The Green Room
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Westminster Abbey South Quire Aisle
Westminster Abbey South Quire Aisle The Dedication of a Memorial Stone to P G Wodehouse Friday 20th September 2019 6.15 pm HISTORICAL NOTE It is no bad thing to be remembered for cheering people up. As Pelham Grenville Wodehouse (1881–1975) has it in his novel Something Fresh, the gift of humour is twice blessed, both by those who give and those who receive: ‘As we grow older and realize more clearly the limitations of human happiness, we come to see that the only real and abiding pleasure in life is to give pleasure to other people.’ Wodehouse dedicated almost 75 years of his professional life to doing just that, arguably better—and certainly with greater application—than any other writer before or since. For he never deviated from the path of that ambition, no matter what life threw at him. If, as he once wrote, “the object of all good literature is to purge the soul of its petty troubles”, the consistently upbeat tone of his 100 or so books must represent one of the largest-ever literary bequests to human happiness by one man. This has made Wodehouse one of the few humourists we can rely on to increase the number of hours of sunshine in the day, helping us to joke unhappiness and seriousness back down to their proper size simply by basking in the warmth of his unique comic world. And that’s before we get round to mentioning his 300 or so song lyrics, countless newspaper articles, poems, and stage plays. The 1998 edition of the Oxford English Dictionary cited over 1,600 quotations from Wodehouse, second only to Shakespeare. -
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 -
Autumn-Winter 2002
Beyond Anatole: Dining with Wodehouse b y D a n C o h en FTER stuffing myself to the eyeballs at Thanks eats and drinks so much that about twice a year he has to A giving and still facing several days of cold turkey go to one of the spas to get planed down. and turkey hash, I began to brood upon the subject Bertie himself is a big eater. He starts with tea in of food and eating as they appear in Plums stories and bed— no calories in that—but it is sometimes accom novels. panied by toast. Then there is breakfast, usually eggs and Like me, most of Wodehouse’s characters were bacon, with toast and marmalade. Then there is coffee. hearty eaters. So a good place to start an examination of With cream? We don’t know. There are some variations: food in Wodehouse is with the intriguing little article in he will take kippers, sausages, ham, or kidneys on toast the September issue of Wooster Sauce, the journal of the and mushrooms. UK Wodehouse Society, by James Clayton. The title asks Lunch is usually at the Drones. But it is invariably the question, “Why Isn’t Bertie Fat?” Bertie is consistent preceded by a cocktail or two. In Right Hoy Jeeves, he ly described as being slender, willowy or lissome. No describes having two dry martinis before lunch. I don’t hint of fat. know how many calories there are in a martini, but it’s Can it be heredity? We know nothing of Bertie’s par not a diet drink. -
Aunts Aren't What?
The quarterly journal of The Wodehouse Society Volume 27 Number 3 Autumn 2006 Aunts Aren’t What? BY CHARLES GOULD ecently, cataloguing a collection of Wodehouse novels in translation, I was struck again by R the strangeness of the title Aunts Aren’t Gentlemen and by the sad history that seems to dog this title and its illustrators, who in my experience always include a cat. Wodehouse’s original title is derived from the dialogue between Jeeves and Bertie at the very end of the novel, in which Bertie’s idea that “the trouble with aunts as a class” is “that they are not gentlemen.” In context, this is very funny and certainly needs no explication. We are well accustomed to the “ungentlemanly” behavior of Aunt Agatha—autocratic, tyrannical, unreasoning, and unfair—though in this instance it’s the good and deserving Aunt Dahlia whose “moral code is lax.” But exalted to the level of a title and thus isolated, the statement A sensible Teutonic “aunts aren’t gentlemen” provokes some scrutiny. translation First, it involves a terrible pun—or at least homonymic wordplay—lost immediately on such lost American souls as pronounce “aunt” “ant” and “aren’t” “arunt.” That “aunt” and “aren’t” are homonyms is something of a stretch in English anyway, and to stretch it into a translation is hopeless. True, in “The Aunt and the Sluggard” (My Man Jeeves), Wodehouse wants us to pronounce “aunt” “ant” so that the title will remind us of the fable of the Ant and the Grasshopper; but “ants aren’t gentlemen” hasn’t a whisper of wit or euphony to recommend it to the ear. -
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>. -
Information Sheet Number 9A a Simplified Chronology of PG
The P G Wodehouse Society (UK) Information Sheet Number 9a A Simplified Chronology of P G Wodehouse Fiction Revised December 2018 Note: In this Chronology, asterisked numbers (*1) refer to the notes on pages (iv) and (v) of Information Sheet Number 9 The titles of Novels are printed in a bold italic font. The titles of serialisations of Novels are printed in a bold roman font. The titles of Short Stories are printed in a plain roman font. The titles of Books of Collections of Short Stories are printed in italics and underlined in the first column, and in italics, without being underlined, when cited in the last column. Published Novel [Collection] Published Short Story [Serial] Relevant Collection [Novel] 1901 SC The Prize Poem Tales of St Austin’s (1903) SC L’Affaire Uncle John Tales of St Austin’s (1903) SC Author! Tales of St Austin’s (1903) 1902 SC The Pothunters The Pothunters SC The Babe and the Dragon Tales of St Austin’s (1903) SC “ The Tabby Terror ” Tales of St Austin’s (1903) SC Bradshaw’s Little Story Tales of St Austin’s (1903) SC The Odd Trick Tales of St Austin’s (1903) SC The Pothunters SC How Payne Bucked Up Tales of St Austin’s (1903) 1903 SC Harrison’s Slight Error Tales of St Austin’s SC How Pillingshot Scored Tales of St Austin’s SC The Manoeuvres of Charteris Tales of St Austin’s SC A Prefect’s Uncle SC The Gold Bat The Gold Bat (1904) SC Tales of St Austin’s A Shocking Affair 1 Published Novel [Collection] Published Short Story [Serial] Relevant Collection [Novel] 1904 SC The Gold Bat SC The Head of Kay’s The Head -
Program Notes by Joshua S
PROGRAM NOTES BY JOSHUA S. RITTER Cole Porter, the composer and lyricist of Do It, Let’s Fall in Love,” was a smash, and its Anything Goes, honed his distinctive style success helped propel him to a new level of during the 1920s while living the gilded notoriety and acclaim. The following year life of a bon vivant and socialite abroad. brought the panic of the stock market crash Porter was part of the “lost generation” of and the subsequent Great Depression. expatriate artistic and literary minds who Yet, Porter’s songs during the trying 1930s fled the austere materialism of American served to lift the spirits of the downtrodden cities for the more permissive artistic and and affluent alike. In fact, of all the shows intellectual scene, which flourished in during this tumultuous and challenging places such as Paris and Venice. Porter’s period, none proved to be more closely travels and opulent experiences enriched associated with the decade than Anything his work and helped set the stage for shows Goes. that would establish him in the upper echelon of musical-comedy writers. In 1933, the year before Anything Goes opened on Broadway, Franklin D. Roosevelt For example, he was cruising down the was inaugurated as president, and Rhine River in Germany in 1934 while Prohibition ended. These monumental he wrote the classic music and iconic events brought glimmers of hope to a lyrics to the song “You’re the Top” from people reeling from economic catastrophe Anything Goes. Purportedly, he asked fellow and failed government policies. Theatre passengers to name their favorite objects historian Miles Kreuger described and places to help him pen the topical lyrics Anything Goes as “the bright and cheerful to the song. -
By the Way Sept 08.Qxd
BY THE WAY Occasional Newsletters from The P G Wodehouse Society (UK) Number 35 September 2008 IONICUS Covers for Wodehouse Paperbacks The topic for this By The Way was inspired by two members, Stephen Payne and Graeme Davidson. Stephen was anxious to confirm precisely how many Wodehouse books had been illustrated by Ionicus, as he understood there were more than the 56 Penguins he had at that point acquired. Graeme had been in correspondence with Ionicus in the late 1980s, with a view to purchasing the original artwork for one of the covers. The artist Ionicus (J C Armitage), who died in February 1998, still retains a narrow lead as the person who has designed more covers for Wodehouse books than any other, although this position will be surrendered during 2009 to Andrzej Klimowski, illustrator of the Collectors series of jacketed hardbacks published by Everyman (or Overlook in the USA). Ionicus provided the illustrations for a total of 58 Penguins, as listed below, plus the wrap-around cover for the Chatto & Windus first edition of Wodehouse’s last book, Sunset at Blandings (part of which was also used for the cover of the Coronet paperback). 1969 Piccadilly Jim 1974 The Little Nugget 1969 Spring Fever 1974 Sam the Sudden 1970 Psmith in the City 1974 Pearls, Girls and Monty Bodkin 1970 Psmith, Journalist 1975 Stiff Upper Lip, Jeeves 1971 The Mating Season 1975 Leave It to Psmith 1971 Very Good, Jeeves 1975 Indiscretions of Archie 1971 Laughing Gas 1975 Bachelors Anonymous 1971 Blandings Castle 1975 Doctor Sally 1971 Summer Lightning -
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 ...— —. -
ABSTRACT the Story of Anastasia Nikolaevna Romanova Has Been
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. -
THE GERSHWINS' TIP-TOES Music and Lyrics by GEORGE
THE GERSHWINS’ TIP-TOES Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN Book by GUY BOLTON and FRED THOMPSON Starring EMILY LOESSER LEWIS J. STADLEN ANDY TAYLOR LEE WILKOF MARK BAKER CYNTHIA SOPHIEA RACHEL COLOFF ALET OURY With JOSEPH THALKEN and JOHN MUSTO At the Pianos And THE CAST AND ORCHESTRA From the CARNEGIE HALL CONCERT PRODUCTION Directed for the Stage by Associate Music Director SCOTT BARON JOSEPH THALKEN Recorded and Mixed by Executive Producer CYNTHIA DANIELS MARK TRENT GOLDBERG Music Direction Restored and Produced by ROB FISHER CAST OF CHARACTERS Sylvia Metcalf Cynthia Sophiea Rollo Metcalf (Her Husband) Mark Baker Al Kaye * Lewis J. Stadlen * Hen Kaye * The Three Kayes Lee Wilkof * Tip-Toes Kaye * Emily Loesser Steve Burton (Sylvia’s Brother) Andy Taylor Binnie Chester * Rachel Coloff * Steve’s Teachers Denise Miller * Alet Oury Professor Rob Fisher Girls Anna Bergman Karyn Overstreet Margaret Shafer Marguerite Shannon Boys Bryan Donovan Peter Flynn Damon Kirsche Jesse Means II ORCHESTRA Flute Keith Underwood Oboe Rob Ingliss Clarinet Les Scott Bill Blount Bassoon John Campo Horn Russ Rizner Daniel Culpepper Trumpet Lowell Hershey Darryl Shaw Trombone Bruce Bonvissuto Piano Joseph Thalken John Musto Percussion/Drums Arnie Kinsella Violin Marilyn Reynolds, Concertmistress Barry Finclair Christoph Franzgrote Martin Agee Belinda Whitney Mineko Yajima Viola Richard Brice David Blinn Cello Lanny Paykin Bass Richard Sarpola Music Coordinator Seymour Red Press TIP-TOES RESTORATION Score Restored by Rob Fisher Score Reconstruction Coordinator Aaron Gandy Reconstruction of existing parts and score preparation James Stenborg, assisted by Robert Lamont Missing orchestra parts completed by Russell Warner Missing duo piano parts restored by Joseph Thalken Disc 1 (Total Time 56:39) SELECTIONS 1. -
SHUBERT THEATER, 221-233 West 44Th Street, Manhattan
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1378 SHUBERT THEATER, 221-233 West 44th Street, Manhattan. Built 1912-13; architect, Henry B. Herts. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 15 in part consisting of the land on which the described building is situated. On June 14 and 15, 1982, the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Shubert Theater and the proposed designation of the related Landmark Site (Item No. 74). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many 1 etters and other express ions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Shubert Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912-13, shortly before World War I, to the designs of Henry B. Herts, the Shubert was one of a pair with the Booth, and was among the numerous theaters constructed by the Shuberts, one of the most active and influential families in American theater history. The Shubert was built as a memorial to Sam S. Shubert, leader of the family's theatrical enterprises until his untimely death in a train wreck.