P.G. Wodehouse Collection of William Toplis (1665) Lot

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P.G. Wodehouse Collection of William Toplis (1665) Lot

P.G. Wodehouse Collection of William Toplis (1665) May 7, 2020 EDT, ONLINE ONLY Lot 155 Estimate: $300 - $500 (plus Buyer's Premium) [Wodehouse, P.G.] Group of 17 Items Related to P.G. Wodehouse, Guy Bolton, and the Theatre Locations vary, 1918-2007. In 17 pieces. Size and condition varies. Includes: 1. Wodehouse, P.G., and Guy Bolton and Cole Porter Anything Goes New York: The Playbill, May 13, 1935. Issue featuring the New York production at the Alvin Theatre. 2. Wodehouse, P.G., and Guy Bolton and Cole Porter Anything Goes London: The Magazine Programme, August 5, 1935. Issue featuring the London production at the Palace Theatre. 3. Wodehouse, P.G., and Guy Bolton and Cole Porter Anything Goes London, 1936. First edition in wrappers (“Two shillings and sixpence net”). Text of play. McIlvaine C8a 4. Wodehouse, P.G., and Guy Bolton and Cole Porter Anything Goes London, 1936. First edition in wrappers (“Six shillings net”). Text of play. McIlvaine ? 5. Wodehouse, P.G., and Guy Bolton and Cole Porter Anything Goes Program from 2007 amateur production 6. Wodehouse, P.G., and Guy Bolton Come On, Jeeves London, (1956). First edition in wrappers. Text of play. McIlvaine C11a 7. Wodehouse, P.G. (as Stephen Powys), and Guy Bolton Don’t Listen Ladies! London, (1948). First edition in wrappers (6s. net). Text of play. McIlvaine C10a 8. Wodehouse, P.G. (as Stephen Powys), and Guy Bolton Don’t Listen Ladies! London, (1948). Reprint in wrappers (no price). Text of play. Scattered marginalia in pencil. (another copy) McIlvaine ? 9. Wodehouse, P.G., and Guy Bolton and Armand Vecsey The Nightingale Chicago, April 16, 1927. Program from the Shubert Great Northern Theatre. 10. Wodehouse, P.G., and Guy Bolton and George Gershwin and Ira Gershwin Oh, Kay! London, etc., 1927. 8vo. Sheet music (Pianoforte Selection). Australia and New Zealand price and Chappell & Co. Ltd. rubber stamps on front wrapper. 11. Wodehouse, P.G., and Guy Bolton and George Gershwin and Ira Gershwin Oh, Kay! Actor Al Checco’s copy of the script, presumably for the 1960 revival. Heavily annotated. Checco’s headshot laid in. 12. Wodehouse, P.G., and Guy Bolton and George Gershwin and Ira Gershwin Oh, Kay! April, 1960 Playgram for 1960 revival. 13. Wodehouse, P.G., and Guy Bolton and Louis A. Hirsch Oh, My Dear! New York, (1918). 4to. Sheet music for City of Dreams. 14. Wodehouse, P.G., and Guy Bolton and Louis A. Hirsch Oh, My Dear! No place, no date. Photocopy of script. 15. Wodehouse, P.G., and Guy Bolton and George Gershwin and Ira Gershwin Rosalie New York, April 2, 1928. Program for the New Amsterdam Theatre. 16. Wodehouse, P.G., and Guy Bolton and Armand Vecsey The Rose of China New York, December 15, 1919. Program for the Lyric Theatre. 17. Wodehouse, P.G., and Guy Bolton Who’s Who? London, (1934). Program for the Duke of York’s Theatre..

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Westminster Abbey South Quire Aisle
Westminster Abbey South Quire Aisle The Dedication of a Memorial Stone to P G Wodehouse Friday 20th September 2019 6.15 pm HISTORICAL NOTE It is no bad thing to be remembered for cheering people up. As Pelham Grenville Wodehouse (1881–1975) has it in his novel Something Fresh, the gift of humour is twice blessed, both by those who give and those who receive: ‘As we grow older and realize more clearly the limitations of human happiness, we come to see that the only real and abiding pleasure in life is to give pleasure to other people.’ Wodehouse dedicated almost 75 years of his professional life to doing just that, arguably better—and certainly with greater application—than any other writer before or since. For he never deviated from the path of that ambition, no matter what life threw at him. If, as he once wrote, “the object of all good literature is to purge the soul of its petty troubles”, the consistently upbeat tone of his 100 or so books must represent one of the largest-ever literary bequests to human happiness by one man. This has made Wodehouse one of the few humourists we can rely on to increase the number of hours of sunshine in the day, helping us to joke unhappiness and seriousness back down to their proper size simply by basking in the warmth of his unique comic world. And that’s before we get round to mentioning his 300 or so song lyrics, countless newspaper articles, poems, and stage plays. The 1998 edition of the Oxford English Dictionary cited over 1,600 quotations from Wodehouse, second only to Shakespeare.
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OPERA, COMIC OPERA, MUSICAL Box 4/1
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Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
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Plum L in es The quarterly journal of The Wodehouse Society Vol. 22 No. 2 Summer 2001 The First Screen Jeeves By Brian Taves Brian Taves (PhD, University of Southern California) is a film archivist at the Library of Congress and author of three books. t the end o f 1935,20th detective, and Chan was A Century-Fox bought the studio’s most popular the film rights to Thank “star” after Shirley Ton, Jeeves (along with a Temple. one-year option on the Like Chan, Jeeves had other stories) and the right been brought to the no to make other films cen tice of the American read tered around Jeeves. Look ing public in The Saturday ing for potentially pro Evening Post. The Jeeves lific—and profitable — film series seems to have properties, the studio was been launched on what interested in any character was perceived as a sure who seemed to have the bet, casting Arthur potential to lure filmgoers Treacher, known for play to film after film, no less ing butler roles, as the fa than a modern television mous literary butler. series. Earlier in the year, However, while the Chan Fox’s merger with 20th series was cast and pre Century had enhanced the sented in a manner conso A studio photo of the three principals in the first Jeeves film: studio’s status, and a CCB” nant with Biggers’s liter David Niven, Virginia Field, and Arthur Treacher. unit was organized under ary creation, the Jeeves Sol Wurtzel, who had a $6,000,000 annual budget for films revealed no sense of the situations and character pat 24 “Bs” per year.
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Wodehouse and the Baroque*1
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Feb 9, 2020 (PDF)
Eucharisc Liturgies (Mass) St. Edward Parish Office Saturday 8:15 a.m. and 5:30 p.m. Vigil Monday-Friday 8 a.m.—7 p.m. Sunday 7:30, 9:00 & 11:00 a.m., 1:00 Spanish & 5:30 p.m. Saturday & Sunday 8 a.m.—2 p.m. Weekday 8:15 a.m. and 5:30 p.m. (949) 496-1307 Holy Day Vigil 5:30 p.m. evening prior to the holy day Holy Day 8:15 a.m., 5:30 p.m. & 7:30 p.m. Spanish 33926 Calle La Primavera Dana Point, California 92629 Sacrament of Penance (Confession) Fax: (949) 496-1557 Monday 6:00—7:00 p.m. Saturday 4:00—5:00 p.m. www.stedward.com Confessions at San Felipe de Jesus Chapel First Friday 6:00—7:30 p.m. CLERGY You may also call a priest to schedule an appointment. Rev. Philip Smith Anoinng of the Sick/Emergency Administrator In the event of serious illness or medical emergency, contact the Parish office to arrange for Anoinng of the Sick and Eucharist. (949) 429-2880 [email protected] Sacrament of Bapsm Infant Bapsms are celebrated on the first and third Sundays of each month Rev. Marco Hernandez following catechesis for parents and godparents. Parents of infants should contact the Faith Formaon office (949) 496-6011 to enroll. Parochial Vicar (949) 429-2870 Celebraon of Chrisan Funerals [email protected] At the me of death, a family member should contact the Parish office to arrange the date and me for the funeral liturgy.
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Program Notes by Joshua S
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Spring 1998 P G
Plum Lines The quarterly journal o f The Wodehouse Society Vol. 18 No 1 Spring 1998 p G. w ODEHOUSE: 1YiU(IST By W. E Richardson A talk delivered at the Chicago convention of die Wodehouse Society, October, 1997- Will Richardson, a new acquaintance for most of us at the convention, is a New Zealand classical scholar who is co-audioring a book with President Dan Garrison. Most of us know that Plum was a prominent musical comedy lyricist in die early part of die century. Fewer of us know how excellent he was. Pm indebted to David Jasen for die rare theatrical ephemera that illustrate this article. They are copied from hisThe Theatre ofP.G. Wodehouse, Batsford, London, 1979. Lara Cazalet, the soloist for several of the songs discussed here, is, of course, Plum’s great-granddaughter. She is an accomplished performer and was a very welcome guest at the convention. — OM first encountered the name P. G. Wodehouse, not on did not stop then, for in 1971 at the age of 90 he was still the title page of a novel, but at the top of the published enthusiastically composing lyrics and writing to Guy words and music of a song. Bolton about them. This It was one of the songs from was an activity which he ■: • :is:®: O'SSSSi v/i 7 M ; w m £ m3KWAW £ £ U CC E $ S ,::: :¥:KW:*i • > : .j' •':!!;::: I i! i j j j j:!! the 1927 musical Showboat. The m? t. a.shale.. enjoyed and which was an music for this show was writ ...— —.
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The Alan Ayckbourn and Andrew Lloyd Webber Musical Based on the Jeeves Stories by P.G
SPOTLIGHT ON THEATER NOTES PRODUCED BY THE PERFORMANCE PLUS™ PROGRAM, KENNEDY CENTER EDUCATION DEPARTMENT THE ALAN AYCKBOURN AND ANDREW LLOYD WEBBER MUSICAL BASED ON THE JEEVES STORIES BY P.G. WODEHOUSE logo designed by Dewynters plc., London TM © 1996 RUG Ltd. TM © 1996 RUG London plc., Dewynters designed by logo Y EEVES “The Fairy Tale World B J Jeevesorever joined and at the comic Bertie hip, Reginald Jeeves and Bertram Wilberforce Wooster are in the front rank of Fdroll characters invented in the 20th century. of P.G.odehouse Wodehouse” biographer Richard Jeeves is the perfect manservant. Bertie (“Bertram Voorhees* points out that BERTheTIE WOO STCharactersER TheTHE SCENE Story: A church hall, later to represent a London Wilberforce” is reserved for the rarest of occasions) is the WWodehouse’s fiction belongs “spiri- John Scherer flat and the house and grounds of Totleigh Towers. far-from-perfect master. Through the imagination of P.G. tually to the world of Victoria and Edward VII,” a THE TIME: This very evening. Wodehouse they have found a happy symbiosis, not unlike world “roughly limited on one side by the EEVES his manservant J , Eager to contribute to the festivities of a charity benefit that of naughty child and protective parent. Diamond Jubilee of Queen Victoria [1897] and Richard Kline performance in an English village hall, dim-but-affable Given Bertie’s propensity for foolish capers and his limited on the other by the introduction of the cross- Bertie Wooster bursts on stage strumming a frying pan. HONORIA GLOSSOP, his ex-fiance vocabulary, it is a bit difficult to understand how he managed word puzzle [1925].” To his confusion and chagrin, he realizes that the pan has Donna Lynne Champlin to graduate such prestigious institutions of learning as Eton been substituted for his stolen banjo.
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