[
    {
        "id": 211774,
        "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": 189,
        "title": "RAS-1989",
        "content_text": "164\n\non the stage. At last Shanghai could boast a drama society that was footed on a regular basis, could give its fiftieth performance on April 18, 1876 (T.W. Robertson's School), its hundredth on March 22, 1893 (a local version of Lloyd Clarence's A Tale of Tell under the title The Tale of Tell Retold). The 150th performance went off in 1908 with James Matthew Barrie's The Admirable Crichton, and altogether the A.D.C. existed well into the 1930s.25\n\n27\n\n24\n\nIn the years preceding the A.D.C., theatrical seasons, and with it the companies, were organised annually, depending, it seems, on the interest shown by society and the availability of actors and managers. The very first amateur performances took place during the season 1849-1850,26 but no record has been left of them. In the following years more than once reference was made to a \"New Corps\" formed for the season, or that it had been \"but a few weeks since the present company had been embodied\".28 Under these circumstances it was by no means certain that the Shanghai public would be treated each winter to an evening of uncomplicated amusement. In its issue of November 27, 1852, the Herald stated that “if 'common report' be true we fear that the 'Dramatic Corps' (...) will be unable to continue their performance\" due to the \"absence from Shanghai of the 'Head and Front' of the original body, together with the retirement of some of its members\". This brought forward an outcry by a foreign lady (?) who donned herself with the name \"Phoebe Silverveil\": \"No theatricals? Dear Me! Mr. Editor, what are the ladies to do without them? The performances were so good (...) and we all enjoyed them so much!''; and then, quoting liberally the pieces of the past season (see Calendar), she ended: \"I have just put dear baby down for a minute to write these few lines as a gentle hint to the Corps; hoping that if the members are not quite Used Up, they will give us another merry Rendezvous at the Theatre and there is surely not such a Dragon amongst them as to say NO!\"29 As if this appeal were not enough, the editor added as an afterthought that this letter \"can hardly fail to have the effect of rousing the dormant energies of the heroes of the 'sock and buskin' to renewed exertions, to deserve the applause of their fair admirers. We doubt not they will take the hint\". In this way aspiring amateurs were cajoled into the formation of a new company which started its operations in January 1853 with Beckett's The Turned Head and Boucicault's Used Up. Some five years later, in January 1858, the Herald regretted that the Amateur Theatrical performances, so successful last year, have not as yet been reorganised during the present season and we think we speak with the",
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    {
        "id": 211802,
        "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": 217,
        "title": "RAS-1989",
        "content_text": "192\n\n12.12.1850 (Thur)\n\nG.A.A. BECKETT: \"Roofscrambler\" (1835)\n\nT: Burlesque\n\nW.H. MURRAY: \"Diamond cut Diamond\" (1843)\n\nT: Farcical interlude (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: NCH 14.12.1850. From the file I have been using the pages on which the review appeared were missing, so no further information can be given.\n\n28.1.1851 (Tue)\n\nJ. KENNEDY: \"Love, Law and Physic\" (1812)\n\nT: Farce\n\nW.B. RHODES: \"Bombastes Furioso\" (1810)\n\nT: Burlesque tragic opera (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: In only a short impression the Herald wrote that \"the performances went off with much spirit amidst repeated plaudits and continual bursts of merriment. The present company seems likely to become highly popular and the public are much indebted to them for according such seasonable diversion at this dull period of the year\" (NCH 1.2.1851).\n\n21.4.1851 (Mon)\n\nG. COLMAN Jr: \"Heir at Law\" (1797)\n\nT: Comedy (5 acts)\n\nJ. TOWNLEY: \"High Life below Stairs” (1759)\n\nT: Farce (2 acts)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nN: Final performance of the season.\n\nR: About the actors the critic thought it \"uncourteous to select where all did their best and there was much to praise; we will, therefore, only say in allusion to Heir at Law that STEADFAST maintained the character of the fine old English bachelor with spirit”. In the same issue appeared a letter from \"A Stranger\": \"The character of Dr. Pangloss (in Heir at Law) was performed with much quiet humour and the pedantic stolidity of an L.L.D. and A.A.S. (sic!) were exceedingly well portrayed, though at intervals much too low to enable the back part of the audience to catch the full force of the quotations\". The Herald added that the part of Dr. Pangloss is, perhaps, the most difficult in the play, for an Amateur to sustain; the curt witticisms and various learned quotations require an experienced actor to give with effect\".\n\nHigh Life below Stairs \"flagged somewhat from the previous exertions of the actors, but we must not omit to notice the excellent acting in the representative of the Lord Duke's servant'\n\nDespite this and in spite of the editor not being very much satisfied with some of the language in the plays he thanked “our young friends for their kindly endeavours to promote amusement amongst the community, they were spared neither trouble, time nor expense to cater for the intellectual appetite of Shanghai in the classical drama” (NCH 26.4.1851).\n\n26.1.1852 (Mon)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nH. CAREY (music: J.F. LAMPE): \"The Dragon of Wantley\" (1837)\n\nT: Burlesque opera (3 acts)",
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    {
        "id": 211804,
        "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": 219,
        "title": "RAS-1989",
        "content_text": "194\n\n6.5.1852 (Thur)\n\nJ.M. MORTON: \"Attic Story\" (1842)\n\nT: Farce (1 act)\n\nR.B. PEAKS: \"The Haunted Inn\" (1828)\n\nT: Farce (2 act)\n\nC: Amateurs\n\nF: Music, i.a. selections from Mozart's “Le Nozze di Figaro\" and other operas. Epilogue.\n\nTh: New Theatre Royal (A)\n\nN: Last performance of the season\n\nR: Again there was a new drop scene. \"A View near Palermo, a very pleasing view of an Italian villa with the bay and hills in the background\". The pieces were \"well performed and excited much merriment, especially the mistakes of the Attic Story\" (NCH 8.5.1852).\n\n27.1.1853 (Thur)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nG.A.A. BECKETT: \"The Turned Head\" (1834)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: Imperial Theatre (B)\n\nN: First performance of the season\n\nR: After not a little uncertainty about the state of affairs respecting the theatre, finally the management for the new season was laid in the hands of Horatio BUSKIN (a compound pseudonym: Horatio, from Hamlet; Buskin, the boot worn by Greek actors) who succeeded \"Doldrum\".\n\nFor a \"very good attendance graced by many of the beau sexe\" the evening \"came off with great éclat\" (NCH 22, 29.1.1853).\n\n23.3.1853 (Wedn)\n\nJ.M. MORTON: \"Betsey Baker\" (1851)\n\nT: Farce (1 act)\n\nW. BROUGH: \"Apartments\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue; comic songs\n\nTh: Imperial Theatre (B)\n\nR: In the presence of the British Superintendent of Trade and Governor of Hong Kong, Sir George Bonham, Betsey Baker turned out to be \"a most decided and palpable hit, received throughout with shouts of laughter and applause\". Bonham was in Shanghai on his way to Nanking which had been taken by the Taipings on March 19. The Rebellion had a profound effect on the foreign community and although the Taipings enjoyed for some time a lot of sympathy, on this occasion they were satirised in a **most original and witty Prologue**: \"The Manager appeared before the curtain, in a state of intense excitement, informing the audience of mutiny in the corps! Dreadful consequences!! No performance!!! What could be done!? Then arose such a \"Row and Bobbery\" [Bobbery: an Anglo-Indian word meaning 'noise, disturbance' - JH] led by those who were in the secret and poor Horatio BUSKIN could scarcely be heard amidst the crash of broken glass and was almost unable to face the shower of oranges aimed at his devoted head. An amiable conspirator elevating himself on a bench expressed most loudly and eloquently his indignation at this state of affairs; however, after a parley with the Manager, he proposed a compromise, and the curtain was drawn up exposing the corps evidently in a state of 'Rebellion'. Fortunately they would listen to reason and the 'refractory members' agreed to 'go on' for this occasion, and the Manager retired with...",
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    {
        "id": 211805,
        "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": 220,
        "title": "RAS-1989",
        "content_text": "195\n\nhis 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).\n\n5.5.1853 (Thur)\n\nG.A.A. BECKETT: \"Siamese Twins\" (1834)\n\nT: Farce (1 act)\n\nR. BUTLER: \"The Irish Tutor\" (1822)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of the Susquehanna\n\nTh: Imperial Theatre (B)\n\nN: Final performance of the season\n\nR: 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).\n\n8.3.1854 (Wedn)\n\nJ.M. MADDOX: “A Fast Train! High Pressure!! Express!!!\" (1853)\n\nT: Farce\n\nW.B. BERNARD: “A Practical Man\" (1849)\n\nT: Farce\n\nC: Amateurs\n\nP: Music\n\nTh: Tac Ming Theatre (C)\n\nR: 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).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    {
        "id": 211845,
        "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": 260,
        "title": "RAS-1989",
        "content_text": "235\n\nthat in more congenial parts Mr. FUNNYDOG will help to compensate us for the loss of that most genial of humourists, our incomplete BRUSHWOOD\". The critic ended with the following advice: \"For the future it would be better to rehearse three pieces and play two of them the first night; then in the event of a second performance the piece which was received on the first occasion with the heartiest plaudits might be repeated, preceded or followed by the new Drama held ready and in reserve. We are inclined to offer this suggestion owing to the various complaints which we have heard of the lateness of the hour at which Thursday's entertainment concluded, and also from a selfish wish perhaps to have two dramatic treats instead of one” (NCH 16.12.1865).\n\n## APPENDIX I\n## Authorlist of plays staged in Shanghai 1850-1865\n\nIn this list full titles of the plays staged in Shanghai will be found as well as first nights in London (these generally according to Nicoll. History of English Drama).\n\nP: Performance in Shanghai\n\n?: The play is listed under more than one author\n\n| Author | Play Title | First Night in London | P: Performance in Shanghai |\n| --- | --- | --- | --- |\n| AYTON, Richard (1786-1823) | \"The Rendez-Vous\" | 21.9.1818 | 24.3.1852 |\n| BARNETT, Morris (1800-1856) | **The Serious Family** | 30.10.1849 | 8.10.1859; 23.3.1865; 28.4.1865 |\n| A BECKETT, Gilbert Abbott (1811-1856) | \"The Roofscrambler” | 15.6.1835 | 12.12.1850 |\n|  | **Siamese Twins** | [14.4.1834] | 5.5.1853 |\n|  | **The Turned Head** | 3.11.1834 | 27.1.1865 |\n| BERNARD, William Bayle (1807-1875) | \"A Practical Man\" | 20.10.1849 | 8.3.1854 |\n| BOUCICAULT, Dion (1822-1890) | **The Colleen Bawn or the Brides of Garryowen** | 29.3.1860 | 25.4.1865 |\n|  | \"The Octoroon or Life in Louisiana\" | 6.12.1859 | 7.1.1865; 13.1.1865; 14.1.1865 |\n|  | \"Used Up\" (with C. Mathews) | 1.6.1846 | 26.1.1853; 8.2.1857 |\n| BRIDGEMAN, John Vipon (1819-1889) | **I've Been Eaten My Friend!** | 8.9.1851 | 22.3.1854 |\n| BROOKS, Charles William Shirley (1816-1874) | \"Anything for a Change\" | 7.6.1848 | 14.5.1854 |\n| BROUGH, Robert Barnabas (1828-1860) | \"Crinoline\" | 18.12.1856 | March 1863; 16.3.1863; 1.4.1863 |\n|  | **Medea or The Best of Mothers with a Brute of a Husband** | 14.7.1856 | 28.12.1864 |\n| BROUGH, William (1826-1870) | 'Apartments: Visitors to the Exhibition may be accommodated. A piece of extravaganza to suit the times' | 14.5.1851 | 23.3.1853 |\n|  | \"The Area Belle\" (with A. Halliday) | 7.3.1864 | 30.9.1865 |\n|  | \"Conrad and Medora or Harlequin Little Fairy at the Bottom of the Sea\" | 26.12.1856 |  |\n\n138",
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    {
        "id": 211853,
        "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": 268,
        "title": "RAS-1989",
        "content_text": "Richard III: W. Shakespeare; 26.4.1865.\n\nThe Rivals: R.B. Sheridan; 28.9.1858, 23.11.1864.\n\nA Roarer: N.N.; 19.4.1865.\n\nRob Roy; C.H. Hazlewood? W.H. Murray? 28.3.-5.4.1865.\n\nA Roland for an Oliver: T. Morton Sr; 23.2.1852. Roofscrambler: G.A.à Beckett; 12.12.1850.\n\nThe Rose of Castille: A.G. Harris; 8.10.-14.10.1864. The Rough Diamond: J.B. Buckstone; 13.4.1865.\n\nThe Serious Family: M. Barnett; 8.10.1857, 2.6.1859, 23.3.1865, 28.4.1865. Siamese Twins: G.A.à Beckett; 5.5.1853.\n\nA Silent Woman: T.H. Lacy; 29.6.1864.\n\nSink or Swim: T. Morton Jr; 16.2.1857.\n\nSlasher and Crasher: J.M. Morton; 21.2.1856.\n\nStill Waters Run Deep: T. Taylor.; 23.4.1857, 15.3.1860. Sweethearts and Wives: J. Kenney; 11.4.1865.\n\nTake that girl away: L.S. Buckingham; 15.2.1860; 3.12.1864. Time tries all: J. Courtney; 5.5.1858, 10.5.1860, 21.3.1865. To Paris and back for £5: J.M. Morton; 10.5.1860, 21.3.1865. The Turned Head: G.A.à Beckett; 27.1.1853.\n\nTurn out!: J. Kenney; 10.11.1865, 20.11.1865.\n\n'T Was I: J.H. Payne; 27.4.1865.\n\nThe Two Bonny Castles: J.M. Morton; 22.3.1854, 8.5.1865.\n\nThe Unfinished Gentleman: C. Selby; 17.6.1865.\n\nUrgent Private Affairs; J.S. Coyne; 5.5.1858.\n\nUsed Up: D. Boucicault & C.J. Mathews; 26.1.1852, 27.1.1853, 18.2.1857.\n\nThe Wandering Minstrel: H. Mayhew; 24.5.1865.\n\nWhere There's a Will There's a Way: J.M. Morton; 26.3.1863.\n\nWhich is which?: W.B. Gill; 27.3.1865.\n\nWhitebait at Greenwich: J.M. Morton; 23.1.1856, 16.2.1859, 26.5.1864.\n\nThe White Horse of the Peppers; S. Lover; March 1863, 16.3.1863.\n\nA Wonder: H. Carey S. Centlivre?: 12.11.-18.11.1864,\n\nWoodcock's Little Game: J.M. Morton; 14.12.1865.\n\nThe Young Widow: J.T.G. Rodwell; 27.4.1865,\n\n243\n\nPage 268",
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