DOCSLIB.ORG

A Walking Tour of Sir Arthur Sullivan's London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A Walking Tour of Sir Arthur Sullivan’s London AUTHORS: Theodore C. Armstrong 2015 Connor M. Haley 2015 Nicolás R. Hewgley 2015 Gregory G. Karp-Neufeld 2014 James L. Megin III 2015 Evan J. Richard 2015 Jason V. Rosenman 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 A Walking Tour of Sir Arthur Sullivan’s London INTERACTIVE QUALIFYING PROJECT WORCESTER POLYTECHNIC INSTITUTE AUTHORS: Theodore C. Armstrong (CS) 2015 Connor M. Haley (BME) 2015 Nicolás R. Hewgley (BBT/TH) 2015 Gregory G. Karp-Neufeld (MIS) 2014 James L. Megin III (CS) 2015 Evan J. Richard (RBE/ME) 2015 Jason V. Rosenman (ECE) 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 Abstract The Sir Arthur Sullivan Society seeks to educate the public on the life and works of Sir Arthur Sullivan, a 19th-century composer. This project researched the ideal components of, and implemented, a brochure based walking tour of Sir Arthur Sullivan’s London. Additional research into other walking tour formats was conducted. Additionally cultural research of London was also conducted. i Table of Contents Introduction ..................................................................................................................................... 1 Background ..................................................................................................................................... 3 The Sir Arthur Sullivan Society ...................................................................................... 6 Elements of a Walking Tour ........................................................................................... 6 Walking Tour Technologies .......................................................................................... 11 Methodology ................................................................................................................................. 16 Objective 1: Determine relevant components of walking tour ..................................... 16 Objective 2: Develop the tour map with associated technologies ................................. 20 Results ........................................................................................................................... 22 Summary ....................................................................................................................................... 29 Appendix A: Locations and Descriptions ..................................................................................... 30 Appendix B: Maps at different scales ........................................................................................... 49 Appendix C: SavoyNet Survey Form ............................................................................................ 51 Boilerplate ..................................................................................................................... 51 Screenshot of Survey Form ........................................................................................... 53 Appendix D: Annotated Bibliography .......................................................................................... 56 Appendix E: Top 40 Lists ............................................................................................................. 60 Appendix F: Theodore Armstrong Discovery Papers ................................................................... 92 Appendix G: Connor Haley Discovery Papers ........................................................................... 102 Appendix H: Nicolás Hewgley Discovery Papers ...................................................................... 112 Appendix I: Gregory Karp-Neufeld Discovery Papers ............................................................... 119 Appendix J: James Megin Discovery Papers .............................................................................. 127 Appendix K: Evan Richard Discovery Papers ............................................................................ 133 Appendix L: Jason Rosenman Discovery Papers ....................................................................... 138 Bibliography ............................................................................................................................... 143 Appendix M: Brochure Deliverable............................................................................................ 145 i Table of Figures Figure 1: Locations shown using Google Maps™ ......................................................................... 9 Figure 2: Language Demographics ............................................................................................... 23 Figure 3: Walking Tour Frequency ............................................................................................... 24 Figure 4: Sullivan's Life Familiarity ............................................................................................. 24 Figure 5: Sullivan's Works Familiarity ......................................................................................... 25 Figure 6: Walking Tour Duration ................................................................................................. 25 Figure 7: Walking Tour Distance ................................................................................................. 26 Figure 8: Number of Sites ............................................................................................................. 26 Figure 9: Technology Access........................................................................................................ 27 Figure 10: Bicycle Tour Feasibility .............................................................................................. 27 Figure 11: Sullivan Tour Likelihood ............................................................................................ 28 Figure 12: Exterior of Savoy Theatre in 1881 .............................................................................. 30 Figure 13: Interior view of The Savoy THeatre (Savoy Theatre) ................................................. 31 Figure 14: The Savoy Hotel exterior (Boise State, 2007) ............................................................. 32 Figure 15: The Garrick Gentleman's Club exterior (Wikipedia) .................................................. 33 Figure 16: Exterior of the Royal Opera House ............................................................................. 34 Figure 17: Royal Academy of Music exteriors (Royal Academy of Music) ................................ 34 Figure 18: St. James Hall entrance, 1856 (Sheppard) ................................................................... 35 Figure 19: Interior of St. James Hall, 1858 (Sheppard) ................................................................ 36 Figure 20: Royal Aquarium exterior, 1876 (Cassell & Company) ............................................... 37 Figure 21: Queen's Chapel exterior, where the Chapel Royal is established (Gobetz) ................ 38 Figure 22: Front elevation to no. 8 Bolwell Terrace. .................................................................... 39 Figure 23: St. Mary's entrance, with the Garden Museum addition ............................................. 40 Figure 24: St. Mary's side exterior ................................................................................................ 40 Figure 25: Royal Courts of Justice exterior (Moose) .................................................................... 41 Figure 26: St. Paul's Cathedral in 1896 ......................................................................................... 42 Figure 27: St. Paul's Cathedral entrance ....................................................................................... 42 ii Figure 28: The memorial by Sir William Goscombe John in St. Paul's Cathedral (Mander & Mitchenson, 1962) ........................................................................................................................ 43 Figure 29: St. Michael, Chester Square, exterior .......................................................................... 44 Figure 30: Sullivan Memorial in the Embankment (Lonpicman, 2006) ....................................... 45 Figure 31: Shaftesbury Theatre exterior ....................................................................................... 46 Figure 32: Liberty's Fabric Store exterior (Villa del Campo) ....................................................... 47 Figure 33: Crystal Palace general view from Water Temple 1854 (Delamotte, 1854) ................ 48 Figure 34: Covent Garden Market exterior ................................................................................... 48 iii Authorship Table James Megin The Sir Arthur Sullivan Society, Determine Relative Components of a Walking Tour, Summary, Develop the Tour map with Associated Technologies Evan Richard Table of Locations, Determine Relative Components of a Walking Tour, Introduction Theodore Armstrong Map of Locations, Determine Relative Components of a Walking Tour, Introduction, Develop the Tour Map with Associated Technologies Gregory Karp Walking Tour Technologies, Introduction, Develop the Tour map with Associated Technologies Jason Rosenman Walking Tour Technologies, Introduction, Determine Relative Components of a Walking Tour, Develop the Tour map with Associated Technologies Nicolas Hewgley
Recommended publications
  • Reception of Charles Villiers Stanford and His Music in the American Press Dr Adèle Commins, Auteur(S) Dundalk Institute of Technology, Ireland

    Reception of Charles Villiers Stanford and His Music in the American Press Dr Adèle Commins, Auteur(S) Dundalk Institute of Technology, Ireland

    Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Dr Adèle Commins, Auteur(s) Dundalk Institute of Technology, Ireland Titre de la revue Imaginaires (ISSN 1270-931X) 22 (2019) : « How Popular Culture Travels: Cultural Numéro Exchanges between Ireland and the United States » Pages 29-59 Directeur(s) Sylvie Mikowski et Yann Philippe du numéro DOI de l’article 10.34929/imaginaires.vi22.5 DOI du numéro 10.34929/imaginaires.vi22 Ce document est mis à disposition selon les termes de la licence Creative Commons attribution / pas d'utilisation commerciale / pas de modification 4.0 international Éditions et presses universitaires de Reims, 2019 Bibliothèque Robert de Sorbon, Campus Croix-Rouge Avenue François-Mauriac, CS 40019, 51726 Reims Cedex www.univ-reims.fr/epure Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and How PopularHow Culture Travels his Music in the American Press #22 IMAGINAIRES Dr Adèle Commins Dundalk Institute of Technology, Ireland Introduction Irish born composer Charles Villiers Stanford (1852–1924) is a cen- tral figure in the British Musical Renaissance. Often considered only in the context of his work in England, with occasional references to his Irish birthplace, the reception of Stanford’s music in America provides fresh perspectives on the composer and his music. Such a study also highlights the circulation of culture between Ireland, England and the USA at the start of the twentieth century and the importance of national identity in a cosmopolitan society of many diasporas. Although he never visited America, the reception of Stanford’s music and reviews in the American media highlight the cultural (mis)understanding that existed and the evolving identities in both American and British society at the turn of the twentieth century.
  • 1934 Exhibition Catalogue Pdf, 1.23 MB

    1934 Exhibition Catalogue Pdf, 1.23 MB

    ~ i Royal Cambrian Academy of Art, t PL:\S MAWR, CON\\'AY. t Telephone, No. 113 Conway. i CATALOGUE i OF THE I FIFTY-SECOND ANNUAL i EXHIB ITION, 1934. ~ i The Exhibition will be open from 21st May to I ~ 26th September. A dmission (including Enter- .( ,r tainment Tax), Adults, 7d. Children under 14, ~ ltd. Season Tickets, 2 /(i. 1' ,q·~~"-"15'~ <:..i!w~~~~~~~~\:I R. E. Jones & Bros., Pri11te1·s, Conway. 1 HONORARY MEMBERS. ', The Presidents of the following Academies and Societies :- - Royal Academy of Arts, London (Sir W. Llewelyn, G.C.V.O ., R.I., R.W.A.). ii Royal Scottish Academy, Edinburgh (George Pirie, Esq). Royal Hibernian Academy, Dublin (Dermod O'Brien, Esq.,H.R.A., H.R.S.A.). tbe Royal Cambrian Rccldemy or Jlrf, F. Brangwyn, Esq., R.A., H.R.S.A., R.E., R.W.A., A.R.W.S. INSTITUTED 1881. Sir W. Goscombe John, R.A. Terrick Williams, Esq., R .A., F'.R.I., R.O.I., R.W.A., V.P.R.13.C. Sir Herbert Baker, R.A., F.R.I.B.A. PATRONS. FOUNDERS. HIS MAJESTY THE KING W. Laurence Banks, J .P. HER MAJESTY THE QUEEN Sir Cuthbert Grundy, R.C.A., R.I., R.W.A., V.P.R.13.C. , . HIS ROYAL HIGHNESS THE PRINCE J. R. G. Grundy, R.C.A. OF WALES Anderson Hague, V .P .R.C.A., R.I., R.O.I. E. A. Norbury, R.C.A. Charles Potter, R.C.A. I, I, H. Clarence Whaite, P.R.C.A., R.W.S.
  • SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences

    SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences

    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr.
  • Vol. 17, No. 4 April 2012

    Vol. 17, No. 4 April 2012

    Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this.
  • The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival

    The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival

    Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless.
  • Victoria Embankment Foreshore Hoarding Commission

    Victoria Embankment Foreshore Hoarding Commission

    Victoria Embankment Foreshore Hoarding Commission 1 Introduction ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’, 2017, by Simon Roberts, commissioned by Tideway This is a temporary commission located on the Thames Tideway Tunnel construction site hoardings at Victoria Embankment, 2017-19. Responding to the rich heritage of the Victoria Embankment, Simon Roberts has created a metaphorical ‘cabinet of curiosities’ along two 25- metre foreshore hoardings. Roberts describes his approach as an ‘aesthetic excavation of the area’, creating an artwork that reflects the literal and metaphorical layering of the landscape, in which objects from the past and present are juxtaposed to evoke new meanings. Monumental statues are placed alongside items that are more ordinary; diverse elements, both man-made and natural, co-exist in new ways. All these components symbolise the landscape’s complex history, culture, geology, and development. Credits Artist: Simon Roberts Images: details from ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’ © Simon Roberts, 2017. Archival images: © Copyright Museum of London; Courtesy the Trustees of the British Museum; Wellcome Library, London; © Imperial War Museums (COM 548); Courtesy the Parliamentary Archives, London. Special thanks due to Luke Brown, Demian Gozzelino (Simon Roberts Studio); staff at the Museum of London, British Museum, Houses of Parliament, Parliamentary Archives, Parliamentary Art Collection, Wellcome Trust, and Thames21; and Flowers Gallery London. 1 About the Artist Simon Roberts (b.1974) is a British photographic artist whose work deals with our relationship to landscape and notions of identity and belonging. He predominantly takes large format photographs with great technical precision, frequently from elevated positions.
  • Serpent Newsletter

    Serpent Newsletter

    Serpent Newsletter Serpent Newsletter P.O. Box 954 Mundelein, Illinois 60060 USA Newsletter for Serpent Enthusiasts September 27, 2011 A Note from the Editor Workshops Ÿ This newsletter has a somewhat different balance then some The 2011 Serpentarium other recent editions. For a while now we have been seeing many new materials in each issue, but there have been no The latest biennial international serpent gathering took place new audio or video recordings uncovered or discovered once again at Boswedden House on the rocky western shores since April of this year, with the exception of one CD that of Cornwall, England. Nigel Nathan and Thelma Griffiths did not arrive in time for a review. By way of compensation, were the hosts, and Phil Humphries of the London Serpent there have been many notices of other serpent activities and Trio presided over the sessions. results from some interesting research have also come to light. Participants began to arrive Thursday, May 26, in the afternoon. The weather was blustery with plenty of pelting There has been some suggestion that more people would rain, but it was easing up somewhat by dinner time. Early prefer to receive this newsletter electronically than in print arrivals included John Weber, his friend and serpent form. So it’s a good time to find out the feelings of all newcomer Ross Nuccio, and Paul Schmidt, all from the readers and thus inform future decisions. The newsletter Chicago area. This trio, plus Nigel, enjoyed getting up-to- goes to players and other interested individuals, as well as to speed on the local news during dinner at the golf course early music directors, composers, college faculty, libraries, tavern just down the hill from Boswedden.
  • Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The

    Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The

    Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case.
  • Krantz Kenkrantz@Aol.Com Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)

    Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)

    Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother
  • Or, the Witch's Curse!

    Or, the Witch's Curse!

    Ruddygore or, The Witch's Curse! An Entirely Original Supernatural Opera in Two Acts Written by W. S. Gilbert Composed by Arthur Sullivan First produced at the Savoy Theatre, London, Saturday 22nd January 1887 under the management of Mr. Richard D'Oyly Carte This edition privately published by Ian C. Bond at 2 Kentisview, Kentisbeare, CULLOMPTON. EX15 2BS. © 1995 RUDDYGORE Of all the Gilbert and Sullivan joint works, RUDDYGORE has been the most unfairly treated. The initial, rather hostile reception, led the partners to make a number of cuts and changes which, under rather more favourable circumstances, would probably not have been so severe. This gradual dissection continued in the 1920’s at the hands of Geoffrey Toye, Harry Norris, Malcolm Sargent and J M Gordon until, by the post-war revival of 1949, RUDDIGORE was, to all intents and purposes, a new work. It is to be hoped that such a thing could not happen today as I would like to think that we have far too much respect for the works of these two men to allow anyone to take such drastic rewrites upon themselves. That the original version of the opera works is evidenced by the considerable number of amateur revivals over the past few years that have attempted to return as closely as possible (given the lack of performing material) to a ‘first night version’ - a trend fuelled by the New Sadler’s Wells revival of 1987. That Gilbert was guilty of one miscalculation is fairly obvious in his placing of “The battle’s roar is over” in Act One.
  • Social Discourse in the Savoy Theatre's

    Social Discourse in the Savoy Theatre's

    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
  • Unequal Pleasures: Electric Theatres (1908) Ltd. and the Early Film Exhibition Business in London

    Unequal Pleasures: Electric Theatres (1908) Ltd. and the Early Film Exhibition Business in London

    Unequal Pleasures ©Luke McKernan 2006 Unequal Pleasures: Electric Theatres (1908) Ltd. and the early film exhibition business in London Luke McKernan Paper given at the Emergence of the Film Industry in Britain conference, University of Reading Business School, 29/30 June 2006 Time and money are unequal pleasures. Industrialism is biased toward producing goods rather than leisure. Gary Cross, Time and Money (1993) 1 This talk was first conceived of in a Starbucks just off Oxford Street, while taking a break from a busy day and contemplating the nature of public and private time. For the record, I had a venti cappuccino with carrot cake on the side. But let me take you back to the London of a hundred years ago. In 1903 the writer Walter Besant surveyed the state of theatrical entertainment for London’s working class districts. In this era just before the rise of the cinema, ‘the working man’s theatre’ as it came to be known, Besant saw a cultural desert: huge and populous areas of the city with little or no local theatrical entertainment to sustain them: As regards the working man’s theatrical tastes, they lean, so far as they go, to the melodrama; but as a matter of fact there are great masses of working people who never go to the theatre at all. If you think of it, there are so few theatres accessible that they cannot go often. For instance, there are for the accommodation of the West-end and the visitors to London some thirty theatres, and these are nearly always kept running; but for the densely populous districts of Islington, Somers Town, Pentonville, and Clerkenwell, combined, there are only two; for Hoxton and Haggerston, there is only one; for the vast region of Marylebone and Paddington, only one; for Whitechapel, ‘and her daughters,’ two; for Shoreditch and Bethnal Green, one, for Southwark and Blackfriars, one; for the towns of Hampstead, Highgate, Camden Town, Kentish Town, Stratford, Bow, Bromley, Bermondsey, Camberwell, Kensington, or Deptford, not one.