[
    {
        "id": 211787,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 202,
        "title": "RAS-1989",
        "content_text": "177\n\n'Tis not in mortals to command success\n\n89\n\nAnd that the actors had in general nothing to fear from the public has already been shown and is testified once more by a contemporary: \"The scenery was rude, the action imperfect, but a good-natured audience showed that charity which covers a multitude of sins and seldom failed to enjoy themselves\".\n\nV. The Theatres\n\n90\n\nThe localities in which all performances took place were adorned with high-sounding names like the Theatre Royal, the New Theatre Royal, the Olympic Theatre or the Lyceum Theatre. And though it is evident that in this way it was hoped to conjure up visions of their namesakes in the British capital, realities were quite different. It was only in 1867 that a theatre worthy of the name was opened in Shanghai; it was called the Lyceum Theatre, like its predecessor. But that was, as all the ones that went before, a mere refitted and redecorated warehouse, or, to use the local term, godown. Nevertheless, it is worthwhile to trace the vicissitudes of these \"Thespian Temples\".\n\nAs was the case with the theatrical companies that were formed anew every season, the \"pretty little theatres\" too had to be rented each year. This did not mean, however, that the buildings changed all the time; on more than one occasion the same godown was used for several seasons. Yet it is difficult to get a clear picture because the information given in the local paper is often very scanty with respect to addresses; in fact, in only one instance has a road been named, so one has to rely on other sources in order to establish the location of the theatres.\n\nA.\n\nSeasons 1850-1851 and 1851-1852: The Theatre Royal or New Theatre Royal (both names were used). No address can be fixed. For the opening performance of the season 1851-1852, on January 26, 1852, the theatre had been \"tastefully refitted and decorated; a very pretty drop scene of the Port of Leghorn added\". The painters were active this season, for on the evening of March 24 \"a new drop scene of the Bay of Naples adorned the proscenium\". The previous one had been \"transferred to decorate the walls of the theatre\". Furthermore, it was contemplated to \"paint a series of Italian scenery and in due time the whole theatre will...",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211803,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 218,
        "title": "RAS-1989",
        "content_text": "193\n\nC: Amateurs\n\nF: Prologue, music\n\nTh: Theatre Royal (A)\n\nN: First performance of the season\n\nR: The proscenium had been adorned with \"a very pretty drop scene of the Port of Leghorn\". The report was in general terms only; both pieces were cleverly and effectively sustained”, During the interval “a most effective Irish song was sung and the orchestra under the veteran melodist Sir George Smart gave unqualified satisfaction* (NCH 31.1.1852).\n\n23.2.1852 (Mon)\n\nT. MORTON: “A Roland for an Oliver\" (1819)\n\nT: Farce (2 acts)\n\n\"No!\" by W.H. MURRAY or F. REYNOLDS\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: Theatre Royal (A)\n\nN: Second performance of the season\n\nR: Tonight there was a \"numerous attendance of the beau monde, but not so much as on the previous occasion\". A Roland for an Oliver was \"an old established favourite and we need only say that the scenery was admirable, the ladies well dressed, the bride quite lovely and the whole went off amidst enthusiastic cheers and bursts of applause”. The other farce \"No!\" was \"replete with fun and sly sarcasm on unequal matches between lovely young wives and gentlemen rather the worse for wear\". Somewhat contradictorily the critic continued, \"it decidedly exhibited much more spirit than its precursor and was hailed accordingly with more enthusiasm and good will\".\n\nThere was also “a solo on the pianoforte by a young lady, her first appearance, as we believe, on any stage. The rapidity of her fingering, the clearness of her touch and what is so frequently wanting with many performers, her musical emphasis, were striking. We hear that the young lady graduated at the Conservatoire at Paris and her style is characterised by that brilliancy and distinctness so marked in performances at that capital”. No more was heard of this pianist; as to her name and career we are left in the dark. Was she the wife of a local merchant or a touring artist? Or was the \"lady\" in this instance too, a “gentleman\"?? (NCH 28.2.1852).\n\n24.3.1852 (Mon)\n\nG. COLMAN Jr: \"The Review\" (1800)\n\nT: Musical farce (2 acts)\n\nR. AYTON: \"The Rendezvous\" (1818)\n\nT: Operetta (1 act).\n\nC: Amateurs\n\nF: Music\n\nTh: New Theatre Royal (A)\n\nN: Third performance of the season\n\nR: For the occasion a new drop scene, depicting the Bay of Naples, had been painted. Apart from the plays \"a company of excellent jugglers amused the visitors, with a good display of surprising feats of sleight of hand\". Possibly these were Chinese, for in the announcement (NCH 20.3.1852) it was stated that there are several parties endeavouring to obtain Native Conjurers for the next theatrical night\".\n\nOf course the whole “went off with much eclat, the characters were well sustained and admirably dressed, the scenery as usual very good and the music first rate” (NCH 27.3.1852).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]