DOCSLIB.ORG

Colonial Theatre the Spring Chicken Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Colonial Theatre the Spring Chicken Program WEEK or APRIL 29, 1907 {rii COLONIAL THEATRE PROGRAM. WEEK OF APRIL 29, 1907! \i Newest Most Trlistic IT Color scheme AND COLDC ORNAMENTAL To any toilet table This is the New Can For Barker’s Antiseptic Tooth Powder. It is a Genuine Pleasure to Use this Powder. It is truly Antiseptic, preserving the Health of the teeth. It Whitens, brightens and polishes them. P 1^ I" In order to show the quality of this L M |b k powder, style of package and t > adver- 1 11 L r tise it, we will send a full size pack- • age by return mail to any one who sends this advertisement to F. A. BARKER, Gloucester, Mass., with their name and address and ten cents in stamps or silver to pay for mailing. Sold by S. 8. Pierce Co., T. Metcalf Co., Houghton & Dutton, Jordan, Marsh Co., R. H. White Co., Henry Siegel Co. and leading druggists. Hudnut's Pharmacy, New York Agents COLONIAL THEATRE PROGRAM. WEEK OP APRIL 29 1907. StevenS'Dnryea Sixes A single cylinder car is satisfactory up to a certain horse- car is power ; then the two-cylinder more desirable, but beyond a certain horsepower the two-cylinder is better replaced by the four-cylinder. And just as surely as the above is true, the six- cylinder car will inevitably replace the four in the higher horsepowers. Four-cylinder cars will be made by the different manufac- turers indefinitely. We are making both fours and sixes and expect to continue doing so. Have made two-cylinder cars for six years. But the fact remains that a man who buys a high powered, high priced, four-cylinder car to-day will not have an up-to-date proposition when the public are thoroughly educated as to the advantages of the six, which will simply be a matter of a few months. By High Powered Fours we mean cars of 40 horsepower or over. DO YOU REMEMBER HOW MUCH YOU RE- CEIVED FOR YOUR HIGH POWERED TWO- CYLINDER WHEN YOU TRADED IT FOR A FOUR? The time is drawing near when it will be just as difficult to sell or trade in a high powered four as it was the two Avoid this inevitable condition of affairs by getting one of the Then in twelve months’ time you will not be “ wishing you had.” We have a few new and second-hand two-cylinder Stevens- Duryea cars at reduced prices. Over 400 of these in constant use in New England. The Estate of p. E. RANDALL MANUFACTURED BY Stove Members A. L. A. M. COLONIAL THEATRE PROGRAM. WEEK OF APRIL *29, 1967. This trade mark on every piece of Paine Bedding is a guarantee of absolute satis^ faction. Better Bedding cannot be made. Paine Furniture Co. Model 21, 20 H. P., 1 . $ , 350 WITH COMPLETE EQUIPMENT DBMONSTRATINC NOW Thomas B. Jeffery & Company New England Branch 145 COLUMBUS AVENUE COLONIAL THEATRE PROGRAM. WEEK OF APRIL 29, 1907. A plain statement from Henry JSIitler: ** I can speak in the highest terms of your 363 TOILET SOAP, which I have found the greatest pleasure in using. Yours very truly, Henry Miller, BUCHAN’S is the only Absolutely PURE SOAP ' We respectfully solicit your account, whether r O fa stnail or large, business or personal, temporary or permanent, interest allowed on balances of $300 and over subject to check: CHARLES B. JOPP, GEORGE M. BARNUM, Jr. President, Treasurer. 6Eorge:h.':Poor, ROBERT G. SHAW, Jr. Secretary. Asst. Treasurer. ) COLONIAL THEATRE PROGRAM. WEEK OF APRIL 29. 1M7. Colonial Theatre WAMOFFinCO SEASON OF I906-I907* CHARLES FROHMAN ^HIROPODIST ISAAC B. RICH ^ Lessees and Manafers. WILLIAM HARRIS ) EXECUTIVE STAFF. Assistant Manager T. B. Lothian 128 A Tremont Street Stage Manager Geo. Ooring Electrician Robt. M. Edwards Manicuring Properties T. Grimmelman Pedicuring Musical Director Wm. McKinley Hair Shampooing Scalp and Facial Treasurer Geo. F. Mathews Ticket Agent A. E. Lothian Treatment Orchestra Doorkeeper W.G Vinal Chief of Ushers M. Sison The most exclusive list of pa* Matron Miss Guyon irons in Boston SCALE OF PRICES During RICHARD CARLE Engagement SUMMER WITHOUT WORRY. All re- Orchestra Stall« (entire) 1.60 A sponsibility assumed by those capable of First Balcony (first two rows) 1.50 assuming it. First Balcony (next two rows) 1.00 First Balcony (next five rows) 75 First Balcony (last four rows) 60 Second Balcony (first four rows) 60 Furniture, Bric-a-Brac, Silver, Furs Second Balcony (last four rows). 36 Admission 50 Orchestra Boxes. .10.00 First BalconyBoxes 12.00 and Rugs with the Second Balcony Boxes 6.00 Loges 4.00 Wareliouse Ticket Office open from 8 a. M. until after the Boston Stop Company close of every performance. Massachusetts and Westtaud Aves. Tet. 268 Back Bay Children ' under three years of age not . ALSO . admitted. Huntington Ave. and Bryant St. Tel. 1530 Back Bay Tickets for this Theatre can be ordered by Telephone—Oxford 411—or Mail or Telegraph, and will be held twentv-four hours except when ordered on the day of the performance ior which they are to be used, when they will be held until 12.90 H. for Matinees, and until 7 p. m. for even- ings. Tickets ordered by mail and paid for will Wedding be held until called for unless otherwise or- dered. Male patrons will please report to the Man- ager, in person or by letter, instances of inatten- Gifts tion or misdemeanor on the part of any attach^ of this Theatre. Ho engages to speedily correct any want of courtesy to them by persons in his service. Larger Variety A FREE CHECK ROOM, at the owner’s risL, -s provided in the Ladies’ Drawing Room on the than orchestra floor for Checking Cloaks, Coats and Umbrellas; also in Balconyln Xadiec^’ Drawing Before Room at right of entrance. Patrc.£8 are re- Ever quested to report to the Manager anyaccev£- ance of fees or suggestions that lees are desired by any one employed in the Theatre. $2.00 to $25.00 OPERA GLASSES TO LET IN THE LADIES CLOAK ROOM, Orchestra floor, for which a small fee of twenty-flve cents will be charged. Seasonable Goods Parties finding lost articles in any portion of at the Theatre wiliplease leave them at the Ticket Office. The Manager will not be responsible for articles placed under the seats. Reasonable Prices SMOKING AND MEN’S RETIRING BOOM. Entrance nnder stairs right of Main Entrance. SMOKING POSITIVELY FORBIDDEN IjTtHB LOBBY AND FOYER. N. G. PUBLIC TELEPHONE located in First BaL WOOD & SONS, cony Drawing Room. 128 TREMONT ST., Phtsioians who have patients to whbm they may be called suddenly can leave their seat Park St. Subway Station number in the Box office, and be called as 0pp. quiekly as in their efflee. : 8 OOLOWIAL THEATRE PBOQBJLM, WBMK OF APRIL 29, 190T. ALBERT E. PAR50NS LADIES* TAILOR and HABIT MAKER Special Offer! Habits $55.00 Tailored Costumes $55, $65, $75. Imported Models and New Materials Ready for Inspection. 304 Boylston Street, Boston STANDARD HOUSEHOLD DISINFECTANT Housekeepers con- sider it A REQUI- SITE. You see it in daily use every- where. On the bathroom shelf, in the kitchen, etc. A SICKROOM NECESSITY. Harry’s mother had given him an A Yale professor claims that the vege- apple and told him to peel it before he tarian is superior to the meatarian. ate it. Returning to the room after a Anyhow its cheaper to be the former few moments’ absence, and seeing no long about spring garden time. peeling, she asked *‘Did you peel your apple, Harry ?” Angler—Hang it! Is there a dry spot ‘‘Yes,” answered Harry. in this boat where I can strike a match? “What did you do with the peelings,” Boatman (who has been disappointed she asked. as regards refreshments) — Try my “Ate them.” throat, sir! At Soda Fountains, 5 Cents. OOLOWIAI. THgATRB PROGRAM. WEEK OF APRIL 29, 1«07. 3PEINQ HATS NOW READY IBe a^/i/ance andejrcA/j/Ve Spr/np shapes iv///6e approveddy^enf/e/nen des/r/np unquejf/onad// correct Jl/7e. l/ie n^orAnjans/)/p.pi/a//(/and f/nhh are aj i/saa/ o/fAe /}/p/ied order Jf^sAinffion St, opp. n'anA/mSt. 3oston~Mass. 10 COLONIAL THEATRE PROGRAM. WEEK OF APRIL 29, 1907. INTERNATIONAL TRUST COMPANY! 45 MILK ST., BOSTON, MASS. Capital $1,000,000.00; Surplus (all earned) 4,000,000.00! CHARTER PERPETUAL I TraasactM a Oeaeral Banking and Trust Company Business J Interest allowed on Deposits subject to 5 Check. Issues Interest-Bearing Certificates { of Deposit. Acts as Administrator, Executor and Trus- tee under Wills and Instruments of Trust. Absolutely Burglar^ Proof and Fire-Proof Safe Deposit Vaults Safes with TWO KEYS for protection of securities of Treasurers, Trustees and Executors. Separate Accommodations for Ladies John M. Graham, Pres. Henry L. Jewett, Sec. B. Farnham Smith, Asst. Sec. Meyer Jonasson & Co Tremont and Boylston Streets i Direct attention to their collection for I of handsome Coats and fiowns I evening wear. New Evening Coats $16.75 to $85.00 I New Princess Dresses 11.75 to 78.00 $ $ 5 - COLQNIAL THKATRE PROGRAM. WEEK OF APRIL 29, 1907. U Colonial Theatre agnarJi RICHARD CARLE $c fnttfr JriLO. IN The Full Feathered Muslo Show, Wedding Gifts THE SPRING CHICKEN CHESTS OF SILVER TEA SERVICES Richard Carle comes to this theatre PEARL AND DIAMOND with the most pronounced of all his suc- JEWELRY cesses, ‘^The Spring Chicken.” This has had a substantial run in New York ROCK CRYSTAL during the fall and winter, and after ten GLASS weeks in Chicago returned to Daly's, New York, where the foundation of its success was built.
Load more

Recommended publications
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Appendix 3 Operettas with English Librettos by Composers for the German Stage
    Appendix 3 Operettas with English Librettos by Composers for the German Stage Fall, Leo The Eternal Waltz, Hippodrome, London, 22 Dec. 1911, 100 perfs. Clara Evelyn & Ackerman May (as Feo Lahll). Bk & lyrs: Austen Hurgon (one act); SD: Austen Hurgon; MD: Leo Fall. The Eternal Waltz, Palace Theatre, New York, 24 Mar. 1913 (12 perfs). Opening production at Palace Theatre. Fall, Richard Arms and the Girl, London Hippodrome, 29 Apr. 1912, 95 perfs. G. P. Huntley, May de Sousa, & Jean Aylwin. Bk & lyrs: Austen Hurgon. Felix, Hugo The Merveilleuses (later, The Lady Dandies), Daly’sTheatre,London,27 Oct. 1906, 197 perfs. Robert Evett (Dorlis) & Denise Orme (Illyrine). Bk: Basil Hood (after Victorien Sardou); Lyrs: Adrian Ross; P: George Edwardes; SD: J. A. E. Malone; MD: Barter Johns; DD: Willie Warde. Tantalizing Tommy, Criterion Theatre, New York, 1 Oct. 1912, 31 perfs. Bk: Michael Morton, after Paul Gavault’s play La Petite Chocolatière; Lyrs: Adrian Ross; P: A. H. Woods; SD: George Marion; MD: Hans S. Linne. The Pearl Girl, Shaftesbury Theatre, London, 25 Sep. 1913, 254 perfs. Bk & lyrs: Basil Hood; Music by Hugo Felix & Howard Talbot; P & SD: Robert Courtneidge; MD: Arthur Wood; DD: Willie Warde. 319 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.22, on 01 Oct 2021 at 18:51:19, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 320 Appendix 3 Operettas with English Librettos Pom-pom, Cohan Theatre, 28 Feb. 1916, 128 perfs. Bk & lyrs: Anne Caldwell; P: Henry W.
    [Show full text]
  • The Mousmé and the Cultural Mobility of Musical Comedy
    6 Henry Balme Yale University, USA Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy Edwardian musical comedy had been sidelined in music and theatre histories due to its conservative design and frivolous narratives, but it is now being critically reassessed for the role it played in the creation of a first globalised network of theatre. The Mousmé is a work that exemplifies the process of performative re- contextualisation that accompanied musical comedies as they travelled from London’s West End across the world, as far as Yokohama and Tokyo. The work appealed to British audiences because it was held to be a realistic reconstruction of Japanese culture and society, but it was also enjoyed by Japanese audiences, despite its stereotypical portrayal of their people. This apparent dichotomy is explored in this essay, which presents little-known documents surrounding the production and its travels. It sheds light on how musical theatre became culturally mobile during the first age of globalisation. Henry Balme is a full-time Ph.D. candidate in Music History at the Department of Music of Yale University. He completed his M.St. at the University of Oxford (2015) and his B.Mus. at City, University of London. Keywords: Bandmann Opera Company, cultural mobility, Edwardian musical comedy, Florence Smithson, George Edwardes, globalisation, japonism, Maurice E. Bandmann, modernity ulture is rarely stable or fixed.1 This claim is corroborated by the global Ctransmission and reception of Edwardian musical comedy. For a long time the genre had been considered an obscure part of musical theatre history and thus demoted to the sidelines of musicology and theatre studies.2 It is now being critically re-assessed for the importance it played in the globalisation of theatre during the first fifteen years of the twentieth century: musical comedy became a medium of extraordinary mobility, transmitted via the transnational travel and communication networks that had been put into place during the nineteenth century.
    [Show full text]
  • 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.
    [Show full text]
  • Imagining China in London Musical Theatre During the 1890S: the Geisha and San Toy
    Imagining China in London Musical Theatre during the 1890s: The Geisha and San Toy William A. EVERETT University of Missouri-Kansas City Conservatory of Music and Dance 4949 Cherry Street, Kansas City, MO 64110-2229, USA E-mail: [email protected] (Received: March 2016; accepted: June 2016) Abstract: For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese them- selves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese char- acter is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English. Keywords: Orientalism, China, Operetta, The Geisha, San Toy How the British imagined China and the Chinese at the end of the nineteenth century was a complex, multi-faceted, and sometime contradictory affair. London at the time had a Chinese population of only about 300, and most Londoners as- sociated the Chinese with laundries, catering businesses, or opium dens.1 (Charles Dickens’ The Mystery of Edwin Drood provides a vivid example for the last of these images, with its menacing atmosphere filled with mystery and unknowing.) 1.
    [Show full text]
  • R.B.K.C. Corporate Templates
    LINLEY SAMBOURNE'S DIARY 1903 Notes and addresses on front pages: Store Ticket for 1903: 114698. Autograph Hunters: Marjory T.Tinns, Kirkhill Castle, Colmonell, Ayrshire. Colonel Kennedy's cigars. Cigar La Breta. Cosens & Co, 23 Wellington St, Strand, W.C. Sydney Clements Mexican Cigars. La Poncha. Regalia Espantero. Army & Navy. Managing Director: W.Phaysey Esq. Athenaeum Secy: Henry R.Tedder. Armour G.D. Etchelhampton House, Devises. Bellini's Hanover Hotel & Rest. 6 & 8 Mill St, W. Bonvoisin, Maurice. 53 Rue Pierre Charron, Paris. Baker, Sir B. Bowden Green, Pangbourne, Berks. Camera Club. Secy Miss M.F.Cromack Christmas Cards, Raphael Tuck & Sons. 72 Coleman St, E.C. Hugh, S. Eyre & Spottiswoode, Great New St, Fetter Lane, E.C. Clarke. Lady Charles Mansfield, 20 Lennox Gardens, S.W. Crompton, Col R.Evelyn. Triplands, Kensington Court. Bradbury Agnew & Co. New Secretary: Herbert Heather. Anderson. Anderson & Co. J.G.Anderson, 5 Fenchurch Avenue, London E.C. Will Bingham, 15 Kenbourne Road, Sharrow, Sheffield. Annie Francis Dix. Figaro Illustré. April 1890 Harlequin March May 1892 Breton Girl Sepr Kammerer Fort. March 1893 Gotz, L.R. 215 Shaftesbury Avenue, W.C. 1 LINLEY SAMBOURNE'S DIARY 1903 Easton Park Shoots: Jan '97, Oct '97, Jany '00, '01, '02. Howlden. Maynard Arms Hotel. H Linley. Grindleford, Derbyshire. 'Park Grange', Sheffield. Harris, Walter H. Rusthall Beacon, Tunbridge Wells. Anderson. J.G. Skelton. 4 Upper Berkeley St, W. (illeg) Horlick, Rob't A. Arbrook Farm, Esher, Surrey. McIlvaine, Clarence. 32 Portland Pl, W. Morris, B. 15 Copthall Avenue, E.C. Ladders. All sorts. J.H.Heathorne & Co, 72 Rectory Road, Parsons Green, Fulham, London S.W.
    [Show full text]
  • Maurice Farkoa Was Born on 23 April 1864 at Smyrna, Turkey, the Son Of
    Maurice Farkoa Maurice Farkoa was born on 23 April 1864 at Smyrna, Turkey, the son of a French father and an English mother, his maternal grandfather being Sir Robert Wilkinson, the local English consul. After varied succes in his youth, including singing at private functions (at which he has always welcome throughout the remainder of his life). Farkoa was selected by George Edwardes to fulfil the part of Carbonnet in An Artist’s Model (Daly’s, London, 2 February 1895 ; transferred to the Lyric, London, 28 May 1895), during the run of which his songs included ‘Le Fou Rire’ (which he first recorded for Berliner in Washington DC in 1896, and again in London in 1898, 1899 and 1905 ; see below) and Leslie Stuart’s ‘Triby Will Be True’. The latter was written in the wake of the craze after the publication of George Du Maurier’s successful novel of that name. Farkoa reprised the part when An Artist’s Model was produced at the Broadway Theatre, New York, on 23 December 1895, following by a short tour. ‘London, February 9 (1895) - … Owen Hall’s new play, An Artist’s Model, was produced on Saturday night last at Daly’s theater. For this production, as already cabled, George Edwardes gathered together the strongest cast ever seen in a similar production, including Marie tempest, Lottie Venne, Lettie Lind, Leonara Braham, the original Patience of Gilbert & Sullivan’s opera of that name ; Marie Studholme, Hayden Coffin, William Blakeley, Eric Lewis and others and the prettiest and most celebrated choristers in London… ‘A capital succes was earned by Maurice Farkoa, a well known society entertainer, but a newcomer on the London stage, who is under a two years’ engagement to Mr Edwardes.
    [Show full text]
  • German Operetta in the West End and on Broadway
    This is a repository copy of German operetta in the West End and on Broadway. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/95098/ Version: Accepted Version Book Section: Scott, DB orcid.org/0000-0002-5367-6579 (2014) German operetta in the West End and on Broadway. In: Platt, L, Becker, T and Linton, D, (eds.) Popular Musical Theatre in London and Berlin 1890 to 1939. Cambridge University Press , Cambridge , pp. 62-80. ISBN 9781107051003 https://doi.org/10.1017/CBO9781107279681.006 © 2014 Cambridge University Press. This material has been published in Popular Musical Theatre in London and Berlin 1890 to 1939 edited by Len Platt, Tobias Becker and David Linton. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. Uploaded in accordance with the publisher's self-archiving policy. Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request.
    [Show full text]
  • Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
    Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later.
    [Show full text]
  • Historians' Analysis of Gilbert and Sullivan's Impact on the Development of the American Musical Andrew Vorder Bruegge Winthrop University, [email protected]
    Winthrop University Digital Commons @ Winthrop University College of Visual and Performing Arts Faculty College of Visual and Performing Arts Publications 1-1-2012 A Dull Enigma: Historians' Analysis of Gilbert and Sullivan's Impact on the Development of the American Musical Andrew Vorder Bruegge Winthrop University, [email protected] Follow this and additional works at: https://digitalcommons.winthrop.edu/cvpa_facpub Part of the Theatre History Commons Publisher Citation Vorder Bruegge, Andrew. "A Dull Enigma: Historians' Analysis of Gilbert and Sullivan's Impact on the Development of the American Musical." Paper, Presentations and Patter: A Savoyards' Symposium. Ed. Ralph MacPhail. York, PA: International Gilbert and Sullivan Association, 2012. 1-16. Available at: http://works.bepress.com/andrew_vorder_bruegge/18 This Article is brought to you for free and open access by the College of Visual and Performing Arts at Digital Commons @ Winthrop University. It has been accepted for inclusion in College of Visual and Performing Arts Faculty Publications by an authorized administrator of Digital Commons @ Winthrop University. For more information, please contact [email protected]. A Dull Enigma: Historians’ Analysis of Gilbert and Sullivan’s Impact on the Development of the American Musical Theatre by Andrew Vorder Bruegge The scholars David Walsh and Len Platt consciously dis- connect musical theatre from operetta in their historical analysis, Musical Theater and American Culture, because linking them “makes it impossible to understand . the musical as an artistic phenomenon of popular culture that is reflexively tied . to American society and its culture” (Walsh and Platt 6). If they are including Gilbert and Sullivan among their French, Turk, Prussian, or perhaps Italian colleagues who worked in the nineteenth-century operetta genre, then they want to exclude the two Englishmen from the history of the musical theatre genre.
    [Show full text]
  • Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons, and the Theatre History Commons Recommended Citation Peters, Victoria, "Turn of the Century British Musical Comedy in an American Performance Library" (2018). Theses and Dissertations. 1896. https://dc.uwm.edu/etd/1896 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TURN OF THE CENTURY BRITISH MUSICAL COMEDY IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2018 ABSTRACT TURN OF THE CENTURY BRITISH MUSICAL COMEDY AND THIER USE IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gillian Rodger The genre label 'musical comedy' gained its stride in the 1920s, but the term emerged as early as the 1870s. These early musical comedies are often overlooked in the historical discussion of musical theater, due to a lack of integration between the storyline and musical numbers. With the help of the Tams-Witmark collection, housed at the University of Wisconsin-Madison’s Mills Music Library, this paper examines how two of these early musical comedies, composed by England’s Ivan Caryll and Sidney Jones, were exported and used by touring theater companies in The United States.
    [Show full text]
  • Brinoino America to the Br Nk of War~
    D...tltt sxaut tVEDNESDAT, JU:r 5, 1911. Digitised by the Library Services, University of Pretoria, 2015. LLOYD GEORGE SINGS MJ\CDERMOTT'S OLD SONG u WE'VE GOT MEN, WE'VE GOT THE SHIPS, WE'VE GOT THE MONEY, TOO." : ~HE a GUARANTEED DAILY NETI' SAlE MORE ntAN 1,000,000 COPIES. No. 1,920. : LONDON, \VEDKESDAY, MAY 5, 1915. [Registered aa a Newspaper.] ONE HALFPENNY-t BRINOINO AMERICA TO THE BR NK OF WAR~ The Gulftight• going down by the h ead . The crew had taken. to their boats, which were immediately launched after the torpedo hit the vessel. • . • the Gulfli ht into Port St. Mary's. The fate of the vessel and her crew. did not in the least concern the pirate;. Bnt1sh .""essels_ attempting to. tov;b a Germa~ submarine, has brought the United States nearer. to the bnnk o~ war than has any p:evwus mternatwnal The sfnking of the Gulfhght,, torped:>ed off Sctlly . Y thin less than "an act of war," and even Mr. Bryan admtts that the affa:r calls for an. explana~on from Germany. incident. Americans are saymg that the outrage ts n~ togrpedoed without warning and with one convulsiYe leap out of the water sank raptdly. The crew was taken . · ·1 f Texas to France \\as ' · h d' d th The G~lfhght, carrymg ot rom aboard' a patrol boat and landed at Penzance. Captam Gunther, owever, te on ! way. Digitised by the Library Services, University of Pretoria, 2015. BUDGET: -TWO MILLION -A DAY WAR.. ' - AS WE DID DURING.
    [Show full text]