and Sunday matinees at 2pm with Sundays at 7pm through March 17, 2019 (See Schedule below).
    [Show full text]
  • Urban Geology in London's Theatreland: St Martin's Lane to Shaftesbury Avenue R
    Urban Geology in London No. 31 Urban Geology in London’s Theatreland: St Martin’s Lane to Shaftesbury Avenue Ruth Siddall This walk takes us along St Martins Lane and Shaftesbury Avenue to St Giles, near the intersection of Tottenham Court Road and Oxford Street. There are a fine selection of buildings in this area, serving London’s Theatreland; churches, restaurants and of course theatres are found amongst pubs, shops and gentlemen’s clubs. Those with interesting building stones are described below. Architectural notes are from Pevsner (Bradley & Pevsner, 2005; Cherry & Pevsner, 1998) unless otherwise cited. This walk begins at the church of St Martin’s-in-the-Fields at the north end of Trafalgar Square. The nearest tube station is Charing Cross, and a number of buses stop on the east side of Trafalgar Square, near to the church. St Martin-in-the-Fields The 18th Century church of St Martin-in-the-Fields dominates Trafalgar Square. A church of this name has stood on this site since the late 12th Century. However the current building (aBove) was Built Between 1721-6 By architect James GiBBs. At the time, the design was revolutionary, with the prominent, pedimented portico across the west front, and the steeple rising to a height of 58.5 m above the entrance to the church. The design was revolutionary and much copied in the UK, but also notably also in the USA. St Martin-in-the-Fields has recently (2008) undergone a major restoration, led by Eric Parry Architects with stone conservators Stonewest. The fruits of these laBours are mainly oBserved in the interior where Early Cretaceous Purbeck and Lower Jurassic Blue Lias Limestones have Been used for paving.
    [Show full text]
  • Mrs. Patrick Campbell, Caesar in Ccarsnr Or~Rlclcopatrn for Forbes Robertson, and Lady Cicely in Captain Brassbot~~Rd'j Cor~~,Crsiorlfor Ellen Terry
    This document is from the Cornell University Library's Division of Rare and Manuscript Collections located in the Carl A. Kroch Library. If you have questions regarding this document or the information it contains, contact us at the phone number or e-mail listed below. Our website also contains research information and answers to frequently asked questions. http://rmc.library.cornell.edu Division of Rare and Manuscript Collections 2B Carl A. Kroch Library Cornell University, Ithaca, NY 14853 Phone: (607) 255-3530 Fax: (607) 255-9524 E-mail: [email protected] This publication has been prepared with the generous support of the Arnold '44 and Gloria Tofias Fund and the Bernard E Burgunder Fund for George Bernard Shaw. + Issued on the Occasion of "77re Instinct of an Artist:" Straw and the Theatre. An Exhibition from the Bernard F. Hurgunder Collection of George Bernard Shaur, Division of Rare and Manuscript Collections Carl A. Kroch Library April 17-June 13,1997 Cover and lnsidc Cover Illustrations: Shown are Shaw's photographic postcards sent to actress Evlarparet Halstan, critiquin~her performance as Raina in Arnold Dnly's ign revival of Annr and the )Man. [Item iA] Title page illustration by Antnny Wysard Note: Shaw ohcn spelled words phonetically, and sometimes used archaic forms of words. In quoting Shaw, we have retained his unusual spelling throughout O 1997 Cornell University Library The Instinct of an Artist + he Bernard F. Burgunder Collection of George Bernard Shaw was established at Cornell University in 1956, the centennial of Shaw's birth. The Collection repre- T sents a lifelong enthusiasm of the donor, Bernard Rurgundcr, who began collect- ing Shaviana soon after his graduation from Cornell in 1918.
    [Show full text]
  • Gay's the Word
    Press Information Full casting and extra performances announced! The Finborough Theatre is now FULLY AIR CONDITIONED Part of the Finborough Theatre's Celebrating British Music Theatre series Evergreen Theatrical Productions Ltd in association with Neil McPherson for the Finborough Theatre presents Ivor Novello’s GAY’S THE WORD The Happiest Musical of the Year! Book and Music by Ivor Novello Lyrics by Alan Melville Book Adapted by Richard Stirling by special permission of Samuel French Ltd on behalf of the Ivor Novello Trustees Directed and Choreographed by Stewart Nicholls Music Direction by Ben Stock with Frank Barrie, James Bentham, Helena Blackman, Anna Brook-Mitchell, Daniel Cane, Valerie Cutko, Sophie-Louise Dann, Amy Hamlen, Doreen Hermitage, James Irving, Josh Little, Lindsey Nicholls, Eileen Page, Jonny Purchase, Myra Sands, Elizabeth Seal, Sophie Simms, Paul Slack, Sebastian Smith The Finborough Theatre's acclaimed 'Celebrating British Music Theatre' series follows its sell-out success Perchance to Dream with Ivor Novello’s last and wittiest musical. Gay’s the Word opens a strictly limited run of seven Sunday and Monday performances on Sunday, 5 February 2012 (Press Night: Monday, 6 February 2012 at 7.30pm). This is the first professional revival of the 1951 smash hit, which starred Dame Cicely Courtneidge. Novello sends up his own Ruritanian extravagances in this backstage musical comedy. Former stage star Gay Daventry opens a drama school and finds that what is needed to get her back on top is, to name the show's hit song, Vitality! Other numbers include If Only He'd Looked My Way (subsequently recorded by Frank Sinatra), Bees Are Buzzin’ and the enchanting On Such A Night As This, all combining Novello’s melodic talent with Alan Melville’s sharp wit.
    [Show full text]
  • Camden History Review and Camden History Society Newsletter
    Welcome to the Index for the Camden History Review and Camden History Society Newsletter compiled and maintained by David Hayes This index covers the annual Camden History Review, volumes 1 to 44 and the bimonthly Camden History Society Newsletter, issues 1 to 302. It covers the span of these serial publications from May 1970 to end of 2020. What is included? This index is intended to help those researching aspects of Camden’s local history. Excluded, therefore, are subjects that lack any direct association with the Camden area. Included in the index are: Streets, localities, buildings, organisations and institutions located within, or adjacent to, the London Borough of Camden or the former Metropolitan Boroughs of Hampstead, Holborn and St Pancras; People having a direct connection with Camden, whether through residence or work; as visitors, performers at local venues, landlords, or architects of local buildings; or as grave occupants; Generic topics (e.g. theatres) treated within a Camden context. Newsletter notices and reviews of talks, walks, outings, exhibitions and books are indexed only where they include local historical detail of potential use to researchers. Items relating wholly to the Society’s domestic business are not indexed. All references to a subject, however brief, are included on this index. Articles devoted wholly or substantially to a subject are indicated by the symbol How does it work? Key N indicates the Newsletter issue number; e.g. N65, * illustration included 144 means Newsletters 65 † map or plan and 144. C* cover illustration BC back cover Bold numerals, indicating IFC inside front cover Camden History Review n footnote volume number, are PH public house followed by page number(s) in normal type: e.g.
    [Show full text]
  • 1 MS 340 A2064 Papers of (Philip) Hope Edward Bagenal 1 Acoustics
    1 MS 340 A2064 Papers of (Philip) Hope Edward Bagenal 1 Acoustics: sketch drawing for a concert hall; plan of 1936, 1939, proposed chapel in south aisle of choir for Rolvenden 1960, 1974, n.d. Church; diagrams showing ‘Acoustics - the behaviour of ceilings’; photographs and correspondence relating to the Ba’hai Temple, Wilmette, Michigan, USA, 1974; diagrams showing ‘Density of returning rays’ and the focussing of sound; graph showing `NPL tests for “straight line” absorbents on 2" battens’, Feb 1936; journal articles:‘Acoustics of Auditoriums’ by F.R. Watson, in The Brickbuilder and `Acoustics for music performers: do economic pressures defeat the aim of a first- class auditorium? A leading acoustical consultant and architect examines the crucial problems involved in designing for sound.’ by Russell Johnson, in Musical America, Mar 1960; manuscript notes on Robert Adam and eighteenth century acoustics from Robert Adam and his circle by John Fleming; correspondence between John McLaren, BBC Engineering Department, and Hope Bagenal relating to acoustics of BBC studios, 1 and 7 Mar 1939; Admiralty Fleet Order and diagrams on cinema acoustics in HM ships, with covering letter from HMS Fulmar, Lossiemouth 2 Acoustics: correspondence and press cuttings; 1923-72 typescript papers: `Report on sound absorbents suitable for tropical countries’ by Hope Bagenal, `Notes on the acoustics of dramatic verse’, `An acoustic questionnaire for organists’ by Hope Bagenal and `Questionnaire on acoustics of concert rooms’; notes, including on the auditorium of Manchester Free Trade Hall and the acoustics of early temples; tables comparing reverberation times of halls; blue print drawing of anti-vibration mats to stancheon bases in the top of the retaining wall of Saville Theatre, 1930; journal articles 3 Acoustics: page proofs, with manuscript amendments, of n.d.
    [Show full text]
  • LOCANTRO Theatre
    Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth
    [Show full text]
  • Michael Blakemore, 1928 - 2
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID MICHAEL BLAKEMORE, B.1928 PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA FEBRUARY 2018 CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. ACCESS The Michael Blakemore PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3526654 ARRANGEMENT Programs in this National Library’ PROMPT collection are arranged chronologically in two sequences. Michael Blakemore’s performances as an actor Productions for which Michael Blakemore was the Director Then individually listed, chronologically by performance as follows: Date (day and month);Theatre, City Name of production or performer An index to staged productions is provided at the end of the document. This document is also keyword searchable. OTHER RESOURCES The National Library’s collection also includes the following relevant to Michael Blakemore: Books and published works Journal articles, located through Trove, Scrapbooks, personal papers in Manuscripts (NB: these manuscript collections may include additional programs), located through Trove Items in Australian newspapers through Trove Pictures
    [Show full text]
  • P.G. Wodehouse Collection of William Toplis (1665) Lot
    P.G. Wodehouse Collection of William Toplis (1665) May 7, 2020 EDT, ONLINE ONLY Lot 152 Estimate: $600 - $900 (plus Buyer's Premium) [Wodehouse, P.G.] Group of 35 Items By or Related to P.G. Wodehouse in the Theatre Locations vary, 1911-85. In 35 pieces. Size and condition varies. Includes: 1. Wodehouse, P.G. and Ian Hay Baa, Baa, Black Sheep London and New York, 1930. Text of play. 2. Wodehouse, P.G. and Ian Hay Baa, Baa, Black Sheep London and New York, 1930. Text of play. (another copy). 3. Wodehouse, P.G. and Ian Hay Baa, Baa, Black Sheep London and New York, 1930. Text of play. Book-plate on verso of front wrapper. (another copy). 4. Wodehouse, P.G. and Ian Hay Baa, Baa, Black Sheep London, 1929. Program for production at the New Theatre. 5. Wodehouse, P.G., and Jerome Kern, and George Grossmith The Beauty Prize (London, 1923). Vocal score. 6. Wodehouse, P.G. Candle- Light New York, etc., (1934). Text of play. Adapted from Siegfried Geyer’s Kleine Komödie (1927). 7. Wodehouse, P.G. Candle-Light New York, etc., (1934). Text of play. Adapted from Siegfried Geyer’s Kleine Komödie (1927). Scattered marginalia in pencil. (another copy). 8. Wodehouse, P.G., and Ian Hay A Damsel in Distress London and New York, (1930). Text of play. “Made in England” rubber-stamped on title-page. 9. Wodehouse, P.G., and Ian Hay A Damsel in Distress London and New York, (1930). Text of play. (another copy, front wrapper very slightly different). 10. Wodehouse, P.G., and Ian Hay A Damsel in Distress London and New York, (1930).
    [Show full text]
  • Diaghilev London Walk
    Image opposite: Serge Diaghilev Serge opposite: Image Exhibition with thanks to the to thanks with Exhibition d n a To book tickets go to www.vam.ac.uk/diaghilev to go tickets book To at the Victoria and Albert Museum runs from 25 September 2010 – 9 January 2011. 2011. January 9 – 2010 September 25 from runs Museum Albert and Victoria the at The Diaghilev and the Golden Age of the Ballets Russes 1909–1929 exhibition exhibition 1909–1929 Russes Ballets the of Age Golden the and Diaghilev The The tour will take about two hours. hours. two about take will tour The has altered. altered. has it is only the shop front rather than the full façade of the building that that building the of façade full the than rather front shop the only is it way. Much of the area has changed since the 1920s although at times times at although 1920s the since changed has area the of Much way. the theatres in which they performed and other key landmarks on the the on landmarks key other and performed they which in theatres the of all their performances there. This walk is designed to take in in take to designed is walk This there. performances their all of for Serge Diaghilev’s Ballets Russes, with the dancers giving almost half half almost giving dancers the with Russes, Ballets Diaghilev’s Serge for Ballets Russes were centred. London was one of the most important cities cities important most the of one was London centred. were Russes Ballets it is therefore no surprise that it was the part of London in which the the which in London of part the was it that surprise no therefore is it The Covent Garden area of London has a long history of theatre and and theatre of history long a has London of area Garden Covent The interest in ballet across Europe and America.
    [Show full text]
  • The Catherine Gyll Papers
    The Catherine Gyll Papers N26 The National Dance Archive of Ireland Glucksman Library University of Limerick The National Dance Archive of Ireland Glucksman Library University of Limerick The Catherine Gyll Papers Reference Code: IE 2135 N26 Title: The Catherine Gyll Papers Dates of Creation: 1933-2010 Level of Description: Fonds Extent and Medium: 3 boxes (385 files) CONTEXT Name of Creator(s): Gyll, Catherine (1923-2018). Biographical History: Catherine Gyll was born Catherine Doolin in Dublin in 1923. After seeing a production by the Irish Ballet Club at the Abbey Theatre in late 1939, she auditioned for and was invited to join the Club by its director, Cepta Cullen. Catherine studied and performed with the Irish Ballet Club until 1943, during which time she also studied radiography at St. Vincent’s hospital, Dublin. Catherine performed in most of the Ballet Club’s repertory during this period, including Puck Fair, Aisling, Lanner Waltz, Rhapsodie, and Peter and the Wolf. In 1943, Catherine went to work in London where she met and married theatre director Peter Gyll (1913-1989) while working as an Assistant Stage Manager. Catherine returned to live in Ireland in 2004. Immediate Source of Acquisition: Donated by Catherine Gyll to the National Dance Archive of Ireland on 26 July 2011. CONTENT AND STRUCTURE Scope and Content: Photographs and memorabilia relating to Catherine Gyll's time with the Irish Ballet Club in the 1940s, and programmes, flyers, brochures, souvenir booklets, press cuttings, and books collected by her, reflecting her lifelong interest in all forms and aspects of dance. Appraisal, Destruction and Scheduling Information: All records have been retained.
    [Show full text]
  • The Subject Index
    DAS Index – Subjects AA Journal 20.64 Aalto, Alvar 10.34–6, 19.48, 56, 27.16, 31.75 Abadie, Paul 14.6 Abbey, Edwin Austin 21.60, 24.50, 28.197 Abbey Theatre (Dublin) 9.29 Abbot Hall Museum (Kendal) 31.42 Abdulla Cigarettes 23.62–3 Abels, Gustaf 5.6 Abercrombie, Patrick 26.121, 127 Aberdeen 21.35–44 Argyll Place and Crescent 21.37, 39 Art Gallery 35.125 Ecclesiological Society (later Scottish Ecclesiological Society) 21.35, 41–2, 44 Episcopal Church 21.42 Hamilton Place 21.35, 37, 39 Philosophical Society 21.35 Queens Cross Church 21.37 St Machar’s Cathedral 23.40 Seaton Cottage 23.34 Society of Architects 21.35 Victoria Park fountain 21.35 West Kirk 23.42–3 Aberdeen Directory 21.35 Aberdeen, Ishbel-Maria, Lady 18.63 Abney Hall, Cheshire 25.54–5 Abspoel, Willem F. 7.34 Abu Dhabi 32.145 The Academy 23.93, 98 Academy of Fine Arts (Valenciennes) 21.119 Acatos (Peter) (pottery) 15.25 Accles and Pollock (furniture) 8.54 Ackroyd, Peter 35.77, 79 Acton Burnett Hall (Shrewsbury) 24.13 Acton, Sir Harold 35, 8.31–2, 35.136 Acton, William 8.32 Adam & Small 23.48 Adam, Robert 8.7, 33.62, 67 Adam, Stephen 23.33, 35, 48 Adam style 8.7, 9.45, 46 Adams, John 30.117 Adams, Katharine 28.193 Adams, Maurice B 26.61, 28.116 Adams, Percy 21.122 Adburgham, Alison 33.82, 34.38 Addams, Jane 28.67, 75 Addison, David 24.54 Addison, Ruth 33.14–15 Adelphi (London) 21.127–8 Adeney, Bernard 17.34 Adie Bros 17.61, 62 Adjani, Isabelle 22.87 Adler, Rose 1.38 Adlington, William Sampson 21.95 Admiralty Harbour (Dover) 21.109 Adnet, Jacques 27.18 Adnet, J.J.
    [Show full text]