61 Sentences With "mountebanks" | Random Sentence Generator

"The people who sold these policies were charlatans and mountebanks," he said.

Fly-by-night mountebanks of the 19th century motivated a change in law.

He meets information-age mountebanks and the idealists attempting to resist or expose them.

The most sophisticated mountebanks employed a hodgepodge drawn from science, alchemy, astrology, myth and philosophy.

Medieval and Renaissance mountebanks often employed elaborate shows featuring musicians, clowns and performing animals to captivate an audience on the town square.

Finally, as an educator, it would be remiss of me not to point out two contributing factors to the effectiveness of fake news and other mountebanks.

He has welcomed moralizing mountebanks like Al Sharpton — who along with his for-profit business was found in 2014 to owe more than $4.5 million in taxes — sententious celebrities and movie stars, and rappers with a history of violence.

In 1937, a journalist named Grete De Francesco published a volume called "Die Macht des Charlatans," or "The Power of the Charlatan," a history of the quacks and mountebanks that roamed Europe in the Middle Ages and early modern period.

Focused in part on the kleptocrats of the former Soviet Union, the book ranges across the world and a wide cast of lawyers, accountants and mountebanks who see to it that money stolen in poor, ill-run countries can be invested in rich, safe ones.

Alone among the quacks and mountebanks at St. Saviour's, the dashing Dr. James Bain has an intrinsic sense of hygiene, but once he's poisoned there's no one to urge the surgeons to wash their hands or exchange their blood-stiffened frock coats for white gowns.

Poster for the original production The Mountebanks' initial run of 229 performances surpassed most of Gilbert's later works and even a few of his collaborations with Sullivan.Stedman, p. 285 Gilbert engaged his old friends John D'Auban, to choreograph the piece, and Percy Anderson, to design costumes.The Mountebanks at The Guide to Musical Theatre, accessed 15 December 2009 The initial run closed on 5 August 1892.

Often in ill health throughout his life,Stedman, p. 279 Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score.Gänzl, Kurt, "Caryll, Ivan (1861–1921)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 January 2011 A reviewer of the 2018 recording of The Mountebanks commented: "There is a free-flowing style to Cellier’s compositions, with fine lyrical detail and sumptuous orchestration with which he provides a wide variety of musical effects."Walker, Raymond J. "Alfred Cellier (1844-1891): The Mountebanks, comic opera (1892); and Suite Symphonique (1878)", Music Web International, 2018 Cellier owed much to the influence of Sullivan.

In June of that year he succeeded Lionel Brough as Vanderkoopen in La Cigale in a long run at the Lyric Theatre. After touring in his own production of Pat, he returned to the West End in 1892 to play Bartolo in The Mountebanks by W. S. Gilbert and Alfred Cellier; The Era said of his performance that it compelled the audience to hold their sides, "for we laugh until they ache"."The Mountebanks". The Era, 9 January 1892, p.

The full score of the opera was published in 2014 by Robin Gordon- Powell, followed by a piano/vocal score.Cellier, Alfred and W. S. Gilbert. The Mountebanks, Gordon-Powell, Robin (ed. music) and Smith, J. Donald (ed.

The device allowed Gilbert to explore "how people behave when they are forced to live with the consequences of their own actions."Smith, J. Donald. Introduction to Cellier, Alfred and W. S. Gilbert, The Mountebanks, Gordon-Powell, Robin (ed. music) and Smith, J. Donald (ed.

Poster for The Mountebanks The Mountebanks is a comic opera in two acts with music by Alfred Cellier and Ivan Caryll and a libretto by W. S. Gilbert. The story concerns a magic potion that causes the person to whom it is administered to become what he or she has pretended to be. It is similar to several "magic lozenge" plots that Gilbert had proposed to the composer Arthur Sullivan, but that Sullivan had rejected, earlier in their careers. To set his libretto to music, Gilbert turned to Cellier, who had previously been a musical director for Gilbert and Sullivan and had since become a successful composer.

Traubner, pp. 89–90 Caryll, known as a very expressive conductor, conducted W. S. Gilbert and Alfred Cellier's The Mountebanks at the Lyric in 1892. Cellier died during rehearsals for the piece, and Caryll wrote the overture, the entr'acte, and finished some of the orchestration. His work on the piece received critical praise.Walker, Raymond J. "Alfred Cellier (1844-1891): The Mountebanks, comic opera (1892); and Suite Symphonique (1878)", Music Web International, 2018 Also in 1892, with George Dance, Caryll adapted an opéra comique called Ma mie Rosette, based on a French piece by Paul Lacôme, starring Jessie Bond and Courtice Pounds at the Globe Theatre.

Born in St Johns Wood in London, René appeared in 1892–93 with a touring company in The Mountebanks by W. S. Gilbert. The Era commented that she "sings and plays Ultrice in admirable style".The Era, 12 November 1892, p. 20; and 7 October 1893, p.

Although this plot device is retained in the play, the plot of the play is almost completely changed. The device of transformation by supernatural aid is one of Gilbert's favourites.Adams, p. 528 Gilbert uses it in The Sorcerer, The Mountebanks and many of his other works.

Gilbert and Cellier agreed to collaborate on The Mountebanks in July 1890, and Gilbert began fleshing out the libretto, but unlike his usual daily interactions with Sullivan during development of a libretto, he found Cellier to be far less responsive.Smith, J. Donald. "The Mountebanks, By W. S. Gilbert and A. Goring Thomas"], Magazine, No. 102, Sir Arthur Sullivan Society, London, Spring 2020, pp. 13–22 He was annoyed when Cellier sailed for Australia in mid-December without having responded to Gilbert's repeated queries about potential conflicts between some plot changes that he had suggested and a recently composed opera of Cellier's with B. C. Stephenson, The Black Mask, including a Spanish setting involving guerillas during the Peninsular War.

Smith, J. Donald. "The Missing Songs of The Mountebanks", W. S. Gilbert Society Journal, Vol. 4, part 4, issue 30, pp. 15–31 (2012) After Cellier's illness prevented him from finishing the score, Gilbert modified the libretto around the gaps, and the order of some of the music was changed.

"Introduction: Historical Context", The Grand Duke, p. vii, New York: Oakapple Press, 2009. Linked at The Gilbert and Sullivan Archive, accessed 7 July 2009. Gilbert next wrote The Mountebanks with Alfred Cellier and the flop Haste to the Wedding with George Grossmith, and Sullivan wrote Haddon Hall with Sydney Grundy.

This show enjoyed a record-setting two-year run. Next, he appeared as Alderman Shelton in Cellier and Stephenson's Doris in 1889. After this, Cook continued to act in London for another ten years. In 1892, he appeared in Gilbert and Cellier's The Mountebanks (Cellier's last opera) as innkeeper Elvino di Pasta.

Horace Greeley, and General Ambrose Burnside were there. Members of the church complained about the "marriage of mountebanks". They became irate when they were told they could not sit in their own pews. Much of the public curiosity about the marriage was based on an interest in the sexual mechanics of Thumb and Lavinia.

They reached their heyday in the 1880s with The Pirates of Penzance (1880), and The Gondoliers (1889), and concluded in 1896 with The Grand Duke. They had rivals like Alfred Cellier's (1844–91) Dorothy (1886) and The Mountebanks (1892), but were the most successful operas of the era and have been among the most frequently revived.

Lamb, Andrew. "Alfred Cellier in Australia", Sir Arthur Sullivan Society Magazine, No. 97, Summer 2018, p. 22 His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies.

Spain was born in Reigate, Surrey. She studied at the Guildhall School of Music, after which, she began to perform on the concert stage."Music and Drama", The Sydney Morning Herald, 23 May 1914, p. 6, accessed 30 June 2013 As an amateur with the Sydenham Operatic Society in 1897, she played Theresa in The Mountebanks by W. S. Gilbert and Alfred Cellier.

Notable among the cast were Frank Wyatt as Woodpecker Tapping, veteran actor Lionel Brough (Pietro in The Mountebanks) as Maguire, and George Grossmith Jr., the composer's son, in his stage debut as Foodle. The opera was not a success, however, playing only 22 performances. Stedman suggests that the timing of the premiere in July, traditionally a slow season, worked against it.Stedman, p.

Wyatt's reviews describe his effectiveness in the songs allotted to him.Review of The Mountebanks in The Illustrated London News, 9 January 1892 He then played Woodpecker Tapping in Haste to the Wedding, a short-lived comic opera by Gilbert and George Grossmith at the Criterion Theatre. Also in 1892, he appeared in London in Ma mie Rosette, together with Jessie Bond and Courtice Pounds.

"Prince of Wales's Theatre", The Morning Post, 14 January 1889, p. 2 In Marjorie (January 1890), he was Gosrie, and in Captain Therese (August 1890) he played M. Duvet. In The Rose and the Ring (December 1890) he was cast as Valoroso. Monkhouse as Bartolo in The Mountebanks, 1892 In February 1891 Monkhouse played Sir Tristram Testy in Maid Marian by Harry B. Smith and Reginald De Koven.

Charlatans and mountebanks were fooling more, just as sages were educating more, and alluring and lurid apocalypses vied with sober philosophy on the shelves. As with the Worldwide Web in the 21st century, the democratisation of publishing meant that older systems for determining value and uniformity of view were both in shambles. Thus, it was increasingly difficult to trust books in the 18th century, as books were increasingly easy to make and buy.

Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed".

Dan follows the directions of an infatuated sixty-year-old albino, Horace Zagreus, who believes him to be a genius. The 'Apes of God' that he meets are imitators of true creators; they are characterised as "prosperous mountebanks who alternately imitate and mock at and traduce those figures they at once admire and hate." (p. 123) Zagreus is himself only the imitator of another character, Pierpoint, who appears to be the origin of all the ideas that circulate in the society depicted in the novel.

Margaret Hughes is oft credited as the first professional actress on the English stage. Previously, Angelica Martinelli, a member of a visiting Italian Commedia dell' arte company, did perform in England as early as 1578, M.A. Katritzky: Women, Medicine and Theatre 1500–1750: Literary Mountebanks and Performing but such foreign guest appearances had been rare exceptions and there had been no professional English actresses in England. This prohibition ended during the reign of Charles II in part because he enjoyed watching actresses on stage.

The New York Times review of 1887 New York production Later the same year, she was back at the Casino Theatre in the title role of Dorothy, and over the next several years, she continued to star in operettas and musical theatre on Broadway. Her parts at this time included the title role in The Grand Duchess of Gerolstein, Fiorella in The Brigands (in a translation by W.S. Gilbert), Teresa in The Mountebanks, Marion in La Cigale, and Rosa in Princess Nicotine.Kenrick, John. "Who's Who in Musicals: Ro – Ru", Musicals101.

After that, the first known staging was in New York City, in 1955, in a small-scale production at the St. John's Theater, in Greenwich Village, by the Chamber Opera Players, accompanied only by a piano."Mountebanks, an Opera, In U. S. Debut in Village"], New York Herald Tribune, December 2, 1955, p. 13 It was produced in 1964 by the Washington, D.C., Lyric Theatre Company, with orchestra, and the company recorded the score. Other amateur performances accompanied only by piano followed until James Gillespie's Ramsgate production in 1982, which used orchestra parts from Australia.

She joined her mother in London and started her stage career in 1891 at the Lyric Theatre in London in the chorus of Edmond Audran's operetta La Cigale and, at the same theatre in early 1892, was in the chorus of The Mountebanks, where she met her future husband, actor Gilbert Porteous, who was playing the role of Beppo.Parker, John (ed). Who Was Who in the Theatre: 1912-1976, Gale Research: Detroit, Michigan (1978), pp. 2279–2280 Charles Wyndham asked her to join his company at the Criterion Theatre in 1892.

Playfair was born in Ellichpur, India. He first appeared on the London stage in December 1887."Arthur Playfair, Actor, Dead". The New York Times, 29 August 1918, accessed 6 February 2011 He went on to create roles in the Victorian burlesque Cinder Ellen up too Late (1891); the comic opera The Mountebanks (1892) by Alfred Cellier and W. S. Gilbert; as Sir Reddan Tapeleigh, with Jessie Bond, in the musical comedy Go-Bang (1894) by Adrian Ross and F. Osmond Carr; and the comic opera His Excellency (1895) by Gilbert and Carr.

Over the course of the nineteenth century, traveling mountebanks gave way to more polished medicine shows, which availed themselves of a burgeoning patent medicine industry. At least 1,500 patent medicines were recorded by 1858, affording enterprising drifters a specific product to sell. These "medicines" seldom treated the specific symptoms of an illness, instead relying on stimulants or other drugs to produce a pleasurable effect. Alcohol, opium and cocaine were typical ingredients, and their addictive qualities provided an additional incentive for consumers to continue buying them, while their supposed medicinal benefit afforded a sufficient excuse.

She next joined Toole's company and appeared at Toole's Theatre on 26 December of that year as the Spirit of Home in Dot. In 1888, she was back at the Vaudeville in a play with her sisters Jessie and Decima, Partners, by Robert Williams Buchanan. In 1890, she created the role of the countess of Drumdurris in the Arthur Wing Pinero play The Cabinet Minister at the Court Theatre. In 1892, she appeared as Minestra in the comic opera The Mountebanks by W. S. Gilbert and Alfred Cellier.

1898 Lyric poster Sedger had an early success with his production of Edmond Audran's La cigale, in an English adaptation by F. C. Burnand with additional music by Ivan Caryll; it ran for 423 performances from October 1890.Gaye, p. 1530 Apart from a short season by the celebrated Italian actress Eleonora Duse in her first appearance in Britain,"Signora Duse at the Lyric Theatre", The West Australian, 14 August 1893, p. 6 Sedger continued with musical works: The Mountebanks by W. S. Gilbert and Alfred Cellier (1892),Stedman, p.

The practice was well accepted by the ancient Greek philosophers, but fell into disrepute in the Middle Ages when practised by vagabonds and mountebanks. It was then revived and popularised by Johann Kaspar Lavater before falling from favour again in the late 19th century.How your looks betray your personality – New Scientist (Magazine issue 2695) – 11 February 2009: Roger Highfield, Richard Wiseman, and Rob Jenkins Physiognomy as understood in the past meets the contemporary definition of a pseudoscience. Popular in the 19th century, it has been used as a basis for scientific racism.

Gilbert further developed the Dulcamara tale in The Sorcerer (1877) and The Mountebanks (1892), which draws heavily on the idea of a magic substance that transforms people. The songs were probably available only in sheet music form, and because they pastiched popular or well-known songs, no vocal score reflecting the show was ever published. Dulcamara was revived twice in the nineteenth century but was absent from the stage for the entire twentieth century. It was adapted in 2005, with additional lyrics by John Spartan and new music by Scott Farrell, and their version is the only available performing edition.

Snake Oil Liniment While showmen pitching miraculous cures have been around since classical times, the advent of mixed performance and medicine sales in western culture originated during the Dark Ages in Europe after circuses and theatres were banned and performers had only the marketplace or patrons for support. Mountebanks traveled through small towns and large cities, selling miraculous elixirs by offering small street shows and miraculous cures. Itinerant peddlers of dubious medicines appeared in the American colonies before 1772, when legislation prohibiting their activities was enacted. Increasingly elaborate performances were developed to appeal to a largely rural population.

The Lyric Theatre is a West End theatre in Shaftesbury Avenue in the City of Westminster. It was built for the producer Henry Leslie, who financed it from the profits of the light opera hit, Dorothy, which he transferred from its original venue to open the new theatre on 17 December 1888. Under Leslie and his early successors the house specialised in musical theatre, and that tradition has continued intermittently throughout the theatre's existence. Musical productions in the theatre's first four decades included The Mountebanks (1892), His Excellency (1894), The Duchess of Dantzig (1903), The Chocolate Soldier (1910) and Lilac Time (1922).

Wyatt as the Duke of Plaza-Toro in The Gondoliers 1889 Wyatt as Arrostino Annegato in The Mountebanks 1892 On 8 June 1889, W. S. Gilbert visited Arthur Sullivan at his home in London to read through the draft of their new opera, The Gondoliers. In the evening they both went to see Wyatt performing the role of Don Trocadero in the opéra comique Paul Jones, in which he had received good notices, as they were looking for a replacement for their long-time leading comedian, George Grossmith, who was leaving the D'Oyly Carte Opera Company in August.Ainger, p. 294Short, p.

Severian travels through the decaying city of Nessus. He meets the hulking Baldanders and his companion Dr. Talos, traveling as mountebanks, who invite Severian to join them in a play to be performed the same day. During breakfast, Dr. Talos recruits the waitress for his play with a promise to make her beautiful. Instead of participating, Severian parts with the group and stops at a rag shop to purchase a mantle to hide his guild uniform (a cloak and breeches of fuligin, "the hue that is darker than black", which inspires terror in common folk; when working he also wears a fuligin mask).

During the 1770s, Skelmanthorpe Feast was a riotous affair with bull and bear-baiting and organised dog fights on the village green. A quote from John Taylor, who compiled a biography of Skelmanthorpe-born preacher Isaac Marsden (1807–1882), records that "Public houses were crowded with drunken revellers, who caroused all day and made night hideous with quarrels and disturbances ... Among these scenes of revelry were mountebanks, showmen, fortune telling Gypsies, vagabonds and thieves from every quarter." Skelmanthorpe Feast now happens every year on the field next to The Chartist and across the road from what was the Three Horse Shoes public house and is now shops.

The Mountebanks. The Gramophone, September 1965, p. 85, accessed 14 July 2010Gilbert had also written an earlier burlesque of Donizetti's L'elisir d'amore called Dulcamara, or the Little Duck and the Great Quack (1866); a play, The Palace of Truth (1870), which explores the consequences of a magical environment in which people are required to tell the truth unknowingly, with unintended consequences; a short story called An Elixir of Love in 1876, on the same theme as The Sorcerer, and another play involving a magic potion and magic pills, Foggerty's Fairy (1881). The idea of a magic potion that changes human behaviour has long been a common theme of literature and opera.

A revised version of The Sorcerer coupled with their one-act piece Trial by Jury (1875) played at the Savoy while Carte and their audiences awaited their next work. Gilbert eventually found a place for his "lozenge plot" in The Mountebanks, written with Alfred Cellier in 1892. Japanese village taken by WS Gilbert"The Japanese exhibition, 1885–87", English Heritage, accessed 29 January 2013 In 1914 Cellier and Bridgeman first recorded the familiar story of how Gilbert found his inspiration: The story is an appealing one, but it is largely fictional.Jones (1985), p. 22 Gilbert was interviewed twice about his inspiration for The Mikado.

He finally comes upon an inn, where he forces the innkeeper to take him in despite being full and is asked to share a room with other boarders. His roommates are the giant Baldanders and Dr. Talos, travelling as mountebanks, who invite Severian to join them in a play to be performed the same day. During breakfast, Dr. Talos manages to recruit the waitress, Jolenta, for his play and they set out into the streets. Not intending to participate, Severian parts with the group and stops at a rag shop to purchase a mantle to hide his fuligin cloak (the uniform of his guild, which inspires terror in common folk).

Marie Studholme and George Grossmith, Jr. By the 1890s, Gilbert's partnership with Sullivan had unravelled, and Gilbert had to find other partners. He wrote The Mountebanks with Alfred Cellier, and then turned to George Grossmith, the comic baritone of the Gilbert and Sullivan pieces from The Sorcerer (1877) through to The Yeomen of the Guard (1888). Grossmith had composed hundreds of songs and duets for his own private drawing-room entertainments, as well as a few short comic operas, but never a full-length work as ambitious as Haste to the Wedding. By opening night, 27 July 1892, Gilbert was approaching a reconciliation with Sullivan, who was in attendance.

His attempt at management of the Orpheum Theatre in San Francisco failed and he returned to New York to play Risotto in The Mountebanks (1893) before marrying for the third time in 1893 - to the Dutch-Canadian soprano Josephine Davidson Schoff (1877-), who sang as Josephine Stanton. The problem was he was still married to Maggie Hogan, who did not divorce him until July 1895. The newlyweds toured with Alfa Norman and played in a summer season at Milwaukee before playing in La fille de Madame Angot. Hallam sang in The Isle of Gold which failed before touring in A Stranger in New York.

In this Babeuf praised the authors of the September Massacres as "deserving well of their country", and declared that a more complete "2 September" was needed to annihilate the actual government, which consisted of "starvers, bloodsuckers, tyrants, hangmen, rogues and mountebanks". The distress among all classes continued; and in March the attempt of the Directory to replace the assignats by a new issue of mandats created fresh dissatisfaction after the breakdown of the hopes first raised. A cry went up that national bankruptcy had been declared, and thousands of the lower class of ouvriers began to rally to Babeuf's flag. On 4 April 1796, the government received a report that 500,000 people in Paris were in need of relief.

Morton is bedecked as Master of Merry Disports, while Scrooby, vested as English priest, wears a chaplet of vine leaves on his head and a garland over one shoulder; he is Abbot of Misrule. Lackland enters behind them; he is May Lord; he wears white, with a rainbow scarf across his breast and a small dress sword at his side. Prence is his comic train-bearer, and he is attended by the Nine Worthies. Every form of traditional English reveller is present, including nymphs, satyrs, dwarfs, fauns, mummers, shepherds and shepherdesses, Morris dancers, sword dancers, green men, wild men, jugglers, tumblers, minstrels, archers, and mountebanks; there are even an ape, a hobby horse and a dancing bear.

Comprachicos (also Comprapequeños and Cheylas) is a compound Spanish neologism meaning "child-buyers", which was coined by Victor Hugo in his novel The Man Who Laughs. It refers to various groups in folklore who were said to change the physical appearance of human beings by manipulating growing children, in a similar way to the horticultural method of bonsai – that is, deliberate mutilation. The most common methods said to be used in this practice included stunting children's growth by physical restraint, muzzling their faces to deform them, slitting their eyes, dislocating their joints, and malforming their bones. The resulting dwarfed and deformed adults made their living as mountebanks or were sold to lords and ladies to be used as pages or court fools or court dwarfs.

Cellier suffered from tuberculosis for most of his adult life,Stedman, p. 279 but during the composition of The Mountebanks he deteriorated rapidly and died, at the age of 47, while the opera was still in rehearsals. All of the melodies and vocal lines in the opera were composed by Cellier, but the orchestration was incomplete when he died. The score was completed by the Lyric Theatre's musical director, Ivan Caryll, a successful composer who became one of the best-known composers of Edwardian Musical Comedy.Gänzl, Kurt, "Caryll, Ivan (1861–1921)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 January 2011 Caryll composed the entr'acte, using the melody from Number 16, and he wrote or modified the orchestration for more than half a dozen of the songs.

In Ventôse and Germinal (late winter and early spring) under the pseudonym Lalande, soldat de la patrie, Babeuf published the paper "Scout of the People, or Defender of Twenty-Five Million Oppressed" (Eclaireur du Peuple, ou le Défenseur de Vingt-Cinq Millions d'Opprimés), which was passed from group to group secretly in the streets of Paris. At the same time, Issue 40 of Babeuf's Tribun caused immense sensation as it praised the authors of the September Massacres as "deserving well of their country" and declared that a more complete "2 September" was needed to destroy the government, which consisted of "starvers, bloodsuckers, tyrants, hangmen, rogues and mountebanks". Distress among all classes continued. In March, the Directory tried to replace assignats by a new issue of mandats and this raised hopes, but they were soon dashed.

Originally from Rhode Island, Trav S.D. started out as a stand-up comedian and studied at Trinity Rep Conservatory in Providence before moving to New York City in 1988 to self-produce and perform in his own plays. In 1990 he worked as a personal and administrative assistant to the singer Tony Bennett. Following two years in the development office of the Big Apple Circus in 1995, he founded his company Mountebanks, a platform for producing original theatre pieces and vaudeville shows. He first began to attract notice in 1998THEATER REVIEW; Sometimes Delightful, Never Easy: It's FringeSUNDAY, AUGUST 9, 1998: THEATER; No Chickens Will Be Harmed as one of a number of Lower East Side “performance comedians” colloquially known as Art Stars, working at alternative night clubs and theatres such as Surf Reality, Collective Unconscious, Todo Con Nada and The Present Company.

1530 Like Harris, Sedger established a relationship with the Carl Rosa Opera Company; he presented their successful production of the light opera Marjorie by Walter Slaughter at the Prince of Wales's in 1890. In the same year he also took on the lease of the Lyric Theatre in Shaftesbury Avenue, where in 1891 he presented an English adaptation of Edmond Audran's opéra comique La cigale et la fourmi, which ran for 423 performances.Traubner, pp. 89–90 Over the next few years he followed this with other light operas: The Mountebanks (1892) by W. S. Gilbert, Cellier and Ivan Caryll; Incognita (1892), an adaptation of Charles Lecocq's Le coeur et la main; The Magic Opal (1893) by Arthur Law and Isaac Albéniz; The Golden Web (1893) by Stephenson, Frederick Corder and Arthur Goring Thomas; and Caryll's Little Christopher Columbus (1893).