Memories of Pitsford a 100 Years Ago
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Northamptonshire Past & Present
~nqirnt and MODERN .... large or small. Fine building is synonymous with Robert Marriott Ltd., a member of the Robert Marriott Group, famous for quality building since 1890. In the past 80 years Marriotts have established a reputation for meticulous craftsmanship on the largest and small est scales. Whether it is a £7,000,000 housing contract near Bletchley, a new head quarters for Buckinghamshire County Council at Aylesbury (right) or restor ation and alterations to Easton Maudit Church (left) Marriotts have the experi ence, the expertise and the men to carry out work of the most exacting standards and to a strict schedule. In the last century Marriotts made a name for itself by the skill of its crafts men employed on restoring buildings of great historical importance. A re markable tribute to the firm's founder, the late Mr. Robert Marriott was paid in 1948 by Sir Albert Richardson, later President of the Royal Academy, when he said: "He was a master builder of the calibre of the Grimbolds and other famous country men. He spared no pains and placed ultimate good before financial gain. No mean craftsman him self, he demanded similar excellence from his helpers." Three-quarters of a century later Marriotts' highly specialised Special Projects Division displays the same inherent skills in the same delicate work on buildings throughout the Midlands. To date Hatfield House, Long Melford Hall in Suffolk, the Branch Library at Earls Barton, the restoration of Castle Cottage at Higham Ferrers, Fisons Ltd., Cambridge, Greens Norton School, Woburn Abbey restorations and the Falcon Inn, Castle Ashby, all bear witness to the craftsmanship of Marriotts. -
Stratford-Upon-Avoh Festival
A H A N D BOO K TO THE STRATFO RD - U PON - AVON FESTIVAL A Handb o o k to the St rat fo rd- u p o n- A V O H Fe st iv al WITH ART I C LE S BY N R . B N O F . E S ARTHUR HUTCHINSO N N R EG I A L D R . B UC K L EY CECI L SH RP J. A A ND [ LL USTRA TI ONS P UBLI SHED UNDER TH E A USPICES A ND WITH THE SPECIAL SANCTION OF TH E SHAKESPEARE M EMORIAL COUNCI L LONDON NY L GEO RGE ALLEN COM PA , T D. 44 45 RATH B ONE P LA CE I 9 1 3 [All rig hts reserved] P rinted b y A L L A NT Y NE A NSON ér' B , H Co . A t the Ballant ne P ress y , Edinb urg h P R E F A IC E “ T H E Shakespeare Revival , published two years ago , has familiarised many with the ideas inseparable from any national dramatic Festival . But in that book one necessarily Opened up vistas of future development beyond the requirements of those who desire a Hand a book rather than Herald of the Future . For them an abridgment and revision are effected here . Also there are considerable additions , and Mr . Cecil J . Sharp contributes a chapter explaining the Vacation School of Folk Song o f and Dance , which he became Director since the previous volume was issued . The present volume is intended at once to supplement and no t condense , to supersede , the library edition . -
Annals of the Liverpool Stage, from the Earliest Period to the Present Time
ajorttcU Hmoeraitg ffithrarg FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY Cornell University Library PN 2596.L5B86 Annals of the Liverpool stage. 3 1924 026 123 822 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026123822 ANNALS OF THE LIVERPOOL STAGE ?'f .^i^ , . I . ,'/. ''f ,-V. , M. , , , i THE THEATRE ROYAL. Reduced fac-sitnile of the original front elevaiion. from a drawing by Robert Chaffers, May iz, 1773. By kind permission of Mrs. L. E. Thompson, Union Hotel, Liverpool. ANNALS OF THE LIVERPOOL STAGE FROM THE EARLIEST PERIOD TO THE PRESENT TIME TOGETHER WITH SOME ACCOUNT OF THE THEATRES AND MUSIC HALLS IN BOOTLE AND BIRKENHEAD R. J. BROADBENT AUTHOR OF 'STAGE WHISPERS' 'A HISTORY OF PANTOMIME' ETC. WITH ILLUSTR^TIOD^S LIVERPOOL EDWARD HOWELL ,^o8 PREFACE It is not a whit surprising that although the annals of most of the other provincial theatres of importance have long been published, no one hitherto has written any record of the Liverpool stage. The difficulties of the task lie in the fact that data are at once too sparse and too abundant. Owing to the incompleteness of the collection of playbills in the I,iver- pool Free Library, there are many gaps in the story of the I/iverpool Theatres which it is weU-nigh impossible to fill- This is all the more regrettable as the remoter period in the annals of our local drama is much more individual and char- acteristic than the record of the last half century. -
Anecdotes of the Theatre (1914)
More Anecdotes of tii« heatre '^ ^>- c -l;-' /9/^/ CORNELL UNIVERSITY LIBRARY 3 1924 079 583 765 The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924079583765 A TVTT7r^r»r\T'rro — — — Uniform with this Volume ANECDOTES OF PULPIT AND PARISH COLLECTED AND ABRANGKD BY ARTHUR H. ENGELBAOH "Nearly a thousand good stories." Pall Mall Gazette. " Abundant and well selected, contains a fund of wit and humour." Evening^ Standard. "An excellent book for whiling away an hour at any time." Sunday Times. ANECDOTES OF THE THEATRE COLLECTED AND ABBANGBD BY ARTHUR H. ENGELBAGH AUTHOR OF "ANKODOTER OF BENCH AND BAR" t LONDON GRANT RICHARDS LTD. PUBLISHERS PRINTED BY THE RIVERSIDE PRESS LIMITED EDINBURGH 1914 ANECDOTES OF THE THEATRE GOOD story is told of a rich banker at Paris, A who, though a sexagenarian, fancied himself a perfect Adonis, and was always behind the scenes, hanging about and making love to Mademoiselle Saulnice, to whom the machinist of the Opera House was paying his addresses. Determined to be re- venged, and profiting by the moment when his rival, in uttering soft nonsense, had inadvertently placed his foot upon a cloud, the machinist gave a whistle, which was the signal for raising the cloud. When the curtain was drawn up the audience were not a little edified at seeing the banker, with powdered head, and gorgeously attired in evening costume, embroidered coat and waistcoat, ascending to the clouds by the side of Minerva, represented by the object of his devotion. -
British Theatre and the Great War, 1914–1919
Copyrighted material – 978–1–137–40199–1 Introduction, selection and editorial matter © Andrew Maunder 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–40199–1 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
The Story of My Life by Ellen Terry</H1>
The Story of My Life by Ellen Terry The Story of My Life by Ellen Terry Produced by Suzanne Shell, Linda Cantoni and PG Distributed Proofreaders [Illustration: Ellen Terry drawn from photographs by Albert Sterner] THE STORY OF MY LIFE RECOLLECTIONS AND REFLECTIONS BY ELLEN TERRY [Illustration] page 1 / 522 ILLUSTRATED NEW YORK DOUBLEDAY, PAGE & CO. MCMIX _1908, The McClure Company_ 1907, 1908, The S.S. McClure Company 1907, 1908, Ellen Terry TO EDY CONTENTS INTRODUCTION page 2 / 522 I. A CHILD OF THE STAGE, 1848-56 The Charles Keans, 1856 Training in Shakespeare, 1856-59 II. ON THE ROAD, 1859-61 Life in a Stock Company, 1862-63 1864 III. ROSSETTI, BERNHARDT, IRVING, 1865-67 My First Impressions of Henry Irving IV. A SIX-YEAR VACATION, 1868-74 V. THE ACTRESS AND THE PLAYWRIGHT, 1874. Portia, 1875 Tom Taylor and Lavender Sweep VI. A YEAR WITH THE BANCROFTS VII. EARLY DAYS AT THE LYCEUM VIII. WORK AT THE LYCEUM IX. LYCEUM PRODUCTIONS page 3 / 522 X. LYCEUM PRODUCTIONS (_continued_) XI. AMERICA: THE FIRST OF EIGHT TOURS What Constitutes Charm XII. SOME LIKES AND DISLIKES XIII. THE MACBETH PERIOD XIV. LAST DAYS AT THE LYCEUM My Stage Jubilee Apologia The Death of Henry Irving Alfred Gilbert and others "Beefsteak" Guests at the Lyceum Bits From My Diary INDEX LIST OF ILLUSTRATIONS Ellen Terry page 4 / 522 Mr. and Mrs. Benjamin Terry Charles Kean and Ellen Terry in 1856 Ellen Terry in 1856 Ellen Terry at Sixteen "The Sisters" (Kate and Ellen Terry) Ellen Terry at Seventeen George Frederick Watts, R.A. -
12 the Odd Woman Margaret Rutherford
12 The odd woman Margaret Rutherford John Stokes Although Margaret Rutherford’s (1892–1972) presence became famil- iar to an enormous public, she remained in her performances the odd woman out: at times ‘difficult’, yet irrepressible; peculiar in dress, man- nerism, speech, yet invariably to the fore. With their predilection for physical detail, at best careless, at worst cruel, all too commonplace at the time, critics liked to make fun of her features: her trembling chins, pursed lips, popping eyes, her mobile eyebrows. She was certainly physi- cally memorable. Her whole body seemed to invite comment, especially when on the move: clasped hands, large strides interspersed with sudden darts, a bustling and, at the same time, purposive gait. Over the years her costumes and props became standardised: umbrella, beads, specta- cles (alternating with lorgnette, monocle, even binoculars), a capacious shawl (or shapeless cape) and, always to top it off, floral hats that seemed to lead a horticultural life of their own. Throughout her career reviewers turned to animal epithets to describe her, but they were strangely mixed: porpoise, dragon, moth. It’s as if the journalists were competing not only among themselves but with the actress herself in their attempts to capture her presence in a single stroke. Rutherford’s origins were unusual. A significant number of the actresses who achieved prominence in the early twentieth century came from a theatrical background – a vocational advantage that had often led to early starts as a child performer. The father of Fay Compton (1894– 1978), for instance, was the actor Edward Compton, and she was acting professionally by 1911; Nina Boucicault (1867–1950) was a member of a long-standing theatrical dynasty; Joyce Carey (1898–1952) was the daugh- ter of the actors Gerald Lawrence and Lilian Braithwaite. -
Wild Oats: a Rare Comic Treat a Note from the Founding Artistic Director
Wild Oats: A Rare Comic Treat A Note from the Founding Artistic Director I have known something about the play Wild Oats almost as long as I’ve been involved with theater. Ian Gallanar. Photo by Theatre Barbara Blackledge, one of my two acting teachers in Consultants Collaborative Inc. college (Indiana University of Pennsylvania), played Lady Amaranth in a noted production at the Classic Stage Com- pany in New York in the late ‘70s. It was, as far as anyone could tell, the fi rst time the play had been done in the United States in over a century and it was a big hit. Also, some of my earliest professional credits were acting with a summer stock company that my teacher Barb co-managed. For three summers, I worked with many members of that famous Wild Oats cast. The man who remains my acting superhero of all time, Noble Shropshire, was in the cast and wrote original music for this production that was given a rave review by Time magazine. All of these actors spoke about the play with great aff ection. But I never read it. In those pre-Amazon days, it was sometimes almost impossible to fi nd copies of obscure works. As Shakespeare companies in England and America continued performing Wild Oats, however, the play became easier to fi nd. Last year, I was looking for a broad comedy from this era and picked Wild Oats from my shelf. This is something I will often do -- pick a book from my shelf and try to discover (or re-discover) classic plays. -
A Century of Scottish Creative Writing: Three Essays Maurice Lindsay
Studies in Scottish Literature Volume 35 | Issue 1 Article 19 2007 A Century of Scottish Creative Writing: Three Essays Maurice Lindsay Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Lindsay, Maurice (2007) "A Century of Scottish Creative Writing: Three Essays," Studies in Scottish Literature: Vol. 35: Iss. 1, 218–257. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/19 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Maurice Lindsay A Century of Scottish Creative Writing Three Essays Scottish Fiction 1900-2000 Scottish fiction was dominated throughout most of the nineteenth century by the gigantic genius of Sir Walter Scott, who revived and spread an interest in Scotland's past, just as Robert Bums had revived an interest and awareness of the Scots tongue a generation or so before. By the beginning of the twenti eth century, however, the novel of social concern had been cultivated for some years by Scottish writers. But there was a carry-over of the Scott tradition early in the century by two novelists, Neil Munro (1884-1930) and John Buchan, Baron Tweedsmuir (1875-1940). Inverary-born Munro published his best-loved novels in the first decade of the twentieth century. Doom Castle came out in 1901, followed by the various collections of short stories that won him popular fame, The Vital Spark (1906), The Daft Days (1907), and Ayrshire Idylls (1912). -
Shakespeare's Twins in Text and Performance Thesis
“METHINKS YOU MY GLASS”: SHAKESPEARE’S TWINS IN TEXT AND PERFORMANCE THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Kelsey A. Kling, B.F.A. San Marcos, Texas December 2008 “METHINKS YOU ARE MY GLASS”: SHAKESPEARE’S TWINS IN TEXT AND PERFORMANCE Committee Members Approved: ____________________________________ Debra Charlton, Chair ____________________________________ Charles Ney ____________________________________ Sandra M. Mayo Approved: _________________________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Kelsey A. Kling 2008 For “two goodly sons” Everett Douglas Kling and Elliott Garner Kling ACKNOWLEDGEMENTS I can no other answer make, but thanks, And thanks, and ever thanks . I will be forever grateful for the wisdom and support of Dr. Debra Charlton. Not only did she provide the seed of this thesis, but also valuable insight all along the way. My unusual route through my graduate studies required the special understanding of many parties, most especially Dr. John Fleming. To my other committee members, Dr. Charles Ney and Dr. Sandra Mayo, I also offer many thanks for continuing with me until completion of this thesis and for lively classroom discussion in the past two years. I must also thank my biggest and most ardent supporter, my husband, Steve Kling. He never lets me quit. I quite literally would not have made it through my studies were it not for the help and encouragement of Claudia Kling and Margaret Altom who offered babysitting and pep-talks whenever required. For being great listeners when I needed a bard-friendly ear, my thanks to Robert Matney, Elizabeth Fisher, and Ian Manners. -
Compton Mackenzie
Compton Mackenzie: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Mackenzie, Compton, 1883-1972 Title: Compton Mackenzie Papers Dates: 1816-1970, undated Extent: 199 document boxes (83.58 linear feet), 1 oversize folder (osf), 40 galley files (gf) Abstract: The papers of Scottish writer Compton Mackenzie provide detailed documentation of his entire professional and personal life. Also included are the papers of his parents, actors Edward Compton and Virginia Bateman Compton, and of his first wife, writer Faith Compton Mackenzie, as well as small collections pertaining to his grandmother, actor Sidney Frances Cowell Bateman, and his friend, writer Norman Douglas. Call Number: Manuscript Collection MS-02620 Language: English, French, Gaelic, German, Greek, Italian Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. Restrictions on Authorization for publication is given on behalf of the University of Use: Texas as the owner of the collection and is not intended to include or imply permission of the copyright holder which must be obtained by the researcher. -
The Odd Woman Margaret Rutherford
12 The odd woman Margaret Rutherford John Stokes Although Margaret Rutherford’s (1892–1972) presence became famil- iar to an enormous public, she remained in her performances the odd woman out: at times ‘difficult’, yet irrepressible; peculiar in dress, man- nerism, speech, yet invariably to the fore. With their predilection for physical detail, at best careless, at worst cruel, all too commonplace at the time, critics liked to make fun of her features: her trembling chins, pursed lips, popping eyes, her mobile eyebrows. She was certainly physi- cally memorable. Her whole body seemed to invite comment, especially when on the move: clasped hands, large strides interspersed with sudden darts, a bustling and, at the same time, purposive gait. Over the years her costumes and props became standardised: umbrella, beads, specta- cles (alternating with lorgnette, monocle, even binoculars), a capacious shawl (or shapeless cape) and, always to top it off, floral hats that seemed to lead a horticultural life of their own. Throughout her career reviewers turned to animal epithets to describe her, but they were strangely mixed: porpoise, dragon, moth. It’s as if the journalists were competing not only among themselves but with the actress herself in their attempts to capture her presence in a single stroke. Rutherford’s origins were unusual. A significant number of the actresses who achieved prominence in the early twentieth century came from a theatrical background – a vocational advantage that had often led to early starts as a child performer. The father of Fay Compton (1894– 1978), for instance, was the actor Edward Compton, and she was acting professionally by 1911; Nina Boucicault (1867–1950) was a member of a long-standing theatrical dynasty; Joyce Carey (1898–1952) was the daugh- ter of the actors Gerald Lawrence and Lilian Braithwaite.