Drawn in crayon by Mr. Waititi, Paula and Andy are burlesques of bureaucratic incompetency.
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Although they were made in the 70s and often take place in the more distant past, Wertmüller's political burlesques feel astonishingly contemporary.
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The upper crust flocked, too, to drag shows and gay burlesques, part of a long tradition of straight daters cribbing from gay life.
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A former fighter pilot with the Pakistani Army and longtime BBC correspondent, Hanif made his name with his Joseph Heller-influenced burlesques about the horrors and hypocrisies of war.
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On Wednesday afternoon City Hall was planning to name her as New York's first Nightlife Mayor, its ambassador at large to the late-night world of bars, burlesques and cabarets.
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Most obviously, the film burlesques society's scorn for single people and the capriciousness of coupling: suitability in a mate is based on odd superficial qualities, such as a limp or a lisp.
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The streaming service's new show, Singapore Social, brings The Hills to Asia and follows the super glamorous, super-rich lives of entrepreneur Nicole Ong, influencer Mae Tan, YouTuber Vinny Sharp, singer Tabitha Nauser, host Paul Foster, and burlesques dancer Sukki Singapora.
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Three Burlesques, Op. 8c, Sz. 47, BB 55 () is a set of burlesques for piano by Hungarian composer Béla Bartók. It was composed between 1908 and 1911.
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In his spare time, he wrote humorous anecdotes and burlesques, often under the guise of his pseudonyms.
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Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planché.Adams, W. Davenport. A Book of Burlesque (London: Henry and Co., 1891), p. 44 Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.
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The Liverpool press was no more than moderately impressed by the piece, judging it "no better and no worse" than other burlesques staged locally.Stedman, p. 40 The London critics were much more favourable. The consensus was that Gilbert had avoided the vulgarity of most burlesques, choosing good music and writing ingenious and literate words.
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Beginning in the 1880s, when comedian-writer Fred Leslie joined the Gaiety, composers like Meyer Lutz and Osmond Carr contributed original music to the burlesques, which were extended to a full-length two- or three-act format."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9 These later Gaiety burlesques starred Farren and Leslie.
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Authors who wrote burlesques included J. R. Planché, H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.
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The Times, 17 April 1922, p. 17 From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.Gänzl, Kurt.
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Among the places he visited were Glasgow, Coatbridge and Greenock the latter in which he enjoyed much success in the burlesques False Glitter and the show's after piece, Peebles.Daley, pp. 50–51. Chevalier was engaged to appear in Arthur Pinero's The Magistrate in 1885 and The Schoolmistress the following year. In 1889 he became the principal comedian at the Avenue Theatre, predominantly in burlesques.
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Like ballad opera, burlesques featured musical scores drawing on a wide range of music, from popular contemporary songs to operatic arias, although later burlesques, from the 1880s, sometimes featured original scores. Dance played an important part, and great attention was paid to the staging, costumes and other spectacular elements of stagecraft, as many of the pieces were staged as extravaganzas. Many of the male roles were played by actresses as breeches roles, to show off women's legs in tights, and some of the older female roles were taken by male actors. Originally short, one-act pieces, burlesques were later full-length shows, occupying most or all of an evening's programme.
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George Edwardes had left the management of Richard D'Oyly Carte's Savoy Theatre. He took over the Gaiety Theatre and, at first, he improved the quality of the old burlesques.
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Hollingshead (1903), pp. 40–64 John D'Auban acted as the theatre's ballet-master and choreographed the Gaiety burlesques and other pieces from 1868 to 1891."Mr. D'Auban's 'Startrap' Jumps".
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Thorne wrote several pantomimes, some burlesques, two comic operas, and adaptations of several of Charles Dickens's novels for the stage. He also wrote a volume of reminiscences, entitled Jots (1897).
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Two Dion Boucicault plays produced here in the early 1870s were Night and Morning and Led Astray. Among other burlesques written by Byron for the theatre from 1876 to 1879,Lee, Amy Wai Sum.
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The "Pas de Quatre" from Faust up to date (1888), one of many Gaiety burlesques choreographed by D'Auban D'Auban quickly became popular as a grotesque dancer and "star-trap" performer in London music halls early in his career. From 1865 to 1868, he danced in many of the Alhambra Theatre burlesques and pantomimes under director John Hollingshead.Hollingshead, John. My Lifetime, 2 vols., Chapter XXIII, (1895) S. Low, Marston: London He made a sensation in Paris in 1866, introducing that city to the star-trap.
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Bellini's Norma, burlesqued by Gilbert The Pretty Druidess; Or, The Mother, The Maid, and The Mistletoe Bough is an operatic burlesque by W. S. Gilbert. It was produced at the opening of the new Charing Cross Theatre on 19 June 1869 and ran until September of that year. The work was the last of five such burlesques that Gilbert wrote in the late 1860s. As in his other operatic burlesques, he chose a selection of operatic and popular tunes and wrote new words to fit them.
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Mander and Mitchenson, p. 461 Matthews ended his tenancy in July 1863 and was followed by Benjamin Webster, who mounted a series of revivals and a few new burlesques and extravaganzas, which were financially unsuccessful.Duncan, p.
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As with Phantom, Lloyd Webber's score for Love Never Dies also includes original music in the style of the show's time period to accompany character "performances" taking place within the show itself. Only "Bathing Beauty" survived the post-concept album cuts to be performed on stage. Instead of the operatic passages for fictional "operas", the "stage" music at Phantasma is based on the companion pieces to the Savoy Operas, which were often burlesques and were also sometimes performed at the Opéra Comique. Many of these kinds of burlesques were based on existing French operas.
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His wife became well known for her roles as the "principal boy" in musical burlesques at the theatre. Soutar also directed plays and wrote pantomimes and other pieces. His son was the actor and singer Joseph Farren Soutar.
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William Brough Graphic Magazine, April 1870 William Brough (28 April 1826 – 13 March 1870) was an English writer. As a dramatist, he wrote some of the earliest German Reed Entertainments, as well as Victorian burlesques, farces and other pieces.
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It also enjoyed several revivals. The original production starred Nellie Farren in the title role – she became the company's leading "principal boy". Several of the other male roles were played by women, as was common in burlesques of the day.
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Like the London prototypes, his burlesques included characters with nonsensical names such as Wunsuponatyme and The King of Neverminditsnamia, and made fun of all kinds of music currently being presented in the city.Rogers, Delmer D. "Public Music Performances in New York City from 1800 to 1850", Anuario Interamericano de Investigacion Musical, Vol. 6 (1970), pp. 5–50, accessed 2 February 2011 Unlike pantomime, which aimed at all ages and classes, burlesque was aimed at a narrower, highly literate audience; some writers, such as the Brough brothers,Robert Barnabas Brough and his brother William Brough wrote successful burlesques, sometimes jointly and sometimes alone.
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In the Victorian era, musical burlesques generally included several breeches roles. According to the Grove Dictionary of Music and Musicians, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in travesty roles ... the plays themselves did not normally tend to indecency."Schwandt, Erich et al. "Burlesque", Grove Music Online. Oxford Music Online, accessed 3 February 2011 One of the specialists in these roles was Nellie Farren who created the title roles in numerous burlesques and pantomimes, including Robert the Devil, Little Jack Sheppard and Ruy Blas and the Blasé Roué.
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Among the numerous Victorian burlesques and later parody versions of the play was an 1884 version by F. C. Burnand called Black Eyed See-Usan, first produced at the Alhambra Theatre."Dramatic Gossip", The Athenaeum: A Journal, 16 August 1884, p. 220.
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"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011 Wells, Stanley. "Shakespearian Burlesques", Shakespeare Quarterly, Vol. 16, No. 1 (Winter, 1965), pp.
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Nissen, Axel. Bret Harte: Prince and Pauper. Jackson, MS: University Press of Mississippi, 2000: 25. Webb's irreverent tone and burlesques of California life and Californians, however, were not successful and in 1866 he left The Californian and returned to the East Coast.
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After this, she toured in several of the Gaiety burlesques before creating the role of Dame Hecla Cortlandt in W. S. Gilbert and Osmond Carr's His Excellency in 1894. From 1895, she played in Edwardian musical comedy, pantomime and non- musical plays until 1900.
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Nellie Farren Ellen "Nellie" Farren (16 April 1848 – 29 April 1904) was an English actress and singer best known for her roles as the "principal boy" in musical burlesques at the Gaiety Theatre. Born into a theatrical family, Farren began acting as a child. She made her professional adult debut in 1864 and joined the company at London's Olympic Theatre, performing in Shakespeare, contemporary comedies, dramas and musical burlesques. From 1868 to 1892, she performed at the Gaiety Theatre, which specialised in musical burlesque, becoming famous in the male and principal boy roles, which permitted an actress in the Victorian era theatre to show her legs in tights.
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Svengali and Trilby in the London theatrical production of 1895 Trilbyana or Trilby-Mania was the fashion for things based on the story Trilby by George du Maurier. This was especially popular during the 1890s. The works included burlesques, cartoons, movies, parodies, plays, sketches and tableaux.
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She then worked for the Royal Strand Theatre. She married Arthur Swanborough, who was the son of the theatre's manager, Ada Swanborough, in 1860. Bufton performed in Post- boy in 1860, in the role of Miss Wharton. She also performed other roles in burlesques at the Strand.
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He made his London debut in 1885 and appeared in several of the famous Gaiety burlesques from 1887 to 1891. He starred in such other major works as Little Christopher Columbus (1893), Baron Golosh (1895) and The Messenger Boy (1900) before dying at the age of 41.
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He appeared in a number of English and Irish theaters, and produced a successful play, Virginius, and a number of dramas and burlesques. He was the author of Poems (1837); Book of the Drama (1851); Memoirs of James Gordon Bennett and his Times; and other works.
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It includes burlesques, romantic scenes and satirical elements. Its satire derides all classes and the court as well as curiosity, passion for finery, loquacity and the art of seduction of women. As a musician, he composed a tune in 16 verses on Saint Maurice and Saint Ursus of Solothurn.
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From 1876 to 1879, he wrote several successful burlesques for the Gaiety Theatre, London, such as a burlesque of Dion Boucicault's Don Caesar de Bazan called Little Don Caesar de Bazan,Information about Little Don Caesar de Bazan and the Gaiety Theatre at VictorianWeb.org and The Gaiety Gulliver (1879).
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These were full of awful puns and jokes as was traditional in similar pieces of the period.Stedman, pp. 30–62 For instance, in La Vivandière Gilbert included this joke on a Darwinian theme: Nevertheless, Gilbert's burlesques were considered unusually tasteful compared to the others on the London stage.Crowther, Andrew.
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The popularity of stage burlesque in general and operatic > burlesque in particular seems to have stemmed from the many ways in which it > entertained a diverse group, and the manner in which it fed and fed on the > circus-like or carnivalesque atmosphere of public Victorian London. W. S. Gilbert wrote five opera burlesques early in his career, beginning with Dulcamara, or the Little Duck and the Great Quack (1866), the most successful of which was Robert the Devil (1868).Stedman, p. 62 In the 1870s, Lydia Thompson's burlesque troupe, with Willie Edouin, became famous for their burlesques, by such authors as H. B. Farnie and Robert Reece, both in Britain and the U.S.Lawrence, W. J., rev.
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Musically, Shakespearean burlesques were as varied as the others of the genre. An 1859 burlesque of Romeo and Juliet contained 23 musical numbers, some from opera, such as the serenade from Don Pasquale, and some from traditional airs and popular songs of the day including "Buffalo Gals", and "Nix my Dolly".Jacobs, Henry E., "The Bard Debunked", Shakespeare Quarterly, Vol. 31, No. 2 (Summer, 1980), pp. 294–96, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011 Sheet music from Faust up to Date The dialogue for burlesques was generally written in rhyming couplets, or, less often, in other verse forms, such as blank verse; it was notable for its bad puns.
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2, Jazzybee Verlag Jŭrgen Beck - Google Books Within a few years Oates had changed her repertoire of old-style British burlesques for the latest French fashion in musical-theatre, becoming one of the most adventurous and durable theatrical managers to successfully produce and play English- language opéra bouffe and opéra comique around America. Her Little Faust manner of staging, however, remained her manner throughout. The pieces were heavily botched, their comedy considerably lowered, their musical scores spattered with topical and local ditties, and the programmes perforated with variety acts, until they resembled far more the old English burlesques Oates had dropped from her repertoire than the very much more sophisticated French variety.Gänzl, Kurt.
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Retrieved . lazy, buffoonish,John Kenrick, A History of the Musical: Minstrel Shows , musicals101.com. 1996, revised 2003. Retrieved . superstitious, and happy-go-lucky. Minstrel shows emerged as brief burlesques and comic entr'actes in the early 1830s in the Northeastern states. They were developed into full-fledged form in the next decade.
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Gallagher was born in 1873 in San Francisco, California.The Oxford Encyclopedia of Theatre and Performance uses San Leandro, California For fifteen years, Gallagher partnered with Joe Barrett in a comedy act that was best known for military burlesques, particularly "The Battle of Too Soon."Slide, Anthony (2012). The Encyclopedia of Vaudeville. Univ.
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Merivale wrote many farces and burlesques. For John Hollingshead he produced a burlesque, The Lady of Lyons Married and Settled, performed at the Gaiety Theatre (5 October 1878), and Called There and Back (15 October 1884). The Butler (1886) and The Don (1888) were both written for the actor J. L. Toole.
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Summer 2011. but no one at the time anticipated that this was the beginning of a great collaboration. Unlike the later Gilbert and Sullivan works, it was hastily prepared, and its nature was more risqué, like Gilbert's earlier burlesques, with a broader style of comedy that allowed for improvisation by the actors.
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51–2; Shaw, p.177. Kenilworth spawned "numerous stage adaptations and burlesques, at least eleven operas, popular redactions, and even a scene in a set of dioramas for home display", including Sir Arthur Sullivan's 1865 cantata The Masque at Kenilworth.Hackett, p.60. J. M. W. Turner painted several watercolours of the castle.
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Subsequently, he wrote fourteen pantomimes, one of his burlesques, the Siege of Troy, running for sixty nights. In 1870, he returned to England, and wrote pantomimes for Astley's, the Pavilion, and the Elephant and Castle Theatres. He died on board the Patriarch, on the return voyage to Sydney, on 7 June 1878.
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3 Carte later said it was "the scheme of my life" to found a school of high-quality, family-friendly English comic opera,Joseph, p. 11 in contrast to the crude burlesques and adaptations of French operettas that dominated the London musical stage at that time.Ainger, pp. 108–109; and Stedman, pp.
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The tales vary widely: they include historical tales, love stories, tragedies, comedies, poems, burlesques, and various forms of erotica. Numerous stories depict jinn, ghouls, apes,The Third Voyage of Sindbad the Seaman – The Arabian Nights – The Thousand and One Nights – Sir Richard Burton translator. Classiclit.about.com (2013-07-19). Retrieved on 2013-09-23.
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Manipur's performances ranged from various dances performed during ‘Lai Haraoba’ to ‘Raas’, ‘Goura Lila’, ‘Gostha’, and others. During the time of Maharaj Chandrakirti, performers of burlesques received royal patronage. But those performances were without proper script or structure. The main objective was to entertain the audience with their histrionics or plain banality.
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8 D'Auban then acted as ballet- master at the Gaiety, choreographing its famous burlesques, until 1891. In 1870 and in 1875 at the Gaiety, D'Auban choreographed Charles Dibdin's musical farce, The Waterman. From 1868 to 1909, D'Auban arranged the dances for more than 150 productions in the West End, at 30 different theatres.
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University Press of Mississippi, 2012: 172. In 1864, Leon formed a minstrel troupe with Edwin Kelly. Leon and Kelly's Minstrels spoke of their freedom from vulgarity and featured elaborate scenery and refined operas with Leon as the female lead. Though these were at heart burlesques, Leon insisted that everything was quite proper.
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Among the authors of its burlesques were W. S. Gilbert and H. B. Farnie. Its stars included Lydia Thompson, Lionel Brough and Willie Edouin. In 1876 Thompson and her husband, Alexander Henderson, became lessees of the theatre and renamed it the Folly Theatre. They continued the theatre's customary mix of operetta and burlesque.
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Nicholls, c. 1900 Henry Thomas "Harry" Nicholls (1 March 1852 – 29 November 1926)"Harry Nicholls", Gilbert and Sullivan Archive, 7 October 2004, accessed 26 September 2018. was an English actor, comedian, songwriter and playwright, popular during the Victorian era. As an actor, he appeared in music hall, Victorian burlesques and Edwardian musical comedy.
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Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist.Goldberg, p. 144. Sullivan, however, was at this point mainly known for his serious music.
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However, in the 1860s and 1870s, burlesques were one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognise. Edwardes expanded the format, adding an original score composed chiefly by Meyer Lutz, and the shows were extended to a full-length two- or three-act format."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9, col. D These "new burlesques" included Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Joan of Arc by Adrian Ross and J. L. Shine (1891) and Cinder Ellen up too Late (1891).
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His friend and mentor, Tom Robertson, was asked to write a pantomime but did not think he could do it in the two weeks available, and so he recommended Gilbert instead. Written and rushed to the stage in 10 days, Dulcamara, or the Little Duck and the Great Quack, a burlesque of Gaetano Donizetti's L'elisir d'amore, proved extremely popular. This led to a long series of further Gilbert opera burlesques, pantomimes and farces, full of awful puns (traditional in burlesques of the period),Gilbert, W. S. La Vivandière, or, True to the Corps! (a burlesque of Donizetti's The Daughter of the Regiment) though showing, at times, signs of the satire that would later be a defining part of Gilbert's work.
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Frank and Jesse James wrote letters to the Kansas City Star signed "Jack Sheppard".Linebaugh, p.7. Nevertheless, burlesques of the story were written after the ban was lifted, including a popular Gaiety Theatre, London piece called Little Jack Sheppard (1886) by Henry Pottinger Stephens and William Yardley, which starred Nellie Farren as Jack.
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Blanchard's most successful position was writing the Drury Lane pantomimes. He contributed pantomimes for that theatre for 37 years. He was applauded for his skill in writing on a variety of different topics, including dramas, farces and burlesques. His work was often praised for good taste and moral themes, in addition to its imaginative qualities.
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The newly named Winter Garden Theatre eventually became home to a series of musical extravaganzas and burlesques: Cinderella with music by Charles Koppitz and a text by Charles Dawson Shanley on September 9, 1861, The Wizard's Tempest by Charles Gayler, on June 9, 1862, and King Cotton by Charles Chamberlain on June 21, 1862.
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Gray, Donald J., "The Uses of Victorian Laughter", Victorian Studies, Vol. 10, No. 2 (December 1966), pp. 145–76, Indiana University Press, accessed 2 February 2011 The last Gaiety burlesques were Carmen up to Data (1890),Adams, pp. 254–55 Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).
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26, No. 3 (Autumn, 1973), pp. 365–82, University of California Press, accessed 2 February 2011 The Olympic Theatre, for which Planché wrote Olympic Revels Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planché.Adams, W. Davenport. A Book of Burlesque (London: Henry and Co., 1891), p.
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John Hollingshead had managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and musical burlesques. In 1886, Hollingshead ceded the management of the theatre to George Edwardes, whom he had hired in 1885. Fred Leslie wrote many of the theatre's pieces under his pseudonym, "A. C. Torr".
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Music from Roberts's song in Robinson Crusoe Arthur Roberts (21 September 1852 – 27 February 1933) was an English comedian, music hall entertainer and actor. He was famous for portraying the pantomime dames and later for his comic characters and "gagging" in farces, burlesques and musical comedies. He is credited with coining the word "spoof".
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A 1961 Warner Bros. Looney Tunes animated cartoon entitled The Abominable Snow Rabbit parodies Lennie and George. In American theatrical cartoons from Warners and MGM, large strong dimwitted characters of various species were often depicted and voiced as burlesques of Chaney Jr.'s interpretation of Lennie, most notably in Lonesome Lenny, the final cartoon featuring Screwy Squirrel.
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He performed on stage and in a handful of films until 1926. In addition to burlesques, comedies, and operettas, Dixey had a magic act as "Dixey, the Magnificent." He ventured into silent films in 1908, acting the title role in David Garrick. He also appeared in the films Chelsea 7750 (1913) and Father and Son (1916).
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Robert the Devil was part of a series of five operatic burlesques written early in Gilbert's career. The first was Dulcamara, or the Little Duck and the Great Quack an 1866 musical spoof of Donizetti's L'elisir d'amore. The second was La Vivandière; or, True to the Corps!, a parody of Donizetti's La fille du régiment (1867).
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By the 1860s, Beverly's work as a scene painter displaced the costume change bringing in the harlequinade in some productions. The extravaganza became differentiated from the pantomime by, among other things, the centrality of a "magical transformation scene" and the diminishing of the harlequinade clowning. Some British and American Victorian burlesques also retained a transformation scene.
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In 1870, she managed the Royalty Theatre for a season, playing in many of its pieces. She starred in Reece's Whittington Junior and his Sensation Cat and other burlesques. Back at Queen's Theatre, she played Ariel in The Tempest and Imogen in Cymbeline. In 1871 she began to manage the Royalty again, starring there in The Honeymoon as Juliana.
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Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."Schwandt, Erich et al. "Burlesque", Grove Music Online. Oxford Music Online, accessed 3 February 2011 In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music;Moss, Harold Gene.
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After her stage debut in 1863, beginning in musical burlesques by F. C. Burnand and others. Cavendish became known for playing such Shakespearean heroines as Juliet, Beatrice and Rosalind. She also famously played the title role of Miss Gwilt in the stage adaptation of Armadale and Mercy Merrick in The New Magdalen, both by Wilkie Collins.
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Kenrick, John. "G&S; in the USA" at the musicals101 website The Cyber Encyclopedia of Musical Theatre, TV and Film (2008). Retrieved on 4 May 2012. These shows were designed for family audiences, a marked contrast from the risqué burlesques, bawdy music hall shows and French operettas that sometimes drew a crowd seeking less wholesome entertainment.
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The performances took place in a narrow booth (100 feet by 30 feet), colourful and brightly lit. The show toured, in the London area, to such fairs as Southwark, Brook Green and Greenwich. Over time, Richardson's booth expanded, and he ran several performances simultaneously, and he could stage over a dozen burlesques and melodramas each day.
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Michaela Nolte: Der Prophet klebt Briefmarken, in: Tagesspiegel 14/09/2012; Marlies Schnaibel: Burlesques Berlin, Falkenseer Malerin Sara Horwath auf der großen Kunstmesse Berliner Liste 2012, in: Märkische Allgemeine 14/09/2012. In 2011 Catrin Rothe, Bernhard Ailinger and Gerhard Charles Rump founded the now only virtual art project and producers’ "RAR Gallery" — Berlin, New York (NY) and Palo Alto (CA).
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The Merry Zingara was the third of a series of five operatic burlesques written early in Gilbert's career, between 1866 and 1869. The first was Dulcamara, or the Little Duck and the Great Quack, a musical spoof of Donizetti's L'elisir d'amore (1866). Next was La Vivandière; or, True to the Corps!, a parody of Donizetti's La fille du régiment (1867).
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In addition to roles in other Byron pieces, she acted at Queen's in various extravaganzas and burlesques, including La Vivandière by W. S. Gilbert, The Stranger by Robert Reece, The Gnome King by William Brough, the successful The Turn of the Tide by F. C. Burnand, and Twixt Axe and Crown by Tom Taylor. She stayed with that company for three years.
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Starting in the 18th century, the epistolary form was subject to much ridicule, resulting in a number of savage burlesques. The most notable example of these was Henry Fielding's Shamela (1741), written as a parody of Pamela. In it, the female narrator can be found wielding a pen and scribbling her diary entries under the most dramatic and unlikely of circumstances.
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Gänzl and Lamb, p. 356 Thompson returned in Farnie and Reece's Stars and Garters in 1878, and continued with a series of burlesques including Tantalus; or, There's Many a Slip Twixt Cup and Lip and Carmen; or, Sold for a Song, until March 1879, when she and Henderson relinquished the management of the theatre."Folly Theatre", The Era, 2 March 1879, p.
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John Hollingshead had a lot of balls in the air: This engraving shows him juggling ballet, opéra bouffe, and drama. Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'"Dark & Grey, p. 63.
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An 1818 playbill for Chrononhotonthologos. As a playwright, Carey was a significant figure in the re-emergence of satirical drama in the 1730s. After the success of Namby Pamby, Carey was favored by the older generation of Tory wits and the Scriblerus Club. After John Gay's invention of the ballad opera with The Beggar's Opera, Carey turned to writing musical burlesques.
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He wrote many other burlesques for the Globe Theatre, the Olympic Theatre (including Richelieu in 1873 and Clockwork in 1877),Programme listings the Vaudeville Theatre (including Green Old Age, with music by Frederic Clay, in 1874; and a burlesque, Ruy Blas Righted), the Strand Theatre, and the Gaiety. At the Gaiety, he produced fourteen pieces between 1872 and 1884, among them the pantomimes Ali Baba (1872), Don Giovanni in Venice (1873), The Forty Thieves, (written with F. C. Burnand, H. J. Byron and W. S. Gilbert) (1878) and another version of the same story, with music by Meyer Lutz in 1880;"The Gaiety", The Times, 25 December 1880, p. 8 and the burlesques Aladdin, (1881); Little Robin Hood, (1882); and Valentine and Orson, (1882). He collaborated with Henry Brougham Farnie on 15 libretti or adaptations and occasionally joined with other dramatic writers.
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"Punch" Sir Francis Cowley Burnand (29 November 1836 - 21 April 1917), usually known as F. C. Burnand, was an English comic writer and prolific playwright, best known today as the librettist of Arthur Sullivan's opera Cox and Box. The son of a prosperous family, he was educated at Eton and Cambridge and was expected to follow a conventional career in the law or in the church, but he concluded that his vocation was the theatre. From his schooldays he had written comic plays, and from 1860 until the end of the 19th century, he produced a series of more than 200 Victorian burlesques, farces, pantomimes and other stage works. His early successes included the burlesques Ixion, or the Man at the Wheel (1863) and The Latest Edition of Black-Eyed Susan; or, the Little Bill that Was Taken Up (1866).
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Their burlesques include The Enchanted Isle (1848), Medea (1856), Masaniello (1857), The Sphinx (1849) and The Last Edition of Ivanhoe (1850). See Dereli, Cynthia. "Brough, Robert Barnabas (1828–1860)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 3 February 2011 aimed at a conservative middle class audience, and H. J. Byron's success was attributed to his skill in appealing to the lower middle classes.
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Carr in 1894 Frank Osmond Carr (23 April 1858 – 29 August 1916), known as F. Osmond Carr, was an English composer who wrote the music for several Victorian burlesques before turning to the new genere of Edwardian musical comedy, and also composing some comic operas. He often worked with the lyricist Adrian Ross, and several of his pieces were created for the producer George Edwardes.
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These were fashionable, elegant young ladies, unlike the corseted actresses from the burlesques. Gaiety Girls were polite, well-behaved young women and became a popular attraction and a symbol of ideal womanhood. Some became popular leading actresses. The young ladies appearing in George Edwardes's shows became so popular that wealthy gentlemen, termed "Stage Door Johnnies", would wait outside the stage door hoping to escort them to dinner.
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Emily Fowler Susannah Fowler (31 July 1847 – 1897), known by her stage name Emily Fowler, was an English actress, singer and theatre manager. Beginning in musical burlesques, she later played in contemporary drama and English classics. Although she was well-known on the London stage from 1869 to 1881, she is probably best remembered today for creating roles in three of W. S. Gilbert's early works.
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Minstrel shows emerged as brief burlesques and comic entr'actes in the early 1830s. They were developed into full-fledged form in the next decade. By 1848, blackface minstrel shows were the national art form, translating formal art such as opera into popular terms for a general audience. Each show consisted of comic skits, variety acts, dancing, and music performances that mocked people specifically of African descent.
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Among other theatrical works that he produced, he mounted a long series of popular Victorian burlesques at the Gaiety, engaging Meyer Lutz to compose original scores for them. He also produced operettas, plays and other works. These productions made stars of Nellie Farren and several others. At the Gaiety, in 1878, Hollingshead was the first theatre manager to light his auditorium with electric lights.
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Edouin moved to the United States in 1869, where he first appeared with Lawrence Barrett and John McCullough at the California Theatre in San Francisco. He soon became popular for his burlesques of popular plays and local celebrities. He made his New York debut in 1870 in The Dancing Barber as Narcissus Fitzfrizzle. Edouin next played the role of Murphy in Handy Andy with the Bryant's Minstrels.
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In 1871, he joined Lydia Thompson's burlesque company, as its leading male comedian, and met his future wife, Alice Atherton, who was also appearing with the troupe. Edouin played with Thompson for six seasons in burlesques, many of them by H. B. Farnie, of Bluebeard, The Princess of Trébizonde! St. George and the Dragon! The Forty Thieves, Lurline, Robin Hood, Mephisto and the Fourscore, and others.
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Frank Nugent, critic for New York Times, wrote, "That isn't a buzzing in your ears you've been hearing; it's Dumas, fils, spinning in his grave as the Ritz Brothers play his 'Three Musketeers' ... It seems ironic that Mr. Zanuck's first attempt to deal reverently with a classic—in every respect but the Ritzes' share in it—should be impeded by its very reverence to the classic. The trouble, it appears, is that his burlesques are too serious and that his serious efforts are too often burlesques." In the Leave it to Beaver episode, "The Book Report" (1963), young Beaver Cleaver gets in trouble at school when he is assigned to write a book report about the Dumas novel, but instead of actually doing his homework and reading it, just watches the movie on television and bases his report on the film's comedic scenes and Ritz Brothers' zany antics.
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Quotes from Gilbert and Sullivan operas occur frequently in Asimov's stories; also in some of his verses explaining how he thinks up new plots for his stories. The words "up-to-date" in the title refer to the titles of musical burlesques of the 1880s and early 1890s like Faust up to date. In 1894, also, George Augustus Sala wrote a book called London Up to Date.Sala, George Augustus.
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The Athenaeum called the piece "clever, but rather remote... an exercise rather than an amusement."Quoted in Stedman, p. 123 From the mid-1860s through the early 1870s, W. S. Gilbert was extremely productive, writing a large quantity of comic verse, theatre reviews and other journalistic pieces, short stories, and dozens of plays and comic operas. His dramatic writing during this time was evolving from his early musical burlesques.
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The most popular British shows, beginning with the Savoy operas, also enjoyed profitable New York productions and tours of Britain, America, Europe, Australasia and South Africa. These shows were fare for "respectable" audiences, a marked contrast from the risqué burlesques, melodramas, minstrel shows, bawdy music hall shows and French operettas that dominated the stage prior to Gilbert and Sullivan and drew a sometimes seedy crowd looking for less wholesome entertainment.
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Under the management of John Hollingshead until 1886, the theatre had early success with Robert the Devil, by W. S. Gilbert, followed by many other burlesques of operas and literary works. Many of the productions starred Nellie Farren. Hollingshead's last production at the theatre was the burlesque Little Jack Sheppard (1885–86), produced together with his successor, George Edwardes. Edwardes's first show, Dorothy, became a long-running hit.
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In 1868, he began a long association with W. S. Gilbert, staging the dances for most of the original productions of the Gilbert and Sullivan operas, including H.M.S. Pinafore (1878) and The Mikado (1885), as well as many other Savoy operas. Between the 1860s and 1909, D'Auban choreographed more than 150 productions, including pantomimes, burlesques, musical comedies and comic operas. He also taught dance to many who became famous performers.
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"Popular Music and the Ballad Opera", Journal of the American Musicological Society, Vol. 26, No. 3 (Autumn, 1973), pp. 365–82, University of California Press, accessed 2 February 2011 later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.
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But if there were borrowings of Cohl by McCay, there was also a wealth of style and spirit in McCay's films that were uniquely his own. On November 30, 1910, Cohl left Gaumont for Pathé, probably for more money. He made only two animated films before being forced into exclusively live-action work as a director of burlesques starring Jobard (Lucien Cazalis), one of the first generation of great screen comics.
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11 Over the next two years she continued to establish herself as a leading West End player in comic plays and burlesques. In 1866 she was cast as one of two "squabbling schoolgirls intent on marriage" in H. J. Byron's One Hundred Thousand Pounds.Lloyd's Weekly Newspaper, 13 May 1866, p. 8 Her subsequent performances in this period included Byron's classical burlesque, Pandora's Box,The Era, 3 February 1867, p.
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Andrew Millar, the prominent 18th century London bookseller, purchased a copyright share from John Osborne in a new, fifth, edition of Cotton's The Genuine Poetical Works. Thus, Cotton's poetry remained popular and profitable well into the eighteenth century, partly due to his clever "burlesques" of famous works from classical literature. Charles Cotton was buried in St James's Church, Piccadilly. A memorial to him is also found within the church.
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The plot of the piece was loosely based on Vincenzo Bellini's 1831 opera Norma, with dialogue in rhyming couplets full of complicated word-play and dreadful puns. Burlesques of this period featured actresses en travesti in tights or in dresses as short as possible without provoking the legal authorities. Gilbert later turned against this practice, and in his Savoy Operas no characters were played by members of the opposite sex.
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When Kersands and other popular troupe members demanded higher pay and more favorable treatment, Callender dismissed them. They quit to form their own ensemble, a move Callender characterized as theft. The company did poorly, and Kersands and most of the others returned to Callender. During his years with Callender's Georgia Minstrels, Kersands regularly featured in the military burlesques that regularly ended the first act beginning in 1875 or 1876.
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The son of a potter, he was probably a native of Syracuse and afterwards settled at Tarentum. He invented the hilarotragoedia, a burlesque of tragic subjects. Such burlesques were also called phlyakes ("fooleries") and their writers phlyakographoi. He was the author of thirty-eight plays, of which only a few titles (Amphitryon, Heracles, Medea, Orestes) and lines have been preserved, chiefly by the grammarians, as illustrating dialectic Tarentine forms.
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44 In these pieces, comedy stemmed from the incongruity and absurdity of the grand classical subjects, with realistic historical dress and settings, being juxtaposed with the everyday modern activities portrayed by the actors. For example, Olympic Revels opens with the gods of Olympus in classical Greek dress playing whist.Reinhardt, p. 541 In the early burlesques, the words of the songs were written to popular music, as had been done earlier in The Beggar's Opera.
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Gilbert Roland (left) with Keaton in San Sebastián, Spain, August 1930 Keaton started experimenting with parody during his vaudeville years, where most frequently his performances involved impressions and burlesques of other performers' acts. Most of these parodies targeted acts with which Keaton had shared the bill.Knopf, Robert The Theater and Cinema of Buster Keaton By p.27 When Keaton transposed his experience in vaudeville to film, in many works he parodied melodramas.
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At the beginning of 2000, the two members of "Nickelodeon" pursued their solo careers. Krissie Illing's first full-length one-person show "Wilma's Wonderful Laundrette" premiered in Vaour at the La Commanderie Theatre. Illing then performed on various stages in France and was invited to several festivals, e.g. the Femin'arte in Antibes, the festival des arts burlesques in Saint Étienne, the festival Porte-bonheur in Yverdon-les-Bains and the Arosa festival, both in Switzerland.
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The new actors engaged faced opposition from the Sydney actors, and the Sydney Morning Herald commented on 25 January 1843: "Of the twelve brought out by him from England there is not one equal in ability to the leading members, male or female, of the old company". Wyatt eventually sacked some of his actors. Operas, dramas, burlesques, pantomimes and other amusements were held. George Coppin made his Australian debut in the theatre in 1843.
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The pageboy role in the second "opera" within Phantom of the Opera is a breeches role, like the part of Cherubino, the Count's page, in The Marriage of Figaro. However, in burlesques, breeches roles could be main parts. Very little specific information is available for most of these curtain openers. However, the opener for "Pinafore", which had also been performed at the Opéra Comique in 1878, was called "Beauties on the Beach".
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Their greatest successes were with English adaptations of French opéras bouffes and opéras comiques, most conspicuously Les cloches de Corneville, which began its record-breaking run (705 performances) at the Folly in 1878. In 1879 the comic actor J. L. Toole took over the lease. In 1881 he changed the name to Toole's Theatre and had the building substantially reconstructed. He continued the policy of staging burlesques, but introduced more non-musical comedies and farces.
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At the Adelphi in March 1847 she was the original Lemuel in John Baldwin Buckstone's melodrama The Flowers of the Forest. Charles Dickens spoke of this performance as the most remarkable and complete piece of melodrama he had seen. Appearances in a variety of unimportant dramas, farces, and burlesques followed. After a severe illness she reappeared at the Adelphi in March 1852 in Paul Pry, as Phoebe to Edward Richard Wright's Paul Pry.
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10 It was then presented in London, with a mostly new cast, at the Queen's Theatre, Long Acre, opening on 22 January 1868. It was part of a series of operatic burlesques and other broad comic pieces that Gilbert wrote in the late 1860s near the beginning of his playwriting career. It was modestly successful and introduced some themes and satiric techniques that Gilbert would later employ in his famous Savoy operas.
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Gypsy Rose Lee The term "vedette" is not commonly used in the United States or other Anglo-Saxon countries, (here called "showgirls"). Las Vegas is considered, after Paris, as the main venue for revue shows and musicals worldwide. The British Lydia Thompson became a leading dancer and actress in burlesques on the London stage. She introduced Victorian burlesque to America with her troupe the "British Blondes", in 1868, to great acclaim and notoriety.
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Born in Greenwich in London, he was the son of the actor, stage manager, and director Robert Soutar and the actress and singer Nellie Farren,Joseph Farren Soutar, England & Wales, FreeBMD Birth Index, 1837–1915, Ancestry.comThe Times obituary for Nellie Farren, The Straits Times, 28 May 1904, p. 2 known for her roles as the "principal boy" in musical burlesques at the Gaiety Theatre. His older brother was Henry Robert Soutar (1868–1928).
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16 (1903) London: Gaiety Theatre Co. By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan."Rees, p. 10. There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain.
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To the Liverpool Lion, a venture of his brother Robert, whom he joined in Liverpool, Brough contributed his first literary effort, a series of papers called Hints upon Heraldry. Like his brother, whose reputation has overshadowed his own, Brough wrote in many periodical publications. His dramatic works, chiefly Victorian burlesques, were seen at many of the London theatres. These included Pygmalion; or, The Statue Fair and The Gnome King (1868) at the Queen's Theatre, Long Acre.
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Richard Anthony Baker, British Music Hall: an illustrated history, Pen & Sword, 2014, , pp.8-9 As his career developed, he became primarily a music hall artist, performing comical songs and burlesques in London song and supper rooms. Songs that he made famous included "The Ratcatcher's Daughter" and "Villikins and his Dinah".Obituary: New York Times, 3 April 1863 Cowell became extremely popular and successful, and is credited with establishing the music hall, a new form of entertainment.
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The father of the Edwardian musical was George 'The Guv'nor' Edwardes. He took over the Gaiety Theatre in the 1880s and, at first, improved the quality of the old Gaiety Theatre burlesques. Perceiving that their time had passed, he experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle. These drew on the traditions of Savoy opera and also used elements of burlesque and of Americans Harrigan and Hart.
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His adaptation of a French operetta by Émile Jonas called The Two Harlequins opened the new Gaiety Theatre, London in 1868, together with his distant cousin, W. S. Gilbert's, Robert the Devil and another piece. Beckett's pieces include numerous burlesques and pantomimes, the libretti of Savonarola (Hamburg, 1884) and The Canterbury Pilgrims (Drury Lane, 1884) for the music of Dr. C. V. Stanford. With the composer Alfred Cellier, Beckett wrote the operetta Two Foster Brothers (St.
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See The Cambridge History of English and American Literature, Volume XIII, Chapter VIII, Section 15 (1907–21) and Crowther, Andrew, The Life of W. S. Gilbert . His parodic pokes at grand opera continued to be seen in the Savoy operas.Crowther (2000), p. 20 Gilbert's early burlesques were considered unusually tasteful, compared with the others on the London stage, and he would depart even further from the burlesque style after 1869, with plays containing original plots and fewer puns.
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At the time that W. S. Gilbert began writing plays: To fill this gap, German Reed opened his German Reed Entertainments at the Gallery of Illustration. Seeing the quality of Gilbert's early burlesques, he brought in Gilbert to write a series of six one-act operettas. The Gallery of Illustration was a 500-seat theatre with a small stage that only allowed for four or five characters with accompaniment by a piano, harmonium and sometimes a harp.Stedman (1996), pp.
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By the 1850s, the London stage had fallen into disrepute. Shakespeare's plays were staged, but most of the entertainments consisted of poorly translated French operettas, risque Victorian burlesques and vulgar broad farces.Introduction to Ages Ago , The Gilbert and Sullivan Archive. accessed 2 December 2011 To bring family-friendly entertainment back to the theatre, Thomas German Reed and his wife Priscilla opened their Gallery of Illustration in 1855 and brought in Gilbert in 1869 as one of their many playwrights.
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An example of décor simultané, the setting for Pierre du Ryer's tragicomedy Lisandre et Caliste, first performed c. 1630 at the Hôtel de BourgogneLancaster 1966, p. 484. In 1402 the Confrérie had received a monopoly on the performance of religious mystery plays. Rival companies arose presenting satire and other types of comedy, and finding that these groups were attracting larger audiences than their own, the Confrérie responded by adding comic scenes and burlesques to their religious mysteries.
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Lonnen's signature tune, "Killaloe" Lonnen in Frankenstein Edwin Jesse "E. J." Lonnen (1860 – 31 October 1901)"Edwin Jesse ('E.J.') Lonnen as a policeman", National Portrait Gallery, accessed 27 August 2012 was an English actor, comedian and singer known for his performances in musical burlesques, operettas and musical comedies, particularly at the Gaiety Theatre, London at the end of the Victorian era. Lonnen began acting as a child in pantomime and other theatre in the British provinces.
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He spent the following year travelling around England in search of acting and singing engagements to develop his stage skills. In 1874, he became a stock actor at the Prince of Wales theatre in Liverpool. He appeared in burlesques and operettas until the arrival of the actress Jennie Lee heralded a move to more serious drama and an opportunity for a stand out role as Chadband in Little Jo, an adaptation of Charles Dickens' Bleak House.
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"Toole's Theatre", The Standard, 17 February 1882, p. 3 Toole's staples were burlesque, light opera and comedies, including farces. Burlesques included Stage Dora; or, Who Killed Cock Robin, F. C. Burnand's parody of Sardou's Fédora (1883)"The Theatre", Pall Mall Gazette, 28 May 1883, p 2 and Paw Claudian (1884) Burnand's lampoon of a recent costume drama Claudian by Henry Herman and W. G. Wills. Comic operas included Mr. Guffin's Elopement"Toole's Theatre", The Standard, 9 October 1882, p.
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Puritans should not be confused with more radical Protestant groups of the 16th and 17th centuries, such as Quakers, Seekers, and Familists, who believed that individuals could be directly guided by the Holy Spirit and prioritized direct revelation over the Bible. In current English, puritan often means "against pleasure". In such usage, hedonism and puritanism are antonyms.H. L. Mencken, "Puritanism: The haunting fear that someone, somewhere, may be happy", from A Book of Burlesques (1916), is a classic rendering.
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During his later years he confined himself to parts portraying old men, in which he was unrivalled. In 1855 he made his final appearance at the Haymarket, as Lord Ogleby in a scene from the Clandestine Marriage. With Faucit, he left two sons, Henry (1826–1860) and William (1825–1908), both actors. The former was the father of Nellie Farren, long famous for boy's parts in Gaiety musical burlesques, in the days of Edward Terry and Fred Leslie.
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When Covent Garden management sought to reduce the acting payroll in 1830, however Vestris had accumulated a fortune from performing and was able to lease the Olympic Theatre from John Scott.Pearce, pp. 161–163 There she began presenting a series of burlesques and extravaganzas—for which she made this house famous. She produced numerous works by the contemporary playwright James Planché, with whom she had a successful partnership, which included him contributing ideas for staging and costumes.
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Jennie McNulty, 1890 Jennie McNulty or Jenny McNulty (1866"Jennie McNulty", 1891 England Census, Ancestry.com (pay to view) - 1927"Jennie M Paulet", England & Wales, Death Index, 1916–2007, Ancestry.com (pay to view)) was an American-born British actress. Beginning her career as a Gaiety Girl, she went on to act in featured roles on the London stage in musical theatre around the close of the 19th century, including comic operas and operettas, Victorian burlesques, farces and Edwardian musical comedies.
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In 1899, Russell joined the Weber and Fields Music Hall, where she starred in their burlesques and other entertainments until 1904. Her first production there was Fiddle-dee-dee in 1899 which also featured DeWolf Hopper, Fay Templeton and David Warfield. Other favorites were Whoop-de-doo and The Big Little Princess. Before the 1902 production of Twirly-Whirly, John Stromberg, who had composed several hit songs for her, delayed giving Russell her solo for several days, saying that it was not ready.
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2006 It is a precursor to Dada, Surrealism and the Theatre of the Absurd. It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices—in particular the propensity of the complacent bourgeoisie to abuse the authority engendered by success. The title is sometimes translated as King Turd; however, the word "Ubu" is actually merely a nonsense word that evolved from the French pronunciation of the name "Hebert",Fell, JIll. Alfred Jarry, an Imagination in Revolt.
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These soon became "Mr. And Mrs. German Reed's Entertainments", presented at the Royal Gallery of Illustration in Regent Street (and later at St. George's Hall). To help lend respectability to their family-friendly entertainments, they called their establishment the "Gallery" of Illustration, rather than a "theatre", and the pieces they put on were called "entertainments," rather than plays, extravaganzas, or burlesques, to interest family audiences who were afraid of the bad reputation in which the professional theatre was regarded at the time.
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Gänzl, Kurt. "Who WAS 'Little Buttercup'?", Kurt Gänzl's blog, 28 April 2018 Everard made her first known stage appearance in Exeter, at the Theatre Royal, about 1861, and in Swansea and Plymouth from 1862 to 1863, earning warm notices for her singing in the burlesques, pantomimes and comic operas, such as adaptations of Guy Mannering, Rob Roy, Aladdin, Ruy Blas and Fortunio. In 1864, she was at the Surrey Theatre in Sheffield appearing in Sinbad Guy Mannering and Rob Roy.
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Warde in 1911 Willie Warde (1857 – 18 August 1943) was an English actor, dancer, singer and choreographer. The son of a dancer, his first theatre work was with a dance company. He was engaged to arrange dances for London productions and was later cast as a comic actor in musical theatre. He was associated for over two decades with the Gaiety and Daly's theatres under the management of George Edwardes, playing in and choreographing burlesques and, later, Edwardian musical comedies.
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Gilbert's pantomime opened on the same night as rival shows at the Drury Lane Theatre, Covent Garden, Sadler's Wells, and eight other London theatres. Less well-established pantomime venues opened on Christmas Eve to give themselves an edge over the competition; seven such shows opened on 24 December 1867."The Christmas Burlesques and Pantomimes", The Era Almanack, 1868, p. 60 The writers of the rival shows included established authors such as Mark Lemon, Gilbert à Beckett, C. H. Hazlewood and E. L. Blanchard.
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The cast of characters is nearly the same, as is the plot. In his lyrics, too, Gilbert paid great attention to the speech- patterns of his originals. Although, as contemporary critics repeatedly remarked, the libretti of Gilbert's burlesques were more literate and intelligent than those of most of the genre, he nonetheless followed the conventional formula of rhyming couplets and tortuous puns, together with plenty of young actresses in tights or short dresses, which were the mainstays of Victorian burlesque.
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Although he did go on to write melodies for other lyricists, his success in Broadway theater came almost entirely as a result of his Harrigan and Hart scores. In November 1876, Harrigan married Braham's daughter Annie. The success of The Mulligan Guard led to a series of burlesques which would become known as the "Mulligan plays". The Mulligan plays focused on the everyday life of New York City, appealing to a variety of racial groups, including Irish Americans, German Americans, and African Americans.
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Nonetheless, styles of song and dance that began as inversions of the social structure were adopted among the upper echelons of society, often without a trace of self-consciousness. Social insults were more overt. As the underclass being ridiculed shifted, the racist lampoons and blackface burlesques sometimes gave way to other conflations, such as the stage Irishman Paddy, drunken and belligerent, a cruel caricature often in blackface himself. Political nativism and xenophobia encouraged similar mean-spirited responses to perceived threats of the time.
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Rocca was born in Washington, D.C.; his mother immigrated there from Bogotá, Colombia in 1956 at age 28, and his father was a third generation Italian-American from Leominster, Massachusetts. He attended Georgetown Preparatory School, a Jesuit boys' school in North Bethesda, Maryland. He graduated from Harvard University in 1991 with a bachelor of arts degree in literature. He served as president of Harvard's Hasty Pudding Theatricals, performing in four of the company's notorious burlesques and co- authoring one (Suede Expectations).
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This review was of the London production. The list of numbers in the Liverpool score shows that Donizetti and Offenbach were less generously represented in the original production. Gilbert and his wife, Lucy, in 1867 Gilbert married in 1867 amid one of his most productive periods. In addition to his other writing activities during the late 1860s, Dulcamara and La Vivandière were part of a series of about a dozen early comic stage works, including opera burlesques, pantomimes and farces.
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Thompson in Robinson Crusoe, c. 1870 Thompson married Henderson, and the two sailed in August 1868 for America, heading a small theatrical troupe, adapting popular English burlesques for middle-class New York audiences by adding topical and local references and reworking the lyrics of popular songs, while preserving the rhymed couplets and comic puns of the burlesque form. Her groundbreaking burlesque was very new in America and initially received much acclaim. Thompson's first American show Ixion was a huge success.
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W.S. Gilbert in about 1878 By 1877, Gilbert, now forty years old, was established as a dramatist. After his early burlesques of the 1860s he had turned to writing comic opera libretti and non-musical plays, both comic and serious. His musical successes included Ages Ago (music by Frederic Clay, 1869) and Trial by Jury (music by Arthur Sullivan (1875). His serious and comic non-musical plays included Pygmalion and Galatea (1871),"The London Theatres", The Era, 5 May 1872, p.
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Fetter started as an actor, appearing in the 1928 revival of Peter Pan and in Cole Porter's 1935 musical comedy, Jubilee. Fetter was Porter's second cousin and later wrote additional lyrics for some of Porter's songs. Beginning in 1936, he wrote lyrics for a number of revues, melodramas and burlesques in collaboration with composers, Richard Lewine, Hoagy Carmichael and Vernon Duke. In 1940, Duke was working on Cabin in the Sky with lyricist John Latouche and needed a new number for star Ethel Waters.
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9a The 1890s Gaiety Girls were polite, well-behaved young women, respectable and elegant, unlike the corseted actresses from the earlier burlesques. They became a popular attraction and a symbol of ideal womanhood. Many of the best-known London couturiers designed costumes for stage productions by the 1890s, particularly for the Gaiety Girls. The illustrated periodicals were eager to publish photographs of the actresses in the latest stage hits, and so the theatre became an excellent way for clothiers to publicise their latest fashions.
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The score parodies several composers, most conspicuously Verdi. "Come, friends, who plough the sea" and "You triumph now" are burlesques of Il trovatore,Hulme, David Russell. "The Pirates of Penzance". The New Grove Dictionary of Opera, Grove Music Online, Oxford Music Online, accessed 30 June 2010 and one of the best-known choral passages from the finale to Act I, "Hail Poetry", is, according to the Sullivan scholar, Arthur Jacobs, a burlesque of the prayer scene, "La Vergine degli Angeli", in Verdi's La forza del destino.
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Goodman, Andrew. Gilbert and Sullivan at Law, pp. 204–05, Fairleigh Dickinson Univ Press (1982), Advertisement for a (probably unlicensed) American production of H.M.S. Pinafore These unauthorised performances took many forms, including burlesques, productions with men playing women's roles and vice versa, spoofs, variety acts, Minstrel show versions, all-black and Catholic productions, German, Yiddish and other foreign-language versions,Jones, p. 7 performances on boats or by church choirs,Stedman, p. 169 and productions starring casts of children. Few purported to play the opera as written.
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Nellie Farren soon became the theatre's star "principal boy" in all the burlesques and played in other comedies. She and comic Fred Leslie starred at the theatre for over 20 years, with Edward Terry for much of that period. Her husband, Robert Soutar was an actor, stage manager and writer for the theatre. A typical evening at the Gaiety might include a three-act comic play, a dramatic interlude, a musical extravaganza, which might also include a ballet or pantomime (in the tradition of a Harlequinade).
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The late 1890s saw big things for Howarde when she adopted the stage name Kate Howarde; she began touring Australia and performing in different settings such as tents and halls. She formed a company which consisted of her two younger brothers and her sister. Kate Howarde and her company continued touring Australia and New Zealand up until 1905. The company was involved in such things as occasionally staged pantomimes and burlesques some of which included Sinbad the Sailor (1897), Little Jack Sheppard, Aladdin and Diavolo.
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For the next forty years Peake wrote burlesques, farces, comedies, melodramatic and musical romances, and an "operatic romance". His play The Meltonians was described as "a perfectly illegitimate drama and extravaganza." His 1823 play Presumption; or, the Fate of Frankenstein, was seen by Mary Shelley and her father William Godwin on 29 August 1823 at the English Opera House, shortly after her return to England. Shelley approved of the way the Creature, played by T.P. Cooke, was represented by a series of dashes in the advertising.
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Reece's The Forty Thieves, 1880 Poster for an 1886 production of Reece's Aladdin and the Forty Thieves Robert Reece (2 May 1838 – 8 July 1891) was a British comic playwright and librettist active in the Victorian era. He wrote many successful musical burlesques, comic operas, farces and adaptations from the French, including the English-language adaptation of the operetta Les cloches de Corneville, which became the longest-running piece of musical theatre in history up to that time. He sometimes collaborated with Henry Brougham Farnie or others.
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To endeavour to pay off this sum he continued the profession of a comedian. He commenced in Edinburgh and Glasgow, and after a provincial tour came to the Haymarket Theatre, London, where in 1857 he acted in a piece called Whitebait at Greenwich. In 1861 he went to Australia. At this period he had taken to playing female characters in burlesques, and he appeared at the Theatre Royal, Melbourne, in Valentine and Orson and in a travestie in The Colleen Bawn called "Eily O'Connor".
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At this point in the recording industry, however, duplication was relatively crude so successful recording artists were required to frequently return to the studios to resupply stock. Diamond returned to touring and seems to have stopped recording in late 1893. Diamond continued to find success as a singer, and toured with Bryant and Watson’s Burlesquers, the "Utopians", and the Imperial Burlesques among others. His performances often included "illustrated songs" in which an assistant would project topical slides, and later motion pictures, in time with Diamond's singing.
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She agreed to produce three more burlesques by Byron, but he agreed to write his first prose comedies, War to the Knife (a success in 1865) and A Hundred Thousand Pounds (1866). They also staged one of T. W. Robertson's biggest successes, Society, in 1865. Upon his severing the partnership and starting theatre management on his own account in the provinces, he lost money, ending up in bankruptcy court in 1868. However, he produced many of his plays at these theatres while continuing to write for London theatres.
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In its heyday between 1912 and the 1920s the Electric Palace was the centre of entertainment in Harwich. From the beginning the programmes were full of variety and often the major part of the bill would be taken up with vaudeville rather than films. The venue was regularly played by a wide spectrum of entertainers including acrobats, burlesques, conjurors, hypnotists, impersonators, singers, patterers, knockabouts mimics, dancers and comedians. Notable among this latter group was the young Scottish comedian Will Fyffe who was stationed at Felixstowe during the First World War.
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Farren gained a large following among the theatre's mostly male audience. Farren created the role of Mercury in Gilbert and Sullivan's first collaboration, Thespis and created or played roles in works by Dion Boucicault, Anthony Trollope, Charles Dickens, William Congreve and Henry James Byron, among many others. In the 1880s, she created roles in the series of famous Gaiety burlesques with musical scores by Meyer Lutz, often written by Fred Leslie. Some of her most famous of these later roles were the title characters in Little Jack Sheppard and Ruy Blas and the Blasé Roué.
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Horton as Ariel in The Tempest, 1838Priscilla Horton, later Priscilla German Reed (2 January 1818 – 18 March 1895), was a popular English singer and actress, known for her role as Ariel in W. C. Macready's production of The Tempest in 1838 and "fairy" burlesques at Covent Garden Theatre. Later, she was known, along with her husband, Thomas German Reed, for creating the family-friendly German Reed Entertainments. There, she was a mentor to W. S. Gilbert, and her performances inspired Gilbert to create some of his famous contralto roles.
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"The London Theatres", The London Review, 5 January 1867, p. 18 Dulcamara ran for a successful 120 nights. The popularity of the piece encouraged further commissions for opera burlesques from Gilbert, who wrote four more between 1867 and 1869. Dulcamara and its successors all comply with the burlesque traditions of the day, with dialogue in rhyming couplets, convoluted puns throughout, and an array of attractive actresses in tights or short skirts, playing male roles, a practice Gilbert renounced as soon as he was sufficiently influential in the theatre.
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Harriett Everard as Little Buttercup in H.M.S. Pinafore Harriett Everard (12 March 1844 – 22 February 1882) was an English singer and actress best known for originating the role of Little Buttercup in the Gilbert and Sullivan hit H.M.S. Pinafore in 1878. The character regretfully reveals a key secret that sets up the ending of the opera. Everard had a stage career of 20 years, although she died at the age of 37. She appeared, for the first 15 of these, in numerous burlesques, pantomimes, comic operas, comic plays and even some dramas.
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By 1836 these classical burlesques had become so popular that other writers were copying them. Feeling the need to do something different, Planché turned to a translation of the féerie folie (French: fairy tale) Riquet à la Houppe, which he had written some years earlier. The play was a success, and became the first of 23 "fairy extravaganzas", most of which were based on the fairy tales of Madame d'Aulnoy. Planché's fascination with her work led the press to refer to him as Madame d'Aulnoy's "preux chevalier" (French: devoted knight) and similar epithets.
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In 1925, another version reached the screen which starred Alma Rubens, Edmund Lowe, Lou Tellegen and Leslie Fenton. In 1930 the film Ex-Flame was released which shifted novel's setting to contemporary England. As the more melodramatic aspects of the story became dated, there were several parodies and burlesques made, including East Lynne in Bugville with Pearl White (1914), Mack Sennet's East Lynne with Variations (1917), and in 1931 the comedy East Lynne on the Western Front in which British soldiers fighting in the World War I stage a burlesqued version of the story.
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Library of Congress In Canada, Spencer Percival was responsible for a part-song of his own for four voices, first performed in 1882.McGill University A modern performance on Good Night, Good Night, Beloved! and other Victorian part songs, Atma Classique 2012 Sigmund Spaeth was eventually to have fun with the rhyme by adapting it to a number of bygone musical styles as The musical adventures of Jack & Jill in Words & Music: A Book of Burlesques, (Simon and Schuster, 1926). These included a Handel aria, Italian operatic and Wagnerian versions.
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Several programmes featuring Cox and Box with Cecil as Box, at Archive: Sir Arthur Seymour Sullivan, an exhibition of Gilbert and Sullivan memorabilia This was Cecil's first appearance in a German Reed Entertainment, and he remained steadily with the German Reeds for five years thereafter. With that company, he appeared in numerous comedies, farces, operettas and burlesques, such as Beggar My Neighbour: A Blind Man's Bouffe adapted by Burnand from Les deux aveugles by Jacques Offenbach (1870)Adams, p. 134 and Charity Begins at Home (1872) by Alfred Cellier and B. C. Stephenson.Adams, p.
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Verdi's Il trovatore and La traviata received their British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly. Our Lady of the Cameleon by Leicester Silk Buckingham and Our Traviata by William F. Vandervell (both 1857) were followed by five different burlesque treatments of Il trovatore, two of them by H. J. Byron: Ill Treated Trovatore, or the Mother the Maiden and the Musicianer (1863) and Il Trovatore or Larks with a Libretto (1880).Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol.
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33–66, Cambridge University Press, accessed 2 February 2011 The W. S. Gilbert (of Gilbert and Sullivan) operatic burlesque Robert the Devil is a parody of Robert le diable, a romantic grand opera by Meyerbeer, which is mentioned in the prologue to Phantom of the Opera. These pieces were very popular among the lower class, but not commonly seen by more sophisticated opera goers. According to W. J. MacQueen-Pope: Like most burlesques, "Robert the Devil" featured women in scanty costumes and breeches roles. In operas, these were always supporting roles.
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Williams as Corporal Bundy in The Red Hussar Arthur Williams (9 December 1844 – 15 September 1915) was an English actor, singer and playwright best remembered for his roles in comic operas, musical burlesques and Edwardian musical comedies. As a playwright, Williams wrote several farces as well as some dramas. Born in Islington, London, Williams initially went into business as a law stationer but soon left to take up acting in 1861 when he was 17. He travelled to Gravesend, Kent, where he made his stage début as Alfred Martelli in "The Corsican Brothers".
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Rivero 1989 pp. xi–xii Similarly, Potter organised the plays by a general theme of developing libertine characters and believed that "Fielding's most successful group of plays followed Love in Several Masques both chronologically and thematically. Comedies and burlesques such as The Author's Farce, The Tragedy of Tragedies, The Old Debauchees, and Pasquin made Fielding the most popular playwright of the 1730s, and all of these plays contain characters, situations, and dialogues that invoke libertine philosophy in some way, thought they vary in the explicitness of the depiction."Potter 1999 p.
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An American newspaper reviewing A Gaiety Girl in 1894 explained the importance of the Gaiety Girls: "The piece is a mixture of pretty girls, English humor, singing, dancing and bathing machines and dresses of the English fashion. The dancing is a special feature of the performance, English burlesques giving much more attention to that feature of their attractiveness than the American entertainments of the same grade do."The Brooklyn Daily Eagle, Sunday, 23 December 1894, p.9a. Many of the best-known London couturiers designed costumes for stage productions by the 1890s.
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"Nellie Bromley, or, A breach of lots of promises", Kurt Gänzl's blog, 3 June 2018 Nelly Bromley Bromley used her nickname "Nelly" as her stage name and, like her mother, began a stage career in her teens. By December 1866, she was acting at the Royalty Theatre in London, playing Dolly Mayflower in a burlesque by F. C. Burnand of Black-Eyed Susan. She remained in the company at the Royalty, acting in other burlesques, including W. S. Gilbert's Highly Improbable, p. 53 and as Nimble Ned in Burnand's burlesque on Claude Duval.
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In 1881, he created a small principal role in Patience and resigned from his office post. In 1883, he played the Lord Chancellor in a tour of Iolanthe. Thornton left the D'Oyly Carte Opera Company in 1884 and began a long series of tours of Australia in stage comedies, notably The Private Secretary, interspersed with appearances in burlesques, farces and other plays on the London stage and on tour. He rejoined D'Oyly Carte in the 1890s in London and on tour, and later returned to touring Australia in comedies including Charley's Aunt.
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Characters such as Simon Legree sometimes disappeared, and the title was frequently changed to something more cheerful like "Happy Uncle Tom" or "Uncle Dad's Cabin". Uncle Tom himself was frequently portrayed as a harmless bootlicker to be ridiculed. Troupes known as Tommercompanies specialized in such burlesques, and theatrical Tom shows integrated elements of the minstrel show and competed with it for a time. After the Civil War, the American stage was dominated by melodramas, minstrel shows, comedies, farces, circuses, vaudevilles, burleques, operas, operettas, musicals, musical revues, medicine shows, amusement arcades, and Wild West shows.
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The first installment of a serialized version of The Narrative of Arthur Gordon Pym of Nantucket was published in the Southern Literary Messenger in January 1837. Poe had intended to collect a number of his early short stories into a volume titled Tales of the Folio Club in the 1830s.Thomas & Jackson, 127 The collection would be unified as a series of tales presented by members of a literary club designed as burlesques of contemporary literary criticism.Silverman, 90 Poe had previously printed several of these stories in the Philadelphia Saturday Courier and the Baltimore Saturday Visiter.
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Lynch pp.62–3 Below the picture, Hogarth added a rider: "For a farthar Explanation of the Difference Betwixt Character & Caricature See ye Preface to Joh. Andrews". Here he is referring to his friend Henry Fielding's 1742 work, Joseph Andrews, in which Fielding explains that a character portrait requires attention to detail and a degree of realism, while caricature allows for any degree of exaggeration. Fielding positions himself as a "Comic Writer" and Hogarth as a "Comic Painter", and dismisses the caricaturists as he dismisses the writers of burlesques.
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Over the troupe's life, members came and went. In October or November 1858, Dan Emmett joined as primary songwriter for what would prove the most prolific period of his career. He also performed fiddle, banjo, drum, fife, and vocals.Nathan 230–1. The song "Dixie", usually attributed to him, was first performed on stage by the Bryants during an 1859 concert.Nathan 245. The final act of most minstrel shows of the time were blackface burlesques of mainstream theater, but "Dixie" and songs like it prompted an industry-wide revival of plantation-related material.
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Such jokes were often copied in newspapers as far away as California, where natives encountered Yankee ships and peddlers, inspiring Yankee impersonations in comedy burlesques. Brother Jonathan: or, the New Englanders was also the title of a book released in three volumes by John Neal.Hathi Trust Digital Library It was published in Edinburgh, illustrating the impact that the crafty New England character had on British literature. In fact, a deleted chapter, "John Bull and Jonathan," had Hatteras and Altamont dueling for the privilege of claiming the land for their respective countries.
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He wrote in The Tatler under the pseudonym Bran Pie and in 1893 published an edition of Lady Mary Wortley Montague's Letters. He also published numerous French texts for the Pitt Press series. Ross and Carr's next work, in collaboration with James T. Tanner, was In Town (1892), a smart, contemporary tale of backstage and society goings-on. This left behind the earlier Gaiety burlesques and helped set the new fashion for the series of modern-dress Gaiety Theatre shows that quickly spread to other theatres and dominated British musical theatre.
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After that, George Edwardes hired him as musical director for the Gaiety Theatre's 1891 tour of America and Australia, conducting the burlesques Ruy Blas and the Blasé Roué and Cinder-Ellen Up-too- Late. He briefly returned to conducting in the British provinces, but in 1892, after nine years of touring, Edwardes hired Jones to conduct the musical In Town at the Prince of Wales Theatre on London's West End. He next was musical director for another West End musical, Morocco Bound (1893), and for the London production of The Gay Parisienne (1896).
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Lydia Thompson (born Eliza Thompson; 19 February 1838 – 17 November 1908), was an English dancer, comedian, actress, and theatrical producer. After dancing and performing in pantomimes in Britain and then in Europe as a teenager in the 1850s, she became a leading dancer and actress in burlesques on the London stage. She introduced Victorian burlesque to America with her troupe the "British Blondes", in 1868, to great acclaim and notoriety. Her career began to decline in the 1890s, but she continued to perform into the early years of the 20th century.
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Other companies adopted Tucker for comedy sketches, such as burlesques of La sonnambula by Buckley's Serenaders in 1850 and Sanford's Opera Troupe in 1853.Mahar 107. The song became so identified with Emmett and the Virginia Minstrels that it became part of their foundation myth. Billy Whitlock and George B. Wooldridge both claimed that the troupe members played "Old Dan Tucker" in their first impromptu performance together: > ... as if by accident, each one picked up his tools and joined in a chorus > of "Old Dan Tucker," while Emmett was playing and singing.
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For Punch, among other things, he wrote the popular column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life. Also admired were his burlesques of other writers' works. Burnand was a contributor to Punch for 45 years and its editor from 1880 until 1906 and is credited with adding much to the popularity and prosperity of the magazine. His editorship of the original publication of The Diary of a Nobody by the brothers George and Weedon Grossmith was a high point of his tenure in 1888–89.
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Lucia Elizabeth Vestris (née Elizabetta Lucia Bartolozzi; 3 March 1797 – 8 August 1856) was an English actress and a contralto opera singer, appearing in works by, among others, Mozart and Rossini. While popular in her time, she was more notable as a theatre producer and manager. After accumulating a fortune from her performances, she leased the Olympic Theatre in London and produced a series of burlesques and extravaganzas, especially popular works by James Planché, for which the house became famous. She also produced his work at other theatres she managed.
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Gilbert described An Old Score as "my first comedy".Crowther, Andrew. Introduction to script of "An Old Score", accessed 10 September 2010 He had previously written more than a dozen stage works, and although they were all intended to be funny, they were in the styles of burlesques, extravaganzas, pantomimes and one-act farces, not full-length, character- driven "comedies"; and so the play represents part of Gilbert's move from being a humorist to being a dramatist. Gilbert adapted part of the story of the play from his 1867 short story Diamonds.
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During this time, he added the "e" to his surname. While working at the Opera Comique, Edwardes met his future wife, singer Julia Gwynne, whom he brought to the D'Oyly Carte Opera Company, where she became a principal player. The couple married in 1885 and produced three daughters, including one named Dorothy, and a son, D'Arcy. Souvenir programme from Ruy Blas and the Blasé Roué In 1885, Edwardes was hired to succeed John Hollingshead as manager at the Gaiety Theatre, producing the burlesques in which the Gaiety specialised.
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Poster for A Gaiety Girl In the 1890s, Edwardes hit upon a new strategy for the Gaiety, which was a variation from the kinds of shows that he and Carte had produced and also had elements of the Gaiety burlesques and of music hall entertainments. The earliest of these shows, taking a cue from Dorothy, had a musical style similar to the Gilbert and Sullivan comic operas. Into this mix, he incorporated some of the elements of the form that Harrigan & Hart had established on Broadway a decade earlier.Kenrick, John.
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Harry Nicholls, left, with Campbell in 1888 Herbert Campbell (22 December 1844 – 19 July 1904), born Herbert Edward Story, was an English comedian and actor who appeared in music hall, Victorian burlesques and musical comedies during the Victorian era. He was famous for starring, for many years, in the Theatre Royal, Drury Lane's annual Christmas pantomimes, predominantly as a dame. Born in Lambeth, Campbell started his performing career appearing in amateur bands and quickly toured London's music hall's during the early 1860s. He decided to leave after a few years and adopted the stage name Herbert Campbell.
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Chanfrau acted in a number of melodramas and burlesques with a concentration on Mose plays. Meanwhile, New York as It Is broke all records for New York theatre, playing for 47 nights straight and becoming the most popular play in the United States to that point. The New York Herald reported that a performance on 26 April 1848 was so packed that the crowd rushed the stage, howling and laughing. The police and theatre staff had to remove the excess theatregoers, some of whom had to literally walk over members of the pit to get back to their seats.
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Script of Byron's Robinson Crusoe; or, Harlequin Friday (1860) At the same time, he continued writing for the Strand, the Adelphi, the Theatre Royal, Drury Lane, the Haymarket Theatre and the Princess's, among other London theatres. Among Byron's dozens of plays in the early 1860s, his early successes were mostly burlesques, such as Bluebeard from a New Point of Hue (1860); Cinderella (1860); Aladdin, or, The Wonderful Scamp (1861);Byron's 1861 Aladdin featured the début of the pantomime character, Widow Twankey, first played by James Rogers. and Esmeralda, or, The Sensation Goat (1861), all in rhymed couplets.
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In the first decade of the 21st century, he appeared, often as John Crow, in theatres, clubs and festivals worldwide. He hosted The Palace of Wisdom, an all-night poetry tent at the Glastonbury Festival, where he was a regular performer in the legendary underground Irish Piano Bar. In 2014, Spark In The Dark was published by Thin Man Press. This first collection of Constable's poetry ranges from satirical Burlesques to lyrical Spirit Songs. In Mrs God the poet draws on his Welsh Borders upbringing in a “burlesque” that comically subverts the image of a Divine patriarch.
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Phlyax actor as a slave from a Sicilian chalice-krater by a painter of the Lentini-Manfria Group, c. 350–40 BCE (Louvre) Nossis of Locri provides the closest contemporary explanation of the genre in her epitaph for Rhinthon: > Pass by with a loud laugh and a kindly word > For me: Rhinthon of Syracuse am I, > The Muses’ little nightingale; and yet > For tragic farce I plucked an ivy wreath.Anthologia Palatina 7.414 Textual and archaeological evidence give a partial picture of these burlesques of mythology and daily life. The absence of any surviving script has led to conjecture that they were largely improvised.
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Towards the end of his life, a caustic satire against him was written in the Irish language by the Franciscan priest-poet Father Eoghan Ó Dubhthaigh. Much of the satire burlesques the fact that his first name means "The Servant of Mary" in Irish, when he had renounced the veneration of the Blessed Virgin in exchange for an earthly wife. The poet suggests that he deserved the name "Maol gan Mhuire" ("The Servant Without Mary") much better. Given the treachery through which he lived, and whatever one might say about his real allegiances, Mag Raith possessed a knack for survival.
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In 1921, Kammerer adopted the stage name Jack Cameron. Around this time, he was offered a string of lead roles in New York City burlesques. He appeared in Sliding Billy Watson's World of Frolics, Eddie Dowling's Hello Miss Radio, and Fred Clark's Let’s Go. In 1923, Cameron was cast as a principal in Charles Waldron’s Bostonians. The show earned mixed reviews, but Cameron was a stand out. Alfred Nelson, theatre critic for Billboard, referred to Cameron as “a singer, dancer, and versatile actor of remarkable ability.” Variety noted that the audience "couldn't get enough" of Cameron's baritone.
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Gilbert, W. S., "William Schwenck > Gilbert: An Autobiography", Theatre, April 1883 p.219 The libretto is set in rhyming couplets, as are the other Gilbert burlesques. The character Tomaso explains this odd convention near the close of Scene 1: :You're in a village during harvest time, :Where all the humblest peasants talk in rhyme, :And sing about their pleasures and cares :In parodies on all the well-known airs. :They earn their bread by going in a crowd, :To sing their humble sentiments aloud, :In choruses of striking unanimity – :(aside) The only rhyme I know to that, is dimity.
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Although he and Geistinger came to emphasize operetta more and more, Steiner still built the theater's seasons by emphasizing variety:N. Rubey, "Steiner Maximilian." the typical fare included folk plays, burlesques with music, and operetta. He gradually phased out spoken-word dramas, contributing fundamentally to the Viennese operetta boom that continued till well into the twentieth century. He produced both well- proven and new stage works by Offenbach but also discovered young talent such as the playwright Ludwig Anzengruber, the last prominent author of folk plays, and the composer Carl Millöcker, who became the Theater's Kapellmeister in 1869.
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There Cecil started a successful association with the German Reed Entertainments, appearing in numerous comedies, farces, operettas and burlesques, such as Beggar My Neighbour: A Blind Man's Bouffe and Charity Begins at Home in 1872. He remained with the company for five years. Cecil appeared at many London theatres during his career including the Globe, the Gaiety, and Prince of Wales's Theatre. He appeared in such successful pieces as Peril as Sir Woodbine Grafton, Duty, The Vicarage, as Noel Haygarth and Caste by T. W. Robertson with the Bancrofts also in the cast, all in 1879, and later in other Robertson pieces.
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Stage Door Johnnies waiting after A Gaiety Girl The show's popularity depended, in part, on the beautiful "Gaiety Girls" dancing chorus appearing onstage in bathing attire and in the latest fashions. According to The Brooklyn Daily Eagle, "The piece is a mixture of pretty girls, English humor, singing, dancing and bathing machines and dresses of the English fashion. The dancing is a special feature of the performance, English burlesques giving much more attention to that feature of their attractiveness than the American entertainments of the same grade do."The Brooklyn Daily Eagle, 23 December 1894, p.
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The others were The Merry Zingara; or, the Tipsy Gipsy and the Pipsy Wipsy (Royalty Theatre, 1868), a burlesque of Balfe's The Bohemian Girl and The Pretty Druidess; or, the Mother, the Maid, and the Mistletoe Bough (Charing Cross Theatre, 1869), a burlesque of Bellini's Norma.Stedman, pp. 34–62 Gilbert and his wife, Lucy, in 1867 The libretto of Robert the Devil is set in rhyming couplets, as are the other Gilbert burlesques. The opening night performance was under-rehearsed, partly because the new Gaiety Theatre was not finished until the last moment, leaving no time for rehearsal on its stage.
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After some private studies with Adrien Francois Servais at the Brussels Conservatory he moved to London to seek work as a performer. Van Biene was discovered by Sir Michael Costa, who hired him to play the cello in his Covent Garden orchestra in November 1867, eventually promoting him to principal cellist. In 1878 van Biene was a touring musical director for Richard D'Oyly Carte's Comedy Opera Company, and in the 1880s he conducted successful light operas and Victorian burlesques. By the 1880s he had also become a theatrical manager as well as an actor and playwright.
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Stewart, Maurice. 'The spark that lit the bonfire', in Gilbert and Sullivan News (London) Spring 2003. Beginning with Little Jack Sheppard (1885), Edwardes expanded the format of the burlesques to full-length pieces with original music by Meyer Lutz, instead of scores compiled from popular tunes."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9 These included Monte Cristo Jr. (1886); Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891) and Don Juan (1892, with lyrics by Adrian Ross).
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Built by Sefton Henry Parry as the Royal Avenue Theatre, it opened on 11 March 1882 with 1200 seats. The first production at the theatre was Jacques Offenbach's Madame Favart. In its early seasons, the theatre hosted comic operas, burlesques and farces for several years. For much of this time, the low comedian Arthur Roberts, a popular star of the music halls, starred at the theatre. By the 1890s, the theatre was presenting drama, and in 1894 Annie Horniman, the tea heiress, anonymously sponsored the actress Florence Farr in a season of plays at the theatre.
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Book cover of Victoria in 1880 by Garnet Walch Garnet Walch (1 October 1843 in Broadmarsh (Tasmania) – 3 January 1913 in Melbourne), was an Australian writer, dramatist, journalist and publisher. From 1872 on, he became very popular as author of numerous pantomimes, burlesques, melodramas, comedies and comediettas. As a publisher, his most outstanding work was Victoria in 1880, a de luxe book with lavish engravings by Charles Turner, compiled by Walch and published by George Robertson in Melbourne, celebrating the 1880–1881 International Exhibition. The book was inscribed to The Honourable William John Clarke, President of the Victorian International Exhibition Commission.
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As professional actors gravitated to respectable theaters and vaudeville houses responded by mounting skits on "serious" Shakespeare, Shakespeare was gradually removed from popular culture into a new category of highbrow entertainment. Though Forrest's reputation was badly damaged, his heroic style of acting can be seen in the matinee idols of early Hollywood and performers such as John Barrymore. Astor Opera House did not survive its reputation as the "Massacre Opera House" at "DisAstor Place," as burlesques and minstrel shows called it. It began another season, but soon gave up the ghost, the building eventually going to the New York Mercantile Library.
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Over time, an elaborated version stand-alone version developed, titled "The Modern Hiawatha": :When he killed the Mudjokivis, :Of the skin he made him mittens, :Made them with the fur side inside, :Made them with the skin side outside. :He, to get the warm side inside, :Put the inside skin side outside; :He, to get the cold side outside, :Put the warm side fur side inside. :That's why he put the fur side inside, :Why he put the skin side outside, :Why he turned them inside outside.Speak Roughly to your Little Boy: a collection of parodies and burlesques, ed.
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In the 1880s and 90s, the theatre had further success with a number of burlesques with original scores by the theatre's music director, Wilhelm Meyer Lutz, including Faust up to Date (1888), Carmen up to Data (1890) and Cinder Ellen up too Late (1891). In the 1890s, the theatre introduced new style of musical theatre in London now referred to as the Edwardian musical comedy. These shows employed female dancers known as the Gaiety Girls and were extraordinarily popular, inspiring imitations at other London theatres. A success in this genre was The Shop Girl (1894), which was followed by many "girl"-themed musicals.
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From the mid-1860s through the early 1870s, W. S. Gilbert was extremely productive, writing a large quantity of comic verse, theatre reviews and other journalistic pieces, short stories, and dozens of plays and comic operas. In 1871, he produced seven plays and operas. Gilbert's dramatic writing during this time was evolving from his early musical burlesques to a more restrained style, as exemplified in his string of blank-verse fairy comedies. The first of these was The Palace of Truth, which opened in 1870 to widespread acclaim."Court Theatre" in The Times, 19 April 1871, p. 8, col. 2.
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He wrote the lyrics for The Nightbirds (1911; adapted from Die Fledermaus; titled The Merry Countess in the 1912 Broadway production), The Marriage Market (1913) and The Beauty Spot (1917).The Marriage Market at the Guide to Musical Theatre, accessed 8 December 2010Gaiety Theatre production of The Beauty Spot (1917), Over the Footlights, p. 21 He also contributed lyrics for the Broadway production of Chu Chin Chow (1917) and wrote the lyrics to many popular songs. His musical burlesques included The Bill-Poster (1910, with music by Herman Finck), and his comedy plays included John Berkeley's Ghost (1910 with Hartley Carrick).
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Feature on Hodson in Footlights Notes The theatre hosted comedies, such as F. C. Burnand's The Turn of the Tide (1869, starring Hermann Vezin and George Rignold with Hodson), historical dramas, such as Tom Taylor's Twixt Axe and Crown (1870), popular revivals of Shakespeare (starring such famous actors as Samuel Phelps) and Tommaso Salvini, dramatisations of Dickens novels, burlesques and extravaganzas. Although the theatre was among the largest and best equipped in London, and featured some of London's most famous stars, it lacked the guidance of an actor-manager of the stature of Henry Irving or Herbert Beerbohm Tree.
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The Life of W. S. Gilbert . The Gilbert and Sullivan Archive The Times wrote: "The chief care of Mr. Gilbert has been to make his dialogue as perfect a specimen as possible of smooth verse, and to stud it profusely with elaborate puns of unquestionable originality. ... Mr. Gilbert shows a power of detecting phonetic affinities ... in which perhaps he excels all his contemporaries. ... [S]eldom have mere verbal pleasantries provoked such frequent laughter and applause as those in La Vivandière ... an extravaganza more elegant in its tone than the generality of burlesques" The new piece ran for a total of 120 performances.
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Bancroft was born at Doncaster, and as a child appeared on the stage with her parents, who were both actors. Among her early parts was that of Fleance in Macbeth (1846). She made her London début on 15 September 1856, at the Lyceum Theatre, as the boy Henri in Belphegor, playing the same night in Perdita; or, the Royal Milkmaid. She won great popularity in several boy roles, in burlesques at various theatres, as Cupid in two different plays, and notably as Pippo, in The Maid and the Magpie, by H. J. Byron, at the Royal Strand Theatre (1858).
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Gilbert's creative output included over 75 plays and libretti, and numerous short stories, poems and lyrics, both comic and serious. After brief careers as a government clerk and a lawyer, Gilbert began to focus, in the 1860s, on writing light verse, including his Bab Ballads, short stories, theatre reviews and illustrations, often for Fun magazine. He also began to write burlesques and his first comic plays, developing a unique absurdist, inverted style that would later be known as his "topsy-turvy" style. He also developed a realistic method of stage direction and a reputation as a strict theatre director.
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230px Willie Edouin (1 January 1846Edouin's New York Times obituary says 1841 – 14 April 1908) was an English comedian, actor, dancer, singer, writer, director and theatre manager. After performing as a child in England, Australia and elsewhere, Edouin moved to America, where he joined Lydia Thompson's burlesque troupe, performing with this company both in the US and Britain. He returned to America in 1877, where, by 1880, he managed his own company. For over a decade, starting in 1884, Edouin managed theatres in London, particularly the Strand Theatre, producing and starring in comedies, farces and burlesques.
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The result of Gilbert and Sullivan's collaboration was a witty, tuneful and very "English" piece, in contrast to the bawdy burlesques and adaptations of French operettas that dominated the London musical stage at that time. April 1875 programme for La Périchole and Trial by Jury. Sullivan and Gilbert are the cherubs. Initially, Trial by Jury, which runs only 30 minutes or so, was played last on a triple bill, on which the main attraction, La Périchole (starring Dolaro as the title character, Fred Sullivan as Don Andres and Walter H. Fisher as Piquillo), was preceded by the one-act farce Cryptoconchoidsyphonostomata.
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J. Milling, P. Thomson, J. W. Donohue, eds, The Cambridge History of British Theatre: 1660 to 1895 / edited by Joseph Donohue (Cambridge: Cambridge University Press, 2004), p. 131. It had a libretto by John Gay and music arranged by Johann Christoph Pepusch, both of whom probably experienced vaudeville theatre in Paris, and may have been motivated to reproduce it in an English form. They were also probably influenced by the burlesques and musical plays of Thomas D'Urfey (1653–1723) who had a reputation for fitting new words to existing songs; a popular anthology of these settings was published in 1700 and frequently re-issued.Grove's Dictionary of Music and Musicians, "D'Urfey, Thomas".
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Byron in the 1870s Henry James Byron (8 January 1835 – 11 April 1884) was a prolific English dramatist, as well as an editor, journalist, director, theatre manager, novelist and actor. After an abortive start at a medical career, Byron struggled as a provincial actor and aspiring playwright in the 1850s. Returning to London and beginning to study for the Bar, he finally found playwriting success in burlesques and other punny plays. In the 1860s, he became an editor of humorous magazines and a noted man-about-town, while continuing to build his playwriting reputation, notably as co-manager, with Marie Wilton, of the Prince of Wales's Theatre.
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Poster for Byron's 1859–60 pantomime, Jack the Giant Killer Byron joined several provincial companies as an actor from 1853–57, sometimes in his own plays and sometimes in those of T. W. Robertson (with whom he acted and starved) or others, but had little success. He described his early attempts at acting, and the hardships of the journeyman touring actor, in an 1873 essay for The Era Almanack and Annual called "Eighteen Parts a Week". He began writing burlesques of melodramas and extravaganzas in the mid-1850s. In 1857, his burlesque of Richard of the Lion Heart premièred at the Royal Strand Theatre.
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The comic version follows the traditional ballad closely, but exaggerates its naivety and subverts its pathos by telling the lovers' story in urban slang. Burlesques of serious works were in great vogue on the London stage at the time and the tragi-comic song became a sensation.‘"Vilikins and his Dinah" created a furore. My countrymen are always going mad about something; and Englishmen and Englishwomen all agreed to go crazy about "Vilikins." “Right tooral lol looral” was on every lip.’ Its popularity grew the following year when it was adopted by the Anglo-American entertainer Sam Cowell, who took it into a broader range of venues.
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6 He eventually formed his own opera company, and by the 1880s he had become a theatrical manager as well as an actor and playwright, writing and performing under the name "Henri Tempo". Among his successes as manager were provincial tours of English adaptations of light operas, such as Farnie and Chassaigne's Falka, and Victorian burlesques, such as Lutz, Sims and Pettitt's Faust up to Date and Carmen up to Data."Mr. Auguste Van Biene", The Times, 24 January 1913, p. 9 As a cellist he was highly enough regarded to be invited to be an examiner at the Royal Academy of Music in 1884.
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Balfe's original Bohemian Girl The Merry Zingara; Or, The Tipsy Gipsy & The Pipsy Wipsy was the third of W. S. Gilbert's five burlesques of opera. Described by the author as "A Whimsical Parody on The Bohemian Girl", by Michael Balfe, it was produced at the Royalty Theatre, London, on 21 March 1868. As in his four other operatic parodies written early in his career, Gilbert selected operatic and popular tunes from a variety of sources, and fitted new words to them. Although he used only one tune from Balfe's original, The Merry Zingara is the burlesque in which Gilbert's libretto stays closest to the original work.
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The Times, 17 April 1922, p. 17Biographical file for John D'Auban, list of productions and theatres, The Theatre Museum, London (2009) Comedian E. J. Lonnen joined the Gaiety for many of Lutz's burlesques. After these, however, the age of burlesque was coming to an end, and with the retirement of Nellie Farren and Fred Leslie, it was essentially over. Gaiety Girls, 1896 For Joan of Arc, Edwardes had hired a young writer, Adrian Ross, who next wrote a less baudy, more lightly comic piece, similar to Dorothy, with a minimum of plot, focusing on songs with clever lyrics, In Town (1892), with stylish costumes and urbane, witty banter.
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The meticulousness of her detailed accounts make her novels valuable tools for learning about a time long past and customs that have died away. Keyes' former residence in Washington, D.C. Modern readers will find her depictions of African-American characters generally regressive and simplistic, and there are occasional patches of the pre-World War II fashionable anti-Semitism in her Jewish characters. Some of her Irish and Italian characters are clichéd, or even burlesques of stereotypes. While Keyes was a popular author of the 1940s and 50s, existing editions of her books are becoming rare, and many libraries have removed her books from their shelves.
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Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others.
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In drama, farces, musical burlesques, extravaganzas and comic operas competed with Shakespeare productions and serious drama by the likes of James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and were followed by the 1890s with the first Edwardian musical comedies. The first play to achieve 500 consecutive performances was the London comedy Our Boys by H. J. Byron, opening in 1875. Its astonishing new record of 1,362 performances was bested in 1892 by Charley's Aunt by Brandon Thomas.
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"Christmas with the Yule Log", Illustrated London News,1848 Undated illustration by "Alfred Crowquill" Alfred Forrester was the son of Robert Forrester of 5 North Gate, Royal Exchange, London, a public notary. He discovered an aptitude for literary and artistic pursuits from an early age, and was soon associated with writing for periodical publications, including Colburn's New Monthly, Bentley, and Punch magazine. He often wrote short tales, songs, children's stories, and occasional burlesques. He could also draw and worked on wood, etchings and caricatures using pen and ink, specialising in anthropomorphic animals, occasionally illustrating stories for his brother Charles Robert Forrester (1803–1850), who wrote under the pseudonym Hal Willis.
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Comedy Night at Gotham Comedy Club Some of the main types of humor in stand-up comedy include observational comedy, blue comedy, dark comedy, clean comedy, and cringe comedy. Alternative stand-up comedy deviates from the traditional, mainstream comedy by breaking either joke structure, performing in an untraditional scene, or breaking an audience's expectations; this includes the use of shaggy dog stories and anti- jokes. Stand-up comedy is often performed in corporate events, comedy clubs, bars and pubs, nightclubs, neo-burlesques, colleges and theatres (audiences will give applause breaks more often in theaters). Outside live performance, stand-up is often distributed commercially via television, DVD, CD and the internet.
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She was the daughter of the singer and actress Cicely Nott and the sister of three other actresses including Ada Blanche, a well-known pantomime star. In 1892 Courtneidge and his wife went to Australia, where he played comic roles for George Edwardes's Gaiety company in the burlesques, Carmen up to Data, Faust up to Date, Miss Esmeralda and Joan of Arc. He and his wife remained in Australia during 1893 and 1894; he joined the J. C. Williamson company, appearing in On 'Change, La Mascotte, Sweet Lavender and Princess Ida and in pantomime."Players of the Period", The Era, 18 April 1896, p.
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Ivan Caryll Félix Marie Henri Tilkin (12 May 1861 - 29 November 1921), better known by his pen name Ivan Caryll, was a Belgian composer of operettas and Edwardian musical comedies in the English language. He composed (or contributed to) some forty musical comedies and operettas. Caryll's career encompassed three eras of the musical theatre, and unlike some of his contemporaries, he adapted readily to each new development. After composing a few musical burlesques, his first great successes were made in light musical comedies, epitomised by the George Edwardes productions at London's Gaiety Theatre, such as The Shop Girl, The Circus Girl, The Gay Parisienne, and A Runaway Girl.
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The Mazeppa story became "a well-worn melodrama in dire need of revitalization", which it received from the performer Adah Isaacs Menken. Other women had played Mazeppa (see Breeches role), including Charlotte Cushman, but Menken's interpretation -- "sexing up" the part, scandalously performing the nude scene clad only in a flesh-colored bodystocking—really caught the public imagination. Many other female Mazeppas followed, as did a new wave of burlesques. Mazeppa was very popular during the American Civil War and became the most widely performed drama in the American west from the 1860s until the turn of the century, and was also popular in London.
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She agreed to produce three more burlesques by Byron, while he agreed to write his first prose comedies, War to the Knife (a success in 1865) and A Hundred Thousand Pounds (1866). By 1867, Byron left the partnership.Thomson, Peter. "Byron, Henry James (1835–1884)", Oxford Dictionary of National Biography, Oxford University Press, September 2004; online edn, January 2008, accessed 19 December 2008Lee, Amy Wai Sum. "Henry J. Byron", Hong Kong Baptist University The house soon became noted for the successful domestic drama-comedies by Thomas William Robertson, including his series of groundbreaking realist plays, Society (1865), Ours (1866), Caste (1867), Play (1868), School (1869), and M.P. (1870).
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Atherton moved to London with her English husband in 1883. There she would spend the majority of the final decade and a half of her career in music halls. During this period, Meyer Lutz, the German- born British composer and conductor who is best known for light music, musical theatre and burlesques of well-known works composed the popular song "Eyes of English Blue" for her. In 1885 she took to the stage at the Prince's Theatre in Bristol and the Novelty Theatre in London, alongside Harriet Vernon, Lionel Brough and Official course Willie Edouin in The Japs; or, The Doomed Daimio, a burlesque by Harry Paulton and Mostyn Teddea.
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Mabel Bert in Turn to the right Mabel was an actress, known for Straight Is the Way (1921), The Wonderful Thing (1921) and Blackbirds (1920). She started as an actress by chance, she was behind the scene with a friend during the performance of Oliver Twist and was asked at the last minute to replace a missing actress with three lines. At the beginning of her career, for two years she played with various companies throughout California, and in 1886 joined a stock company in San Francisco for leading parts. For 14 months she took a new part every week, including Shakespeare's plays, old comedies, melodramas, society plays and burlesques.
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1895 set design model by Marcel Jambon for Act I of Giuseppe Verdi's Otello for a production in Paris. Our more modern notion of scenery, which dates back to the 19th century, finds its origins in the dramatic spectacle of opera buffa, from which the modern opera is descended. Its elaborate settings were appropriated by the 'straight', or dramatic, theatre, through their use in comic operettas, burlesques, pantomimes and the like. As time progressed, stage settings grew more realistic, reaching their peak in the Belasco realism of the 1910-'20s, in which complete diners, with working soda fountains and freshly made food, were recreated onstage.
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William Harris as Duffett's empress of Morocco. Even after the King's Company got their new well-appointed playhouse in Drury Lane in 1674, they could not take full advantage of it, as they lacked the capital to mount competitive spectaculars. Instead, they attempted to simultaneously capitalise on and snipe at the Duke's most successful mid-1670s offerings by mounting several burlesques or parodies of them, written by Thomas Duffett. The records for the mid-1670s are particularly incomplete, and neither exact dates nor the public reaction to Duffett's pieces are known, but even the printed versions, pale shadows of Duffett's travesty spectacles, have proved highly amusing to modern critics.
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His friendship with Izaak Walton began about 1655, and contradicts any assumptions about Cotton's character based on his coarse burlesques of Virgil and Lucian. Walton's initials, made into a cipher with Cotton's own, were placed over the door of Cotton's fishing cottage on the Dove near Hartington. Cotton contributed a second section "Instructions how to angle for a trout or grayling in a clear stream", to Walton's The Compleat Angler; the additions consisted of twelve chapters on fishing in clear water, which he understood largely but not exclusively to be fly fishing. Another addition to the volume was Cotton's well-known poem "The Retirement", which appeared from the 5th edition onwards.
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W.S. Gilbert in about 1870 A Sensation Novel is the fourth in a series of six short musical entertainments written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments at their Gallery of Illustration beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavoury institution and was not attended by much of the middle class. Shakespeare was played, but most of the entertainments available in theatres consisted of poorly translated French operettas, risqué burlesques and incomprehensible broad farces.Bond, Jessie and Ethel Macgeorge.
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He reached the peak of his popularity after he joined John Hollingshead's company at the Gaiety Theatre, London in 1876, starring in the musical burlesques produced there during the next eight years. With Nellie Farren, Kate Vaughan and E. W. Royce, he made the fortune of this house, his eccentric acting and singing creating a style which had many imitators. Some of the roles in which he appeared there included Mephistopheles in Little Doctor Faust (1878). Photo and signatures of Farren, Terry and Gaiety friends In 1887 he went into management, opening Terry's Theatre, built on the site of the old Coal Hole public house and music hall on the Strand.
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She had appeared in, among other things, Burnand's Black-Eyed Susan and Gilbert's An Old Score, and had performed together with her sister and Burnand in Burnand's one-act burlesque of The Odyssey, Patient Penelope; or, The Return of Ulysses. It was at that time illegal in England for a man to marry his dead wife's sister, although such marriages made outside British jurisdiction were recognised as valid; accordingly the wedding ceremony was performed in continental Europe. There were two sons and four daughters of this marriage. Throughout the 1870s, Burnand maintained a prodigious output. For the stage he wrote 55 pieces, ranging from burlesques to pantomimes, farces and extravaganzas.
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At the same time as his busy theatrical career, he was a member of the staff of Punch under Lemon and his successors, Shirley Brooks and Tom Taylor, writing a regular stream of genial articles. His best- known work for the magazine was the column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life. A. A. Milne considered it "one of the most popular series which has ever appeared in Punch"; alongside it, he rated as Burnand's best comic contributions his burlesques of other writers, such as "The New History of Sandford and Merton" (1872) and "Strapmore" by "Weeder" (1878).
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For instance: This was followed by Gilbert's penultimate operatic parody, Robert the Devil, a burlesque of Giacomo Meyerbeer's opera, Robert le diable, which was part of a triple bill that opened the Gaiety Theatre, London, in 1868. The piece was Gilbert's biggest success to date, running for over 100 nights and being frequently revived and played continuously in the provinces for three years thereafter.Stedman (1996), p. 62 In Victorian theatre, "[to degrade] high and beautiful themes ... had been the regular proceeding in burlesque, and the age almost expected it" However, Gilbert's burlesques were considered unusually tasteful compared to the others on the London stage.
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Edwardian musical comedy began in the last decade of the Victorian era and captured the optimism, energy and good humour of the new century and the Edwardian era, as well as providing comfort during the First World War. The Gaiety Theatre's well-loved but racy burlesques were coming to the end of their popularity, and so was the run of phenomenally successful family-friendly Gilbert and Sullivan operas. These two genres had dominated the musical stage since the 1870s. A few lighter, more romantic comic operas, beginning with Dorothy (1886) found success and showed that audiences wanted something lighter than operetta, but more coherent in construction than burlesque, that featured the modern fashions and culture of the day.
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The story-line of The Mountain Sylph, based on Nodier's tale, had already been adapted in 1832 by the singer Adolphe Nourrit as the basis of the ballet La Sylphide, and it was probably the success of the ballet in Paris, where the cast included the famous ballerina, Marie Taglioni, which brought the subject to Barnett's attention. In any case, the opera more closely follows the story of the ballet than that of Nodier's story.Edgecombe, pp. 25-27. Before The Mountain Sylph, Barnett had mainly written comic operettas, incidental music and songs for plays, and burlesques and adaptations of popular foreign works, including the opera Robert le diable by his distant cousin Giacomo Meyerbeer.
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Gammond, p. 30 The composer-cellist caricatured Returning to the familiar Paris salons, Offenbach quietly shifted the emphasis of his work from being a cellist who also composed to being a composer who played the cello.Gammond, p. 30 He had already published many compositions, and some of them had sold well, but now he began to write, perform and produce musical burlesques as part of his salon presentations.Gammond, p. 32 He amused the comtesse de Vaux's 200 guests with a parody of Félicien David's currently fashionable Le désert, and in April 1846 gave a concert at which seven operatic items of his own composition were premiered before an audience that included leading music critics.
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The Yacht Club Boys were a quartet of American comic singers, popular in the 1920s and 1930s: Charles Adler, George Kelly, Billy Mann, and Jimmie Kern, later known professionally as James V. Kern. They made recordings from the 1920s and appeared as a specialty act in several feature films of the 1930s. The Yacht Club Boys' screen career and on-screen behavior paralleled those of The Ritz Brothers, a musical-comedy trio doing the same type of musical burlesques. The Yacht Club Boys began as a "collegiate" group, dressing in varsity-styled sweaters and slacks, and singing novelty tunes in breezy fashion ("I'm Wild About Horns on an Automobile", "Nasty Nancy, the Meanest Gal in Town").
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Therefore, the evening's entertainments received mixed reviews, except for the uniformly enthusiastic reviews of Nellie Farren. However, The Times noted that "Like the other extravaganzas from the same pen, Robert the Devil shows an endeavour to avoid the ordinary vulgarities of grotesque drama, and bring its most elegant contingencies into the foreground.... The burlesque has been received with a storm of approbation."Ainger, p. 80 The success of Robert and Dulcamara showed that Gilbert could write entertainingly in this form and, together with his early pantomimes and farces, full of awful puns (traditional in burlesques of the period), though they do, at times, show signs of the satire that would later be a defining part of his work.
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Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas D'Urfey (1653–1723), a number of whose collected ballads they used in their work.F. Kidson, The Beggar's Opera: Its Predecessors and Successors (Cambridge University Press, 1969), p. 71. Gay produced further works in this style, including a sequel under the title Polly and he was followed by many other composers.
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Laura Eugenia Bayley (4 February 1862 – 25 October 1938) was a British actress and filmmaker, active in the Brighton School of early cinema pioneers. Born in Ramsgate, Bayley performed onstage in Victorian burlesques, revues, and pantomimes, often with her three sisters. After marrying the showman George Albert Smith, she entered the world of early experiments with motion picture film; she played main roles in many of the most important films Smith made between 1897 and 1903, including The Kiss in the Tunnel (1899) and Mary Jane's Mishap (1903). Behind the camera, Bayley likely played a significant hand in the creative development of Smith's fiction films, and may have directed some of those currently credited to him.
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In alt=A painting in a yellow and brown palette of a ring of bare tree trunks surrounding a ruined abbey with gravestones on the ground. Austen's juvenile writings are parodies and burlesques of popular 18th-century genres, such as the sentimental novel. She humorously demonstrates that the reversals of social convention common in sentimental novels, such as contempt for parental guidance, are ridiculously impractical; her characters "are dead to all common sense".Waldron, 17; Litz, 7–14. Her interest in these comedic styles, influenced in part by the writings of novelist Frances Burney and playwrights Richard Sheridan and David Garrick,Grundy, "Jane Austen and literary traditions", 203; Kirkham, 35; Litz, 14–17.
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The two toured successfully for many years, becoming one of the most popular and profitable acts in vaudeville. In 1896, the partners opened the Weber and Fields Music Hall, where they produced very successful burlesques of popular Broadway shows. In the music hall's casts were some of the greatest performers and comics on the American stage at that time, including Lillian Russell, Ross and Fenton, Fay Templeton, and DeWolf Hopper. Some of their routines were Pousse Cafe, Hurly Burly, Whirl-I-Gig, Fiddle-Dee-Dee, Hoity-Toity, Twirly Whirly, and Whoop-de- Doo. Advertisement for The Man Who Stood Still (1916) The duo separated in 1904, and Weber took over operations at the music hall.
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She then was engaged by Augustus Harris as principal dancer at the Empire Theatre for three years and later played in Liverpool and elsewhere. She also joined the company of George Edwardes where, in the early 1890s, she appeared in the burlesques Cinder Ellen up too Late and Don Juan."An Objectionable Sultan; Play of Don Juan Expurgated to Please the Turkish minister". The New York Times, 3 November 1893, p. 9 Also at the Gaiety, Edwards cast her in In Town (1892), and, in 1894, still aged 16, she danced in A Gaiety Girl at Daly's Theatre and then played the role of Violet Deveney in Edwardes's hit Edwardian musical comedy, The Shop Girl, at the Gaiety.
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Gilbert's dramatic writing during this time was evolving from his early musical burlesques to a more restrained style, as exemplified in his string of blank-verse fairy comedies. The first of these was The Palace of Truth, which opened in 1870 to widespread acclaim. He was also developing his unique style of absurdist humour, described as "Topsy-Turvy", made up of "a combination of wit, irony, topsyturvydom, parody, observation, theatrical technique, and profound intelligence". The story and play Creatures of Impulse date from the middle of this period, when Gilbert was trying different styles and working towards the mature style of his later work, including the famous series of Gilbert and Sullivan operas.
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1868 programme for Ixion This launched her career and that of several actresses, including Lisa Weber, and Rose Coghlan. It also drew fierce criticism from those who felt it transgressed the boundaries of propriety at the time. Burlesques, colloquially referred to as leg-shows, started off very tame, clever, and sophisticated, drawing in all types of people, especially women. Unfortunately, “the female audiences for burlesque did not last for long. In the summer of 1869 a wave of ‘anti-burlesque hysteria’ in the New York press frightened away the middle-class audiences that had initially been drawn to Ixion and sent the Thompson troupe prematurely packing on a tour around the United States and Canada.
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Meyer Lutz's Ali Baba and The Forty Thieves was performed in 1880 (Hollingshead had produced a highly successful charity production called The Forty Thieves at the Gaiety in 1878), and a burlesque of Aladdin, by Robert Reece, in 1881. These were followed by Little Robin Hood (1882), a burlesque by Reece, Blue Beard (1882), Ariel (1883, by F. C. Burnand, based on The Tempest), Don Yuan, Byron's Little Don Caesar de Bazan (a send-up of Boucicault's play), Mazeppa (1884), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), and dozens of others.Plarr, Victor G. Men and Women of the Time (1898) G. Routledge, London John D'Auban choreographed the Gaiety burlesques from 1868."Mr. D'Auban's 'Startrap' Jumps".
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9 In the early 1870s, she played many roles in musical burlesques such as Francis Talfourd's Atalanta as Cupid, Little Jack Sheppard as Jonathan Wild (1871 on tour), Dr. Faust as Franz, Ixion as Cupid (1873), and Don Juan as Zerlina (1873 at the Alhambra Theatre)."Death of Miss Lottie Venne; Half-century on London Stage", The Argus Melbourne, Australia, 18 July 1928, accessed 17 November 2009 She played Polly Twinkle in La Vie parisienne in 1872,"Easter Entertainments: Holborn", The Standard, 2 April 1872, accessed 1 November 2018, issue=14874, p. 2 via British Newspaper Archive and, at the Court Theatre, played in Christabel, Zampa, Lady Audley's Secret and others.Parker, John.
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Edwardes went on to have great success in his own right as a theatrical impresario at the Gaiety Theatre, London and other West End theatres, first producing the theatre's musical burlesques and then virtually inventing the genre of Edwardian musical comedy. Ironically, Gwynne's roles outside of those with the D'Oyly Carte organisation appear to have been in legitimate theatre rather than musical theatre. She continued to act until about 1887, performing at the Haymarket Theatre in 1883–84, including in Richard Sheridan's comedy, The Rivals, as Lucy,Information about The Rivals and in The Bachelors, an adaptation from the German by Robert Williams Buchanan and Hermann Vezin.Review of The Bachelors Gwynne retired from the stage following the birth of her daughter (Dorothy) and son (D'Arcy).
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Upper-class houses at first limited the number of such acts they would show, but beginning in 1841, blackface performers frequently took to the stage at even the classy Park Theatre, much to the dismay of some patrons. Theater was a participatory activity, and the lower classes came to dominate the playhouse. They threw things at actors or orchestras who performed unpopular material,; . and rowdy audiences eventually prevented the Bowery Theatre from staging high drama at all.. Typical blackface acts of the period were short burlesques, often with mock Shakespearean titles like "Hamlet the Dainty", "Bad Breath, the Crane of Chowder", "Julius Sneezer" or "Dars-de-Money".. Meanwhile, at least some whites were interested in black song and dance by actual black performers.
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This work is the third in a series of six one-act musical plays written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments at their Gallery of Illustration beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavory institution and was not attended by much of the middle class. Shakespeare was played, but most of the entertainments consisted of poorly translated French operettas, risque Victorian burlesques and incomprehensible broad farces. The Gallery of Illustration was a 500-seat theatre with a small stage that only allowed for four or five characters with accompaniment by a piano, harmonium and sometimes a harp.
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" George Myers Jr. compared it to Edward Allen's novel Mustang Sally, calling it "another of those in-joke English Department novels that burlesques bookishness while thumbing the nose at ProfWorld." Michael Upchurch, of The Seattle Times, wrote that Grudin himself called it "a novel about the consequences of a creative act." Upchurch saw the novel as "autobiographical in theme," based on "the reaction Grudin got whenever he presented his colleagues and supervisors with an unconventional publication." Ultimately, Upchurch praised the book as "eloquent on the mysterious contract between creator and creation, and persuasive in cautioning against works of art being picked apart too cavalierly," and he predicted that Book might convince some English professors "to reinstate a back-to-basics core curriculum.
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98, No. 1375 (September 1957), pp. 483–485 In the mid-19th century in England, musical theatre consisted of mostly of music hall, adaptations of the French operettas (played in bad, risqué translations) and musical burlesques (the culmination of which were seen at the Gaiety Theatre beginning in 1868). In reaction to these, a few family-friendly entertainments were created, such as the German Reed Entertainments.Bond, Jessie. Introduction to The Life and Reminiscences of Jessie Bond, reprinted at The Gilbert and Sullivan Archive, accessed March 4, 2011 In America, mid-18th century musical theatre entertainments included crude variety revue, which eventually developed into vaudeville, minstrel shows, which soon crossed the Atlantic to Britain, and Victorian burlesque, first popularized in the US by British troupes.
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IBDB entry for the original New York run. None of his other works had more than a short run or two, although many of them toured profitably. For two Victorian burlesques, The Three Beggars (1883) and Little Carmen (1884), Jakobowski used the pen name Edward Belville. His principal shows were Dick (1884, based on the story of Dick Whittington; libretto: Alfred Murray), Erminie (1885), The Palace of Pearl (1886), Mynheer Jan (1887; libretto: Harry Paulton), Paola (1889; libretto: Paulton), La Rosiére (1893, in one act), The Queen of Brilliants (1894; libretto: Brandon Thomas, starring Lillian Russell), The Devil's Deputy (1894; libretto: J. Cheever Goodwin), Milord Sir Smith (1898, originally titled Cumpano; libretto O'Day and Adrian Ross),"Campano; or The Wandering Minstrel", The Era, 10 September 1898, p.
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Massey was the daughter of Rose Massey, a well-known actress in her time, who died of consumption in 1883."Personal and Other Jottings", The Morning Call, 7 October 1894 Massey appeared in plays, Victorian burlesques and Edwardian musical comedies as A Run of Luck (1888), Ruy Blas and the Blasé Roué (1889) (incorrectly listed as Blanche Massie),Vinent, W.T. Recollections of Fred Leslie, Volume 2, p. 100 (1894) Carmen up to Data (1890),Carmen Up To Data Photo (1890), Retrieved August 4, 2011 Cinder Ellen up too Late (1891), The Geisha (1896),Platt, Len. Joyce, race and Finnegans wake, p. 134 (2007)"Massey in The Geisha", Munsey's Magazine (August 1896) My Friend the Prince (1897), and Lady Madcap (1904).
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Scene from The Happy Land, showing the impersonation of Gladstone, Lowe, and Ayrton (from The Illustrated London News of 22 March 1873; illustrated by D. H. Friston) The Happy Land is a play with music written in 1873 by W. S. Gilbert (under the pseudonym F. Latour Tomline) and Gilbert Arthur à Beckett. The musical play burlesques Gilbert's earlier play, The Wicked World. The blank verse piece opened at the Royal Court Theatre on 3 March 1873 and enjoyed a highly successful run, soon touring, and then being immediately revived at the same theatre in the autumn of 1873.Joseph S Meisel (1999), The Importance of Being Serious: The Unexplored Connection between Gladstone and Humour, History 84 (274), p. 278–300.
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They returned to New York, appearing at Tony Pastor's theater on 14th Street, and in 1894 made their Broadway debut in Hammerstein's Olympia. They had three companies on the road, and in 1895 the partners opened the Weber and Fields Broadway Music Hall where they produced very successful burlesques of popular Broadway shows. In the music hall's casts were some of the greatest performers and comics on the American stage at that time including Lillian Russell, Fay Templeton, Ross and Fenton and DeWolf Hopper, David Warfield, Peter F. Dailey, Mabel Fenton, Marie Dressler, Willie Collier and Sam Bernard. They were forced to close the Broadway Music Hall when the fire at the Iroquois Theater, Chicago, caused strict enforcement of the fire laws in New York.
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Gilbert's four earlier operatic burlesques, Dulcamara, or the Little Duck and the Great Quack (1866), La Vivandière; or, True to the Corps! (1867), The Merry Zingara; or, the Tipsy Gipsy and the Pipsy Wipsy (1868) and Robert the Devil, or The Nun, the Dun, and the Son of a Gun (1868) had parodied comic or romantic operas.Stedman, pp. 34–62 The critic of The Morning Post had asserted that parodying comic opera was a much more difficult undertaking than parodying tragic opera, and instanced Norma as "an eminently tragic work", far easier to burlesque."Queen's Theatre", The Morning Post, 23 January 1868, p. 5 Gilbert and his wife, Lucy, in 1867 The work was written for the opening of the new Charing Cross Theatre.
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He had six children with his wife Katharina (née Heim); Pauline (1862-1942), Sidonie (born 1863), Bertha (1864-1942), twins Arnold (1866-1942) and Emil (1866-1944) Golz, and Irma Golz (1872-1903). Pauline, Bertha and Arnold all perished at the Theresienstadt concentration camp. Arnold and Emil Golz wrote libretti for operettas and burlesques performed on the Viennese stage. These included Die Gaukler (The Juggler, 1909), Die Königin der Nacht (The Queen of the Night, 1913), Die Unsterbliche Familie (The Immortal Family, 1913), Die Schöne Ehebrecherin (The Beautiful Adulteress, 1913), Die Meerjungfrau (The Mermaid, 1916), Baron Menelaus (1919), Mamselle Napoleon (1919), Die Fromme Helene (Pious Helene, 1921) Epsteins Witwe (Epstein's Widow, 1923), Der Ledige Schwiegersohn (The Unmarried Son-in-law, 1923), Frau Pick in Audienz (Mrs.
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Rather than the more aristocratic themes and music of the Italian opera, the ballad operas were set to the music of popular folk songs and dealt with lower-class characters."Ballad opera", Encyclopædia Britannica, retrieved 7 April 2015. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas d'Urfey (1653–1723), a number of whose collected ballads they used in their work.
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In 1888–89, she, Leslie, Letty Lind, Sylvia Grey, Marion Hood and the Gaiety company had toured the US and Australia with Monte Christo, Jr. and Miss Esmeralda.NY Times article that describes the U.S. performances Fred Leslie and Nellie Farren in Little Jack Sheppard In addition to these burlesques, Farren also appeared in other comedies such as The Man of Quality (an adaptation of Vanbrugh's Relapse), as Miss Hoyden (1870); William Congreve's Love for Love, as Miss Prue (1871); Bickerstaff's The Hypocrite, as Charlotte (1873); The Rivals (1874) as Lillian Languish (1874) and as Lucy (1877); The Critic, as Tilburina (1874); Ursula in Much Ado About Nothing (1874); Maria in Twelfth Night (1876); The Grasshopper (1877, an adaptation of Henri Meilhac and Ludovic Halévy's La Cigale); and a number of farces.
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Gilbert and Sullivan's H.M.S. Pinafore A change came in the Victorian era with a profusion on the London stage of farces, musical burlesques, extravaganzas and comic operas that competed with productions of Shakespeare's plays and serious drama by dramatists like James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and was followed by the 1890s with the first Edwardian musical comedies. The length of runs in the theatre changed rapidly during the Victorian period. As transport improved, poverty in London diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously.
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Carte's real ambition was to develop an English form of light opera that would displace the bawdy burlesques and badly translated French operettas then dominating the London stage. He assembled a syndicate and formed the Comedy Opera Company, with Gilbert and Sullivan commissioned to write a comic opera that would serve as the centrepiece for an evening's entertainment. An early poster showing scenes from The Sorcerer, Pinafore, and Trial by Jury Gilbert found a subject in one of his own short stories, "The Elixir of Love," which concerned the complications arising when a love potion is distributed to all the residents of a small village. The leading character was a Cockney businessman who happened to be a sorcerer, a purveyor of blessings (not much called for) and curses (very popular).
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The quartet received prestigious prizes like the Grand Prix of the XVIII Festival of Satire and Comedy in Lidzbark; "Pingwin z brazu" (the Bronze Penguin) – the prize given by the cabaret community of Zielona Gora, an informal capitol of Polish cabaret and two Golden Troughs at the Ryjek Festival in Rybnik/Poland. In July 2010 the MozART group was awarded a special prize from the Ministry of Culture of the Republic of Poland for outstanding achievements and 15 years on stage. The 31st European Humor Festival GAGY in Slovakia awarded the MozART group with the 2011 Grand Prix. In March 2013 the MozART group was awarded all three main prizes at the 10th "Festival des Artes Burlesques" in St.Etienne/France: the Grand Prix of the Jury, the Audience Award and the Press Award.
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She continued to tour the UK for the next few years in Robert Buchanan's drama Storm Beaten, the pantomime Queen of Hearts and George Faucett Rowe's Fun in Bristol, among other shows. Lind performing a skirt dance in 1890 In 1887, Lind began her long and successful association with George Edwardes at the Gaiety Theatre in a series of burlesques, beginning with Monte Cristo Jr., taking over the role of Mariette, which was created by Lottie Collins. Collins devised her own cross between skirt dancing and the Can-Can in her performance of her hit song 'Ta-ra-ra-boom-de-ay'. It was around this time that Lind fans began to number in the "tens of thousands" as her fame was spreading.W. Macqueen-Pope, Gaiety, Theatre of Enchantment, W. H. Allen, 1949, p.
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133 The Times drama critic noted: "It is a quite peculiar and original Sister Anne, who dances breakdowns and sings strange ballads to a still stranger harp and plays ping-pong with a frying-pan and potatoes and burlesques Sherlock Holmes and wears the oddest of garments and dresses her hair like Miss Morleena Kenwigs, and speaks in a piping voice – in short it is none other than Dan Leno whom we all know".The Times, 27 December 1901, p. 4 Mother Goose provided Leno with one of the most challenging roles of his career, in which he was required to portray the same woman in several different guises. Wood's idea, that neither fortune nor beauty would bring happiness, was illustrated by a series of magical character transformations.
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"Vestris, Lucia Elizabeth (1797–1856)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 March 2014 Many were written by J. R. Planché and Charles Dance, featuring Vestris in breeches roles, and the popular comedian of the day, John Liston. The plays often burlesqued classical themes: My Great Aunt – or, Relations and Friends; The Loan of a Lover; The Court Beauties; The Garrick Fever; Faint Heart Never Won Fair Lady; Olympic Revels – or Prometheus and Pandora; Olympic Devils – or Orpheus and Eurydice; The Paphian Bower – or Venus and Adonis; Telemachus – or The Island of Calypso.Victorian Plays, accessed 23 March 2007. While Vestris' licence only allowed the performance of extravaganzas and burlesques, the quality of the performance was paramount, with much time spent on rehearsal and selection of the company.
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Stephens, p. 61 Other notable early works included an opéra bouffe, Windsor Castle (1865), with music by Frank Musgrave, and more pun-filled burlesques, including Helen, or, Taken from the Greek, and Guy Fawkes, or The Ugly Mug and the Couple of Spoons, both in 1866. Later in 1866 Burnand had a huge success with the burlesque The Latest Edition of Black-Eyed Susan; or, the Little Bill that Was Taken Up, parodying the three-act melodrama by Douglas Jerrold, Black-Eyed Susan;"The Morning Post", Black-Eyed Susan; or, the Little Bill that Was Taken Up, review in The Morning Post, digitized by The British Library (2013), p. 51 the show ran for 400 nights at the Royalty Theatre, was played for years provincially and in the US, and was twice revived in London.
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The dustjacket design burlesques early 18th century English topographical views: a rarefied subject for comedy Osbert Lancaster's Drayneflete Revealed (1949, published in the US as There'll Always be a Drayneflete 1950), is an illustrated book on architectural style. It takes the form of a parody of an antiquarian study of an imaginary English town's development. This moves from its muddy Saxon origins -- the Fleet River is the ancient river that runs in sewers under the City of London-- and is profusely illustrated at each turn with Lancaster's caricature architectural views, always showing the same corner of Drayneflete, as it appears through history. Lancaster follows the changing fortunes of the architectural development from village to small city, and wittily captures the foibles and fashions of the inhabitants, all rendered in flawlessly deadpan camp.
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Information from Footlight Notes website Later in 1864, Farren moved to the Olympic Theatre, where she stayed for several years, playing in a number of pieces, including The Hidden Hand by Tom Taylor; My Wife's Bonnet by John Maddison Morton; the burlesques Prince Camaralzaman, or, the Fairies' Revenge and Faust and Marguerite; and Shakespeare's Twelfth Night, as the Clown. She also played the title role in Lydia Languish, Charlotte in High Life Below Stairs, Nerissa in The Merchant of Venice, Nan in Good for Nothing by J. B. Buckstone, Jo in Nicholas Nickleby, and Sam Willoughby in The Ticket-of-Leave Man, again earning praise for her comic portrayals. The manager of the Olympic, Horace Wigan, and playwright Tom Taylor, each of whom directed shows at the theatre, taught Farren much about stagecraft and encouraged her to experiment and expand her acting.Hollingshead, p.
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This work is the fifth in a series of six one-act musical plays written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments at their Gallery of Illustration beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavory institution and was not attended by much of the middle class. Shakespeare was played, but most of the entertainments consisted of poorly translated French operettas, risque burlesques and incomprehensible broad farces.Bond, Jessie. The Life and Reminiscences of Jessie Bond, Introduction, John Lane, 1930 The Gallery of Illustration was a 500-seat theatre with a small stage that only allowed for four or five characters with accompaniment by a piano, harmonium and sometimes a harp.
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The only works to be still performed well into the 1930s were The Bohemian Girl, Maritana and The Lily of Killarney.E. W. White, A history of English Opera, Faber and Faber (1983) p. 294 Beside foreign opera and European operetta, the most popular forms of indigenous entertainment in the second half of the 19th century were burlesques and late Victorian era light operas, notably the Savoy Operas of Gilbert and Sullivan, both of which frequently spoofed operatic conventions. Sullivan wrote only one grand opera, Ivanhoe (following the efforts of a number of young English composers beginning about 1876), but he claimed that even his light operas were to be part of an "English" opera school, intended to supplant the French operettas (usually in bad translations) that had dominated the London stage throughout the 19th century into the 1870s.
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On tour or in London she played in the burlesques Little Jack Sheppard (1886) and Miss Esmeralda (1887), and, as Farren aged, Blanche took the title roles in Ruy Blas and the Blasé Roué (1890) and Joan of Arc (1891). Blanche was only briefly among the top names in West End burlesque, but in the 1890s she achieved and maintained the highest degree of stardom in pantomime under the management of Sir Augustus Harris at Drury Lane. In the six seasons from December 1892 she starred there in the theatre's lavish pantomime versions of Little Bo-Peep, Robinson Crusoe, Dick Whittington and His Cat, Cinderella, Aladdin and Babes in the Wood. In the title role of Robinson Crusoe, she was singled out by The Times for mention before her famous co-stars, Little Tich, Dan Leno, Marie Lloyd and Herbert Campbell.
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She is alternately hoydenish and lovable, > gagging and demure; she burlesques Greta Garbo and Zasu Pitts and enacts the > balcony scene from Romeo and Juliet without making it ridiculous. ... Miss > Withers' scenes are of three kinds, those in which she is precocious and > amusing because possessed of a sophistication beyond her years; those in > which she is a child and charming for her childish ways and those where she > really acts. She acts, I am glad to report, a great deal and with much > vitality and her comic sense is a keen and lively one. The New York Times praised the film as "a fresh, human and warm photoplay, rich in natural values, sensitively directed by Lewis Seiler (who used to teach school in Brooklyn and should know children) and played for all it is worth by an excellent cast".
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Crystal Palace playbill, 26 December 1889 Other later Gaiety burlesques choreographed by D'Auban included Ruy Blas and the Blasé Roué (1889) and Carmen Up to Data (1890). D'Auban continued to choreograph most of the Gilbert and Sullivan and other Savoy Theatre pieces throughout the 1880s and 1890s. These included Iolanthe (1882),Savoy Theatre playbill, Iolanthe, 25 November 1882Princess Ida (1884), The Mikado (1885)The Mikado , review in The Entr'acte, London, 28 March 1885, p.6a, accessed at the Footlight Notes website, 21 December 2009 (D'Auban is played by Andy Serkis in the 1999 film Topsy-Turvy concerning the making of The Mikado), Ruddigore (1887),Ruddigore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 The Yeomen of the Guard (1888),The Era, 6 October 1888, p. 9 The Vicar of Bray (1892), Captain Billy (1892), Haddon Hall (1892),Trutt, David.
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309 Iconographical elements from the masque also figure in Walter Crane's large watercolour of Pandora of 1885. She is pictured as sprawled over a carved wooden chest on which are embossed golden designs of the three fates who figure as a chorus in Longfellow's scene 3. Outside the palace, a high wind is bending the trees. But on the front of the chest, a medallion showing the serpent wound about the tree of knowledge recalls the old interpretation of Pandora as a type of Eve.Wikimedia In England the high drama of the incident was travestied in James Robinson Planché’s Olympic Revels or Prometheus and Pandora (1831), the first of the Victorian burlesques. It is a costume drama peppered with comic banter and songs during which the gods betroth Pandora to a disappointed Prometheus with “only one little box” for dowry.
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She joined Henderson's company at Prince of Wales's Theatre, Liverpool, together with the rising young actors Squire Bancroft, Marie Wilton and Henry Irving. There, she played in Brough's Ernani (1865), as Max in a burlesque of Weber's Der Freischütz (1866), as Prince Buttercup in The White Fawn, as Massaroni in the burlesque The Brigand, and as Prince Florizel in another burlesque, Perdita. Thompson excelled as "principal boy" in burlesques: "She was charming to look at, a good singer, a really clever dancer, and the life and soul of the scene while on the stage." Other successful London runs from 1866 to 1868 included, at the Drury Lane, Sophonisba in Delibes' Wanted Husbands For Six (Six Demoiselles à marier) and at the Strand Theatre, Blue-Beard (after Jacques Offenbach's version) and Darnley in the very successful The Field of the Cloth of Gold.
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The six-month tour turned into an extremely successful tour of almost six years, and during two subsequent tours, the Blondes drew huge crowds at leading theatres across the US. The troupe launched careers of several actresses, including Markham, Alice Burville, Lisa Weber, and Rose Coghlan, and of comedian Willie Edouin. It also drew fierce criticism from those who felt it transgressed the boundaries of propriety. Burlesques, colloquially referred to as leg-shows, started off very tame, clever, and sophisticated, drawing in all types of people, especially women. Unfortunately, “the female audiences for burlesque did not last for long. In the summer of 1869 a wave of ‘anti-burlesque hysteria’ in the New York press frightened away the middle- class audiences that had initially been drawn to Ixion and sent the Thompson troupe prematurely packing for a national tour”.
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Beginning with Little Jack Sheppard, however, Hollingshead's successor, George Edwardes, expanded the format of the burlesqes to full- length pieces with original music by Meyer Lutz, instead of scores compiled from popular tunes."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9, col. D These included Monte Cristo Jr. (1886); Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead had managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz.
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This work is the last in a series of six one-act musical plays written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavoury institution and was not attended by much of the middle class. Shakespeare was played, but most of the entertainments consisted of poorly translated French operettas, risqué Victorian burlesques and incomprehensible broad farces.Bond, Jessie and Ethel Macgeorge. Introduction to The Life and Reminiscences of Jessie Bond, John Lane (1930). Reprinted at The Gilbert and Sullivan Archive Alfred Reed, son of Thomas German Reed Gilbert took his title from a children's story, "Eyes and No Eyes; or, The Art of Seeing", in a 1799 collection of early children's literature, Evenings at Home.
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The Princess came fairly early in Gilbert's playwriting career, after his very successful one-act comic opera, Ages Ago (1869) and before Our Island Home (1870, another such piece). The play was Gilbert's first of the 1870s, a decade during which he wrote more than thirty-five plays, encompassing most genres of comedy and drama, including his series of blank verse "fairy comedies", beginning with The Palace of Truth later in 1870 and his first operas with Arthur Sullivan. In 1870, Gilbert was establishing his "topsy-turvy" style and proving that his capabilities extended well beyond his early burlesques and extravaganzas. The Princess is one of several Gilbert plays, including The Wicked World, Broken Hearts, and the later operas, Iolanthe, Princess Ida, and Fallen Fairies, where the introduction of males into a tranquil world of women brings "mortal love" that wreaks havoc with the status quo.
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The Brighton Aquarium, where Bayley and her sisters performed in Victorian burlesques Bayley was born on 4 February 1862 in the English seaside town of Ramsgate. She and her sisters Blanche, Florence, and Eva worked together as performers for J. D. Hunter's Theatre Company, which produced a "burlesque" extravaganza every year at the Brighton Aquarium. The Brighton Society, in 1887, praised "the Misses Bayley … who, by their charming vocal selections added so considerably to the success of the burlesque Brown and the Brahmins". Bayley's three sisters also performed without her for some Aquarium productions, such as in the pantomimes Cinderella and Dick Whittington in August 1890 and again in the latter in 1892, but the four sisters were reunited at the Aquarium for Babes in the Wood in 1894, about which the Brighton Herald commented that "The Robin Hood of Miss Laura Bayley is a distinctly comely and cheery Robin Hood".
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Bizet's Carmen had first been produced in English in London in 1878 at Her Majesty's Theatre, starring Selina Dolaro and Durward Lely. An earlier burlesque of Carmen, called Carmen: or, Sold for a Song, by Robert Reece, had also been produced at the Folly Theatre in 1879, and several other burlesques followed.Adams, pp. 254–55 Burlesque of opera or classical works was popular in Britain from the 1860s to the 1880s. Other examples at the Gaiety include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).
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Offenbach's fertile melodies, combined with his librettists' witty satire, formed a model for the musical theatre that followed. Adaptations of the French operettas (played in mostly bad, risqué translations), musical burlesques, music hall, pantomime and burletta dominated the London musical stage into the 1870s.Bond, Jessie. Introduction to The Life and Reminiscences of Jessie Bond , reprinted at The Gilbert and Sullivan Archive, accessed March 4, 2011 In America, mid-19th century musical theatre entertainments included crude variety revue, which eventually developed into vaudeville, minstrel shows, which soon crossed the Atlantic to Britain, and Victorian burlesque, first popularized in the US by British troupes. A hugely successful musical that premiered in New York in 1866, The Black Crook, was an original musical theatre piece that conformed to many of the modern definitions of a musical, including dance and original music that helped to tell the story.
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Julius Caesar at The Winter Garden Theatre, with John Wilkes Booth, Edwin Booth, and Junius Brutus Booth, Jr., November 25, 1864. On February 21, 1863, Edwin Booth took on the management of the Winter Garden Theatre (together with his brother-in-law, John Sleeper Clarke) with the intention of shifting the focus from musicals and burlesques to classical dramas. This enterprise included a toga-clad, one-night production of Julius Caesar on the evening of November 25, 1864, Evacuation Day, played by Edwin and his brothers, John Wilkes Booth and Junius Brutus Booth, Jr.. The goal of staging Julius Caesar for just one night was to raise funds for the establishment of a statue of William Shakespeare designed by John Quincy Adams Ward in the relatively new Central Park on the northern outskirts (then) of Manhattan.The statue of Shakespeare now stands to the south of the main Promenade and east of the Sheep Meadow in Central Park.
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Nevertheless, playgoers flocked to the little theatre in Tottenham Court Road, and the London stage was at once inundated with imitations of the new style of acting and the new kind of play. > Miss Marie Wilton, the darling of the Strand Theatre, and the life and soul > of the merry and really witty burlesques (what a contrast to the vapid > 'musical comedies' of to-day!) that then formed the staple fare at that > popular little playhouse, was anxious to spread her wings and try her > strength in comedy. With that object in view she had taken the old Prince of > Wales Theatre, hard by Tottenham Court Road, a place of amusement that had > fallen into such disrepute that it was sneeringly nicknamed "The Dust-bin" > ... So different in treatment was it from the plays with which theatre-goers > were then apparently well pleased that Miss Wilton's friends and admirers > frankly warned her that introduction was "dangerous." The supposed danger > lay in the simplicity of the play.
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The term "choreographer" was not generally used at the time of Warde's career. Theatre programmes usually read, "The dances arranged by ...". Shows for which Warde arranged the dances included the burlesques Little Jack Sheppard (1885), in which he also appeared, and Cinder Ellen up too Late (1891). In 1889, he arranged the dances for Gilbert and Sullivan's The Gondoliers.Savoy Theatre playbill, The Gondoliers, 7 December 1889 The musical comedies that he choreographed included A Gaiety Girl (1893);Daly's Theatre programme, 1894 The Shop Girl (1894);Gaiety Theatre programme, 1894 The Geisha (1896);Playbill, Daly's Theatre, 27 April 1896 A Greek Slave (1898);Playbill, Daly's Theatre, 8 June 1898 A Gaiety Girl (revival, 1899);Playbill, Daly's Theatre, 6 June 1899 The Lucky Star at the Savoy Theatre (1899);Savoy Theatre playbill, 26 May 1899 San Toy (1900);Playbill, Daly's Theatre, 16 February 1900 Three Little Maids (1902); The Duchess of Dantzic (1903); and The Cingalee (1904), in which he also appeared.
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This type of work, the Victorian burlesque, was popular in Britain at the time. Other examples include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead had managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz. Hollingshead called himself a "licensed dealer in legs, short skirts, French adaptations, Shakespeare, taste and musical glasses."Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 01 Mar 2007 In 1886, Hollingshead ceded the management of the theatre to George Edwardes, whom he had hired in 1885.
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Colin Henry Hazlewood (1823– 31 May 1875) was an English playwright. Hazlewood became a low comedian on the Lincoln, York and western circuits. In 1850, he wrote and produced at the City of London Theatre a farce entitled Who's the Victim? which was received with favour, and he commenced writing stories for the penny weekly publications. In 1851, he was engaged at the Surrey Theatre, appearing as Bob Blackberry in The Rover's Bride, and was next engaged by Nelson Lee and Johnson for the City of London Theatre as a low comedian. Here he remained ten years, producing numerous dramas, farces and burlesques, among his successes being The Bonnet Builders' Tea Party at the Royal Strand Theatre; Jenny Foster, the Sailor's Child and Jessie Vere, or the Return of the Wanderer, two dramas each in two acts, produced in 1854 and 1856 at the Britannia Saloon, where they had long runs; and Waiting for the Verdict, first given at the City of London Theatre.
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She remained at that theatre for four years in burlesques and comedies, such as Nemesis by H. B. Farnie, Loo and the Party Who Took Miss, Intimidad, Flamingo, Cracked Heads (1876, a parody of Gilbert's Broken Hearts) by Arthur Clements and Frederick Hay, The Lying Dutchman, Princess Toto by Gilbert and Frederic Clay, Champagne, and as the Plaintiff in Gilbert and Sullivan's Trial by Jury in 1877, opposite Fisher's Defendant. Also at the Strand, she played Penelope, the bewildered housemaid, in Sydney Grundy's comedy The Snowball and appeared in Our Club and The Baby. Venne in 1889 She built her popularity through a series of roles in works by F. C. Burnand, including Dora and Diplunacy, a burlesque of Diplomacy (in which she parodied Effie Bancroft), Family Ties and The Red Rover (a burlesque of Robertson's sentimental plays). In 1879, at the Royalty Theatre, she played Eliza in a revival of The Zoo by B. C. Stephenson and Arthur Sullivan.
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Burlesque of opera or classical works was popular in Britain from the 1860s to the 1880s. Other examples at the Gaiety include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz. Hollingshead called himself a "licensed dealer in legs, short skirts, French adaptations, Shakespeare, taste and musical glasses."Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 01 Mar 2007 In 1886, Hollingshead ceded the management of the theatre to George Edwardes, whom he had hired in 1885.
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Nectoux, p. 262 Fauré and Messager quickly moved from being master and pupil to being firm friends and occasional collaborators.Jones, pp. 51–63 In 1874 Messager succeeded Fauré as organiste du chœur (choir organist) at Saint-Sulpice, Paris, under the principal organist, Charles-Marie Widor.Nectoux, p. 19 In 1876 he won the gold medal of the Société des Auteurs, Compositeurs et Editeurs de Musique with a symphony, the work being warmly received when performed by the Concerts Colonne at the Théâtre du Châtelet in January 1878. He won further prizes for his cantatas Don Juan et Haydée and Prométhée enchaîné. In 1879 Fauré and Messager travelled to Cologne to see Wagner's Das Rheingold and Die Walküre, and later to Munich for the complete Ring cycle, Die Meistersinger von Nürnberg and Tannhäuser; in 1888 they went to Bayreuth for Die Meistersinger and Parsifal.Nectoux, p. 39 They frequently performed as a party piece their joint composition, the irreverent Souvenirs de Bayreuth (c. 1888). This short, skittish piano work for four hands burlesques motifs from The Ring.Blanche, Jacques-Emile in La Revue musicale, December 1938, pp.
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He studied art at the Royal Academy, became an illustrator on the Illustrated Sporting and Dramatic News and successfully exhibited and sold paintings.The Times obituary, 6 October 1926, p. 14 In 1877 Wyatt began a stage career in a one- line part in the farce On Bail by W. S. Gilbert at the Criterion Theatre, where he continued to play in farces for three years under the management of Charles Wyndham. Over the next two decades, Wyatt appeared regularly before London audiences in burlesques at the Gaiety Theatre, London, and character roles in plays and operettas in various West End theatres. In 1879 he appeared with Selina Dolaro in the "melodramatic burlesque" Another Drink at the Folly Theatre, caricaturing William Rignold and dancing a can-can with Dolaro."Our Captious Critic", The Illustrated Sporting and Dramatic News, 19 July 1879, p. 441 In 1880 he played Punch in the pantomime Mother Goose and the Enchanted Beauty at Drury Lane Theatre with Arthur Roberts and Kate Santley.The Times, 28 December 1880, p.
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Fournel, p. 266. His name appears among several of the Mazarinades following the uprising of the Fronde: Le Dialogue burlesque de Gilles le Niais et du capitan Spacamon (The Burlesque Dialogue between Gilles le Niais and Captain Spacamon, 1649), Les Entretiens sérieux de Jodelet et de Gilles le Niais, rétourné de Flandres, sur le temps présent (The Serious Discussions of Jodelet with Gilles le Niais, back from Flanders, on the Present Times, 1649), and Le Véritable Gilles le Niais, en vers burlesques (The Real Gilles le Niais, in Burlesque Verse, n.d.).Fournel, p. 267. But this claim of single parentage is weakened by Victor Fournel's admission that Gilles le Niais could have been "a sobriquet of a type, applied to several personages".Fournel, p. 266; tr. Storey (1978), 75. What seems most clearly beyond dispute is that the copiously documented appearances of Gilles the comic servant at the Parisian fairs of the 18th century, the Foires Saint-Germain and Saint-Laurent, owed their origins to an actor-tumbler called Marc, who in 1697 first performed as Gilles at the popular Foire Saint-Germain.
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She played Idex in Undine, Fianetta in The White Fawn, Darnley in The Field of the Cloth of Gold and Abdallah in The Female Forty Thieves. She founded her ‘Mrs James A Oates’ Burlesque Troupe’ in 1868Don B. Wilmeth and Tice L. Miller, The Cambridge Guide to American Theatre, Cambridge University Press (1996) - Google Books pg. 280Katherine K. Preston, Opera for the People: English-Language Opera and Women Managers in Late 19th-century America, Oxford University Press (2017) - Google Books pg. 48 and toured with it throughout 1869 with the burlesques The Field of the Cloth of Gold, Rip van Winkle and Pocahontas around America and in May 1870 made her way to the Olympic Theatre in New York to play Broadway for the first time as Little Graceful in The Fair One in the Golden Wig; Josephine in a burlesque of the old musical drama The Daughter of the Regiment, or the 800 Fathers (in theory a version of Donizetti's opera La fille du régiment but actually including music from other composers including Offenbach and Verdi);Gerald Bordman, Gerald Martin Bordman and Richard Norton American Musical Theatre: A Chronicle, Oxford University Press (2011) - Google Books pg.
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His father was briefly kidnapped by the Chartists in 1839 and was a crown witness at the trial of the Chartist leader John Frost, which resulted in Frost's deportation to Australia. The family was ostracized and ruined financially as a result, and moved to Manchester in 1843, where Brough worked as a clerk in order to contribute to the family income.Banerji, Nilanjana. "Brough, Lionel (1836–1909)". Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 25 May 2009 In 1847, Brough established the Liverpool Lion, a comic periodical, writing satiric articles and drawings. He worked with his brother William to write a Victorian burlesque play, The Enchanted Isle, which was produced in Liverpool in 1848 before transferring to London. Moving to London, he wrote other successful burlesques including Medea (1856) and Masaniello (1857), as well as other collaborative productions with his brother William including The Sphinx (1849) and The Last Edition of Ivanhoe (1850). Brough also wrote essays and poems for journals and newspapers, including for a period being the Brussels correspondent of the Sunday Times. Songs of the Governing Classes (1855), a book of radical poems, is his best known work.
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Other Gaiety stalwarts were Edward Terry, Kate Vaughan and Fred Leslie. The theatre's music director, Meyer Lutz, composed or arranged the music for many of its most successful burlesques. Illustration of Thespis, the first Gilbert and Sullivan work In 1870, Henry James Byron's Uncle Dick's Darling starred a young Henry Irving. This was the last play that theatre buff Charles Dickens saw before his death. Other pieces at Hollingshead's Gaiety in 1870 included Dot (Dion Boucicault's version of The Cricket on the Hearth); and The Princess of Trebizonde, based on the Jacques Offenbach operetta (1870). Thespis, the first collaboration between Gilbert and Sullivan, played at the theatre in 1871, with Farren as Mercury and J. L. Toole in the title role. Offenbach's Les deux aveugles played in 1872, starring Fred Sullivan. This was followed by such works as Shilly-Shally (1872) by Anthony Trollope and Charles Reade; Antony and Cleopatra (1873); and The Battle of Life, (based on Charles Dickens's Christmas story of that title). Two other Dion Boucicault plays produced by Hollingshead's company in the early 1870s were Night and Morning and Led Astray.
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Characters such as Simon Legree sometimes disappeared, and the title was frequently changed to something more cheerful like "Happy Uncle Tom" or "Uncle Dad's Cabin". Uncle Tom himself was frequently portrayed as a harmless bootlicker to be ridiculed. Troupes known as Tommer companies specialized in such burlesques, and theatrical Tom shows integrated elements of the minstrel show and competed with it for a time.. Minstrelsy's racism (and sexism) could be rather vicious. There were comic songs in which blacks were "roasted, fished for, smoked like tobacco, peeled like potatoes, planted in the soil, or dried up and hung as advertisements", and there were multiple songs in which a black man accidentally put out a black woman's eyes.. On the other hand, the fact that the minstrel show broached the subjects of slavery and race at all is perhaps more significant than the racist manner in which it did so.. Despite these pro-plantation attitudes, minstrelsy was banned in many Southern cities.. Its association with the North was such that as secessionist attitudes grew stronger, minstrels on Southern tours became convenient targets of anti-Yankee sentiment.. Non-race-related humor came from lampoons of other subjects, including aristocratic whites such as politicians, doctors, and lawyers.
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Interior of the Gaiety, 1869 In 1868, the theatre was sumptuously rebuilt by John Hollingshead as the Gaiety Theatre (announcing its dramatic policy in its name), on a nearby prominent site at the centre of the Aldwych, facing the eastern end of the Strand."Architecture: A city in flux brought to book", The Times, 11 December 2002 It was designed by the theatre architect C. J. Phipps, who also designed the Gaiety Theatre (1871) in Dublin. A restaurant operated in the building, and patrons could eat before seeing the show and then go directly to their seats without having to worry about the weather outside. The Gaiety Theatre opened on 21 December 1868, with On the Cards and several companion pieces, including the successful Robert the Devil, by W. S. Gilbert, a burlesque of the opera Robert le Diable.Digital Guide to Gilbert & Sullivan accessed 1 March 2007 The theatre was a venue primarily for burlesque, variety, continental operetta and light comedy under the management of John Hollingshead from 1868 to 1886, including several operettas by Jacques Offenbach and musical burlesques arranged by the theatre's music director, Wilhelm Meyer Lutz. Gilbert also wrote An Old Score for the theatre in 1869.
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George Grossmith Jr. (11 May 1874 - 6 June 1935) was a British actor, theatre producer and manager, director, playwright and songwriter, best remembered for his work in and with Edwardian musical comedies. Grossmith was also an important innovator in bringing "cabaret" and "revues" to the London stage. Born in London, he took his first role on the musical stage at the age of 18 in Haste to the Wedding (1892), a West End collaboration between his famous songwriter and actor father and W. S. Gilbert. Grossmith soon became an audience favourite playing "dude" roles. Early appearances in musicals included George Edwardes's hit A Gaiety Girl in 1893, and Go-Bang and The Shop Girl in 1894. In 1895, Grossmith left the musical stage, instead appearing in straight comedies, but after a few years he returned to performing in musicals and Victorian burlesques. Early in the new century, he had a string of successes in musicals for Edwardes, including The Toreador (1901), The School Girl (1903), The Orchid (1903), The Spring Chicken (1905), The New Aladdin (1906), The Girls of Gottenberg (1907), Our Miss Gibbs (1909), Peggy (1911), The Sunshine Girl (1912) and The Girl on the Film (1913). The lanky Grossmith was often comically paired with the diminutive Edmund Payne.
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