Contents EDITORIAL: REFORM and RENEWAL Page 3
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Theater Souvenir Programs Guide [1881-1979]
Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy. -
The Pirates of Penzance NOTE: the Articles in These Study Guides Are Not Meant to Mirror Or Interpret Any Particular Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Pirates of Penzance NOTE: The articles in these study guides are not meant to mirror or interpret any particular productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to under- standing and enjoying the play (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters at times) may differ from what is ultimately produced on stage. Also, some of these articles (especially the synopses) reveal the ending and other “surprises” in some plays. If you don’t want to know this information before seeing the plays, you may want to reconsider studying this information. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Laurie Birmingham (left) and Glenn Seven Allen in The Pirates of Penzance, 2001. Contents Information on the Play Synopsis 4 TheCharacters Pirates of Penzance5 About the Playwright 6 Scholarly Articles on the Play Preserving the Truly Good Things in Drama 8 Delighting Audiences 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Pirates of Penzance On the coast of Cornwall, a gang of pirates play and party as Frederic (a pirate apprentice) reminds the pirate king that his obligation to the gang is soon over. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
Download Booklet
HarmoniousThe EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Sir Arthur Sullivan, Ottawa, 1880 Ottawa, Sullivan, Arthur Sir Photograph by Topley, Ottawa, Canada /Courtesy of David B. Lovell Collection Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE 1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates 3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso 3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato 4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes 4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson 6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton 7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro. -
David Trutt's Gilbert & Sullivan Ceramics Collection at California
David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Top Shelf - Front View - Left Half David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Top Shelf - Front View - Right Half David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Top Shelf - Left and Right Side Views David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Second and Third Shelves - Front View - Left Half David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Second and Third Shelves - Front View - Right Half David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Second Shelf - Left and Right Side Views David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Third Shelf - Left Side View David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Third Shelf - Right Side View David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Fourth Shelf - Front View - Left and Right Halves David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Fourth Shelf - Left Side View David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Fourth Shelf - Right Side View David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Fifth Shelf - Front View - Left and Right Halves David Trutt’s Gilbert & Sullivan Ceramics Collection at California State University Northridge - Fifth Shelf - Left and Right Side Views THE GILBERT AND SULLIVAN CERAMICS COLLECTION David Trutt assembled his Gilbert and Sullivan book and ceramics collection over an eighteen year period from 1988 through 2006. -
GILBERT and SULLIVAN: Part 1
GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were. -
Course Syllabus for “Two Dynamic Duos” Welcome to the Course In
Course Syllabus for “Two Dynamic Duos” Welcome to the course in Gilbert and Sullivan and Rodgers and Hammerstein, the two dynamic duos who created the modern stage musical. This course will meet for ten sessions, from October 4 to December 13 (skipping only November 15), on Tuesday mornings in Room 121 at the George Mason building at Virginia Square. All classes will run for 90 minutes, from 10am to 11:30am. [From Staff: Please disregard the course schedule listed in the catalog. We apologize for the various adjustments made to accommodate room availability, enrollment and the instructor’s schedule.] In this course we will examine the lives, careers, and some of the works of the two dynamic duos – Gilbert and Sullivan and Rodgers and Hammerstein – who were the prime creators of the contemporary musical play. We will examine and discuss H.M.S. Pinafore, The Pirates of Penzance, and The Mikado of Gilbert and Sullivan, and Oklahoma, Carousel, and The King and I of Rodgers and Hammerstein. We will consider the differences in the working relationships of the two duos, the successes of their shows on their different native turfs and “across the pond”, the differences in their shows, what each of the duos contributed to the contemporary musical play, and the reasons for the enduring popularity of the work of both duos around the world. It is recommended that all members of the study group read, at a minimum, the texts, including librettos and lyrics to the music, of all six shows. Performances of all six shows are available on DVD, and we will play selections from all of them. -
Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays. -
Precious Nonsense NEWSLETTER of the MIDWESTERN GILBERT and SULLIVAN SOCIETY November 1995 -- Issue 46
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY November 1995 -- Issue 46 As is invariably the case, it's been one thing after another lately. Thanks to Michaem Miano and Carol Lee Cole, we have something ready-made to put in the Nonsense. Once things cool slow down at work, S/A Cole will have time to go through the piles of material, and put out a full-blown issue. Michael Miano and Carol Lee Cole both submitted their pieces in computer-readable form, and they appear here as they were submitted (I may spell-check them, but that'll be about it). While the Nonsense doesn't necessarily stand for an unrestricted press, its editorial staff certainly believes in letting people express their opinions. And if readers want to debate points, that's great. S/A Cole will be happy to forward messages. Anyway, it ought to make for interesting reading. Sarah Cole thanks all the membership of the Midwestern Gilbert and Sullivan Society for their patience over the last two years; and especially thanks the other G&S societies, who have been tremendously indulgent with the MGS's difficulties. We hope to return the kindness some day. In the meantime, here's what we've got. Oh Members, How Say You, What Is it You've The 1995 MGS Big Quiz Answers Done? At first, these weren't going to be included. As you may recall, Earlier this year, in which the Fiftieth the quiz came from the book Guess Again (James Monahan and Tom anniversary of the end of World War II was Davin. -
The Lost Chord, the Holy City and Williamsport, Pennsylvania
THE LOST CHORD, THE HOLY CITY AND WILLIAMSPORT, PENNSYLVANIA by Solomon Goodman, 1994 Editor's Introduction: Our late nineteenth century forbears were forever integrating the sacred and the secular. Studies of that era that attempt to focus on one or the other are doomed to miss the behind-the-scenes connections that provide the heart and soul informing the recorded events. While ostensibly unfolding the story of several connected pieces of sacred and popular music, this paper captures some of the romance and religion, the intellect and intrigue, the history and histrionics of those upon whose heritage we now build. The material presented comes from one of several ongoing research projects of the author, whose main interest is in music copyrighting. While a few United Methodist and Central Pennsylvania references have been inserted into the text at appropriate places, the style and focus are those of the author. We thank Mr. Goodman for allowing THE CHRONICLE to reproduce the fruits of his labor in this form. THE LOST CHORD One of the most popular composers of his day, Sir Arthur Sullivan is a strong candidate for the most talented and versatile secular/sacred, light/serious composer ever. This accomplished organist and author of stately hymns (including "Onward, Christian Soldiers"), is also the light-hearted composer of Gilbert and Sullivan operetta fame. During and immediately following his lifetime, however, his most successful song was the semi-sacred "The Lost Chord." In 1876 Sullivan's brother Fred, to whom he was deeply attached, fell ill and lingered for three weeks before dying. -
H.M.S. Pinafore
H.M.S. PINAFORE or, The Lass that loved a Sailor An entirely Original Nautical Comic Opera Written by W.S. Gilbert Composed by Arthur Sullivan Rescued from Obscurity A Reprint series of Definitive Libretti of the „Savoy‟ and related operas. Edited by Ian C. Bond. Other Libretti in this Series AN ITALIAN STRAW HAT, or, “Haste to the Wedding” W.S. Gilbert, George Grossmith, et al. COX AND BOX - F.C. Burnand and Arthur Sullivan CREATURES OF IMPULSE - W.S. Gilbert and Alberto Randegger THE EMERALD ISLE - Basil Hood, Arthur Sullivan and Edward German FALLEN FAIRIES - W.S. Gilbert and Edward German THE GONDOLIERS - W.S. Gilbert and Arthur Sullivan “HASTE TO THE WEDDING” - W.S. Gilbert and George Grossmith JANE ANNIE - J.M. Barrie, Arthur Conan Doyle and Ernest Ford NO CARDS - W.S. Gilbert and Thomas German Reed THE PIRATES OF PENZANCE - W.S. Gilbert and Arthur Sullivan PRINCESS TOTO - W.S. Gilbert and Frederic Clay THE ROSE OF PERSIA - Basil Hood and Arthur Sullivan RUDDYGORE - W.S. Gilbert and Arthur Sullivan UTOPIA (LIMITED) - W.S. Gilbert and Arthur Sullivan THE VICAR OF BRAY - Sydney Grundy and Edward Solomon THE ZOO - B.C. Stephenson and Arthur Sullivan Vocal Scores AN ITALIAN STRAW HAT, or, “Haste to the Wedding” W.S. Gilbert, George Grossmith, et al. THE EMERALD ISLE - Basil Hood, Arthur Sullivan and Edward German THE ROSE OF PERSIA - Basil Hood and Arthur Sullivan (facsimile of a cued conductors score) In Preparation THE BEAUTY STONE - Arthur Wing Pinero, J. Comyns Carr and Arthur Sullivan THE BRIGANDS - H.