195
his alarm allayed amidst the warmest applause from the audience for his clever and successful "sell". In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was "so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for modesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently lit up in the Victoria Theatre in acting Shanghae would not suffer by comparison". "That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that "except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853).
5.5.1853 (Thur)
G.A.A. BECKETT: "Siamese Twins" (1834)
T: Farce (1 act)
R. BUTLER: "The Irish Tutor" (1822)
T: Farce (1 act)
C: Amateurs
F: Music by the band of the Susquehanna
Th: Imperial Theatre (B)
N: Final performance of the season
R: The close of the season by the amateurs who called themselves the "Lily Troupe" for a "bumper house"; with some “admirable music by the Band of Susquehanna" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853).
8.3.1854 (Wedn)
J.M. MADDOX: “A Fast Train! High Pressure!! Express!!!" (1853)
T: Farce
W.B. BERNARD: “A Practical Man" (1849)
T: Farce
C: Amateurs
P: Music
Th: Tac Ming Theatre (C)
R: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact "Colonel Jack Delaware" (in A Fast Train — JH) but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger leapt over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit". Was the leading actor-manager really taken by surprise? This could hardly be, and it must be assumed that it was, like the "rebellion" before, a set up. At any rate the "interloping Yankee was enrolled in Buskin's company. The musical department was sustained by "Messrs Thalberg and Koenig with their usual talent and success". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854).
195
his alarm allayed amidst the warmest applause from the audience for his clever and successful "sell* *. In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was "so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for nodesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently litted up in the Victoria Theatre JH) in acting Shanghae would not suffer by comparison". "That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that "except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853).
5.5.1853 (Thur)
ww
G.A.A. BECKETT: "Siamese Twins" (1834)
T: Farce (1 ael)
י
R. BUTLER: The Irish Tutor" (1822)
T: Farce (1 act)
C: Amateurs
F: Music by the band of the Susquehanna
Th: Imperial Theatre (B)
N: Final performance of the season
R: The close of the season by the amateurs who called themselves the "Lily Troupe" for a "bumper house"; with some “admirable music by the Band of Susquehanna" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853).
8.3.1854 (Wedn)
J.M. MADDOX: “A Fast Train! High Pressure!! Express!!!** (1853) T: Farce
W.B. BERNARD: “A Practical Man" (1849}
T: Farce
C: Amateurs
P: Music
Th: Tac Ming Theatre (C)
―
R: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact "Colonel Jack Delaware (in A Fast Train — JH] but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger lept over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit". Was the leading actor-manager really taken by surprise! This could hardly be, and it must be assumed that it was, like the "rebellion" before, a set up. At any rate the "interloping Yankee was enrolled in Buskin's company. The musical department was sustained by "Messrs Thalberg and Koenig with their usual talent and success". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854).
No comments yet.
Private notes are available after approval.