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Introduction N o t e s INTRODUCTION 1 . D . C o lclough, “British Child Performers 1920–1940: New Issues, Old Legacies,” in Entertaining Children : The Participation of Youth in the Entertainment Industry , ed. G. Arrighi and V. Emeljanow (Basingstoke and New York: Palgrave Macmillan, 2014), 73–90. 2 . T . C . D a v i s , “ T he Employment of Children on the Victorian Stage,” T he New Theatre Quarterly , 2 (1986): 116–135. 3 . B . C r o z i e r , “ N o t i o n s o f C hildhood in the London Theatre 1880–1905,” Unpublished PhD Thesis, Cambridge University, 1981. 4 . D a v i s , “ T he Employment of Children.” 5 . T . C . D a v i s , Actresses as Working Women: Their Social Identity in Victorian Culture (London: Routledge, 1991). See also Tracy C. Davis, The Economics of the British Stage (Cambridge: Cambridge University Press, 2000). 6 . H . W a t e r s , “ ‘ T hat Astonishing Clever Child,’ Performers and Prodigies in the Early and Mid-Victorian Theatre,” Theatre Notebook , 2 (1996): 78. 7 . C . S t e e dman, Strange Dislocations: Childhood and the Idea of Human Interiority, 1780 – 1930 (London: Virago, 1995). 8 . P . H o r n , “ E n g lish Theatre Children 1880–1914: A Study in Ambivalence,” History of Education , 25, 1 (1996): 37–54. 9 . J . P r i t chard, “Collaborative Creations for the Alhambra and the Empire,” Dance Chronicle , 24, 1 (2001): 55–82. 1 0 . S . V e y , “ G o o d Intentions and Fearsome Prejudice: New York’s 1876 Act to Prevent and Punish Wrongs to Children,” Theatre Survey , 42, 1 (May 2001): 54–68. See also T. J. Gilfoyle, “The Moral Origins of Political Surveillance in New York City 1867–1918,” American Quarterly , 38, 4 (1986): 637–652; B. McArthur, “‘Forbid Them Not’: Child Actor Labor Laws and Political Activism in the Theatre,” Theatre Survey , 36 (1995): 63–80. 1 1 . E . B a r lee, Pantomime Waifs, or, a Plea for Our City Children (London: Partridge, 1884). 1 2 . A . C a r t e r , “ C . T r a n ders, Cara Tranders’ Reveries: The Autobiography of Cara Tranders. Ballet Girl at the Empire Palace of Varieties, 1892–99,” in Rethinking Dance History , ed. A. Carter (London: Routledge, 2004). 174 Notes 1 3 . J . D a v i s , “ F r e a ks, Prodigies and Marvelous Mimicry: Child Actors of Shakespeare on the Nineteenth-Century Stage,” Shakespeare , 2, 2 (2006): 179–193. 1 4 . D a v i s , “ F r e a ks, Prodigies, 192. 1 5 . A . V a r t y , Children and Theatre in Victorian Britain : “ All Work, No Play ” (Basingstoke and New York: Palgrave Macmillan, 2008). See also A. Varty, “The Rise and Fall of the Victorian Stage Baby,” New Theatre Quarterly , 21 (2005): 218–229. 1 6 . M . G u bar, “The Drama of Precocity: Child Performers on the Victorian Stage,” in The Nineteenth-Century Child and Consumer Culture , ed. Dennis Denisoff (London: Ashgate, 2008), 63–78; M. Gubar, Artfu l Dodgers: Reconceiving the Golden Age of Children ’ s Literature (Oxford: Oxford University Press, 2009); M. Gubar, “Who Watched the Children’s Pinafore? Age Transvestism on the Nineteenth-Century Stage,” Victorian Studies , 54, 3 (2012): 410–426. 1 7 . J . S a t t a u r , Perceptions of Childhood in the Victorian Fin-de-Si è cle (Newcastle- upon-Tyne: Cambridge Scholars, 2011). 1 8 . J . K lein, “Without Distinction of Age: The Pivotal Roles of Child Actors and Their Spectators in Nineteenth-Century Theatre,” The Lion and the Unicorn , 36, 2 (2012) : 117–135. 1 9 . G . A r r i g hi and V. Emeljanow, “Entertaining Children: An Exploration of the Business and Politics of Childhood,” New Theatre Quarterly , 28 (2012): 41–55. See also G. Arrighi and V. Emeljanow, eds., Entertaining Children (Basingstoke and New York: Palgrave Macmillan, 2014). 2 0 . S . F o s dick, “Follow the Worker, Not the Work: Hard Lessons from Failed London Music Hall Magazines,” Journal of Magazine and New Media Research , 5, 2 (2003). See also M. Scott Phillips, “Rational Entertainment, Music Hall and the Nineteenth-Century British Periodical Press,” Theatre History Studies (2002): 195–209. 2 1 . B a r lee, Pantomime Waifs . 2 2 . M . J . C o r bett, “Performing Identities: Actresses and Autobiography,” Biog- raphy , 24, 1 (2001): 15. See also S. Smith, “Performativity, Autobiographical Practice, Resistance,” in Women, Autobiography, Theory , ed. S. Sidonie Smith and J. Watson (Madison: University of Wisconsin, 2000), 108–115; J. Jensen Wallach, “Building a Bridge of Words: The Literary Autobiography as His- torical Source Material,” Biography , 29, 3 (2000): 446–461; M. B. Gale and V. Gardner, eds., Autobiography and Identity Women Theatre and Performance (Manchester: Manchester University Press, 2005); M. Kadar, Tracing the Autobiographical (Waterloo: Wilfrid Laurier University Press, 2005). 2 3 . F o r u s e f u l summaries of legislation directed to the protection and welfare of children, 1870–1914 see F. Keeling, Child Labor in the United Kingdom (London: P. S. King & Son, 1914). See also G. K. Behlmer, Child Abuse and Moral Reform in England 1870 – 1908 (Stanford: Stanford University Press, 1982). Notes 175 2 4 . A . A llen and A. Morton, T his Is Your Child: The Story of the National Society for the Prevention of Cruelty to Children (London: Routledge and Kegan Paul, 1961). 2 5 . A . D a v i n , Growing up Poor (London: Rivers Oram Press, 1996), 9. 1 RAW MATERIAL, LABOR, AND THE FINISHED PRODUCT: THE THEATRICAL CHILD AS EMPLOYEE 1 . P . B a i ley, “A Community of Friends: Business and Good Fellowship in London Music Hall Management c.1860–1885,” in Music Hall the Business of Pleasure , ed. P. Bailey (Milton Keynes: Open University Press, 1986), 35. 2 . Daily Telegraph , June 28, 1889. 3 . The Times , July 16, 1887. 4 . J . K lein, “Without Distinction of Age: The Pivotal Roles of Child Actors and Their Spectators in Nineteenth-Century Theatre,” The Lion and the Unicorn , 36, 2 (2012) : 117–135. 5 . N i n a A u e r bach, Ellen Terry: A Player in Her Time (Pennsylvania: Pennsylvania Press, 1997), 50. 6 . The Times , February 9, 1889. 7 . The West End , April 1897. 8 . “An Interview with Florrie Robina,” The Amusing Journal , May 25, 1895. 9 . Third Report of the Royal Commission on Education , Parliamentary Papers, 1887, vol. XXX, 305–320, 308. 1 0 . “ C hildren in Theatres,” T he Times , July 16, 1887. 1 1 . E . B a r lee, Pantomime Waifs, or, a Plea for Our City Children (London: Partridge, 1884), 8. 1 2 . “ C hild Workers in London,” The Strand Magazine , May 1891, 501–511. 1 3 . A . E . W i lson, The Story of Pantomime (London: E.P. Publishing, 1974), 93–94. 1 4 . The Interlude , January 2, 1886. 1 5 . The Theatre , January 1882. 1 6 . The Playgoer , March 1889. 1 7 . B a r lee, Pantomime Waifs , 63. 1 8 . Manchester Evening News , December 8, 1888; The Play , January 3, 1885. 1 9 . Manchester Evening News , December 8, 1888. 2 0 . Manchester Evening News , November 17, 1888. 2 1 . Manchester Evening News , December 29, 1888. 2 2 . T he Chiel , February 21, 1885. 2 3 . Manchester Evening News , December 1888. Further examples can be found in The Chiel , January 3 and 31, 1885. 2 4 . M . R . B o o t h, Victorian Spectacular Theatre 1850 – 1910 (London: Routledge and Kegan Paul, 1981), 2. 176 Notes 2 5 . V . A . Z e lizer, Pricing the Priceless Child: The Changing Social Value of Children (New York: Basic Books, 1985), 96. 2 6 . Z e lizer, Pricing the Priceless Child , 96. 2 7 . Third Report of the Royal Commission on Education . 2 8 . B a r lee, Pantomime Waifs , 23. 2 9 . B a r lee, Pantomime Waifs , 8. 3 0 . B . C r o z i e r , “ N o t i o n s o f C hildhood in London Theatre, 1880–1905,” Unpublished PhD Thesis, Cambridge University, 1981. 3 1 . J . L . S t y a n , The English Stage: A History of Drama and Performance (Cambridge: Cambridge University Press, 1996), 302. 3 2 . W i lson, The Story of Pantomime , 89. 3 3 . S t y a n , The English Stage , 301. Styan also provides a checklist of outstanding names in the field of actor managers of the Victorian period which, “suggests a century of intense theatrical activity,” 309. 3 4 . H . S u t t o n , “ C hildren and Modern Literature,” T he National Review , December 18, 1891. 3 5 . Third Report of the Royal Commission on Education , 312. 3 6 . B a r lee, Pantomime Waifs , 46. Children held universal appeal for the audience therefore it is no coincidence that the periods Barlee identified with increased recruitment were also the busiest in the theatrical calendar. “People flock to the theatres and music halls. Often on Bank Holidays, ‘standing room only’ soon after doors open.” ( The Amusing Journal , April 27, 1895). 3 7 . The Circulator , January 7, 1882. See also The Theatre , February 1, 1882. 3 8 . “ I llustrated Interviews, Sir Augustus Harris,” Strand Magazine , July– December 1891, 551–563. 3 9 . M . F a w cett, “Holes in the Education Net,” The Contemporary Review , May 1887, 645. 4 0 . The Theatre , February 1, 1882. 4 1 . C . S cott, “Our Play Box: The Children’s Pinafore,” The Theatre , January 1, 1880. 4 2 . The Chiel , January 31, 1885.
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