Airman Who Preferred Death to Captivity
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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. -
The Annotated Waste Land with Eliot's Contemporary Prose
the annotated waste land with eliot’s contemporary prose edited, with annotations and introduction, by lawrence rainey The Annotated Waste Land with Eliot’s Contemporary Prose Second Edition yale university press new haven & london First published 2005 by Yale University Press. Second Edition published 2006 by Yale University Press. Copyright © 2005, 2006 by Lawrence Rainey. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Set in Scala by Duke & Company, Devon, Pennsylvania Printed in the United States of America. Library of Congress Control Number: 2006926386 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Commit- tee on Production Guidelines for Book Longevity of the Council on Library Resources. ISBN-13: 978-0-300-11994-7 (pbk. : alk. paper) ISBN-10: 0-300-11994-1 (pbk. : alk. paper) 10987654321 contents introduction 1 A Note on the Text 45 the waste land 57 Editor’s Annotations to The Waste Land 75 Historical Collation 127 eliot’s contemporary prose London Letter, March 1921 135 The Romantic Englishman, the Comic Spirit, and the Function of Criticism 141 The Lesson of Baudelaire 144 Andrew Marvell 146 Prose and Verse 158 vi contents London Letter, May 1921 166 John Dryden 172 London Letter, July 1921 183 London Letter, September 1921 188 The Metaphysical Poets 192 Notes to Eliot’s Contemporary Prose 202 selected bibliography 251 general index 261 index to eliot’s contemporary prose 267 Illustrations follow page 74 the annotated waste land with eliot’s contemporary prose Introduction Lawrence Rainey when donald hall arrived in London in September 1951, bear- ing an invitation to meet the most celebrated poet of his age, T. -
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. -
German Operetta in the West End and on Broadway
This is a repository copy of German operetta in the West End and on Broadway. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/95098/ Version: Accepted Version Book Section: Scott, DB orcid.org/0000-0002-5367-6579 (2014) German operetta in the West End and on Broadway. In: Platt, L, Becker, T and Linton, D, (eds.) Popular Musical Theatre in London and Berlin 1890 to 1939. Cambridge University Press , Cambridge , pp. 62-80. ISBN 9781107051003 https://doi.org/10.1017/CBO9781107279681.006 © 2014 Cambridge University Press. This material has been published in Popular Musical Theatre in London and Berlin 1890 to 1939 edited by Len Platt, Tobias Becker and David Linton. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. Uploaded in accordance with the publisher's self-archiving policy. Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. -
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. -
Film-Lovers Annual
iLM-TpV Digitized by the Internet Archive in 2015 https://archive.org/details/filmloversannual00dean_0 Dean & Son, Ltd. 6 LA BELLE SAUVAGE, LUDGATE HILL, LONDON, E.C.4. THIS BOOK MAY ONLY BE EXPORTED TO SOUTH AFRICA THROUGH THE SOLE AGENTS : PRINTED IN ENGLAND CENTRAL NEWS AGENCY. LTD. Loretta Young 6 The Police “Emil and tectives,” wishes Emil (RolfWenkhaus) good luck on his trip to Berlin. A film directed by Gerhard Lampretch. L. C. Pinner N discussing the art of the kinema, it becomes the art we mean to imply when we argue whether I necessary to arrive at some sort of definite it can be applied to the kinema. conclusion as to what is meant by that very — To my mind it is definitely not one of the fine elastic “art.” elusive and term arts, such as architecture, sculpture or painting, You have got to decide what exactly you because it relies basically on mechanics to produce mean when you apply it to the kinema in its effect. On the other hand, there is no reason order to estimate to what extent, and in what why it should not measure up to the definition degree, it can be applicable to pictorial presen- we have stated : that it can perceive and transcribe tation. the beautiful in nature ; for the term “nature” may well be considered to contain the depiction The dictionary’s first interpretation is “the of the dramatic in human nature. employment of means to the accomplishment of some end, "or “the skilful adaptation and appli- But, basically, it must be confessed that film cation to some purpose or use of knowledge or producers as a whole have very little regard for power acquired from nature.” the artistic in films. -
L DTNT Records Relating to the Hull New Theatre 1939- 2008
Hull History Centre: Records relating to the Hull New Theatre L DTNT Records relating to the Hull New Theatre 1939- 2008 Historical Background: The New Theatre which stands on Kingston Square, Hull, opened on the 16th of October 1939 with the Hull Repertory Company production of 'Me and My Girl'. Peppino Santangelo came to the city in 1924 to join the Hull Repertory Company based at the Little Theatre in Kingston Square. After turning the struggling company around, Peppino, organised the reconstruction of the former Assembly Rooms which had first been built by R. H. Sharp over 100 years earlier in 1834 into the New Theatre. Not even the outbreak of the Second World War could halt Peppino’s dream and as the theatre’s first manager, he told crowds of 1939: ‘I have made plans for your future entertainment, always bearing in mind that we are at war and that laughter and not tears should be the dominant feature.’ Performances continued throughout the war when West End productions arrived to escape the bombing in London. The theatre bar was reinforced as a bomb shelter and the building received only one direct hit, in May 1941, which destroyed the front row of stalls and all the props and costumes of the visiting Sadler’s Wells Opera Company. In the late 1960s the Theatre's stage was deepened and the orchestra pit enlarged, whilst at the same time the auditorium was improved with new seating. The theatre closed in January 2016 to undergo a huge £15.9m revamp of the venue, which would see improvements to backstage areas including a new fly tower, used for scenery, lighting and stage effects, a larger stage, and more seating. -
The Performing Arts on Film and Television Catalogue
THE PERFORMING ARTS ON FILM & TELEVISION CATALOGUE Film and video materials held by the archives and collections of BFI, Arts Council England, LUX, Central St Martins British Artists Film & Video Study Collection relating to theatre, dance, music, performance art, politics and poetry Balletomines, 1954 2011 Acknowledgements This catalogue was commissioned by MI:LL (Moving Image: Legacy and Learning), an Arts Council England initiative to support projects and develop strategies that promote engagement with the arts through the moving image. Researched, written, edited, designed and published by Helena Blaker James Bell Michael Brooke Elaine Burrows Bryony Dixon Christophe Dupin Jane Giles Amy Howerska Edward Lawrenson Deborah Salter Dan Smith Louise Watson With thanks to Karen Alexander, Nigel Algar, Nigel Arthur, Steve Bryant, Mike Caldwell, Ros Cranston, David Curtis, Will Fowler, Philippa Johns, Nathalie Morris, Patrick Russell, David Sin, Mike Sperlinger, Gary Thomas, Rebecca Vick, Ian White, Andrew Youdell and Juliane Zenke. All stills courtesy of BFI Stills, Posters & Designs A BFI Publication 2011 available to download from www.bfi.org.uk BFI 21 Stephen Street London W1T 1LN UK Telephone +44 (020) 7255 1444 www.bfi.org.uk 2 Contents Please click on a word/link to be taken automatically to that part of the Catalogue Acknowledgements................................................................................................................. 2 Contents ..................................................................................................................................