[ { "id": 204241, "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-1961", "page_number": 9, "title": "RAS-1961", "content_text": "Vol. 1 (1961)\n\nISSN 1991-7295\n\nJournal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\n6\n\nyear we had 182 of whom 20 were life members and who included several eminent scholars from overseas. But as Sir Robert Black said in his address last month, \"there must be many times 200 people in Hong Kong who are interested both in the cultural life and history of this part of the world which has great riches to offer to anybody interested in research or in studying and enquiring about the inheritance which we all enjoy who live here.\" While we can feel pride in having in our present membership a substantial nucleus not only of scholars but of members generally representative of the cosmopolitan community of the Colony who are keen and enthusiastic, we need more members and hope to appeal to a wider public. As this is a Royal Society, membership is not a matter of form only, and we do not go out into the highways and byways to recruit members, but we feel that the Society can enlarge its activities and membership if the present members will help by bringing within the fold those of their friends and acquaintances who are interested in its activities. There seems to be no reason why in time the membership should not equal that of the Shanghai Branch, which before the war was about 800.\n\nDuring the year the Society has held eight meetings at which addresses have been given, all of them by persons of outstanding eminence in their respective spheres. Most of them were very well attended. Good lecturers are a gift from heaven but so far we have been truly blessed.\n\nWe were particularly fortunate in starting the year with two outstanding meetings. For an opening meeting we had an intensely interesting talk by Prince Peter of Greece and Denmark on \"The Social and Economic Organisation of Tibet\", illustrated by a coloured film taken over a period of seven years during his exploration of Central Asia. The formal inaugural address was given by Professor F. S. Drake of the University of Hong Kong on \"The Study of Asia: a Heritage and a Task.\" It was a memorable address which gave the stamp of learning and authority on the Society's efforts and the text of which is printed in this volume.\n\nOf no less interest and merit were the addresses following:\n\nby the\n\nProfessor John K. Fairbank on \"Chinese Studies in the United States\",\n\nMr. A. C. Scott on \"The Chinese Theatre\" illustrated by Chinese actors in costumes and makeup,\n\nMr. G. B. Downer of the University of London on \"The Yao People of Laos.\"\n\nIn the summer months we followed the advice of the first President of the original Hong Kong Branch, Sir John Davis,", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204601, "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-1963", "page_number": 82, "title": "RAS-1963", "content_text": "BRITISH LEGATION AT PEKING\n\n71\n\n1866 the student-interpreters put on an amateur theatrical performance, consisting of Our Wife, and To Paris and back on £5. The female parts were all taken by the students, and it was voted a great success. The faces of the Chinese servants, watching from the back of the hall, gave Mitford a lot of quiet amusement. The next summer he was staying in a temple which he calls Ta Chio Ssu or \"Temple of Great Repose\", about twenty-three miles from Peking, having moved there with all his furniture together with chickens and a cow and its calf. But even there he could not entirely escape the despatches. \"Copying despatches with the thermometer at 100° in the shade, with a basin of water and a towel at one's side for very necessary hand-wiping, and a pad of blotting-paper over the blank part of one's paper, is indeed an affreux métier.\" The climate took its toll, and Mitford mentions two of his young companions who died of fever.\n\nMitford left Peking for Japan in 1866. In the same year Major Crossman of the Royal Engineers was sent out from England by the Government to inspect the British Legation and Consular Buildings in China and Japan. From one of his reports, written at Shanghai in July 1867, we can glean some more information about the early development of the Legation at Peking. For instance he gave a hint as to the origin of the Legation Chapel when he wrote: \"There is a large house opposite to the Chinese secretaries' quarters, used partly as a theatre and partly as a lumber-room, well and solidly built, which can be converted into a good church by the addition of an external porch, removing the flooring of the upper storey so as to throw it open to the roof, and by the addition of some wood work and ornament, to give it a somewhat ecclesiastical appearance.\" He also mentioned that the number of student-interpreters was shortly to be increased to thirteen.\n\nMeanwhile Sir Frederick Bruce had been succeeded by Sir Rutherford Alcock at the end of 1865, while Sir Thomas Wade was promoted to be Minister in 1871, a post which he held for the next twelve years. In 1883 he was succeeded by another ‘old\n\n14 Parliamentary Papers, \"Reports from Major Crossman and Correspondence respecting the Legation and Consular Buildings in China and Japan\", 315 of 1868, No. 7, p. 22.\n\n!\n\n1", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 205235, "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-1966", "page_number": 191, "title": "RAS-1966", "content_text": "185\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D.\n\nSELLETT, G.*\n\nSHAW-KENNEDY, Miss Anne\n\nSHEKURY, Miss E. SHEPHARD, A. J. SHING, D.-\n\nSHU, Dr. H. T. - SHUI, Chien tung\n\nSIEGEL, H. W.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSOONG, N.\n\n-\n\nJ\n\n+\n\n-\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, USA.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o Dept. of Commerce & Industry, Fire Brigade Building, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\nRoom 812 Hilton Hotel, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nTsing Hua College, 263 Prince Edward Road, Kowloon.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nc/o Royal Bank of Canada, 20 King Street, West, Toronto, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Queen Elizabeth Hospital, Kowloon.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nAsia Magazine, 31 Queen's Road, Central, H.K.\n\n2. Queen's Road, Central, H.K.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F.\n\nSTANTON, W. T.*\n\nSTEWART, Miss Elizabeth H.\n\nSTEWART, Miss E. M.\n\nSTOKES, J.\n\nSTONEY, G. S.\n\nSTONEY, Mrs. G. S.\n\n+\n\nDina House, Duddell Street, H.K.\n\nDiocesan Girls' School, Jordan Road, Kowloon,\n\nc/o The Housing Manager, Hong Kong Housing Authority, Ma Tau Wei Estate, Kowloon.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\nAs above.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811", "rank": 0 }, { "id": 205447, "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-1967", "page_number": 209, "title": "RAS-1967", "content_text": "202\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, D. M. SELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHEKURY, Miss E.\n\nSHEPHARD, A. J.\n\nSHING, D.\n\n-\n\n-\n\nSHU, Dr. H. T.\n\n-\n\nSIEGEL, H. W.\n\nSIMPSON, R. F.\n\nSINFIELD, G. H. C.*\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H. SMITH, Leslie*\n\nSMITH, Miss M. H. SMITH, S. H.*\n\nSMYTH, Miss L.\n\nSO, Dr. Chak-lam\n\nSOONG, N.\n\nSPERRY, H. M.*\n\nSTANLEY, Major H. F. -\n\nSTANTON, W. T.* STARRETT, A. V. STEWART, Miss E. M.\n\nSTOKES, J.\n\n-\n\nSTONEY, G. S..\n\n+\n\n+\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A.\n\nHong Kong & Shanghai Banking Corp., H.K.\n\n70, Mt. Nicholson Gap, Stubbs Road, H.K.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon,\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n14 Braga Circuit, Kowloon.\n\nAdministrative Officer, Police H.Q., H.K.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K.\n\nc/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Unit, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n52 Mount Nicholson Gap Flat, H.K.\n\nc/o Messrs. Scott & English Ltd., P. O. Box 1555, H.K.\n\nPhysiotherapy Dept., Queen Elizabeth Hospital, Kowloon,\n\nDept. of Geography & Geology, The University, Pokfulum, H.K.\n\nAsia Magazine. 31 Queen's Road, Central. H.K.\n\nLime Rock Road, Lakeville, Connecticut, US.A.\n\nH.K. Tourist Assn., Caroline Mansion, H.K.\n\nDina House. Duddell Street, H.K.\n\n5 Douglas Apts., 22 Old Peak Road, H.K.\n\nFlat 3A, 4 Mt. Davis Road, Pokfulum, H.K.\n\nQueen's College, Causeway Bay, H.K.\n\nFlat 1, \"Ravencourt\", 24 Mount Austin Rd., H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 205677, "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-1968", "page_number": 219, "title": "RAS-1968", "content_text": "214\n\nRYAN, Rev. Father T. F.\n\nL\n\nRYDINGS, H. A..\n\n+\n\nWah Yan College, 281, Queen's Road, East, H.K.\n\nH.K. University Library, H.K.\n\nSAUNDERS, Hon, J. A. H. c/o H.K. & Shanghai Banking Corpn., H.K.\n\nSCHALLER, Miss K.\n\nSCHOYER, B. P. -\n\nSCHWARZ, Miss Marjorie D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, David M. -\n\nSELLETT, G.*\n\nSERSALE, Miss S. M.\n\nSHAW-KENNEDY, Miss Anne -\n\nSHEPHARD, A. J.\n\nSHEKURY, Miss E.\n\nSHOEMAKER, John F. -\n\nSHING, D.\n\nSHU, Dr. H. T.\n\nSIEGEL, H. W. -\n\nSINFIELD, G. H. C.* -\n\nSIMPSON, R. F.\n\nSKELSON, R. E.\n\nSLEVIN, B. F.\n\nSMALL, Dr. D. H.\n\nSMITH, Leslie*\n\n+\n\n+\n\n+\n\n+\n\nH.K. Diocesan Girls' School, Jordan Road, Kowloon,\n\n37, Northbridge Road, Greenwich, Connecticut, 06870, U.S.A.\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nAsian Theatre Program, University of Wisconsin, U.S.A,\n\nHong Kong & Shanghai Banking Corp., H.K.\n\nc/o H.K. Government Office, 54 Pall Mall, London, S.W. 1, England.\n\n\"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\n11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n2B Fairland Towers, 7B Bowen Road, H.K.\n\nc/o Colonial Secretariat, H.K.\n\n14 Braga Circuit, Kowloon,\n\n73 Kadoorie Avenue, Kowloon.\n\nFlorida Mansion, Block C, 11th Floor, Paterson Street, H.K.\n\n70 Mt. Davis Road, Ground floor, H.K. c/o Bayer China Co., Ltd., Room 1916 Union House, H.K.\n\nApt. No. 406, 1061 Don Mills Road, Don Mills, Ontario, Canada,\n\n\"Woodside\", University of H.K., Pokfulum, H.K.\n\n43 Magazine Heights, 17 Magazine Gap Road, H.K.\n\nc/o 1st floor, Police Headquarters, Arsenal Street, H.K.\n\nDental Headquarters, Kennedy Road, H.K.\n\nFlat 10-B, Dragon View, 39-41 MacDonnell Road, H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205896, "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-1969", "page_number": 202, "title": "RAS-1969", "content_text": "196\n\nRIDE, Sir Lindsay*\n\nRIDE, Lady*\n\nRIGBY, Lady\n\n8A Beach Road, Stanley, H.K.\n\nAs above.\n\n50 Magazine Gap Road, H.K.\n\nROBERTSON, Prof. Jean M. Dept. of Social Studies, University of Hong Kong, H.K.\n\nROBERTSON, Dr. M. J. Institute of Pathology, Kowloon Hospital, Kowloon,\n\nROBERTSON, Mrs. W. G. Park Mansions, 4 Mile Taipo Road, 1st fl., N.T.\n\nROBINSON, Prof. K. E.* University of Hong Kong, Pokfulum, H.K.\n\nROE, Capt. J. S. c/o Caldbeck Macgregor & Co., Ltd., P.O. Box 350, H.K.\n\nROGERS, Rev. D. L. Union Church, Kennedy Road, H.K.\n\nROSEMANN, Mrs. F. I. c/o Neckermann Versand Ltd., P. O. Box K-45, H.K.\n\nROTHE, U.* Ernst-Albers-Str. 2, 2 Hamburg-Wandsbek, Germany.\n\nROY, Dr. A. Chung Chi College, C.U.H.K., Shatin, N.T.\n\nRUMJAHN, S. M. P. O. Box 448, H.K.\n\nRUST, H. A. Palmer & Turner, Prince's Building, 19th Floor, H.K.\n\nRUTTONJEE, Hon. D. 2-E Wongneichong Gap Road, Flat 7, H.K.\n\nRYAN, Rev. Father T. F. Wah Yan College, 281, Queen's Road, East, H.K.\n\nRYDINGS, H. A. The Library, University of Hong Kong, H.K.\n\nSAUNDERS, Hon. L A H HK. & Shanghai Banking Corpn. P.O. Box 64, H.K.\n\nSCHNEIDER, H. c/o Jebsen & Co., P.O. Box 97, H.K.\n\nSCHWARZ, Miss M. D.* c/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nSCOTT, A. C. Asian Theatre Program, University of Wisconsin, USA.\n\nSCOTT, J. M. c/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nSELLETT, G.* \"Pinecrest\", N.K.I.L. 3543 Tai Po Road, Kowloon.\n\nSERSALE, Miss S. M. 11-A, Cameron House, 40 Magazine Gap Road, H.K.\n\n* Life Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 206156, "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-1970", "page_number": 236, "title": "RAS-1970", "content_text": "229\n\nROBERTSON, Dr. David G.\n\nROBERTSON, Mrs. David G.\n\nROBERTSON, Prof. Jean M.\n\nROBERTSON, Dr. M. J.\n\n-\n\n18B, Headland Road, H.K.\n\nAs above.\n\nc/o Dept. of Social Studies, University of Hong Kong, H.K.\n\nc/o Institute of Pathology, Kowloon Hospital, Kowloon,\n\nROBERTSON, Mrs. W. G.. Park Mansions, 4 Mile Taipo Road, Ist fl.,\n\nROBINSON, Prof. K. E.*\n\nROE, Capt. J. S.\n\nROGERS, Rev. D. L.\n\nROTHE. U.“\n\nROY, Dr. A. T. -\n\nRUMJAHN, S. M.\n\nRUST, H. A. ·\n\n-\n\nRUTTONJEE, Hon. D. -\n\nRYAN, Rev. Father T. F.\n\nRYDINGS, H. A,\n\nSALMON, Andrew\n\nSAUNDERS, J. A. H.\n\nSCHNEIDER, H.\n\nSCHWARZ, Miss M. D.*\n\nSCOTT, A. C.\n\nSCOTT, J. M.\n\nSELLERS, David S.\n\nSELLETT, G.*\n\n-\n\n-\n\nN.T.\n\nc/o The University of Hong Kong, Pokfulum, H.K.\n\nc/o Caldbeck Macgregor & Co., Ltd., P.O. Box 350, H.K.\n\nUnion Church, Kennedy Road, H.K.\n\nErnst-Albers-Str. 2, 2 Hamburg Wandsbek, Germany,\n\nc/o Chung Chi College, CUHK., Shatin, N.T.\n\nP. O. Box 448, H.K.\n\nc/o Palmer & Turner, Prince's Building, 19th Floor, H.K.\n\n2-E Wongneichong Gap Road, Flat 7, H.K.\n\nWah Yan College, 281, Queen's Road, East, H.K\n\nc/o The Library, University of Hong Kong. H.K.\n\nSupt's, House, H.M. Prison, Chi Ma Wan, Lantao, H.K.\n\nc/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nc/o Jebsen & Co., P.O. Box 97, H.K.\n\nc/o Mrs. R. L. Smyth, 1635 Green Street, San Francisco, California, U.S.A.\n\nc/o Asian Theatre Program, University of Wisconsin, U.S.A,\n\nc/o H.K. & Shanghai Banking Corpn., P.O. Box 64, H.K.\n\nc/o H.K. Govt. Office, 54 Pall Mall, London, S.W.1, England.\n\n\"Pinecrest\", N.K.J.L. 3543, Tai Po Road, Kowloon,\n\n1\n\nLife Member\n\nPlease notify the Hon. Secretary of any inaccuracy", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206802, "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-1973", "page_number": 79, "title": "RAS-1973", "content_text": "SWATOW (CH’AOCHOW) HORIZONTAL STICK PUPPETS\n\nHELGA WERLE*\n\n# Introduction\n\nThe so-called Swatow puppets are in fact wrongly named. This is due to a confusion which requires some explanation. In Western languages the adjective Swatow is used to attribute a dialect, culture or people etc., when the Chinese themselves speak of Ch’aochow. This is because the British gained access to the Ch’aochow area by the opening of the port of Shantou (Swatow) by the Treaty of Tientsin in 1858. Chinese know that the city of Ch’aochow heads one of the 8 prefectures of the province of Kwangtung and is situated on the Han River about 40 miles from the sea and as far from the border with Fukien. Swatow itself, a port with about 85,000 inhabitants in 1925, is in the delta of the Han River, five miles from the open sea.\n\nIn this article the term “Swatow” has been replaced by the use of the proper Chinese description of Ch’aochow.\n\nCh’aochow developed very early into a culturally independent area. Its seaboard position and flourishing port gave it the necessary economic basis and exposed it to various cultural influences. Culturally and linguistically, it is more like a prefecture of Fukien than of Kwangtung. Its dialect is distinctly different from Cantonese, so are its customs and its music, which all deserve to be studied in detail for the value of its rich ancient tradition. Among its cultural assets, the Ch’aochow puppet-theatre is truly amazing, with unique features found nowhere else in the world.†\n\nThe author has studied in the Sinology departments of the Universities of Munich, Hamburg, and Cologne. She has been a resident of Hong Kong since 1966 and has followed up her studies with field work in Taiwan, Indonesia, Cambodia, Thailand and the Philippines. She is particularly interested in folk art and theatre and is at present on the staff of the Hong Kong Arts Centre Ltd. She has published various articles on puppet theatre and folk art.\n\n† For the Introduction, see L. Richard (translated, revised and enlarged by M. Kennelly), Comprehensive Geography of the Chinese Empire and Dependencies, Shanghai, T’usewei Press 1908, pp. 206 and 210. Also J. Dyer Ball, Things Chinese or Notes connected with China (5th edition, revised by É. Chalmers Werner), Kelly & Walsh, Shanghai, Hong Kong etc., 1925, pp. 689-690. For the Min dialects of which Ch’aochow and Swatow are part, see R. A. D. Forrest, The Chinese Language, Faber & Faber, London, 1958, pp. 225-232.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206874, "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-1973", "page_number": 151, "title": "RAS-1973", "content_text": "NOTES AND QUERIES\n\n145\n\nning among other matters the subjugation of the non-Chinese tribes of the interior.*\n\nAt the age of 71 he was appointed Vice-President of the Board of Civil Affairs in Nanking and later Vice-President of the Censorate. He died in great poverty in 1587 aged 74, his friends defraying the cost of his burial.\n\nIn November 1965 the editor of the Shanghai Wen Wei Pao, Yao Wen-yuan, who was also a left-inclined literary and theatre critic, published an article in which he criticised an historical drama \"The dismissal of Hai Jui\" written by the then Deputy Mayor of Peking, Wu Han. Yao's article was the opening volley in the Great Proletarian Cultural Revolution which created such turmoil in China and purged so many of the senior communist cadres including Wu Han himself. Yao rose quickly and by 1969 was sixth in the leadership of the Chinese People's Republic only to slip to a lower position at the 10th Party Congress in August 1973. Yao, still a member of the Politbureau, is reported to be the son-in-law of Chairman Mao and a close associate of the radical Madame Mao.\n\nWu Han's historical play which cost him so dearly was criticised by Yao as an analogy of Mao's treatment of his \"loyal minister” Peng Te-huai, the Minister of National Defence purged by Mao in 1959. P'eng had been very outspoken in his opposition to two of the things closest to Mao's heart, the Great Leap Forward and the establishment of the People's Communes.\n\nHai Jui is well known to many Chinese as the minister who steadfastly opposed corruption. A legend told to me in Singapore by an elderly Buddhist nun recounted how Hai Jui as a very young junior official had been posted to the Swatow region (Ch'aochow) where a group of tyrannical landowners together with the local magistrate's police runners were terrorizing the people. The legend then told of Hai Jui's fight, first against his local superiors in support of the poor, later against the Prime Minister and finally against the Emperor himself. Hai Jui was forced to commit suicide, she said, to compel the Emperor to take notice of the problems of the masses and for this he was deified by the subsequent Emperor and is now one of the patrons of the Ch'aochow people.\n\nSee, in part, Herbert A. Giles, A Chinese Biographical Dictionary (London and Shanghai, Bernard Quaritch and Kelly and Walsh, 1898) pp. 242-243. Also W. F. Mayers, The Chinese Reader's Manual (Shanghai, American Presbyterian Mission Press, and London, Trübner and Co., 1874) pp. 45-46. Ed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207334, "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-1975", "page_number": 102, "title": "RAS-1975", "content_text": "94 \n\nH. J. LETHBRIDGE \n\nemployment; but few stayed with the department. Most took to their gypsy life again, once they had accumulated a few dollars, and left for either Shanghai or Singapore, or simply went to earth in Tai Ping Shan or Wan Chai until disinterred by the police, always on the look out for European destitutes. \n\nThere were always some troops on garrison duty in the colony or manning the various fortifications designed to repel a seaborne invasion. The garrison normally was small and numbered usually less than 1,500 men. But numbers fluctuated markedly at times. In March 1860, for example, over 14,000 troops (10,000 British and 4,000 French) were being drilled in a vast tented camp on two square miles of the Kowloon peninsula, leased from the Viceroy of Kwangtung and Kwangsi, and awaiting transportation to the theatre of operations in the north. A witness of these events wrote that 'the streets of Victoria were thronged by soldiers and sailors; commissaries and staff officers were to be seen everywhere; all as busy as mortals could be'.7 \n\nIt was a policy of the government and the military to keep troops if possible out of European Victoria—the central commercial district—and to confine their debaucheries to special areas of the colony. Thus five brothels were specially opened at Wan Chai in the 1850s when soldiers at that time were prohibited by their officers from entering the central districts of the city. For soldiers on outpost duties access to Victoria was difficult in any case: \n\nGarrison life at these outposts is usually melancholy; society is impossible, as the fortifications are eight miles by water from the city, and communication over the mountains is arduous. It is not a question of which is the better of the two, but which the worse, to be of the British Garrison Artillery or the Chinese Lighthouse Service.& \n\nThere were usually more sailors than soldiers ashore in Hong Kong, or afloat in the harbour, at certain times of the year. During the three winter months, the British China squadron was stationed in Hong Kong; in summer most naval vessels left Hong Kong for the north and other stations. The large number of sailors, who at times outnumbered the civilian European population, was supplemented by merchant seamen of many nationalities; for by the 1890s Hong Kong had become, after London, Liverpool, and Port Said, the fourth largest port in the world in terms of seagoing tonnage", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 211591, "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": 6, "title": "RAS-1989", "content_text": "CONTENTS\n\nPRESIDENT'S REPORT\n\nHON. TREASURER'S REPORT\n\nHON. LIBRARIAN'S REPORT\n\nARTICLES:\n\nDan Waters\n\nLIBRARIES\n\n138 1937. vii\n\nAR\n\nIn the Steps of Lu Pan: Reminiscences of Building in Hong Kong\n\nK.J.P. Lowe\n\nHong Kong, 26 January 1841: Hoisting the Flag Revisited\n\nKeith Stevens\n\nThe Jade Emperor and his Family, Yu Huang Ta Ti\n\nKeith Stevens - Fukienese Wang Yeh (Ong Ya [Hokkien])\n\nP.H. Munro-Faure\n\nThe Kiukiang Incident of 1927\n\nA.D. Blackburn\n\nHong Kong, December 1941 July 1942\n\nChan Ka-yan\n\nJoss Stick Manufacturing: A Study of a Traditional Industry in Hong Kong\n\nP.H. Hase\n\nCheung Shan Kwu Tsz, An Old Buddhist Nunnery in the New Territories and its Place in Local Society\n\nJ.H. Haan\n\nThalia and Terpsichore on The Yangtze, Survey of Foreign Theatre and Music in Shanghai 1850-1865\n\nFred Dagenais\n\nJohn Fryer's Early Years in China: I. Diary of His Voyage to Hong Kong\n\nChan Wing-hoi\n\nThe Dangs of Kam Tin and Their Jiu Festival\n\nxxi\n\nxxiii\n\n8\n\n18\n\n34\n\n61\n\n77\n\n94\n\n121\n\n158\n\n252\n\n302\n\nNOTES AND QUERIES:\n\nE. Sinn\n\nNotes on the Robert Hart Papers at the University of Hong Kong Library\n\n376\n\nP.H. Hase\n\nA Song from Sha Tau Kok on the 1911 Revolution\n\n382\n\nP.H. Hase\n\nThe Mutual Defence Alliance (Yeuk) of the New Territories\n\n384\n\nP.H. Hase - More on The Man the Emperor Decapitated\n\n388\n\nIssei Tanaka\n\nThe White Tiger\n\n389\n\nKeith Stevens - British Chinese Labour Corps Labourers Buried in England\n\n390\n\nAnthony Siu Kwok-kin\n\nThe History of Hong Kong: From A Village to A City\n\n391\n\nAnthony Siu Kwok-kin\n\nHistorical Records\n\nAnthony Siu Kwok-kin\n\nBOOK REVIEWS\n\nTai Yu Shan from Chinese\n\n394\n\nA Tung Lo Wan\n\n399\n\n400\n\nV", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211687, "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": 102, "title": "RAS-1989", "content_text": "HONG KONG, DECEMBER 1941 — JULY 1942\n\nA. D. BLACKBURN*\n\n77\n\nThe following is an account of the personal experiences of my wife and myself at Hongkong during the Japanese attack and afterwards.\n\nI was still in Queen Mary Hospital when hostilities began. My leg had so far recovered that I was able to hobble about on crutches and the doctor had decided that he could now safely proceed to operate on my ear which had become completely obstructed with scar tissue. The operation was fixed for 8 a.m. on December 8th. I was waiting to be taken to the theatre when, almost exactly at 8 a.m., the wailing of the sirens and the noise of planes announced the beginning of the blitz and the operation had to be abandoned.\n\nMeanwhile my wife was at the War Memorial Nursing Home recovering from an operation for appendicitis. All patients whom it was possible to remove were evicted from the hospitals to make room for war casualties. My wife was turned out on December 10th and I on December 12th and Witham (Tea Adviser to the Chinese Government and a friend of ours) arranged for us to be billeted with him and his wife in their flat on the Peak, which the Hongkong Government had declared an evacuation area. There we stayed throughout the hostilities.\n\nThere was fairly heavy artillery fire and air bombing but the Japanese seemed to be concentrating on military objectives (particularly Mt. Austin barracks and two field gun batteries in our neighbourhood), and civilian property around us was not\n\n* Editor's Note. Sir Arthur Blackburn was Counsellor of the British Embassy in Chungking in 1941. On June 29th, 1941, his house there was totally destroyed by a Japanese bomb. Two people were killed, and fifteen injured, including Sir Arthur, who received injuries to his knee and ear. The injury to the ear required operation, as did the injury to the knee, which had become infected. Sir Arthur and his wife were evacuated to Hong Kong to enable these operations to take place, arriving at the end of November, 1941. Sir Arthur was a witness to the Japanese attack on Hong Kong in December, 1941, and he and his wife were interned from January 22nd to the end of July 1942 in Stanley Camp. He and his wife with other captured diplomatic staff were then repatriated, leaving Shanghai on August 17th, 1942. Sir Arthur was asked by both the Foreign Office and the Red Cross to report on conditions in Hong Kong and in Stanley Camp. These reports were completed by the end of September, 1942, even before the Blackburns docked in England. Because of the general interest of these reports, and particularly because of their contemporary character and absence of post-war hindsight, it is felt useful to print them here. The Journal owes copies of these interesting documents to the kindness of Mr. C. Blackburn.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211768, "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": 183, "title": "RAS-1989", "content_text": "158\n\nTHALIA AND TERPSICHORE ON THE YANGTZE A SURVEY OF FOREIGN THEATRE AND MUSIC IN SHANGHAI 1850-1865\n\nJ. H. HAAN\n\n\"Thanks for the merry laugh that cheered our hearts\n\nFor loud applause that bade us top our parts. For mirth, that taking all things for the best\n\nMade even a blunder seem a clever jest'.\"*\n\nThus an epilogue to an evening of theatrical entertainment in 1852 that was given for the foreign community of Shanghai, and it sums up nicely the attitude with which generally speaking the efforts of the local amateurs were greeted. What happened on the stage in this outpost of Western civilisation may not have been very exciting or very daring but still it seems interesting enough to go into in more detail than has been done before now.2\n\n1. Some notes on foreign life in Shanghai\n\nUntil the first Anglo-Chinese War of 1839-1842, foreigners were severely limited in China. In fact only one port, Canton, was open for external trade and merchants had to reside part of the year in the so-called foreign factories. After the war several treaties were concluded with Western nations (England, France, United States) in which the right of foreigners to settle themselves in a number of cities on the China Coast was granted.\n\nAmong these cities was Shanghai, and it was not long before a predominantly British community came into being. A Foreign Settlement was delimited, Land Regulations (a kind of constitution) were issued in 1845 and 1854, a Municipal Council of foreign merchants was formed as early as 1846,3 houses in colonial style were built, roads and a race course laid out, a drainage scheme begun and a home-like church erected. To the south of the Settlement the French had their own Concession, while to the north an American settlement gradually developed. Problems abounded, sometimes caused by the obstructions of foreign residents;\n\nOrdinary reference notes are indicated thus: (1); notes in which additional information is supplied thus: (1x).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211773, "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": 188, "title": "RAS-1989", "content_text": "163\n\nconcert. Everything was conducted in a quiet gentlemenly manner so that we imagined ourselves in a drawing room more than in a theatre. There was no attempt at grandeur of display (...) which characterises too much the quasi musical taste of the day where the composition of the author is sacrificed frequently to the execution of the performer and the audience is led to think more of the latter than of the former**. \"The \"Shanghai Commercial Record\" reported in a similar laudatory way about the Annual Volunteer Concert on February 15, 1865: “We fancy few home concerts could show anything better; amateur concerts we are sure rarely could\".20\n\nHowever, about professional musicians, and those formed the majority of performers, the critic sometimes made no bones about his disapproval: speaking of a recital given by a Professor Shonbrun on the piano in March 1859, he was \"sorry to say we have no great opinion of his powers; the skill and artistic feeling which would be highly respectable in an Amateur reflect no especial credit on a professional player'\"; at the same time **the Amateurs who assisted Mr. Shonbrun did their share well and merit great praise\". Thus the line was drawn, at least by this particular reviewer.\n\nIII. The Companies\n\nA. Theatrical\n\n**21\n\nWriting about the theatrical companies that performed in Shanghai during the period 1850-1865, a distinction must be made between those that were got up from among the local residents, those that were initiated by the military garrison, and those that were of a professional, travelling nature.\n\nThe Local Companies\n\nOn November 15, 1866, it was proposed at a meeting of the Dramatic Corps of the Infantry and Rangers of the Shanghai Volunteers Corps that “a Dramatic Society be formed\",22 and hardly a month later the Shanghai Amateur Dramatic Corps was established on December 7.23 Its objects were stated to be \"the encouragement and maintenance of an amateur theatre in Shanghai; the maintenance of a theatrical library and the management of funds for theatrical purposes\". There were to be no honorary members but only those who were willing to be active", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211774, "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": 189, "title": "RAS-1989", "content_text": "164\n\non the stage. At last Shanghai could boast a drama society that was footed on a regular basis, could give its fiftieth performance on April 18, 1876 (T.W. Robertson's School), its hundredth on March 22, 1893 (a local version of Lloyd Clarence's A Tale of Tell under the title The Tale of Tell Retold). The 150th performance went off in 1908 with James Matthew Barrie's The Admirable Crichton, and altogether the A.D.C. existed well into the 1930s.25\n\n27\n\n24\n\nIn the years preceding the A.D.C., theatrical seasons, and with it the companies, were organised annually, depending, it seems, on the interest shown by society and the availability of actors and managers. The very first amateur performances took place during the season 1849-1850,26 but no record has been left of them. In the following years more than once reference was made to a \"New Corps\" formed for the season, or that it had been \"but a few weeks since the present company had been embodied\".28 Under these circumstances it was by no means certain that the Shanghai public would be treated each winter to an evening of uncomplicated amusement. In its issue of November 27, 1852, the Herald stated that “if 'common report' be true we fear that the 'Dramatic Corps' (...) will be unable to continue their performance\" due to the \"absence from Shanghai of the 'Head and Front' of the original body, together with the retirement of some of its members\". This brought forward an outcry by a foreign lady (?) who donned herself with the name \"Phoebe Silverveil\": \"No theatricals? Dear Me! Mr. Editor, what are the ladies to do without them? The performances were so good (...) and we all enjoyed them so much!''; and then, quoting liberally the pieces of the past season (see Calendar), she ended: \"I have just put dear baby down for a minute to write these few lines as a gentle hint to the Corps; hoping that if the members are not quite Used Up, they will give us another merry Rendezvous at the Theatre and there is surely not such a Dragon amongst them as to say NO!\"29 As if this appeal were not enough, the editor added as an afterthought that this letter \"can hardly fail to have the effect of rousing the dormant energies of the heroes of the 'sock and buskin' to renewed exertions, to deserve the applause of their fair admirers. We doubt not they will take the hint\". In this way aspiring amateurs were cajoled into the formation of a new company which started its operations in January 1853 with Beckett's The Turned Head and Boucicault's Used Up. Some five years later, in January 1858, the Herald regretted that the Amateur Theatrical performances, so successful last year, have not as yet been reorganised during the present season and we think we speak with the", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211775, "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": 190, "title": "RAS-1989", "content_text": "165\n\nunanimous voice of the Community in wishing that the Corps would again favour us with their highly agreeable representations”.30\n\n―\n\nA new venture in local companies was started in 1864 when, after the troubles of the Taiping rebellion, the Shanghai Volunteer Corps which had taken part in the defence of the Settlement apparently had enough superfluous energy to direct their efforts into more peaceful ventures. On March 30, 1864, Kenney's Raising the Wind, Jerrold's Cool as a Cucumber and Coyne's Duck Hunting were the three pieces given.\n\nSeveral more performances followed in 1864 (April 25, May 26) and 1865 (March 21, May 8, December 14). Not to be outdone by their colleagues, the Mounted Rangers, part of the S.V.C. and formed in 1862, decided to put on theatricals too. May 24, 1865 saw their first moves on the stage with Planché's The Knights of the Round Table and Mayhew's The Wandering Minstrel.3\n\n31\n\nLater performances were given on November 11 and 20, 1865, and January 12 and March 28, 1866. It was these two groups that in 1866 resolved on the foundation of the Amateur Dramatic Corps.\n\nAnother local company saw the light in June 1864: The Amateur Burlesque Company Ltd. Whether they were not satisfied with the existing conditions of the theatre in Shanghai or whether the demand for Thespian evenings was so great cannot be ascertained; in any case it was announced that **although the theatrical season has closed, the approach of the hot weather warning us against crowded assemblies, a number of gentlemen have formed themselves into a burlesque company**. But the heat was no deterrent and on June 28, 1864 Lacy's The Silent Woman and H.J. Byron's Ill Treated Il Trovatore came off with considerable success, so much so that \"many of the audience were disposed to believe that they were witnessing a display of professional talent\". The society proved not to be a one-day affair, for it gave a number of other representations in 1864 and 1865.\n\nThe actors in it probably consisted mainly of British and Americans; of another company that was also established in 1864 it may safely be assumed that only compatriots were members, viz. the Portuguese amateur dramatic club. Although the Portuguese population of Shanghai was small (the census of 1865 showed a total of 110, including 14 women and 15 children) this was apparently no hindrance to the staging of plays", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211776, "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": 191, "title": "RAS-1989", "content_text": "166\n\nin their own language. On April 18 1864 the first evening took place at which “the arrangement of the costumes and acting were all good and amply repaid a visit, even by those who may not understand the Portuguese language”. Two more performances are recorded of this company (October 15 and December 22 1864).\n\nWith respect to the financial side of the societies' activities not too much can be said with certainty. Expenditure included the rent of a godown to be fitted up as a theatre, scenery, etc. (see below: V. The Theatres). Evidently, entrance fees covered part of these expenses, the members themselves probably paid an annual amount, and furthermore there are some indications that at least a number of performances were for subscribers. Thus, speaking about an amateur evening on February 13 1863, the Herald added that a repeat would take place on the 17th at \"which the public that is non-subscribers will be admitted\". Earlier, in 1859, in a letter to the Editor, a \"Member of the A.D.C.\" complained about the liberties taken by some residents with the subscription circulars: “A wag has amused himself (and himself only) by converting quite a large number of 5 tael subscriptions into 15 and has thereby caused not only great confusion, but some unpleasantness”.36\n\n―\n\n―\n\n3\n\nSuch confusion could easily be tolerated in the all too numerous farces that were put up on the stage, but when it came to realities it was clearly considered to be just as well as to put them down...\n\nGarrison theatricals\n\nFrom time to time the season was enlivened by non-resident amateurs, Naval vessels of several nations that called at the port of Shanghai were sometimes the scene of an unusual crowding of merchants and marines when performances were given on board ship. Thus on October 8 1857 the \"Union Theatrical Company of the U.S.S. San Jacinto\" delighted the public with three farces.37 A year later, September 28 1858, the crew of H.M.S. Retribution entertained a large portion of the foreign community: The quarterdeck was converted into a rotunda tastefully decorated with national and other flags raised nearly to the height of the mizzentop forming a spacious and airy salon. The stage, raised to a convenient height for the audience, was adorned with a well-executed proscenium, the orchestra being in front, all en règles\".38 The piece selected was even of a higher quality than the usual fare, viz. Sheridan's", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211780, "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": 195, "title": "RAS-1989", "content_text": "170 \n\nB. Musical \n\nMany of the theatrical entertainments of the amateurs were varied with musical interludes; sometimes the piece itself required an orchestra and for all these purposes resort was, of course, made to non-professionals. Just as with the dramatic companies, the orchestral accompanists were engaged on an ad hoc basis. As a result quality differed; occasionally the Herald thought the music \"first rate\"; then again, in 1856, it was of the opinion that \"the music was ineffective\", and seeing the underlying weakness, it advised that some combination of the musical talents of the place might be made with advantage”. \n\n55 \n\nSome years later, in 1861, in a letter to the Editor by one signed \"Philharmonic\" the subject was again broached; it had occurred to him \"how much gratitude the amateurs of Shanghai could evoke if it were possible for them to form a vocal or instrumental association to give occasional subscription concerts\", and, tongue in cheek perhaps, he added that “probably nowhere out of the profession is there so much musical talent to be found as in Shanghai and certainly nowhere an audience better also to appreciate that talent” \n\n56 \n\n― \n\n(1.9.1880) \n\nWith the arrival in 1864 of Jean Rémusat (11.5.1815) things began to look better. Rémusat was a French flautist of considerable fame. He had entered the Paris Conservatoire at the age of fifteen, but had spent most of his professional career in London before coming to Shanghai. Among others he had starred in the Promenade Concerts that were organised by Louis Jullien in the Drury Lane Theatre. According to a contemporary, Rémusat was \"fort intelligent” but “un peu excentrique”, and his colleagues must certainly have thought so when he told them that he would sail off to Shanghai to live there till the end of his days. Whatever his motives, cultural life in the Yangtze port was boosted by Rémusat. He gave concerts in Shanghai (of which only one, however, has been chronicled in the Herald: May 10, 1866) and Macao (on June 3 and 17, 1866). And, to return to the subject of organised music, he inaugurated the Philharmonic Society, probably in late 1866 or early 1867. \n\nIn the meantime, apart from the music incorporated in an evening of theatricals, concerts and recitals were given. Again, a distinction must be made between local amateur performances, those that were given by members of the military forces, and the travelling professional musicians. \n\nPage 195\n\nPage 196", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211790, "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": 205, "title": "RAS-1989", "content_text": "180\n\nTOT\n\nconcerts. For the performance on the first night, February 16 1859, the artists had prepared a drop scene representing \"a most romantic spot on the banks of the Lago Maggiore\". Italy obviously continued to stimulate the imagination.\n\nF.\n\nBut whatever its qualities a long lifetime was not allotted to this theatre; after the last night in June 1859 it was pulled down, and once more a new shelter for Thalia had to be secured. Where it stood, we have no idea; even a proper name was not given, but on February 15 1860 the opening night of the season took place.\n\nG.\n\nDuring the Taiping ravages of the years 1860-1861, numerous Chinese fled to the Settlement and a huge building speculation developed, everyone trying to get rich by erecting the most flimsy structures for the refugees. Because of this it cannot have been easy for the amateurs to rent a godown to set up a new theatre in 1863. But, as usual, they succeeded in their efforts and another Theatre Royal enriched the streets of Shanghai, though which one it is impossible to say. There is, however, an interesting description of the interior in the Herald of February 14, 1863:\n\n\"The audience part of the house consists of a dress circle and pit, the former enclosed with scarlet decorations, and the latter arranged with rows of good strong forms. The proscenium is plainly ornamented, with two 'guardian angels' on each side, and surrounded by a design having the flags of all nations combined round the British crown with the motto Unitate Fortior' underneath. These we understand were painted by a gallant captain [Hamilton, of one of the military regiments – JH] besides the drop scene, which is exceedingly well done and represents, if we are not mistaken, the Lake of Lucerne embosomed in the mighty Alps. The house was well lit up and the footlights were brilliant”.\n\nH.\n\nThe capacity of the house was given as about two hundred and fifty.\n\nThe following season, 1863-1864, saw, on February 10 1864, the opening", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211791, "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": 206, "title": "RAS-1989", "content_text": "181\n\nof the Olympic Theatre or Royal Olympic Theatre which was located at the back of the Shanghai Club, in the southern part of the Settlement. It had a dress circle and there is even mention of a \"second circle\".\n\nI.\n\nFinally we come to the last of the godown theatres, the Lyceum Theatre which was stated to be situated at Peking Road (ex Consulate Road), 104 The proprietors were the big firm of Jardine, Matheson & Co which had a hong on the corner of the Bund and Peking Road, 105 This was the scene of the 1864-1865 and 1865-1866 seasons.\n\nJ.\n\nEvidently the existing situation was highly unsatisfactory. This was realised as early as 1852 when, at a Public Meeting on September 25, a Committee was formed at the instigation of the Shanghai Library that was looking for more appropriate accommodations. This Committee was to study the possibilities of “erecting a Building for an exchange and reading room\". 106 In December a prospectus was issued by the Committee in which it was suggested that in the so called \"Public Institution”, “a large room might be fitted for the Theatre, already under comparatively disadvantageous circumstances one of the most popular amusements we have\", All these plans came to nothing, however, so in 1864 an epilogue to a theatrical evening gave vent to feelings of discontent:\n\n* 107\n\nLadies and gentlemen, our course is run 'T is yours to gild our quickly setting sun For if upon your frowns that sun should set This theatre must be advertised \"To Let'. Shorn of its glory, prestige and renown Like our poor selves 't will be a mere godown. Not that the Drama in this wealthy port\n\nTo such an humble bounty pray be led And build a lasting structure in its stead\". 108\n\nApart from the inconvenience of securing a suitable godown every year, there was a great deal of capital loss involved. Each time a warehouse had to be fitted up at considerable cost (about 2,000 Taels in 1865; a Tael was worth approx. 6/7 in this period; in addition to the rent of Tls", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211794, "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": 209, "title": "RAS-1989", "content_text": "184\n\nstyle which distinguished it from the hongs by which it was surrounded. Finally there was a musical evening at the Town Hall of the neighbouring French Concession in early February 1865. The \"Hôtel Municipal” was erected in 1864 and stood at the Rue du Consulat, between the Rue de l'Administration and the Rue du Nord.\n\n117\n\nPlaybills were used to advertise the performances in the Settlement (of Calendar, 23.4.1857). Early this century there still existed such a bill dating from 1853, but I have never seen one. They were printed at one of the printing offices in Shanghai. The main ones were those of the North China Herald (Custom House Road - Hankow Road) and of the London Missionary Society which had a large compound on Temple Road (Shantung Road). The printing press of the latter of course mainly turned out religious publications in Chinese, but though the missionaries may not have been regular patrons of the theatre, one source states that playbills for their performances had been printed at \"the Missionaries' house\"\n\nVI. The Audience\n\n**119\n\n120\n\nThe subject of the audience has already been touched upon several times and it is clear that the public, on the whole, liked what it saw and saw that it liked. This did not mean that all entertainments drew heavy crowds. Usually the dramatic companies had a full house, but the interest in music was decidedly less. Whereas Thalia enjoyed at times so many ardent admirers that some were obliged to stand the whole evening, her colleague often had to content herself with the cream of society. But there was always an excuse, or so it seems, for the small numbers in the concert hall; either it was the \"wretchedly wet state of the weather' or the heat:\n\n122\n\nor maybe parsimony prevented people from going, for when M. & Mme Simonsen (violin and singing) gave a recital in May 1865 they failed to draw a large public, but when the admission price was reduced to $3 a full audience was presented. 12 This brings to mind a story of a much later period when the famous Scottish comedian Sir Harry Lauder had the audacity to raise the by then apparently immutable prices of $3-5 by a dollar and had to face a near empty auditorium.\n\n124\n\n121\n\nBearing in mind the population structure in the Settlement the audience, of course, consisted for the greater part of men. This, however, was all the more reason to note the attendance of the ladies. Time and", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211795, "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": 210, "title": "RAS-1989", "content_text": "185 \n\n* 125 \n\nagain attention was drawn to the presence of the \"beau monde”, the “beau sexe”, “all the beauty and fashion” and “our fair friends whose elegant evening costumes gave quite a brilliant aspect to the scene”. Seeing these representatives of the opposite sex on the front bench could not fail to inspire the performers with the desire to excel**. And who would disagree with that? \n\n- \n\nIt is well known that in Britain theatre audiences had for decades been heavily lacking in decorum; talking, eating, shouting, abusing the players. Things had turned to the better around the middle of the century and it seems that the Shanghai public was good mannered in so far as that can be said of any audience at all, for regular theatregoers will sadly have to admit that instances still abound today in which potentially glorious moments have been spoilt by some uneducated patrons. It may be assumed that the distraction caused by the public's behaviour in the mid 19th century was still worse than it is today. Then e.g. it was quite in order to talk during a concert or recital, albeit with a lower voice than during the interval. Real music lovers must have been driven mad by such chatter and it can hardly be imagined that it was appreciated by the performer. But, after all, such evenings were social occasions as much as artistic ones and the latest gossip had in some way to be exchanged. To be sure, such behaviour is not mentioned in the local paper, but there is little reason to believe that things were much better in Shanghai than in, say, London. \n\nT \n\n> \n\nOnly a couple of times is indecorous conduct reported in the columns of the Herald. Thus, on February 10 1864 \"the audience was riotous in the extreme and displayed the worst possible taste in exciting themselves to increase the confusion on the stage\" 127. The result was that at a subsequent performance the ladies shone by their absence** (see also: Calendar, 10.2.1864, 13.2.1864, 4.3.1864). Possibly this rowdyism was caused by the bad acting, but more likely a section of the large vagrant population which created some headaches for the ordinary residents during those years had a hand in it. Earlier the Herald had thought it wise to invoke the Earl of Chesterfield whose letters to his rascal son attempted to teach him the elements of good taste. And though the book had been published as long ago as 1774, the lessons contained in it were obviously considered still to be valid in 1858 when on February 10 the critic “noticed that several ladies on entering were kept some time in doubt as to where to find accommodation and were at length consigned to the back seats, while a lot of the 'lords of creation'\n\nPage 210\n\nPage 211", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211796, "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": 211, "title": "RAS-1989", "content_text": "186\n\nwho evidently had no 'tender cares' to occupy them, manfully maintained their seats in front, and remained so spellbound as to forget entirely the courtesies of gallantry and good breeding. We are of opinion that a perusal of Lord Chesterfield's 'Hints' might be a useful exercise for such as have no innate impulses to enable them to understand and practice what is conveyed in the phrase 'Place aux Dames' when those fair patronesses choose to honour public entertainments with their presence\".\n\n129 Once front seats were shunned by ladies, but that was not the case in mid-century Shanghai. In the Regulations to be Observed on the Evenings of Performances at the Shanghae Theatre printed in the North China Herald of February 14, 1857, it was even stipulated that, \"after the front row had been set apart for the exclusive accommodation of H.B.M. Consul and the French and American Consuls, the seats numbered 2 to 6 will be reserved for ladies, and the gentlemen who escort them.\"\n\nVII. The Plays\n\nFrom the references above, and even more from the Calendar of Performances, it will be clear that the dramatic fare in Shanghai consisted for the greater part, nay for nearly one hundred percent, of pieces that could easily amuse the people. That is to say: farces, comediettas, burlesques, melodramas, burlettas, musical comedies or whatever name may be invented for the genre. There is no space here, nor is it within the scope of this Survey, to give an analysis of these plays, so I shall keep myself to some general remarks.\n\nMost pieces that were performed dated from the 19th century, but there were some from the previous one, like Henry Carey's The Dragon of Wantley (1737), a short three-act opera with music by John Frederick Lampe which burlesqued the Handel style works which were then in vogue (but hardly a century later); and James Townley's (or was it David Garrick's?) High Life below Stairs which one rather antiquarian critic thought \"worth whole bales of farces of the 'Box and Cox' pattern\". Sheridan's The Rivals (1775) was also on the programme several times (although not on that of the local amateurs) but it is remarkable (and, considering the travesties that were common, maybe just as well) that a classic comedy like Goldsmith's She Stoops to Conquer was not tackled.\n\n130\n\nOf contemporary authors the most prolific was John Maddison Morton and it should cause no surprise that his plays took top of the bill: no", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211801, "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": 216, "title": "RAS-1989", "content_text": "A CALENDAR OF PERFORMANCES \n\n1850 - 1865 \n\n191 \n\nIntroduction \n\nInstead of giving a rather dull summing up of dates and plays, I have added to almost each performance excerpts from the reviews which appeared in the local paper(s), with explanatory note if necessary. The material is not equally abundant on all occasions. Sometimes only a few lines were published, sometimes more than a column: actors were not always mentioned and there are hardly any details about the staging of the plays. With respect to the actors and musicians, cast lists have been given only when real names were available. In the excerpts numerous instances will be found of stage names as adopted by Thespian residents. It is unfortunate that their true identity cannot be ascertained; nevertheless, I had to include them, especially those who made a \"career\" of sorts in the Shanghai theatre. Perhaps one day it will, through e.g., private correspondence in some archives, become possible gradually to lift the veil. It should be reminded that female characters with the amateurs were always played by men. Only in the professional companies is a Miss really a Miss. \n\nAll reports about the wonderful acting qualities of the amateurs should of course be seen in their proper perspective. It has been said in the Survey that we cannot be sure how good or bad the performances were, but it must be assumed (and the 1852 Epilogue hints as much) that things were liable to go wrong and that the acting was rather crude, certainly not as polished and natural as we are used to today. That was often not even the case with professional players in that time, let alone amateur ones. \n\nIn the papers, playwrights were almost never mentioned, so other sources had to be used in order to establish authorship. Invaluable in this regard are: Allardyce Nicoll: A Dictionary of the Drama, of which unfortunately only Volume I (A-G) was published; The Player's Library; and, to a lesser extent, T.A. Brown: A History of the New York Stage. \n\nComposers of musical pieces performed at concerts were similarly not always mentioned. Where possible, I have tried to supply the missing information. \n\nIn Appendix I will be found an author list of plays with full titles and in Appendix II an alphabetical list of plays staged in Shanghai; both with dates of performances. \n\nAs far as feasible, the pieces in the Calendar have been entered in the order they were represented on a particular night. \n\nAbbreviations: \n\nT. Type of play \n\nC.: Company \n\nF.: Features \n\nBGM: Boletim do Governo de Macao \n\nCM: China Mail \n\nNCH: North China Herald \n\nSCR: Shanghai Commercial Record \n\nTh. Theatre \n\nN.: Note \n\nR.: Review \n\nN.N.: Not Named \n\n1849-1850: First theatrical season, but no titles of plays have been recorded.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211802, "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": 217, "title": "RAS-1989", "content_text": "192\n\n12.12.1850 (Thur)\n\nG.A.A. BECKETT: \"Roofscrambler\" (1835)\n\nT: Burlesque\n\nW.H. MURRAY: \"Diamond cut Diamond\" (1843)\n\nT: Farcical interlude (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: NCH 14.12.1850. From the file I have been using the pages on which the review appeared were missing, so no further information can be given.\n\n28.1.1851 (Tue)\n\nJ. KENNEDY: \"Love, Law and Physic\" (1812)\n\nT: Farce\n\nW.B. RHODES: \"Bombastes Furioso\" (1810)\n\nT: Burlesque tragic opera (1 act)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nR: In only a short impression the Herald wrote that \"the performances went off with much spirit amidst repeated plaudits and continual bursts of merriment. The present company seems likely to become highly popular and the public are much indebted to them for according such seasonable diversion at this dull period of the year\" (NCH 1.2.1851).\n\n21.4.1851 (Mon)\n\nG. COLMAN Jr: \"Heir at Law\" (1797)\n\nT: Comedy (5 acts)\n\nJ. TOWNLEY: \"High Life below Stairs” (1759)\n\nT: Farce (2 acts)\n\nC: Amateurs\n\nTh: Theatre Royal (A)\n\nN: Final performance of the season.\n\nR: About the actors the critic thought it \"uncourteous to select where all did their best and there was much to praise; we will, therefore, only say in allusion to Heir at Law that STEADFAST maintained the character of the fine old English bachelor with spirit”. In the same issue appeared a letter from \"A Stranger\": \"The character of Dr. Pangloss (in Heir at Law) was performed with much quiet humour and the pedantic stolidity of an L.L.D. and A.A.S. (sic!) were exceedingly well portrayed, though at intervals much too low to enable the back part of the audience to catch the full force of the quotations\". The Herald added that the part of Dr. Pangloss is, perhaps, the most difficult in the play, for an Amateur to sustain; the curt witticisms and various learned quotations require an experienced actor to give with effect\".\n\nHigh Life below Stairs \"flagged somewhat from the previous exertions of the actors, but we must not omit to notice the excellent acting in the representative of the Lord Duke's servant'\n\nDespite this and in spite of the editor not being very much satisfied with some of the language in the plays he thanked “our young friends for their kindly endeavours to promote amusement amongst the community, they were spared neither trouble, time nor expense to cater for the intellectual appetite of Shanghai in the classical drama” (NCH 26.4.1851).\n\n26.1.1852 (Mon)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nH. CAREY (music: J.F. LAMPE): \"The Dragon of Wantley\" (1837)\n\nT: Burlesque opera (3 acts)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211804, "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": 219, "title": "RAS-1989", "content_text": "194\n\n6.5.1852 (Thur)\n\nJ.M. MORTON: \"Attic Story\" (1842)\n\nT: Farce (1 act)\n\nR.B. PEAKS: \"The Haunted Inn\" (1828)\n\nT: Farce (2 act)\n\nC: Amateurs\n\nF: Music, i.a. selections from Mozart's “Le Nozze di Figaro\" and other operas. Epilogue.\n\nTh: New Theatre Royal (A)\n\nN: Last performance of the season\n\nR: Again there was a new drop scene. \"A View near Palermo, a very pleasing view of an Italian villa with the bay and hills in the background\". The pieces were \"well performed and excited much merriment, especially the mistakes of the Attic Story\" (NCH 8.5.1852).\n\n27.1.1853 (Thur)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nG.A.A. BECKETT: \"The Turned Head\" (1834)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: Imperial Theatre (B)\n\nN: First performance of the season\n\nR: After not a little uncertainty about the state of affairs respecting the theatre, finally the management for the new season was laid in the hands of Horatio BUSKIN (a compound pseudonym: Horatio, from Hamlet; Buskin, the boot worn by Greek actors) who succeeded \"Doldrum\".\n\nFor a \"very good attendance graced by many of the beau sexe\" the evening \"came off with great éclat\" (NCH 22, 29.1.1853).\n\n23.3.1853 (Wedn)\n\nJ.M. MORTON: \"Betsey Baker\" (1851)\n\nT: Farce (1 act)\n\nW. BROUGH: \"Apartments\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue; comic songs\n\nTh: Imperial Theatre (B)\n\nR: In the presence of the British Superintendent of Trade and Governor of Hong Kong, Sir George Bonham, Betsey Baker turned out to be \"a most decided and palpable hit, received throughout with shouts of laughter and applause\". Bonham was in Shanghai on his way to Nanking which had been taken by the Taipings on March 19. The Rebellion had a profound effect on the foreign community and although the Taipings enjoyed for some time a lot of sympathy, on this occasion they were satirised in a **most original and witty Prologue**: \"The Manager appeared before the curtain, in a state of intense excitement, informing the audience of mutiny in the corps! Dreadful consequences!! No performance!!! What could be done!? Then arose such a \"Row and Bobbery\" [Bobbery: an Anglo-Indian word meaning 'noise, disturbance' - JH] led by those who were in the secret and poor Horatio BUSKIN could scarcely be heard amidst the crash of broken glass and was almost unable to face the shower of oranges aimed at his devoted head. An amiable conspirator elevating himself on a bench expressed most loudly and eloquently his indignation at this state of affairs; however, after a parley with the Manager, he proposed a compromise, and the curtain was drawn up exposing the corps evidently in a state of 'Rebellion'. Fortunately they would listen to reason and the 'refractory members' agreed to 'go on' for this occasion, and the Manager retired with...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211807, "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": 222, "title": "RAS-1989", "content_text": "197\n\nfrom Shanghai on the 20th. Despite that, the \"soirée\" was \"kept up to a late hour with great spirit\". The programme consisted of tunes by Dabney, de Costa and Tripp: one of them was called \"Japanese make yourselves ready\" (NCH 26.5.1855).\n\n23.1.1856 (Wedn)\n\nE. MAYHEW: \"Make your Wills” (1836)\n\nT: Farce (1 act)\n\nW. BROUGH: \"No 1 Round the Corner\" (1854)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: D\n\nN: Once more politics crept into the theatre since, due to the Anglo-French campaigns in the Crimean War, \"the proscenium was very tastefully emblazoned with the arms and ciphers of the Allies”. The drop scene now represented the \"Lake of Geneva with the far famed Castle of Chillon” (far famed because of Lord Byron's poem \"The Prisoner of Chillon\"). For a change the Herald allowed itself some criticism of the amateurs, but about the costumes only: \"We are perfectly aware of the great difficulties which beset the wardrobe department of the Theatre here, but still we think that two or three alterations might be made with advantage. It must be remembered that the assumption of a part on the stage requires the submergence of the individual into his assumed character. Proteus must not be more unlike his last shape than the actor must be unlike his mere self and the difficulty of effecting this is enormously increased by an appearance in every-day costume. In melodramatic pieces some decided change is absolutely necessary because success depends on the power of exciting the sympathies of the audience for the various situations of the actors and it is quite impossible that the desponding accents of one young gentleman or the grasping villainy of another (both of whom we know to be very good fellows and far from desponding or hypocritical characters) in the garb of 1856 can excite these sympathies. In Farce it is less important because the effect depends upon a successful appeal to our sense of the ludicrous and this may be done by situations which are quite within the range of every-day life. (...) It also struck us that a little more attention to the chronology of dress would be attended with increased effect; there were two or three anachronisms: for instance the mob cap of Mrs. Foreright (a most admirable 'make-up' by the way) hardly accorded with the modern elegance of Clara; or the venerable beard of the implacable Mr. Ireton with the modern costume of his disinherited son. It is astonishing how greatly unity in these matters adds to the effect of such performances and in spite of the difficulties of such performances and in spite of the difficulties of securing dresses we think a consultation between the Manager and the performers might produce a harmony which would be attended with the best effect”. The music too was thought to be \"ineffective\", but for the remainder it was, as usual, amusing, with Whitebait at Greenwich as the hit of the evening. The character of Buzzard — by no means a graceful one — was played with great effect and we heartily congratulate Mr. SLOWCOME upon the power he displayed\". In Make your Wills the reviewer could not \"forbear mentioning the excellent impersonation of Joseph Bragg by Mr CLAY\" (NCH 26.1.1856).\n\n21.2.1856 (Thur)\n\n—\n\nJ.S. COYNE: \"The Infanticidal Farce\" (1846)\n\nT: Farce (1 act)\n\nMrs. C.G.F. GORE: \"A Good Night's Rest\" (1839)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"Slasher and Crasher\" (1848)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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 }, { "id": 211812, "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": 227, "title": "RAS-1989", "content_text": "202\n\nByeplay showed that, although his first appearance here, it is by no means his first attempt at acting\". But another anti-French jibe was added when he wrote: \"Mrs. NESBIT and Miss DEXTER play indifferently and we are rather proud of it — for as they only profess to play English female characters it was no wonder that they did not feel at home\". These acid comments drew forth a letter from \"Another Man on the Bund\" in the Herald of May 2 in which a counterweight was offered: \"Are we to take the opinion of this would-be 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 and the repeated calls at the fall of the curtain; are we to believe that a piece that has had an almost unprecedented run in both England and America and in the former country was played by the express command of Her Majesty at her own palace is worthless or so bad because condemned by 'The Man on the Bund?' (...) My own and the general opinion outside is that The Man on the Bund at the time of writing the above was either labouring under a severe attack of bile or intensely disgusted that the acknowledged best performance ever given here should have been given without the assistance of himself or his darling Peter Proteus\". After, at any rate his disappointment about Still Waters, in A Capital Match Mr. BRUSHWOOD restored \"The Man on the Bund\" to his comfort and equanimity, nay more, utterly overturned our critical gravity and made us laugh like the veriest schoolboy at a favourite pantomime\". Mr. Beverly NEWCOME made his debut and he appeared to be quite at home in the naval character and we admired his style almost as much as the widow did. And the widow; none other than Mrs. NESBIT. It was also the occasion on which the critic showed his disapproval of the new interior of the theatre: \"'On entering the Thespian temple, I observed that there had been a change in the decoration of it - I cannot add improvements. The same taste which had furnished me with a posting bill streaked all over with lightning threatened to overwhelm me with a fall of flowers and garlands from the roof and treat me as if I were a prima donna or the boeuf gras of a Parisian festival\". Yet, thinking about Mrs. Nesbit, he continued ironically: \"What will a man not undergo when a woman is on the tapis! So, in imminent danger of being garlanded, like the Ass of Silenus [attendant of Bacchus usually represented as riding on an ass, drunken and crowned with flowers — JH] in a classic fresco, I took my seat and, unfolding my portentous play bill, began to scan it over at my leisure\". (NCH 25.4.1857).\n\n8.10.1857 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nB.N. WEBSTER: \"The Golden Farmer\" (1832)\n\nT: Domestic drama (2 acts)\n\nJ.S. COYNE: \"Binks the Bagman\" (1843)\n\nT: Farce (1 act)\n\nC: The \"Union Theatrical Company of the U.S.S. San Jacinto\"\n\nTh: On board ship\n\nN: More entertainment had been given by the crew of this ship, but this is the only one which has been recorded.\n\nR: Specially noticed was the prison scene in The Golden Farmer wherein the robber \"takes a tender farewell of his beloved wife and infant daughter Louisa. It brought moisture to the eyes of many\". Could it be of laughter, bearing in mind the ruling travesties? (NCH 10.10.1857). The San Jacinto was a U.S. warsteamer with a crew of 218.\n\n29.12.1857 (Tue)\n\nEntertainment by Mr. George Henri, a conjurer and ventriloquist. Th: Theatre Royal (C)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211815, "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": 230, "title": "RAS-1989", "content_text": "205\n\nN: First performance of the season\n\nR: Alter the usual doubts about the formation of a theatrical company for the season, two plays were given this evening. The theatre had been redecorated and there was a new drop scene, not quite to the liking of the critic though: \"however picturesque and attractive the drop scene may be it ought not to absorb the attention of the onlookers to the exclusion of other objects quite as attractive and much more interesting\". Considering how much stage furniture was normal at that time, this performance must have been very crowded!\n\nOne of the plays, Done on Both Sides, also came in for some sharp remarks, yet this time there was no public outcry in the Herald. But for the remainder the principal character, Henry Jasper (in A Bachelor of Arts) was most successfully personated by Mr. NEWCOME who greatly excelled his efforts on a former occasion and succeeded in placing himself in the foremost ranks of our genteel comedians. Not less finished and effective was the acting of Mr. PICKWICK, in the character of Mr. Thornton. It would, indeed, be difficult to conceive a more quiet and judicious representation of the intelligent, gentleman-like, elderly merchant and man of the world than this performer succeeded in giving. \"Mr. PICKWICK as one of the new members of the corps, we look upon as a decidedly valuable acquisition\". And of course there was that \"first star of the galaxy\" Mrs. NESBIT as Emma Thornton with her \"astonishing powers of portraying the multifarious and often uncomprehensible traits of character which make up that delightful enigma 'woman'\". In Done on Both Sides \"our old favorite Mr. BRUSHWOOD appeared in the character of Pygmalion Phibbs, a veterinary Surgeon\" (NCH 13.2.1858). For behaviour of some members of the public see Survey.\n\n16.3.1858 (Tue)\n\nJ.H. PAYNE: \"Charles the Second\" (1824)\n\nT: Comedy (2 acts)\n\nH. LILLIE: \"As Like as Two Peas\" (1854)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by Messrs Phu & Mor; a selection of overtures and operatic morceaux\n\nTh: Theatre Royal (C)\n\nN: Second performance of the season.\n\nR: Again one of the pieces, As Like as Two Peas, was not quite up to the standards of the reviewer: \"what was successful in creating laughter was due to the acting, certainly not to the play\". Mrs. NESBIT got some competition tonight for an \"actress of much promise made her debut before the Shanghai audience [Miss WALTERS – JHJ]. The lady-like manner and finished toilette of the new candidate created quite a sensation\". Payne's Charles the Second was far more to the taste of Herald: \"On this occasion the corps took a large step backward — not, we would for an instant wish to infer, in point of ability, but merely in point of time. Hitherto their efforts have been enlisted upon contemporaneous subjects upon the manners and custom of the present day (this was not quite true, see e.g. 21.4.1851 and 26.1.1852). Their characters have been taken from the sunny side of Regent Street or the genteel suburbs of Clapham and exhibited on the stage in the costumes to which the genius of living tailors has brought us, and which we, in our foolish vanity, may consider elegant and becoming, but which, it is mortifying to think, will furnish a subject of lively mirth and ridicule to our great-grandchildren. The comedy selected went back to the time of Charles II and was illustrative of the manners of himself and his court. The scenes were laid in Whitehall and Wapping; and the characters were the courtiers of the merry Monarch and the occupants of a hostelry. The mise-en-scene, considering the means the amateurs have at command, was very well arranged and the two royal and noble revellers, together with the attendant Page and Lady Clara, were dressed with great elegance and effect.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211817, "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": 232, "title": "RAS-1989", "content_text": "207\n\nplays; the wood scene we thought very effective and true to nature\". This is one of the few times that at least some slight attention is paid to the staging of a piece. (NCH 8.5.1858).\n\n28.9.1858 (Tue)\n\nR.B. SHERIDAN: \"The Rivals” (1775)\n\nT: Comedy (prologue, 5 acts, epilogue), and two other, unnamed, light pieces\n\nC: Officers of H.M.S. Retribution\n\nTh: On board ship\n\nR: This must have been a long night for in addition to Sheridan's The Rivals (a full-length five-act comedy in which Mrs. Malaprop was played by \"Mrs. Taylor\") there were two other light pieces of which the titles have not been recorded. Small wonder then that \"our reporter did not wait to see as the hour was late and he had to rise early to see the comet\" — which had first been observed on September 15. (NCH 2.10.1858)\n\n2.10.1858 (Sat) and\n\n6.10.1858 (Wedn)\n\nConcerts by Mr. Martin Simonsen, violin, and some local amateurs.\n\nProgramme:\n\nCharles Auguste DE BERIOT (1802-1870): Seventh air with variations, Martin SIMONSEN: \"Sounds from Home\", Heinrich Wilhelm ERNST (1814-1865): **Andante” (= Elegie?), N. PAGANINI: \"Carnival of Venice\", Some German songs.\n\nTh: Theatre Royal (C)\n\nR: That the scarce recitals by professional musicians did not draw the same public attention as the amateur actors has already been pointed out in the Survey. On October 2 the attendance was not large, but for the sixth \"a considerable improvement\" was observed and it was hoped there would be a full house on the 12th so that the artist would not be left **with cause to regret his visit to this remote place”. The critic, \"'T.\", gave himself an air of the specialist when he wrote that \"though we do not find any attempt at the dignity and breadth of style which are the characteristics of the greatest performers of the age, we are glad to recognise an execution at once brilliant and lively and in some respects really astonishing\"; and he regarded Mr. SIMONSEN as \"a worthy member of that particular school of which De Bériot was one of the brightest ornaments (De Bériot was a famous violinist who had been forced by illness to end his career in 1852). It must be assumed that the writer had heard other musicians in Europe — where else? — with whom he could draw a comparison. These were the days without radio, gramophone or compact disc! He was apparently a lover of more serious music, for he added wrily: \"We presume it is necessary occasionally to introduce pieces of a light and striking character, but for our own part we deprecate the production of such solos as 'Life on the ocean' **. As to those who assisted Mr. SIMONSEN \"T.\" found it **creditable to this small Settlement that it can produce so able and numerous a body of amateurs who evidently study music for its own sake. We venture to ask them to persevere — it is a science which will amply reward its followers, which will repay a thousandfold its earnest students\". (NCH 9.10.1858). In well-to-do circles in Britain a musical education was considered a mark of good breeding and probably a number of residents had acquired their instrumental skill in youth. Others could profit from the piano lessons that were advertised in December 1858: they were given \"at moderate charges\" and persons interested should apply to \"D.D. at Mr. W.H. Moore's, Hongkew\". Why all would-be artists in Shanghai were so mysterious about their true names remains an enigma. The initials D.D. do not suit any of the residents in the *Shanghai Almanac for 1858'. W.H. Moore is listed in it as a pilot.\n\nT", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "series_use_hku_proxy": false, "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211822, "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": 237, "title": "RAS-1989", "content_text": "212\n\n26.12.1861 (Thur)\n\nConcert by Signor Robbio, violin, and some local amateurs, Programme:\n\n4\n\nL. VAN BEETHOVEN; Trio for strings in E-flat opus 3, V. BELLINI: “Norma”, the aria 'Casta Diva' arranged for violin, C.A. DE BERIOT: Tremolo\", C. GOUNOD: **Meditation upon J.S. Bach's first prelude\", i.e., the famous Ave Maria, C.M. von WEBER: \"Der Freischütz”, cavatine (presumably \"Und ob die Wolke sie verhülle”, act III), arranged for cello and piano. Sir Henry BISHOP: \"Home sweet home\" (from the opera \"Clari, the maid of Milan'), Sr ROBBIO: \"Grande Valse Diabolique“, In addition: some quartet and solo singing by amateurs.\n\nTh: N.N.\n\nR: Today the second concert by the violinist Signor ROBBIO came off \"for a very large audience\". In November he had made his debut in Shanghai but because of a gap of three November issues in the file of the Herald I have been using no details can be given. Once more, however, the paper seems to have been discontented with the selection of the pieces. Not so tonight, with the exception of one composition by Sr Robbio himself, **a work of the Paganini school” of which the critic was evidently not a lover. About the interpretations by the violinist, though, there was but praise; e.g. \"he greatly charmed his audience by the power and feeling with which he executed the beautiful air from Norma, 'Casta Diva'\". So all was enjoyable, the more so as \"for the moribund piano used at the last concert a fine 'Broadwood' was substituted, which displayed to great advantage the admirable playing of the gentleman to whom St Robbio was so much indebted for his accompaniment\". One letter writer went even so far as to exclaim that such delights in Shanghai are indeed 'like angels' visits few and far between' \"' (NCH 28.12.1861).\n\nFebruary and March 1861\n\nPerformances by \"Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew\n\n-\n\n―\n\nוי\n\nN: During the months of February and March \"Lewis' Equestrian Australian Troupe\" gave a large number of performances, of which the first one was announced for February 15 and the last for March 17. The public was entertained with horses and artists, among whom Mr. and Mrs. COUSINS, Mr. BARLOW, Senior RAPHAEL, Jessi GARDONI, **Austin Shanghai**, and “Little Ella\". For all, benefits were held in March. It was not the first time that the troupe had operated on the China Coast. In December 1859 they had visited Hong Kong (CM 15.12.1859, 22.12.1859).\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nH\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: \"The Goose with the Golden Eggs' T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\nF: Music by the band of the 67th regiment\n\nTh: Theatre Royal (G)\n\nN: First performance of the season\n\nR: Casts:", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211825, "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": 240, "title": "RAS-1989", "content_text": "215\n\nProgramme:\n\nC.M. Von WEBER: \"Der Freischütz\", overture; by Messrs Essex and Ewing, piano. Sir Henry BISHOP: \"Foresters sound the cheerful horn“ (glee). Heinrich PROCH (1809-1878): \"Within the grove's deep shadow\", a song by Mr. J.P. Tate, W.A. MOZART: String quartet No 7 by Messrs Tate and Howell (violin). Ewing (viola) and Essex (cello). William HORSLEY (1774-1858); \"By Celia's Arbour\" (glee), F. MENDELSSOHN-BARTHOLDY: \"Andante, presto and allegro vivace\" (from?) by Messrs Essex and Howell. Ibidem: “Andante and finale\" (from?), by Messrs Essex and Howell, Sir Henry BISHOP: \"Sleep gentle lady\" (glee), William Vincent WALLACE (1813-1865); **The Bellringer\", a song by Mr. Essex, F. von FLOTOW: “Allessandro Stradella\", fantasia, by Messrs Essex and Howell, William HORSLEY: \"See the chariot at hand\", song, L. van BEETHOVEN: \"Egmont\", overture, played on two pianos by Messrs Essex and Ewing.\n\nTh: Theatre Royal (G)\n\nR: This was the first occasion on which the names of the amateur musicians who entertained the public were mentioned. Some can be traced in the **Shanghai Almanac for 1862”. others belonged to the military forces. Thus the names have come to us of the following gentlemen: H. Cope and E.C. Essex (both of Geo. Barnett & Co). D.A.C.G. Ewing. F.R. Gantwell (Silk broker), A.A. Hayes Jr (of Olyphant & Co), Howell, Inglis, J.M. Nixon (of Blain, Tate & Co). J. Priestley Tate (of Blain, Tate & Co; Municipal Council member 1861-1862) and J. Wheatly (of Reiss & Co). In general the Herald was very satisfied: \"It was pleasing to see the gentlemen who volunteered to throw aside for the nonce the cares of business and entertain con amore their less gifted fellow residents with a charming chamber concert. Everything was conducted in a quiet gentlemanly manner so that we imagined ourselves in a drawing room more than a theatre. There was no attempt at grandeur of display or extraordinary performance on special instruments which characterize too much the quasi-musical taste of the day where the composition of the author is sacrificed frequently to the execution of the performer and the audience is led to think more of the latter than the former\". These were rather stringent remarks for someone living in an area where very few opportunities arose to compare musical qualities of instrumentalists. Yet the argument of faithfulness to the author's or composer's intentions crops up from time to time and that was obviously regarded as important by the Herald. Unfortunately the acoustics of the theatre were not of the very best so that \"Mr. TATE's delicate tenor voice (in the song by Proch) could not fill the house sufficiently for all to hear the diminuendo passages of his beautiful voice\". (NCH 18.4.1863). The Lancashire Relief Fund had been established in order to help those in Britain who had become a victim of the stoppage of cotton imports from the Southern states of America (due to the Civil War), with the result that numerous labourers in the mills were laid off.\n\n29.4.1863 (Wedn)\n\nPerformances by the amateurs of the Royal Artillery.\n\nNo titles of plays were recorded.\n\nTh: Theatre Royal (G)\n\nR: In consequence of the \"great success\" a \"Second Fashionable Night” would be given on May 4th (NCH 2.5.1863).\n\n4.5.1863 (Thur)\n\nAs on 29.4.1863.\n\n1.8.1863 (Sat)\n\nThe last of a series of performances by Mr. Smythe's company. Soloists: Miss Amelia Bailey (singing) and Martin Simonsen (violin) Th. N.N. (H)\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211826, "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": 241, "title": "RAS-1989", "content_text": "216\n\nR: Nearly five years after his last recital in Shanghai, Martin SIMONSEN returned to the port, this time as a member of \"Mr. Smythe's troupe\". There was also the novelty of a lady singer, Miss Amelia BAILEY, who \"could not fail to render the entertainment attractive even had her voice been less excellent than it is\". This was the last night of a series for which public interest had not been particularly large; only on July 31st had there been an \"excellent house\" and in a reproaching comment, the Herald trusted that the company would \"meet with more uniform support at Hong Kong, the residents of which are reputed more willing to put up with a little heat for the sake of an evening's amusement\". (NCH 1,8,1863).\n\nOctober 1863\n\nOn October 24, the North China Herald informed its readers that \"the Circus Company announced more than a year ago as upon its way to Shanghai has at length arrived and promises to be a valuable means of dispelling the ennui inseparable from winter in China\".\n\n17.10.-23.10.1863\n\nA series of promenade concerts by Miss Amelia Bailey (singing) and Marquis Chisholm (piano), as well as the Rhenish Band.\n\nTH: N.N. (H)\n\n7.11.-13.11.1863\n\nA continuation of the concerts mentioned above.\n\nR: In spite of the meagre support met in Shanghai, the Smythe troupe ventured to return in October after a visit to Nagasaki. This time the concerts were more rewarding - financially, for in November it was noticed that “Miss BAILEY has continued to draw crowded houses\" and that she has no reason to complain of the reception she has met in Shanghai\". (NCH 17.10, 24.10, 14.11.1863).\n\n10.2.1864 (Wedn)\n\nE.B. LYTTON: \"The Lady of Lyons\" (1838)\n\nT: Romantic comedy (5 acts)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: The port was honoured by a visit of Mr. FAYLOR's theatrical company in February and May. This was after it had toured Macao (in December 1863; see BGM 14.12.1863) and Hong Kong. There it was highly successful, but the first performance in the Yangtze city was unfortunately a failure in consequence of the ludicrous incompetence of that portion of the company which had been collected in Shanghai and pressed into service. The audience, moreover, was riotous in the extreme and displayed the worst possible taste in exciting themselves to increase the confusion on the stage\" (see also Survey, p. 22). (N.C.H. 13.2.1864).\n\n13.2.1864 (Sat)\n\nC. DANCE: \"Delicate Ground\" (1849)\n\nT: Comic drama (1 act)\n\nC. SELBY: \"A Lady and a Gentleman in a Peculiarly Perplexing Predicament\" (1841)\n\nT: Burletta (1 act)\n\nC: C.R. Faylor's travelling company\n\nTh: Olympic Theatre (H)\n\nR: It is not quite clear how many nights were given by the FAYLOR company. The Herald of February 27 states that **it still continues its performances\", but, in view of what had happened earlier, \"naturally enough has not been patronised by any of the ladies resident in the Settlement\". In May, it turns up again in the pages of the paper. (NCH 27.2.1864).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211828, "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": 243, "title": "RAS-1989", "content_text": "218\n\n1.4.1864 (Fri)\n\nR.B. BROUGH: \"Crinoline\" (1856)\n\nT: Farce (1 act)\n\nJ.M. MORTON: \"A Most Unwarrantable Intrusion\" (1849) T: Farce (1 act)\n\nN.N.: \"The Debut\"\n\nC: Messrs Shannon and Phillips with an amateur company\n\nTh: N.N. (H)\n\nR: Not too enthusiastically the Herald wrote that \"had Messrs PHILLIPS and SHANNON been better supported the performance would probably have proved a more decided success\". Must it be supposed that the amateurs were locals, who were otherwise so much lauded? (NCH 2.4.1864).\n\n4.4.1864 (Mon)\n\nRepeat of 30.3.1864,\n\n18.4.1864 (Mon)\n\nFirst performance by a Portuguese Amateur Dramatic Corps. TH: N.N.\n\nR: This first performance by a local Portuguese company was considered favourably: \"the arrangement of the costumes and acting were all good and amply rewarded a visit even by those who may not understand the Portuguese language\". (NCH 23.4.1864)\n\n25.4.1864 (Mon)\n\nJ. OXENFORD: \"Retained for the Defence\"\n\nT: Farce (1 act)\n\nC.S. CHELTNAM: \"A Lucky Escape\" (1861)\n\nT: Comic drama (1 act)\n\nT.J. WILLIAMS: \"On and Off\" (1861)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTH: N.N. (H)\n\nN: Second performance of the season\n\nR: This second Volunteer Corps night drew a crowded house and the reporter was pleased to see that \"a majority of the lady residents were among the audience\", the more so as they \"by their presence contributed to inspire the performers with the desire to excel which led to such complete success\". No names were given in the review, but in A Lucky Escape “it would have required very sharp eyes to detect that the actress [who personated Louise] was, in fact, an actor\". Here the truth is finally revealed! In On and Off he/she took the part of Letitia equally well. (NCH 30.4.1864)\n\n9.5.1864 (Mon)\n\nN.N.: \"Nature and Philosophy or Eighteen Years' Labour Lost\"\n\n(The only piece with this title in HED is one that had its first night on 18.4.1876. However, Brown, \"A History of the New York Stage\", Vol. I, p. 235 mentions a performance of this play on June 1 1833).\n\nG. COLMAN Jr: \"Love Laughs at Locksmiths\" (1803)\n\nC: C.R. Faylor's travelling company\n\nF: Comic songs, dance, music\n\nTh: Olympic Theatre (H)\n\nR: Casts:\n\nNature and Philosophy:\n\nBrother Philip: Major Pegus\n\nRenaldo: C.R. Faylor\n\nEliza: Mrs. E. Yeamans\n\nGertrude: Mr. E. Yeamans", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211829, "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": 244, "title": "RAS-1989", "content_text": "219\n\nColins: Mrs. C.R. Faylor Love Laughs at Locksmiths Robin: Mes. C.R. Faylor\n\nJuliac: Mrs. E. Yeanians\n\nDame Durden: Mr. E. Yeamans.\n\nPaddy Druden: C.R. Faylor\n\nOnly an advertisement for this performance was published in the Herald of May 7. The stage often has its own laws as to the gender of the participants. In amateur theatricals, men dressed up as women à l'outrance, whereas in a professional company like the present one male characters were personified by ladies and vice versa!\n\n14.5.1864 (Sat)\n\nPerformance by the amateurs of the Royal Artillery.\n\nNo titles of plays recorded.\n\nTh: N.N. (H)\n\nR: NCH 21.5.1864\n\n17.5.1864 (Tue)\n\nRepeat of 14.5.1864.\n\n26.5.1864 (Thur)\n\nJ.M. MORTON: “Whitebait at Greenwich\" (1835)\n\nT: Farce (1 act)\n\nC. MATHEWS: \"Little Toddlekins” (1852)\n\nT: Comic drama (1 act)\n\nJ.M. MORTON: “Poor Pillicoddy” (1848)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nF: Epilogue spoken by R.C. Antrobus, commander of the S.V.C.\n\nTh: N.N. (H)\n\nN: Final performance of the season\n\nR: For the occasion Edward LAWRENCE, who was a \"practitioner at Law and Notary Public” according to the “Shanghai Almanac for 1862”, had written an epilogue which was read by the commander of the S.V.C., Robert Crawford ANTROBUS (member of the Municipal Council 1864-1865). And, as if to give more weight to its reception, the Herald added that “many of the ladies joined in the applause” (NCH 28.5.1864).\n\n28.5.1864 (Sat)\n\n**An Evening at Home**: \"Songs interspersed with anecdotes and conversation of the most lively description”.\n\nC: Mr. J.R. Black\n\nTh: Olympic Theatre (H)\n\n31.5.1864 (Tue)\n\nAs on 28.5.1864.\n\n3.6.1864 (Fri) As on 28.5.1864.\n\n13.6.1864 (Mon)\n\n\"An Evening at Home - Great Jacobite Night\" by Messrs. J.R. Black and Marquis Chisholm. Performance of the play The Advantages of Bonnie Prince Charlie or the Rising of 1745 (No piece with this title appears in HED), as well as ballads and songs (including 'Vi ravviso from Bellini's \"La Sonnambula\", act 1).\n\nTh: Olympic Theater (H)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211830, "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": 245, "title": "RAS-1989", "content_text": "220\n\nR: In the advertisement it was stated that tickets could be obtained from Messrs Lane, Crawford & Co, G.A. Bretts' Auction Room and Astor House Hotel. Lane, Crawford was a general store that had been established in Kiangsi Road (ex Church Street) since June 1862. The Astor House Hotel was situated in Hongkew (see also Survey).\n\n17.6.1864 (Fri)\n\nPerformance by Messrs J.R. Black and Marquis Chisholm (piano)\n\nTH: N.N. (H)\n\nN: Benefit for Mr. Chisholm\n\nR: John Reddie BLACK (1827-1880) was born in Scotland, but went to Australia to earn a living as a singer in the goldfields. After arriving in Japan, 1861, he became the editor of some English newspapers and from 1876-1880 he edited several papers in Shanghai. In 1864 he still managed to combine his two vocations. His entertainment was \"composed of songs interspersed with anecdotes and conversation of the most lively description which he varied every evening. He has a splendid voice and sings with great taste and feeling\" (NCH 4.6.1864). His accompanist on the piano was Mr. L.C. PHILIPPS (cf. 1.4.1864), but the latter died of cholera and his place was taken by Mr. Marquis CHISHOLM who was no newcomer to the Shanghai public. On June 17 he played a fantasia on Japanese airs, composed by himself. As a matter of coincidence there was \"an absence of ladies, many of whom are at present rusticating in Japan\", but for the other evenings \"the audience has always comprised the majority of the ladies resident in the Settlement\". Evidently this had come to be considered as most desirable, perhaps to lend an air of respectability to the performance. (NCH 11, 18.6.1864).\n\n22.6.1864 (Wedn)\n\nH.J. BYRON: \"Il Treated Il Trovatore\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: Music by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\n+\n\nR: The first night of a new company, the \"*Shanghai Amateur Burlesque Company\" and, if we may believe the Herald, the Shanghai world \"was completely taken by surprise. So minute an acquaintance with stage proprieties was shown that many of the audience were disposed to believe that they were witnessing a display of professional talent”. (NCH 25.6.1864).\n\n29.6.1864 (Wedn)\n\nH.J. BYRON: \"Ill Treated 11 Trovators\" (1863)\n\nT: Burlesque extravaganza (1 act)\n\nT.H. LACY: \"A Silent Woman\" (1835)\n\nT: Farce (1 act)\n\nC: Shanghai Amateur Burlesque Company\n\nF: \"New burlesque music\" by the Rhenish Band\n\nTh: Olympic Theatre (H)\n\nR: This is one of those increasing occasions in which only a short summary was published in the Herald, while the full report had appeared in the North China Daily News, no longer extant for this year. In any case the hope was expressed that more would be seen of the company \"as soon as the cool weather sets in\" (NCH 2.7.1864). According to the advertisement, tickets were obtainable from Lane, Crawford & Co (see 13.6.1864), Hall & Holtz (Ship chandler, general store and bakers; at the corner of Foochow Road (ex Mission Road) and Kiangsi Road (ex Bridge Street); MacKenzie & Co (shipchandlers, general store and general agents on the Yangkingpang in the French Concession); the Astor House Hotel; and Phillips Restaurant (Phillips, Moore & Co, Nanking Road-ex...)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211833, "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": 248, "title": "RAS-1989", "content_text": "223\n\nharmonium by D.H. ENGEL\n\n17. \"Eupeidee\" (German student song and chorus) Th: Olympic Theatre (H)\n\nR: An advertisement only was published in the Herald of 29.10.1864. From it we learn that tickets could be obtained at the premises of Hiram Fogg & Co (ship chandlers, general store and auctioneers; one of the oldest foreign firms in Shanghai, located at the southern end of the Bund); Hall & Holtz (see 29.6.1864); A.A. Hayes Jr (Olyphant & Co, Nanking Road, ex Park Lane); and Herbert Cope (Geo Barnet & Co, Kiangsi Road (ex Church Street) and Hankow Road (ex Custom House Road)). It also becomes clear that there were at that moment at least two theatres in the Settlement: the Lyceum and the Olympic. The programme is interesting for the number of composers which have now been forgotten (Silcher, Kücken, Becker, Werner, etc.) and the piano arrangements of well-known opera arias.\n\n12.11-18.11.1864\n\nW. BROUGH: “Conrad and Medora” (1856)\n\nT: Burlesque pantomime (1 act)\n\nJ.B. BUCKSTONE: “Married Life\" (1834)\n\nT: Comedy (3 acts)\n\nJ.W. MARSTON: \"A Hard Struggle\" (1858)\n\nT: Domestic drama (1 act)\n\nW. SHAKESPEARE: “King John”, prison scene (Act IV, scene III)\n\nFurthermore:\n\n“Cinderella”, possibly by H.J. BYRON (1860) or T. TAYLOR (1845).\n\n\"Wonder\"; no contemporary pieces are listed in HED; only: Mrs. S. CENTLIVRE: “The Wonder. A woman keeps a secret” (1714) and H. CAREY: \"A Wonder or an honest Yorkshireman\" (1735).\n\nC: Lewis A.D.C.\n\nTh: N.N. (E)\n\nR: The Lewis company continued to draw large houses and ventured even to put a Shakespeare scene on the programme, from King John. It proved to be \"the hit of the week\". In it starred Miss Julia EDouin and Mr. Henry BIRCH: \"The acting was perfect. Miss Julia EDouin doing the fullest justice to the character of Prince Arthur and indeed taking the house by storm!\" (NCH 19.11.1864).\n\n19.11.1864 Sat\n\nH.J. BYRON: “Aladdin or the Wonderful Scamp” (1861)\n\nT: Burlesque extravaganza (1 act)\n\nC: Lewis A.D.C.\n\nTH: N.N. (U)\n\nN: Benefit of Miss Tilly Earl who played the role of Aladdin\n\nR: NCH 26.11.1864\n\n23.11.1864 (Wedn)\n\nR.B. SHERIDAN: \"The Rivals\" (1775)\n\nT: Comedy (5 acts)\n\nC: Lewis A.D.C.\n\nTH: N.N. (P)\n\nN: Benefit of Mrs. Gill who played the role of Mrs. Malaprop.\n\nR: NCH 26.11.1864\n\n26.11.1864 (Sat)\n\nH.J. BYRON: \"Aladdin or the Wonderful Scamp” (1861)\n\nT: Burlesque extravaganza (1 act)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211835, "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": 250, "title": "RAS-1989", "content_text": "225\n\n\"Lady Audley's Secret\", for which HED lists the following authors: C.H. HAZLEWOOD (1863), G. ROBERTS (1863) and W.E. SUTER (1863).\n\nC: Shanghai Amateur Burlesque Company\n\nTh: N.N. (I)\n\nR: For the first time we have at our disposal another source than the \"North China Herald\" for reviews of the Shanghai theatre, viz. the \"Shanghai Commercial Record\". In general, though, the reports were in the same vein as those in the Herald had been, but sometimes more information was given and different accents set. Hardly so for tonight's pieces: they \"reflected great credit on the talent of the performers and their endeavour to provide for the amusement of their fellow exiles has we are sure been highly appreciated\" (SCR 7.1.1865). The Herald only published an announcement (NCH 24.12.1864).\n\n11.1.1865 (Wedn)\n\nD. BOUCICAULT: \"The Octaroon\" (1859)\n\nT: Drama (4 acts)\n\nC: Thorne (travelling) Company\n\nTh: Lyceum Theatre (1)\n\nR: Sometimes the availability of two sources does not make it easier to make a judgement about the truth of things. What to think e.g., of the following reports on the Thorne Company: The Herald was short in its weekly summary of 14.1.1865: \"The Thorne Company have given a successful representation of the Octoroon at the Lyceum Theatre and announce a second performance for this evening\" (i.e., Saturday). In contrast, the Shanghai Commercial Record reported in its issue of January 25: \"We have had another theatrical troupe here, calling themselves the Thorne Troupe. But whether it is that Shanghai has had too much of this class of entertainment lately, or that the pressure of the times is so great that people do not care to attend the Theatre, we cannot say. Both these causes combined probably to render the patronage bestowed on the Thorne Troupe extremely small. Indeed, when they opened on Wednesday evening last [this should read January 11 - JH] it was literally to an empty house for we hear there was actually no one present to view the performance. The company, as well they might be, were so disgusted that they left next day for San Francisco where we sincerely trust they will be more successful\" Cf. however, Survey, note $2.\n\n14.1.1865 (Sat)?\n\nAs above?\n\n4.2.-10.2.1865\n\nConcert by Mr. Desvachez and Signor Enrico Grossi. Th: Town Hall of the French Concession\n\nR: The violinist DESVACHEZ returned to Shanghai, this time accompanied by the bass singer Enrico GROSSI who had earlier, in December 1863, performed with the Faylor Company in Macao (see BGM 14.12.1863). The concert had called for favourable comment at the hands of our music critic” — indicating that a more detailed review had appeared in the North China Daily News (NCH 11.2.1865).\n\n15.2.1865 (Wedn)\n\nAnnual Volunteer Concert by the Volunteer Band and the \"Shanghai Amateur Quartet Club**.\n\nTh: Shanghai Club\n\nR: The Commercial Record of 22.2.1865 gave the following impression of this concert: \"The Volunteer Band was assisted by the Shanghai Amateur Quartette Club and several gentleman amateurs. The large room in the Club House was lent for the occasion and we were glad to see it well filled. The gay uniforms of the Shanghai Mounted Rangers, mingled with the more sober dress of the Volunteers gave the room a very gay", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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...", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211839, "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": 254, "title": "RAS-1989", "content_text": "229\n\n19.4.1865 (Wedn)\n\nW.B. GILL: \"Aurora Floyd burlesqued\" J. TOBIN: \"The Honeymoon\" (1805)\n\nT: Comedy (5 acts)\n\nN.N.:\n\nA Rourer*\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. W.B. Gill's benefit\n\nR: SCR 22.4.1865; no review\n\n21.4.1865 (Fri)\n\nW. EDQUIN: A Christmas Pantomime\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Mr. Willie Edouin's benefit\n\nR: At a rather odd time of the year there was a Christmas Pantomime written by Willie Edouin, a member of the company (of Survey). Again the Shanghai Commercial Record was enthusiastic: \"This bold venture was completely successful. The local hits were clever and met with great applause. The usual jokes, fun and frolic were duly given and some of the jumping very dexterously gone through. The get up and accessories of the said pantomime deserve all praise and the dresses and costumes were remarkably tasteful. JULIA EDOUIN danced with her usual grace and elegance. Miss NYE was particularly pretty and helped in a great way to make the performance lively and amusing”. All in all it “would be long remembered by those who saw it as a decided hit in the theatrical annals of Shanghai\". About Jenny NYE the Record wrote further: \"The lightness and airiness of her motion and unaffected style did much to relieve some very heavy and stilted acting. Her manner is composed and, never attempting to do too much, always ends in doing well. Simplicity of manner is not a fault and a graceful quietness in acting has often more effect than the lofty dignity of a Tragedy Queen\" (SCR 5.5.1865).\n\n25.4.1865 (Tue)\n\nD. BOUCICAULT: \"The Colleen Bawn\" (1860)\n\nT: Drama (3 acts)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: Tonight Dion Boucicault's most famous Irish play, The Colleen Bawn, was given. The Record (5.5.1865) thought it a \"bold step for any company to attempt in Shanghai\". But the result was a success: \"the actors entered into their parts with a determined earnestness to succeed and on the whole it may be classed as a creditable performance\". Earlier, however, it had stated that the play \"depends much more on scenery than on acting\", a judgement that was hardly likely to please the author as it was not his intention to write a purely melodramatic piece, that indeed often heavily relied on spectacular Stage effects.\n\n26.4.1865 (Wedn)\n\nW. SHAKESPEARE: \"Richard III”, act V\n\nT: Tragedy\n\nN.N.: The Frantic Husband**\n\nand probably:\n\nA. MAYHEW & H.S. EDWARDS: \"The Goose with the Golden Eggs\" (1859) T: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211840, "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": 255, "title": "RAS-1989", "content_text": "230\n\nN: J.B. Creswick's benefit\n\nR: For the second time a scene from Shakespeare could be seen in Shanghai: now it was act V from Richard III in which the king is confronted with the ghosts of his victims, lights his enemies ('A Horse! A Horse! My kingdom for a horse!') and is finally killed. In what kind of version it was played must be a matter of conjecture, although the worst days of adapting, cutting and rewriting Shakespeare's dramas were over. The Record found it \"somewhat disappointing. Richard was too declamatory and an evident appearance of striving for effect predominated\". Who personated the role of Richard III was not stated, but as it was Mr. CRESWICK's benefit it may have been him. The Frantic Husband went off well, with Tilly EARL as the \"Injured wife\". Miss NYE as Mrs. Alibi and Mr. GILL in the leading parts (SCR 5.5.1865).\n\n27.4.1865 (Thur)\n\nNo titles were given, but probably:\n\nJ.H. PAYNE: 'T was (* (1825)\n\nT: Farce (1 act)\n\nJ.T. RODWELL: \"The Young Widow\" (1824)\n\nT: Farce (1 act)\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nN: Miss Nye's benefit\n\nR: Miss NYE was described by the Commercial Record as a \"ladylike and pleasing actress\" who had a good house. \"The performance was light and amusing. She acted neatly and with pleasing unconsciousness of doing so. This actress will some day occupy a position which will still further develop her as a personifier of light and agreeable parts\" (SCR 5.5.1865).\n\n28.4.1865 (Fri)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\n\"Cinderella\"; by H.J. BYRON? T. TAYLOR!\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (D)\n\nR: In Cinderella, a burlesque, Miss NAYLOR once again “looked and acted with well assumed demeanour\" one of the ugly sisters of the heroine. The latter part was possibly played by Mrs. GILL, \"the most accomplished of the troupe. She pays great attention to dress (...) and there is a quiet repose in her manner that is not easy to attain and only adds to the effect and spirit of her acting“. Miss Tilly EARL also took one of the parts; she was \"vivacious and fascinating\". Only the singing was \"not so good as usual, but one of the fair warblers was suffering from a cold\" (SCR 5.5.1865).\n\n29.4.1865 (Sat)\n\nH.J. BRYON: \"Aladdin or the Wonderful Scump\" (1861)\n\nT: Burlesque extravaganza (1 act)\n\n\"The Lady of Lyons\". Arthur either LYTTON or BYRON.\n\nC: Lewis A.D.C.\n\nTh: Lyceum Theatre (1)\n\nR: This was the farewell performance of the Company as well as Mr. Henry Birch's benefit. BIRCH was described as \"an old hand on the boards of the theatre. He has acted with many well known celebrities and to a certain extent still retains the manner of a school now almost extinct. The Company had left a good impression, although the Record's critic occasionally thought the actors deficient in making “a lucky hit by the casual introduction of a remark. They depend in some instances too much on the prompter and considering the case they act with one another this should not be\" (of the Herald's\n\nPage 255\n\nPage 256", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211841, "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": 256, "title": "RAS-1989", "content_text": "231\n\nattitude to such interpolations, 13.2.1863). The qualities of most players have already been touched upon; others were JOHN EDOUIN, “a capital dancer\"; his sister ROSE EDOUIN who, in burlesques, was \"not to be overlooked; there is a style about her which commands and her gesture is sufficiently theatrical to impose upon her audience where a little less or a little more demonstration might have failed.\" Mr. W.B. GILL whose acting was not \"thoroughly under command\", nevertheless had \"his place marked out for him and we hope some day to see him take up a leading position as a low comedian\". On the other hand Mr. ANDREWS was a useful actor who is careful in his parts does not do more than he needs to do\". The Company had had tolerably good houses and their departure was regretted for it was felt that Shanghailanders had seen \"perhaps the best company East of the Cape\". It went on to Foochow, Amoy and other southern ports. (SCR 5.5.1865).\n\n6.5.-12.5.1865\n\nTwo concerts by Mr. and Mme Simonsen (violin and singing resp.)\n\nTH N.N.\n\nR: For the first time since August 1863 Martin SIMONSEN came to the port, with his wife who was a singer, after recitals in Hong Kong. Rather disappointingly the first two concerts “did not draw very large houses\", but \"they were warmly applauded by all who listened to the spirit-stirring sounds of Mr. SIMONSEN's violin and the melting tones of Mme SIMONSEN's voice\", (NCH 13.5.1865).\n\n8.5, 1865 (Mon)\n\nPELHAM HARDWICKE: (= C. MATHEWS) \"A Bachelor of Arts\" (1853) T: Comic drama (2 acts)\n\nJ.M. MORTON: \"The Two Bonny Castles\" (1851)\n\nT: Farce (1 act)\n\nC: Amateurs of the Shanghai Volunteer Corps\n\nTh: Lyceum Theatre (1)\n\nR: According to both the Herald and the Record the pieces went off successfully (NCH 13.5.1865; SCR 22.5.1865).\n\n17.5.1865 (Wedn)\n\nConcert by Mr. and Mme Simonsen\n\nTh: Lyceum Theatre (1)\n\nR: In order to draw more people the admission charge at the Lyceum Theatre had been reduced to $3 with the result that a \"full audience was present” (NCH 20.5.1865). No programmes of these concerts were published.\n\n20.5.1865 (Sat)\n\nConcert by Mr. and Mme Simonsen, with the Band of the 67th Regiment.\n\nProgramme:\n\n\"Kathleen Mavourneen\" (song), **No not I** (song), C.A. de BERIOT: “Air varié”, N. PAGANINI: \"Carnival of Venice\", C.M. von WEBER: \"Aufforderung zum Tanz”, \n\n'Monastery Bells\", \"Valse de concert\" (song).\n\nTh: Lyceum Theatre (1)\n\nR: This was the last concert given by the SIMONSENS in Shanghai. According to the Shanghai Commercial Record it was a great success. Mme SIMONSEN sung the song \"Kathleen Mavourneen\" which \"literally “brought down the house\" (this must have been an exaggeration), after which she gave with great effect a very charming little skittish song “No not I'\". Her husband repeated some of the pieces he had performed seven years earlier (October 1858); Paganini's \"Carnival of Venice\" (with which the critic was \"not so much pleased\") and the variations by De Bériot. In addition \"he introduced one or two movements [into the Carnival of Venice? – JH] which we have", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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\"", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211854, "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": 269, "title": "RAS-1989", "content_text": "art \n\nof \n\nFrench \n\nconcession \n\nYANG KIM PANG \n\nGATE \n\nSTREET \n\nRace course \n\nTEMPLE \n\nBARRIER \n\nCHURCH \n\nNOISSIW \n\nROAD \n\n244 \n\nROAD \n\nROAD \n\nROADE \n\nROAL \n\nNORTH \n\nBRIDGE \n\nTHE \n\nSTREET \n\nᄆᄆᄆ \n\nBUND Shanghai Club \n\nWONG \n\n- \n\nPOO \n\nAVENUE \n\nS \n\nCONSULATÉ \n\nOf \n\nBRIDGE \n\nSTRECT \n\nKIRK \n\nROAD \n\nCHURCH \n\nROAD \n\nSOD CHOW \n\nAmerican \n\nROAD \n\nCREEK \n\nVoĮsseɔuo; \n\nAIVER \n\nTHE \n\nb Theatre Royal \n\nTae-ming Theatre \n\nOlympic Theatre \n\nd \n\nLyceum Theatre \n\nAppendix I!! \n\nPlan of Shanghai \n\nBUND \n\nPart \n\nStar \n\nHouse \n\nHotel", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211855, "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": 270, "title": "RAS-1989", "content_text": "# BIBLIOGRAPHY\n\n245\n\n1. Archives:\n\n\"London Missionary Society\": Incoming Letters, Central China.\n\n2. Newspapers and Periodicals:\n\n**Boletim do Governo de Macao**, Macao, 1855-1865.\n\n\"China Mail\", Hong Kong, 1845-1860.\n\n\"North China Herald\", Shanghai, 1850-1867.\n\n\"Puck, or the Shanghai Charivari\", Shanghai, 1871-1873.\n\n*Shanghai Commercial Record*, Shanghai, 1865.\n\n3. Books and Articles:\n\nAdams, W. Davenport: \"A Dictionary of the Drama. A Guide to the Plays, Playwrights, Players and Playhouses of the United Kingdom and America from the earliest times to the present\", Vol. I (A-G) (no more published). Philadelphia, 1904.\n\nAppleton, William W.: \"Madame Vestris and the London Stage\", New York - London, 1974.\n\nBarr, Pat: \"The Deer Cry Pavillion. A Story of Westerners in Japan 1868-1905\", London, 1968.\n\nBlack, J.R.: \"Young Japan. Yokohama and Yedo. A Narrative of the Settlement and the city from the signing of the treaties in 1858 to the close of the year 1879\", Tokyo-London, 1968 (reprint of 1880-1881 edition).\n\nBoase, Frederic: \"Modern English Biography\", London, 1965 (reprint of the 1891-1921 edition).\n\nBooth, Michael (Ed): \"English Plays of the 19th century\", Volumes I and IV, Oxford, 1969-1973.\n\nBritish Museum General Catalogue of Books.\n\nBrown, T. Allston: \"A History of the New York Stage from the first performance in 1732 to 1901, 3 vols.; New York 1964 (reprint of 1903 ed.).\n\nBuckley, C.B.: \"An Anecdotal History of Old Times in Singapore 1819-1867, Singapore, 1902.\n\nCarse, A.: \"The Life of Jullien\", Cambridge, 1951.\n\nChesterfield, Lord: \"Advice to his son on Men & Manners in which the principles of politeness and the art of acquiring a knowledge of the world are laid down in an easy and familiar manner\", Chiswick, 1826.\n\nConolly, L.W. and J.P. Wearing: \"English Drama and Theatre 1800-1900. A Guide to information sources\", Detroit, 1978.\n\nCordier, Henri: \"Bibliotheca Sinica\", second edition; 5 vols.; Paris 1904ff.\n\nDavis, Jim (Ed.): \"Plays of H.J. Byron\", Cambridge, 1984.\n\n'Dictionary of National Biography\".\n\nDyce, C.M.: \"Personal Reminiscences of Thirty Years' Residence in the Model Settlement. Shanghai 1870-1900\", London, 1906.\n\nEngle, Gary D.: \"This Grotesque Essence. Plays from the American Minstrel Stage\". Baton Rouge, 1978.\n\nFétis, F.J.: \"Biographic Universelle de Musiciens\", Paris, 1864; Supplement by Arthur Pougin, 1880.\n\nFitzgerald, Percy: \"Principles of Comedy and Dramatic Effect\", London, 1870.\n\n\"The New Grove Dictionary of Music and Musicians\", London, 1980.\n\nHaan, J.H.: \"Origin and Development of the Political System in the Shanghai International Settlement\" in: \"Journal of the Hong Kong Branch of Royal Asiatic Society\", Vol. 22 (1982), p. 31-64.\n\nHaan, J.H.: \"The Shanghai Library: A history of the first foreign library in Shanghai\" in: \"Journal of the Hong Kong Library Association\", 1987.\n\nHartnoll, Phyllis: \"The Concise Oxford Companion to the Theatre\", London, 1972.\n\nHoward, Diana: \"London Theatres and Music Halls, 1850-1950\", London, 1970.\n\nPage 270\n\nPage 271", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "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 }, { "id": 211858, "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": 273, "title": "RAS-1989", "content_text": "248\n\n39 NCH 14.3.1863.\n\n40 NCH 2.5.1863.\n\n41 NCH 17.6.1865, 24.6.1865.\n\n42 NCH 28.3.1863.\n\n43 For minstrel shows see: Engle; Toll.\n\n44 NCH 13.2.1864.\n\n43\n\n46 NCH 7.5.1864. cf Dictionary of National Biography, Suppl. 2, Vol. I, p. 545. Here it is mentioned that the touring group was disbanded in 1863, but this is obviously incorrect.\n\n47 NCH 15.2.1862. Could it be that the originator of this Company was the same as \"G.B.W. Lewis\", who built the Astley Amphitheatre in Melbourne in 1854? Cf MacGuire, p. 97, n. 1.\n\n43 NCH 19.11.1864.\n\n49 Smith, p. 243.\n\n50 SCR 5.5.1865.\n\n51 NCH 14.1.1865.\n\n52 SCR 25.1.1865. Probably they first tried their luck in Macao, but there the public interest was very small on February 11 and the next day the performance had even to be cancelled (BGM 13.2.1865).\n\n53 of Appleton, p. 54; about the decline of the benefit system see Troubridge, p. 87ff. 34 Performance 24.3.1852. NCH 27.3.1852.\n\n53\n\n36 NCH 26.1.1856. NCH 28.2.1861. Letter to the \"Daily Shipping & Commercial News\" 27.12.1861; see also NCH 9.10.1858.\n\n47 Carse, p. 70; this was in the 1851-1852 season. Biographical data are given in Fétis, Vol. VII, p. 229; Born in Bordeaux, 11.5.1815; he was admitted to the Conservatoire de Paris, 25.10.1830, where he became a pupil of the famous flautist Jean Louis Tulou. In 1832 he won the first prize in a competition for his qualités précieuses: beau son, reticulation brilliante dans les traits et belle manière de phraser. He spent part of his life in Britain, where he was engaged as the first flautist of the \"Théâtre de la Reine\". This should not read Queen's Theatre (as it is translated by Riemann and others), but Her Majesty's Theatre at the Haymarket. In Fétis it is stated that the theatre closed in 1853; in fact it closed for the season 1852-1853 (Howard, P. 111). Rémusat subsequently returned to France to become a member of the Théâtre Lyrique orchestra (Théâtre de la Gaîté-Lyrique?). Pougin, in the Supplement (Vol. II, p. 403) however doubts this: \"Je ne sais si le fait est exact; en tout cas Rémusat n'aurait pas tardé à retourner en Angleterre, car en 1856 j'ai connu cet excellent artiste à Londres où il occupait une brilliante situation\". He died in Shanghai 1.9.1880. Besides being a soloist he composed a number of concertinos, fantasias, etc for his own instrument.\n\n58 Supplement to Fétis by Pougin, Vol. II, p. 403. of note 57.\n\n59 BGM 4.6.1866, 18.6.1866.\n\n60 Lang, p. 51.\n\n61 A concert of the Philharmonic Society on 26.2.1867 is mentioned in NCH 23.3.1867.\n\n42 NCH 26.2.1859.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211860, "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": 275, "title": "RAS-1989", "content_text": "250\n\nadvertisement announcing the auction the ground lot was No 32; this can be found on a plan of the Settlement in the archives of the London Missionary Society (Central China, Incoming Letters, Box 1, Fold. 2. Jack D). That the theatre was in a godown adjoining the Commercial House is mentioned in an advertisement for a book auction that was to take place there (NCH 1.7.1854) and another adv. in the NCH 9.8.1856 (“Old Theatre on the premises of the 'Commercial House').\n\n95 NCH 18.4.1857.\n\n96 NCH 25.4.1857.\n\n97 NCH 2.5.1857.\n\n98 According to the Shanghai Almanac for 1855 Crampton's had rented lots 43 and 77. The plan in the L.M.S. archives shows these to be between Church Street and Bridge Street.\n\n26.1.1856.\n\n99\n\n100 NCH 1.1.1859.\n\n101 NCH 26.2.1859.\n\n102 NCH 19.2.1859.\n\n103 NCH 29.10.1864; adv. NCH 7.5.1864.\n\n104 NCH 26.11.1864.\n\n105 Cordier, III, col. 2232.\n\n106 NCH 2.10.1852.\n\n107 NCH 4.12.1852.\n\n108 NCH 28.5.1864.\n\n109 Information supplied at a meeting 16.11.1866; of NCH 24.11.1866.\n\nNCH 22.9.1866.\n\nNCH 17.11.1866.\n\n112 Minutes in NCH 24.11.1866.\n\n113 NCH 24.11.1866.\n\n114 For a brief survey of the Lyceum Theatre see: Shanghai-t'ung, p. 487-491.\n\n115 NCH 3.12.1864.\n\nNCH 25.6.1864.\n\n117 Darwent, p. 99; cf also Maybon & Fredet, p. 264-265. Wright, p. 390.\n\n119 White, p. 23. In the archives of the L.M.S. there are, in the correspondence, a number of references to printing activities, but they of course focus on religious tracts, etc. Only in some instances is there mention of \"commercial papers printed\" or \"Job work\" (letter 19.4.1853; Box 1, Fold. 4, Jack A).\n\n120 NCH 7.5.1853.\n\n121 NCH 12.3.1859.\n\n122 NCH 1.8.1863.\n\n123\n\n124 NCH 13.5.1865, 20.5.1865.\n\nof Pal, p. 121.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211989, "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": 404, "title": "RAS-1989", "content_text": "379\n\nThe Morning Post, Jan 1, 1901\n\nCover Page of La Politique de Pe'kin BM7 Jun, 1914, with\n\nSir Robert Hart on it\n\n1 booklet \"Topside Galan\" illustrated by Bessie L'E. Pirkis, in water\n\ncolour (MS)\n\n10 Chillon College Magazine, Vol II: XI XII (2 copies); Vol III: I,\n\nII, IV, VI, VII, VIII: VOL IV, 1\n\nSchool reports, 1937\n\nBundles of theatre programmes and theatre tickets\n\nMinutes of the Seventh Annual Meeting of the Board of Managers of the\n\nPeking University, January 16, 1906 (University Press)\n\nMisc. clippings, newspapers and magazines\n\nLoose papers, some with Robert's childish scribbling for Granny Some calling cards\n\n3 menus\n\nHong Kong and Shanghai Bank to Lady Hart, 29 Oct 1906\n\n5 photographs in an envelope addressed to E Prince (?) Hart Esq. 1 poem (MS)\n\nInvitations\n\nPostcards to Hart (Moore to Hart, 3 Aug 1909), Lady Hart (5), Bruce\n\n(1), Robert (6)\n\nBOX 5\n\nBundle of misc. letters to Robert\n\nBundle of misc. letters to Mr. & Mrs. Bruce Hart Bundle of misc. letters to Carrie and others\n\nMisc. clippings, scribbling, empty envelopes, etc. Robert Bredon to Lady Hart, 7 Sept 1911 27 May 1912 Bundle of papers for learning meaning and pronunciation of Chinese\n\ncharacters (MS)\n\n1 printed address accompanying the Testimonial to Sir Robert Hart GCMG. with Sir Robert Hart's Reply (Peking, 22 Aug 1890)\n\n1 printed letter, E.B. Drew to Alex. Jamieson, 28 August 1890 Letters to Lady Hart from various persons and institutions mainly\n\nregarding her finances\n\n1 typed letter to Editor of The Times, \"The China Crisis”, from H.\n\nCrouch Batchelor\n\n5 letters to Hart\n\nLetters from Hart", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212080, "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": 22, "title": "RAS-1990", "content_text": "EDITOR'S NOTE\n\nThe Author of the article \"Thalia and Terpsichore on the Yangtze. A Survey of Foreign Theatre and Music in Shanghai 1850-1865” (Vol. 29, pages 158-251), Dr. J.H. Haan, has drawn to the Hon. Editor's attention a number of typographic and other errors in the Article as noted below.\n\nPage 174 line 9 176, 30\n\n181, 28-29\n\n182. footnote\n\n191, 22-23\n\n192, 34\n\n192, 44\n\n192, 50\n\n198, 37\n\n198, 41\n\n199, 5\n\n205, 28\n\n208, 7-9\n\n212, 26\n\n212, 36-41\n\n214, 38\n\nto read \"(see: Calendar. 13.2.1963, 73.1863, 26.3.1863)**\n\ndelete brackets\n\n\"To such a humble mansion should resort\n\nSo by your usual bounty pray be led\n\nAnd build a lasting structure in its stead.\"\n\nonit\n\n“Allardyce Nicoll: A History of English Drama. I also found useful: W.G. Adams A Dictionary of the Drama\n\n**L.L.D. and A.S.S.\n\n\"they have spared neither trouble\n\n**(1737)**\n\nFrench since 1817)**\n\n**1814-1894**\n\n\"composed expressly\n\n**H. Lille\" \n\n16.2.1859 (Wedn)\n\nT. MORTON: \"Sink or Swim\n\nT. Comedy (2 Acts).... \n\n**TR62**\n\namit\n\n\"considering the slender means and appliances at command. We specially observed the costumes of the male characters as being tasteful, rich.............\n\n216, 37\n\nomit \"*p.22\"\n\n221. 25\n\nadd **(Thurs)**\n\n222, 28\n\nomit brackets\n\n227, 46-228, 3\n\nomit\n\n228, 7\n\n**J. Kenney**\n\n233, 46\n\n235, 19\n\n235, 27\n\n235, 29\n\n235,40\n\n236, 45\n\n239, 31\n\n239, 36\n\n**10.1.1865**\n\n\"^2.6.1859. 8.10.1859, 23.3.1865\n\n**28.3.1860**\"\n\n**26.1.1852. 27.1.1852. 18.2.1857**\n\nfootnote to read 139.\n\n*^5.5.1858. 10.5.60\"\n\n27.5.1824\"\n\n**14.12.1865**\n\nxxi", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212544, "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-1991", "page_number": 98, "title": "RAS-1991", "content_text": "78\n\nproblems were blamed no longer on the Cultural Revolution activists and the Gang of Four, but also on those presently in power and those in power before the Cultural Revolution.\" With the emergence of **exposure literature**, artists and writers began to experiment with new forms. Wang Meng, for example, writing less on political issues and more on the emotions and relationships of everyday life, experimented with a variety of styles, including stream of consciousness. His short story, The Butterfly, in which he successfully used the technique of stream of consciousness, won him national recognition.\n\nThe If I Were Real episode turned out, however, rather differently. In terms of interaction between political developments and those of art and literature in the post-Mao era, probably no other single instance can provide as much insight as the play If I Were Real does. By comparing it with Wang Meng's experiments and with a later case, the Bitter Love episode, conclusions about how much artists and writers could push politically and artistically can be better tested.\n\nIf I Were Real was initially a play script depicting a young man who deceives officials in Shanghai, by pretending to be the son of a high military officer in Beijing. Because of his supposed good connections, the young man is granted all kinds of privileges, from theatre tickets to having a “friend”, who was actually himself transferred from a farm to Shanghai. When he is finally caught, he protests that he has done nothing wrong. He explains: “If I were really the son of some high party official, then whatever I have done would be considered legal.\" Thus the playscript went beyond criticism of the Gang of Four to criticize the current system.\n\n1920\n\nAs for the form, the experimental side of If I Were Real was shown in its actual staging. Audiences participated in the whole process at the beginning of the play. Pre-planned, the play begins later than the set time. When the audience grows impatient and asks why it has not started, one actress would appear in the name of the theatre manager to tell them that they cannot begin until some important “officials\" arrive. Then the audience would grow even more impatient and protest against the inequality of treatment. Then those \"officials\" would appear, among them is the \"son\", and soon some \"policemen\" follow up to arrest him and explain the story to the audience. Of course, all of the people involved are performers.", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 215941, "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-2002", "page_number": 240, "title": "RAS-2002", "content_text": "174\n\nwhich the Police Commissioner handed over $20,000 without question when advised of the plot, though it was claimed that the bribe money came from the Shanghai triads leader Tu Yueh Sheng, then a refugee, albeit wealthy, in Hong Kong. Whatever the truth behind the story, it gained currency as it made the escape of General Yee and Admiral Chan Chak palatable to colonials by portraying it as an honourable act by the British to reward Yee for his assistance in saving them.\n\nIt was almost certainly also a smokescreen to disguise the removal from Hong Kong of something important to the British. MacDougall claimed in 1942 that he had not planned to go but had been persuaded at the last moment by senior government officials. MacDougall however was circumspect, careful not to betray sensitive information in an open letter. He could, however, say that during the last two years his work had 'become increasingly political in character. Officially neutral in the Sino-Japanese War, I had nevertheless behind the scenes consistently exerted what influence I possessed toward blocking and hampering the propaganda and other activities of the Japanese and the adherents of the Wang Ching Wei....I had worked very closely with Chinese organisations and did all in my power, consistent with the interests of the Colony, to aid them.' It should also be noted that he was not an officer of the colonial establishment but belonged to the Ministry of Information. He was to return to Hong Kong on liberation to reinstate the administration. While no high-profile officers escaped with the Chan Chak group, it is probable that some were carrying information. There were men from Army, Navy, and Air Force, and they were chosen for the mission, only one man being a \"guest.\"\n\n* xviii Major Goring was to spend much of the war attached to various strategic planning groups in the China theatre.\n\nThe extent of KMT activity in Hong Kong was considerable. Hong Kong was a sort of open house where all factions of Chinese politics from left to right could operate, as long as they were discreet. Overt acts of terrorism and subversion in other colonies, like the Malayan federation, were suppressed. The territory was also the port through which arms and armaments flowed into China. Technically this was in breach of the Hague Convention as Britain was supposed to be neutral, but there were ways of smuggling and circumventing the system. Baileys, the Hong Kong shipyard, built river gunboats that were outfitted with guns once they entered China. The same technology that enabled\n\nPage 240\n\nPage 241", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 } ]