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In this memoir, John Hollingshead recounts his experiences as the manager of the Gaiety Theatre, a popular music hall in London during the late 1800s. With its mix of comedy, spectacle, and risque entertainment, the Gaiety was at the forefront of the Victorian era's theatrical revolution. Hollingshead provides readers with a fascinating glimpse into the world of music hall entertainment and Victorian popular culture. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Excerpt from Good Old Gaiety: An Historiette and Remembrance The site Of the Gaiety Theatre - a playhouse that I can take liberties with and will therefore call the dear departed - was not the Offspring Of a fluke. The fluke enters very largely into theatrical affairs, but not in this case. A capitalist, taking his Johnsonian walk up or down Fleet street, was not inspired to say, halloo! Here's a site; let us build a theatre! The dear departed, whatever its faults and merits may have been, was the be-all and end-all Of a deep design. It was an aggregation of properties quietly acquired by a gentleman with brains and money, who was quite able to manage his own affairs, without seeking wisdom (and not Often finding it) in a multitude Of counsels. He was supposed to have an ambition to pose as a music-hall proprietor, the fact having leaked out - (the tank that holds facts is always very leaky), - that he had purchased the Strand Jklusz'c/e Hall, as it was rather affectedly called. This hall, the only one so far east on the road to Temple Bar, was started by Mr. Syers, a gentleman Of education and enterprise, who had been a merchant in the City in a large way Of business. The hall gave itself superior airs. It was inoculated with a disease known at that time - about forty years ago - as the March Of Intellect. Its architecture was a museum Of samples; its decoration was scrofulous its programmes had an educational taint, and it came to the Strand-end Of Catherine street, just as that once riotous thoroughfare began to lose its popularity as the Haymarket Of Central London. Still it was the heart Of a theatrical market, which hardly exists at present. It was surrounded by Old taverns like the Edinburgh Castle, and the Albion - the latter the homely dining-place Of Charles Dickens, vvilkie Collins, and half the blend Of literature and journalism in the 'fifties and 'sixties. The Caves Of Harmony - the Coal Hole, the Cyder Cellars, and Paddy Green's (better known as Evans's were near; the Lyceum was struggling under many lessee ships, some Of them distinguished and all Of them interesting; the Strand Theatre, having given up its position Of jackal to the Insolvent Debtors Court, was nourishing the genius Of Marie Wilton, under the Swanboroughs the Olympic was still the little Olympic - a house with a history. Drury Lane was playing Milton's Camus to twelve pounds a night, as it afterwards played Hamlet (in Italian) to ten pounds (the wrong thing in the right place) the manager trying to make a round peg fill a square hole. The Adelphi was revelling in Toole, Old farce (writ large) and melodrama, soon to be housing Colleen Bawns and Jefferson and Covent Garden was doing nearly everything it was not intended to do under the Davenant Patent Of Charles II. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Serenity at 70, Gaiety At 80 by Garrison Keillor Pdf
RULE 12 Don't fight with younger people, even if you're right, which you probably are. When they tell you outrageous things, say, "That's very interesting, I'll have to think about it." These people will be writing your obituary, and why give them a reason to put "contentious" or "embittered" in the second paragraph or accusations of cultural appropriation or insufficient anger at power imbalance. If you enjoy dispute, go after your elders if you still have any who are of sound mind. Poke them in the stomach. This will amaze them, seeing as everyone else pities them to death, and they will relish combat and rise to the challenge and it will improve their respiration. And a day later they'll forget the whole thing.
Saving the Gaiety by Mervin Russell Stokes,Trevor Barrett Pdf
This book is not a blow-by-blow account of the extraordinary restoration of the Gaiety Theatre and Opera House in Douglas, Isle of Man, and nor is it intended to be. The words are a romp through the often hilarious memories and misfortunes of Mervin Russell Stokes, the man who has spent much of his working life serving the Gaiety and whose dedication and detective work in reincarnating this magnificent Frank Matcham playhouse became (and continues to be) an all-consuming passion. Mervin's MBE is a just reward for his achievements. Michael Thompson's pictures are a complete photographic record of every detail of the theatre's restored interior and exterior a priceless source of reference for the Gaiety's future preservation and a unique library for all students, researchers and devotees of Matcham's work and Britain's Victorian theatre heritage. With appendices which include a glossary of terms and a listing of all known Matcham theatres, "Saving the Gaiety" is also a book to entertain anyone who enjoys a good read or simply loves the theatre.
'A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.
Carmen and the Staging of Spain by Michael Christoforidis,Elizabeth Kertesz Pdf
Carmen and the Staging of Spain explores the Belle Époque fascination with Spanish entertainment that refashioned Bizet's opera and gave rise to an international "Carmen industry." Authors Michael Christoforidis and Elizabeth Kertesz challenge the notion of Carmen as an unchanging exotic construct, tracing the ways in which performers and productions responded to evolving fashions for Spanish style from its 1875 premiere to 1915. Focusing on selected realizations of the opera in Paris, London and New York, Christoforidis and Kertesz explore the cycles of influence between the opera and its parodies; adaptations in spoken drama, ballet and film; and the panorama of flamenco, Spanish dance, and musical entertainments. Their findings also uncover Carmen's dynamic interaction with issues of Hispanic identity against the backdrop of Spain's changing international fortunes. The Spanish response to this now most-Spanish of operas is illuminated by its early reception in Madrid and Barcelona, adaptations to local theatrical genres, and impact on Spanish composers of the time. A series of Spanish Carmens, from opera singers Elena Sanz and Maria Gay to the infamous music-hall star La Belle Otero, had a crucial influence on the interpretation of the title role. Their stories provide a fresh context for the book's reappraisal of leading Carmens of the era, including Emma Calvé and Geraldine Farrar.
