Memories of an Old Actor
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2. Nat Phillips Collection Finding
NAT PHILLIPS COLLECTION FINDING AID FRYER Library, The University of Queensland (UQFL9) Comprising eleven boxes of miscellanea, including scripts, scores, jokes, lyrics, business and legal papers, and photographs, the Nat Phillips Collection is the most extensive collection of early twentieth-century Australian variety ephemera in existence. While the bulk of the collection is ephemera belonging to Nat Phillips, including items associated with the Stiffy and Mo Revue Company and Fullers' Theatres, it also includes manuscripts and miscellanea belonging to John N. McCallum and Cremorne Theatre (including Will Mahoney and Walter Johnson), Tom Armstrong and Jack Phillips. One of the most significant aspects of the Nat Phillips collection is that it provides us with a much clearer understanding of the Australian larrikin personas developed by Phillips and Rene. Although based on Irish and Jewish theatrical types, Stiffy and Mo found much appeal with audiences throughout the country, capturing the same spirit that was emanating from the larrikin Aussie soldier of the First World War. The collection, which through accidental good fortune survived all odds, is now also able to serve as a reminder to historians and cultural theorists that popular entertainment is an area worthy of much further study. The Collection was discovered through sheer luck in 1972 when University of Queensland lecturer Dr Robert Jordan (later professor of drama at the University of New South Wales) and his first wife were looking through a Brisbane bric-a-brac shop. The Jordans notified the Fryer Library of the boxes and they were apparently purchased for a nominal sum. Descendants of Phillips' brother, Jack, have since informed the Library that the boxes possibly disappeared during a bitter divorce between Jacob "Jack" Phillips (Nat's brother) and his wife. -
[, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience. -
Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905. -
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. -
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, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter 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. 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. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L. -
[Pennsylvania County Histories]
REFEI IENCE Ji ffi OOLLE( ]TIONS S-A 9"7 Y.<P H VCf Digitized by the Internet Archive in 2018 with funding from This project is made possible by a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries https://archive.org/details/pennsylvaniacoun66unse as ... > . INDEX, Page B Page ft <H 4 • H 'p5 'i'T* ^ l I y,bV INDEX. 5age S '1 ' 3age Pag* "S i • s . *■ • • W T uv w IL . 1. , j ’■- w* W ■ : XYZ . I r—;-- Mb . ,_ tr_ .... »> '' mi - . ■ nothing? It is rather a new method to white- I “ nuts for future historians TO CRACK.” * wash one’s “great-grandfather” by blacken-P % ing another man’s “grandfather.” Is it to ' Immense and '(Overwhelming in importance j make money ? Alas! Mr. Editor, for the to future historians as Mr. Smith’s work is, j sake’ of decency I regret to say it is. t we confess after cracking his nuts we found! The long delay in the publication, the the kernels to be wretchedly shrivelled-up i frequent announcements in the newspapers affairs. They are, most of them, what Mr. 1 of what teas to appear, as though held Toots would say, “ decidedly of no conse- | I in terror en% over parties known to be j quence.” After investigating his labors we 1 ■ sensitive on the subject, conclusively show <; have arrived at this conclusion, that the:| Cr' this to be the object. But if more be author, notwithstanding his literary anteee-! wanting, Mr. -
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change. -
Yesterdays with Actors
Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/actorsyesterdaOOwinsuoft YESTERDAYS WITH ACTORS. m YESTERDAYS WITH ACTORS BY CATHERINE MARY REIGNOLDS-WINSLOW BOSTON CUPPLES AND COMPANY 1887 Copyright, 1SSC, by Catherine Mary Rrignoi.ds-Winslow. All Rights Reserved. The Hyde Park Press. YESTERDAYS WITH ACTORS BY CA THERINE 1 MAR ' REIGNOLDS- WINSL O W BOSTON CUPPLES AND HURD 94 Boylston Street 1887 Copyright, 1SS6, by Catherine Mary Reignolds-Winslow. All Rights Reserved. The Hyde Park Press. To Helen Morton, M.D., Physician, Faithful Friend, Tnie Woman Good ;t to whose Skill, Constancy, and Courage, I owe Health, Hope, and Inspiration ; these Memories are affectionately inscribed. W&UtAJMf^XLMJWGE&F"' iPIlP C O.N TENTS. PAGE Introduction vii i. Charlotte Cushman 17 2. Edwin Forrest 29 3. _/#/?« Brougham 45 4. Laura Keene — Agnes Robertson ... 62 5. i£. ^4. Sothern 79 6. Ben. De Bar — Matilda Heron —J. H. Hackett — Mrs. John Wood —James E. Murdoch — Mrs. Lander . 100 7. Boston Museum 122 8. Boston Museum, continued 143 9. Travel in America 162 10. Canada and England 184 PHOTO-GRA VURES. PAGE William Warren frontispiece Mrs. Winslow title-page Charlotte Cushman 17 Edwin Forrest 29 John Brougham 45 Laura Keene 62 E. A. Sothern 79 Matilda Heron 108 • VIGNETTES. William E. Burton 62 Agnes Robertson 64 J. A. Smith 84 Mr. Buckstone 90 J. H. Hackett 114 Mrs. John Wood 115 James E. Murdoch 116 E. F. Keach 123 R. M. Field 133 Mr. Barrow 135 Mrs. Barrow - 135 Kate Bateman 136 John Wilkes Booth 140 Mrs. -
Charles Frohman: Manager and Man, by Isaac 1
Charles Frohman: Manager and Man, by Isaac 1 Charles Frohman: Manager and Man, by Isaac The Project Gutenberg eBook, Charles Frohman: Manager and Man, by Isaac Frederick Marcosson and Daniel Frohman, et al This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Charles Frohman: Manager and Man Author: Isaac Frederick Marcosson and Daniel Frohman Release Date: July 29, 2008 [eBook #26146] Charles Frohman: Manager and Man, by Isaac 2 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CHARLES FROHMAN: MANAGER AND MAN*** E-text prepared by Robert Cicconetti, Chuck Greif, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 26146-h.htm or 26146-h.zip: (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h/26146-h.htm) or (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h.zip) CHARLES FROHMAN: MANAGER AND MAN by ISAAC F. MARCOSSON and DANIEL FROHMAN With an Appreciation by James M. Barrie Illustrated with Portraits New York and London Harper & Brothers M.C.M.X.V.I Charles Frohman: Manager and Man Copyright, 1916, by Harper & Brothers Copyright, 1915, 1916, by International Magazine Company (Cosmopolitan Magazine) Printed in the United States of America Published October, 1916 To The Theater Charles Frohman: Manager and Man, by Isaac 3 That Charles Frohman Loved and Served Nought I did in hate but all in honor! HAMLET Contents CHARLES FROHMAN: AN APPRECIATION I. -
A Season in Federal Street J
A Season In Federal Street J. B. W^illiamson and the Boston Theatre 1796-1797 BY JOHN ALDEN F each autumn brings with it its own atmosphere of ex- I citement and suspense at the opening of a new theater season, we who experience it share no doubt a feeling as old as the theater itself. And we can the more readily project ourselves backwards to the evening of September 19, 1796, when the curtains of the Boston Theatre parted upon the first scene of Reynolds's comedy, The Dramatist. Emotions on both sides of the footlights may well have resembled ours today: optimistic anticipation tempered by an awareness of the uncertain fortunes of the stage. The fact of the matter is that the season of 1796-97 in Federal Street was a disastrous one. But the very misfor- tunes of the ten months in question provide the substance of our interest in it today. Had the season been a successful one, it would probably mean that we should know less about it, for the disasters which fell upon the Theatre have left their skeletons from which it is now possible to recon- struct more effectively the theatrical life of Boston over a century and a half ago. It is true that both W. W. Clapp in his Record of the Boston Stage (Boston, 1853) and G. O. Seilhamer in his History of the American Theatre (Philadelphia, 1881-91) have already given a generous picture of the early drama in Boston. There remains, however, a copious body of documentation regarding the Federal Street Theatre from which much IO AMERICAN ANTIQUARIAN SOCIETY [April, may be learned. -
Holland Memorial. Sketch of the Life of George
Jr n rr m Hi SB ess MM . > > > » > i >> II * > >> >.l ••> > I •» > > »"» > ;x>>> >> >> >> > >) >> » _>>» &3 .' Xk\ >^> ^ >> > > » » i -O J; - > > > "> * -> > » a > :> > » . -> * >-> > J» > JP»- -> > '> »>« . > i >z» *> »> :> > > •> > > >» . > .). >> > i) i» > . >• > ' >y> ) > >>> "> -> •' - > p • > o> "» > 5 > >> > o> > -> -, o> > > ->. .>> >» ii> Tt> j > > > > -> ""» • ,- >> . - > 3E» > > , ) > -i "» ~» ."> >> a < O I >*> T> » >;> - >"5 V> >-> ' 3> '™ ->.>' I » i >•> . 3i » >>> » £> 3 > » >••; .-» -' -3*' - . >. 8> "3^ >>>.. - "3^ & > » »T7 ^fc i > 2 > • » j>-> > ^ i » I >J>.; :» • > "> ~J>: » > > > . :» > » t> > i> > -> S>> IB > > ^>» >, 3 "a ^3> > > I 5>J3I > • > ) > > i.> J» > i --3 >> -; >a»-^» 3 J3J> ;. > P J 5» > > • > 3 ' • » ^^> .D>>>£e»-»5o -^ . ' > •> J> 3 . >] > .3 • > 1 J •> > - > s> > > -• - > » -• .> _> > > • >J > > _, ^> . > • • a » a a » 3 j > > >-^> i _! * »^ >~.»'ji " * •* -> -» > J*» •i> 1 -^ "^ >'_'> Tfc • o ->;. C; >3t v» ^j * > •> v^>~ S »a . *'' :' -^£j* • * -S 'm» ' > »>j > ' ^» >»> > > ^>~7afc - ^-U^P *~ > > >'ito . t». 'Mm >J^£, c."»orare Holland. "> Ftom tht New York Ihrald, Dec :<:jty, arter A lorg life of 79 vuara and a**" >" f < ' h. -j '',,-j/ <7> j o ( : L HOLLAND MEMORIAL. SKETCH OF THE LIFE OF George Holly n d . THE VETERAN COMEDIAN, WITH DRAMATIC REM I X [SC E XC ES. ANECDOTES, &c. Edition limited to 250 Copies, 50 of which are on quarto paper. NEW YORK T . H . MORE E L 78 Nassau Street. 1871. 7tf' ' MEMORIAL. AZLITT, an acute critic in all that relates to the stage, has justly observed that "the most pleasant feature in the profession of a player, and which, indeed, is peculiar to it, is that we not only admire the talents of those who adorn it, but we contract a personal intimacy with them. There is no class of society whom so many persons regard with affection as actors. -
American Theatrical Tours of Charles Kean
THE AMERICAN THEATRICAL TOURS OF CHARLES KEAN BY RICHARD DENMAN STRAHAN A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1984 This study is dedicated to my wife, Rose Earnest Strahan, and to my friend, Andrew M. Jones. Their support and motivation supplied the impetus necessary for its completion. Copyright 1! by Richard Denman Strahan ACKNOWLEDGEMENTS Acknowledgement is due the many organizations and individuals without whose assistance this study could not have been done. Many historical societies and libraries graciously supplied materials not otherwise available. Gratitude is expressed to the staff of the Folger Shakespeare Library and to the staff of the Roberts Library at Delta State University, especially Ms. Dorothy McCray whose assistance in securing materials was invaluable. TV TABLE OF CONTENTS ACKNOWLEDGEMENTS iv ABSTRACT vi CHAPTER I. INTRODUCTION 1 Notes 5 II. THE THEATRE OF CHARLES KEAN 6 Notes 17 III. THE FIRST TOUR, 1830-33 19 Notes 47 IV. THE SECOND TOUR, 1839-40 51 Notes 65 V. THE THIRD TOUR, 1845-47 67 Notes Ill VI. THE FOURTH TOUR, 1864-66 117 Notes 185 VII. CONCLUSION 196 APPENDIX A. CHRONOLOGY OF PERFORMANCES, FIRST TOUR, 1830-33 .... 203 APPENDIX B. CHRONOLOGY OF PERFORMANCES, SECOND TOUR, 1839-40. ... 214 APPENDIX C. CHRONOLOGY OF PERFORMANCES, THIRD TOUR, 1845-47 .... 221 APPENDIX D. CHRONOLOGY OF PERFORMANCES, FOURTH TOUR, 1864-66. ... 242 BIBLIOGRAPHY 260 BIOGRAPHICAL SKETCH 266 v Abstract of Dissertation Presented to the Graduate Council of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy THE AMERICAN THEATRICAL TOURS OF CHARLES KEAN By Richard Denman Strahan April, 1984 Chairman: Richard L.