Broadside Read- a Brief Chronology of Major Events in Trous Failure
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Barretto: (--- ) Supported by (--- ) :0 Andmr
McVICKER'S L. L. SHARPE, Stage Manager. BILL OF THEPLAY C. S. REDFIELD, Treasurer. J. H. ROGERS, Scenic Artist. HENRY DOEHNE, Musical Director. T WENTY-EIGHTH SEASON. MR. LAWRENCE BARRETTO: (--- ) SUPPORTED BY (--- ) :0 ANDMR. LOUISJAMES AN EXCELLENT COMPAN Y. Monday and TuesdayEvenings, November 17 and 18, 1884, and Saturday Matinee, November 22 Mr. W. D. Howell's adaptationfrom the Spanish,in ThreeActs, entitled YORICK'S LOVE CAST OF CHARACTERS: MASTER YORICK, Comedian of the Globe Theatre LAWRENCE BARRETT MASTER HEYWOOD, Manager of the Globe Theatre LOUIS JAMES MASTER WALTON, LeadingActor of the GlobeTheatre S. E. SPRINGER MASTEREDMUND, Protege of Yorick F. C. MOSLEY MASTER WOODFORD, Authorof a NewPlay CHAS M. COLLINS GREGORY, an old servantof YorickBEN G.ROGERS THOMAS, Prompter of the Globe Theatre ALBERT RIDDLE PHILIP } Servants of Warrener, the Painter, { PERCY WINTER TOBIAS } Servants of Warrener, the Painter, { J. L. FINNEY MISTRESS ALICE, Wife of Yorick } Servants of Warrener, the Painter, { MARIE WAINRIGHT MISTRESS DOROTHY, Maid to Alice } Servants of Warrener, the Painter, { ROSA FRANCE CHANGE OF CHARACTERS IN ACT THIRD. COUNT OCTAVIO (Yorick) LAWRENCE BARRETT MANFREDO (Edmund) F. C. MOSLEY LANDOLPHO (Walton) S. E. SPRINGER BEATRICE (Alice) MARIE WAINWRIGHT Stage Manager for Mr. Barrett OLIVER DOUD SYNOPSIS OF SCENES AND INCIDENTS: ACT I.-Yorick's Home. ACT II.-Yorick's Garden. ACTIII.—Scenes 1 and 2—Green Room and Stage of old GlobeTheatre. FOR ARGUMENT OF THE PLAY, SEE NEXT PAGE. WEDNESDAY, Mr. BARRETT as HAMLET THURSDAY, Mr. BARRETT as RICHELIEU FRIDAY, Grand Double Bill, MERCHANTOF VENICE and DAVID GARRICK Mr. BARRETT- as SHYLOCK and GARRICK. SATURDAYNIGHT, JULIUS CAESAR Mr. -
Ishmael Reed Interviewed
Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth. -
Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
In Nineteenth-Century American Theatre: the Image
Burlesquing “Otherness” 101 Burlesquing “Otherness” in Nineteenth-Century American Theatre: The Image of the Indian in John Brougham’s Met-a-mora; or, The Last of the Pollywogs (1847) and Po-Ca-Hon-Tas; or, The Gentle Savage (1855). Zoe Detsi-Diamanti When John Brougham’s Indian burlesque, Met-a-mora; or, The Last of the Pollywogs, opened in Boston at Brougham’s Adelphi Theatre on November 29, 1847, it won the lasting reputation of an exceptional satiric force in the American theatre for its author, while, at the same time, signaled the end of the serious Indian dramas that were so popular during the 1820s and 1830s. Eight years later, in 1855, Brougham made a most spectacular comeback with another Indian burlesque, Po-Ca-Hon-Tas; or, The Gentle Savage, an “Original, Aboriginal, Erratic, Operatic, Semi-Civilized, and Demi-savage Extravaganza,” which was produced at Wallack’s Lyceum Theatre in New York City.1 Both plays have been invariably cited as successful parodies of Augustus Stone’s Metamora; or, The Last of the Wampanoags (1829) and the stilted acting style of Edwin Forrest, and the Pocahontas plays of the first half of the nineteenth century. They are sig- nificant because they opened up new possibilities for the development of satiric comedy in America2 and substantially contributed to the transformation of the stage picture of the Indian from the romantic pattern of Arcadian innocence to a view far more satirical, even ridiculous. 0026-3079/2007/4803-101$2.50/0 American Studies, 48:3 (Fall 2007): 101-123 101 102 Zoe Detsi-Diamanti -
Screening the Male: Exploring Masculinities in Hollywood Cinema I
SCREENING THE MALE Exploring masculinities in Hollywood cinema Edited by Steven Cohan and Ina Rae Hark London and New York First published 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1993 Routledge, collection as a whole Individual chapters © 1993 respective authors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Screening the Male: Exploring Masculinities in Hollywood Cinema I. Cohan, Steven II. Hark, Ina Rae 791.4309 Library of Congress Cataloguing in Publication Data Screening the male: exploring masculinities in Hollywood cinema/edited by Steven Cohan and Ina Rae Hark. p. cm. 1. Men in motion pictures. 2. Sex in motion pictures. I. Cohan, Steven. II. Hark, Ina Rae. PN1995.9.M46S36 1993 791.43´652041–dc20 92–5815 ISBN 0–415–07758–3 (hbk) ISBN 0–415–07759–1 (pbk) ISBN 0–203–14221–7 Master e-book ISBN ISBN 0–203–22072–2 (Glassbook Format) 8 ANIMALS OR ROMANS Looking at masculinity in Spartacus Ina Rae Hark When Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ detailed how the cinematic apparatus and the conditions of cinema spectatorship invariably place woman as an object of the desiring male gaze, required to present herself as spectacle, its argument did not necessarily exclude the possibility that the apparatus could similarly objectify men who symbolically if not biologically lacked the signifying phallus. -
Ellen Terry Collection Inventory
Ellen Terry Collection Inventory 1 box; 114 items; .4 linear metres Material relating to the career of British actress Ellen Terry (1848-1928) especially period photographs of Miss Terry in various roles. See also the Edward Gordon Craig Collection, and Walker Theatre photographs. Env. #1: Clippings etc. – 15 items Including an article from Windsor Magazine, Dec. 1910 describing her greatest roles (ill.), anniversary tributes on the occasion of her 80th birthday, obituaries and booklet on the Ellen Terry Memorial. Env. # 2: Photographs – 6 items Portraits and misc. (outsize) Env. # 3: Photographs – 32 items Portraits and misc. including photographs and postcard reproductions of portraits of Ellen Terry by George Frederick Watts, Cyril Roberts, Pamela Colman Smith and Sir William Rothenstein. Also includes postcards of Smallhythe Place (2), a photo of Ellen Terry’s death mask, and urn of her ashes. Env. # 4: Production Photographs – 18 items Beatrice in Much Ado About Nothing, 1880 (4) Camma in Tennyson’s The Cup, 1881(2) Cordelia in King Lear, 1892 (1) Ellaline in The Amber Heart by Alfred Calmour, 1887 (2) Helen in The Hunchback by Sheridan Knowles, 1866 (2 postcards: portrait of Kate and Ellen Terry) Hermoine in The Winter’s Tale (1) Imogene in Cymbeline, 1896 (3) Juliet in Romeo and Juliet, 1882 (3) Env. # 5: Production Photographs – 3 items Ellen Terry as Lady Macbeth. Ellen Terry Collection Inventory Page 2 of 7 Env. # 6: Production Photographs – 24 items Ellen Terry as Margaret in Goethe’s Faust, 1885 Env. # 7: Production Photographs – 7 items Mme. Sans-Gene in the play by Victorien Sardou and Emile Moreau, 1897 (1 plate from The Theatre) Mamillius in The Winter’s Tale, 1856 (1 postcard) Nance Oldfield, 1891 (1) Olivia in Olivia by W.G. -
2008.4.Music & More
1 Su b Organist of Blackburn Cathedral 1972-83 th who died, on Sunday 13 July, 2008 From Anna Stuttard (daughter of OC Alec & Pat Stuttard) Dear John, I was saddened to hear of Keith' s death at the weekend - I will write to Ruth, of course, but I was al so prompted to send the attached photo, which I've been meaning to send to you for a while. It's of the Young People’s Choir (YPC) in 1982, which Keith directed, and I have a note on the back with the following nam es: Back row, left to right: David Whittle, Peter Anderto n, Howard Culshaw, Richard Grimshaw, Craig Horrocks, David Tattersall, Andrew Birchall, Stuart Gibson, Dean Slater, Mike Ryan, Mark Hodson, Stephen Ward, Simon Elliott, Karl Farquhar, Brian Newton, Stephen Anderson, K eith Bond (half hidden!), John Marr, Stephen Rickerby Front row, left to right: Anna Stuttard, Pam Walker, A lison Whittle, Ruth Beaumont, Heather Starkie, Diane Lewis, M argaret Marr, Veronica Tobin (Keith’s daughter), Caro l Riding, Ann Wilson, Jackie Oddie, Sue Taylor, Wendy Traci e, Karen Caunter, Debra Farquhar. I was privileged to be in the YPC for several years under Keith's direction, and I owe Keith so muc h. In the choir, I was introduced to a huge range of m usic and learned everything important I ever learned about singing and about working with other musicians. I can't overstat e how important it was to me - music might never have been such a big part of my life had it not been for Keith and the YPC. -
Senior School Parent Handbook Contents
Senior School Parent Handbook Contents Welcome to the Senior School 3 Key contacts 4 Our school day 5 Travel information 6 Clubs and activities 7 Attendance 8 Health 10 Houses and form groups 11 Homework 12 Responsibility, leadership and reward 13 Uniform and equipment 14 Music and speech lessons 16 Curriculum 17 Belongings 18 iPads and mobile phones 19 Online systems 20 Safety and security 20 2 Welcome to the Senior School I wish to warmly welcome you to the Stephen Perse Senior School. We very much look forward to your child joining us in September. At Stephen Perse, our aim is to foster a love of learning, helping our students to become enquiring, reflective, open-minded young people, prepared for the opportunities and challenges of the twenty-first century, and equipped to play an active role in an increasingly international world. At the heart of our ethos are our core values: excellence and creativity in teaching and learning; encouraging personal and social responsibility; celebrating individuality and diversity. This Parent Handbook is an A-Z of the Senior School. We hope it provides all of the important information you need, and answers any questions you may have. If you need any further information, please feel free to contact the relevant member of staff below. With best wishes, Richard Girvan Principal 3 Key contacts The Senior School Team Principal Mr Richard Girvan ([email protected]) Senior Deputy Head (11-18) Mr Stephen Ward ([email protected]) Deputy Head’s PA Mrs Karen England ([email protected]) Deputy -
Professor Katharine Cockin - Full Publication List
Professor Katharine Cockin - Full Publication List Electronic Resources AHRC Ellen Terry and Edith Craig Database http://www.ellenterryarchive.hull.ac.uk A descriptive catalogue of the most significant theatre archive in Britain: comprising over 20,000 documents, the papers of Ellen Terry (1847-1928) and Edith Craig (1869-1947) are owned by the National Trust and held at the National Trust property, Smallhythe Place, Kent and the British Library. This project has involved close liaison between the University of Hull, the National Trust and literary manuscripts at the British Library. AHRC Searching for Theatrical Ancestors http://www.ellenterryarchive.hull.ac.uk/star This new enhancement to the resource described above includes guidance for family history researchers and in addition to the 20,000 records it provides access to a further 15,000 freely available data sets relevant for theatre history research. The Shakespeare Train page provides a creative and engaging interaction with data on Ellen Terry’s Shakespeare tours. This interface uses googlemaps and a selection of digitized play programmes. Usage since launch on 29 July 2016 (number of unique users and sessions (discrete periods when those users are looking at the site) has approximately doubled: 13-Dec-2015 - 28-Jul-2016: 943 users and 1,239 sessions 29-Jul-2016 - 14-Mar-2017: 1,846 users and 2,455 sessions UK usage has risen (number of sessions) by 130% and represents over 66% of all sessions: increase in share of 16%. Number of page views has risen by 70%: Bounce rate has reduced: 13-Dec-2015 - 28-Jul-2016: 4,789 13-Dec-2015 - 28-Jul-2016: 66% 29-Jul-2016 - 14-Mar-2017: 8,216 29-Jul-2016 - 14-Mar-2017: 50% Mobile usage has increased by 283% and usage on tablets has increased by 125%. -
Dame Ellen Terry GBE
Dame Ellen Terry GBE Key Features • Born Alice Ellen Terry 27 February 1847, in Market Street, Coventry • Married George Frederic Watts, artist 20 February 1864 in Kensington. Separated 1864. Divorced 13 March 1877 • Eloped with Edward William Godwin, architect in 1868 with whom she had two children – Edith (b1869) and Edward Gordon (b1872). Godwin left Ellen in early 1875. • Married Charles Kelly, actor 21 November 1877 in Kensington. Separated 1881. Marriage ended by Kelly’s death on 17 April 1885. • Married James Carew, actor 22 March 1907 in Allegheny County, Pennsylvania, USA. Unofficially separated 1909. • Died 21 July 1928 Smallhythe Place. Funeral service at Smallhythe church. Cremation at Golders Green Crematorium, London. Ashes placed in St Paul’s Covent Garden (the actors’ church). Urn on display on south wall (east end). A brief marital history Ellen Terry married three times and, between husbands one and two, eloped with the man who Ellen Terry’s first marriage was to the artist G F Watts. She was a week shy of 17 years old, young and exuberant, and he was a very neurotic and elderly 46. They were totally mismatched. Within a year he had sent her back to her family but would not divorce her. When she was 21, Ellen Terry eloped with the widower Edward Godwin and, as a consequence, was estranged from her family. Ellen said he was the only man she really loved. They had two illegitimate children, Edith and Edward. The relationship foundered after 6 or 7 years when they were overcome by financial problems resulting from over- expenditure on the house that Godwin had designed and built for them in Harpenden. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
15/7/39 Liberal Arts and Sciences Department of English Charles H
The materials listed in this document are available for research at the University of Record Series Number Illinois Archives. For more information, email [email protected] or search http://www.library.illinois.edu/archives/archon for the record series number. 15/7/39 Liberal Arts and Sciences Department of English Charles H. Shattuck Papers, 1929, 1937-92 CONTENTS Box Correspondence, A-Z, 1944-61 1 Correspondence, A-Z, 1961-92 2-6 Subject File, A-W, 1929, 1946-91 6-10 Accent File, A-W, 1942-79 10 Shattuck Promptbooks, 1942-77 10-14 Playbills, 1913-88 14-15 Publications & Reviews, 1938-86 15-16 Research Notes & Correspondence, 1937-92 Macready & Booth 16-17 Shakespeare Promptbooks 17-21 Shakespeare on the American Stage 21-22 Theatre and Brecht 23 Posters & Slides 24 Box 1: Correspondence, 1944-61 A, 1946-58 Adams, John C. 1945-58, 1960 B, 1947-60 Brecht, Bertolt, 1955 C, 1947-60 D, 1946-59 E, 1946-60 Engle, Paul, 1946-56 F, 1945-60 Ford Foundation, W. McNeil Lowry, 1958-59 G, 1945-60 Gregor, Arthur, 1951-54 H, 1943-60 Harrison, G.B., 1957-58 Hewitt, Barnard, 1947-56 Hanson, Philip, 1951-57 I-K, 1942, 1947-61 L, 1946-60 M, 1944-61 15/7/39 2 N-O, 1949-60 P, 1949-60 Q, 1958-60 R, 1944-64 Sa-Sh, 1948-61 Sl-Sy, 1943-60 Stoddard, Margaret, 1954-55 Swanson, John Wesley, 1946-59 T, 1946-60 U-V, 1948-61 Vassar College, 1948-49 W, 1946-60 Wallace, Karl, 1947-49 X-Z, 1953-59 Box 2: Correspondence, 1961-92 A, 1961-92 Abou-Saif, Laila, 1964-69, 1978 Adams, John C., 1961-85 Andrews, John F., 1976-91 Andrews, Kenneth R., 1963-91 Archer, Stephen,