Stage london (16 Ergebnisse)

The cutting consists of the two outer columns of pp.11 and 12, measuring 42 x 15.5 cm, with the article on Marie Lloyd, consisting of forty-four lines of text, covering roughly 12 x 6 cm of the inner column. Good, though a little aged and frayed at extremities, with the article with one small spot covering a word, but with the text entirely legible. First sentence reads 'Percy Courtenay, of 196, Wickham-terrace, Lewisham High-road, was brought up on a warrant before Mr. Lushington, at Bow-street, yesterday, charged with assaulting his wife, Matilda Courtenay, known professionally as Marie Lloyd, residing at the same address.' Recounts how Courtenay 'threw some champagne in her face at the Albion Tavern, Russell-street, Covent-garden, and followed this up by throwing water and a glass at her. Two days later, in a dressing-room at Drury Lane Theatre, he threatened to cut her throat, and took up a sword'. Later in the article it is reported that 'The sister of the complainant deposed that Mrs. Courtenay knocked her husband's hat off his head.' Other articles include pieces on 'THE LATE LORD ABINGER', 'THE NEW KHEDIVE', 'THE INFLUENZA' and 'THE RECENT CASE OF ESPIONAGE IN FRANCE.'.…

Sepia studio portrait on 8.5 x 13.5 cm postcard, stamped on reverse 'MANNELL LONDON'. In good condition, lightly aged. She signs 'Winifred Shotter' at foot. A soft-toned head and shoulders portrait of a wistful Shotter, with Marcel wave, staring at the camera in a fashionable frock. Scan on application.…

7.5 x 11.5 cm black and white publicity photograph by ' "Philco" London W.C.1.' Expansive genuine signature 'Gladys Cooper' across bottom part of image, in addition to facsimile signature in white at bottom right. In good condition, on postcard with border trimmed. Dark sepia-toned image. A head-and-shoulders portrait, with Cooper staring to her right, with short frizzy hair, in fashionable gown. Scan on application.…

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Taschenbuch. Zustand: Neu. Neuware - Explore the rich history of London's theatrical scene with 'The London Stage.' This comprehensive work delves into the evolution of dramatic arts in London, offering insights into the plays, playwrights, actors, and cultural contexts that shaped the city's vibrant theater culture. From the Elizabethan era to modern performances, discover the key developments and influential figures who contributed to London's enduring legacy as a center for theatrical innovation and entertainment.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

Buch. Zustand: Neu. Neuware - Explore the rich history of London's theatrical scene with 'The London Stage.' This comprehensive work delves into the evolution of dramatic arts in London, offering insights into the plays, playwrights, actors, and cultural contexts that shaped the city's vibrant theater culture. From the Elizabethan era to modern performances, discover the key developments and influential figures who contributed to London's enduring legacy as a center for theatrical innovation and entertainment.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.…

8.5 x 14 cm glossy publicity photograph on post card. In good condition, lightly aged. Inscribed across the bottom of the image: 'Souvenirs / Alice Delysia'. A soft-toned head and shoulders image in black and white, of a smiling Delysia, eyebrows plucked, lips made up, and short hair Marcell-waved. See Image. …

Zustand: Very Good. First edition hard back binding in publisher's original blue covers, gilt title and author lettering to the spine. 8vo. 9½'' x 6¼''. Contains [x] 260 printed pages of text with archive monochrome photographs throughout. Slight yellowing to the page edges. Very Good condition book in Very Good condition price clipped dust wrapper with slight sun fading down the spine. SIGNED by the author to the title page 'With best wishes - Brian Rix'. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ISBN 0340412704 STAGE & THEATRE.…

Five of the items are 8vo, with the other on a 12mo slip. All texts clear and complete. Fair, on slightly-aged and worn paper. A total of five typed 8vo pages, and two autograph 8vo and two autograph 12mo pages. Four of the lettters have 'The Fol-de-Rols' printed on the letterhead. Dealing with practical everyday theatre matters, with Newman writing, for example, on 19 November 1955: 'I have bought a few costume from the "Punch" Revue which died an early death at the Duke of York's theatre last Saturday. I made room for them in one of the cupboards in the corridor by moving a set of old Fol dresses into the large crate alongside, which was only half filled with dogs and hard props.'.…

1p., landscape 12mo. In good condition, on lightly-aged paper. Reads, with manuscript text in square brackets: 'Royal Italian Opera, | Covent Garden. | [Madle Vestris] | Londres, [Le 6 Juin] 18[66]. | Recu de M. Gye la somme de [£40 - -] | [G Vestris | B.V, | £[40 : - : -']'.

From the Macqueen-Pope papers. See the two men's entries in the Oxford DNB. Poke's two letters are in good condition, lightly aged, the second with slight rust spotting from paperclip; the carbons of MP's letters to Poke on aged, worn and discoloured cartridge paper. ONE: Poke to MP, 12 March 1951. 3pp, small 4to. Begins: 'My dear Popie, / I was rather out of depth on this article - "It was top of the Bill" - so I sent it over to my Father, [Fleet Street magazine owner Frederick Robert Poke] who has been devoted to Music Halls from very early days; and the following are some notes which he sent me, which I think I would like to pass on to you fr, in the light of what he says, you can probably do some revisions on your article.' A transcription of F. R. Poke's notes follows. He finds MP's proposed article 'rather heavy going. It would be a big wad of stuff to publish, but I feel that you should accept it.' He proceeds with specific points, with reference to the Brothers Horne ('it was a very amusing boxing match'), R. G. Knowles, Kate Carney, Fred Russell, and especially Charlie Whittle ('When he took London by storm, I remember his topping the bill over Marie Lloyd and doing four halls a night.'). Also: 'I was one of the few people who ever saw Dan Leno dance - he had to give up dancing because of his health.' The elder Poke continues by stating that he wantd to be a comedian himself. 'Fred Burnell of the Gee family taught me ho to manipulate a drum-major's wand. I will show you one day how to do it. And I also learned from some of these people trick-cycling. I could and can I think stand still on a bicycle and ride it backwards - both ways - and do a few other tricks on it.' He concludes with practical suggests about cutting the article. TWO: Poke to MP, 22 May 1951. 1p, 4to. Proposing to discuss his 'suggestions about HAMPTON COURT and the others'. Signed in his absence. 'I am dictating this from home for, unfortunately, I've got what the Doctor tells me is a form of dysentery - most uncomfortable.' THREE to FIVE: Unsigned carbons of letters to Poke from MP, each 1p, 4to. In the first he describes revisions he has made to the music hall article, in the second he proposes an article on 'The Pageantry of Hampton Court', and others on 'Earls Court, The White City and such exhibit[s] of theh past', in the third he condoles with Poke over his indisposition ('I am not too well myself and very harrassed.'). …

Printed on one side of a piece of laid paper 28 x 23.5 cm. The hand-coloured engraving (showing Mathews in riding garb with long whip in foreground, and a coach and four in the background) is 16 x 22.5 cm. Fair, on aged paper, with wear and slight loss to extremities (not affecting the engraving or text), and the reverse showing signs of removal from an album. Above the engraving are the words 'BANG UP - RANDOM, OR TANDEM.' and beneath are the publication details, followed by the full title: Some Push Along With Four In Hand, While Others Drive At Random. Written by J. Pocock, Esq.; composed by Mr. C. SMITH; and sung, wish [sic] unbounded Applause, by Mr. MATHEWS, in the Musical Farce, called "HIT or MISS!" at the Lyceum Theatre, Strand.' First two lines: 'WITH spirits gay I mount the box, the tits up to their traces, | My elbows squar'd, my wrist turn'd down, dash off to Epsom races;'. Divided into three columns, each with a six-line stanza followed by spoken text. Scarce: COPAC only lists a 12mo Newcastle reprint, from c.1815.…

See her entry in the Oxford DNB. The programme is 8pp, 12mo. In fair condition, lightly aged, with minor rust to staples. The cover consists of the royal crest printed in red, and the rest in black: 'ROYAL OPERA HOUSE / COVENT GARDEN' above the crest, and 'THE SADLER'S WELLS / BALLET / 1947' below it. At an angle across the centre of the page, in blue ink, is the large signature 'Margot Fonteyn'. Fonteyn leads the 'artists' listed on the reverse of the title, but does not appear to feature among the performers named in the details of the ballets on the evening of the programme (over the middle four pages): 'Les Sylphides', 'Checkmate' and 'La Boutique Fantasque'. Details of the Royal Opera House staff are given on the recto of the final leaf, with an advertisement for 'His Master's Voice' on the back cover. See Image.…

One page, 4to, fold mark, good condition. Text: "Thank you so very much for the really adorable little book 'Theatrical Ashes' bound with the wood from the burnt Covent Garden Stage which you have presented to my collection. | It is a most valuable little memento and I shall show it in the Covent Garden exhibition which is going to take place here in December. | It is so kind of you to think of my collection." See Image.…

Edward Knobloch's play 'My Lady's Dress' ('in which', as one newspaper wrote at the time, 'the heroine's dream takes her to the foreign [and London] scenes surrounding the manufacture of a costly gown') premiered at the Royalty Theatre in London in 1914 and was revived several times through the 1920s. Although neither of these photographs is among the five Foulsham & Banfield portraits of Cooper in the National Portrait Gallery collection, the second one (Cooper and Eadie embracing) is present among the seven unattributed scenes from the 1914 production in the Victoria & Albert Museum collection ('Given to the Gabrielle Enthoven Collection by L.E. Berman'). Both of the present items are black and white gelatin silver prints. Dimensions are approximate. ONE: Cooper seated on a chair in front of a window and beside a table, hands clasped in her lap, looking mournfully at the viewer, in dotted smock worn over plaid dress, with lace collar and crocheted Welsh-style shawl. HEIGHT: 30.5 cm. WIDTH: 21 cm. In fair condition, lightly aged, with slight wear and chipping at edges, and one very small closed tear at head, beside '5/-' which appears to be part of the print. Written in pencil on reverse: 'Miss Cooper as Annette / Act I. Sc 3.' Also label with ink note: 'My Lady's Dress / Royalty / Feb 27 1914' and the stamp of Foulsham & Banfield, 49 New Bond Street. TWO: The Victoria and Albert description reads as follows: 'Photographic print of Act III, Scene 3, of a production of My Lady's Dress at the Royalty Theatre, 23rd April 1914. The photograph features a full length image of Miss Cooper as Anne and Mr Eadie as John they are standing together, embracing, and are gazing towards one another.' He wears a dressing gown and she is in a rather splendid Pre-Raphaelite-style dress. Height: 26.5 cm. Width: 20.5 cm. Adhering to the reverse are the remains of a grey paper mount, and no details are given. In good condition, lightly aged. See Image.…

4pp., 16mo. In good condition, lightly aged and worn. Achurch's entry in the Oxford DNB explains the context: 'In 1889, when she was still only twenty-three, she undertook the management of the Novelty Theatre, London, where on 7 June she appeared as Nora in the first English production of Ibsen's A Doll's House. This was a turning point both in her career and in English critical appreciation of Ibsen.' The letter begins: 'Dear Madam | Will you forgive me for writing to you but I should so like to tell you of the intense pleasure you have given my husband & me in "A Doll's House." We had the pleasure of seeing you in the "Red Lamp" [in 1887] & since then have been in India.' On their return home the Hendersons 'made inquiries & to our joy found you were to be in town'. She continues expressing 'the very great pleasure you have given us. I don't expect you can realise what intense enjoyment you give other people'. The Hendersons 'went on the second night & then last week took three friends who enjoyed it as much as we do'. She hopes that 'in a very short time' Achurch 'will have attained the world wide fame which such acting so thoroughly deserves'. She has 'never seen any actress who gratifies my ideal of acting as you do'.…