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Recollections and Reflections, a Professional Autobiography
... • . .... (fcl fa Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the estate of MARION WALKER RECOLLECTIONS AND REFLECTIONS. RECOLLECTIONS AND REFLECTIONS OF J. E. PLANCHE, (somerset herald). ^ |]rofcssiona( gaifobbcjrapbtr. " I ran it through, even from my boyish days, To the very moment that he bade me tell it." Othello, Act i., Scene 3. IN TWO VOLUMES. VOL. II. LONDON: TINSLEY BROTHERS, 18, CATHERINE STREET, STRAND. 1872. ..4^ rights reserved. LONDON BRADBURV, EVANS, AND CO., PRINTERS, WHITBFRIAR,-!. ——— CONTENTS. CHAPTER I. VAGK Another Mission to Paris—Production of " Le Domino Noir"— Mr. and Mrs. Charles Gore—Dinner at Lord Lyndhurst's Mons. Allou, Vice-President of the Society of Antiquaries of France—The Duke D'Istrie and his Collection of Armour Her Majesty's Coronation—" Royal Records "—Extension of Licence to the Olympic and Adelphi Theatres—" The Drama's Levee"—Trip to Calais with Madame Yestris and Charles Mathews previous to their departure for America—Visit to Tournehem—Sketching Excursion with Charles Mathews Marriage of Madame Vestris and Charles Mathews—They sail for New York—The Olympic Theatre opened under my Direc- tion—Farren and Mrs. Nisbett engaged—Unexpected return of Mr. and Mrs. Mathews—Re-appearance of the latter in " Blue Beard "— " Faint Heart never won Fair Lady "—"The Garrick Fever"—Charles Mathews takes Covent Garden Theatre CHAPTER II. Death of Haynes Bayly—Benefit at Drury Lane for his Widow and Family—Letters respecting it from Theodore Hook and Mrs. Charles Gore—Fortunate Results of the Benefit—Tho Honourable Edmund Byng—Annual Dinner established by him in aid of Thomas Dibdin—Mr. -
Leaves of a Life, Being the Reminiscences of Montagu Williams
j K. _ . ^H . to Gbe Xibrarp of tbe of Toronto Bertram 1R. Davis from tbe boohs of tbe late Xionel Davis, Ik.C. LEAVES OF A LIFE BEING THE REMINISCENCES OF MONTAGU WILLIAMS, Q.C. LEAVES OF A LIFE BEING THE REMINISCENCES OF MONTAGU WILLIAMS, Q.C. IN TWO VOLUMES VOL. I. BOSTON AND NEW TOEK HOUGHTON, MIFFLIN AND COMPANY Bilu-rsilic ^rcss, Civmbriigc 1890 CHARLES DICKENS AND EVANS, CRYSTAL PALACE MESS. 13 tDi rat to it. TO THE BEST AND GENTLEST OF HER GENTLE SEX ; BUT FOR WHOSE FAITHFUL FRIENDSHIP IN THE SPRING OF 1886 THIS LIFE WOULD NOT, IN ALL PROBABILITY. HAVE BEEN SPARED; THIS BOOK IS MOST GRATEFULLY DEDICATED. 9, Aldford Street, Park Lane. Jan. 1st, 1890. CONTENTS. CHAPTER I. H.EC OLIM MESIINISSE JUVABIT. PAGE My birthplace A legal family My father's one idea We move from Somersetshire to Berkshire Our quaint old house in the Cloisters at Windsor Xeighbours and friends -Visit of Lord George Loftus Why he came amongst us His habits and customs Running up to London How his lordship was "done"- Eton Some popular "Tugs" " " -The last Eton Montem The scene in the grounds " " Levying Salt Her Majesty's contribution Why the institution perished ... .1 CHAPTER II. ILLE TERRARUM JIIHI PR.ETER OMNES AXGULUS RIDET. More about Eton School persecutions Cricket and football matches, and what followed I am elected a King's - - Scholar The masters Concerning Bursar Bethell " " How we rang old Plumptree's bell Sock shops Spankie's love for the aristocracy Heroism of a fag " " " Cellar and Combie "The "long glass "Persons we patronised My tutor The nicknames he gave us His method of punishment Threepence or half a sheep- Impudence of young Seale-Hayne The prtuposter Story of Dr. -
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. -
The Journal of a London Playgoer from 1851 to 1866
BOOKS AND PAPERS HENRY MORLEY 1851 1866 II THE JOURNAL LONDON PLAYGOER FROM 1851 TO 1866 HENRY MORLEY, LL.D, EMERITUS PROFESSOR OF ENGLISH LITERATURE IN UNIVERSITY COLLEGE. LONDON LONDON GEORGE ROUTLEDGE AND SONS, LIMITED BROADWAY, LUDGATE HILL GLASGOW, MANCHESTER, AND NEW. .YORK < ' ' PN PROLOGUE. THE writer who first taught Englishmen to look for prin- ciples worth study in the common use of speech, expecting censure for choice of a topic without dignity, excused him- self with this tale out of Aristotle. When Heraclitus lived, a famous Greek, there were some persons, led by curiosity to see him, who found him warming himself in his kitchen, and paused at the threshold because of the meanness of the " place. But the philosopher said lo them, Enter boldly, " for here too there are Gods". The Gods" in the play- house are, indeed, those who receive outside its walls least honour among men, and they have a present right to be its Gods, I fear, not only because they are throned aloft, but also because theirs is the mind that regulates the action of the mimic world below. They rule, and why ? Is not the educated man himself to blame when he turns with a shrug from the too often humiliating list of an evening's perform- ances at all the theatres, to say lightly that the stage is ruined, and thereupon make merit of withdrawing all atten- tion from the players ? The better the stage the better the town. If the stage were what it ought to be, and what good it actors heartily desire to make it, would teach the public to appreciate what is most worthy also in the sister arts, while its own influence would be very strong for good. -
15/7/39 Liberal Arts and Sciences Department of English Charles H
The materials listed in this document are available for research at the University of Record Series Number Illinois Archives. For more information, email [email protected] or search http://www.library.illinois.edu/archives/archon for the record series number. 15/7/39 Liberal Arts and Sciences Department of English Charles H. Shattuck Papers, 1929, 1937-92 CONTENTS Box Correspondence, A-Z, 1944-61 1 Correspondence, A-Z, 1961-92 2-6 Subject File, A-W, 1929, 1946-91 6-10 Accent File, A-W, 1942-79 10 Shattuck Promptbooks, 1942-77 10-14 Playbills, 1913-88 14-15 Publications & Reviews, 1938-86 15-16 Research Notes & Correspondence, 1937-92 Macready & Booth 16-17 Shakespeare Promptbooks 17-21 Shakespeare on the American Stage 21-22 Theatre and Brecht 23 Posters & Slides 24 Box 1: Correspondence, 1944-61 A, 1946-58 Adams, John C. 1945-58, 1960 B, 1947-60 Brecht, Bertolt, 1955 C, 1947-60 D, 1946-59 E, 1946-60 Engle, Paul, 1946-56 F, 1945-60 Ford Foundation, W. McNeil Lowry, 1958-59 G, 1945-60 Gregor, Arthur, 1951-54 H, 1943-60 Harrison, G.B., 1957-58 Hewitt, Barnard, 1947-56 Hanson, Philip, 1951-57 I-K, 1942, 1947-61 L, 1946-60 M, 1944-61 15/7/39 2 N-O, 1949-60 P, 1949-60 Q, 1958-60 R, 1944-64 Sa-Sh, 1948-61 Sl-Sy, 1943-60 Stoddard, Margaret, 1954-55 Swanson, John Wesley, 1946-59 T, 1946-60 U-V, 1948-61 Vassar College, 1948-49 W, 1946-60 Wallace, Karl, 1947-49 X-Z, 1953-59 Box 2: Correspondence, 1961-92 A, 1961-92 Abou-Saif, Laila, 1964-69, 1978 Adams, John C., 1961-85 Andrews, John F., 1976-91 Andrews, Kenneth R., 1963-91 Archer, Stephen, -
Reminiscences of J. L. Toole
PRE FA C E. W H AT a different thing talking is compared with writing ! I am on tour when I jot down th is fl h profound re ection . My dear friend J osep Hatton has been on my track since we parted in town , a month or two ago , with this one message , by post and telegram— “ You ought to write the ! ” Preface , every word of it As it is my own I I Preface of course ought , and of course have done so . But wh ile the writing of it has been a labour of love , it has bothered me a good deal u more than a labour of love is s pposed to do . Many times I have adm ired the skill with which my collaborator has written , i n these pages , stories which seemed to me to require , for a complete n narratio , the point one puts i nto an anecdote I when acting it . am occasionally called upon to I make a speech i n public . Well , get along now and then pretty well , thanks to the inspiration that seems to come to me f rom the friendly sym pathy of my aud ience but there is no inspiration P REFACE . in a blank sheet of paper , and there is no applause in pen s and ink . When one makes a speech one seeks kindly faces around one , and it is wonderful what assistance there is in a little applause . You take up the report of a speech in a newspaper ; “ i s you see that it peppered with Laughter , ” s Applause , Loud cheer , and so on that sets you reading it , and carries you on to the end . -
Diprose's Theatrical Anecdotes
^ :> Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/diprosestheatricOOdipruoft ^DIP ROSE'S theatrical anecdotes' CONTAINING ANECDOTES OF THE SCENES-OLD iIIE STAGE AND THE PLAYERS-BEHIND PLACES OF AMUSEMENT-THEATRICAL JOTTINGS- == MUSIC-AUTHORS-EPITAPHS, &c., &c. London : DIPROSE & BATEMAN, Sheffield Street, Lincoln's Inn Fields. : LONDON DIPROSE, BATEMAN AND CO., PRINTEUS, SHEFFIELD STREET, LINCOLN'S INN, THE STAGE I AND THE PLAYERS BY JOHN DIPROSE. ^ THE ORIGIN OF THE STAGE. -:o:- HE first religious spectacle was, probably, the miracle play of St Catherine^ mentioned by Matthew Paris as having been written by Geoffrey, a Norman, afterwards Abbot of St. Albans, and played at Dunstable Abbey in mo. In the Description of the Most Noble City of London^ by Fitz Stephen, a monk, about 1174, in treating of the ordinary diversions of the inhabitants of the metropolis, says, that, instead of the common interludes belonging to theatres, they have plays of a more holy subject. The ancient religious dramas were distinguished by the names Origin of the Stage. of mysteries, properly so called, wherein were exhibited some of the events of Scripture story, and miracles which were of the nature of tragedy, representing the acts of Martyrdom of a Saint of the Church. One of the oldest religious dramas was written by Gregory, entitled Christ's Passion, the prologue to which states that the Virgin Mary was then for the first time brought upon the stage. In 1264, the Fraternite del Goufal'one Avas established, part of whose occupation was to represent the sufferings of Christ in Passion Week. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Alastair Paynter (2018) “The emergence of libertarian conservatism in Britain, 1867-1914”, University of Southampton, Department of History, PhD Thesis, pp. 1-187. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES History The emergence of libertarian conservatism in Britain, 1867-1914 by Alastair Matthew Paynter Thesis for the degree of Doctor of Philosophy March 2018 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES History Doctor of Philosophy THE EMERGENCE OF LIBERTARIAN CONSERVATISM IN BRITAIN, 1867-1914 by Alastair Matthew Paynter This thesis considers conservatism’s response to Collectivism during a period of crucial political and social change in the United Kingdom and the Anglosphere. The familiar political equipoise was disturbed by the widening of the franchise and the emergence of radical new threats in the form of New Liberalism and Socialism. Some conservatives responded to these changes by emphasising the importance of individual liberty and the preservation of the existing social structure and institutions. -
Brycheiniog 39:44036 Brycheiniog 2005 27/4/16 15:59 Page 1
53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 1 BRYCHEINIOG VOLUME XXXIX 2007 Edited by E. G. PARRY Published by THE BRECKNOCK SOCIETY and MUSEUM FRIENDS 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 2 THE BRECKNOCK SOCIETY and MUSEUM FRIENDS CYMDEITHAS BRYCHEINIOG a CHYFEILLION YR AMGUEDDFA OFFICERS President Sr Bonaventure Kelleher Chairman Mr K. Jones Honorary Secretary Miss H. Guichard Membership Secretary Mrs S. Fawcett-Gandy Honorary Treasurer Mr A. J. Bell Honorary Auditor Mr B. Jones Honorary Editor Mr E. G. Parry Honorary Assistant Editor Mr P. Jenkins Curator of Brecknock Museum and Art Gallery Back numbers of Brycheiniog can be obtained from the Assistant Editor, 9 Camden Crescent, Brecon LD3 7BY Articles and books for review should be sent to the Editor, The Lodge, Tregunter, Llanfilo, Brecon, Powys LD3 0RA © The copyright of material published in Brycheiniog is vested in the Brecknock Society & Museum Friends 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 3 CONTENTS Officers of the Society 2 Notes on the Contributors 4 Editorial 5 Reports: The Royal Regiment of Wales Museum, Brecon Alison Hembrow 7 Powys Archives Office Catherine Richards 13 The Roland Mathias Prize 2007 Sam Adams 19 Prehistoric Funerary and Ritual Monuments in Breconshire Nigel Jones 23 Some Problematic Place-names in Breconshire Brynach Parri 47 Captain John Lloyd and Breconshire, 1796–1818 Ken Jones 61 Sites and Performances in Brecon Theatrical Historiography Sister Bonaventure Kelleher 113 Frances Hoggan – Doctor of Medicine, Pioneer Physician, Patriot and Philanthropist Neil McIntyre 127 The Duke of Clarence’s Visit to Breconshire in 1890 Pamela Redwood 147 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 4 NOTES ON CONTRIBUTORS Sam Adams is a poet and critic who is a member of the Roland Mathias Prize Committee. -
Mallock Social Philosophy Political Economy with a New Introduction by Modern History
Mallock Social Philosophy Political Economy With a new introduction by Modern History THE LIMITS OF PURE DEMOCRACY H. Lee Cheek, Jr. W. H. Mallock With a new introduction by H. Lee Cheek, Jr. The 1910s was a decade in which theories of socialism, pacifism, and collectivism flowered. Publicists and playwrights from Sidney Webb to George Bernard Shaw expressed not just belief in “utopianism” but a vigorous assault The Limits of on the existing political and economic order. Less well known is how a group of Tory thinkers laid the foundations of a conservative counter-attack expressed with equal literary and intellectual brilliance. Foremost among them was W. H. The Limits of Mallock. In The Limits of Pure Democracy he argued that the pseudo-populist leaders of the political party system promise everything but deliver only the end of parties as such. For Mallock, what starts with populism ends in dictatorship. The Russian Revolution was simply the historical outcome of utopian socialist visions that were more dedicated to destroying the present system of things than bringing about a revitalized future. Mallock’s book explains how the modern free market succeeds through competition in increasing output, broadening occupational opportunities, and multiplying the numbers of skilled professionals. In contrast, welfare schemes serve to deepen poverty by spreading wealth so evenly that incentives to work decline and personal savings are eliminated. These arguments have become commonplace today. But at the time they PURE DEMOCRACY served as an incendiary reminder that class warfare works in both directions. PURE Mallock was a remarkably talented writer who made the case against exaggerated expectations, a nascent welfare system, and mass political parties led by oligarchs. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women.