The London Stage 1890-1899


Book Description

Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.




The London Stage, 1890-1899: 1890-1896


Book Description

These highly praised day-by-day calendars of plays produced at the major London theatres cover all the big productions and names, revivals of the classics, and opera and ballet productions. J. P. Wearing lists each production in chronological arrangement of playbills, with full production and contemporary review information for each play, and including comprehensive indexes. Every scholar and critic concerned with English theatre for the period...will want and need to consult these volumes.CHOICE




The London Stage, 1890-1899: 1897-1899, index


Book Description

These highly praised day-by-day calendars of plays produced at the major London theatres cover all the big productions and names, revivals of the classics, and opera and ballet productions. J. P. Wearing lists each production in chronological arrangement of playbills, with full production and contemporary review information for each play and including comprehensive indexes




The London Stage 1890-1959


Book Description

Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.




Renaissance Revivals


Book Description

Renaissance Revivals examines patterns in the London revivals of two English Renaissance theatre genres over the past four centuries. Griswold's focus on revenge tragedies and city comedies illuminates the ongoing interaction between society and its cultural products. No cultural object is ever created anew, she argues, but is instead constructed from existing cultural genres and conventions, the visions and professional needs of the artist, and the interests of an audience. Thus, every "new play" is in part a renaissance and every "revival" is in part an entirely new cultural object.




Modernists and the Theatre


Book Description

Modernists and the Theatre is the first study to examine how theories of modernism intersect with those of the theatre within the works, philosophies and literary lives of six key modernist writers. Drawing on a wealth of unfamiliar archive material and fresh readings of neglected documents, James Moran reveals how these literary figures interacted with the theatre through playwriting, by engaging in philosophical debates and participating in theatrical performances. Chapters assess W.B. Yeats's very earliest playwriting, Ezra Pound's onstage acting, the interconnections between James Joyce's and D.H. Lawrence's sense of drama, Eliot's thinking about theatre in Dublin, and the feminist politics of Virginia Woolf's small-scale theatrical experiments. While these writers valued coterie production and often made hostile comments about drama, this volume highlights the paradoxical fact that, despite their harsh words, the theatrically 'large-scale' also attracted each of these writers. The theatre event of 'restricted production' offered modernists a satisfying mode of sharing their work amongst the like-minded, and the book discloses a set of unfamiliar events of this sort that allowed these writers to act as agents of legitimation in granting cultural value. The book explores their engagements with popular drama, as well as the long-forgotten acting performances in which each of these writers personally participated. Moran uncovers how the playhouse became a key geographical space where the high-modernists could explore a tension that fascinated them, and which motivated much of their wider thinking and literary work.




Aubrey Beardsley and British Wagnerism in the 1890s


Book Description

Sutton presents a study of the influence of Richard Wagner on the work of Aubrey Beardsley (1872-1898). She explores the role of Wagnerism within British culture of the 1890's, in particular the relations between Wagnerism and the decadent movement.




Henry Irving


Book Description

Henry Irving (1838-1905), the first actor to be knighted, dominated the theatre in Britain and beyond for over a quarter of a century. As an actor, he was strikingly different with his idiosyncratic pronunciation, his somewhat ungainly physique, and his brilliant psychological portrayals of virtue and villainy. As a director of spectacular, and commercially driven, entertainments, Irving anticipated Hollywood directors from D.W. Griffith to Stephen Spielberg. And as manager of the Lyceum Theatre, where audiences included the leading public figures of the day, he controlled every aspect of the performance. This collection of essays by leading theatre scholars explores each element of Irving's art: his acting, his contribution to the plays he commissioned, his flair for the stage picture, and his ear for incidental music. Like Wagner, Irving was a proponent of a holistic approach to the stage, that is, blending together acting, painting, music, and architecture to create harmonious, balanced, and artistic theatre. Irving emerges not only as the peer of such eminent contemporaries as Tennyson, Sullivan, Shaw, and Burne-Jones, but also as a powerful influence on the twentieth-century theatre.




Staging the Peninsular War


Book Description

From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.




English Theatre in Transition 1881-1914


Book Description

Originally published in 1984. The turn of the nineteenth and twentieth centuries was a time of considerable change in the English theatre. Victorian attitudes were shocked or shattered by the new drama of Ibsen; the major figure of George Bernard Shaw dominated the period; theatre censorship was the subject of a long and furious contest; and staging conventions changed from the spectacular stylings of Irving and Beerbohm Tree to the masking and statuesque styles of Isadora Duncan and the inner realism of Stanislavsky. This book traces the activities of the leading figures in the English theatre, notably William Archer who introduced Ibsen to this country and who became one of the main promoters of the idea of a National Theatre. Other personalities discussed include Harley Granville Barker, particularly his association with Shaw at the Court Theatre and his part in campaigns against censorship and for changes in the staging of Shakespeare, and Edward Gordon Craig, whose rebellion against the Victorian theatre took and anti-realist direction. This is a stimulating account of the background to the modern English theatre which can only increase appreciation of its standard and variety.