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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
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 -
The Mousmé and the Cultural Mobility of Musical Comedy
6 Henry Balme Yale University, USA Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy Edwardian musical comedy had been sidelined in music and theatre histories due to its conservative design and frivolous narratives, but it is now being critically reassessed for the role it played in the creation of a first globalised network of theatre. The Mousmé is a work that exemplifies the process of performative re- contextualisation that accompanied musical comedies as they travelled from London’s West End across the world, as far as Yokohama and Tokyo. The work appealed to British audiences because it was held to be a realistic reconstruction of Japanese culture and society, but it was also enjoyed by Japanese audiences, despite its stereotypical portrayal of their people. This apparent dichotomy is explored in this essay, which presents little-known documents surrounding the production and its travels. It sheds light on how musical theatre became culturally mobile during the first age of globalisation. Henry Balme is a full-time Ph.D. candidate in Music History at the Department of Music of Yale University. He completed his M.St. at the University of Oxford (2015) and his B.Mus. at City, University of London. Keywords: Bandmann Opera Company, cultural mobility, Edwardian musical comedy, Florence Smithson, George Edwardes, globalisation, japonism, Maurice E. Bandmann, modernity ulture is rarely stable or fixed.1 This claim is corroborated by the global Ctransmission and reception of Edwardian musical comedy. For a long time the genre had been considered an obscure part of musical theatre history and thus demoted to the sidelines of musicology and theatre studies.2 It is now being critically re-assessed for the importance it played in the globalisation of theatre during the first fifteen years of the twentieth century: musical comedy became a medium of extraordinary mobility, transmitted via the transnational travel and communication networks that had been put into place during the nineteenth century. -
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. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
London Musicals 1920-1924.Pub
1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original. -
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later. -
Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons, and the Theatre History Commons Recommended Citation Peters, Victoria, "Turn of the Century British Musical Comedy in an American Performance Library" (2018). Theses and Dissertations. 1896. https://dc.uwm.edu/etd/1896 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TURN OF THE CENTURY BRITISH MUSICAL COMEDY IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2018 ABSTRACT TURN OF THE CENTURY BRITISH MUSICAL COMEDY AND THIER USE IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gillian Rodger The genre label 'musical comedy' gained its stride in the 1920s, but the term emerged as early as the 1870s. These early musical comedies are often overlooked in the historical discussion of musical theater, due to a lack of integration between the storyline and musical numbers. With the help of the Tams-Witmark collection, housed at the University of Wisconsin-Madison’s Mills Music Library, this paper examines how two of these early musical comedies, composed by England’s Ivan Caryll and Sidney Jones, were exported and used by touring theater companies in The United States. -
MUSICAL THEATRE a History
MUSICAL THEATRE A History John Kenrick This book is dedicated to Mary Pinizzotto Kenrick Marotta and Frank Crosio. Neither my life nor this book would be possible without their unfailing support. CONTENTS Acknowledgments 9 Introduction “Let’s Start at the Very Beginning . .” 11 1 Ancient Times to 1850—“Playgoers, I Bid You Welcome!” 18 2 Continental Operetta (1840–1900)— “Typical of France” 35 3 American Explorations (1624–1880)— “The Music of Something Beginning” 50 4 Gilbert and Sullivan (1880–1900)— “Object All Sublime” 75 5 The Birth of Musical Comedy (1880–1899)— “It Belong’d to My Father Before I Was Born” 95 6 A New Century (1900–1913)—“Whisper of How I’m Yearning” 111 7 American Ascendance (1914–1919)—“In a Class Beyond Compare” 134 8 Al Jolson—“The World’s Greatest Entertainer” 156 9 The Jazz Age (1920–1929)—“I Want to Be Happy” 168 10 Depression Era Miracles (1930–1940)— “Trouble’s Just a Bubble” 207 11 A New Beginning (1940–1950)—“They Couldn’t Pick a Better Time” 238 8 CONTENTS 12 Broadway Takes Stage (1950–1963)— “The Street Where You Live” 265 13 Rock Rolls In (1960–1970)—“Soon It’s Gonna Rain” 298 14 New Directions (1970–1979)—“Vary My Days” 318 15 Spectacles and Boardrooms—“As If We Never Said Goodbye” 342 16 Musical Comedy Returns (The 2000s)— “Where Did We Go Right?” 370 Suggested Reading: An Annotated Bibliography 383 Recommended Web Resources 394 Index 395 ACKNOWLEDGMENTS It would be impossible for me to thank all the people who have inspired, assisted, and cajoled me in the process of creating this book, but a few curtain calls are in order. -
THE ARCADIANS a Fantastic Musical Play in 3 Acts: Book by Mark Ambient, Alexander M
THE ARCADIANS A fantastic musical play in 3 acts: Book by Mark Ambient, Alexander M. Thompson; Lyrics by Arthur Wimperis; Music by Lionel Monckton and Howard Talbot Produced at the Shaftesbury Theatre, London, 1909 (809 perfs) Liberty Theatre, Broadway - 17 January, 1910 (136 perfs) SYNOPSIS Who could tell, in the first decade of the twentieth century, what strange adventures might befall those who ventured to travel by the new-fangled aeroplane? A forced landing, perhaps, in some long-forgotten land where time has stood mercifully still. James Smith, of the well-known London catering concern, drops in on Arcadia, where no-one tells lies, or grows older, where money is unheard of and unemployment a permanent attraction. Far from impressed by what Smith tells them of the joys of life in London his hosts despatch him, with missionary zeal and two agelessly beautiful Arcadian nymphs to convert the wretched metropolis. Things do not always go as planned. THE STORY Act I Time stands still in Arcadia for one good reason, Old Father Time has all but forgotten it. His appearance in an unspoilt Arcadian glade where the locals laze and acknowledge their joyful lot comes at a time when the lovely Sombra has dreamt of a great serpent arriving from another place called England. That place, so she tells her friends, is peopled by savages who live caged up in brick houses amid fog in a crowded town called London where they do something quite unheard of in Arcadia, they lie. Old Father Time's appearance brings him questions about these savages and he is gently enticed to deliver an example. -
A Collection of More Than 220 Electronic Opera Libretti Full Text
220-e-libretti Collection Ulric Voyer Une collection de plus de 200 livrets d'opéra électroniques repérés et accessibles sur internet. Cette « Collection Ulric Voyer » vous permet de consulter les livrets de vos opéras préférés. Des informations telles la date, le lieu et l'année de la création sont aussi disponibles dans la plupart des cas. Pour certains livrets, les versions en diverses langues sont aussi disponibles. Utiliser la recherche sur la page de votre navigateur pour repérer rapidement le livret que vous désirez consulter : inscrivez le titre d'un opéra ou le nom d'un compositeur, ce qui vous fournira la liste des livrets disponibles pour un compositeur donné. Collection de plus de 220 livrets d'opéra électroniques en texte intégral A Collection of more than 220 Electronic Opera Libretti full text Actéon - Marc-Antoine Charpentier (Paris 1645 - Paris 1704) Opéra de chasse en six scènes Première: Paris, Hôtel de Guise, 1683 1 / 83 220-e-libretti Dans la vallée de Gargaphie, Actéon et des chasseurs font une partie de chasse alors que Diane et ses compagnons se baignent à la source. Adelia - Domenico Gaetano Maria Donizetti (Bergamo 1797 - Bergamo 1848) Melodramma serio in tre atti Libretto: Felice Romani (Genova 1788 - Moneglia 1865) e Girolamo Marini Première: Roma, Apollo, il 11 Febbraio 1841 "La scena è in Perona, nel secolo XIV". Adriana Lecouvreur - Francesco Cilea (Palmi 1866 - Varazze 1950) Opera in quattro atti Libretto: Arturo Colautti (1851-1914), basato 'su Adrienne Lecouvreur 'da Eugène Scribe (Paris 1791 - Paris 1861) e Ernest Legouvé. Première: Milano, Teatro Lirico, 6 novembre 1902 "L'azione è a Parigi in 1730 " Española versión Ópera en cuatro actos.