[
    {
        "id": 211808,
        "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": 223,
        "title": "RAS-1989",
        "content_text": "198\n\nT: Farce (1 act) C: Amateurs\n\nF: Music\n\nTh: D\n\nR: This was the last theatrical entertainment organised by Horatio BUSKIN and he could look back on a successful \"career\" as manager. Only the music had flagged of late (tonight \"a buzz in a box near the proscenium represented the music — we were ten feet away from it and it was therefore lost upon us\" the days of \"Sir George Smart and Messrs Thalberg\" and \"Koenig\" were over).\n\n—\n\nTo make up for these shortcomings \"Mr. CLAY as Honeybun (in the Infanticidal Farce) was, as he always is, first rate\". In Slasher and Crasher the public witnessed the debut of \"Miss Polly DEXTER as Rosa, affording hope of a new evening star of the first magnitude\" (NCH 23.2.1856).\n\n14.8.1856 (Thur)\n\nN.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery\n\nT: Negro farce\n\nC: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C)\n\nN: The whole evening was announced as a \"Grand Ethiopian Musical Soirée\"\n\nR: An advertisement only was published in the NCH of August 9. In it the above mentioned gentlemen (formerly of the New York Serenaders) praised their performances as having been \"the theme of universal admiration during the past four years throughout the East Indies as well as the Australian Colonies\". In addition to the farce, the programme consisted of \"Negro songs, interspersed with willy saying and doings peculiar to the African race in America\".\n\n19.9.1856 (Fri)\n\nConcert by Ali Ben Sou Alle and some local amateurs.\n\nInstruments: Turkophone, \"Turkophonini\", clarinet, piano.\n\nProgramme:\n\nG. ROSSINI: Two overtures. V. BELLINI: Selections from \"La Sonnambula\". F. MENDELSSOHN-BARTHOLDY: \"The Fairest Flower\" (song). Some German songs, The \"Shanghai Redowa Walse\", Medley of English, Scottish and Irish airs. Th: N.N. (C)\n\nR: Tonight was the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra Comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned to play some instruments that had been invented by Adolphe Sax, the Belgian musician (1814-1894) and thereafter he made an extensive tour to Australia, Java, Singapore, Manila and China (CM 16, 10, 1856). In Hong Kong and even Canton he had appeared in August and October 1856 (CM 7.8. 14.8. 21.8. 16.10.1856). In between he gave two recitals in the Yangtze port. In the Survey it has already been stated that the soloist entertained the public with performances on several instruments that had been rechristened Turkophone and Turkophonini: in reality they were the Saxophone and (probably) the soprano saxophone. Well may we ask how these instruments, which were only of recent origin (1840s), were received by an audience completely unused to their sound. The artist interpreted a selection from Bellini's \"La Sonnambula\" on the \"Turkophone\" and the critic wrote that \"the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211810,
        "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": 225,
        "title": "RAS-1989",
        "content_text": "200\n\nrash decision to marry the first that came\". Another actor who was to become a local Roscius. Mr. Phunago BRUSHWOOD, \"gave the somewhat unusual stage character of a double-faced farmer (Wurzel) all the selfish cunning and irritable tone which it needed\". Other parts were taken by Miss Polly DEXTER, Mr. HEAVISWELL, Mr. Jehoshaphat SNAKES and Mr. PLEADWELL (as the lawyer!).\n\nIn Box and Cox Messrs PROTEUS, BRUSHWOOD and Mrs. CLAY \"kept the audience in a roar\" (NCH 22.2.1857).\n\n3.3.1857 (Tue)\n\nDramatic readings from Charles Dickens by Mr. Benjamin SEARE. Th: C\n\n―\n\nR: In the Herald of February 28 it was announced that \"we are apprized by 'Circular' that an entertainment of a novel character in Shanghai, but one which has greatly attracted the fashionable and literary world elsewhere, will be given by Mr. Scare in the Hall of the Shanghai Theatre on Tuesday Evening next the 3rd prox. The subject - The Early Writings of Charles Dickens is a theme affording scope for great versatility of talent. (...) The Community are much indebted to Mr. Scare for his gratuitous offer of an evening's intellectual amusement to diversify and enliven the monotony of Shanghai life. The Circular notifies that the divertissement will commence at half past 8 & precisely, that no personal invitations will be issued and that a syllabus of the Lecture will be placed in each seat for the use and acceptance of its occupant”. Then, in the issue of March 7, a report was published: \"A large and select circle of residents had met in the New Theatre\". It became a kind of one man show by Mr. Seare, as the \"requirements of versatility and mimic power were most successfully supplied. (...) The lecturer was perfectly at home in each and all of the various characters as they turned up, passed from one to another with an ease that was admirable and portrayed each with a force of comic power which elicited much applause, and, to select the most appropriate compliment we can bestow, did justice to the author. All in all the audience was \"kept in a roar”. Mr. Seare concluded with some general remarks on the necessity of some recreation of this kind in a community so distant from home and so isolated and comprising at the same time so much intelligence and ability\" (NCH 7.3.1857). One wonders how Mr. Seare was able to give these lectures free of charge; had he been a touring artist that would of course have been impossible. But as it turns out he was a mercantile assistant in the employment of Gilman & Co (this according to the Shanghai Almanac for 1858). In May 1865 he gave another performance (see 27.5.1865). No further details are available about the programme, but no doubt the characters from The Pickwick Papers figured largely in it. Who, after all, can resist Mr. Pickwick, Mr. Jingle and Sam Weller? Dickens himself began readings from his own works one year later, in April 1858, in Britain and the United States.\n\n26.3.1857 (Thur)\n\nJ.B. BUCKSTONE: \"A Kiss in the Dark\" (1840)\n\nT: Farce (1 act)\n\nM.B.W. JERROLD: \"Cool as a Cucumber\" (1851)\n\nT: Farce (1 act)\n\nH. DANVERS: \"A Conjugal Lesson\" (1856)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: N.N. (CH\n\nR: In a witty mind \"The Man on the Bund\" informed us that \"by way of introduction there was a kiss — and in the dark too! — perhaps the sweetest kiss of all, administered with enviable gusto by Mr. SNAKES as Fathom. Mrs. Pettibone submitted to it with less indignation than the fact of her being so much respected led us to suppose. But then, it was to punish the odiously jealous Mr. Pettibone who would insist on making\n\nPage 225\n\nPage 226",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]