P.G. Wodehouse Collection of William Toplis (1665) Lot

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P.G. Wodehouse Collection of William Toplis (1665) Lot

P.G. Wodehouse Collection of William Toplis (1665) May 7, 2020 EDT, ONLINE ONLY Lot 154 Estimate: $300 - $500 (plus Buyer's Premium) Wodehouse, P.G., and Guy Bolton and Jerome Kern Mini-Archive of 12 Items Related to Collaborations Between Wodehouse, Bolton, and Kern Locations vary, 1917-. In 12 pieces. Size and condition varies. Includes: 1. Oh, Boy! New York and London, (1917). 4to. Sheet music (Pianoforte Selection). Photographic limp wrappers, repaired. 2. Till the Clouds Roll By New York, (1917). 4to. Sheet music. From Oh, Boy! Illustrated limp wrappers, spine split. 3. An Old-fashioned Wife New York, (1917). 4to. Sheet music. From Oh, Boy! Illustrated limp wrappers. Previous owner’s signature on front wrapper. 4. Oh, Boy! New York, January 28, 1918. Program from the production at the Casino theatre. Oh, Boy! was first produced at the Princess Theatre, February 20, 1917. 5. Oh, Joy! London, January 27, 1919. Program from opening night of the West End production at the Kingsway Theatre. Oh, Boy! was retitled Oh, Joy! when it was brought to London. 6. Leave it to Jane Photocopy of script, date unknown. 7. The Riviera Girl New York, September 24, 1917. Program from opening week of the original production, at the New Amsterdam Theatre. 8. Oh, Lady! Lady!! New York, 1918. 4to. Score. (6), 90 pp. Shaken. In a green fall-down-back box. 9. When the Ships Come Home New York, (1918). 4to. Sheet music. From Oh, Lady! Lady!! Illustrated limp wrappers. 10. When the Ships Come Home New York, (1918). 4to. Sheet music. From Oh, Lady! Lady!! Illustrated limp wrappers, spine split. (another copy). 11. Sitting Pretty New York, April 8, 1924. Program from opening week of the original production, at the Fulton Theatre. 12. Sitting Pretty New York, April 14, 1924. Program from the second week of the original production, at the Fulton Theatre. (another copy)..

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OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo
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Wodehouse and the Baroque*1
Connotations Vol. 20.2-3 (2010/2011) Worcestershirewards: Wodehouse and the Baroque*1 LAWRENCE DUGAN I should define as baroque that style which deli- berately exhausts (or tries to exhaust) all its pos- sibilities and which borders on its own parody. (Jorge Luis Borges, The Universal History of Infamy 11) Unfortunately, however, if there was one thing circumstances weren’t, it was different from what they were, and there was no suspicion of a song on the lips. The more I thought of what lay before me at these bally Towers, the bowed- downer did the heart become. (P. G. Wodehouse, The Code of the Woosters 31) A good way to understand the achievement of P. G. Wodehouse is to look closely at the style in which he wrote his Jeeves and Wooster novels, which began in the 1920s, and to realise how different it is from that used in the dozens of other books he wrote, some of them as much admired as the famous master-and-servant stories. Indeed, those other novels and stories, including the Psmith books of the 1910s and the later Blandings Castle series, are useful in showing just how distinct a style it is. It is a unique, vernacular, contorted, slangy idiom which I have labeled baroque because it is in such sharp con- trast to the almost bland classical sentences of the other Wodehouse books. The Merriam Webster’s Collegiate Dictionary describes the ba- roque style as “marked generally by use of complex forms, bold or- *For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debdugan02023.htm>.
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Program Notes by Joshua S
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Spring 1998 P G
Plum Lines The quarterly journal o f The Wodehouse Society Vol. 18 No 1 Spring 1998 p G. w ODEHOUSE: 1YiU(IST By W. E Richardson A talk delivered at the Chicago convention of die Wodehouse Society, October, 1997- Will Richardson, a new acquaintance for most of us at the convention, is a New Zealand classical scholar who is co-audioring a book with President Dan Garrison. Most of us know that Plum was a prominent musical comedy lyricist in die early part of die century. Fewer of us know how excellent he was. Pm indebted to David Jasen for die rare theatrical ephemera that illustrate this article. They are copied from hisThe Theatre ofP.G. Wodehouse, Batsford, London, 1979. Lara Cazalet, the soloist for several of the songs discussed here, is, of course, Plum’s great-granddaughter. She is an accomplished performer and was a very welcome guest at the convention. — OM first encountered the name P. G. Wodehouse, not on did not stop then, for in 1971 at the age of 90 he was still the title page of a novel, but at the top of the published enthusiastically composing lyrics and writing to Guy words and music of a song. Bolton about them. This It was one of the songs from was an activity which he ■: • :is:®: O'SSSSi v/i 7 M ; w m £ m3KWAW £ £ U CC E $ S ,::: :¥:KW:*i • > : .j' •':!!;::: I i! i j j j j:!! the 1927 musical Showboat. The m? t. a.shale.. enjoyed and which was an music for this show was writ ...— —.
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ABSTRACT Title of Thesis: “THE BIGGEST CON IN HISTORY”: AMERICAN MYTH-MAKING IN THE STAGE AND SCREEN ADAPTATIONS OF ANASTASIA Jennifer E. Weyman, Master of Arts, 2018 Thesis Directed By: Associate Professor Olga Haldey, Division of Musicology and Ethnomusicology The story of Anastasia Nikolaevna Romanova has been engrained in the American imagination for nearly a century. This tale has often been told on stage and screen, depicting Anastasia and her most famous impersonator: Anna Anderson. The adaptation of Anna and Anastasia’s tale that has made the most lasting impact is the 1951 French play, Anastasia, by Marcelle Maurette, and its 1954 English translation by Guy Bolton. Four more adaptations have followed that progenitor play: the 1956 film, Anastasia; the 1965 operetta, Anya; the 1997 animated film, Anastasia; and the 2017 musical, Anastasia. These five artistic adaptations evolved from one another, navigating their own history alongside changing American values. This thesis situates each production within American sociopolitics of the twentieth and twenty-first centuries, revealing how each production is far more indicative of American ideals than Russian history, particularly with regards to immigration, foreign policy, and feminism. “THE BIGGEST CON IN HISTORY”: AMERICAN MYTH-MAKING IN THE STAGE AND SCREEN ADAPTATIONS OF ANASTASIA by Jennifer E. Weyman Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2018 Advisory Committee: Associate Professor Olga Haldey, Chair Associate Professor Patrick Warfield Assistant Professor William Robin © Copyright by Jennifer E. Weyman 2018 Acknowledgements This project would not have been possible without the constant support and understanding of Dr.
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BOLTON and WODEHOUSE and ^ WRIGHT and Forresti
P lum Lines The quarterly newsletter o f The Wodehouse Society Vol. 17 No i Spring 1997 BOLTON AND WODEHOUSE AND ^ WRIGHT AND fORRESTI By Elin Woodger n 1945, the Trio of Musical Fame became a duo, ment in the center of Manhattan, filled to the brim with Iirrevocably, when Jerome Kern died suddenly and the evidence of their long, productive careers in show unexpectedly. It had been 21 years since the triad of business. Awards, memorabilia, and photographs of Bolton, Wodehouse and Kern had last worked to famous friends and colleagues are distributed hand gether, and the Broadway musical had changed com somely throughout the place, and cover the top of their pletely—thanks, in no small part, to their ground grand piano in the living room. Every inch o f every wall breaking work in the first part of this century. But the seems to be lined with the covers o f sheet music for Princess Theater shows were a thing of the past, much songs they have written and posters o f shows they have to the sorrow of both Plum Wodehouse and Guy produced. As Tony and I wandered through the rooms, Bolton. Although each was to go on to score other examining all these treasures, we experienced much the successes, with or without other collaborators, they same emotion as the stout Cortez must have felt when were never again to recreate the heady days of working with eagle eye he stared at the Pacific! on the Princess musicals —until the late 1960s, when After showing us around their impressive apart Broadway producer-composer Frank Loesser brought ment, our genial hosts settled down with us to talk them together with two extraordinary men named about P.G.
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{PDF EPUB} the Globe by the Way Book by PG Wodehouse
Read Ebook {PDF EPUB} The Globe By the Way Book by P.G. Wodehouse The Globe By the Way Book by P.G. Wodehouse. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660745772d49176a • Your IP : 116.202.236.252 • Performance & security by Cloudflare. The Globe By the Way Book by P.G. Wodehouse. Madame Eulalie’s Rare Plums. Devoted to the early works of P. G. Wodehouse. The Globe (UK) The P. G. Wodehouse Globe Reclamation Project is discovering long-neglected items by Wodehouse from the Globe newspaper itself; the Project Menu on this site presents these discoveries as they are identified and transcribed. In June 1908, Wodehouse and Herbert Westbrook produced The Globe By The Way Book—A Literary Quick-Lunch for People Who Have Got Only Five Minutes to Spare, a compendium of illustrated humorous topical features designed as an impulse buy for the railway book trade. We present one of those features in full: Women, Wine and Song! is a playful, madcap pastiche of Victorian melodrama and the cliff-hanging adventure serials of P.
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