[
    {
        "id": 211772,
        "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": 187,
        "title": "RAS-1989",
        "content_text": "162\n\n* 12\n\nactors On the occasion of a performance of Buckingham's Take that Girl Away and Selby's A Fearful Tragedy in the Seven Dials, on February 15 1860 it was observed that \"the weak point of our Amateurs has been the selection of their pieces\".1 From time to time this argument crops up; but, as with all opinions about the theatre, it was a matter of taste. A regular writer for the Herald, \"The Man on the Bund\", had the audacity to react adversely to the choice of Tom Taylor's Still Waters Run Deep, performed on April 23 1857, which he thought \"one of those incongruous mixtures of French novel morality and English domestic life as offensive and preposterous as ludicrous\". In a letter to the Editor \"Another Man on the Bund\" (!) was furious about this attitude: \"Are we to take the opinion of this would be critic, this damp orator, in preference to the unanimous opinion of the rest of the community? What meant those thunders of applause repeated again and again in a manner that has never been heard in Shanghai. (...) My own and the general opinion is that the 'Man on the Bund' at the time of writing was (...) labouring under a severe attack of bile (...) (see also Calendar, 23.4.1857).\n\n14\n\nIn quite a different vein, writing about Colman's Heir at Law (1797) and Townley's High Life below Stairs (1759) the chronicler “would recommend our Amateurs to expunge from their plays all profane oaths and ambiguous phrases. In the time they were written too many of them were in keeping with the language and manners of the day, but nowadays no Gentleman would sully his breath with such irreverent epithets; they neither add wit or point to the dialogue and grate harshly on all refined ears especially in the presence of ladies\".2 Of course no examples were given.\n\nWhen it came to the professional, travelling, companies a generally favourable attitude was maintained. \"Standards of excellence\" were kept up by Lewis' Australian Drama Company;3 and, discussing the 1865 performances, another critic thought that \"where so much talent is shown it is almost invidious to single out any one actor or actress in preference to the rest\".\n\n18\n\nIn the musical field the efforts of the amateurs, although they were less numerous than in dramatics, were also duly appreciated. About a concert in aid of the Lancashire Relief Fund, given on April 17 1863, the Herald thought \"it was pleasing to see the gentlemen (...) entertain con amore their less gifted fellow residents with a charming chamber",
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    {
        "id": 211778,
        "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": 193,
        "title": "RAS-1989",
        "content_text": "168\n\nso called Christy's Minstrels --- a famous group in the United States, yet it may be doubted severely whether it was the same one that visited Shanghai.\n\nEight years later, the first company to come down to Shanghai from Hong Kong, where they had also been playing, was the one led by a Mr. C.R. Faylor. On February 10 1864 Lytton's The Lady of Lyons was on the bill as the opening piece, but the Herald thought it a failure in consequence of \"that portion of the company which had been collected in Shanghai and pressed into service\". How this is to be understood is not quite clear. Did Faylor's company consist of only a few actors, who were to be supplemented by local worthies? But then, who else could they be but amateurs, the darlings of the foreign community? However this may be, on May 9 at an evening in which also the \"Royal Shanghai Ballet d'Action\" [so far for fancy names!] participated, the \"celebrated comedy Nature and Philosophy or Eighteen Years Labour Lost” was given. As members of the company were mentioned Mr. and Mrs. C.R. Faylor, Mr. and Mrs. E. Yeamans and Major Pegus. Amateurs almost always adopted stage names in order to hide their real identity, but with professional actors it may be assumed these names were real.\n\n45\n\nA more substantial contribution to the amusement of the Shanghai public was made by Lewis' Dramatic Company. It was of Australian origin and the \"musical director and manager\" was Charles Edouin. Other members of the group were Tilly Earl, Mrs. Gill, Lizzie Naylor, Jenny Nye, T. Andrews, Henry Birch, J.B. Creswick, W.B. Gill and nearly the whole Edouin (or, rather, Bryer) family: Julia, Rose, John and Willie. Rose (1844-1925) married G.B. Lewis and became later an actress at, among others, the Maidan Theatre in Calcutta. Her brother Willie (1846-1908; his real name was John Edward Bryer) first appeared in public when he was six; after the tour to Australia, India, China and Japan he played in Melbourne, California, New York and London.46 In 1862 the \"Lewis' Equestrian Australian Troupe\" had visited the port with \"six of the best horses ever landed in China**,** but in 1864 the company had turned to drama and from October 6 until their departure in December an eight week season provided an unprecedented shower of farces, burlesques and even some quality pieces like Sheridan's The Rivals and the prison scene from Shakespeare's King John (Act IV, sc. 1), in which the role of prince Arthur was played by an actress, Julia Edouin, who took \"the house by storm\".48 The success of the company was apparently so great that they returned in March of the following\n\n47",
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    {
        "id": 211831,
        "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": 246,
        "title": "RAS-1989",
        "content_text": "221\n\nPark Lanc?). The names of the actors mentioned in the advertisement must have been assumed ones.\n\nJune and July 1864\n\nConcerts by the Rhenish Band and the Band of the 67th Regiment.\n\nLoc.: The Bund\n\nR: NCH 28.5.1864, 2.7.1864\n\n2-9.1864\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp\"\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (l)\n\nR: That the hope expressed in the Herald of 2.7. was not forlorn was proved by the full house for Aladdin in which \"numerous local hits and puns are introduced which took admirably, especially a parody pidgin English on the 'lost child' (see Survey). The dresses were excellent and the scenery well arranged\" (NCH 1.10.1864).\n\n24.9.-30.9.1864\n\nDuring the week a concert was given by Mr. Desvachez (violin) and two amateurs, TH NM.\n\nR: Another adventurous musician had come to enliven the Settlement's cultural scene. Mr. DESVACHEZ. His concert was \"fairly successful, but people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument may be handled. Some variety is required and although Mr. DESVACHEZ was assisted by an amateur on the violincello and a pianist this desideratum was hardly attained\". (NCH 1.10.1864).\n\n6.10.1864\n\nOpening night of Lewis Australian Drama Company.\n\nNo titles of plays recorded.\n\nTh: NẠN. (I\n\nR: The first night of an eight-week season by Lewis' Australian Drama Co. (see also Survey). In the Herald, no detailed reviews appeared, only short summaries. The opening pieces have not even been recorded (NCH 8.10.1864).\n\n8.10.-14.10.1864\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nA.G. HARRIS: \"The Rose of Castille\" (1857)\n\nT: Opera (music by M.W. BALFE)\n\nJ.R. PLANCHE: \"Paint Heart Never Won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (l)\n\nR: It was reported that the company attracted \"olerably full houses\". Of the plays, Byron's The Maid and the Magpie was \"infinitely preferred; in it every actor is well up to his part and personates the character he represents with ludicrous fidelity\". (NCH 15.10.1864).\n\n£5, 10, 1864 (Sat)\n\nPerformance by the Portuguese Amateur Dramatic Corps.\n\nNo titles of plays mentioned.\n\nR: In their own theatre, the Portuguese actors were as usual well up in their parts and",
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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",
        "series_use_hku_proxy": false,
        "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": 211836,
        "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": 251,
        "title": "RAS-1989",
        "content_text": "226\n\nappearance. The music selected afforded great satisfaction to the audience and was really very well performed. The violin solos by a gentleman Amateur of the place were most deservedly encored. Indeed we fancy few home concerts could show anything of the same sort much better. Amateur concerts we are sure rarely could\".\n\n23.2.1865 (Thur)\n\nConcert by Signor Enrico Grossi, assisted by Messrs Desvachez and Terry, and the Rhenish Band.\n\nTh: Astor House Hotel\n\nR: All professional artists performed without any government subsidies so they had every reason to look forward to as large an audience as possible. Signor GROSSI evidently was a freemason for the Commercial Record reported that \"his masonic relations produced for him a full house\" (SCR 8.3.1865). Freemasonry, which had been introduced in Shanghai in 1849, was rather widespread among the (male) foreign residents and the brethren who had turned up rewarded Sr GROSSI's \"efforts to please by frequent bursts of applause\" (NCH 25.2.1865). No details of the programme were given.\n\n14.3.1865 (Tue)\n\nConcert in aid of the Shanghai Volunteer Club fund.\n\nTh: Shanghai Club\n\nR: RCH 18.3.1865\n\n21.3.1865 (Tue)\n\nJ. COURTNEY: \"Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.M. MORTON: \"To Paris and back for $5\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nN: First performance of the season\n\nR: Not unexpectedly the Herald thought it \"needless to descant here upon the merits and talents of the Company\" (NCH 25.3.1865). The same pieces had been given on May 15, 1860.\n\n23.3.1865 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nJ.R. PLANCHE: \"The Invisible Prince\" (1846)\n\nT: Extravaganza (1 act)\n\nC: Lewis' Australian Drama Company\n\nTh: Lyceum Theatre\n\nR: Lewis' Australian Drama Company had come back to Shanghai in early March (NCH 11.3.1865) for a second season of farce and comedy, but owing to difficulties in reaching an agreement with the Lyceum Theatre about the rent that was to be paid, the first night took place only on March 23 (NCH 18.3.1865). For the members of the Company see Survey; most of them appeared on the first night in The Serious Family. According to the Commercial Record (25.3.1865) \"the acting was very equal throughout and the admirable manner in which the different actors and actresses assisted one another contributed largely to their success\" - which seems to be a rather meaningless comment. The Invisible Prince, too, was put on the stage effectively and the mise en scene was very good.\n\n27.3.1865 (Mon)\n\nW.B. GILL: \"Which is Which?\"\n\nT: Farce\n\nL...",
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