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GILBERT and SULLIVAN: Part 1
GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were. -
Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays. -
Read Ebook {PDF EPUB} a Flash in the Pan by Lilian Kendrick
Read Ebook {PDF EPUB} A Flash in the Pan by Lilian Kendrick How Much Time Is Needed to Declare a Rap Album “Classic”? The release of Kendrick Lamar's new album, and the questions it raises about today's fast-paced, hyperbolic cycle of criticism. Written by Ernest Baker (@newbornrodeo) and Noah Callahan-Bever (@N_C_B) This week saw the official release of Kendrick Lamar 's major label debut, good kid, m.A.A.d city . It's the best-reviewed rap album since Kanye W est 's My Beautiful Dark Twisted Fantasy , lauded and slobbed by everyone from us to Pitchfork to everyone on Twitter and beyond (except Shyne , of course). The question isn't whether or not the album's of quality—that's universally acknowledged. The question is whether or not it’s a “classic.” It's especially significant because—in the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. In the troll-ridden world we occupy—there's a manic rush to assign hyperbolic value to every shoe prior to it hitting the floor. Classic is defined by the Oxford English Dictionary as something that's "judged over a period of time to be of the highest quality and outstanding of its kind." Classic albums are more than just "great." They're game changers, inflection points in creativity. And it's a truth that can only unfold over time. How many fine artists died in obscurity, their work achieving acclaim in their absence? F. -
Law's Lunacy: W.S. Gilbert and His Deus Ex Lege1
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank \\server05\productn\O\ORE\83-3\ORE305.txt unknown Seq: 1 12-APR-05 10:55 Essay JEFFREY G. SHERMAN* Law’s Lunacy: W.S. Gilbert and His Deus ex Lege 1 I can teach you with a quip, if I’ve a mind; I can trick you into learning with a laugh; Oh, winnow all my folly, and you’ll find A grain or two of truth among the chaff! —W.S. Gilbert2 I ENTER MR. GILBERT udges often use the phrase “Gilbert & Sullivan” as a pejora- Jtive,3 invoking the Englishmen’s names to characterize ad- * Professor of Law, Chicago-Kent College of Law, Illinois Institute of Technology. B.A. ‘68, J.D. ‘72, Harvard University. I should like to thank Steven Heyman and Nancy Marder for their valuable suggestions and advice, and the Marshall D. Ewell Research Fund for its support. I owe a special debt of gratitude to Douglas Kahn, whose unexpected reference to Gilbert & Sullivan during an e-mail exchange pro- vided the inspiration for this Article. 1 Readers will recognize this Latin phrase as a play on deus ex machina (literally “god out of the machine”): an auctorial device—now much despised—whereby a character is providentially, though not always convincingly, introduced near the end of a play or novel for the sole purpose of rescuing the hero. Deus ex lege would mean “god out of the law,” suggesting a plot contrivance that relies on a law, rather than a person, to extricate the work’s characters from their predicament. -
Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY June 1993 -- Issue 38
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 1993 -- Issue 38 Rising early in the morning, We proceed to light the fire, Then our Majesty adorning in its workaday attire. And here we are again! Rising early in the morning seems to have lit a fire under S/A Cole, and thanks to our many contributors, she got the Nonsense compiled in almost record time. This time around we have a synopsis of The Palace of Truth, a long list of productions, a mixed-up moment from Yeomen, and the Annual Big Quiz! So let us embark without delay on the duties of the day, as they say. ----------------------------------- Oh, Members, How Say You, What is it The Savoy-Aires are You've done? going to be giving The Sorcerer at the Marillac High School Auditorium Ralph MacPhail is at it again: He's spending in Northbrook this sum- another summer conducting G&S-related mer, apparently toward Elderhostels on the East Coast. We hope he and his the middle of August. students have lots of fun, though considering the Now, this is important, topic, how can they help but? not only to the Savoy- ----------------------------- Aires, but to the MGS, because at this point we What Cheer! What Cheer! {Midwest- are hoping to have our annual outing in connection ern} with their performance. The details have yet to be worked out, but they will be passed on to the mem- From Thomas Weakley we learn that Starlight bers as soon as we know. In the meantime, for more Musicals (107 N. -
The Gilbertian Idea. by H
THE GILBERTIAN IDEA. BY H. ROWLAND-BROWN. [Cornhill Magazine, 52 (New Series 2.), Apr. 1922, pp. 503-512.] THE genius of W. S. Gilbert is a thing apart; his place in English letters unique. In his art as a librettist he has no predecessors. He has had many imitators, but no successors. As soon as he found himself, he came at once into his own; he saw, and conquered, and now after the lapse of some forty years his place in popular esteem and in the more eclectic world of letters is firmly established. The recent revivals in London of the earlier Savoy operas, ‘Savoy’ being a convenient if not strictly accurate term to cover the series from Trial by Jury to Utopia Limited , have stimulated curiosity as to their literary evolution, especially in regard to the almost mysterious transformation of Gilbert from a writer of burlesque after H. J. Byron, and a more or less conventional playwright at first strongly under the influence of Robertson, into a librettist of extraordinary skill, working on purely original lines. The mental processes which gave birth and expression to his real genius — the satiric genius of Topsy-turvydom — are revealed, however, in the pages of a note-book—sole survivor, it is to be feared, of many—kindly placed at the disposition of the writer. Gilbert made away with his papers ruth- lessly. He kept neither unfinished nor completed manuscripts. The final copy was usually bestowed on the prima donna or other artist whose interpretation of his characters happened to commend itself; the rest, with all notes, were committed to the flames. -
The Playscripts Collection
http://oac.cdlib.org/findaid/ark:/13030/tf4g5004r9 No online items INVENTORY OF THE PLAYSCRIPTS COLLECTION Processed by Levi Damon Phillips; machine-readable finding aid created by Jim Sylva Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 1993 The Regents of the University of California. All rights reserved. INVENTORY OF THE PLAYSCRIPTS P-200 1 COLLECTION INVENTORY OF THE SCRIPTS COLLECTION Collection number: P-200 Department of Special Collections General Library University of California, Davis Davis, California Contact Information Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] Processed by: Levi Damon Phillips Date Completed: October 1993 Encoded by: Jim Sylva © 1993 Descriptive Summary Title: THE PLAYSCRIPTS COLLECTION Date (inclusive): 19th and early 20th centuries Collection number: P-200 Origination: Extent: 26 linear feet in 26 boxes Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California Shelf location: For current information on the location of these materials, please consult the Special Collections Department. Language: English. Provenance The Scripts Collection was created over more than twenty years through purchases from book dealers. The Department of Special Collections continues to add to this "open" collection. Access Collection is open for research. Publication Rights The library can only claim physical ownership of the Scripts Collection. Users are responsible for satisfying any claimants of literary property. Preferred Citation [Identification of item] THE PLAYSCRIPTS COLLECTION, P-200, Department of Special Collections, General Library, University of California, Davis. -
1. Overture: the Collaboration 2. Curtain-Raiser: the Theatrical
Notes 1. Overture: the Collaboration 1. Comment by Henry Chorley, librettist of Sullivan's first (unfinished and unproduced) opera, The Sapphire Necklace; quoted in Jacobs, Arthur Sullivan, p. 27. 2. Robert Papperitz, a Leipzig music teacher, quoted in Temperley (ed.) Athlone History of Music in Britain, p. 18. 3. Letters by both Sullivan and Gilbert outlining their artistic points of view are quoted fully in Jacobs Arthur Sullivan, Ch 20, 29. 4. Interview in Cassell's Saturday Journal, 21 March 1894. 2. Curtain-Raiser: the Theatrical Background 1. Stedman, Gilbert Before Sullivan, p. 1; this book gives an excellent account of pre-Gilbert and Sullivan Victorian musical entertainment, and reprints the texts of six of Gilbert's early comic plays. 2. Watson, Sheridan to Robertson, p. 6; this book and Rowell's Victorian Theatre are two indispensable histories of Victorian theatre. 3. Saturday Review, 28 September 1868. 4. Watson, Sheridan to Robertson, p. 349. 5. Henry James's amusing comments on the playgoing habits of Victorians are reprinted in Rowell, Victorian Dramatic Criticism, pp. 193-4. 175 Gilbert and Sullivan 6. Quoted in Baily, Gilbert and Sullivan Book, p. 343; Brooke, Parker and Spurgeon were eminent clergymen. 7. Augustin Filon's The English Stage: Being an Account of the Victorian Drama (published in 1897) is an interesting review of Victorian drama from a French perspective. 8. Kragaur, Orpheus in Paris, p. 175; this volume and the book by Moss and Marvel, Cancan and Barcarolle, give a good account of the development of opera bouffe. 9. Rees, Thespis, p. 58; this scholarly book describes the production of Thespis in 1871 and gives a definitive text of the opera. -
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110231-32 bk Iolanthe US 22/5/03 4:55 PM Page 8 Gilbert & Sullivan: Iolanthe, or the Peer and the Peri Great Operetta Recordings ADD CD 1 58:34 8.110231-32 1 Overture (Orchestra) 7:18 ACT 1: An Arcadian Landscape between 1700 and 1882 2 Chorus: Tripping hither, tripping thither (Chorus, Celia, Leila) 4:10 3 Invocation: Iolanthe! From thy dark exile (Queen, Celia, Leila, Iolanthe) 3:15 4 Song: Good morrow, good mother (Strephon, Chorus) 0:41 5 Ensemble: Fare thee well, attractive stranger (Queen, Fairies) 1:03 GILBERT AND 6 Song: Good morrow, good lover (Phyllis, Strephon) 0:42 7 Duet: None shall part us from each other (Phyllis, Strephon) 2:53 SULLIVAN 8 Chorus: Loudly let the trumpet bray! (Chorus) 5:43 9 Song: The Law is the true embodiment (Lord Chancellor & Chorus) 2:50 0 Recit: My well-loved lord (Phyllis); 4:05 Iolanthe Solo: Of all the young ladies I know (Lord Tolloller, Lord Mountararat, Phyllis, Chorus) ! Recit: Nay, tempt me not (Phyllis, Chorus); 5:09 Ballad: Spurn not the nobly born (Lord Tolloller, Phyllis, Lord Chancellor, Strephon, Ann Drummond-Grant Lord Tolloller, Chorus) @ Song: When I went to the bar (Lord Chancellor) 2:04 Martyn Green # Finale (Strephon, Phyllis, Lord Mountararat, Iolanthe, Lord Tolloller, Lord Chancellor, 18:41 Leonard Osborn Queen, Ensemble) Eric Thornton CD 2 29:36 ACT 2: Palace Yard, Westminster Fisher Morgan 1 Song: When all night long (Private Willis) 3:54 2 Chorus: Strephon’s a member of Parliament (Chorus of Fairies, Chorus of Peers) 1:28 Alan Styler 3 Song: When Britain really ruled the waves -
The Oxford Companion to English Literature, 6Th
G GABORIAU, Emile (1832-73), French writer of crime society driven mad by material greed and spiritual fiction, considered to be the first practitioner in France emptiness. The more jaunty A Frolic of His Own (1994), of the roman policier. He created two famous charac a satire on America's obsession with litigation, is ters, the professional detective Monsieur Lecoq and the perhaps the best place to start exploring this most amateur Le Père Tabaret. Gaboriau's best-known pleasurably daunting of modern writers. works are: L'Affaire Lerouge (1866), Le Crime d'Orcival Gadshill, near Rochester, the scene of Prince *Hal's (1867), Le Dossier No. 113 (1867), Monsieur Lecoq joke robbery of *Falstaff in Shakespeare's 1 *Henry IV (1869), Les Esclaves de Paris (1869). (11. ii); confusingly, one of Falstaff's companions also Gabriel, the name of one of the archangels (Dan. 9: 21 has the name Gadshill. Gadshill was the home of and Luke 1: 19,26). The name means 'strength of God' *Dickens in his later years. in Hebrew. In Islam he is Jibril, the angel who dictated Gaheris, Sir, in *Malory, the fourth and youngest son the * Koran to Muhammad. Milton makes him 'Chief of of King Lot of Orkney and Arthur's sister Morgawse. the angelic guards' (*Paradise Lost, IV. 550). He killed his mother when he found her in bed with GADBURY, John, see ALMANACS. Lamorak. He was accidentally killed by Launcelot, an event which led to the implacable hatred of his brother GADDA, Carlo Emilio (1893-1973), Italian novelist. Gawain for Launcelot.