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City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two. -
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. -
Masarykova Univerzita Fenomén Gilbert
MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA FENOMÉN GILBERT & SULLIVAN – VZNIK ANGLICKÉ OPERETY Disertační práce Monika Bártová Vedoucí práce: prof. PhDr. Julius Gajdoš, Ph.D. Ústav pro studium divadla a interaktivních médií Brno 2006 Prohlašuji, že jsem tuto práci vypracovala samostatně, pouze s použitím uvedených pramenů a literatury. Monika Bártová 2 OBSAH ÚVODEM 5 I. OPERETA – VYMEZENÍ POJMU A VZNIK ŽÁNRU 11 I. 1. Opereta jako svébytný umělecký žánr 11 I. 2. Opereta jako společenská satira 13 I. 3. Pojem opereta 18 I. 4. Inspirační zdroje operety: opéra comique, café concert, tančírny 21 I. 5. Počátky nového žánru: J. Offenbach 28 I. 6. Témata operet a jejich postavy 30 I. 7. Opereta a vernacular 34 I. 8. Opereta versus muzikál 36 II. HUDEBNĚ-ZÁBAVNÉ DIVADLO V BRITÁNII: OD MASQUES K MUSIC HALLU 40 II.1. Počátky hudebně-zábavného divadla v Británii 40 II. 2. Masques 40 II. 3. Ballad opera 42 II. 4. Pantomima 45 II. 5. Extravaganza 50 II. 6. Burleska 52 II. 7. Music-hall 55 III. GILBERT&SULLIVAN: ANGLICKÁ OPERETA 60 III. 1. Gilbert před Sullivanem 64 III. 2. Sullivan před Gilbertem 72 III. 3. První společná opereta: Thespis 79 III. 4. Trial by Jury 85 III. 5. The Sorcerer 91 III. 6. H.M.S. Pinafore 99 III. 7. The Pirates of Penzance 113 3 III. 8. Patience 124 III. 9. Iolanthe 134 III.10. Princess Ida 142 III.11. The Mikado 150 III.12. Ruddigore 160 III.13. The Yeomen of the Guard 167 III.14. The Gondoliers 173 III.15. Utopia Limited 180 III.16. The Grand Duke 188 III.17. -
The Mid-Victorian Opera Burlesque and Its Bourgeois Audience Abstract
From Satirical Piece to Commercial Product: the Mid-Victorian Opera Burlesque and its Bourgeois Audience Abstract (150 words) Current studies of burlesque position it as a subversive genre that questioned cultural and social hierarchies and spoke to diverse audiences. Central to this interpretation are burlesque’s juxtapositions of high and low culture, particularly popular and operatic music. This article problematizes this view, proposing that mid-Victorian burlesques lost their satirical bite. Demonstrating little concern for the tastes or interests of the poorer or the most elite members of the audience, they specifically targeted the bourgeoisie. The article places three mid-Victorian burlesques in the wider context of the commercial development of the West End post the 1851 Great Exhibition. It proposes that this broader context, and not the genre’s perceived social role, provides the key to understanding the impulses driving the musical choices. It argues that juxtapositions of ‘high’ and ‘low’ music were far from subversive, rather they were included for commercial reasons, offering variety, but variety within strict bourgeois limits. Over the last thirty years, musicologists have increasingly questioned the processes of canon formation and the assumed sanctity of the musical work. A significant outcome of this development within opera studies has included the increased attention paid by scholars to the idea of musical drama as event. This has had an important impact on which genres and composers are deemed worthy of study. Accordingly, opera studies have increasingly encompassed a wide variety of popular theatrical genres. Several important studies have established the performance practices and the role of music in particular popular genres.1 We are also beginning to see new, rigorous and critical overviews of the development of certain genres focussed on particular metropolitan centres. -
The Farces of John Maddison Morton
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr. -
The Artistic Approach of the Grieve Family to Selected Problems of Nineteenth Century Scene Painting
This dissertation has been microfilmed exactly as received 67-6318 HAMBLIN, Junius N., 1930- THE ARTISTIC APPROACH OF THE GRIEVE FAMILY TO SELECTED PROBLEMS OF NINETEENTH CENTURY SCENE PAINTING. The Ohio State University, Ph.D., 1966 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan C Copyright by Junius N. Hamblin 1967 THE ARTISTIC APPROACH OF THE GRIEVE FAMILY TO SELECTED PROBLEMS OF NINETEENTH CENTURY SCENE PAINTING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Junius N . Hamblin* B .S.* M.S. ****** The Ohio State University 1966 Approved by Department of Speech PLEASE NOTE: Figure pages are not original copy. They tend to "curl". Filmed in the best possible way. UNIVERSITY MICROFILMS PREFACE The conduct of this investigation would not have been possible without the large number of drawings by members of the Grieve family available for analysis through the microfilm holdings of The Ohio State University Theatre Collection. These holdings are from three sources: (l) The British Museum collection of drawings by John Henderson Grieve (OSUTC film No. 1454). (2) The Victoria and Albert Museum holdings of drawings by members of the Grieve family (OSUTC film No. 1721). It is from these two sources that the drawings were selected for analysis and illustration in this study. (3) Drawings by Thomas Grieve in the Charles Kean Collection at the Victoria and Albert Museum (OSUTC film Nos. 893, 894 and 895 )• These drawings are catalogued in Appendix A and were examined but were not used as illustrations for the study because they are from the second half of the century when theatrical conditions had begun to change. -
GILBERT and SULLIVAN: Part 1
GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were. -
Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays. -
Strand Magazine 10
: THE STIiflDD MJlGHZinE £/%n Illustrated Jffonthty EDITED BY GEO. NEWNES Vol. II. JULY TO DECEMBER <%&%> Xonfccm BURLEIGH STREET, STRAND 1891 < W. S. GILBERT AND HIS GRANDFATHER. Illustrated Interviews. No. IV. — MR. W. S. GILBERT. From a I'holo. by] GR^.ME S DYKE. [Elliott & Fry, R. GILBP:RT lives in a little another spot Windsor Castle is visible. land of his own. There is Mr. Gilbert is a man of many minds. The nothing wanting to complete verse of comic opera does not prevent him his miniature kingdom at from watching the interests of his thorough- Graeme's Dyke, Harrow bred Jerseys—for there is a perfect home Weald. With a hundred and farm on the Gilbertian land. The hayricks ten acres at his disposal, the most brilliant look rich, the horses, the fowls, and the pigs writer of irresistible satire of the day has seem "at home," and the pigeons— I am laid down a healthy two miles of paths, assured by Mr. Gilbert that he is using which wend their way through banks of the utmost efforts to induce his feathered moss and ferns, avenues of chestnut trees friends to adopt as their permanent address and secluded valleys. You turn out of one the fine and lofty house he has erected for pathway only to enter a diminutive forest them. _ The roofs of the vineries are heavy ; again, and you are standing by the rushes with great bunches, the peaches and necta- and water weeds by the side of the old rines are fast assuming an appearance call- Dyke, which has run its course for two ing for a hasty "bite"; flowers, flowers thousand years and more, spanned by are everywhere, and the bee-hives, green rustic bridges little wooden dwellings, with the. -
THESPIS Or, the Gods Grown Old
THESPIS or, The Gods Grown Old A Entirely Original Grotesque Opera in Two Acts Written by W.S. Gilbert Composed by Arthur Sullivan First produced at the Gaiety Theatre, London on December 26th 1871 under the management of Mr. John Hollingshead. Privately published by Ian C. Bond at 2 Kentisview, Kentisbeare, CULLOMPTON, EX15 2BS. - ©1996 Dramatis Personæ Immortals JUPITER } APOLLO } MARS } Aged Olympians DIANA } VENUS } MERCURY Mortals THESPIS, Manager of a travelling theatrical company SILLIMON, his stage manager TIMIDON TIPSEION PREPOSTEROUS STUPIDAS SPARKEION NICEMIS PRETTEIA DAPHNE CYMON Chorus:- Stars, Gods, Goddesses, Thespians, etc. Synopsis of Scenes Act One:- Ruined Temple of the Gods on the Summit of Mount Olympus Act Two:- The Same. One Year Later Time:- Mythology The libretto of THESPIS as sold at the Gaiety during the original production of the opera was notoriously incorrect. Sadly, Gilbert died before being able to correct the proof copies for inclusion in Series Four of his 'Original Plays' published by Chatto and Windus in 1911. Text presented in blue throughout this opera reflects additions made by Dr. Terence Rees as a result of research which revealed that certain passages of dialogue and musical numbers (mentioned in contemporary press reports) were missing. The result was a revival of the opera in 1962 by the University of London Opera Group using music from less performed Sullivan operas, arranged by Garth Morton. This version was performed by many amateur companies well into the early 1980's. Act One SCENE:- The ruins of the Temple of the Gods on summit of Mount Olympus. Picturesque shattered columns, overgrown with ivy, etc., R. -
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. -
The Late Victorian Theatre: As Reflected in 'The Theatre,' 1878-1897
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1955 The Late Victorian Theatre: as Reflected in 'The Theatre,' 1878-1897. Helene Harlin Wong Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Wong, Helene Harlin, "The Late Victorian Theatre: as Reflected in 'The Theatre,' 1878-1897." (1955). LSU Historical Dissertations and Theses. 136. https://digitalcommons.lsu.edu/gradschool_disstheses/136 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. THE LATE VICTORIAN THEATRE AS RBFLBCTED IN THE THEATRE, 1878-1897 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for. the degree of Doctor of Philosophy in The Department of Speech by Helene HarLln Wong B.A., Stanford University, 1942 M.A., Stanford U niversity, 1947 August, 1955 ACKNOWLEDGMENT The writer wishes to express her heartfelt gratitude to Dr. Claude L. Shaver for his encouragement and guidance throughout her studies at Louisiana State University. She also wishes to express her appreciation to Dr. Claude Wise, Dr. Giles Gray, Dr. Waldo Braden, Dr. Nathaniel Caffee, and Miss Edith Dabney for th e ir valued advice and w illing co operation throughout the progress of this study. Special thanks are due to Dr. Clinton Bradford for his contribution to the present investigation.