Copley Theatre the Walls of Jericho Program
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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. -
Living the Law Bridget Daley, L’13, and Other Alumni Serve As Force for Change Message from the Dean
THE SUMMER 2018 The Duquesne University School of Law Magazine for Alumni and Friends LIVING THE LAW BRIDGET DALEY, L’13, AND OTHER ALUMNI SERVE AS FORCE FOR CHANGE MESSAGE FROM THE DEAN Dean’s Message Congratulations to our newest alumni! Duquesne Law read about a new faculty/student mentorship program, which celebrated the 104th commencement on May 25 with the Class was made possible with alumni donations. You will also read of 2018 and their families, friends and colleagues. These J.D. and about alumni who are serving their communities in new ways, LL.M. graduates join approximately 7,800 Duquesne Law alumni often behind the scenes and with little fanfare, taking on pro residing throughout the world. bono cases, volunteering at nonprofit organizations, coordinating We all can be proud of what our graduates have community services and starting projects to help individuals in accomplished and the opportunities they have. Many of these need. You will discover how Duquesne Law is expanding diversity accomplishments and opportunities have been made possible and inclusion initiatives and read about new faculty roles in the because of you, our alumni. Indeed, our alumni go above and community as well as new scholarly works. Finally, you will read beyond to help ensure student success here. Colleagues in the about student achievements and the amazing work of student law often share with me that the commitment of Duquesne Law organizations here. alumni is something special! I invite you to be in touch and to join us for one of our Thank you most sincerely for all that you do! Whether you alumni events. -
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. -
To Center City: the Evolution of the Neighborhood of the Historicalsociety of Pennsylvania
From "Frontier"to Center City: The Evolution of the Neighborhood of the HistoricalSociety of Pennsylvania THE HISToRICAL SOcIETY OF PENNSYLVANIA found its permanent home at 13th and Locust Streets in Philadelphia nearly 120 years ago. Prior to that time it had found temporary asylum in neighborhoods to the east, most in close proximity to the homes of its members, near landmarks such as the Old State House, and often within the bosom of such venerable organizations as the American Philosophical Society and the Athenaeum of Philadelphia. As its collections grew, however, HSP sought ever larger quarters and, inevitably, moved westward.' Its last temporary home was the so-called Picture House on the grounds of the Pennsylvania Hospital in the 800 block of Spruce Street. Constructed in 1816-17 to exhibit Benjamin West's large painting, Christ Healing the Sick, the building was leased to the Society for ten years. The Society needed not only to renovate the building for its own purposes but was required by a city ordinance to modify the existing structure to permit the widening of the street. Research by Jeffrey A. Cohen concludes that the Picture House's Gothic facade was the work of Philadelphia carpenter Samuel Webb. Its pointed windows and crenellations might have seemed appropriate to the Gothic darkness of the West painting, but West himself characterized the building as a "misapplication of Gothic Architecture to a Place where the Refinement of Science is to be inculcated, and which, in my humble opinion ought to have been founded on those dear and self-evident Principles adopted by the Greeks." Though West went so far as to make plans for 'The early history of the Historical Soiety of Pennsylvania is summarized in J.Thomas Scharf and Thompson Westcott, Hisiory ofPhiladelphia; 1609-1884 (2vols., Philadelphia, 1884), 2:1219-22. -
APRIL, 1916. SCHOOL LETTER T Is the General
H E PETERITE. VoL. XXI I. APRIL, 1916. No. 222. SCHOOL LETTER T is the general custom of Editors, when writing the School Letter, to commence with the most important event, and this term pride of place must undoubtedly be accorded to the weather. The condition of the weather can be best judged from the fact that to-day is the first fine day we have had since the middle of January, a fact which caused universal acclamation. The activities of the Hockey team have naturally been greatly hampered by the rain, indeed out of 7 matches arranged 4 have had to be cancelled. Out of the three matches played, however, two have been very creditable victories, and, if only the weather clears up, the team should emerge victorious from all the remaining matches. We have received the confident assurances of the Boating authorities that in their sphere of influence the reputation of th School will be worthily maintained, and the information brought in by our spies leads us to the same conclusion. The boater being like ducks, are the only members of the School who have not been inconvenienced by the weather, and so we hope that in the boat-races, maintaining their " duck " reputation, they will simply " fly " to victory. The Corps is still continuing to do good work, although this term reminiscences of parades have been inseparably associ- ated with snow, rain, and mud, especially the latter. A minor 2 SCHOOL LETTER. field-day was held upon Friday, March 17th (an exclusive account of which, written by our special correspondent at the front, appears upon a later page), and the major and combined field- day, is due to take place upon Friday, March 24th. -
The Staging of Oscar Wilde and His Contemporaries at the St
Responding to the ‘power of attraction’: the staging of Oscar Wilde and his contemporaries at the St. James’s Theatre, 1892-1895. Lucie Sutherland Keywords: Actor-manager, George Alexander, Treasury Book, West End, Matinée, Repertoire William Archer, a cultural commentator most often associated with the promotion of dramatic naturalism, did not solely concern himself with dramatic form. He was also alert to the necessity for profit in professional theatre making, often demonstrating a concern with the economic viability of theatrical production in his writing. For example: It would of course be idle to suppose that the comparative popularity of two plays is exactly indicated by the length of their respective runs […] It is impossible, in short, without access to the books of the management, to measure with absolute precision the power of attraction exercised by any particular play.1 Archer states what theatre industry professionals and scholars of that industry know; only box office receipts can truly confirm the economic success of a production. Length of run and audience figures may be indicative, but accurate business records detailing the income generated by fee paying audience members will be the only way to ascertain the ‘power of attraction’ exercised by a piece of theatre. When Archer was writing, in the final decade of the nineteenth century, it was the role of the actor-manager to market a production as successful for the longest duration possible, frequently sustaining that production to demonstrate the ongoing prestige of the -
DECEMBER 2016 Maggs Bros Ltd
DECEMBER 2016 Maggs Bros Ltd. Winter Miscellany 2016 Contents: Children’s Books . p.4 Literary Classics & Autograph Letters . p.10 - Charles Dickens . p.18 Modern Literature . p.22 - Poetry . p.31 Continental Books & Illuminations . p.34 Early British Printing & History . p.37 Travel & Voyages . p.39 - Polar Exploration . p.46 - Travels by Women . p.52 Natural History & Science . p.56 Games & Sport . p.59 Something Unusual . p.61 Art & Architecture . p.68 Music & Theatre . p.70 Gastronomy . p.75 Maggs Bros. Ltd. 46 Curzon Street, London W1J 7UH Telephone: ++44 (0)20 7493 7160 (10am - 6pm Mon-Fri; 10am - 5pm Sat) Email: [email protected] Bank Account: Allied Irish (GB), 10 Berkeley Square, London W1J 6AA Sort code: 23-83-97 Account Number: 47777070 IBAN: GB94AIBK23839747777070 BIC: AIBKGB2L VAT number: GB239381347 Access/Mastercard and Visa: Please quote card number, expiry date, name and invoice number by mail or telephone. EU members: please quote your VAT/TVA number when ordering. The goods shall legally remain the property of the seller until the price has been discharged in full. 2 Contact: [email protected] In 2015 Maggs Bros left 50 Berkeley Square, their home of nearly 80 years, and since then have been operating from a capacious but plain warehouse in the Home Counties, and a tiny but elegant shop at 46 Curzon Street, just round the corner form Berkeley Square. The last six months have seen a fairly intense programme of restoration of their new home, completion of which is now distinctly within sight. No. 48 is a fine Grade One listed terraced house completed in 1776, on the South side of Bedford Square, one of London’s finest and least spoilt townscapes. -
A Touch of Greasepaint, Apr
CANADIAN BROADCASTING CORP. RADIO DRAMA A Touch of Greasepaint, Apr. 24, 1954 Inventory Series 1 1. Some “firsts” & beginnings of the theatre: The Contrast, New York, 1787 2. Morals, Restoration & Victorian: The Provoked Wife and Lady Windermere’s Fan 3. Melodrama: Ticket of Leave Man, East Lynne and Caste 4. The Admirable Bashville (G.B.S) 5. Sarah Siddons: Venice Preserved and Zara 6. The Bucktails, or Americans in England and Fashion 7. The Land of Promise (Somerset Maugham) 8. Tom Robertson and Garrick 9. David Garrick: The Old Batchelor 10. David Garrick: “Actors’ Fund Prologue” and The Wonder 11. Irish Theatre: In the Shadow of the Glen 12. Edmund Kean: A New Way to Pay Old Debts 13. Edmund Kean: Othello, Act 3, Scene 3. 14. Chekhov, The Seagull 15. Henry Irving: Two Roses 16. Henry Irving: The Bells 17. Sheridan: The School for Scandal 18. Dion Boucicault: The Colleen Bawn and London Assurance 19. Comedy: Sir Thomas More, Gammer Gurton’s Needle and The Relapse 20. Henrik Ibsen, Little Eyolf Canadian Broadcasting Corporation Radio Drama A Touch of Greasepaint Inventory Page 2 of 11 21. Ben Jonson: Volpone 22. Pirandello: Naked 23. Macready: The Distrest Mother 24. Macready: Virginus 25. Oscar Wilde: An Ideal Husband 26. Moliere: The School for Wives 27. August Stringberg: The Dance of Death 28. Marriage: Proposal scenes from The Shoemaker’s Holiday, The Way of the World, Money and The White Headed Boy Series 2 1. Repeat 2. D.H. Lawrence: The Widowing of Mrs. Holroyd 3. Shelley: The Cenci 4. Sheridan: The Rivals 5. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
Centrality, Orthodoxy and Self-Reflexivity In
Prague Journal of English Studies Volume 1, No. 1, 2012 '2,SMHV ISSN: 1804-8722 “Our Little Parish of St. James‘s”: Centrality, Orthodoxy and Self-Reflexivity in the 1890s London Theatre Rudolf Weiss In the 1890s the London theatre was governed by the idea of centrality. is most representative and most prestigious theatrical territory was ruled by the actor-manager, the monocratic director who also played the leading roles. Moreover, he was the arbiter in matters of dramatic aesthetics, in matters of dramatic ethics as well as audience reception. Henry Arthur Jones and Arthur Wing Pinero, the most popular playwrights of the period, provided them with leading parts which reflect their managerial functions in the dramatic world: the raisonneurs in their society dramas manipulate the action, advise the other characters and represent social and moral orthodoxy. e article explores the concept of centrality in the London theatre of the 1890s on various interconnected levels – theatre management, dramatic technique, functions of the raisonneur and ideological implications of the scène à faire as well as audience structure and audience taste. A special focus is placed on the essential (self)reflexivity of this “little parish”, where the managerial structures of the mainstream theatre are mirrored in the conventional dramatic aesthetics of society drama, the predominant genre in the repertoire, which echoes the mind-set of the majority of the spectators. 1. Introduction: the authority of the actor-manager In her introductory chapter to e Cambridge Companion to Victorian and Edwardian eatre Nina Auerbach claims that all the contributions in this volume “insist on the centrality of the theatre in nineteenth-century culture; until the end of the century, its broad popularity gave its conventions the aura of universality” (4). -
STAGE NOTES" DGCMED in MEM in Widow" Hudson Theatre
NEW-YORK TRIBUNE, SPSPAT. NOVEMBER 13, MM; 15 DAILY a^.-'-i^- ««»*i« f-aa^Bßwßwavav jiaairi *m**s!ju-—y —^fl ; I £\u25a0 \ % I MISS JANET BEECHER. A. E. MATTHEWS. JOHN DREW. MISS EDITH WYNNE MATTHgOW. "* - ir. "TWe Concert.' Beiasso Thaatra. BLANCHE BATES. New Theat.e.ln The Importarce of Being E«r 9t "Nobody* In "Smith." Empire Theatre. In "Sister Beatrice." The Lyceum STAGE NOTES" DGCMED IN MEM In Widow" Hudson Theatre. Theatre. Concerning Plays and Players! Weedon Grossmith, Humorist Here and There. 1 London say "th» and Actor. Tells of His Career. The o«P«r» r»rept:«- t Vila* n-m»«>' and Mr. Fred Terry, la ii^ Weedon HiiiiainlTTi the English actor fork, was overwhelming." To whom: I \u25a0who is playing at Nazimova's Theatre in "Judas." the play which John Preedy and the <5e Kay,.11 1L C. Carton's farce "Mr. residing: London., " :!tlzen of Texas in «,fa Countess is a natural humorist not only written (in Enslish) for Sarah £eraaaj| en the stage but off. One has to under- a. according to Carados in "The Ee*er«,'|>j into by J. G. de however, to appreciate him. translated Frenca Cs»fz! stand him. wine M. da Chasaatoroe. by the way,,^| But once knowinghim one laughs at near- no other than Mr. J. Coadurier. tat Jy everything he mi;, hi©^ London correspondent of \u25a0 In Mr. clubs in London all esteemed | Grossmuh "Figaro." "I seen Itstated mat to do is to say "Good morning." have *Jnd*£^ he has first play written by any nou,, do you do?" or "Ibeg your pardon" la the "How English -or American author to be i and everybody laughs. -
Prologue 1 Paying a Visit to the Crown
Notes Prologue 1 Charles Kean, a letter to Mary Anne Skerret, 3 July 1855, Royal Archives Add X/85. Further material from the Royal Archives will be abbreviated ‘RA’. 2 John Cam Hobhouse (Lord Broughton) diary entry, 14 November 1837, quoted in John Cam Hobhouse, Recollections of a Long Life, 5 vols. (London: W. Clowes & Sons, 1865–7), V, p. 101. 3 Royal Archives Queen Victoria’s Journal 6 February 1852. Subsequent references to Queen Victoria’s journal will be abbreviated ‘RA QVJ’. 4 RA QVJ, 18 June 1853. 5 RA QVJ, 30 March 1859. 6 RA QVJ, 28 April 1856. 7 Benita Stoney and Heinrich C. Weltzein, eds., My Mistress the Queen: The Letters of Frieda Arnold, Dresser to Queen Victoria 1854–9, trans. Sheila de Bellaigue (London: Weidenfeld & Nicolson, 1994), pp. 148–9. 8 RA QVJ, 20 February 1855. 9 RA QVJ, 18 February 1856. 10 Victoria’s extensive collection of playbills, programmes and playscripts is carefully preserved in the Royal Archives at Windsor Castle. 11 James I and VI, Basilikon Doron, cited in Stephen Orgel, The Illusion of Power: Political Theater in the English Renaissance (Berkeley and Los Angeles: University of California Press, 1975), p. 42. 12 King Leopold of the Belgians, a letter to Princess Victoria, 7 October 1836; cited in Lynne Vallone, Becoming Victoria (New Haven: Yale University Press, 2001), p. 199. 13 Walter Bagheot, The English Constitution (London, 1867; Ithaca: Cornell University Press, 1963), pp. 64, 97. 14 Edmund Gosse and Mary Ponsonby, ‘The Character of Queen Victoria’, Quarterly Review 193 (January–June 1901) 311.