Read Ebook {PDF EPUB} Goldilocks and the Three Bears: Traditional

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Goldilocks and the Three Bears: Traditional Read Ebook {PDF EPUB} Goldilocks and the Three Bears: Traditional Pantomime: a Traditional Pantomime by James Grace Goldilocks and the Three Bears Paperback – November 1, 1996 by James Grace (Author) See all formats and editions Hide other formats and editions. Price New from Used from Paperback, November 1, 1996 "Please retry" — — — Paperback — Previous page. Print length. 44 pages. Language. English ...Author: James GraceAuthor: James GracePublish Year: 1996Format: PaperbackGoldilocks and the Three Bears Pantomime Script (Coming ...https://www.alexjacksonpantomimes.com/product/...Dame Candy Floss’s circus is in trouble. It’s losing business to the newly arrived circus nearby owned by the evil Baroness Berzerk. The evil circus features endangered species and dark specimens, so Candy is on the look out for new acts to star alongside her son Freddie, the circus clown, the singer Goldilocks, and the lion tamer Rory. "Goldilocks and the Three Bears" is a 19th-century British fairy tale of which three versions exist. The original version of the tale tells of a badly- behaved old woman who enters the forest home of three bachelor bears whilst they are away. She sits in their chairs, eats some of their porridge, and sleeps in one of their beds. When the bears return and discover her, she wakes up, jumps out of the window, …Cited by: 4Publish Year: 1837Author: Robert SoutheyCountry: United KingdomPeople also askIs the panto Goldilocks and the Three Bears authentic?Is the panto Goldilocks and the Three Bears authentic?My First Panto: Goldilocks and the Three Bears has been called “an innovative online experience” that created “an authentic panto feel right at home” in reviews.My First Panto: Goldilocks And The Three Bears | The Garage Oct 16, 2020 · My First Panto: Goldilocks and The Three Bears invites you to head out to the Wild West where Mama Bear, Papa Bear and Baby Bear live quite happily. Life is sweeter than an enormous jar of honey. But a mischievous wind is blowing down the prairie and with it the famous bandit, Goldilocks, who causes havoc while they are at Old Man Rogers’ annual rodeo. Aug 24, 2020 · Goldilocks and the Three Bears. Snarestone Village Pantomime Society. ★★★★★. Pantomimes are traditionally a Christmas affair, but for Snarestone, a rural village in Leicestershire their traditional pantomime is bound to put a spring in your step. The Snarestone Village Pantomime Society is a community of people, including families, who come together to perform a pantomime for … Goldilocks was very tired by this time, she went upstairs to the bedroom. She lay down in the first bed, but it was too hard. Then she lay in the second bed, but it was too soft. Then she lay down in the third bed and it was just right. Goldilocks fell asleep. As she was sleeping, the three bears came home. Free Sample. Description. Synopsis: The Royal Family of Beargonia have been turned into bears by an evil witch called Frogmella, and spend their lives foraging for food in the woods. But Fairy Good gives them a magic cooking pot, that will provide them with whatever food they wish for. 2018 Peter Pan (Qdos Entertainment) Hippodrome. Matt Slack. Jimmy Osmond / Darren Day. Jaymi Hensley. Meera Syel. Sascha Williams. The Timbuktu Tumblers Whilst performing the evening show on Thursday 27th December, Jimmy Osmond began to feel unwell during Act 2, despite feeling so poorly he struggled through to the end of the show and was then rushed to hospital where it was confirmed he … Called Pantoland, the show will be a variety spectacular celebrating the art of the pantomime, with performances beginning at the Palladium from December 12 for a strictly limited, three-and-a ... Goldilocks and The Three Bears is currently Charlie's favorite fairy tale so we made our own version here! Watch as Chanae (8yrs) takes on the role of Goldil... Synopsis: The Royal Family of Beargonia have been turned into bears by an evil witch called Frogmella, and spend their lives foraging for food in the woods. But Fairy Good gives them a magic cooking pot, that will provide them with whatever food they wish for. Although all the ever seem to wish for, is porridge. This however juxtaposed greatly with the traditional aspects of panto theatre portrayed in the performance. While Goldilocks, portrayed by Laura Evans, had a fantastic voice, the songs were not catchy and the audience was left unable to sing along. Nov 23, 2020 · My First Panto: Goldilocks and the three bears Life is sweeter than an enormous jar of honey for Mama Bear, Papa Bear and Baby Bear. But a mischievous wind is blowing down the prairie and with it the famous bandit Goldilocks, who causes havoc while they are at … Read Free Goldilocks And The Three Bears James Marshall Goldilocks and the Three Bears! Fun versions of Goldilocks & the Three Bears. The 3 Bears and Goldilocks, by Margaret Willey. If you’d like a new perspective on the traditional story, this is a good one to check out. When Goldilocks finds the bears’ home, there’s no tidy cottage. A pantomime dame is a traditional role in British pantomime. It is part of the theatrical tradition of travesti portrayal of female characters by male actors in drag. Dame characters are often played either in an extremely camp style, or else by men acting butch in women's clothing. They usually wear heavy make up and big hair, have exaggerated physical features, and perform in an over-the-top style. Filmed in High Definition Goldilocks and The Three Bears features an original musical score, amazing special effects, comedy sketches, interactive competitions, and of course everyone’s favourite Pantomime Dame; Marc Seymour! This all new experience … Dec 08, 2019 · St. James's Park: Tickets & Tours​ ... Pantomime , Goldilocks and the three bears. Review of London Palladium. Reviewed 8 December 2019 . Another fabulous pantomime full of laughter . A big star cast who were all fantastic . ... Inside is beautiful and very classy with traditional theatre seating semi circling around the stage. We were on the ...2K TripAdvisor reviewsLocation: 8 Argyll Street, London W1F 7TF,Photos: 405Goldilocks and the Three Bears Lesson Plans & Worksheets ...https://www.lessonplanet.com/lesson-plans/goldilocks-and-the- three-bears/allGoldilocks and the three bears lesson plans and worksheets from thousands of teacher-reviewed resources to help you inspire students ... Goldilocks and the Three Bears- A Retelling of the Traditional Tale ... Third graders explore the library media center using the characters and story of "Goldilocks and the Three Bears" by James Marshall. They ... This Goldilocks and the Three Bears Pantomime Lesson Plan is suitable for Kindergarten. Students investigate acting and performing arts by portraying a story in class. In this pantomiming instructional activity, students read the story Goldilocks and the Three Bears, and … Dec 10, 2019 · Like the M&S adverts, this is not just a pantomime, but a King’s Theatre pantomime, a tasty, delicious, fun-filled treat for all the family of all ages. Goldilocks and the Three Bears . King’s Theatre, Leven Street, Edinburgh 30 November 2019 to 19 January, 2020. Box office, 0131 529 6000. www.capitaltheatres.com Rotherfield Players’ production of “Goldilocks and the Three Bears” in the Village Hall was a colourful, lively and musically delightful show. Pantomime gives the appearance of being all effortless fun for those involved, yet it is notoriously difficult ... This was a real traditional family pantomime, enjoyed by … Commenting on the return of panto to the Palladium, Qdos’ Chairman Nick Thomas said: “Given the rich history of the London Palladium, where galaxies of top entertainers have appeared in traditional family pantomime, Qdos Entertainment is greatly honoured to have been invited to … Apr 27, 2020 · Goldilocks had heard in her sleep the great, rough /10(). Goldilocks and the Three Bears Goldilocks and the Three Bears. Fairy Tale (fiction), words, Level I (Grade 1), Lexile L Multilevel Book also available in levels L and P The classic fairy tale Goldilocks and the Three Bears is retold with rich description at three reading levels. Packed full of hilarious comedy routines, laughter, dazzling special effects and hair-rising displays, Goldilocks and the Three Bears will blend the worlds of circus and pantomime featuring magic... Pantomime and Goldilocks and the Three Bears · See more » Greek chorus A Greek chorus, or simply chorus (χορός, khoros) in the context of Ancient Greek tragedy, comedy, satyr plays, and modern works inspired by them, is a homogeneous, non-individualised group of performers, who comment with a collective voice on the dramatic action. London Christmas Pantos 2019 Goldilocks and the Three Bears at the London Palladium. Saturday 7th December 2019 – Sunday 12th January 2020. Dame Betty Barnum and her daughter Goldilocks’ circus is under threat from an evil rival circus owner and, with the help of their madcap circus friends, they’re battling to rescue their Big Top from ruin. Popular The One Show presenter Matt Baker makes his Palladium</venuetag> panto debut starring in Goldilocks and the Three Bears alongside Paul O'Grady, Julian Clary, Nigel Havers and a host of circus stars. There's trouble at the Big Top as Dame Betty Barnum, (played by Gary Wilmot) and her daughter Goldilocks face a threat from an evil rival circus owner. Dec 17, 2013 · Actress and writer Genevieve Allenbury talks with Houston Public Media about her raucous new "Panto Goldilocks," a traditional British holiday pantomime performance inspired by the Goldilocks ... This year, The Garage in Norwich decided to take its festive My First Panto production Goldilocks and the Three Bears online. It is once again working with All-In Productions to present a show aimed at 0-7 year olds (plus their families and friends) which will be available to stream from early December.
Recommended publications
  • The Performance of Gender with Particular Reference to the Plays of Shakespeare
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • THE UNIVERSITY of HULL (Neo-)Victorian
    THE UNIVERSITY OF HULL (Neo-)Victorian Impersonations: 19th Century Transvestism in Contemporary Literature and Culture being a Thesis submitted for the Degree of PhD in the University of Hull by Allison Jayne Neal, BA (Hons), MA September 2012 Contents Contents 1 Acknowledgements 3 List of Illustrations 4 List of Abbreviations 6 Introduction 7 Transvestites in History 19th-21st Century Sexological/Gender Theory Judith Butler, Performativity, and Drag Neo-Victorian Impersonations Thesis Structure Chapter 1: James Barry in Biography and Biofiction 52 ‘I shall have to invent a love affair’: Olga Racster and Jessica Grove’s Dr. James Barry: Her Secret Life ‘Betwixt and Between’: Rachel Holmes’s Scanty Particulars: The Life of Dr James Barry ‘Swaying in the limbo between the safe worlds of either sweet ribbons or breeches’: Patricia Duncker’s James Miranda Barry Conclusion: Biohazards Chapter 2: Class and Race Acts: Dichotomies and Complexities 112 ‘Massa’ and the ‘Drudge’: Hannah Cullwick’s Acts of Class Venus in the Afterlife: Sara Baartman’s Acts of Race Conclusion: (Re)Commodified Similarities Chapter 3: Performing the Performance of Gender 176 ‘Let’s perambulate upon the stage’: Dan Leno and the Limehouse Golem ‘All performers dress to suit their stages’: Tipping the Velvet ‘It’s only human nature after all’: Tipping the Velvet and Adaptation 1 Conclusion: ‘All the world’s a stage and all the men and women merely players’ Chapter 4: Cross-Dressing and the Crisis of Sexuality 239 ‘Your costume does not lend itself to verbal declarations’:
    [Show full text]
  • An Exploration of Gender, Sexuality and Queerness in Cis- Female Drag Queen Performance
    School of Media, Culture & Creative Arts Faux Queens: an exploration of gender, sexuality and queerness in cis- female drag queen performance. Jamie Lee Coull This thesis is presented for the Degree of Doctor of Philosophy of Curtin University November 2015 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Human Ethics The research presented and reported in this thesis was conducted in accordance with the National Health and Medical Research Council National Statement on Ethical Conduct in Human Research (2007) – updated March 2014. The proposed research study received human research ethics approval from the Curtin University Human Research Ethics Committee (EC00262), Approval Number #MCCA-12-12. Signature: Date: 20/11/2015 i ABSTRACT This PhD thesis investigates the cultural implications of cis-women performing female drag, with particular focus on cis-female drag queens (aka faux queens) who are straight-identified. The research has been completed as creative production and exegesis, and both products address the central research question. In the introductory chapter I contextualise the theatrical history of male-to-female drag beginning with the Ancient Greek stage, and foreground faux queens as the subject of investigation. I also outline the methodology employed, including practice-led research, autoethnography, and in-depth interview, and provide a summary of each chapter and the creative production Agorafaux-pas! - A drag cabaret. The introduction presents the cultural implications of faux queens that are also explored in the chapters and creative production.
    [Show full text]
  • Cultural Confrontations at Lithuania's National Drama Theatre &L
    Lease_v10.doc 1 <MT>Theatre as Action, Dramaturgy as Streben <MST>Cultural Confrontations at Lithuania’s National Drama Theatre <AU>Bryce Lease <TEXT1>In March 2014, Jonas Vaitkus, the artistic director of the Lietuvos Rusų Dramo s Teatras (Lithuanian Russian Drama Theatre) in Vilnius, declined an invitation to include his recent stage adaptation of Eugene Onegin staring the Ukrainian actor Grigorijus Gladijus at the annual Baltijskij dom (Baltic Home) theatre festival in St. Petersburg, which brings together Russian-language drama from former Soviet states.1 Vaitkus’s decision, which received unanimous support from the theatre’s ensemble, was outlined in an open letter that castigated the organizer of the festival, Sergei Šubo, for signing the Russian Ministry of Culture’s list of artists who support Vladimir Putin’s aggressive political action in Ukraine in the spring of 2014. While Vaitkus makes it clear that Šubo has the right to attach his own name to such a list, he reprimands the organizer’s choice to sign on behalf of Baltijskij dom, which assigns complicity to every artist who participates in the festival. Vaitkus carefully points out his allegiance to the Lithuanian government’s position on the revolutionary developments in Ukraine, which they consider a sovereign state, Lease_v10.doc 2 and their refusal to recognize the legality of the referendum on Crimea and Russia’s subsequent annexation of the region.2 Vaitkus concludes the letter: “We express our respect, our sympathy and our hope that in your country [Russia] a time will
    [Show full text]
  • Puss in Boots a Play with Music in the English Pantomime Tradition
    Puss in Boots A Play With Music In the English Pantomime Tradition Book and Lyrics by Greg Palmer Music by Cliff Lenz Performance Rights It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co. Inc. Contact the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangements with Eldridge Publishing Co.” ELDRIDGE PUBLISHING COMPANY www.hiStage.com ©Copyright 1985, 2008 by Greg Palmer & Cliff Lenz Download your complete script from Eldridge Publishing https://histage.com/puss-in-boots Puss in Boots - 2 - STORY OF THE PLAY A musical version of Charles Perrault's story, done in the style of the English Pantomime, and featuring the various pantomime traditions including a "Pantomime Dame" (played by a male), "Principal Boy" (played by a girl), "Principal Girl," fairies who talk in rhyme, and significant audience interaction. This script, with six delightful songs, was commissioned by Seattle Children's Theatre and later televised. A wonderfully antic version of the popular story with enough action for any member of the family. Recipient of the "Ohio State Award Best Children's Program." Perfect for audiences of all ages. About 90 minutes. “The show has everything. Its script is funny/arch/clever; it’s music is a delight. The show keeps its audience happily involved for every one of its 90 minutes. Palmer’s adaptation is almost nonstop hilarious.
    [Show full text]
  • Chapter 1. Changing Sex and Bending Gender: an Introduction
    1 CHANGING SEX AND BENDING GENDER: AN INTRODUCTION Alison Shaw An Indian folk-tale tells the story of two Rajas who agree that if one of them has a son and the other a daughter, their children will marry. When they both have daughters, one Raja disguises his daughter as a boy and raises her as his son. This does not solve the problem of her biological sex, however, and at her marriage the deceit is discovered and the boy’s father declares revenge. Desperate, the girl attempts suicide by throwing herself into the river Juma, but instead emerges from it transformed into a male. Her grateful father builds temples on the river bank in gratitude (Penzer 1927: 229–230). In this story, gender is manipulated through disguise and a sex change is effected by supernatural means, for it would have been impossible to achieve, at that time and place, through human efforts alone. In many other myths and legends, a transformation of biological sex is itself the source of the changed person’s supernatural powers. For example, the Greek myth of Kaineus tells the story of a young, vulnerable woman who is miraculously transformed into an aggressive and superhuman warrior king. In one version, the transformation of Kainis-the-girl to Kaineus-the-man seems to be a form of revenge, for it occurs after Kainis has been raped by Poseidon, while in another version her sex change happens in time for her to outwit the sea god and avoid the rape (Forbes-Irving 1990: 155–62). Stories of ‘changing sex and bending gender’ in folk tales and ancient mythol- ogy can thus be regarded as representations of the power of human imagination, as fantastic transformations that could not possibly happen in real life (Forbes- Irving 1990, Warner 2002).
    [Show full text]
  • The Performance of Gender with Particular Reference to the Plays Of
    The Performance of Gender with particular reference to the plays of Shakespeare A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Dixon School of Drama and Theatre Arts Middlesex University April 1998 MX 7309012 3 IIIýýWII IIIIIXVýýýwýýllllýý ABSTRACT An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of `As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of `Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from `Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience perception. TABLE OF CONTENTS Chapter I Contexts, methodology, terminology.
    [Show full text]
  • Splinters: Cross-Dressing Ex-Servicemen on the Interwar Stage
    Twentieth Century British History, 2018, page 1 of 28 doi:10.1093/tcbh/hwy037 Downloaded from https://academic.oup.com/tcbh/advance-article-abstract/doi/10.1093/tcbh/hwy037/5151194 by University of Exeter user on 24 January 2019 Jacob Bloomfield * The University of Manchester ............................................ Splinters: Cross-Dressing Ex-Servicemen on the Interwar Stage Abstract This article will examine how a series of theatrical shows which starred casts of cross-dressing ex-servicemen achieved critical and commercial popularity in interwar Britain despite increased cultural anxieties about the links between gender variance and transgressive acts, behaviours, and categories of identity. Prior to this study, historians have researched wartime concert parties where servicemen cross-dressed for each other’s entertainment, but scant attention has been given to the popular phenomenon of ex-servicemen who performed cross- dressing revues for the general public. Staging revues on the home front exposed cross-dressing ex-servicemen to new forms of spectatorship: the theatregoing public, arts criticism in the press, and state censorship. This article will analyse these dynamics for the first time through an investigation of the First World War troupe Les Rouges et Noirs, who popularized the subgenre of veterans’ cross- dressing revues with their debut production Splinters (1918). Critics commended the company’s contribution to the war effort while also lauding the troupe for their entertainment value and ‘bewitching’ feminine mimicry. Some observers, like the Lord Chamberlain, found Les Rouges’ cross-dressing troubling, but these views were in the minority and did not seriously hinder the performers’ success. When carried out temporarily in a performative setting by artists who presented a skilful and beguiling representation of femininity, and whose status as ex- servicemen helped to dispel suspicions of immorality, cross-dressing could be a source of great pleasure, even as it constituted a source of cultural anxiety in other contexts.
    [Show full text]
  • Drama Revision Guide Year 7: Pantomime
    Drama revision guide Year 7: Pantomime The History of Pantomime Pantomime literally means “all kinds” of “mime” (panto-mime) . It is generally acknowledged that British pantomime is modelled on the early masques of the Elizabethan and Stuart days. In the 14th century the early masques were musical, mime or spoken dramas, usually performed in grand houses although by the 17th century they were really no more than an excuse for a theme party. The timing of the British pantomime at Christmas and the role reversal of the lead characters (the principal boy being played by a girl and the Dame by a man) may have also evolved from the Tudor “Feast of Fools”, presided over by the Lord of Misrule. The feast was an unruly event, involving much drinking, revelry and role reversal. The Lord of Misrule, normally a commoner with a reputation of knowing how to enjoy himself, was selected to direct the entertainment. The festival is thought to have originated from the benevolent Roman masters who allowed their servants to be the boss for a while. Social Context Pantomimes take place around the Christmas period and are nearly always based on well known children’s stories such as Peter Pan, Aladdin, Cinderella, Sleeping Beauty etc. Pantomimes are performed not only in the best theatres in the land but also in village halls throughout Britain. Whether a lavish professional performance or a hammy local amateur dramatic production, all pantomimes are well attended. Pantomimes are a family show that aim to make both the children and parents laugh. There are recurring characters (stock characters) in Pantomimes.
    [Show full text]
  • From the Love Ball to Rupaul: the Mainstreaming of Drag in the 1990S
    FROM THE LOVE BALL TO RUPAUL: THE MAINSTREAMING OF DRAG IN THE 1990S by JEREMIAH DAVENPORT Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY August, 2017 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Jeremiah Davenport candidate for the degree of PhD, Musicology. Committee Chair Daniel Goldmark Committee Member Georgia Cowart Committee Member Francesca Brittan Committee Member Robert Spadoni Date of Defense April 26, 2017 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Acknowledgements Thank you from the bottom of my heart to everyone who helped this dissertation come to fruition. I want to thank my advisor Dr. Daniel Goldmark, the Gandalf to my Frodo, who has guided me through the deepest quandaries and quagmires of my research as well as some of the darkest times of my life. I believe no one understands the way my mind works as well as Daniel and I owe him a tremendous debt of gratitude for helping me find the language and tools to write about my community and the art form I love. I also want to thank Dr. Georgia Cowart for helping me find my voice and for her constant encouragement. I am grateful to Dr. Francesca Brittan for her insights that allowed me to see the musicologist in myself more clearly and her unwavering support of this project. I also would like to thank Dr. Robert Spadoni for expanding my analytical skills and for constantly allowing me to pick his brain about drag, movies, and life.
    [Show full text]
  • Pantomime Dames
    Pantomime Dames The role of the Pantomime Dame stretches back to the earliest origins of the theatre, when girls and young women were played by youths, and old women by men - often comically. The earliest ancestor of the comedic, are possibly Mrs. Noah in the miracle plays of the middle ages. Even after the restoration in the 17th century, when actresses entered the theatre, many were loathe to play older parts, and the convention continued. During the Regency the roles of witches, characters like 'Mother Skipton' and old harridans were played often by men, Grimaldi played several female roles, including the Baroness in 'Cinderella'. The Ugly Sisters at this time were played by women, later by men. Dame roles remained variable up until the 1860's and later. The 1826 and 1836 productions of 'Aladdin' at Covent Garden had women playing the role of the widow, and then in the 1856 and 1865 versions, by a man. The first male 'Widow Twankey' was James Rogers, with Dan Leno credited as the creator of 'Mother Goose'. The names given to Dames have altered over the years, but traditionally the Dame in 'Aladdin' is Widow Twankey. Christened in 1861 Twankay was a tea, popular in London at the time, from the Tuan Kay province of China. Dame Trott takes her name from a slang word for an old hag, and became the popular name for Jack's mother in 'Jack and the Beanstalk'. Dame Durden also shares this relationship from time to time. 'Dick Whittington' has had a cook as Dame since its first performance, with the title 'Sara the Cook' given in most cases.
    [Show full text]
  • Introduction: Cross-Dressing and Cross-Casting 1
    Notes Introduction: Cross-Dressing and Cross-Casting 1. Dorothy Keyser, “Cross-Sexual Casting in Baroque Opera: Musical and Theatrical Conventions,” Opera Quarterly 5:4 (Winter 1987–88): 46–57 (46). 2. All quotations from Ecclesiazusae are taken from David Barrett’s trans- lation, Penguin Classics, London: Penguin, 1978. 3. Jeffrey Henderson, “Older Women in Attic Old Comedy,” Transactions of the American Philological Association 117 (1987): 105–29 (118). 4. “The Myth of Shakespeare’s Squeaking Boy Actor—Or Who Played Cleopatra?” Shakespeare Bulletin 19: 2 (Spring 2001), consulted online. 5. See their edited volume, En travesti: Women, Gender Subversion, Opera, New York: Columbia University Press, 1995, 3, 5. 6. See Republic, Books 3 and 10. 7. In the seventeenth century, the concept of homosexuality as such did not exist. A man might choose to participate in acts of sodomy, but he was not considered to be a homosexual. Same-sex relations between women were even less clearly understood or defined. See Joseph Harris, Hidden Agendas: Cross-Dressing in 17th-Century France, Biblio 17: 156, Tübingen: Gunter Narr, 2005, 27–28. 8. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York and London: Routledge, 1990, 137. 9. Vested Interests: Cross-Dressing and Cultural Anxiety, London: Penguin, 1993. 10. See her book The First English Actresses: Women and Drama 1660–1700, Cambridge: Cambridge University Press, 1992. 11. The related topic of disguise plots (i.e., cross-dressing as opposed to cross-casting) during much the same period is the subject of Georges Forestier’s monumental tome Esthétique de l’identité dans le théâtre français (1550–1680), Geneva: Droz, 1988.
    [Show full text]