[
    {
        "id": 211787,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 202,
        "title": "RAS-1989",
        "content_text": "177\n\n'Tis not in mortals to command success\n\n89\n\nAnd that the actors had in general nothing to fear from the public has already been shown and is testified once more by a contemporary: \"The scenery was rude, the action imperfect, but a good-natured audience showed that charity which covers a multitude of sins and seldom failed to enjoy themselves\".\n\nV. The Theatres\n\n90\n\nThe localities in which all performances took place were adorned with high-sounding names like the Theatre Royal, the New Theatre Royal, the Olympic Theatre or the Lyceum Theatre. And though it is evident that in this way it was hoped to conjure up visions of their namesakes in the British capital, realities were quite different. It was only in 1867 that a theatre worthy of the name was opened in Shanghai; it was called the Lyceum Theatre, like its predecessor. But that was, as all the ones that went before, a mere refitted and redecorated warehouse, or, to use the local term, godown. Nevertheless, it is worthwhile to trace the vicissitudes of these \"Thespian Temples\".\n\nAs was the case with the theatrical companies that were formed anew every season, the \"pretty little theatres\" too had to be rented each year. This did not mean, however, that the buildings changed all the time; on more than one occasion the same godown was used for several seasons. Yet it is difficult to get a clear picture because the information given in the local paper is often very scanty with respect to addresses; in fact, in only one instance has a road been named, so one has to rely on other sources in order to establish the location of the theatres.\n\nA.\n\nSeasons 1850-1851 and 1851-1852: The Theatre Royal or New Theatre Royal (both names were used). No address can be fixed. For the opening performance of the season 1851-1852, on January 26, 1852, the theatre had been \"tastefully refitted and decorated; a very pretty drop scene of the Port of Leghorn added\". The painters were active this season, for on the evening of March 24 \"a new drop scene of the Bay of Naples adorned the proscenium\". The previous one had been \"transferred to decorate the walls of the theatre\". Furthermore, it was contemplated to \"paint a series of Italian scenery and in due time the whole theatre will...",
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    {
        "id": 211792,
        "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": 207,
        "title": "RAS-1989",
        "content_text": "182\n\n500 or 600 p.a.), without any prospect of being able to use it the subsequent season. Apparently it was also the custom to sell all the scenery, etc., at the end of the season and this too could only be done at a heavy loss (for 1865 it had cost Tls. 2,400 and fetched but Tls. 200).109 In order to investigate the feasibility of a permanent, i.e., stone, theatre, a provisional committee was appointed in September 1866.10 The chances of realising the object in view did not seem very rosy though. At a meeting of the committee held on November 10, 1866, it was decided that the \"circulation of a subscription list towards a permanent theatre should be deferred for the present\" and instead guarantors for the construction of a temporary theatre (i.e., one of wood, which was much cheaper) should be sought.11 In this they were successful and on November 16, it was announced at a meeting that Tls. 3,500 had been subscribed. This, however, was not deemed sufficient to cover all the expenses and an amended motion was adopted stating that instead of fitting up a godown, a temporary theatre, on the plans submitted to the meeting, be built and fitted up, provided a sum of Tls. 6,000 be guaranteed within a week\".12 And despite the rather severe limitations under which a number of merchants had to operate due to the collapse of the building boom - an adjourned meeting was informed on November 22 that this sum had indeed been guaranteed.\"\n\nThe new theatre would be built in wood and was designed by a local architect, Mr. William Kidner; originally it would contain 700 seats, but this was considered too much, 500 or 600 being enough. The firm of Dent & Co. showed itself willing to provide a plot of land for the sum of Tls. 250 annually and the cost of the theatre itself was estimated at Tls. 3,900. Some months later, on March 1, 1867, the wooden Lyceum Theatre opened on Yuanmingyuan Road* (later, Museum Road), with Morton's Whitebait at Greenwich and Faust and Marguerite (author not mentioned: F.C. Burnand?, T.W. Robertson?, J. Halford?).\n\nOne may well ask why the foreign residents had not found the courage and the money to erect a really “lasting structure\" for, naturally, wooden buildings were prone to fire and it should come as no surprise that the \"temporary'' theatre proved to be very temporary indeed, for on March 2, 1871, it burned down. Once again a substantial sum of money had been wasted on what turned out to be an ill-advised scheme. Sadder and wiser, it was finally decided in 1872 to construct a brick theatre on an adjacent site on Museum Road, stage entrance on Yuanmingyuan Road. On\n\n*This is the theatre marked \"b\" at Appendix III.",
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    },
    {
        "id": 211793,
        "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": 208,
        "title": "RAS-1989",
        "content_text": "183\n\nJanuary 27 1874 William Suter's Incompatibility of Temper and Tom Taylor's Masks and Faces or Before and Behind the Curtain opened the season in the New Lyceum Theatre. This one lasted much longer than its predecessor, indeed, until 1929 when it was sold to be resuscitated in the French Concession in 1931.\n\n——\n\nBut to return to pre-1867 conditions, some final notes should be added. Shanghai saw its first tentative steps in lighting its streets with gas in 1865 which was no luxury as the state of the roads was often rather dubious. Lighting in the theatre therefore, both the auditorium and the stage, was by means of either candles or oil lamps, the danger and inadequacies of which require no further comment.\n\n—\n\nRegulation of the climate in the hall was also difficult. Temperatures in Shanghai can be as low as 12°C in January and as high as 40°C in June-August. In order not to deter the audience, heating had to be provided in winter, which was duly advertised: \"Thoroughly warmed with splendid stoves\", whereas in summer which was certainly in the early years an unusual time for entertainment - one could read that \"to obviate the excessive heat of a crowded house, the Company beg to state that they have had two large Punkahs hung and have otherwise improved the ventilation\" (a punkah was a large rectangular fan suspended from the ceiling and moved by servants).\n\nPerformances started generally at 8 o'clock or 8.30 (even 9) (1864-1865) and entry prices were $3 for the best seats and $2 for the other ones (back seats and gallery) (The Mexican dollar, one of the currencies used in Shanghai, fluctuated in value, but may be said to have been worth about 4/6 during these years — so no \"shilling gallery\" here).\n\nIn addition to the godown theatres there were a number of other localities where artistic entertainment occurred in 1865. On February 23 1865 a concert was given at the Astor House Hotel. This hotel had been founded by an American, D.C. Jansen, in 1860 and it was situated in a part of the Settlement known as Hongkew (or American Settlement), north of the Soochow Creek, near the bridge. It was destined to become one of the most famous hotels in Shanghai and it was rebuilt several times. But in 1865 it was still a low construction. Other concerts, on October 17 1864, February 15 and March 1865, were given at the Shanghai Club, a redoubtable pillar of society located at the southern end of the Bund where it was opened in 1864. It was built in a neoclassical",
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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",
        "series_use_hku_proxy": false,
        "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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    },
    {
        "id": 211838,
        "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": 253,
        "title": "RAS-1989",
        "content_text": "228\n\nTh: Lyceum Theatre (1)\n\nN: Rose Edouin's benefit\n\nR: SCR 22.4.1865; no review.\n\n1.4.1865 (Tue)\n\nJ.B. BUCKSTONE: \"A Dead Shot\" (1827) T: Farce (1 act)\n\nJ. KENNEDY: \"Sweethearts and Wives\" (1823)\n\nT: Comedy (2 acts)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. T. Andrews' benefit\n\nR: SCR 22.4.1865; no review.\n\n13.4.1865 (Thur)\n\nJ.B. BUCKSTONE: \"The Rough Diamond\" (1847) T: Farce (1 act)\n\nH.J. BYRON: \"The Bride of Abydos\" (1858)\n\nT: Burlesque extravaganza (1 act)\n\nJ. OXENFORD: \"I couldn't Help It\" (1862)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Julia Edouin's benefit\n\nR: SCR 22.4.1865: no review.\n\n15.4.1865 (Sat)\n\nH.J. BYRON: \"The Maid and the Magpie\" (1858)\n\nT: Burlesque burletta (1 act)\n\nThe Daughter of the Regiment\n\nNumerous pieces with this title are mentioned in HED; possibly by E. FITZBALL (1843; new version in operatic style (1847)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Tilly Earl's benefit\n\nR: SCR 22.4.1865; no review.\n\n17.4.1865 (Mon)\n\nH.J. BYRON: \"The Babes in the Wood\" (1859)\n\nT: Burlesque (1 act)\n\n\"Aurora Floyd\". For possible authors see 26.11.1864,\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Lizzie Naylor's benefit\n\nR: About \"Aurora Floyd\"\n\nthe Record was very satisfied and it thought that it exhibited the Company to the best advantages. CRESWICK as Hargreaves acted one of the most repulsive characters ever put on the stage with consummate tact. Aurora allowed ROSE EDOUIN to be seen to advantage; and in one or two scenes her acting rose to a high point of dramatic effect. Mr. GILL as Grub was capital and was assisted excellently by Miss NAYLOR who as Mary sustained one of her best characters. This lady acts such pieces with a spirit and ease seldom seen and reminds us strongly of Miss Saunders\" (SCR 5.5.1865). The reference to Miss Saunders may have been to Ann Mathew Saunders, died 1891; or Charlotte Saunders, d. 1899.",
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    },
    {
        "id": 211842,
        "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": 257,
        "title": "RAS-1989",
        "content_text": "232\n\nnot heard before and of which the best that can be said is that they are decidedly original. They seemed an imitation of the noise of braying of donkeys, but still they elicited great applause from the gallery [which was generally not regarded as very complimentary JH] perhaps from a certain feeling of sympathy. An amateur played Weber's \"Aufforderung zum Tanz\" with a \"perfect feeling\". To conclude the evening Mme SIMONSEN sung the \"Valse de concert\" (composer unmentioned) in which \"she displayed her powers more than in any other piece she has sung\" (SCR 22.5.1865).\n\n24.5.1865 (Wedn)\n\nH. MAYHEW: \"The Wandering Minstrel“ (1834)\n\nT: Farce (1 act)\n\nJ.P. PLANCHE: \"The Knights of the Round Table” (1854)\n\nT: Drama (5 acts)\n\nC: Amateurs of the Shanghai Mounted Rangers\n\nF: Music by the Band of the 67th Regiment; prologue read by Capt. Markham\n\nTh: Lyceum Theatre (1)\n\n―\n\nR: In lieu of the old time favourites, Messrs Brushwood, Pickwick, Newcome and Mrs. Nesbit had come new faces. Most foreigners had not yet made Shanghai their permanent place of residence, so turnover in the theatre too was rather high. Tonight could be admired Mr. SMALLWEED who, in the Knights of the Round Table, as \"the blameless king shewed a keen appreciation of his part and while he delivered the burlesque passages with much humour, proved by the taste with which he pronounced the prophetic eulogium on the Queen of England that he need not necessarily confine himself to broad burlesque in order to gain well-merited applause\"; Mr. Edmund (also a member of the Amateur Burlesque Company) won golden opinions as Launcelot, whereas Mr. PEEKT as Merlin \"displayed much cleverness in personating feeble old men\". In The Wandering Minstrel \"Mr. R.T. Larff, better known to the theatrical world as Mr. Wynnge (did this mean that he had two stage names? JH) sustained the reputation he has already gained as a low comedian and makes us the less deplore the absence of the well known and inimitable Brushwood” (last recorded performance 10.5.1860). Of course the female roles were taken by men, which led, as it always does, to some ridiculous scenes: \"The company possesses great strength in the important particular of lady performers. The only drawback which, however, is immaterial in burlesque, lies in the great height and muscular development of the fair ones\". Yet Miss Mary MIDDLESEX \"bore away the palm for natural feminine get-up\" and \"nothing could excel the dash which Kate COVENTRY threw into the part of the vivandière\", (NCH 27.5.1865). That not all patrons were equally pleased became evident from the Shanghai Commercial Record (5.6.1865) when it wrote: \"an allusion which was considered too personal led to a corresponding in our columns\" (i.e. the \"Shanghai Recorder\" which to the great regret of all historians treating the history of foreign Shanghai can no longer be found). At the end of the evening a number of toasts were proposed, among others to \"Alabaster, to whose exertions much of the success of the company was due\". This was a reference to Chaloner Alabaster (1831-1890), the British vice-consul who was also active in the North China Branch of the Royal Asiatic Society. In conclusion the Herald reported that \"the arrangements were excellent and notwithstanding the warmth of the evening and the crowded state of the theatre, the air within the walls did not become oppressively hot. Punkahs were slung over the front seats and during the temporary pauses kept up a current of air\",\n\n27.5.1865 (Sat)\n\nPerformance by Mr. Benjamin Seare. Programme unknown (reading, etc)\n\nTh: Lyceum Theatre (1)\n\nR: Both the Herald and the Record agreed that Mr. SEARE \"is possessed of great talent\"",
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    },
    {
        "id": 211844,
        "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": 259,
        "title": "RAS-1989",
        "content_text": "234\n\nin 1846 and kept by the London Missionary Society. (NCH 25.11.1865; SCR 24.11.1865).\n\n14.12.1865 (Thur)\n\nJ.M. MORTON: \"Woodcock's Little Game” (1864)\n\nT: Farce (1 act)\n\nJ.P. PLANCHE: \"Faint Heart never won Fair Lady\" (1839)\n\nT: Comedy (1 act)\n\nC. SELBY: \"The Boots at the Swan\" (1842)\n\nT: Comedy (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nF: Prologue spoken by Edward Lawrance and Mr. Groom\n\nTh: Lyceum Theatre (1)\n\nN: First performance of the season by the S.V.C.\n\nR: Again only stage names were used in the review.\n\nIn Morton's piece, Woodcock's Little Game, Woodcock was played by Mr. DOLEFUL who had \"evidently elaborated the part with great care.\" His only drawback was \"a certain monotony in gesture\". Another central character was Mrs. Colonel Carver, \"inimitably performed by Mrs. St. CHAWLES. The majestic lady's make-up was characteristic and costly and many of her attitudes and tones reminded us of Miss Snowdon [Mary Jane Chippendale, 1837-1888; but she made her debut only in 1863 JH] whose imposing personation of similar female parts has assisted so many Haymarket triumphs\". Exceptionally some slight attention was also paid to the staging when the critic wrote about the second scene that the \"occasional glimpses of the whirling waltzers and partners-seeking promenaders were skilfully managed\". In Faint Heart never won Fair Lady Mr. DOLEFUL again took a leading part, that of Ruy Gomez. However, the Herald was not inclined to accept this gentleman's reading of the character without some exception, as a greater prominence might have been given to the comic element. Lightness, vivacity and élan are indispensable in all characters written, as this one was, for Charles Mathews. However, as he had appeared in a humorous part before, Mr. DOLEFUL was perhaps anxious to show his versatility\". Travesty abounded: \"The most difficult part was essayed by Miss SOFTLY [as Charles, the King of Spain, a role cast for an actress JH]. For a man to play a lady's part is hard, for a lady to play a man's part is not easy, but for a man to play a man's part as a lady would play it is hardest of all. Charles II, the mischievous, frolicsome schoolboy at large, newly awaking to a sense of royal responsibility, has been a favourite part with some of our cleverest and prettiest actresses and Miss SOFTLY held her own when compared with these formidable competitors\"\n\nAbout the Boots at the Swan the reporter confessed that \"we are inclined to think this piece has been acted enough\" (but hardly in Shanghai where it was on the boards for the first time). \"The elaborate mimicry of the inimitable ROBSON made the deaf Boots as popular with the London public as Sam Weller had been before him, but a peculiar talent alone can render Jacob Earwig interesting to an audience ten thousand miles away from the little theatre in Wych Street* (i.e. the Olympic Theatre in London). (Henry Morley wrote about Robson in this part, 1857: \"Mr. Robson, although deaf, is humorously wide awake. He is the Boots who is brisk and alive to all the humour of the street, who would be preternaturally knowing if he could but hear what people say. In word and look and action he is more the gamin than the simpleton. The extravagance of a most laughable farce is heightened by him to the utmost and there is not a long face to be seen while he is busy on the stage\"\n\n***\n\n136)\n\nBut, to continue with the Herald: \"FUNNYDOG, the new low comedian, is a valuable accession to the company. His stable yard dress, wooden attitude and imperturbable face formed a perfect study for Leech and Cruikshank, and the finish with which he played the long, and we confess to us tiresome, drunken scene shows",
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