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December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 Min)
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 min) Directed and written by Mike Leigh Produced by Simon Channing Williams Cinematography by Dick Pope Film Editing by Robin Sales Art Direction by Helen Scott Set Decoration by John Bush and Eve Stewart Costume Design by Lindy Hemming Allan Corduner...Sir Arthur Sullivan Dexter Fletcher...Louis Sukie Smith...Clothilde Roger Heathcott...Banton Wendy Nottingham...Helen Lenoir Stefan Bednarczyk...Frank Cellier Geoffrey Hutchings...Armourer Timothy Spall...Richard Temple (The Mikado) Francis Lee...Butt Kimi Shaw...Spinner William Neenan...Cook Toksan Takahashi...Calligrapher Adam Searle...Shrimp Akemi Otani...Dancer Martin Savage...George Grossmith (Ko-Ko) Kanako Morishita...Samisen Player Jim Broadbent...W. S. Gilbert Theresa Watson...Maude Gilbert Lesley Manville...Lucy Gilbert Lavinia Bertram...Florence Gilbert Kate Doherty...Mrs. Judd Togo Igawa...First Kabuki Actor Kenneth Hadley...Pidgeon Eiji Kusuhara...Second Kabuki Actor Keeley Gainey...Maidservant Ron Cook...Richard D'Oyly Carte Naoko Mori...Miss 'Sixpence Please' Eleanor David...Fanny Ronalds Eve Pearce...Gilbert's Mother Gary Yershon...Pianist in Brothel Neil Humphries...Boy Actor Katrin Cartlidge...Madame Vincent Franklin...Rutland Barrington (Pooh-Bah) Julia Rayner...Mademoiselle Fromage Michael Simkins...Frederick Bovill Jenny Pickering...Second Prostitute Alison Steadman...Madame Leon Kevin McKidd...Durward Lely (Nanki-Poo) Cathy Sara...Sybil Grey (Peep-Bo) Sam Kelly...Richard Barker Angela Curran...Miss Morton Charles Simon...Gilbert's Father Millie Gregory...Alice Philippe Constantin...Paris Waiter Jonathan Aris...Wilhelm David Neville...Dentist Andy Serkis...John D'Auban Matthew Mills...Walter Simmonds Mia Soteriou...Mrs. Russell Shirley Henderson...Leonora Braham (Yum-Yum) Louise Gold...Rosina Brandram (Katisha) Nicholas Woodeson...Mr. -
Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature
Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Jennifer Baltzer-Lovato IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by Andrew Elfenbein May 2017 © Jennifer Baltzer-Lovato, 2017 i Acknowledgements I gratefully acknowledge my adviser Andrew Elfenbein for his patience, encouragement, persistence in pushing me forward when I was more inclined to slowly obsess over each obstacle, and most of all, for his willingness to share his exhaustive knowledge and expertise. I am also thankful to the other members of my committee; to Brian Goldberg for his supportive, but always candid feedback, as well as his helpful suggestions, always administered with a much-needed dose of humor; to John Watkins, for encouraging me to explore new areas of inquiry, and for his willingness to help me talk through problem issues, from teaching to writing and research; and to Elaine Auyoung for her readiness to give advice and assistance in the late stages of my project. I also want to thank Gordon Hirsch for his patience and wisdom, and his good- natured support even when I was disposed to panic. Thank you also to Joe Hughes, Richard Leppert, Anna Clark, Michael Hancher, and all the members of the University of Minnesota 18th and 19th Century Subfield, for their assistance and advice as I developed material for this dissertation. Thank you also to the British Women Writers Conference, for their stimulating support of adventurous scholarly pursuits, and for all of the helpful comments and advice at the conferences I was fortunate enough to participate in with them. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned. -
ARSC Journal
THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first. -
GILBERT and SULLIVAN PAMPHLETS† Number Two
1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924. -
Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY November 1995 -- Issue 46
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY November 1995 -- Issue 46 As is invariably the case, it's been one thing after another lately. Thanks to Michaem Miano and Carol Lee Cole, we have something ready-made to put in the Nonsense. Once things cool slow down at work, S/A Cole will have time to go through the piles of material, and put out a full-blown issue. Michael Miano and Carol Lee Cole both submitted their pieces in computer-readable form, and they appear here as they were submitted (I may spell-check them, but that'll be about it). While the Nonsense doesn't necessarily stand for an unrestricted press, its editorial staff certainly believes in letting people express their opinions. And if readers want to debate points, that's great. S/A Cole will be happy to forward messages. Anyway, it ought to make for interesting reading. Sarah Cole thanks all the membership of the Midwestern Gilbert and Sullivan Society for their patience over the last two years; and especially thanks the other G&S societies, who have been tremendously indulgent with the MGS's difficulties. We hope to return the kindness some day. In the meantime, here's what we've got. Oh Members, How Say You, What Is it You've The 1995 MGS Big Quiz Answers Done? At first, these weren't going to be included. As you may recall, Earlier this year, in which the Fiftieth the quiz came from the book Guess Again (James Monahan and Tom anniversary of the end of World War II was Davin. -
Midwestern Gilbert and Sullivan Society
NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY September 1990 -- Issue 27 But the night has been long, Ditto, Ditto my song, And thank goodness they're both of 'em over! It isn't so much that the night was long, but that the Summer was (or wasn't, as the case may be). This was not one of S/A Cole's better seasons: in June, her family moved to Central Illinois; in July, the computer had a head crash that took until August to fix, and in that month, she was tired and sick from all the summer excitement. But, tush, I am puling. Now that Autumn is nearly here, things are getting back to normal (such as that is). Since there was no summer Nonsense, there is all kinds of stuff in this issue, including the answers to the Big Quiz, an extended "Where Can it Be?/The G&S Shopper", reports on the Sullivan Festival and MGS Annual Outing, and an analysis of Thomas Stone's The Savoyards' Patience. Let's see what's new. First of all, we owe the Savoy-Aires an apology. Oh, Members, How Say You, S/A Cole had sincerely believed that an issue of the What is it You've Done? Nonsense would be out in time to promote their summer production of Yeomen. As we know now, Member David Michaels appeared as the "First no Nonsense came out, and the May one didn't even Yeomen" in the Savoy-Aires' recent production of mention their address. Well, we're going to start to The Yeomen of the Guard. -
029I-HMVSX1925X05-0000A0.Pdf
PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 887) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS), 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen pockets -separate, 3/6.) PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. SerialLetter SerialLetterCDDBDKDMDODQ Colour of Label. 10-inch PLUM... 3/- B 4/66/68/6 ... BLACK 4/6 E ... REDBUFFPALE 6/- DA 7/- DJ 10/-11/613/616/- GREEN PALE BLUE... WHITE ... I ý Unless otherwise stated 'His Master's Voice" Records should be blayed at a seed of 78. His Mas ter's Voice" Instantaneous Sbeed Tester, shows instantly whether your motor is running correctly. "His Master's Voice" Records ............................................................................................................................... PADEREWSKIMAY. 1925. IGNACE JAN PADEREWSKI (Pianoforte) 12-inch douLiesided Red I,abel. ( Impromptu in B Flat Major, Op. 142, No.3 Schubert DB..Parts833 1 and 2 world has grown old, and age has brought disillusionment. Music is the youngest of the arts and she has managed to THF,,preserve her freshness long after her elder sisters have passed their prime, but even with her the Golden Age is over. The great, simple things have all been said, and there is nothing left to satisfy the jaded appetites of our sad and care-ridden generation but unnecessary elaborations and unwanted distor- tions of ideas that are already familiar and outworn. -
2016 Remembrance Day
1 2016 Remembrance Day We observed Remembrance Day on a beautiful, crisp Sunday afternoon. We were fortunate to have as our guests the Terrell/Kaufman County chapter of the Daughters of the American Revolution, family members of several former cadets, in addition to the RAF contingent at Majors Field, Greenville, TX. Retired pastor Bob Price officiated, Sqd Ldr Craig O’Donnell read the poem High Flight; MACR Pete Holt did flag duty, and Sqd Ldr Barnes placed the wreath. Long-time volunteer Judy Hollis read the poem Ode of Remembrance. Refreshments were served at the Museum after the service. (Photos provided by Museum volunteer Paul Finnegan) 2 Recent Visitors The Dallas Arms Collectors Association (DACA) enjoyed a day-long excursion visiting local WWII and military museums. The highlight of the day was its conclusion at the No 1 BFTS Museum. Donations Mrs. Elaine Sherman of the Roemisch Foundation made a donation to the Museum in honor of her late husband, Flt Lt Francis G. H. “Ted” Sherman, RAFVR. Mr. Sherman was one of two men who were tasked with the disposition of British property, and closing the No. 1 BFTS at the end of WWII. 3 In Remembrance Jeffery Heard 4th June 1925 – 15th May 2016 Jeffery Heard – “Jeff” – was born on 4th June 1925 and grew up in Buckhurst Hill, Essex, England. His father was an architect and he had two brothers, Jim and Brian. Following the death of his mother when he wss aged 8, in his teenage years during the Second World War, his father was sent to help extend the airstrip at Aldergrove airport outside Belfast, Northern Ireland. -
If You Love Music
of the singers. Apart from Alfred Deller's, Patience herself, even Sargent's lovelybard? it doesn't sound like Leslie Rands). no such attempts come to mind. Yet one of Elsie Morison can't match the indomitable K.F. the best things about the performance is its Margaret Mitchell in the D'Oyly Carte's pacing. Particularly in this style of fluid postwar mono set,formerly on Rich- recitative, with its witty exchanges and rap- HAYDN: Symphonies (11)-See page mond. 58. id shifts in tone, the ever changing move- The Gondoliers excerpts, not to be ment of the music requires the utmost con- confused with the differently cast 1927 trol in order to seem natural. To Jacobs' complete recording conducted by HarryLEONCAVALLO: La Bohente. credit, Orontea seems as brisk and as much Norris (Arabesque 8058-2L), comprise CAST: fun as a Hollywood comedy. something under half the score, concentrat- Mimi Lucia Popp (s) The recording qualityisexcellent, ing on the gondoliers themselves and their Musette Alexandrina Milcheva (ms) with sound-intimate rather than spectacu- wives. I prefer the excerpts to the complete Eufemia Sofia Lis (ms) lar-that befits the scale of the work. It is a recording. They're performed with agree- Marcello Franco Bonisolli (t) Gaudenzio Friedrich Lenz (t) pleasure that the clearly produced but unob- able spirit, if again without much vocal dis- Durand Norbert Orth (t) trusive digital sound and the excellent tinction, one exception being the fine "Ris- II Signore del primo pianoAlbert Gassner (t) pressing allow Cesti's Orontea to shine for ing early in the morning" !Leonard Hub- Rodolfo Bernd Weikl (b) itself. -
Hitchmough's Black Country Pubs
HITCHMOUGH’S BLACK COUNTRY PUBS BRIERLEY HILL (Inc. Pensnett, Quarry Bank, Round Oak) 3rd. Edition - © 2015 Tony Hitchmough. All Rights Reserved www.longpull.co.uk INTRODUCTION Well over 40 years ago, I began to notice that the English public house was more than just a building in which people drank. The customers talked and played, held trips and meetings, the licensees had their own stories, and the buildings had experienced many changes. These thoughts spurred me on to find out more. Obviously I had to restrict my field; Black Country pubs became my theme, because that is where I lived and worked. Many of the pubs I remembered from the late 1960’s, when I was legally allowed to drink in them, had disappeared or were in the process of doing so. My plan was to collect any information I could from any sources available. Around that time the Black Country Bugle first appeared; I have never missed an issue, and have found the contents and letters invaluable. I then started to visit the archives of the Black Country boroughs. Directories were another invaluable source for licensees’ names, enabling me to build up lists. The censuses, church registers and licensing minutes for some areas, also were consulted. Newspaper articles provided many items of human interest (eg. inquests, crimes, civic matters, industrial relations), which would be of value not only to a pub historian, but to local and social historians and genealogists alike. With the advances in technology in mind, I decided the opportunity of releasing my entire archive digitally, rather than mere selections as magazine articles or as a book, was too good to miss. -
The Mikado of Japan ...O • • •••••••••••• Darrell
The Mikado of Japan ........................................ o • • •••••••••••• D arrell Fanco urt Nanki-Poo, his son (disguised) ....................... o • • • ••••• o • • • ••••••••••••• Derek Oldham Ko-Ko, Lord High Executioner .................... o • , • •••••••••••• o • , ••••• Sir Henry A. Lytton Pooh-Bah, Lord High Everything Else ................. , . ............ o •••••••••• Leo Sheffield Pish-Tush, a Noble Lord ................ ............ o • • • ••••••••••••••••••••• Geo rge Ba ker Go-To, a Noble Lord .......................................................T. Penry Hughes Yum-Yum, ward of Ko-Ko ...................................................... Elsie Griffin Pitti-Sing, schoolfricnd (shared role) ....... Aileen Davies*, Doris Hemingway**, Beatrice Elburn*** Pccp-Bo, another school friend ................................................. Beatrice Elburn Ka tisha, a Lady of the Mikado's court............................................. Bertha Lewis Light Opera Orchestra and Chorus H arry Norris, conductor (Pitti-Sing: *CD 1, Tracks 12, 16 & 17;CD 2, Tracks 7, 8, 9 & 13. **CD 1, Track 11; CD 2, Track 3. ***CD 2, Track 1) Producer's Note The 1926 D'Oyly Carte production of The Mikado boasted several " firsts". It was the first to usc new costumes and scenery since the original production of 1885, and the first to broadcast a portion of the opening night performance on the radio, li ve from the theater. It would also become not merely the first Gilbert and Sullivan work, but the first opera of any kind to be recorded complete using the new electrical process. As might be expected with such an early effort, the recording guality is variable. Some portions have much clarity and presence, while other sides sound dim and muffled. There are balance problems between singers and orchestra, and sometimes between one singer and another. The sides dating from the December 6th session are particularly problematic- bass-deficient, shrill and distorted.