DOCSLIB.ORG

A Chronicle of the St. Jamess Theatre from Its

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Chronicle of the St. Jamess Theatre from Its TH E TH EAT RE ROYAL J M E ’ ST . A S S ’ N in T H E s ce 1 8 b . site occupied ‘ 35 y St James s s t o od Theatre an ancien t hostelry , known as ’ N ev o t s Hotel , a quaint building , dating in all 11 likelihood from the reign of Charles . These premises were crumbling into decay , when john W B raham , the famous tenor , whom Sir alter Scott described as “ ” A beast of an actor , though an angel of a singer , cast his eye . 0 0 0 0 upon the spot Already he had squandered J£4 , in buying ’ the Colosseum in Regents Park , but the spirit of speculation was still strong in the composer an d singer of “ The Death of ” Nelson . He therefore decided to build a theatre where ’ N evo t s — Hotel once flourished . At the age of sixty one , having o f b e obtained the sanction King William IV . , commissioned z Bea ley , the famous architect , to build him a playhouse ; and , ’ e at the cost of nearly t h St . James s Theatre came into i ex stence . in s i In a preliminary flourish , which may have been the p ’ “ ration of Sam G erridg e s appeal to the nobility and gentry of ’ ” the B oro Road , the managemen t announced “ ’ — S T . AM E T H E A T R E M r . J S S Braham has the honour to inform the nobility , ' e . gentry , and the public that his new theatre , King Stre t , St James s Square , will 1 1 8 O open on Monday , December 4th , 35 , when , and during the week , an pening A . s ddress will be spoken by Mrs Selby ; after which will be pre ented , for the first time , ‘A ’ a new and original burletta , which has been some time in preparation , gnes Sorel , ' A B k t T h e written by Gilbert e c e . overture and the whole of the music composed by ' . A B e ck e t . Mrs G . Braham was supported in his undertaking by Miss Priscilla Horton , familiar to a later generation as Mrs . German Reed , f but all their e forts could not win success for so dreary a drama , and , a month later , it gave place to a musical piece , called ” Mons . Jacques , by Morris Barnet , one of the few real successes of this three years of management . After one or two re— revivals of opera , the theatre was closed for repairs , to open with the following pompous announcement T h e theatre having during the recess been perfected in all its departments , and being now admitted to be the most splendid theatre in Europe , wil l open for the T 2 th season , on hursday , September 9 , - Despite its splendours , however , ill luck continued to dog the career of the theatre . Charles Dickens , whose fame was then nearing its zenith , turned his attention to the stage , and “ ” - provided Braham with The Strange Gentleman , a two act “ ” W in l e b ur comic burletta , based upon The Great g y D uel , in “ ” Sketches by B oz . A run of fifty nights was thei r reward , and emboldened Braham to commission the novelist to write a “ ” comic opera . Village Coquettes was the result , and Braham , h ad in his enthusiasm , declared that its like not been seen since ’ “ a” Dal un . Sheridan s In a preface , dedicated to Harley , the comedian , Dickens admitted “ T his drama may have a plot , or it may not ; and the songs may be poetry , or ; ff they may not and the whole a air , from beginning to end , may be great nonsense , or it may not , just as the honourable gentleman or lady who reads it , may happen to think . So retaining his own private and particular opinion upon the subject (an O pinion which he formed upwards of a year, when he wrote the piece), the author leaves every such gentleman or lady to form his or hers as he or she may think proper , without saying one word to influence or conciliate them . It is needless to add l ib retto that the of an opera must be , to a certain extent , a mere vehicle for the music , and that it is scarcely fair or reasonable to judge it by those strict rules of criticism " fiv - which would be justly applicable to a e act tragedy or a finished comedy . “ ” a ol o icz This p g notwithstanding , the strict rules of criticism were applied , and the poor thing perished of public neglect at “ 1 8 . 8 the early age of twenty nights In February , 3, The ” S ital s field p Weaver (since made so popular by Mr . L . Toole) first saw the light , played by Messrs . Alfred Wigan , E . Wright , . M J Webster , and iss Allison . Its success was immediate , and - Braham , entering the green room on one occasion said , with “ - a u h ve st glee , I feel qui te proud to night . I j counted the pit , and there are seventeen people in it I But one swallow does not make a summer . At the end of 1 8 8 the season , in 3, Braham found himself a ruined man and , 6 at the age of 5 , obliged to begin life afresh in America , where 1 8 6 he attained great pop ularity . He died at Brompton in 5 , 8 r d in his 3 year . 1 8 . The theatre remained closed until 39, when Mr Hooper became manager . A man of considerable enterprise , he not — only engaged such well known artists as Walter Lacy , Alfred Wigan , james B land , M rs . Glover , Mrs . Honey , and M rs . i . Nisbet , but decided to assist the r talents wi th varieties He o f A me r h o . theref re secured Van b g and his famous troupe lions The public , nothing loth , gave him so cordial a welcome , that Hooper imported from Paris a troupe of highly - trained monkeys , dogs and goats . The bait proved irresistible , all the “ rank and fashion crowding to witness the antics of Mdme . ” “ ” “ ” Pompadour , Mdlle . Batavia , Lord Gogo , and his valet “ ” Jacob . The young Q ueen having patronised the wild beast show twice in one week at Drury Lane , everyone was eager to ’ show his or her loyalty by doing likewise at the St . James s , and the theatre was crowded nightly . It is interesting to a r o or record , p p of this strange phase , that Mr . George Alexander , on taking over the theatre many years after , found in the cellar several i ron cages in which the animals , doubtless , had been kept . fi M r . and Mrs . Charles Mathews made their rst appearance “ at this theatre during this management , in Love among the ” “ ” 85 . Roses . and Simpson Co f One season satis ied Mr . Hooper , and French plays reigned in King Street from May until the end of July . The house t h re - n then closed until November 5 , when it was ope ed by Mr . Alfred Bunn , with an Opera Company , including all the ” ” M as saniell o principal singers of the day . Guy Mannering , , “ ” “ ’ ” The Waterman , and The Beggar s Opera , were the most noteworthy of his productions , and , at the end of his season , re - the theatre was again closed , and not opened until April , 1 8 0 4 . ’ This being the year of the Q ueen s marriage , Alfred Bunn thought a series of German pl ays might be attractive , and for “ ’ ” a time the theatre was called The Prince s , under Herr Schumann (Director of Grand Opera at Mayence). Every thing German was the fashion , so the venture proved suc 6 cess ful , although the singers and actors were declared by the critics to be execrable . h 1 t 8 2 . On February 7 , 4 , M r Mitchell , the Ticket Agent of B ond Street , took possession under the authority of the Lord Chamberlain , for the performance of French Comedies ; and , ’ “ for about twelve years , the St . James s was designated The ” D é . az et . French Theatre . Mdlle Plessy , Mdlle . j , Mdlle P erl et ffé Rachel , Mons . , Frederick Lemaitre , Clarisse , Bou , V estris e Leroy , Mesdames , Faur , and Mdlle . Judith , were among the more celebrated of the French artists who appeared during this period ; and Rachel , in particular , was the talk of ” “ ” “ ” e P ol s act e the town in such parts as Ph dre Roxane , y , “ ” ” ” ur Leco uvre Adrienne , Andromaque , Marie Stuart , and ” Mdlle . de Belle Isle . Curiously enough , while the aristocracy flocked to applaud ’ the French actors at the St . James s , the democracy rallied to the cry of “ Protection "” raised by great actors and literary men of ea eminence , and hissed the Parisian company of the Th tre o ff Historique the stage of Drury Lane when , in they ’ “ ” strove to obtain a hearing for Dumas Monte Cristo . An internecine war of words ensued , whilst pamphlets , calling on “ B ritons to stand by the British Drama ” and painting the horrors consequent on the French invasion of “ the most sacred ” domain of the British author and actor , were showered into the f arena . Macready , alone , de ied the storm raised by Charles Kean , Benj amin Webster , Charles M athews , Harley , Buckstone f and their fellows , and o fered a handsome apology to the French visitors . But his intervention was in vain ; they were driven out of the Paradise of Drury Lane and left to wander at their ’ will at the St .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • Wilde's Comedies of Society
    9 PETER RABY Wilde's comedies of Society Wilde's three Society comedies were produced by different managers: Lady Windermere's Fan by George Alexander at the St James's Theatre (20 February 1892), A Woman of No Importance by Herbert Beerbohm Tree (19 April 1893) and An Ideal Husband (3 January 1895) by Lewis Waller, both at the Theatre Royal, Haymarket. Had Henry James's Guy Domville not been a failure and left Alexander with a gap in his season, Wilde would have added Charles Wyndham and the Criterion Theatre to his list with The Importance of Being Earnest. In the months before his career collapsed in the witness box of the Queensberry libel trial, he was sketching out a new play of modern life for Alexander, the Gerald Lancing scenario which Frank Harris later fleshed out as Mr and Mrs Daventry; and negotiating with American producers such as Albert Palmer about a play ' "with no real serious interest" - just a comedy', and with Charles Frohman for a 'modern "School for Scandal"' style of play. This flurry of activity indicates both Wilde's perceived marketability on both sides of the Atlantic and his own growing confidence in a genre he had only taken up in 1891, in fact at Alexander's invitation. 'I wonder can I do it in a week, or will it take three?' he reportedly commented to Frank Harris. 'It ought not to take long to beat the Pineros and the Joneses.' Writing to Alexander in February 1891, Wilde offered a rather different attitude towards his progress on Lady Windermere's Van: 'I am not satisfied with myself or my work.
    [Show full text]
  • 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.
    [Show full text]
  • Oscar Wilde, the Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version
    The Importance of Being Earnest by Oscar Wilde ETF Resource Pack for Teachers Comprehensive Version Arbeitsmaterialien für den Englisch - Unterricht (Oberstufe Gymnasium) The English Theatre Frankfurt – Oscar Wilde, The Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version Contents 1 A Wild(e) Life p. 2 2 The first stage production p. 5 3 Plot and text extracts p. 7 4 Glimpses into Victorian Life p. 15 5 Themes of the Play p. 17 6 Further Questions for Study and Discussion p. 21 7 Different Approaches to the play p. 21 8 Recent productions p. 26 2 The English Theatre Frankfurt – Oscar Wilde, The Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version 1 A Wild(e) Life Oscar Wilde, celebrated playwright and literary provocateur, was born in Dublin on October 16, 1854. He was educated at Trinity College, Dublin and Magdalen College, Oxford before settling in London. During his days at Dublin and Oxford, he developed a set of attitudes and postures for which he would eventually become famous. Chief among these were his flamboyant style of dress, his contempt for conventional values, and his belief in aestheticism—a movement that embraced the principle of art for the sake of beauty and beauty alone. After a stunning performance in college, Wilde settled in London in 1878, where he moved in circles that included the novelists Henry James and the young William Butler Yeats. Literary and artistic acclaim were slow in coming to Wilde. In 1884, when he married Constance Lloyd, Wilde’s writing career was still a work in progress.
    [Show full text]
  • 'Robert Barnabas Brough: a Republican Writer of the Mid-Nineteenth Century'
    'Robert Barnabas Brough: a republican writer of the mid-nineteenth century' Dr Cynthia Dereli The subject of this article was not a working-class man in the sense that he did not earn his daily bread by manual labour. He attended grammar school, though not university, and made his living from his education, beginning as a clerk but quickly showing talent as an artist and writer. He made a living from these talents with difficulty throughout his short life. But there is no doubt that Robert Barnabas Brough saw himself as a working man in the field of literature, one who had to work, and work very hard for a precarious living. Among a class of 'working men in journalism',1 by all accounts Robert Brough stood out not only for his talent but also his dedication to work in spite of ill health. But his history belongs with that of the working-class for another particular reason. He was a republican by conviction, and never wavered from that commitment. These were not just views privately held, but visibly, publicly displayed in his journalism, poetry and writing for the stage. Brough died in 1860 and the high point of Republicanism in England, or perhaps its second high point and final demise might be considered to be the 1870s and the movement started by Charles Bradlaugh. Between W. J. Linton's The English Republic (1850) and Bradlaugh's launch of the Secular Society in the late 1860s, after a period in which republicanism in England has been largely assumed to have been dormant, Brough's work stands out as 'flying the flag' for republicanism, often quite literally as his plays often incorporated a scene in which red flags and caps were prominent.
    [Show full text]
  • Some Experiences of a Barrister's Life
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com I " • GIFT OF John Garber Palacbe Helen Palacbe Lansdale from the estate of the late judge John Garber Slips for Librarians to paste on Catalogue Cards. N. B.— Take out carefully, leaving about quarter of an inch at the back. To do otherwise would, in some cases, release other leaves. BALLANTINE, WILLIAM. SOME EXPERI ENCES OF A BARRISTER'S LIFE. By Mr. SERJEANT BALLANTINE. New York: Henry Holt & Co., 1882. i2mo, pp. xxiv., 527. SOME EXPERIENCES OF A BARRIS TER'S LIFE. By Mr. SERJEANT BALLANTINE. New York : Henry Holt & Co., 1882. izrno, pp. xxiv., 527. BIOGRAPHY. SOME EXPERIENCES OF A BAR RISTER'S LIFE. By MR. SERJEANT BALLANTINE. New York : Henry Holt & Co., 1882. 12100, pp. xxiv., 527. MEMOIRS. SOME EXPERIENCES OF A BARRIS TER'S LIFE. By MR. SERJEANT BALLANTINE. New York : Henry Holt & Co., 1882. i2mo, pp. xxiv., 527. SOME EXPERIENCES OP A BARRISTER'S LIFE MR SERJEANT BALLANTINE NEW YORK HENRY HOLT AND COMPANY 1882 PREFATORY NOTE. T HAVE felt at a loss to know in what manner I ought to introduce the following pages to the reader, and should have been inclined to launch them without a word of preface, but that it might be thought that I formed an exaggerated estimate of their intrinsic worth, which certainly is not the case. What I have striven to do, and trust I have suc ceeded in doing, has been to adhere strictly to facts in the incidents related ; and the conclusions ex pressed are the honest results of such experience as a long professional life, not unmixed with other asso ciations, has enabled me to form.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 NEGOTIATION AND LEGITIMATION: THE BRITISH PERIODICAL PRESS AND THE STAGE 1832-1892 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Scott Phillips, M.A.
    [Show full text]
  • Robert Ross Memorial Collection: Envelopes Box 1: Ross Env
    Robert Ross Memorial Collection: Envelopes Box 1: Ross Env b.2 - Ross Env b.10; Ross Env c.1 - Ross Env c.35 Ross Env b.2 (Ross b.2: Pan, Vols. 19, 31, 32). Contents (5 items): 4 letters, 1 set of notes. Ross Env b.2.i A letter (1 leaf, manuscript) from H.V.S. [Hedley Vicars Storey, author and bookseller, manager of the Shelley Book Agency, 1870-1929] to Christopher Millard [Christopher Sclater Millard, author and bookseller, 1872- 1927]; dated 14th February 1912. Storey writes that he has been unwell and has gone to Brighton to recover. He explains that he has written to a friend in Oxford who will look at Pan and get the information Millard wants, noting that he was not well enough to go to the Bodleian before he left Oxford but will write again when he hears more. He also writes that he has something to send to Millard and that he recently read Millard’s letter about Oscar Wilde’s letters [the title of the publication not deciphered] and that he bought one of Wilde’s letters two years ago and, although he sold it, kept a copy which he asks if Millard would like to see. He concludes by sympathising with Millard over his financial situation and explaining that he too has yet to make his fortune, noting that his partnership was the ‘biggest trouble of my life’ [the name of Storey’s partner could not be deciphered]. Ross Env b.2.ii A letter (1 leaf, manuscript) from Hedley Storey to Christopher Millard; dated 3rd March 1912; written on headed stationery: “Shelley Book Agency for social reform literature…books, pamphlets, blue books, and periodicals…Gloucester Street, Oxford”.
    [Show full text]
  • The Circle.’ Back Row, Left to Right, Travis Vaden, Dou- Glas Weston, Nancy Bell, John Hines, Rebecca Dines and John-David Keller
    38th Season • 365th Production MAINSTAGE / AUGUST 31 THROUGH OCTOBER 7, 2001 David Emmes Martin Benson Producing Artistic Director Artistic Director presents by W. SOMERSET MAUGHAM Scenic Design Costume Design Lighting Design RALPH FUNICELLO WALKER HICKLIN YORK KENNEDY Composer/Sound Design Production Manager Stage Manager MICHAEL ROTH TOM ABERGER *SCOTT HARRISON Directed by WARNER SHOOK AMERICAN AIRLINES, Honorary Producers PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Elizabeth Champion-Cheney ............................................................................ *Nancy Bell Arnold Champion-Cheney, M.P. ....................................................................... *John Hines Footman ................................................................................................. *John-David Keller Mrs. Anna Shenstone .................................................................................. *Rebecca Dines Teddie Luton ............................................................................................. *Douglas Weston Clive Champion-Cheney ...................................................................... *Paxton Whitehead Lady Catherine Champion-Cheney ........................................................... *Carole Shelley Lord Porteous .................................................................................. *William Biff McGuire Jr. Footman .....................................................................................................
    [Show full text]
  • The Importance of Being Earnest “A Trivial Comedy for Serious People” by Oscar Wilde Directed by Rich Keitel March 7 – March 16, 2014 2
    The Importance of Being Earnest “A trivial comedy for serious people” by Oscar Wilde Directed by Rich Keitel March 7 – March 16, 2014 2 The Heinz Endowment Funded in part by: Massey Charitable Trust 3 For Teachers & Students POST-SHOW CHAT SESSIONS Stay after the school matinees to ask questions of both the actors and the production crew! During the 15-minute post-show chat sessions, delve into the story and then ask questions of the actors about the rehearsal process, theatre performance, and their experiences working on that particular production. No registration required. THE LITERACY IN ACTION PROGRAM Prime Stage Theatre’s flagship education program strives to increase adolescent literacy through theatre in underserved and underperforming school districts in the Western Pennsylvania area. In this FREE program, schools receive tickets and books for each Prime Stage production, 10 in-school workshops, and professional development opportunities for teachers. If you would like your school to become involved, please download an application at our website, http://www.primestage.com/files/pdf/literacy_in_action_application.pdf TEEN DATING AWARENESS PROGRAM Prime Stage Theatre is proud to offer a touring production of You Belong to Me, a 45 minute play designed to identify the warning signs of teen dating violence that can help save the life of a friend, loved one or even you. Written and performed by Pittsburgh area teens, this show will make an impact at your school or community center. If you would like our Teen Dating Awareness Program to come to your school or community center, please visit our website, http://www.primestage.com/education/teen_dating_awareness.html OTHER OPPORTUNITIES FOR TEENS, FAMILIES AND ADULTS Prime Stage Theatre offers opportunities for people of all ages to get involved with the theater.
    [Show full text]