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Journal Cover Theatre Notebook     [SJR: 0.101]   [H-I: 2]
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   Full-text available via subscription Subscription journal
   ISSN (Print) 0040-5523 - ISSN (Online) 2051-8358
   Published by Project MUSE Homepage  [360 journals]
  • The Collected Letters of Ellen Terry, Volume Three, 1894–1898 ed.
           by Katharine Cockin
    • Abstract: <p>By Russell Jackson</p> The third of the anticipated twelve volumes of Katharine Cockin’s edition of Ellen Terry’s letters brings Terry’s career into the last half-decade of the heyday of Henry Irving’s management of the Lyceum Theatre. The punishing British and American tours are taking their toll on the health of the actor-manager and his leading actress, and although their relationship can still be described as one of loving professionalism, Irving remains a more aloof and mysterious personality. Terry assures George Bernard Shaw that the actor “can do everything – except be fond of people – (I don’t mean me -) but that’s his great misfortune = (- Will you put this in the fire if you please -) & I wish you knew him to admire him & ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.jackson.html">Read More</a>
      Keywords: Terry, Ellen, Dame, 1847-1928
      PubDate: 2013-09-12T00:00:00-05:00
       
  • Bram Stoker and the Stage: Reviews, Reminiscences, Essays and Fiction ed.
           by Catherine Wynne
    • Abstract: <p>By Richard Foulkes</p> Though widely known to theatre historians as Henry Irving’s long-serving acting (business) manager, hitherto few can have been aware of the extent of Bram Stoker’s writing on the theatre. This situation has now been remedied by the publication of a substantial two-volume set edited by Catherine Wynne. Volume I is devoted to Stoker’s drama reviews in Dublin from 1871 to 1877, whereas volume II is more diverse, encompassing extracts (over a hundred pages) from Personal Reminiscences of Henry Irving (1906), nine Theatrical Essays (five dating from after Irving’s death), and one incursion into fiction: Snowbound: The Record of a Theatrical Touring Party (1908). One of the Theatrical Essays, “Dramatic ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.foulkes.html">Read More</a>
      Keywords: Stoker, Bram, 1847-1912
      PubDate: 2013-09-12T00:00:00-05:00
       
  • A Theatre for all Seasons: The History of the Everyman Theatre, Cheltenham
           by Michael Hasted, and: Liverpool Playhouse: A Theatre and its City ed. by
           Ros Merkin
    • Abstract: <p>By Anthony Jackson</p> These two lavishly illustrated books have many things in common, although the theatres they celebrate are very different animals. They set out to tell the stories of two regional theatres that, in different guises and sometimes under different names, have survived, thrived, faltered and reinvented themselves through the twentieth century and into the present. Between them they provide fascinating glimpses of the aspirations and achievements, sometimes against all odds, as well as the failures of regional theatre in Britain over the past one hundred years. Both volumes are well produced. The selection and range of photographs – of interiors and exteriors of the buildings, of performances and programmes, and of the ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.jackson01.html">Read More</a>
      Keywords: Liverpool Playhouse (Liverpool, England)
      PubDate: 2013-09-12T00:00:00-05:00
       
  • British South Asian Theatres: A Documented History (with accompanying DVD)
           ed. by Graham Ley, Sarah Dadswell, and: Critical Essays on British South
           Asian Theatre ed. by Graham Ley, Sarah Dadswell
    • Abstract: <p>By Hassan Mahamdallie</p> One of the highlights of the rock music press in the 1970s was the “Rock Family Trees” drawn by the journalist Pete Frame. These were “who do you think you are'” genealogies of rock bands such as Deep Purple or the Velvet Underground, and traced the music careers of various band members in meticulous and obsessive detail: who had played with whom, when they had joined this and that band, together with a pithy sentence on their contribution to the genre. Most could be traced back to obscure pub bands that had started out playing Muddy Waters and Howlin’ Wolf covers. Reading British South Asian Theatres: A Documented History and its companion volume Critical Essays on British South Asian Theatre feels ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.mahamdallie.html">Read More</a>
      Keywords: Theater, South Asian
      PubDate: 2013-09-12T00:00:00-05:00
       
  • The People’s Impresario: Roland Muldoon at the Hackney Empire
    • Abstract: <p>By Bill McDonnell</p> On 3 November 1986, Roland Muldoon and members of socialist theatre company Cartoon Archetypical Slogan Theatre (CAST) took over stewardship of London’s Hackney Empire. The company’s interest in the building, which was owned by Mecca Bingo, had begun the year before, when the Arts Council announced that it would be cutting CAST’s funding. An agreement was negotiated whereby the new owners would purchase the building for £150,000, with £50,000 to be paid in May 1988, and the balance by February 1989. The new management set itself three aims: To create a new type of popular Variety theatre aiming at Hackney and London-wide audiences and adjacent counties. To bring in audiences of all ages and all races ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.mcdonnell.html">Read More</a>
      Keywords: Impresarios
      PubDate: 2013-09-12T00:00:00-05:00
       
  • Before Ibsen: The Early Stage Career of Janet Achurch, 1883–891
    • Abstract: <p>By Bernard Ince</p> An actress of Janet Achurch’s status warrants little introduction. Her innovative interpretation as Nora Helmer in the first unexpurgated British production of Henrik Ibsen’s A Doll’s House at the Novelty Theatre on 7 June 1889 brought her instant fame.2 Indeed, such was the impact of A Doll’s House on the course of British theatrical history that it is easy to forget that Achurch had a theatrical past before she became famous as Nora. This metaphorical severance from her formative years has been so overwhelming that her pre-Ibsen period has almost escaped attention. The paucity of information is evident in a plethora of readily available biographical summaries on Achurch that offer little of this early period.3 ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.2.ince.html">Read More</a>
      Keywords: Actresses
      PubDate: 2013-09-12T00:00:00-05:00
       
  • A. P. Herbert's Helen and Every Marriage Since 1937
    • Abstract: <p>By C. W. Marshall</p> Jacques Offenbach's operetta La belle Hélène was adapted into English by A. P. Herbert (1890-1971) for production in London in 1932.1 This paper situates the production of Helen in terms of Herbert's thought and the stage practices at the time, and suggests that, however indirectly, the femme fatale of Greek literature has helped changed the nature of marriage in modern English Common Law. While the play could be approached within a rubric of adaptation and translation theory, instead it is hoped that by situating it here within its historical context, the unexpected resonances with Herbert's advocacy for social change will bring new light to this forgotten work that describes the abduction of Helen from Menelaus ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.1.marshall.html">Read More</a>
      Keywords: English drama
      PubDate: 2013-05-21T00:00:00-05:00
       
  • Joan Littlewood and the De-Mystification of Acting
    • Abstract: <p>By Roger Grainger</p> The language of 'reality' would require incredible strength and trained skill on the part of the handler and would perhaps also require an audience equally well trained in what is known.This paper has been prompted by the current revival of interest in Joan Littlewood's 'Theatre Workshop' which flourished in the 1940s, 1950s and 1960s (Littlewood; Goorney; Leach; Holdsworth). Having been a member of her company in the late 1950s, I have always been interested, and felt involved, in anything which concerns Joan herself; and, being an actor, I share the occupational concern for everything to do with actors and their actuality, that is, as distinct from the image they carry in the eyes of the public - although I ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.1.grainger.html">Read More</a>
      Keywords: Acting
      PubDate: 2013-05-21T00:00:00-05:00
       
  • Searching for Thomas Harris: Challenges Faced by His First Biographer
    • Abstract: <p>By Warren Oakley</p> Thomas Harris, the principal proprietor and manager of Covent Garden theatre between 1774 and 1820, shaped the cultural landscape of Georgian London. Even more significant is the period covered by Harris's connection to the Garden, stretching back to his purchase of the theatre along with three other investors in the summer of 1767, giving him a longer involvement in the management of a patent theatre than anyone else in the long eighteenth century, including John Rich. For two decades, Harris had also possessed both of the royal patents that allowed the performance of scripted drama in the metropolis, one for the Garden and the other for Drury Lane theatre. As the monarch of performance, he controlled the ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.1.oakley.html">Read More</a>
      Keywords: Theatrical managers
      PubDate: 2013-05-21T00:00:00-05:00
       
  • The Simpson Players of Jacobean Yorkshire and the Professional Stage
    • Abstract: <p>By Siobhan Keenan</p> The Simpson players of Jacobean Yorkshire, led by recusant shoemakers Robert and Christopher Simpson, are known to early modern and Shakespearean scholars for two things in particular. Firstly, they are alleged to have staged an anti-Protestant interlude at Gowthwaite Hall, the Yorkshire home of Sir John Yorke, during the Christmas holidays, 1609-10; the interlude was reportedly part of their performance of a saint's play called St. Christopher. Secondly, the company is alleged to have performed "Perocles, prince of Tire, And [ . . . ] King Lere" at the same Hall around Candlemas 1610 (Star Chamber MS 8/19/10 mb. 30). Scholars have usually identified these plays with those of the same name by Shakespeare, printed ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v067/67.1.keenan.html">Read More</a>
      Keywords: Traveling theater
      PubDate: 2013-05-21T00:00:00-05:00
       
 
 
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