[
    {
        "id": 207015,
        "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-1974",
        "page_number": 86,
        "title": "RAS-1974",
        "content_text": "80 \n\nROBIN MCLACHLAN \n\nin this horrid place. I am therefore leading a most regular life. I get up at 6 a.m. and walk for two hours before breakfast. I remain in my room all day during the heat of the sun and walk again in the evening, and go to bed early. I live on fish, fruit and curry and drink but little wine. But I smoke a great deal; in fact it is necessary in India. I cannot get on without it. The whole fleet expect to sail in a few days. They go back to India. This place, which is now a perfect bear garden, will once more be quiet. There is only one spot on the whole island that has a tree on it. It is called Happy Valley, and is certainly a pretty spot. The rest of the island is one barren rock and perfectly devoid of all vegetation, although there are springs innumerable. ... Now I have told you everything about this delightful spot. It is inferior to Sierra Leone from the fact of its being less healthy, less amusing and less near England.\n\n10 \n\nAn important social activity for the infant colony was the rounds of dinner parties held by the senior military and colonial officers. Bridgeman seems to have regarded these events as at least tolerable social functions, but was very critical of the more rowdy partying that went on in the officers' barracks. While writing to his sister, he commented on one such party going on in the next room. This was a farewell party by the Madras Artillery for one of their officers, Captain Balfour. Bridgeman considered it a very noisy party with far too much drinking and feared that it would go on far into the night. \n\nMen of this sort never sit down to a large party without drinking to such an excess that they lose their senses and are put to bed more like beasts than Christians. God forgive me, but I hate them all. Give me women's society! Without it we are beasts.\n\n11 \n\nAnother form of entertainment that attracted Bridgeman's critical comment was the amateur theatre established in Hong Kong in late 1842. The actors were largely drawn from among the soldiers and sailors stationed at Hong Kong. \n\nI regret to say it was a complete failure. The first and only performance was about a week ago. The pieces they chose were stupid and not one of them knew their parts. However, the house was filled; for in a stupid place like this everybody caught willingly at anything in the way of amusement. The house is now being...",
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    {
        "id": 209583,
        "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-1982",
        "page_number": 240,
        "title": "RAS-1982",
        "content_text": "218\n\nCARL T. SMITH\n\nSim-ple Assemblies for young he's and shees, Races, Regattas, Croquet, Sunday Teas. But, hark, the Prompters warning whistle blows, And bids me bring my prologue to a close.\n\nSome of the local references are lost to us today, but then they brought smiles, if not laughter. A history of the Amateurs picks up some of the lighter side of life in Hong Kong in the past.\n\nTHE CURTAIN RISES\n\nSoon after Hong Kong was established as a British military base in China officialdom encouraged amateur theatricals as a wholesome diversion from the tedium of military life.\n\nThe first attempt to bring drama to Hong Kong was to have been a combination of professionals and amateurs, but the project came to an abrupt end before it was well under way. A flamboyant Frenchman from Singapore named Gaston Dutronquoy announced in November 1842 that he had obtained the permission of the authorities to erect a theatre \"on a grand and imposing scale\" behind his tavern, the London Hotel, which was located on Queen's Road.\n\nHe informed an interested public that though the Theatre was not yet built, the actresses had already arrived. Backed by a claim of official sanction and available talent, Mr. Dutronquoy with his own flair for the theatrical announced \"to the nobility, gentry and clergy of this flourishing and opulent Colony that their Theatre is advancing rapidly towards completion. It is on a most splendid scale, and what with the pieces that will be performed, the scenery that will be produced, and the splendid assemblage of rank, beauty and fashion which they hope to be honoured with, there is no doubt but that the blaze of splendour will dazzle the eyes of all beholders\". He assured his public that the actresses' \"beauties and talents are only to be surpassed\n\n† As I wrote this paper more for entertainment than scholarship, I have not included documentation. The notices and reviews of the plays have been found in the local press: The Friend of China, The China Mail, The Hong Kong Register, The Daily Press, The Hong Kong Telegraph and The South China Morning Post. The appended list of performances and dates has been compiled from the same sources.\n\nPage 240\n\nPage 241",
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    {
        "id": 209585,
        "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-1982",
        "page_number": 242,
        "title": "RAS-1982",
        "content_text": "220 \n\nCARL T. SMITH \n\nestablished brothels, a gambling hall, opium divans, a temple, his family house and the Theatre. \n\nAs the location and arrangements of Acqui's Theatre were not very satisfactory, there was a movement to build something more suitable. Immediately after the first performance of the Amateurs, it was announced that plans for a new theatre were under consideration. The China Mail, 8 January 1846, gave its full support: \n\nWe are glad to learn there is at length a fair prospect of a Theatre being erected in Hong Kong. The project was suggested last year, and as it not only met with general approbation from the public, but received the sanction of His Excellency and the support of the civil and military servants of the Government, it is rather inexplicable how it was suffered to drop. We are indebted, we believe, to the same parties who lately favoured the public with an amateur performance in the Lower Bazaar, for taking the matter up again, and they seem now to have begun very properly by first testing the feelings of the middle classes upon the very important point of subscriptions. We are assured that the amount already subscribed for is more than half what will be required to erect a spacious building, adapted alike for the purposes of a Theatre and a Ballroom, or a hall for public meetings. With some proofs of support from the community at large, we trust the Governor's patronage will be continued, and the merchants and official gentlemen will take the matter up in good earnest, and complete what has already been auspiciously begun. When the plans are sufficiently matured we would suggest the propriety of bringing them before the public in a well-defined shape, by circular, or advertisement in the public papers. For this purpose our columns will be at the service of the committee gratuitously. \n\nA meeting to enlist shareholders was held at the house of Leonard Just, a watchmaker, in February 1846. The eventual outcome of the meeting was the erection of the Victoria Theatre on the hill behind the Hong Kong Club. The lot was up Wyndham Street somewhat to the south of Wellington Street.",
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    {
        "id": 209586,
        "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-1982",
        "page_number": 243,
        "title": "RAS-1982",
        "content_text": "221\n\nThe ground had been originally purchased from the Government as a speculative venture by one of Hong Kong's early entrepreneurs, George Duddell. His name is perpetuated in Duddell Street.\n\nTHE VICTORIA THEATRE\n\nDuddell sold the southern half of the lot in March 1846 to the Trustees of the Hong Kong Theatrical Company. They were John Cairns, editor of the Hong Kong Register, Robert Strachan, a small-scale merchant, and Edward Farncomb, Hong Kong's first enrolled solicitor. Two years later, after the building was erected, the Trustees had to convey the lot back to Duddell due to financial difficulties.\n\nThe new theatre was described as \"large and well adapted to the climate, it affords good accommodations both for the dispensers of the drama and the audiences\". It was named the Victoria Theatre.\n\nThe first performance in the new building was on 1 November 1848 under the patronage of H.E. Governor Bonham. The announcement stated that \"The Proprietors of the above Theatre, having received assistance from a few young Gentlemen, lovers of the Drama, whose desire is to add to the few amusements of the Colony; the Public are respectfully invited to witness their feeble efforts at an Amateur performance\". The programme consisted of \"the popular farce, 'The Weathercock', to be succeeded by a comic song, the whole concludes with the Farce, 'The Rival Valets'\". Newspaper reviews reported that the Theatre was \"well ventilated and brilliantly lighted in short the arrangements and decorations throughout reflect the highest credit on the manager\".\n\nUnfortunately the Governor was unable to be present due to a recent injury. The reporter remarked that this was \"a circumstance to which doubtless is attributable the absence of a number of fair colonists, who would have otherwise graced the occasion. Nevertheless the house was filled with an audience of highest respectability”.\n\n\"Respectable\" audiences were necessary to make the venture",
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    },
    {
        "id": 209587,
        "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-1982",
        "page_number": 244,
        "title": "RAS-1982",
        "content_text": "222\n\nCARL T. SMITH\n\nacceptable to the better parts of the community. There were those who looked with disfavour on the theatre. The behaviour of the habitues of the pit, as well as vulgarities in some of the productions of the day, brought the stage into disrepute among the strait-laced. Attitudes were beginning to change, however; in part this was due to attendance at the theatre of that most moral Queen, Victoria.\n\nAs for the quality of the inaugural performance at the Victoria Theatre in Hong Kong, a reviewer said of the actors, \"though somewhat behind the great houses, yet they were such as to give hope of good things ere long. It must be borne in mind, that with several of the performers it was their first appearance on any stage\". On the other hand, so few were interested in appearing on the stage, it was a matter for concern as \"the corps dramatique consists of only eight members it does not auger well for the general diffusion of dramatic talent among the 'aspiring youth' of the colony\". At the next performance, the reviewer faced the dilemma of how to criticize amateurs and still not discourage them. He gently suggests that \"we may perhaps be allowed to hint, that a little more time and attention would not be ill-bestowed by the performers in studying the characters they assume as some are considerably over-acted. But our wish is not to be censorious\".\n\nAfter this initial burst, amateur dramatics limped for three seasons and then faced death. In 1852 under a heading \"The expiring drama\" amateurs were invited to attend a meeting at the City Hotel \"to plan for a series of productions for the season in order to prevent the demolition of the Victoria Theatre\". There was a revival of interest and the season opened in January. It was noted that the new group, which called itself the Victoria Amateurs, was received \"with unmingled applause by the fullest and most fashionable audience we ever witnessed in the Theatre or anywhere else in Hong Kong”.\n\nRevived interest in amateur dramatics was necessary if the Theatre was not to be converted to other uses for it was not a paying venture for its proprietor, George Duddell. The Anglican Bishop had offered to lease it from him for conversion into a Sailors Home. Duddell, however, had interests of his own in",
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    {
        "id": 209589,
        "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-1982",
        "page_number": 246,
        "title": "RAS-1982",
        "content_text": "224\n\nCARL T. SMITH\n\nWith children performing there was no question of respectability. It was announced some weeks after the first performance that \"several ladies having expressed regret at not witnessing the late performance of the Portuguese children, Mr. Souza, with the consent of the parents, and at the request of the Committee, has consented to repeat the performance at an early date\".\n\nIn 1866 the Portuguese community built a club house at Shelley and Elgin Streets. Attached to it was a small theatre. It was used not only by Portuguese amateurs but, before the opening of the Theatre Royal in the City Hall in 1869, it was the venue for the productions of the Amateur Dramatic Club. The Theatre portion of Club Lusitano was demolished in 1873,\n\nThe Germans built a club house on Wyndham Street in 1872. It contained a small auditorium. German amateur groups used it for plays and operettas. More appreciated by the non-German speaking community were the concerts and the appearance of Liedertafel singing groups.\n\nTHE A.D.C—BORN IN A MATSHED\n\nAn Amateur Theatrical Society was formed in 1860. Its membership was made up of both civilians and military officers.\n\nFor the 1860-61 season they erected a new matshed. It was said that in its internal arrangements there was \"no lack of comfort, indeed elegance has received its share of attention\". It included a continental innovation the prompter's box was placed in the centre in front of the curtain \"according to the French custom”.\n\nThe Committee of the Society came under attack for alleged misuse of funds. At the second performance of the 1861 season it was deemed necessary to make a public statement refuting accusations which had appeared in the local press. The Committee had been charged \"with spending the profits in cold fowl and sherry behind the scenes.\" Two professional ladies of the stage also figured in the accusations. The newspaper account of the public explanation concluded with the sentiment that \"Hong Kong thanks the Amateurs and has fullest confidence in the",
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    {
        "id": 209590,
        "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-1982",
        "page_number": 247,
        "title": "RAS-1982",
        "content_text": "225\n\nmanagement. We hope they may not be out of pocket as the Garrison Company was last year.\n\nAfter the initial ballyhoo about the Committee, described as a \"scolding given in true washer-woman style\", which only amused the town, the season was a great success. A slightly sour note was injected into the 1862-63 season because only four performances were given, while it had been announced when advertising for subscriptions that there would be six. Complaints compounded in 1863-64 when prices were advanced to a sum which was thought to be \"just beyond the limit to which a class were prepared to pay for entertainment\". Consequently, the theatre for the first performance was only half filled.\n\nThe 1865-66 season also began inauspiciously. At a meeting in November to arrange for the coming season, there was such poor attendance that it was feared the Amateurs might have to give up.\n\nWhen the Amateur Dramatic Corps looked back on its history, it gave its founding date as 1860, however, in the announcements of the group in the 1860s it is called the Hong Kong Amateur Theatrical Society.\n\nTHE THEATRE ROYAL\n\nAmateur dramatics took on a new vigour with the organisation or reorganisation of the theatrical group in 1860. Revived interest emphasised the need of a suitable theatre. Until the opening of the Theatre Royal in the City Hall in 1869, various makeshift arrangements had to be made after the Victoria Theatre was closed in the 1850s.\n\nIn 1861, the China Mail looked toward the future:\n\nWe hope the time is not distant when a neat permanent building constructed on the best known principles of acoustics will take the place of the temporary mat sheds, which need so much exertion on the performers' part, and indulgence on that of the audience. The acoustics are bad. Now that the capability of having these entertainments annually is beginning to be procured, it would be well to take measures soon, to",
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    {
        "id": 209591,
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        "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-1982",
        "page_number": 248,
        "title": "RAS-1982",
        "content_text": "226 \n\nCARL T. SMITH \n\nsee what should be done toward erecting a permanent theatre\". \n\nThe year following, 1862, plans for a Theatre and Assembly Room were on view at the Hong Kong Club. They were estimated to cost $34,000, but a newspaper reporter was more realistic. In his opinion \"a glance shows it would cost $60,000 at least\". \n\nSomething as ambitious as this had to wait some years. It was finally realized with the opening of the City Hall in 1869. In the meantime, mat sheds, a large room in St. Andrew's School and the Club Lusitano were used. \n\nA public meeting in 1864 resolved that the Amateur Theatrical Matshed should be kept and a committee appointed to see to its preservation. One happy feature was the debt-free state of the theatre following a successful season. During the 60s there were notices of the Queen's Theatre on Queen's Road East. It was probably the adapted godown mentioned in the columns of Jarrett in his series \"Old Hongkong\" in the South China Morning Post. A Theatre Royal was on military ground, used not only for performances by the Garrison but also by visiting professional dramatic companies. In 1865 it was announced it was to be pulled down \"for much needed barrack improvements\". After its demolition, the Garrison amateurs used the Murray Barracks Canteen. \n\nThe general public expressed its appreciation to the military for permitting the theatre to occupy their ground. It had, however, been a hot, stuffy place, poorly ventilated. \n\nTYPES OF DRAMA \n\nAll the early productions of the amateurs were described variously as farce, burlesque, comic drama, facetious tragedy, vaudeville comedy or burlesque extravaganza. \n\nPerhaps the first play of a mere serious tone was given in 1875, when \"Plot and Passion\" by Thomas Taylor and J. Lang was presented. It was noted, however, that a drawback to such a play was its love scenes, as these were difficult when played by males only companies. The reviewer thought that while it \n\n! \n\n!",
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    {
        "id": 209597,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1982",
        "page_number": 254,
        "title": "RAS-1982",
        "content_text": "232\n\nCARL T. SMITH\n\nThe opportunity to give a world premiere came about in this fashion. Early in the year Mr. Sinclair directed students at the University of Hong Kong in two Dunsany plays. They did not attract much public attention, but Sinclair sent photographs of the production along with some newspaper notices to Lord Dunsany. As a result, he wrote a play about the Gold Isles and sent the manuscript to Mr. Sinclair with the intention that it also should be performed by the students. Unfortunately, they were not able to do so, so Sinclair, as one of the popular A.D.C. directors, decided to have a Dunsany evening and include \"The Compromise of the King of the Golden Isles\". It was full of colour, filled with pomp and ceremony. It is interesting to note that the late Noel Croucher served as a bodyguard in one of the crowd scenes and that Sinclair had consulted Sir Robert Kotewall and Mr. Fung Yuk-shum to get authenticity for the Chinese costumes and other details.\n\nIn 1926 the A.D.C. performed Dunsany's most successful play \"If.\" His plays have been described as \"decorative drama\". Many of them had settings in the Near and Far East.\n\nW. Sinclair was both an innovator and a man of cosmopolitan tastes. During the years he produced plays for the A.D.C., the repertoire ranged from Shakespeare to the future and from fantasy to realism.\n\nThe Hong Kong Mummers presented \"Twelfth Night\" in 1913. It was directed by Mr. Siegler, a name assumed by Mr. Sinclair for some of his early productions in Hong Kong. He later abandoned this pseudonym. \"Twelfth Night\" was billed as the first amateur production of Shakespeare in the Far East. This claim was corrected by the Tokyo A.D.C., which had presented \"As You Like It\" in 1906, \"Midsummer Night's Dream\" in 1911, and \"The Merchant of Venice\" in 1912. The Hong Kong A.D.C. had assisted Miss Janet Waldorf and her small company of professionals in \"As You Like It\" in 1899. It was scheduled for an outdoor performance on the Parade Ground, but this was rained out and it was held in the Theatre Royal. Weather did permit a second performance on the Parade Ground. In 1922, the A.D.C. under Sinclair produced \"The Tempest\".\n\n\"The Blue Bird\" by Maeterlinck was given in 1914. It was",
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    {
        "id": 209598,
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        "series_slug": "histsyn-rashkb-journal-engine",
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        "page_number": 255,
        "title": "RAS-1982",
        "content_text": "233\n\ndescribed as a \"fairy play\". It was an ambitious effort with 100 performers, 50 children, 50 trained birds and a special corps de ballet of 25 and an orchestra of 25. It was a great success. In keeping with the title the theatre was decorated in blue. As the performance was in aid of the Prince of Wales Fund, massive oil paintings of the King and Queen and Prince of Wales painted by Yee Cheong of Wyndham Street,* were prominently displayed.\n\nA similar production, not quite so lavish, was put on the next year. It was a fairy ballet entitled \"Snow White and the Frog Prince\". It was in aid of the Belgium Relief Fund.\n\nAnother very elaborate production was \"Kismet”, an oriental extravaganza, in 1916. It was in aid of the Star and Garter Fund. All the productions during the war period were in aid of some war related fund. Original music for \"Kismet\" was written by Mr. Norman Peterkin of the Robinson Piano Company.\n\n\"Pinkie and the Fairies\", yet another extravaganza, was staged in 1919. It had over sixty performers. The late Sophie Weill Odell appeared as one of the fairies a proper introduction to a long association with the stage through her impresario husband Harry Odell. The programme for \"Pinkie and the Fairies\" listed all the productions of the A.D.C. since 1870.\n\nNot all Sinclair's plays were along the exotic line. In 1916, there was \"The Angel in the House\" the success of this play depended on subtle satiric portrayal of character. It put a great demand on an amateur group. Even more demanding was the 1925 production of Shaw's \"St. Joan\". It was hailed as the greatest triumph of the A.D.C.'s existence. \"A great play, magnificently acted\" \"Memory fades and achievements diminish; time weaves a dusty web over the past and the glamour of a praise-worthy act wears off. History never dies, nor will this epoch-making performance of the A.D.C. be forgotten when the social history of Hong Kong is compiled\".\n\nSinclair also appreciated the sophisticated humour of Noel Coward. \"I'll Leave It to You\" was staged by him in 1922, It had been Coward's first play produced in London, some two years previous to its Hong Kong appearance.\n\n* Hong Kong Daily Press, 1 Apr. 1884, Advertisement: Yee Cheong, portrait painter, studio corner of Wyndham and Wellington Streets.\n\nPage 255\n\nPage 256",
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    {
        "id": 209603,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "page_number": 260,
        "title": "RAS-1982",
        "content_text": "238 \n\nCARL T. SMITH \n\nThe Regiment Amateur Dramatic Society put on in 1876 at the Garrison Theatre two short pieces, \"Maud's Peril\" and \"John Brown John's Holiday\". Both were written by an anonymous local resident. \n\nCapt. Bunbury wrote a burlesque entitled \"Butter Cup Bower\" for presentation at an open air fete to raise funds for the Alice Memorial Hospital in 1886. It was repeated several months later as the dramatic portion of “A Musical and Dramatic Entertainment\" to raise funds for an annual treat to the children of non-commissioned officers and men of the Garrison. \n\nGARRISON AMATEUR GROUPS \n\nWe have noted that the first amateur dramatics were encouraged as diversion and entertainment for the military. Through the years various army and navy amateur groups have been organized in Hong Kong. \n\nThey performed under different names. These often included the name of the ship, regiment or unit of the performers. In the 1860s a group called the Garrison Amateur Theatrical Society was active. It was composed of officers. In 1897 there is notice of The Garrison Dramatic Society. The Military Mummers flourished from 1889 to 1892. In the 90s other groups called themselves \"The Sons of Neptune\" and \"The Beetles\". \n\nDuring the 90s it was popular to put on productions called \"Grand Assault at Arms\" accompanied by \"Military Spectacular Exhibitions\". An 1893 production of this type concluded with \"a grand representation of an attack on the Fortress of Ali Musjid\", and at another in 1898 by a naval group from H.M.S. Powerful, the finale was three \"real life Tableaux\": Ready for Action, Battle Scene, and the Death of Nelson. At this particular performance Prince Henry and Princess Irene of the Prussian royal house were present. A patter song was introduced expressing these hopeful sentiments: \n\nOne word before I end my song \n\nTo welcome in far Hongkong \n\nThe grandson of our Gracious Queen† \n\nPrince Henry's mother was Victoria, the Princess Royal, daughter of Queen Victoria, and wife of Frederick III, of Germany.",
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        "id": 209606,
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        "document_key": "RAS-1982",
        "page_number": 263,
        "title": "RAS-1982",
        "content_text": "241\n\n# APPENDIX\n\n## THE HONG KONG AMATEUR DRAMATIC CLUB AND ITS PREDECESSORS Significant Dates and Performances.\n\n(Authors and dates of first publication or production from A. Nicoll, A History of English Drama, \"Handlist of Plays\".)\n\n(Note: only ADC productions are noted here: professional performances, and performances by Garrison groups or other amateur groups not detailed here).\n\n### 1844/45\n\n18 Dec. 1844 proposed to form a dramatic company of amateurs under patronage of H. E. Governor Davis.\n\n### 1845/46\n\n3 Jan. 1846 Tues. last performance given by \"Corps Dramatique\" at Aqui's Theatre in the Lower Bazaar.\n\n27 Jan. 1846 party of Amateur Performers presented \"The Lady and the Devil\" followed by \"Fortune's Frolic\" Aqui's Theatre.\n\n24 Mar. 1846 Amateur Performers Wed. last, \"The Midnight Hour\" and \"The Sleep Walkers\" Theatre.\n\n28 Apr. 1846 Amateur performance Mon. evening at Aqui's.\n\n27 June 1846 - Amateur Performers fifth and last performance at Aqui's Theatre.\n\n8 Jan. 1846 at length a fair prospect of a Theatre being erected in Hong Kong. Idea suggested last year. Half of funds needed already subscribed.\n\n9 Feb. 1846 Meeting of shareholders of proposed Theatre at house of Mr. Just, corner Queen's Road and Pottinger Street.\n\n### 1848/49\n\n1 Nov. 1848 first public performance by amateurs in new theatre (the Victoria) erected by Mr. Duddell. \"The Weathercock” (J. T. Allingham, 1805) followed by a comic song, concluded with farce \"Rival Valets\" (J. Ebsworth, 1805).\n\n1 Dec. 1848 - Amateurs second performance. \"Fortune's Frolic\" farce (J. T. Allingham, 1799) \"Bambastes Furioso\" burlesque tragic operetta (W. B. Rhodes, 1810) \"The Weathered\" farce\n\n### 1852/53\n\n8 Nov. 1852 meeting at City Hall of persons interested in the revival of drama in Hong Kong. To take measures for preserving the Victoria Theatre to the community for purpose it was originally erected. Committee of four to organize Theatrical Company.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
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    {
        "id": 209607,
        "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-1982",
        "page_number": 264,
        "title": "RAS-1982",
        "content_text": "242\n\nCARL T. SMITH\n\n1 Dec. 1852 - first performance of amateurs under new management.\n\n12 Feb. 1853 — Victoria Amateurs.\n\n\"Twice Killed\" farce (John Oxenham, 1837) \"Slasher and Crasher\" farce (J. M. Morton, 1848)\n\n19 Mar. 1853 meeting at Victoria Theatre for purpose of forming a Corps Dramatique to arrange for another performance at an early date.\n\n20 Apr. 1853 \"Animal Magnetism\" farce (Mrs. E. Inchbald, 1758)\n\n\"A Kiss in the Dark\" farce\n\n19 May 1853 last night of season of Victoria Amateurs.\n\n\"Time Tries All\" dramatic drama (J. Courtney, 1848) \"Toothache, or The Prince and the Chimney Sweep\" farce\n\n1853/54 27 Oct. 1853\n\nMeeting at Victoria Theatre of those interested in theatricals to make arrangements for the coming season. (I found no notice of any performance for this season).\n\n1860/61 3 Jan. 1861 \"Still Waters Run Deep\" (T. Taylor, 1855)\n\n1861/62\n\n1862/1863\n\n29 Jan. 1861 new theatre, Hong Kong Amateur Theatre, performance by officers and gentlemen who have organized this establishment:\n\n\"A Bachelor of Arts\" (P. Hardwicke, 1853) \"A Nice Firm\" (T. Taylor, 1853)\n\n25 Feb. 1861 performance of Gentlemen Amateurs Mon. last.\n\n28 Mar. 1861 theatrical season drawing to close. Appreciation to the Committee. Difficult to see how the Amateur Theatrical Company could have managed without aid from the garrison.\n\nDec. 1861 - first performance of season:\n\n\"Cool as a Cucumber\" (M. W. B. Jerrold, 1851) \"The State Secret\" (A. Snodgrass, 1821, or T. E. Wilks, 1836) in same commodious erection as served so well for last year's performances,\n\n23 Jan. 1862 second public performance of Hong Kong Amateur Theatre:\n\n\"Not a Bad Judge\" comic drama (J. R. Planche, 1848) \"The Critics\" facetious tragedy (Sheridan, 1779)\n\n1862 season\n\n\"Cramond Brig\" (W. H. Murray, 1826)\n\nDec. 1862 The theatre a reproduction of last year's design. \"Uncle Zachary\" comic drama (John Oxenford, 1860) \"Fearful Tragedy in Seven Dials\" (Charles Selby, 1857)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
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    {
        "id": 209608,
        "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-1982",
        "page_number": 265,
        "title": "RAS-1982",
        "content_text": "243\n\n12 Feb. 1863\n\nweek.\n\n30 Apr. 1863\n\nsecond amateur performance of season last\n\namateurs gave fourth performance on Wed.\n\nsubscription: 1863/64\n\n―\n\n17 Dec. 1863\n\n1864/65\n\n―\n\n1865/66\n\n―\n\nfirst performance\n\n\"Follies of a Night\" vaudeville comedy (J. R. Planche, 1842)\n\n\"A Kiss in the Dark\" given also in 1853.\n\n6 Feb. 1864 on 4th third subscription performance and on 6th third public appearance.\n\n31 Mar. 1864- fourth and last performance of season:\n\n\"Tailor of Tamworth\" (also known as \"State Secrets\", T. Wilks, 1836) given also in 1861. \"Alladin, the Wonderful Scamp\" burlesque (T. C. Bryon, 1861)\n\n16 June 1864\n\n___\n\npublic meeting resolved the Amateur Theatrical matshed should be kept up.\n\n13 Oct. 1864\n\nmeeting of those interested in Amateur Theatricals agreed to continue them in next season in usual way.\n\n2 Jan. 1865 a visiting professional group, the Lewis Company, gave first subscription night to the subscribers of the Amateurs\n\n9 Nov. 1865 check given to movement for organizing a new Amateur Theatrical Corp by non-attendance at public meeting. To be hoped they shall not collapse in consequence.\n\n1866/67\n\n3 Jan. 1867\n\nfirst\n\nat new Club Lusitano Theatre performance of season of Amateur Dramatic Society: \"Sent to the Tower\" farce (J. M. Morton, 1850) \"Alladin, or The Wonderful Scamp\" burlesque extravaganza (T. C. Bryon, 1860) also given in 1864.\n\n―\n\n4 Feb. 1867 second subscription night of Hong Kong Amateur Theatricals:\n\n\"The Area Belle\" farce (Brough and Halliday, 1864) \"Shylock, or the Merchant of Venice Preserved\" burlesque (F. Talfourd, 1853)\n\n1866/67\n\n7 Mar. 1867\n\n1867/68\n\nHong Kong Amateur Theatricals third subscription night:\n\n\"Slasher and Crasher\" (J. M. Morton, 1848) given also in 1853.\n\n\"Raising the Wind\" (J. Kennedy, 1803)\n\n23 Mar. 1867\n\nHong Kong Amateur Theatricals fourth subscription performance.\n\n—\n\n28 Sept. 1867 Hong Kong Amateur Theatrical Society propose giving five subscription performances this season.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
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    },
    {
        "id": 209609,
        "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-1982",
        "page_number": 266,
        "title": "RAS-1982",
        "content_text": "244\n\n1870/71\n\nP\n\n1871/72\n\n1872/73\n\n1873/74\n\n—\n\n1874/75\n\n—\n\nCARL T. SMITH\n\n25 Nov. 1867 first performance of season at Club Lusitano Theatre:\n\n\"All that Glitters is not Gold\" comedy (J. M. Morton, 1851)\n\n\"Cox and Box, married and settled\" farce (F. C. Burnard and J. M. Morton, 1867)\n\n19 Dec. 1867 Hong Kong Amateur Theatrical Society second performance:\n\n\"Romeo and Juliet\" burlesque\n\n\"Little Toddlekins\" farce (J. Mathews, 1852)\n\n4 Nov. 1870 Amateur Dramatic Club first performance of season at Theatre Royal, City Hall.\n\n\"Diamond Cut Diamond\" farce (W. H. Murray, 1838) \"Orpheus and Eurydice\" burlesque (H. J. Bryon, 1863)\n\n20 Apr. 1871 \"I've Written to Brown\" farce (T. J. Williams, 1859) burlesque by Francis Talfourd.\n\n28 Apr. 1871 \"Ici, en Parlais Francais\" (T. J. Williams, 1859)\n\n\"Shylock, or the Merchant of Venice Preserved\" burlesque (F. Talfourd, 1853) also given in 1867.\n\n-\n\n26 Jan. 1872 - \"The Two Bonnycastles\" farce (J. M. Morton, 1851)\n\n\"Masanielle\" burlesque (R. B. Brough, 1857)\n\n21 Feb. 1872 - \"The Rifle and how to use it\" farce (J. V. Bridgeman, 1859)\n\n11 Apr. 1872 \"Castles in the Air\" comedy (T. W. Robertson, 1854)\n\nInstead of \"Castles\", the production may have been \"Caste\" by T. W. Robertson (1867)\n\n3 Jan. 1873 - \"Locked In\" farce (J. P. Wooler, 1870)\n\n\"The Cricket on the Hearth\"\n\n13 Feb. 1873 \"Kenilworth, or Ye Queen, Ye Earl and Ye Maiden\", burlesque\n\n13 Apr. 1873 \"The Blighted Being\" farce (T. Taylor, 1854)\n\n\"Checkmate\" comedy (Andrew Halliday, 1869)\n\n30 Oct. 1873\n\n1853)\n\n\"Plot and Passion\" (T. Taylor and J. Lang, 1853)\n\n15 Nov. 1873 \"The Spitalfield Hospital\" farcical comedy\n\n\"Not such a Fool as she Looks\" (H. J. Bryon, 1868)\n\n2 Mar. 1874 —— \"A Romantic Idea\" (J. R. Planche, 1849)\n\n\"The Steeple Chase\" (J. M. Morton, 1865)\n\n5 Apr. 1875 - \"Ticket of Leave Man\" (T. Taylor, 1863)",
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    {
        "id": 211770,
        "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": 185,
        "title": "RAS-1989",
        "content_text": "160\n\nminority in the foreign community.' The effects of this discrepancy on the local dramatic scene will be dealt with later.\n\nBy far the greater part of those who came out to China were active as merchants or mercantile assistants; in general, they were in their late twenties or early thirties, and lived together in the hong of their firm. During business hours they traded in silk, tea, opium, and sundries; leisure was sought mainly in sports: racing, fives, bowling, cricket; by some in the Shanghai Library (established 1849), or the North China Branch of the Royal Asiatic Society (founded 1857). All, however, seemed to love the amateur theatricals that were put on several times a year.\n\nII. Theatrical Criticism\n\nIn order to appreciate the information that has come down to us about the theatre in early Shanghai, some attention should first of all be paid to the way in which contemporaries wrote about it. (For reviews see the Calendar of Performances).\n\nThe main, in fact the only, source as regards the early history of the foreign settlement in Shanghai is the “North China Herald”, a weekly that was founded in August 1850. A daily edition, the “North China Daily News” was begun in 1864, but the surviving copies date back only as far as July 1866. Other papers were published in the period under discussion, notably the \"Shanghai Recorder\" (1862-1869), but of these too all trace is lacking, with the exception of one volume (1865) of the \"Shanghai Commercial Record”, the overland edition of the \"Shanghai Recorder\". So we have perforce to rely mainly on the \"North China Herald\"; and, to be sure, a worse source can be imagined. In its pages at the least we find the facts about which plays were performed and what kind of musical entertainment was enjoyed. That is, until about the beginning of 1866, for after that date there is a noticeable decrease in theatrical notes. Then one has to resort to the Daily News.\n\nAll articles, which could be as long as a column, were anonymous, or, in a few cases, signed with an initial or a pseudonym. Not that it matters very much, for generally speaking the critic, if we may call him so, went to considerable lengths to avoid any harsh treatment of the amateurs on the stage. Apparently it was not deemed proper to pull the rug from under a handful of well-meaning gentlemen who devoted their",
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    },
    {
        "id": 211784,
        "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": 199,
        "title": "RAS-1989",
        "content_text": "174\n\nunfortunate that practically always only their stage names are known, making it impossible for us to identify any well known local citizens who were maybe also active in the municipal administration or social clubs. Not all pseudonyms were as transparent as Mr. Beverley Newcome, Mr. Circular Roller and Mr. Pickwick, nor so ludicrous as **Mr. Caput as Head Manager, Mr. Work-em-hard as stagemaker and Mr. Llanfair P.G. as the stagesweeper,” but we can never be sure about the real identity of most actors. Still, in a few cases the true names of participants were given (see: Calendar, 13.2.1863, 26.3.1863). With the managers of the companies things stood no better: the names have come to us of a Mr. Doldrum, Horatio Buskin and Peter Proteus, but they are mentioned here merely for curiosity's sake. In some instances the performers were nothing loath to adopt the names of well known contemporaries. Thus the orchestra at a theatrical night was reputedly conducted by the “Veteran Melodist Sir George Smart,” who indeed was a conductor, organist and composer (1776-1867), certainly not in Shanghai but in Britain, where he had conducted, among other performances, the first performance of Beethoven's Ninth Symphony in 1826. Another example was the appearance of \"our old friend Mr Bravo Rouse\". Rouse, always nicknamed Bravo Rouse, had been the originator of the Grecian Saloon in 1838, the precursor of the music hall.77\n\n**76\n\nOne feature that should be highlighted is the absence of ladies on the stage until 1876. On April 18 of that year Shanghailanders witnessed their first amateur actress in T.W. Robertson's School.” Before that, however, there may have been attempts to break the male monopoly in the theatre, to judge from a short remark in the local satirical magazine **Puck, or the Shanghai Charivari”** in 1873: “We hear that the actresses of the Dramatic Club bitterly resent the movement that has lately been made by the ladies of Shanghai in the direction of amateur theatricals as they consider their rights infringed. We however think differently; the presence of these fair debutantes if of more frequent occurrence [my emphasis — JH] would tend to inspire the male actors, and while we should certainly have fewer sticks on the stage, we might have more matches”. Not that Shanghai in this respect lagged behind the amateur dramatic societies in other Far Eastern ports: Yokohama introduced women in 1878, Hong Kong in 1879 and Singapore in 1884.82\n\n20\n\nAs far as Shanghai is concerned the reason for the lack of women on the stage is not difficult to find. Their general paucity in the Settlement",
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    },
    {
        "id": 211818,
        "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",
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        "document_key": "RAS-1989",
        "page_number": 233,
        "title": "RAS-1989",
        "content_text": "208\n\n12.10.1858 (Tue)\n\nConcert by Mr. Martin Simonsen\n\nN: No review was published.\n\nMr. Simonsen had also visited Hong Kong; there he had given his last recital on September 20, 1858 (CM 23.9.1858).\n\n16.2.1859 (Wedn)\n\nT: Comedy (2 acts)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Highflyer\n\nTh: Theatre Royal (E)\n\nR: For the first night of the amateur season \"a very numerous audience was collected and the presence of nearly all the beauty and fashion (we allude to the eccentricities [what may these have been? - JH] of masculine as well as to the elegancies of feminine costumes) of Shanghai imparted to the front benches a very brilliant appearance, which was further enlivened by the smiling faces of two or three laughing cherubs whom we detected nestling under the maternal wing\". For the occasion the drop pictured \"a very faithful (our travels in Italy enable us to state) representation of a most romantic spot on the banks of the Lago Maggiore\". Sink or Swim was found to be a \"dull plagiarism upon our old favourite 'Used Up'\" but it passed off with the utmost special due to the talents and exertions of the actors\", among whom \"Mr. PETREL's Mr. Scampley struck us as well conceived, a swindling roué's impertinence dashed by a sense of uneasiness\", Mr. FARREN (again a stage name after a London actor: William Farren, 1786-1861) sustained Lord Yawnley \"admirably\" and Mr. PICKWICK displayed as Adam Stirling all \"the quaint humour of his immortal ancestor\". Miss WALTERS, however, was thought to have been less fit for the part of Mrs. Stirling. She did not upon all occasions evince that grave decorum which usually characterises the British matron\". Morton's Whitebait at Greenwich was, as on January 23, 1856, a hit. This time Mr. PICKWICK took the part of Benjamin Buzzard in a \"quiet and most natural style of acting\". Mr. Phunago BRUSHWOOD - \"an actor of the Keeley-Robinson school, possessing a racy humour of his own\" played John Small and it was \"a gem of low comedy\". Of course there was Mrs. NESBIT, as well as Miss WALTERS whose portrayal of the servant maid came off much better than her Mrs. Stirling: \"we do not wonder at Mr. Buzzard's having been caught by her saucy face and bright complexion\" (NCH 19.2.1859). (Robert Keeley, 1793-1869, and Frederick Robson, 1821-1864, were both well known low comedians in Britain).\n\n22.2.1859 (Tue)\n\nConcert by Prof. Shonbrun, piano, and some local amateurs.\n\nTh: Theatre Royal (E)\n\n+\n\nR: The concert was given in the (New) Theatre Royal of the amateur dramatic corps, but acoustically it was not very satisfactory. No wonder that many of Mr. SHONBRUN's best efforts and most brilliant passages did not fully reach the audience\", an audience which was not very numerous in the first place, which too has its influence on the sound. For the following concert it was foreseen that \"a small scene will be erected and the wings closed in\".\n\nFor the time being the critic refrained from any strictures on the soloist, except that he hoped that \"on the next occasion Mr. Shonbrun will lead us to a higher class of pianoforte music than that put forward on Tuesday last\". It will come as no surprise that there was a eulogy on the amateurs who participated: \"the tenor solos were given with taste and genuine voice and the recall with which he was unanimously favoured was well merited\". (NCH 26.2.1859).\n\nT",
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    },
    {
        "id": 211834,
        "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",
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        "document_key": "RAS-1989",
        "page_number": 249,
        "title": "RAS-1989",
        "content_text": "224\n\nF. TALFOURD: \"A Household Fairy\" (1859)\n\nT: Domestic sketch (1 act)\n\n\"Aurora Floyd\".\n\nHED lists the following authors: C.S. CHELTNAM (1863), C.H. HAZLEWOOD (1836), J.B. JOHNSTONE (1836), B. WEBSTER (1863). In addition, Adams' \"Dictionary of the Drama\" mentions W.E. SUTER.\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of J.B. Creswick\n\nR: NCH 26.11.1864, advertisement only\n\n3.12.1864 (Sat)\n\nL.B. BUCKINGHAM: \"Take That Girl Away\" (1855)\n\nT: Comic drama (2 acts)\n\nJ.M. MORTON: \"A Capital Match\" (1852)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Benefit of Miss Lizzie Naylor\n\nR: NCH 3.12.1864, advertisement.\n\n9.12.1864 (Fri)\n\nBenefit of Mr. Henry Birch of the Lewis Company.\n\nNo titles of plays were mentioned. (NCH 10.12.1864)\n\n10.12.1864 (Sat)\n\nFarewell performance, also the benefit of Mr. Lewis, of Lewis Australian Drama Company. No titles of plays were mentioned (NCH 10.12.1864).\n\nR: No detailed reviews of the Lewis season were published in the North China Herald, only short announcements. It is quite well possible that more nights than the above ones were given, but they have not been recorded. In general, the company had attracted rather full houses, but for the 9th \"home sweet home\" was preferred; \"the unfavourable state of the weather prevented many ticketholders from putting in an appearance\" (NCH 10.12.1864)\n\nNovember and December 1864\n\nPerformances by the \"Christy Minstrels\".\n\nTh. N.N.\n\nR: Another travelling company that visited the port in these months were the \"Christy Minstrels\" (see also Survey). They too managed reasonably to fill the theatre (it was not stated where the performances took place, but as the Lyceum Theatre was occupied by Lewis, it must have been another location - perhaps the Olympic Theatre). \"No boredom here for by a pleasing variety they prevent that weariness which even the finest display of musical talent must, through frequent repetition, occasion\" (NCH 26.11.1864). In September they had visited Macao (BGM 5.9.1864) and before December 10 they departed for Hong Kong (NCH 10.12.1864).\n\n22.12.1864 (Thur)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nR: It was \"as usual largely attended\" (NCH 24.12.1864).\n\n28.12.1864 (Wedn)\n\nR.B. BROUGH: \"Medea\" (1856)\n\nT: Burlesque (1 act)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    {
        "id": 211856,
        "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": 271,
        "title": "RAS-1989",
        "content_text": "246\n\nKing, F.H.H. and P. Clarke: “A Research Guide to China Coast Newspapers 1822-1911”, Cambridge (Mass), 1965.\n\nKosch, Wilhelm: \"Deutsches Theater Lexikon\", Klagenfurt, 1960.\n\nKounin, I.I.: \"The Diamond Jubilee of the International Settlement of Shanghai\", Shanghai, n.d. (c. 1939).\n\nKunitz, Stanley (Ed.): \"British Authors of the 19th Century\", N.Y., 1936.\n\nLang, H.: “Shanghai considered socially\", Shanghai, 1875.\n\nLanning, G. and S. Couling: \"The History of Shanghai\", Vol. I.; Shanghai, 1921. MacGuire, Paul: \"The Australian Theatre\", Melbourne, 1948.\n\nMacLellan, J.W.: \"The Story of Shanghai from the opening of the port to foreign trade\". Shanghai, 1889.\n\nMakepeace, Walter, Gilbert E. Brooke and R. St. J. Bradwell (Ed): 'One Hundred Years of Singapore\", 2 vols.; London, 1921.\n\nMaybon, Charles B. & J. Fredet: \"Histoire de la Concession Francaise de Changhai'', Paris, 1929.\n\nMaude, Cyril: \"The Haymarket Theatre, Some Records and Reminiscences\" London, 1903. Mullin Donald (Ed.): \"Victorian Actors and Actresses in Review\", Westport, 1983 National Union Catalogue.\n\n1\n\nNicoll, Allardyce: \"A History of English Drama 1660-1900\", 6 vols,; Cambridge 1952ff. Pal, John: \"Shanghai Saga\", London, 1963.\n\nPearsall, Ronald: \"Victorian Popular Music\", Newton Abbot, 1973.\n\n\"The Player's Library. A Catalogue of the Library of the British Drama League”, London, 1950.\n\nPope, W.J. Macqueen: \"Haymarket, Theatre of Perfection\", London, 1948. Reynolds, Ernest: \"Early Victorian Drama (1830-1870), New York, 1965 (reprint of 1936 edition).\n\nRiemann, Hugo: \"Musik Lexikon\", Berlin, 1916 (8th edition).\n\nRowell, George (Ed.): \"Nineteenth Century Plays”, Oxford, 1972.\n\n“Shanghai Alamanac” 1855, 1856, 1858, 1862; Shanghai, 1854ff years.\n\n**Shanghai t'ung yen-chiu tzu-liao (Shanghai Research Materials), Hong Kong 1972 (reprint of 1936 edition).\n\nSmith, C.; \"The Hong Kong Amateur Dramatic Club and its predecessors\" in: \"Journal of the Hong Kong Branch of the R.A.S.\", Vol. 22 (1982), p. 217-251. Thomson, Peter: \"Plays by Dion Boucicault\", Cambridge, 1984.\n\nToll, Robert C.: 'Blacking Up. The Minstrel Show in 19th century America”, New York, 1974.\n\nTroubridge, St. Vincent: \"The Benefit System in the British Theatre”, London, 1967. Wearing, J.P.: \"American and British Theatrical Biography\", London, 1979. White, Walter: \"China Station 1859-1864\", London, 1972.\n\nWilliams, Harold S.: \"Tales of the Foreign Settlements in Japan\", Tokyo, 1972. Wright, Arnold and H.A. Cartwright: \"Twentieth Century Impressions of Hong Kong. Shanghai and other Treaty Ports of China\", London, 1908.\n\nAbbreviations:\n\nNOTES\n\nBGM: Boletim do Governo de Macao.\n\nNCH: North China Herald.\n\nSCR: Shanghai Commercial Record.\n\n1\n\nPerformance 6.5.1852. NCH 8.5.1852.\n\nOnly passing attention has been paid to the early theatre in Shanghai: Lanning & Couling. p. 429-430: MacLennan: p. 85-86.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]