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George H. Clutsam
GEORGE H. CLUTSAM George Clutsam published his first composition at age nine and in his early twenties toured with various minstrel shows through Australasia and the East. After moving to England in 1887 he established himself as an accompanist and composer of both serious and light music. Among his works were several operas and a number of musical comedies, burlesques and plays. His biggest success was the Shubert-inspired 1922 musical play Lilac Time (later Blossom Time, 1942), for which he arranged Shubert's music and composed additional music. Described by one London critic as being musically one "of the moderns" and "a close student of Strauss and Debussy [whose] work revealed great mastery of orchestral possibilities and many clever touches of instrumental humour," George Howard Clutsam was born in Sydney on 26 September 1866. His early life saw him exposed to and involved in many different styles of music. He is believed to have moved around with his parents quite often during his early years, spending periods of time in Sydney and Victoria before they moved to New Zealand in the late 1870s. It was in that country that Clutsam developed his passion for music through piano lessons and a desire to compose. An Australasian writer records in this respect that "Master G. Clutsam, a native of Victoria, but now of Dunedin… and who is only nine years old, has composed and published a piece for the pianoforte entitled "La Pluie De Printemps" (11 Oct. 1879, 647). Although the writer was incorrect in respect of Clutsam's age (he would have been 13 years old) it is clear that the young pianist/composer was already on the road to a career that would eventually see him accepted as one of the leading popular composers of London around the turn of the century. -
RAMO CAN SAVE the WORLD Ays the Bishop of Chelmsford
RADIO PICTORIAL, May 12,1939. No. 278 rTJLXEMB0URG Registered at the G.P.O. as a Newspaper NORMANDY PARIS : LYONS : EIREANN PROGRAMMES May 14-May 20 EVERY FRIDAY lipt* RAMO CAN SAVE THE WORLD ays The Bishop of Chelmsford Interview with Radio Favourite NORMAN LONG We're the News -Narks" by the ESTERN BROS. LISTENING in the BALKANS All about the ROYAL BROADCASTS B.B.C. JACK HULBERT and PROGRAMME CICELY COURTNEIDGE SEE PAGE 37 GUIDE Photo :Courtesy Goumont British RADIO PICTORIAL May 12, 1939 DON CARLOS RADIO'S Golden Tenor can be heard in a new series of programmes presented by Armour's from Normandy on Wednesdays at 9.15 a.m. and Luxem- bourg, Thursdays, 10.15 a.in. Supporting are Eddie Carroll and his Orchestra, Michael Moore, the impersonator, and such famous guest artistes as Leonard Henry, Hazell and Day, Bennett and Williams, Rudy Starita... 2 May 12, 1939 RADIO PICTORIAL we..-.-e-ere....- No. 278 ...........-.. RADIO PICTORIALviEiktiffretijoi The All -Family Radio Magazine Published by BERNARD JONES PUBLICATIONS, LTD. 37-38 Chancery Lane. W.C.2. HOLborn 6158 MANAGING EDITOR K. P.HUNT ASST. EDITOR JESSIE E. KIRK IN THEY say the only time a IftE,41Rii certain singer ever got an encore was when he was born.He was a twin. Because,sweetheart,allB.B.C. AND now they tell us, though we announcers have tobe perfectlittle don't believeit,that Charlie We ran into a Scottish comedian gentlemen. Kunz has bought a bicycle with a and a strip -tease girl the other day, loud and soft pedal. -
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. -
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967. -
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 -
4 Offstage Labour Actresses, Charity Work and the Early Twentieth-Century Theatre Profession
4 Offstage labour Actresses, charity work and the early twentieth-century theatre profession Catherine Hindson Though their stage performances often feature as the subjects of focused attention, early twentieth-century actresses functioned as part of a wider theatre industry that was sustained by the non-theatrical social, material, consumer and economic cultures that surrounded it. In this context, the onstage performances offered by actresses of this period were just one element of more expansive, diverse professional repertoires that also included offstage public appearances and representations. Such off- stage work, performed for a range of audience demographics in diverse, non-theatrical metropolitan spaces, was the source of considerable day-to-day labour for actresses and necessitated ongoing attention and responsive action. Nonetheless, the activities involved in offstage work rarely form the subject of scholarly focus and are regularly omitted from histories of the theatre. In this chapter I consider one particular area of early twentieth-century offstage labour: the numerous and demanding public appearances made by actresses in aid of charities. Focusing on a high-profile fundraising event that took place at the London department store Harrods in 1911, I offer such occasions as ways of both extend- ing our holistic understandings of the stage profession of the day and acknowledging the multiple professional roles that actresses performed. Charity work can be identified as a key feature of the gradual, uneven process of improvement in the theatre industry’s social status that marked the nineteenth century. The stage’s charitable reputation was firmly rooted in the late eighteenth century, but the 1880s and 1890s brought a paradigm shift in the types of charity activity that theatri- cal performers led and contributed to. -
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later. -
Theatre Archive Project: Interview with Graeme Cruickshank
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Graeme Cruickshank – interview transcript Interviewer: Marie-Claire Wyatt 4 September 2006 Stage Manager and Actor. James Bolam; Richard Burnett's Penguin Players; Agatha Christie's plays; Carl Clopet; Company Manager's duties; Harry Corbett and Sooty; John Counsell; Cecily Courtneidge; Peter Haddon; Arthur Lane and Audrey Lupton; lighting; Ralph Lynn; Cameron Mackintosh; Mermaid Theatre; Oxford Playhouse; pantomime; Ron Pember; repertory repertoire; Clarkson Rose; Salad Days; stage managing; touring; A View from the Bridge; Wakefield Mystery Plays. Mr Cruickshank brought his collection of programmes with him, and used these for reference throughout the interview. MW: Well, you’ve said you wish to start with your experience as an actor in the 1950s. GC: Yes, well, just to set the scene, in 1959, by which time, I was twenty… twenty-six. That can’t be right. [laughs] I was 27. Lying already, you see! [laughs] I was working in London. I was, at the time, at Harmers, the stamp auctioneers in Bond Street. MW: I see. GC: They’re now in Chiswick, but never mind. I’d been there about four years, and had worked my way up to the grand position of ‘junior describer and valuer’. That had followed a period with the RAF. I was in Egypt with the RAF as an instrument mechanic, and during… I was there in the Canal Zone for about two and a half years. During that time, I made three or four very good friends, one of whom, Ron Pember, later became an actor and director, and he will come into my story as I go along a bit. -
Dplinton Amendedphd Thesis 2016
The Construction and Representation of National and Racial Identities in London West End Revue 1910-1930 David Paul Linton Goldsmiths College University of London English and Comparative Literatures Declaration I declare that the work presented in this thesis is entirely my own work and has not been submitted for a degree at another university. David Linton London, March, 2016. 2 Acknowledgements There are many people who have assisted me with this project and I would like to sincerely thank all of them: Len Platt, David Walsh, Chrissie Tiller, Tobias Becker and all my colleagues at Goldsmiths, Northumbria and Kingston Universities. My former mentors from the Goldsmiths Caribbean studies course and part-time degree programme, Professor Joan Anim-Addo, Dr Petronella Breinburg, Mary Boley, James Souter and Martin Williams. Also my fellow comrades Mark Norfolk, Aamar Butt, Sean Brennan and Riley Stuart and all those performers who have given me their time, advice and encouragement. My thanks go to my inspirational big sisters, Misdel and Audrey and all my wise brothers, Claude, Keith, George, Bill and Andrew. Finally, Angela, Joe and Caleb, who have supported me throughout, and without whom I could not have completed this project. This thesis is dedicated to Edna, Esme and Handel Linton. 3 Abstract This thesis is primarily concerned with how London West End revue engaged in the construction and representation of national and racial identities. The central research question is: what do these representations of national and racial identities in West End revue tell us about wider British culture and society in this period? In answering this question, I explore and develop a number of understandings of how national and racial identity operated in mainstream popular culture. -
The Prince's of Park Row the University, Bristol
BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION THE PRINCE'S OF PARK ROW THE UNIVERSITY, BRISTOL Price 90p. 1983 Don Carleton BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION LOCAL HISTORY PAMPHLETS Hon. General Editor: PATRICK McGRATH Assistant General Editor: PETER HARRIS The Prince's Theatre, Bristol is the fifty-fifth pamphlet to be published by the Bristol Branch of the Historical Association. THE PRINCE'S THEATRE The author, Don Carleton, is Information Officer in the University of Bristol and West of England correspondent for Drama and for Plays and Players. His great interest in the history of the theatre in general and of the Prince's Theatre in particular Sunday 24 November 1940 was a typical late autumn day in has enabled him to paint a fascinating picture of a theatre which Bristol. All day there were dull leaden skies with a light mist for many years was very dear to the hearts of Bristolians. towards sunset. As darkness came there was an air-raid. Showers The author wishes to acknowledge the help he has received of incendiary and high explosive bombs fell upon the city. During from many Bristolians who gave him personal recollections in the first hour 20 fires were reported and rescue services were writing or on the telephone and who showed him memorabilia of called to 86 separate occurrences. For many hours the fires raged, their visits to the Prince's Theatre. He owes particular debts of their fury such that they gave the intensity of daylight to the city gratitude to Adrian Varcoe, the distinguished Bristol variety centre. -
Charterhouse Archives
GB 1143 10480 Charterhouse Archives This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NRA 44261 The National Archives SIR RONALD MILLAR 1919 -1998 PAPERS, CORRESPONDENCE, GRAPHIC MATERIAL AND PRINTED MATTER RELATING TO ALL ASPECTS OF HIS LIFE AND WORK AS ACTOR, DRAMATIST, COMPOSER AND WRITER OF SPEECHES FOR PRIME MINISTERS MOST NOTABLY MARGARET THATCHER 10480 CHARTERHOUSE ARCHIVES GODALMING 2003 The photograph reproduced on the front cover showing the Strand Theatre, Aldwych when Sir Ronald's adaptation of William Clark's novel Number Ten was playing there in 1967 is 10480/113/12 in the collection. SUMMAR Y LIST 10480/1 - 10480/141 PART ONE: ORIGINAL MATERIAL 01480/1-119 10480 1/1-10 Note books and loose notes 1961-1997 pages 1-6 2/1-10 Printed sources, heavily annotated 7 3/1-8 Early & other un-produced plays c1933-? 8-9 4/1-22 Dramatic Work: Stage Plays [1942]-1996 10-15 5/1-5 Dramatic Work: Musicals 1956-1985 16-18 6/1-25 Film Scripts and Screenplays 1942-[after 1956] 19-23 7/1-5 Drama on Television nd - 1976 24 8/1-3 Broadcasts on radio 1946-1982 25 9/-17/ Contracts, Royalties, Correspondence, Programmes, Posters, Newspapers & other papers relating to dramatic activities 193 8-1997 26-30 18/-29/ Music composed by RM , lyrics by him, and some music composed by others for his works 1937-1982 31-33 30/-47/ Political papers. Speeches, RM's own; for Edward Heath, for Margaret Thatcher, for John Major & for others, with associated correspondence & papers 1970-1997 34-43 48/-83/ Personal papers & letters: preparatory school, Charterhouse, King's College Cambridge, the Navy 1925-1942 44-46 84/-119/ R M & his family. -
British Musicals and Comedies Open at the Museum of Modern Art December 20
The Museum of Modern Art For Immediate Release December 1985 BRITISH MUSICALS AND COMEDIES OPEN AT THE MUSEUM OF MODERN ART DECEMBER 20 Farce and dry wit, streetsong and operetta characterize the wide range of the more than fifty British films to be screened in the exhibition "The Musical and Comedy Tradition" at The Museum of Modern Art. The series opens Friday, December 20, with two Gracie Fields musical comedies, Sally in Our Alley (1931) and Sing as We Go (1934), at 2:30 p.m., and Alfred Hitchcock's silent film Champagne (1928), starring Betty Balfour, at 6:00 p.m., and continues through February 18, 1986. The films in "The Musical and Comedy Tradition," the third of the five sections of the ongoing series BRITISH FILM- TRADITIONS, will be shown chronologically (complete schedule attached). The works in the program reflect the strong influence of the British music hall. Among the music hall performers besides Gracie Fields who made the transition to film and are represented in the exhibition are George Formby (Keep Your Seats Please, No Limit), Max Miller (Hoots Mon!), Will Hay (Oh, Mr. Porter!), Jessie Matthews (It's Love Again, Evergreen), Jack Hulbert and Cicely Courtneidge (Elstree Calling), and Sid Field (London Town). A Victorian music hall is the subject of Alberto Cavalcanti's Champagne Charlie (1944). Thomas Bentley's Harmony Heaven (1930) and Walter Summers's Raise the Roof (1930), which will be featured on a double bill, are early backstage musicals, as is Victor Saville's Evergreen (1934). The music hall tradition has helped to define British comedy.