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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Press Release Fourth Round of Small Grants Announced
Email not displaying correctly? View it in your browser. PRESS RELEASE FOURTH ROUND OF SMALL GRANTS ANNOUNCED BY THE THEATRES TRUST 8am, 29 January 2014, London, UK The Theatres Trust is pleased to announce its fourth round of small capital grants to theatres across the nation. Awards are made to five community theatres for projects that will make important capital improvements, including one of the rarest surviving music halls, Hoxton Hall, and the community-owned and volunteer-run Beccles Public Hall & Theatre. Grants have been awarded to: Alnwick Playhouse: This cultural hub in Northumberland receives £5,000 towards the ‘Alnwick Playhouse & Community Arts Centre Roof Repairs’ project to enable it to carry out urgent remedial repairs and protect the fabric of the building. Beccles Public Hall & Theatre: It receives £5,000 towards an ‘Improving Access to the Stage’ project, removing part of a side wall to give better access to the stage, and remedial works to remodel the roof as part of a larger programme of renovation and improvement works. Hoxton Hall, London: This rare Grade II* listed music hall in Hackney, East London, receives £5,000 towards its ‘Conservation, Restoration and Modernisation’ project to carry out structural and strengthening works to its upper balcony which will enable it to create four new and accessible performance formats. Tara Arts: London’s first Asian-led theatre, based in Wandsworth, receives £5,000 towards the installation of a set of internal double-leaf, fire-proof acoustic doors for its new auditorium as part of the ‘Tara Theatre Renovation Project’. Yvonne Arnaud Theatre: Guildford’s Grade II listed theatre receives £5,000 towards the ‘Refurbishment and Installation of Automatic Sliding Doors’ to improve accessibility through upgrading the main entrance to the theatre and the entrance to the auditorium. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
A Room of His Own: a Literary-Cultural Study of Victorian Clubland
&A Room of His Own A Literary-Cultural Study of Victorian Clubland B ARBARA BLACK ohio university press • athens Contents List of Illustrations vii Acknowledgments ix Prologue 1 Introduction The Man in the Club Window 5 Chapter 1 A Night at the Club 33 Chapter 2 Conduct Befitting a Gentleman Mid-Victorian Clubdom and the Novel 88 Chapter 3 Clubland’s Special Correspondents 112 Chapter 4 Membership Has Its Privileges The Imperial Clubman at Home and Away 147 Chapter 5 The Pleasure of Your Company in Late-Victorian Pall Mall 175 Chapter 6 A World of Men An Elegy for Clubbability 201 Epilogue A Room of Her Own 219 Notes 239 Bibliography 277 Index 293 v Illustrations P.1. “The Guys Who Look Remarkably Alike Club,” by Hilgerdt, 2007 4 I.1. “The Man in the Club Window,” frontispiece for Hogg’s Habits of Good Society, 1859 13 I.2. Frequency of use of club and gentlemen’s club, 1800–2000 29 1.1. Travellers’ Pie recipe 35 1.2. Cotelettes de Mouton à la Reform recipe 35 1.3. Garrick Club Beefsteak dinner menu, 1890 36 1.4. Garrick Club dinner menu featuring turtle soup, 1899 37 1.5. Garrick Club dinner bill of James Christie, 1892 38 1.6. Garrick Club dinner bill of James Christie, 1891 39 1.7. Garrick Club dinner bill of Mr. Kemble, 1893 39 1.8. Illustrated Garrick Club house dinner menu, 1913 40 1.9. Garrick Club menu card (autographed), 1880 41 1.10. “The Smoking Room at the Club,” by Doyle, 1862 43 1.11. -
London Borough of Lambeth
LONDON BOROUGH OF LAMBETH LAMBETH ARCHIVES DEPARTMENT Reference number IV/224 Title Morley College Covering dates 1888-2013 Physical extent 29 boxes & 2 volumes Creator Morley College Administrative history Morley College originated in the work of the Coffee Music Halls Company Ltd. who promoted temperance and the arts in London. The college was established by Emma Cons, a visionary and social reformer who fought to improve standards of London’s Waterloo district. In 1880, Cons, with the support of the Coffee Music Halls Company Ltd. leased what is now known as the ‘Old Vic’ theatre and created the Royal Victoria Coffee and Music Hall. In 1882 the hall began to host weekly lectures in which eminent scientists would address the public on a wide range of topics. The success of these lectures led to the establishment of Morley Memorial College for working men and women, named after Samuel Morley, a textile manufacturer, MP and philanthropist who contributed to Morley College. In the 1920s the college moved to Westminster Bridge Road where it remains today although it has since expanded and now includes Morley Gallery and Arts Studio and the Nancy Seear Building. The college has attracted eminent staff including composer Gustav Holst, Director of Music 1907- 1924, a post later filled by Sir Michael Kemp Tippet, 1940-1951. Other high profile personalities associated with the college include composer Ralph Vaughn Williams, writer Virginia Woolf and artist David Hockney. Acquisition or transfer information Collection acquired by Lambeth Archives between 1999-2007 as a gift. Acquisition numbers: 1999/11, 2002/30, 2003/13, 2006/11, 2007/23; ARC/2013/6,8. -
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. -
Approaches to the Private Collector and Collection of Theatrical
Private Passions, Public Archives: Approaches to the private collector and collection of theatrical ephemera in the context of the public theatre archive Eve Margitta Smith Department of Drama and Theatre Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy 2016 Declaration of Authorship I, Eve Margitta Smith, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________27/09/2016 [2] Abstract This thesis considers the passions of the private collector of theatrical ephemera within the context of the public theatre archive. It interrogates the formation, the function, and the significance of the collection, foregrounding the idiosyncratic relationship between the collector and their collection. The eventual, though not inevitable, transition of a theatre collection from a private house to a public archive is interrogated throughout the thesis. The research concentrates on three theatre collections that have made the transition from a private space to the public archive: the Gabrielle Enthoven Collection at the Victoria and Albert Museum; the Mander and Mitchenson Theatre Collection at the University of Bristol, and the Roy Waters Theatre Collection at Royal Holloway, University of London. Theoretical and critical approaches from the fields of theatre history and historiography, archive and museum studies, and the practice and psychology of collecting -
Oxford Scholarship Online
White Womanhood and Early Campaigns for Choreographic Copyright University Press Scholarship Online Oxford Scholarship Online Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance Anthea Kraut Print publication date: 2015 Print ISBN-13: 9780199360369 Published to Oxford Scholarship Online: November 2015 DOI: 10.1093/acprof:oso/9780199360369.001.0001 White Womanhood and Early Campaigns for Choreographic Copyright Anthea Kraut DOI:10.1093/acprof:oso/9780199360369.003.0002 Abstract and Keywords This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter then examines the lineage of her Serpentine Dance, including the Asian Indian dance sources to which it was indebted. It also shows how the “theft” of her Serpentine Dance occasioned a crisis of subjecthood for Fuller, and how her assertion of copyright was an attempt to (re)establish herself as a property-holding subject. The chapter ends by considering the copyright bids of two dancers Page 1 of 65 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2015. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Subscriber: New York University; date: 26 July 2016 White Womanhood and Early Campaigns for Choreographic Copyright who followed in Fuller’s wake, Ida Fuller and Ruth St. -
Rus-Sal Rus-Sal
RUS-SAL COURT DIRECTORY, 1915. RUS-SAL 220'7 Rushforth Francis McNeil, 6 Moorgate street E C Russell Mn;. Henry, 6 Warwick av. Maida valeW Ryder Hon.Edwd.AlanD.46 Cadogan sq.ChelsSW Sr. Albans Duke of, Redbourne, Kirton-Lind~y, Ru..~hmere Albt.H.29Harley ho.Marylebone rdNW Russell MN. John, llOumberland terrace,Regent's Ryder Arthur John, 3 Caroline st. Pimlico SW LineR Rushout Sir Charles Hamilton, bart. 3 White- park NW Ryrler Dudley, 101 Elm park gardens SW St. Albans Duches.~ of, 49 Ca.tlogan gardellS SW: haU court SW Russell PercyWilli~,14 Old Jewry chambers E C; Ryder John E. D. 14 Buckingham palace man- & Newton Anner, Clonmel, Ireland Rushton G€o. Alfred, 55 Gunterstone road W & Little Dowding, Walton-on-the-hill, Surrey sions SW St. Albans The Lord Bishop of, Athenamm club Rushton Miss, 7A, C!areville grove SW Russell Richard, 6 Hamilton terrace NW Rydon Arthur H. 3 Cardinal mansions, Carlisle SW; & Verulam house, St. Albans Rushton William, 32 Barley street W; & 9 Russell RobertOiare,M.A.,B.C.L. 32 VictoriastSW pi SW:&Awbrook, nr.Hayward's Heath,Sussex St. Aldwyn Viscount, P.C. 81 Eaton place SW: Fellows roan, Hampstead NW Russell Stebbing, 3 & 4 Great Winchester st E C; Rydon Henry Waiter, 94 Inverness terrace W Carlton & Athenreum clubs SW; & Ma1 or Rushworth Misses, 76 Fairhazel gardens, Ramp- & 23 Platt's lane, Hampstead NW Rydon Mr:;, 88 Iverna court, Kensington W ., house,Coln St.AJdwy~,Fairford,Gioucestershire stea!l NW Russell Thomas G€orge, 315 Kentish town :rrl NW Rye Arthur Lockyer, 13 GD!den square W bt. -
Home Chat 29/07/2010 12:13 Page 1
Aug2010_Home Chat 29/07/2010 12:13 Page 1 THE NEWSLETTER OF THE NOËL COWARD SOCIETY President: HRH The Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Tammy Grimes • Penelope Keith CBE AUGUST 2010 t was with surprise and sadness that the NCS committee Barbara Longford greeted Barbara Longford’s announcement that she wished Ito stand down as its chairman. For all of us Barbara’s name has become synonymous with Brief Encounter the Society and with the enormous programme of activity and events that has marked her hugely successful period as Design For Living Chairman. She has decided to move on to pursue her desire to support the work of the Soldiers, Sailors, Airmen and Coward Celebrations Families Association (SSAFA). We wish her well with her new role and commitments and celebrate her contribution to the work of the Society in our centre pages recalling the highlights of her time with us. Warmest thanks from all of us for all the fun, the style and the passion of her contribution to our hero - to: ‘The Mistress’ from all of the lovers of ‘The Master.’ BRIEF ENCOUNTER RETURNS TO BROADWAY A NOËL COWARD SOCIETY EVENING he Roundabout Theatre Company in association with David Pugh & Dafydd Rogers and Cineworld presents T Kneehigh Theatre’s production of Noël Coward’s Brief Encounter adapted by Emma Rice. The production opens at Studio 54 in New York for previews on September 10, 2010. Stephen Greenman and Barbara Longford at Sardi’s in December Following opening on September 28th there will be a limited 2005. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
A Hackney 4Th of July
A Hackney 4th of July A Walk Between Hoxton Hall, Hoxton Street to the Building Exploratory at Orsman Road (via The Regent’s Canal), Hackney. 2-4pm Saturday 4 th of July, 2009 Mark Hunter and Conan Lawrence 2009 1. Hoxton Hall. 130, Hoxton Street, London N1 6SH. [Conan] Ladies and Gentlemen, Welcome to our walk A Hackney 4th of July. I’m Conan Lawrence, this is Mark Hunter and we’re your guides for the next ninety minutes. When Mark and me were offered the chance to lead a walk on one of Discover Historic Hackney’s weekends we chose today -the 4th of July- for its obvious resonances. Independence Day, a reminder of an early loss; of Empire, land, subjects. And tea. What would happen if we told a story in Hackney about something that happened 233 years ago and 3549 miles away? Could Hackney throw new light on an old story; what could Hackney learn from that story? We were given a geographical beginning and an end and had to invent the middle, with you in mind. One of these inventions was the name we chose for this walk: A Hackney 4th of July. Another was a letter we wrote to the American Ambassador inviting him to join us on the walk, of which more later. What we decided not to do was walk past a lot of buildings and point at them, although there’s one we haven’t quite made up our minds about yet. The beginning was, and is, Hoxton Hall, built in 1863, as MacDonald’s Music Hall, although it only survived eight years in this capacity before mid-Victorian piety closed it down.