[
    {
        "id": 209598,
        "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": 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",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p",
        "rank": 0
    },
    {
        "id": 212304,
        "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-1990",
        "page_number": 246,
        "title": "RAS-1990",
        "content_text": "223\n\nthe 'Society for the Suppression of the Opium Trade',\n\nA romantic web has been woven around Jardine's, far more than any other western firm in the Far East. This romanticism stretches to fiction, and Taipan and Noble House, both written by James Clavell, are reputed to be based on the 'Princely Hong'. Also a play named Poppy, about the Opium War of 1840, with comic Gilbert and Sullivan style songs, was staged in London in the early 1980s.\n\nAnother better-known song, 'Mad Dogs and Englishmen' written by Noel Coward in 1932, has it that:\n\n\"In Hong Kong They strike a gong\n\nAnd fire a noonday gun\n\nThere is no agreement, however, as to where the Hotchkiss Mark I, three-pound, quick-firing naval gun came from. Some say documents prove that before 1961 it was owned by the Hong Kong Marine Police. Others believe it came from the Royal Navy although Jardine's maintain the Senior Service has no record of the gun.\n\nThe colourful myth that appears in guidebooks is that a penalty was imposed on Jardine Matheson by an irate British admiral because the firm fired a salute to its chief manager as he sailed into the harbour. Another tale has it that the gun was fired to honour the arrival of its opium-carrying fleet. From then on, so both stories go, the Navy compelled Jardine's to fire a gun daily. As A.I. Diamond, previously of the Public Records Office in Hong Kong, wrote:\n\n\"Neither version explains by what authority the Navy could have compelled Jardine Matheson and Company to fire a gun at all let alone daily at noon, presumably in perpetuity.\"\n\nThe true account is quite different. In the British Empire the armed forces used to fire guns at set hours to signify the time. In Hong Kong this practice stopped in 1869 because, by then, many people owned watches, and to save the cost of gunpowder. An extract from the Hong Kong Daily Press, dated January 3, 1870, records:\n\nIt is interesting and just to note that the renewing of the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212414,
        "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-1990",
        "page_number": 356,
        "title": "RAS-1990",
        "content_text": "333\n\ntheatre-going society of pre and post-war London, personified by Noel Coward. Indeed he belonged to that world.\n\nBeaton was an extremely talented man - a man of the theatre (as stage designer); and of films (as artistic designer). He was also an extremely brilliant portrait photographer of celebrities - politicians, film and stage stars, beautiful aristocrats - and a sharp autobiographer.\n\n―\n\nOxford University Press have, indeed, performed a public service in re-printing these two books, products of the propaganda arm of the Allied War effort in World War II. They capture in words and pictures the exotic and heroic backdrop of places and people - the military, of course, but also the peasant men, women and children of the two main theatres of war in the Far East, South East Asia and China. The words of Beaton's travel diaries and pencil sketches provide marginal observations to the photographs which, in most cases, \"speak for themselves\" in usually the direct language of propaganda. (However, it must be admitted that exposures of the manly heroic breasts of the soldiery record as well Beaton's sexual ambivalence, which doubtless lies at the heart of his creative genius).\n\nIt is interesting to note that at the time, in 1942, when these War Correspondent's despatches were being executed, Beaton was anguishing over the artistic dilemma of whether to carry out the assignment, principally as a photographer war-artist, or whether to pursue his more artistic endeavours.\n\nIn conclusion, it is perhaps unfair to Oxford, when they have done a very good job with an introduction by the Keeper of Photographs at the Imperial War Museum, London, illuminating the context of these now exceptional picture archives of the war - for this reviewer to feel a slight pang of disappointment with the reprints when compared with the originals. There the typography, design and format provide an additional dimension of insight into the ethos of that dramatic period of history.\n\nALAN BIRCH\n\nNancy Tapper, Bartered Brides: Politics, Gender and Marriage in an Afghan Tribal Society Cambridge, Cambridge University Press, 1991, xx + 309pp. Bibliography, Index.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    }
]