DOCSLIB.ORG

John Liptrot Hatton, Born, October 12, 1809. Died, September 20, 1886 Author(S): F

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Liptrot Hatton, Born, October 12, 1809. Died, September 20, 1886 Author(S): F John Liptrot Hatton, Born, October 12, 1809. Died, September 20, 1886 Author(s): F. G. E Source: The Musical Times, Vol. 50, No. 800 (Oct. 1, 1909), pp. 641-646 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/905628 Accessed: 09-03-2015 10:09 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Mon, 09 Mar 2015 10:09:24 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-OCTOBER I, 1909. 641 In 1832 we find Hatton, aged twenty-three, in London as JOHN LIPTROT HATTON, a member of an opera company at Drury Lane Theatre. 'The strongest operatic BORN, OCTOBER I2, I809. company that ever congregated in an English so the Harmonicon records. 'Mrs. DIED, SEPTEMBER 20, 1886. theatre,' Wood, Mad. de Merie, Mr. Braham, Mr. H. Phillips, This year of grace, I909, has brought with it Mr. Wood, &c., will enable the manager to the centenaries of some famous men. The perform almost any opera of any country or school, greater constellation includes Darwin, Gladstone, that he may wish to get up.' A little research Mendelssohn, and Tennyson, all of whom were born among the Drury Lane playbills at the British in I809, and Haydn, who drew his last breath one Museum shows that, on October 6, I832, the part hundred years ago. The lesser group, whose stars, of the '3rd Forester' in Bishop's 'adaptation to though very dimly, began to shine in 1809 must the English stage' of Weber's ' Der Freischtitz' not, however, be overlooked. In literature there is was taken by 'Mr. Hatton.' He was also the Oliver Wendell Holmes; in music, Adolf Friedrich 'Host' in 'Rob Roy Macgregor.' Concerning Hesse, William Chappell, and the composer of this piece the Harmonicon says: 'At the end of 'To Anthea.' The last of this trio of musicians the play a Pageant was produced, in honour forms the subject of this biographical sketch. of this great and universally popular writer, John Liptrot Hatton was born at Liverpool, [Sir Walter Scott], consisting of a procession of in Concert Street-a most appropriate thoroughfare for his entry into the world-on October 12, 1809. His second name, probably a family one, is very uncommon. The British Museum catalogue contains only two such names, both ending with double /-John Liptrott and Bexworth Liptrott. Both were cl1rgymen, the former being responsible for a sermon on 'Calvinistic truths (but not Calvinistic errors) the doctrine of the Church of England' (I741), while the latter discoursed on 'Pharisaism revived in Popery' (1745); both these homilies attained the dignity of print. Whether John Liptrot Hatton could claim any affinity with these two more or less eminent divines of the i8th century is unknown, probably not; but it would be interesting to be able to trace among his forbears John Hatton, of Warrington and St. Helens (died I793), the composer of the well-known hymn-tune ' Duke Street.' Hatton came into the world amid musical surroundings, as both his father and grandfather were professional violinists. Like other English composers-Elgar, to wit-the boy was practically self-taught in music. During his boyhood and early manhood he was organist of churches in and near his native city, including the Roman Catholic Church, for the services of which he IN A CHARACTERISTIC ATTITUDE. composed a Mass, and the Old Church HATTON (St. Nicholas), Liverpool. The statement that he (Fromn a photographi kindly lent by Dr. W. H. Cuzmmings.) was organist of Childwall Church is erroneous, as that church was not built until I837, at which nearly eighty characters from his various novels, in time Hatton had settled in London. It is said that proper costume, which, with attendants, passed in when competing for one of these appointments he procession over the stage.' One of these four played as a test-piece the melody of 'All round my score of supers 'in proper costume' was 'Mr. hat,' then a popular song, carefully disguised of Hatton,' who doubtless did full justice to Rhoderick course in an ecclesiastical presentment. If this be Dhu in the 'Lady of the Lake,' the character true, it characteristically foreshadowed those irre- assigned to him in this Pageant. But far greater pressible animal spirits which in after years made histrionic fame awaited him. On November 26 Jack Hatton a boon companion. Sir Charles (1832) Kean and Macready made their first appear- Santley, also a native of Liverpool, records that ance together on any stage, the former as Othello, Hatton probably played in the orchestra of the the latter as lag'o, when the cast included Little Liver Theatre, Church Street, where he Mr. Hatton as Marco !-so the playbills record. successfully played the part of Blueskin in 'Jack Music, however, was Hatton's first love, and we Sheppard,' singing the ditty 'Jolly Nose' to the next find him as the composer of 'Six Impromptus great delight of those Liverpudlians who frequented for the pianoforte, published, probably in I833, by the ' Little Liver.' Collard & Co. Some of these compositions were This content downloaded from 128.235.251.160 on Mon, 09 Mar 2015 10:09:24 UTC All use subject to JSTOR Terms and Conditions I909. The Musical Times.] (From a Photog.rap/h kindly lent by Mr. Jose/ih Bennett.) [October I, ' ^_- ^I/' C9^^^^^^ This content downloaded from 128.235.251.160 on Mon, 09 Mar 2015 10:09:24 UTC All use subject to JSTOR Terms and Conditions 642 THE MUSICAL TIMES.--OCTOBER I, I909. dedicated to various members of the Collard The overture- which had the distinction family. No. 3, inscribed to William Bartholomew, of being performed by Queen Victoria's private has a note which reads: 'This Impromptu was band at Buckingham Palace-was evidently a composed on hearing of the death of a beloved favourite with its composer, for, writing to a friend friend and is descriptive of the feelings of grief and thirty-four years later, he refers to it as 'light and anguish which were first- excited, gradually sub- brisk, and by no means a bad one.' In addition siding and giving place to calm resignation.' This to being a composer and the chorus-master of piece shows that, amid his merry-mindedness, Macready's company, Hatton appears to have Hatton had a serious and sympathetic side to been a sort of handy-man on the Drury Lane his nature. establishment. He appeared temporarily as Hecate, His composition gifts soon attracted some of the in 'Macbeth,' and as Cuno in 'Der Freischutz.' leaders of the profession-Thomas Attwood, to wit, It is recorded that 'on the occasion of Mr. Hatton who mentions the young man in a letter he wrote being dressed for Cuno, Mr. Mellon was also to Mendelssohn on February 9, I835. He says: dressed for the same character. One gentleman was to do the and Mr. Hatton the We have had a new establishmenthere, whichis speaking part recently in the character.' For these called the 'Society of British Musicians,'in the hope of singing part appear- ances Hatton bringing forward native talent. I hardly need add that claimed three guineas each; he also [Sterndale]Bennett stands pre-eminent. I, however,wish wrote to the acting-manager saying that unless his youwould look at yourcloak, or great-coat,lest you should salary was raised to six guineas a week (i.e., doubled) have had a bit cut out of it; for there is a young man of he should resign. This communication immedi- the name of Hatton, who seems to have got a little bit of ately brought a curt letter from Macready himself indeed more to it, he seems assimilate to your style to this effect: 'As you have thought fit to make a withoutplagiary, than any one I havemet with. I conclude breach of services will be know the of ' mantle' in the Bible. your engagement, your you history Elijah's dispensed with forthwith.' The result was an From this it may be inferred that one or more of action, Hatton v. Macready, in the Sheriff's Court Hatton's compositions had come under the notice for 9rg : 8 : 6, which resulted in a verdict for the of the Society of British Musicians, and had met defendant! with the approval of so experienced a musician The company at Drury Lane included Joseph as 'dear old Attwood.' Staudigl, who seems to have been impressed with That Hatton was instrumentally inclined at this Hatton's music, as he (Staudigl) sang at his productive period of his career is evidenced by a benefit-Drury Lane Theatre, June 3, I843- collection of old programmes that formerly belonged Hatton's song 'The Revenge.' That the music to the late Mr. H. J. B. Dando, and are now in the was of a higher order than the poetry may be possession of the present writer. One of these assumed from the first stanza: on a is of a programmes, printed pink card, concert, The frozen serpent in my breast presumably a private one, given on 'Thursday Wakes from its slumber cold, evening, I8th April.' Unfortunately neither yearnor Around my head I feel it prest place is given; but as theiselection-which included With fiercelyburning fold.
Load more

Recommended publications
  • A Moor Propre: Charles Albert Fechter's Othello
    A MOOR PROPRE: CHARLES ALBERT FECHTER'S OTHELLO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Matthew Scott Phillips, B.A. * * * * * The Ohio State University •· 1992 Thesis Committee: Approved by Alan Woods Joy Reilly Adviser Department of Theatre swift, light-footed, and strange, with his own dark face in a rage,/ Scorning the time-honoured rules Of the actor's conventional schools,/ Tenderly, thoughtfully, earnestly, FECHTER comes on to the stage. (From "The Three Othellos," Fun 9 Nov. 1861: 76.} Copyright by Matthew Scott Phillips ©1992 J • To My Wife Margaret Freehling Phillips ii ACKNOWLEDGEMENTS I express heartfelt appreciation to the members of my thesis committee: to my adviser, Dr. Alan Woods, whose guidance and insight made possible the completion of this thesis, and Dr. Joy Reilly, for whose unflagging encouragement I will be eternally grateful. I would also like to acknowledge the invaluable services of the British Library, the Jerome Lawrence and Robert E. Lee Theatre Research Institute and its curator, Nena Couch. The support and encouragement given me by my family has been outstanding. I thank my father for raising my spirits when I needed it and my mother, whose selflessness has made the fulfillment of so many of my goals possible, for putting up with me. Finally, I would like to thank my wife, Maggie, for her courage, sacrifice and unwavering faith in me. Without her I would not have come this far, and without her I could go no further.
    [Show full text]
  • Get Book \\ an Annotated Catalogue of the Music Manuscripts in The
    KYYSBWMCFE5R ~ Doc < An Annotated Catalogue of the Music Manuscripts in the Folger Shakespeare Library,... A n A nnotated Catalogue of th e Music Manuscripts in th e Folger Sh akespeare Library, W ash ington, D.C. (Hardback) Filesize: 9.06 MB Reviews Merely no phrases to describe. It really is rally intriguing throgh reading time. I am happy to tell you that this is basically the greatest book i have go through in my own lifestyle and might be he greatest book for ever. (Kattie Wunsch) DISCLAIMER | DMCA LTOHOZRRHE7A > eBook // An Annotated Catalogue of the Music Manuscripts in the Folger Shakespeare Library,... AN ANNOTATED CATALOGUE OF THE MUSIC MANUSCRIPTS IN THE FOLGER SHAKESPEARE LIBRARY, WASHINGTON, D.C. (HARDBACK) Pendragon Press, United States, 2005. Hardback. Condition: New. Language: English . Brand New Book. One third of the materials covered in this book were purchased by Henry Clay Folger (1857-1930), the American industrialist and eventual Chairman of the New York Company Standard Oil. The remaining two thirds were collected following his death. Together with his wife Emily Jordan Folger (1858-1936), they assembled one of the most important private libraries in the US. Their invaluable collection of books and manuscripts is housed in the Folger Shakespeare Library, and since the library s opening in April 1932, many further materials have been acquired. This book covers all the known music manuscript materials in the library, occupying 168 dedicated entries. These sources range from fragmentary items to ones of considerable importance, and date from the ninth to the twentieth centuries. The great bulk of the music manuscripts have hitherto escaped examination, and many compositions are not recorded in relevant work lists in New Grove II.
    [Show full text]
  • A Study of the Management of Charles Kean at The
    A STUDY OF THE MANAGEMENT OF CHARLES KEAN AT THE PRINCESS’S THEATRE; l850-l859 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By BUDGE THRELKELD, B. A., M. A. **** The Ohio State University 1955 Approved by Adviser Department of Speech PREFACE When a person approaches a subject with the idea in mind of using that subject for the purpose of a detailed study, he does so with certain provisions. In this instance I was anxious to do a dissertation which would require an extended use of The Ohio State University Theatre Collec­ tion and which would enable me, at the same time, to do original research. The recent collection, on microfilm, of prompt books of theatrical productions during the nineteenth century provided an opportunity to explore that area in search of a suitable problem. The. possibility of doing research on the management of Charles Kean at the Royal Princesses Theatre was enhanced when tentative probings revealed that the importance of Kean*s management was recog­ nized by every authority in the field. However, specific and detailed information about the Princesses Theatre and its management was meagre indeed. Further examination of some of the prompt books prepared by Kean for his outstand­ ing productions at the Princesses convinced me that evidence was available here that would establish Kean as a director in the modern sense of the word. This was an interesting revelation because the principle of the directorial approach to play production is generally accepted to date from the advent of the famous Saxe-Meiningen company.
    [Show full text]
  • The Farces of John Maddison Morton
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage­ ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr.
    [Show full text]
  • Ellen Tree, Fanny Kemble, and Theatrical Constructions of Gender
    "Playing the Men": Ellen Tree, Fanny Kemble, and Theatrical Constructions of Gender Anne Russell, Wilfrid Laurier University Abstract Ellen Tree, the first English performer to regularly play tragic male roles, initiated a nineteenth-century Anglo-American convention in which many women performers played a limited number of tragic male roles, primarily Romeo and Hamlet. Nineteenth-century women's performances of tragic male characters point to multiple tensions and fissures in the understanding and representation of gender in theater. Tree's negotiation of these tensions and her decisions about how, and in what contexts, to play tragic male roles indicate her awareness of the ways in which shifting social perspectives on gender might be accommodated in her stage representations. She followed her enthusiastic and romantic Romeo with Thomas Noon Talfourd's Ion, whose dignified and "classical" character offered a kind of idealized and unsexualized masculinity that was not too deceptively "realistic." Thirty years after she had first performed Romeo with Fanny Kemble as Juliet, Tree attended several of Kemble's public readings of Shakespeare, in which Kemble read all the roles. Tree expressed a combination of admiration and disquiet at the way Kemble "read the men best." Tree's mixed emotions about Kemble's reading register not only her recognition of changing social mores, but also unresolved tensions and ironies in Tree's own theatrical practices. Audience responses to Kemble's readings show astonishment at her intensity and emotionality, particularly her strikingly convincing readings of male characters. These strong audience reactions to Kemble's readings of Shakespeare's plays suggest that the expressions of emotionality possible in public reading could be perceived as more dangerously exciting than stylized and conventional stage performances of the period.
    [Show full text]
  • American Theatrical Tours of Charles Kean
    THE AMERICAN THEATRICAL TOURS OF CHARLES KEAN BY RICHARD DENMAN STRAHAN A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1984 This study is dedicated to my wife, Rose Earnest Strahan, and to my friend, Andrew M. Jones. Their support and motivation supplied the impetus necessary for its completion. Copyright 1! by Richard Denman Strahan ACKNOWLEDGEMENTS Acknowledgement is due the many organizations and individuals without whose assistance this study could not have been done. Many historical societies and libraries graciously supplied materials not otherwise available. Gratitude is expressed to the staff of the Folger Shakespeare Library and to the staff of the Roberts Library at Delta State University, especially Ms. Dorothy McCray whose assistance in securing materials was invaluable. TV TABLE OF CONTENTS ACKNOWLEDGEMENTS iv ABSTRACT vi CHAPTER I. INTRODUCTION 1 Notes 5 II. THE THEATRE OF CHARLES KEAN 6 Notes 17 III. THE FIRST TOUR, 1830-33 19 Notes 47 IV. THE SECOND TOUR, 1839-40 51 Notes 65 V. THE THIRD TOUR, 1845-47 67 Notes Ill VI. THE FOURTH TOUR, 1864-66 117 Notes 185 VII. CONCLUSION 196 APPENDIX A. CHRONOLOGY OF PERFORMANCES, FIRST TOUR, 1830-33 .... 203 APPENDIX B. CHRONOLOGY OF PERFORMANCES, SECOND TOUR, 1839-40. ... 214 APPENDIX C. CHRONOLOGY OF PERFORMANCES, THIRD TOUR, 1845-47 .... 221 APPENDIX D. CHRONOLOGY OF PERFORMANCES, FOURTH TOUR, 1864-66. ... 242 BIBLIOGRAPHY 260 BIOGRAPHICAL SKETCH 266 v Abstract of Dissertation Presented to the Graduate Council of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy THE AMERICAN THEATRICAL TOURS OF CHARLES KEAN By Richard Denman Strahan April, 1984 Chairman: Richard L.
    [Show full text]
  • The Career of Dion Boucicault
    The C are e r o f Dio n Bouc ic ault To wnse nd W al s h N EW YO RK THE D UNLAP SO CI ETY M C M XV o 1 1 b C pyright, 9 5 , y T H E D UN LAP S O C I ETY fl 00 g i b O i ) , This is on e of an edition of three hundre d c opies prin te d from typ e for Th e D unlap Soc iety in th e mo of Se ember 1 1 nth pt , 9 5 , by The D e Vinne Press Qtflfl tmtfi E CHAPT R I . m a — Origin o f th e B our s iquots or B ourc icaults Th c — ’ family in Dublin Mys te ry o f Di on s parentage — — Was h e born in 1820 or 1822 ? S trong e vi — d ence to prov e that h e was a l ove - child H i s — — e u e e Th e D e m D r D ion r p t d fath r arl y fa ily . y s ins Lardne r CHAPTE R II . — S ch ool - days P ranks with Charl es Lamb Ken —“ ’ ” ney Nap ol eon s Old Guard acte d at Brent — — ford by hi s s ch ool fe ll ow s Extraordinary p r e — ’ c ocity B ec omes an a cto r in 1839 - Barton Hill s r emini s cenc e s o f B ouc i cault at th e Ch eltenham — and Gl ouces ter Th eatre s Rol e s enact e d at Hull — “ ‘ ” — An adaptati on o f Jack S h eppard ~ Plays “ J ack hims e lf und e r th e n om d e théé tr e o f Lee ” More ton E CHAPT R III .
    [Show full text]
  • 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.
    [Show full text]
  • Musical Networks in Early Victorian Manchester R M Johnson Phd 2020
    Musical Networks in Early Victorian Manchester R M Johnson PhD 2020 Musical Networks in Early Victorian Manchester RACHEL MARGARET JOHNSON A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 Abstract My dissertation demonstrates how a new and distinctive musical culture developed in the industrialising society of early Victorian Manchester. It challenges a number of existing narratives relating to the history of music in nineteenth-century Britain, and has implications for the way we understand the place of music in other industrial societies and cities. The project is located at the nexus between musicology, cultural history and social history, and draws upon ideas current in urban studies, ethnomusicology and anthropology. Contrary to the oft-repeated claim that it was Charles Hallé who ‘brought music to Manchester’ when he arrived in 1848, my archival research reveals a vast quantity and variety of music-making and consumption in Manchester in the 1830s and 1840s. The interconnectedness of the many strands of this musical culture is inescapable, and it results in my adoption of ‘networks’ as an organising principle. Tracing how the networks were formed, developed and intertwined reveals just how embedded music was in the region’s social and civic life. Ultimately, music emerges as an agent of particular power in the negotiation and transformation of the concerns inherent within the new industrial city. The dissertation is structured as a series of interconnected case studies, exploring areas as diverse as the music profession, glee and catch clubs, the Hargreaves Choral Society’s programme notes, Mechanics’ Institutions and the early Victorian public music lecture.
    [Show full text]
  • The Uncompromising Victorian. the Law and the Family in the Plays Of
    00_pped_mastro 11/09/17 11:17 Pagina 3 M. Serena Marchesi The Uncompromising Victorian The Law and the Family in the Plays of Dion Boucicault vai alla scheda del libro su www.edizioniets.com Edizioni ETS 00_pped_mastro 11/09/17 11:17 Pagina 4 www.edizioniets.com © Copyright 2017 Edizioni ETS Piazza Carrara, 16-19 , I-56126 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884675010-5 00indice 5_mastro 15/09/17 09:08 Pagina 5 Contents Introduction: Boucicault and the Victorian audiences 7 “A Little Emerald” in London: The Irish Heiress 13 Ghosts from a Time of Civil War: The Vampire / The Phantom 33 A Diorama of the Modern City: The Poor of New York / The Streets of London 51 The Three Plays of 1866 71 The Long Strike 72 Flying Scud 83 Hunted down, or, The Two Lives of Mary Leigh 89 “The Degradation of the British Stage”: Formosa, or, the Railroad to Ruin 97 Representing an alien culture: The Corsican Brothers 119 Afterword 133 Chronology 135 Works cited 143 Index 149 00indice 5_mastro 11/09/17 11:17 Pagina 6 00intro 7_mastro 11/09/17 11:17 Pagina 7 Introduction: Boucicault and the Victorian audiences If illegitimate, Dion may never have been baptized. (Walsh 1915: 8) Dion Boucicault was a man full of contradictions. He was a playwright who knew his literary worth but chose to write for profit, producing what the audi - ence expected of him – or nearly so –, an actor who aimed to destroy the stereotyped stage Irishman, and turned it into another stereotype, as powerful as the one he had meant to destroy, a director who radically innovated the Vic - torian stage but always catered to the taste of the audience, a respectable mem - ber of the community who got married twice, possibly three times – once, at least, bigamously – a proud, rebellious Irishman who believed he was – or, at least, sometimes pretended to be – the scion of an aristocratic French house.
    [Show full text]
  • The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859
    East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 1-1-2015 The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History Judith Bailey Slagle East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Literature in English, British Isles Commons, and the Women's Studies Commons Citation Information Slagle, Judith Bailey. 2015. The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History. Restoration and Eighteenth-Century Theatre Research. Vol.30(1,2). 5-29. https://rectrjournal.org/current-issue/ ISSN: 0034-5822 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History Copyright Statement This document was published with permission from the journal. It was originally published in the Restoration and Eighteenth-Century Theatre Research. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/718 Restoration and Eighteenth- Century Theatre Research “The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History” BY JUDITH BAILEY SLAGLE Volume 30, Issues 1 and 2 (Summer and Winter 2015) Recommended Citation: Slagle, Judith Bailey.
    [Show full text]
  • Prologue 1 Paying a Visit to the Crown
    Notes Prologue 1 Charles Kean, a letter to Mary Anne Skerret, 3 July 1855, Royal Archives Add X/85. Further material from the Royal Archives will be abbreviated ‘RA’. 2 John Cam Hobhouse (Lord Broughton) diary entry, 14 November 1837, quoted in John Cam Hobhouse, Recollections of a Long Life, 5 vols. (London: W. Clowes & Sons, 1865–7), V, p. 101. 3 Royal Archives Queen Victoria’s Journal 6 February 1852. Subsequent references to Queen Victoria’s journal will be abbreviated ‘RA QVJ’. 4 RA QVJ, 18 June 1853. 5 RA QVJ, 30 March 1859. 6 RA QVJ, 28 April 1856. 7 Benita Stoney and Heinrich C. Weltzein, eds., My Mistress the Queen: The Letters of Frieda Arnold, Dresser to Queen Victoria 1854–9, trans. Sheila de Bellaigue (London: Weidenfeld & Nicolson, 1994), pp. 148–9. 8 RA QVJ, 20 February 1855. 9 RA QVJ, 18 February 1856. 10 Victoria’s extensive collection of playbills, programmes and playscripts is carefully preserved in the Royal Archives at Windsor Castle. 11 James I and VI, Basilikon Doron, cited in Stephen Orgel, The Illusion of Power: Political Theater in the English Renaissance (Berkeley and Los Angeles: University of California Press, 1975), p. 42. 12 King Leopold of the Belgians, a letter to Princess Victoria, 7 October 1836; cited in Lynne Vallone, Becoming Victoria (New Haven: Yale University Press, 2001), p. 199. 13 Walter Bagheot, The English Constitution (London, 1867; Ithaca: Cornell University Press, 1963), pp. 64, 97. 14 Edmund Gosse and Mary Ponsonby, ‘The Character of Queen Victoria’, Quarterly Review 193 (January–June 1901) 311.
    [Show full text]