Marie Lloyd Comes Home to Hoxton “Queen of the Music Hall” Marie Lloyd Was Born in Hoxton

Total Page：16

File Type：pdf, Size：1020Kb

PRESS RELEASE Marie Lloyd comes home to Hoxton “Queen of the music hall” Marie Lloyd was born in Hoxton. She died in 1922; but she’s coming home to Hoxton, reincarnated by great music hall artiste Jan Hunt in a fun-packed bill of Victorian music hall, presented by the world-famous Players’ Theatre, at Hoxton Hall Sunday December 2nd 2.30 p.m. (matinée for adults and children) & 7.00 p.m. Seats £18 (under 12’s £10) Book tickets: www.hoxton.hall.co.uk. Enquiries: 020 7684 0060 Jan Hun t Star of Crackerjack , television’s The Good Old Days and Showboat , Jan first played Marie in The Life of Marie Lloyd in the 1970s, at Hoxton Hall. She revivifies Marie’s famous songs: the ever-popular My old man said “Follow the van! And don’t dilly dally on the way” ; the mock-innocent Oh, Mr Porter, what shall I do? I wanted to go to Birmingham and they’ve taken me on to Crewe! and the poignant The boy I love is up in the gallery. The Players’ Theatre Formed in 1936 as a club. Its small tunnel-shaped theatre under the arches at Charing Cross was star-packed: Peter Ustinov, Hattie Jacques, Ian Carmichael, Barry Cryer. It no longer has a permanent theatre, but puts on regular music hall shows, for public and private audiences, and develops new young artistes such as Ellie Bamber, who progressed from the Players to Trevor Nunn’s Aspects of Love and to A Mother’s Son with Martin Clunes. Hoxton Hall Built in 1863 as McDonald’s Music Hall, closed in 1871 by police complaints of disgraceful behaviour. Its multi-tiered stage, intimate auditorium and horseshoe-shaped galleries make it the perfect setting for Victorian music hall. At 130 Hoxton Street, N1 6SH, it is 4 minutes’ walk from the new Hoxton Overground station; or by buses 67, 149, 242 and 243 to the Geffrye Museum. Victorian music hall Traditional English entertainment, beloved by thousands including John Major, whose new book My Old Man recounts the history of music hall, springing from his father’s life “on the halls”. Acts range from superb singing to ribald comedy, magic, monologues, juggling, duets and dancing, with audience participation in popular choruses, all under the jovial eye of a witty, gavel-wielding Chairman. More information Bill Halson: [email protected] 07770 281746 Website: www.playerstheatre.co.uk Facebook: http://www.facebook.com/theplayerstheatre Twitter: @playerstheatre.

Copy Link

Recommended publications

Joseph Grimaldi
Joseph Grimaldi The most famous and popular of all the clowns in harlequinade and pantomime was Joseph Grimaldi. Despite his Italian name and family origins, he was born in London in 1779, dying in 1837. His style of clowning had its origins in the Italian commedia dell'arte of the sixteenth century, but in the popular Harlequinades of the early nineteenth century he emerged as the founding father of modern day clowns. To this day he is commemorated annually by clowns in their own church, Holy Trinity in Dalston, East London. Joseph Grimaldi was the original 'Clown Joey', the term 'Joey' being used to describe clowns since his day. Of his own name he punned 'I am grim all day - but I make you laugh at night!' Grimaldi became the most popular clown in pantomime, and was responsible for establishing the clown as the main character in the Harlequinade, in place of Harlequin. His career began at the age of three at the Sadler's Wells Theatre. He was later to become the mainstay of the Drury Lane Theatre before settling in at Covent Garden in 1806. His three year contract paid him one pound a week, rising to two pounds the following year, and finally three pounds a week. His debut at Covent Garden was in 'Harlequin and Mother Goose; or the Golden Egg' in 1806. Grimaldi himself had little faith in the piece, and undoubtedly it was hastily put together on a sparsely decorated stage. However, the production ran for 92 nights, and took over £20,000. The lack of great theatrical scenes allowed Grimaldi to project himself to the fore 'he shone with unimpeded brilliance' once critic wrote.
[Show full text]
The Blue Review Literature Drama Art Music
Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr.
[Show full text]
Wiltons Music Hall
Wiltons Music Hall Wiltons Music Hall Conservation Area 1. Character Appraisal 2. Management Guidelines London Borough of Tower Hamlets Adopted by Cabinet: 4th November 2009 Wiltons Music Hall Conservation Area Page 1 of 18 Wiltons Music Hall Introduction Conservation Areas are parts of our local environment with special architectural or historic qualities. They are created by the Council, in consultation with the local community, to preserve and enhance the specific character of these areas for everybody. This guide has been prepared for the following purposes: To comply with the Planning (Listed Buildings and Conservation Areas) Act 1990. Section 69(1) states that a conservation area is “an area of special architectural or historic interest, the character or appearance of which it is desirable to preserve or enhance.” To provide a detailed appraisal of the area’s architectural and historic character. To help those who have an interest in the area to understand the quality of the built environment and how they can protect, contribute to and enhance it. To provide an overview of planning policy and propose management guidelines on how this character should be preserved and enhanced in the context of appropriate ongoing change. Wiltons Music Hall Conservation Area Page 2 of 18 Wiltons Music Hall Wiltons Music Hall Conservation Area Page 3 of 18 Wiltons Music Hall 1. Character Appraisal Overview Wiltons Music Hall Conservation Area, located in the western part of the borough, was designated on October 2008. It is bounded by Cable Street to the north, Dock Street to the west and The Highway to the east.
[Show full text]
British Music Halls Imagine Your Group Is Helping One of The
Group 3: British Music Halls Imagine your group is helping one of the Beatles write his autobiography. You will work in small groups and use your knowledge of history to help your Beatle enrich his book. Here are the guidelines: • Below you will see your assigned historical term. Each group has a different term from a different period in their subject’s life. • You also have received sources related to that term. • Use this information to write a paragraph of 3-5 sentences for your Beatle’s autobiography. • Your sentences should connect his life to the term and use the first person. For example, “I remember watching the ships come in to the Liverpool docks.” • Write your paragraph on the board or on a piece of paper large enough for the whole class to read. • Share it with the class. • As the other groups share their paragraphs, copy the story in your “Autobiography of a Beatle” handout. Term: Music Hall For more than a century, British music halls were one of the main sources of entertainment for ordinary Britons, particularly from the working class. Music halls featured variety shows offering many different types of performance, but were best known for offering catchy songs in which the audience would join in on the chorus. Performers often laced their songs with comedy, sometimes wearing eccentric costumes on stage. While they eventually declined, music halls were still a popular form of entertainment immediately after World War II, a place where hard-working people could go and forget about their troubles. The music hall was a significant part of the Liverpool culture scene and had a large impact on the Beatles.
[Show full text]
Hackney Archives - History Articles in Hackney Today by Subject
Hackney Archives - History Articles in Hackney Today by Subject These articles are published every fortnight in Hackney Today newspaper. They are usually on p.25. They can be downloaded from the Hackney Council website at http://www.hackney.gov.uk/w-hackneytoday.htm. Articles prior to no.158 are not available online. Issue Publication Subject Topic no. date 207 11.05.09 125-130 Shoreditch High Street Architecture: Business 303 25.03.13 4% Industrial Dwellings Company Social Care: Jewish Housing 357 22.06.15 50 years of Hackney Archives Research 183 12.05.08 85 Broadway in Postcards Research Methods 146 06.11.06 Abney Park Cemetery Open Spaces 312 12.08.13 Abney Park Cemetery Registers Local History: Records 236 19.07.10 Abney Park chapel Architecture: Ecclesiastical 349 23.02.15 Activating the Archive Local Activism: Publications 212 20.07.09 Air Flight in Hackney Leisure: Air 158 07.05.07 Alfred Braddock, Photographer Business: Photography 347 26.01.15 Allen's Estate, Bethune Road Architecture: Domestic 288 13.08.12 Amateur sport in Hackney Leisure: Sport 227 08.03.10 Anna Letitia Barbauld, 1743-1825 Literature: Poet 216 21.09.09 Anna Sewell, 1820-1878 Literature: Novelist 294 05.11.12 Anti-Racism March Anti-Racism 366 02.11.15 Anti-University of East London Radicalism: 1960s 265 03.10.11 Asylum for Deaf and Dumb Females, 1851 Social Care 252 21.03.11 Ayah's Home: 1857-1940s Social Care: Immigrants 208 25.05.09 Barber's Barn 1: John Okey, 1650s Commonwealth and Restoration 209 08.06.09 Barber's Barn 2: 16th to early 19th Century Architecture:
[Show full text]
Henry Goodman
HENRY GOODMAN Theatre: Honour George Paul Robinson Park Theatre Looking at Lucian Lucian Freud Tom Attenborough Ustinov Studio Volpone Volpone Trevor Nunn RSC Arturo Ui* Arturo Ui Jonathan Church West End / Chichester The Winslow Boy Arthur Winslow Lindsay Posner The Old Vic The Holy Rosenbergs David Rosenberg Laurie Sansom National Theatre Yes, Prime Minister Sir Humphrey Jonathan Lynn West End / Chichester Duet for One Dr Feldman Matthew Lloyd West End / Almeida Fiddler On The Roof Tevye Lindsay Posner Sheffield Crucible / West End Performances Leos Janacek Lou Stein Wilton Music Hall The Gondoliers Duke of Plazatoro Martin Duncan ENO The Hypochondriac Argan Lindsay Posner Almeida Theatre The Birthday Party Goldberg Lindsay Posner Duchess Theatre Richard III Richard III Sean Holmes RSC The Producers Max Bialystock Susan Strohman Broadway Feelgood Eddie Max Stafford Clark Garrick Theatre/Hampstead **The Merchant of Venice Shylock Trevor Nunn National Theatre Metropolitan Kabarett Compere Henry Goodman National Theatre Summerfolk Shalimov Trevor Nunn National Theatre ***Chicago Billy Flynn Walter Bobbie Adelphi Theatre Art Marc Matthew Warchus Wyndhams Theatre Guys and Dolls Nathan Detroit Richard Eyre National Theatre Hysteria Freud Phyllida Lloyd Royal Court Theatre/West End Broken Glass Philip Gellburg David Thacker National Theatre Angels in America Roy Cohn Declan Donnellan National Theatre ****Assassins Charles Guiteau Sam mends Donmar Warehouse Pericles Gower Phyllida Lloyd National Theatre After the Fall Mickey Michael Blakemore
[Show full text]
The Black Clown
Wednesday–Saturday, July 24–27, 2019 at 7:30 pm Post-performance talk with Davóne Tines, Zack Winokur, and Chanel DaSilva on Thursday, July 25 NEW YORK PREMIERE The Black Clown Adapted from the Langston Hughes poem by Davóne Tines & Michael Schachter Music by Michael Schachter Directed by Zack Winokur A production of American Repertory Theater at Harvard University With the kind cooperation of the Estate of Langston Hughes Please make certain all your electronic devices are switched off. Major endowment support for contemporary dance and theater is provided by the Doris Duke Charitable Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Gerald W. Lynch Theater at John Jay College Mostly Mozart Festival American Express is the lead sponsor of the Mostly Mozart Festival Major endowment support for contemporary dance and theater is provided by the Doris Duke Charitable Foundation Additional endowment support is provided by the Blavatnik Family Foundation Fund for Dance, Nancy Abeles Marks and Jennie L. and Richard K. DeScherer The Mostly Mozart Festival is also made possible by Rita E. and Gustave M. Hauser. Additional support is provided by The Shubert Foundation, LuEsther T. Mertz Charitable Trust, Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc, Harkness Foundation for Dance, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, Friends of Mostly Mozart, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M.
[Show full text]
Lyrics and Music
Soundtrack for a New Jerusalem Lyrics and Music By Lily Meadow Foster and Toliver Myers EDITED by Peter Daniel The 70th Anniversary of the National Health Service 1 Jerusalem 1916 England does not have a national anthem, however unofficially the beautiful Jerusalem hymn is seen as such by many English people. Jerusalem was originally written as a preface poem by William Blake to his work on Milton written in 1804, the lyrics were added to music written by Hubert Parry in 1916 during the gloom of WWI when an uplifting new English hymn was well received and needed. Blake was in- spired by the mythical story Jesus, accompanied by Joseph of Arimathea, once came to England. This developed its major theme that of creating a heaven on earth in En- galnd, a fairer more equal country that would abolish the exploitation of working people that was seen in the ‘dark Satin mills’ of the Industrial revolution. The song was gifted by Hubert Parry to the Suffragette movement who were inspired by this vi- sion of equality. 2 Jerusalem William Blake lyrics Hubert Parry Music 1916 And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark Satanic Mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight Nor shall my sword sleep in my hand Till we have built Jerusalem In England's green and pleasant Land Hubert Parry 1916 Words by William Blake 1804 3 Jerusalem 1916 4 Jerusalem 1916 5 Jerusalem 1916 William Blake imagined a time when Britain would be a fairer more equal society.
[Show full text]
1 Applauding the Victorian Music Hall Melissa Angelina Manserra Fourth
Applauding the Victorian Music Hall Melissa Angelina Manserra Fourth Year Paper Citation Style: Chicago Manual of Style The Victorian music hall must be treated as a unique form of entertainment, as it recast relations between the popular and the people. It offered audiences a diverse programme, which other institutions were unable, or unwilling, to provide. Once music hall embedded itself into the cultural landscape of Victorian Britain, it became an essential component of life that provided individuals, including women, with a way to articulate their identities. This analysis will pay specific attention to the development of the music hall in London, as it primarily thrived in that city, but claims will also be made about its presence in Scotland and other regions. Programmes presented and commented on social and political trends by addressing the concerns of working- class life. Although it was a community-based institution born ‘from below’, it eventually spread to include the middle class, as it was subjected to a process of commercializationi. Music halls became a socially disputed institution because of their cultural dominance and the challenge they posed to ‘legitimate’ forms of theatre. As a result, the form of entertainment created specifically for and by the ‘common’ people, ceased to exist. Music halls transformed the social, urban, and cultural environment in Victorian Britain. The social relationship between and among working and middle class cultures shaped and was therefore shaped by this process. The primary material from this era reveals the powerful influence that music hall had on the lives of all those involved, both throughout the nineteenth-century, as well as within twentieth-century contexts.
[Show full text]
A Variety Show from Tagora
Roll-call La Belle Époque is created, directed and performed by: V David Adamson, Joceline Adamson, Ian Bennett, Maimu Berg, Yucel Biricik, David Bousquet, Angela Brewer, David Crowe, Grégoire de Victor, Isabelle Dousset, Catherine Dreyfus, Imogen Hattenville, Louis Hattenville, Nell Hattenville, Paula Hinchy, Pelin Iscan, Banu Karamanoğlu, Selina Kenny, Julia Laffranque, Oscar Laffranque, Tobias Laffranque, Elena Malagoni, Roger Massie, Ann Meyer, Tina Mul- cahy, Bridget O’Loughlin, Maria Oreshkina, Louise Palmer, Simon Palmer, Edmond Perrier, Edouard Per- rier, Lucy Perrier, Maria Psarrou, Sabine Rinck, Milica Sajin, Doris Schaal, Mónica Soler-Pérez, Martin Swit- zer, Janis Symons, Martyn Symons, Andrew Tattersall, Richard Thayer, François Thouvenin, William Valk, Julie Vauboin, Armelle Weber, Julia Whitham, Andrew Wright, Jonah Wright, Liam Wright, Marie- Anne Wright, Martin Wright, Owen Wright. Backstage V Morgane Agez, Dianne Bartsch, Hazel Bastier, Lois Ceredig, Sara Rekar. Wardrobe V Marie-Claude Leroux, with the help of Janis Symons and Julie Vauboin. A variety show Décor V Martyn Symons. from Tagora Technical team V Albin Bernard, Richard Cruse, Hal d’Arpini, Carlos Hernández, Jeannine O’Kane, Rob Simmons. Cube noir Front-of-house/bar Koenigshoffen, V Guido Brockmann, Pelin Iscan, Marloes Kerstens, Michèle Lotz, Claire Massie, Lourd McCabe, Dave Strasbourg Parrott, Milica Sajin. 13-15 December 2013 Acknowledgements Grateful thanks to: Michèle Adamson, Amicale du per- 18-20 December 2013 sonnel du Conseil de l’Europe; Albert Ashok; Pierre Charpilloz; CREPS; Finnish National Gallery, Hel- sinki; Ann and Christopher Grayson; Adrienne and Michael Ingledow; David-Michel Muller; Xavier Schmaltz; Marie-José Schneider; Collectif Trois 14; Ville de Strasbourg V uProgramme The music hall tradition u Tagora asked J.R.
[Show full text]
Britain's Best Recruiting Sergeant
BRITAIN’S BEST RECRUITING SERGEANT TEACHER RESOURCE PACK FOR TEACHERS WORKING WITH PUPILS IN YEAR 3 – 6 BRITAIN’S BEST RECRUITING SERGEANT RUNNING FROM 13 FEB - 15 MAR 2015 WHAT DOES IT TAKE TO BE A MAN? Little Tilley’s dreams are realised as she follows in her father’s footsteps and grows up to become Vesta Tilley, a shining star of the music hall whose much-loved act as a male impersonator makes her world-famous. War breaks out and she supports the cause by helping to recruit soldiers to fight for king and country, but has she used her stardom for good? And is winning the most important thing? The Unicorn commemorates the centenary of World War One and the 150th anniversary of Vesta Tilley’s birth in this feisty, song-filled and touching look at the life of Vesta Tilley (1864 – 1952), who was nicknamed Britain’s Best Recruiting Sergeant and led the way for female stars in music hall entertainment. Page 2 BRITAIN’S BEST RECRUITING SERGEANT CONTENTS CONTEXT INTRODUCTION 4 A SUMMARY OF THE PLAY 5 THE PLAY IN CONTEXT 7 INTERVIEWS WITH THE CREATIVE TEAM 9 CLASSROOM ACTIVITIES PRE-SHOW WORK 1. MUSIC HALL ACTS - STOP AND SHOW 13 2. CREATING MUSIC HALL ACTS 15 3. PUBLICITY POSTCARDS 17 4. PRESENTING! CREATING THE COMPERE 18 5. A NIGHT AT THE MUSIC HALL 20 6. CAN I ASK YOU SOMETHING? 21 7. HERE’S MY ADVICE - WRITING TO VESTA/HARRY 23 POST-SHOW WORK 1. FIVE MOMENTS 24 2. WHAT MADE THE PLAY MEMORABLE FOR YOU? 25 3.
[Show full text]
Lazarsfeld AJVS Final-Layout
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online The English Warner Brother triumphs over religious hegemony on the road to celebrity and dynasty Ann Lazarsfeld-Jensen In late Victorian England, music halls were often besieged by fanatical Christians who wanted to shut them down. Evangelicals manipulated justifiable public concerns about alcohol abuse to conflate popular entertainment with social erosion. The complex legislation surrounding places of entertainment began in the 1830s with concerns about limelight and sawdust, but by the 1880s it was firmly focused on morality (Victorian Music Halls 63) The music hall wars were an alarming threat for the predominantly Jewish artists and hall managers barely one generation beyond refugee poverty. It was unwise for them to oppose anything rooted in the national religious hegemonies, and they could not find a moral high ground to protect their livelihood. In this context, the fin de siècle Jewish theatrical agent, Dick Warner, began to use networks of men’s clubs and newspaper publicity to redefine the industry. The peaceful assimilation of Jews with its concomitant benefits for the pursuit of profit (Jews of Britain 77-79) was not a cynical ambition. Warner subscribed to the Victorian Anglo-Jewish world view of judicious assimilation and restrained observance, and he embraced it as the way forward for theatrical entrepreneurs who were losing ground to what Kift refers to as the “sour-faced, austere and ascetic” social reformers (157). The themes of Warner’s publicity campaign are recognisable today.
[Show full text]