Volume 7, Issue 2–Feb-2018
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Dame Ellen Terry GBE
Dame Ellen Terry GBE Key Features • Born Alice Ellen Terry 27 February 1847, in Market Street, Coventry • Married George Frederic Watts, artist 20 February 1864 in Kensington. Separated 1864. Divorced 13 March 1877 • Eloped with Edward William Godwin, architect in 1868 with whom she had two children – Edith (b1869) and Edward Gordon (b1872). Godwin left Ellen in early 1875. • Married Charles Kelly, actor 21 November 1877 in Kensington. Separated 1881. Marriage ended by Kelly’s death on 17 April 1885. • Married James Carew, actor 22 March 1907 in Allegheny County, Pennsylvania, USA. Unofficially separated 1909. • Died 21 July 1928 Smallhythe Place. Funeral service at Smallhythe church. Cremation at Golders Green Crematorium, London. Ashes placed in St Paul’s Covent Garden (the actors’ church). Urn on display on south wall (east end). A brief marital history Ellen Terry married three times and, between husbands one and two, eloped with the man who Ellen Terry’s first marriage was to the artist G F Watts. She was a week shy of 17 years old, young and exuberant, and he was a very neurotic and elderly 46. They were totally mismatched. Within a year he had sent her back to her family but would not divorce her. When she was 21, Ellen Terry eloped with the widower Edward Godwin and, as a consequence, was estranged from her family. Ellen said he was the only man she really loved. They had two illegitimate children, Edith and Edward. The relationship foundered after 6 or 7 years when they were overcome by financial problems resulting from over- expenditure on the house that Godwin had designed and built for them in Harpenden. -
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. -
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. -
Iv: the Allan Wilkie Shakespearean Company, 1920-1926
IV: THE ALLAN WILKIE SHAKESPEAREAN COMPANY, 1920-1926 "Our True Intent is all for Your Delight." In September 1920, Allan Wilkie announced his plans to establish Australia's first permanent Shakespearean company, drawing a parallel to Frank Benson's Company in England. The inaugural production by the new Allan Wilkie Shakespearean Company was to be a "new arrangement" of Macbeth, and Wilkie gave it as his fixed intention to produce all thirty-seven of Shakespeare's plays, some of which had never previously been staged in Australia." Advance publicity emphasized the potentially historic nature of the occasion: When in future years this company will be counted one of the institutions of which Australia is proud, those who attend on the opening night will tell with satisfaction how they were present during the enthusiastic hours which saw the inception of the company [Argus, 9 September 1920]. Many cynics were quick to point out the unlikelihood of Wilkie's venture surviving for long, or even getting off the ground, in view of the history of Shakespeare production in Australia. His was by no means the first proposal to establish a permanent company, but lack of demand had ended all previous efforts. In order to arouse audience curiosity, Wilkie advertised, as mentioned above, a "new arrangement" of Macbeth. His presentation was to have two novel aspects, which were to form the basis of his production methods in the years to come. They were interdependent: first, a new method of scenic arrangement, and second, a new organisation of the play, made possible by simplified scenery. -
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. -
University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays. -
Henry Irving in England and America 1838-84
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES il -.;^ >--i ; . An?' Mi:-''' 4 ,. 'f V '1 \ \v\V HENRY IRVING. y^wn. «. /i/ur€e?ytayi/i Oy, J^f ..><? PPa/^»^. HENRY IRVIN.G IN ENGLAND and AMERICA 1838-84 BY FREDERIC DALY ' This ahozie all : To thine own self he true i Ami it mustfollow, as the niglit the day, Thou canst not then befalse to any )iian." Shakespeare " ' PeiseTerance keeps honour bright.' Do your duty. Be fatthfnl to the /inblic to "whom we all appeal, and that public loill be faitliful to you.'— Henky Irving ]] riH VIGNETTE PORTRAIT ETCHED DY AD. LALAUZE T. FISHER UNWIN 26 PATERNOSTER SQUARE 1884 " ^5 IN A MIRROR, WE SEE IN FLA YS IVHA T IS BECOMING IN A SERVANT, WHAT IN A LORD, WHAT BECOMES THE YOUNG, AND WHA7 THE OLD. CHRISTIANS SHOULD NOT ENTIRELY FLEE FROM COMEDIES, BECAUSE NOW AND THEN THERE ARE COARSE MATTERS IN THEM. I OR THE SAME REASON J IE MIGHT CEASE TO READ THE BIBLE.''— Mautix Lutiiku. XTA8 CONTENTS. CHAPTER I. EARL V A SSOCIA TIONS. I'AGK February 6, 1838—A Schoolmaster Alarmed— "It's a Bad " ' — . I Profession A Curious Coincidence . CHAPTER H. PROBATION. A Spiteful Faii-y—The First Disappointment—Hamlet : An Augury—London at Last ...... 10 CHAPTER HL FIRST SUCCESSES IN LONDON. A Monojjoly of Stage \'illains — Stirring Encouragement — A Momentous Experiment — At the Lyceum — "The " Bells"— Pleasant Prophecies— Charles L"—"Eugene Aram"—A too subtle Richelieu — "Philip"— Hamlet: a Fulfilment— Shakespeare spells Popularity . iS CHAPTER I\". SHAKESPEARE AND TENNYSON. Tradition at Bay — "Queen Mary"—Academic Honours— " " Exit Cibber— The Lyons Mail "— Louis XL"— End of the Bateman Management ..... -
INTRODUCTION Xl Othello a 'Black Devil' and Desdemona's 'Most Filthy
INTRODUCTION xl Othello a 'black devil' and Desdemona's 'most filthy bargain' ^ we cannot doubt that she speaks the mind of many an Englishwoman in the seventeenth-century audience. If anyone imagines that England at that date was unconscious of the 'colour-bar' they cannot have read Othello with any care? And only those who have not read the play at all could suppose that Shake speare shared the prejudice, inasmuch as Othello is his noblest soldier and he obviously exerted himself to represent him as a spirit of the rarest quality. How significant too is the entry he gives him! After listening for 180 lines of the opening scene to the obscene suggestions of Roderigo and lago and the cries of the outraged Brabantio we find ourselves in the presence of one, not only rich in honours won in the service of Venice, and fetching his 'life and being from men of royal siege',3 but personally a prince among men. Before such dignity, self-possession and serene sense of power, racial prejudice dwindles to a petty stupidity; and when Othello has told the lovely story of his courtshipj and Desdemona has in the Duke's Council- chamber, simply and without a moment's hesitation, preferred her black husband to her white father, we have to admit that the union of these two grand persons, * 5. 2.134, 160. The Devil, now for some reason become red, was black in the medieval and post-medievcil world. Thus 'Moors' had 'the complexion of a devil' {Merchant of Venice, i. 2. -
Ruggeri's Amleto
© Luke McKernan 2004 RUGGERO RUGGERI’S AMLETO Notre Dame Shakespeare Festival, University of Notre Dame, South Bend, USA 4 November 2004 Luke McKernan Of all the products of the first thirty years of cinema, when films were silent, perhaps none were so peculiar, so intriguing, and in their way so revealing of the temper of the medium in its formative years, as silent Shakespeare films. Shakespeare in the cinema is enough of a challenge for some people; what about Shakespeare on film when you can’t hear any of the words? The film you are to see this evening is one of two hundred or more Shakespeare films that were made in the silent period of cinema. You are seeing it because it has survived (when so many films from this time have not), because it is a rarity scarcely known even by those who are expert in this area, and because it is a good and interesting film. Not a great film, but arguably the best silent Shakespeare film that exists. It is certainly a film that needs to be much better known. To those who may never have seen a silent film before, be assured that even if you can’t hear the words you will be able to read them, as such films commonly have on-screen titles throughout, and in performance they were never silent as such in any case – for you had music. Silent Shakespeare I said that more than two hundred silent Shakespeare films were made, and that is true, but few of these were feature-length, that is, an hour or more, such as this evening’s attraction. -
2-20 Praeclarum.Indd
For Rolls-Royce and Bentley Enthusiasts PRÆCLARVM The National Journal of the Rolls-Royce Owners’ Club of Australia No. 2-20 April 2020 AX201 finds a New Owner Quidvis recte factvm quamvis hvmile præclarvm Whatever is rightly done, however humble, is noble. Royce, 1924 PRÆCLARVM The National Journal of the Rolls-Royce Owners’ Club of Australia No. 2-20 April 2020 Issue 307 Regular Items Features Events Calendar 7779 From the Editor 7780 From the Federal President 7781 News from the Registers 7802 Book Reviews 7807 Market Place 7809 Articles and Features From the Sir Henry Royce Foundation: Russell Rolls, Chairman of Trustees, 7782 SHRF, gives the details of the recent loan and refurbishment of a Rolls-Royce diesel 'Eagle' truck engine for display at to the SHRF's Coolum, Qld, Museum. Photo: Gil Fuqua (USA) Photo: Rolls-Royce’s most iconic car, AX201, fi nds an enthusiastic new owner: 7783 Præclarvm is pleased to advise that Sir Michael After a period of mistaken rumours, David Berthon (NSW) is able to let Kadoorie of Hong Kong is the mystery buyer of Præclarvm lead with the news that Sir Michael Kadoorie, of Hong Kong, is the Rolls-Royce AX201 "Silver Ghost". Read David excited to have purchased the iconic AX201, "Silver Ghost". Berthon's story of the sale on page 7783. Oscar Asche, the 1910 Silver Ghost, 1237, and Two Versions of Chu Chin 7786 Chow. Ian Irwin (ACT) has been searching the Country's various Archives to present a story that centres around early Rolls-Royce motoring history. 1975 Silver Shadow Saloon (SRH22160) Successfully Completes the 2019 7788 Peking to Paris Rally (Part 4): Brothers, Steve and Alan Maden (Vic) fulfi lled a long-term desire and completed the 2019 Rally. -
POST OFFICE LONDON 1792 NEWSPAPERS-LONDON OFFICES of FOREIGN & OOLONIAL Bristol Times & Mirror, 185 Fleet Street E C
NEW POST OFFICE LONDON 1792 NEWSPAPERS-LONDON OFFICES OF FOREIGN & OOLONIAL Bristol Times & Mirror, 185 Fleet street E C. South Wales Daily News (Cardiff), 190 Fleet street E C DAILY PAPERS-continued. Burton Daily Mail, 85 Fleet street E C South Wales Daily Post (Swansea), 92 Fleet street E C 1 Halifax (N.S.) Evening Mail, 17 & 19 Cockspur street SW Burton Evening Gazette, 20 New Bridge street E C South Wales Echo (Cardiff), 190 Fleet street E C (evening) Hamburger N achrichten, the leading financial, commercial · Oambria Daily Leader (Swansea), 151 Fleet str!'et E C Southern Daily Echo (Southampton), 69 Fleet street E C & shipping paper in Germany, 11 Queen Victoria st E C- Cambridge Daily News. 47 Flet't street E C Sporting Chronicle (Manchester),46&47 Shoe la E C & 118 Fleet stE C T N 6347 London Wall Cheshire Daily Echo, 47 Fleet street E C Sporting Man (Newcastle), 84 Fleet street E C Herald (The) (Halifax, N.S.), 17 & 19 Cockspur street SW Citizen (The) (Gloucester), 88 FleettJtreet E C Staffordshire Sentinel, 44 Fleet street E C Herald (The) (Hamilton, Ont.), 17 & 19 Cockspur street SW· Cork Constitution, 85 Fleet street E C Sunderland Daily Echo, 170 Fleet street E C Hongkong Daily Press, 131 Fleet street E C · Cork Examiner, 85 Fleet street E C Sussex Daily News (Brighton), 69 Fleet street E C · Indian Daily News (Calcutta) (daily & weekly), 118 to 122 Temple Cork Free Press, 12, 13 & 14 Red Lion court, Fleet street E C Western Daily Mercury (Plymouth), 88 Fleet street E C chambers E C Daily Dispatch (Manchester), 46 & 47 Shoe -
Dd Shrewstudyguide.Pdf
HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander.