RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 169 year after a visit to Hong Kong" for another run of several weeks. As was usual with repertory companies of this kind their output was vast, ranging from Planché's The Invisible Prince to Shakespeare's Richard III from which the fifth act only ("A horse! A horse! My kingdom for a horse!") was given "somewhat disappointingly". One other touring company is mentioned in the early Shanghai annals: the Thorne Company, which consisted of "seven gentlemen and two ladies" whose talents had been "extolled by the Hong Kong press", and which came to the Yangtze port in January 1865. Conflicting reports make it difficult to judge whether the group was praised as much in Shanghai as in Hong Kong. According to the Herald it had given a "successful representation of the Octoroon (by Dion Boucicault, on January 11 1865) and announced a second performance for the 14th". However, the Shanghai Commercial Record wrote that "the patronage bestowed on the Thorne Troupe was extremely small. Indeed when they opened on Wednesday evening last (January 11) it was literally to an empty house, for we hear there was actually no one present to view the performance. The company were so disgusted that they left next day for San Francisco". So many years later there is obviously no way in which we can verify either of these assessments, but it only stresses how unfortunate it is that the sources for the study of early Shanghai are not more abundant. 152x A special feature of some of these travelling groups should be noticed, namely the existence of benefit performances. Benefits had been known in Britain from the late 17th century; generally speaking the net proceeds of such a performance went to a member of the company, but gradually it was realised that the system had more disadvantages than advantages e.g. actors were frequently paid low salaries because of the, often highly uncertain, supplementary income that could be derived from the benefits. One of the first to try to abolish them was Madame Vestris in the 1830s, but they existed well into the 1870s. Both the Faylor and Lewis companies had kept the custom. Thus it was announced that on November 26 1864 "the benefit of J.B. Creswick under the distinguished patronage of the Consular authorities" would be given; on December 9, "Mr. H. Birch's benefit took place", and so on for nearly every member of the company. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 192 12.12.1850 (Thur) G.A.A. BECKETT: "Roofscrambler" (1835) T: Burlesque W.H. MURRAY: "Diamond cut Diamond" (1843) T: Farcical interlude (1 act) C: Amateurs Th: Theatre Royal (A) R: 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. 28.1.1851 (Tue) J. KENNEDY: "Love, Law and Physic" (1812) T: Farce W.B. RHODES: "Bombastes Furioso" (1810) T: Burlesque tragic opera (1 act) C: Amateurs Th: Theatre Royal (A) R: 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). 21.4.1851 (Mon) G. COLMAN Jr: "Heir at Law" (1797) T: Comedy (5 acts) J. TOWNLEY: "High Life below Stairs” (1759) T: Farce (2 acts) C: Amateurs Th: Theatre Royal (A) N: Final performance of the season. R: 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". High 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' Despite 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). 26.1.1852 (Mon) D. BOUCICAULT & C. MATHEWS: "Used Up" (1846) T: Comedietta (2 acts) H. CAREY (music: J.F. LAMPE): "The Dragon of Wantley" (1837) T: Burlesque opera (3 acts) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 194 6.5.1852 (Thur) J.M. MORTON: "Attic Story" (1842) T: Farce (1 act) R.B. PEAKS: "The Haunted Inn" (1828) T: Farce (2 act) C: Amateurs F: Music, i.a. selections from Mozart's “Le Nozze di Figaro" and other operas. Epilogue. Th: New Theatre Royal (A) N: Last performance of the season R: 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). 27.1.1853 (Thur) D. BOUCICAULT & C. MATHEWS: "Used Up" (1846) T: Comedietta (2 acts) G.A.A. BECKETT: "The Turned Head" (1834) T: Farce (1 act) C: Amateurs Th: Imperial Theatre (B) N: First performance of the season R: 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". For a "very good attendance graced by many of the beau sexe" the evening "came off with great éclat" (NCH 22, 29.1.1853). 23.3.1853 (Wedn) J.M. MORTON: "Betsey Baker" (1851) T: Farce (1 act) W. BROUGH: "Apartments" (1851) T: Farce (1 act) C: Amateurs F: Prologue; comic songs Th: Imperial Theatre (B) R: 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... ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 199 -- it may, however, improve on further acquaintance but we had no other opportunity of judging during the evening". The "Turkophonini” could be heard in a solo with variations and it was deemed "by far the most perfect and pleasing instrument of the two`. The Shanghai Redowa Waise (Redowa: a Bohemian dance) which had been "composed expressly for this Concert and dedicated to the Ladies of Shanghai — as the programme informed us", also performed on the Turkophonini was not thought of "very highly”, but it convinced the reporter that "the instrument is well adopted for that class of music". Obviously not everyone in the audience was of the same view, for the editor wrote in the Herald of September 27: "The critique of our reporter has been much discussed in fashionable circles and the correctness of his judgement as to the perfection of these new instruments questioned. Knowing his high attainments as a musician, we defer to his opinion. Matters of taste do not admit of dispute. De gustibus non est disputandum. We may all enjoy our own and as a second glass of wine enables us to pronounce better judgement as to its quality, so will this second performance (on September 29) by familiarizing us with the instruments enable us better to decide upon their excellence". In Hong Kong the China Mail could not speak "in very warm terms of praise at least as regards their suitability for solo performances" (CM 21.8.1856). On the other hand it admitted that "by men of cultivated taste M. Ali's talents are fully appreciated and it will be long ere those who have had the pleasure of listening to his performances will forget the sweet but powerful tones of the Turkophone or the duleet melody of the Grand Clarionet and Turkophonini" (CM 16.10.1856). Ali Ben Sou Alle was assisted by local amateurs who played a number of pieces including two Rossini overtures on the piano; and "very creditably" sung Mendelssohn's "The Fairest Flower". The evening was attended by a "numerous audience, comprising the beauty and fashion of our Settlement'' (NCH 20.8.1856). 29.9.1856 (Mon) A second concert by Ali Ben Sou Alle. No review was published in the Herald, only an announcement (NCH 27.9.1856). 18.2.1857 (Wedn) D. BOUCICAULT & C. MATHEWS: "Used Up" (1846) T: Comedietta (2 acts) J.M. MORTON: “Box and Cox" (1847) T: Farce (1 act) C: Amateurs F: Prologue Th: N.N. (C) ― R: The season opened both under the new management of "Peter PROTEUS" (again: a stage name, Proteus being an old Greek who could assume different shapes, as some actors are able to; also a character from Shakespeare's "Two Gentlemen of Verona') and with a new theatrical reviewer in the Herald: "The Man on the Bund" (for the current season only). And although some months later he was heavily criticized because of some strictures he made about the choice of plays, in general his articles in a highly personal style were a mere continuation of the "nothing but praise" attitude that so prevailed. Thus Used Up was "rendered with unquestionable ability by Mr. Peter Proteus, the manager" who himself played Sir Charles Coldstream; and Mr. CLAY gave the part of the forlorn, but blunt and honest blacksmith Ironbrace with much skill and effect". Making her debut Mrs. NESBIT impersonated Lady Clutterbuck: "One would not have thought that so much deceit could lurk under so smooth and charming a face". She brought to this part "not only much cleverness and knowledge of the feminine heart but a very imposing person and decided good looks; and one could not help thinking the baronet might have stumbled upon a less pretty face in his ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 225 "Lady Audley's Secret", for which HED lists the following authors: C.H. HAZLEWOOD (1863), G. ROBERTS (1863) and W.E. SUTER (1863). C: Shanghai Amateur Burlesque Company Th: N.N. (I) R: 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). 11.1.1865 (Wedn) D. BOUCICAULT: "The Octaroon" (1859) T: Drama (4 acts) C: Thorne (travelling) Company Th: Lyceum Theatre (1) R: 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. 14.1.1865 (Sat)? As above? 4.2.-10.2.1865 Concert by Mr. Desvachez and Signor Enrico Grossi. Th: Town Hall of the French Concession R: 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). 15.2.1865 (Wedn) Annual Volunteer Concert by the Volunteer Band and the "Shanghai Amateur Quartet Club**. Th: Shanghai Club R: 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 229 19.4.1865 (Wedn) W.B. GILL: "Aurora Floyd burlesqued" J. TOBIN: "The Honeymoon" (1805) T: Comedy (5 acts) N.N.: A Rourer* C: Lewis A.D.C. Th: Lyceum Theatre (1) N: Mr. W.B. Gill's benefit R: SCR 22.4.1865; no review 21.4.1865 (Fri) W. EDQUIN: A Christmas Pantomime C: Lewis A.D.C. Th: Lyceum Theatre (1) N: Mr. Willie Edouin's benefit R: 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). 25.4.1865 (Tue) D. BOUCICAULT: "The Colleen Bawn" (1860) T: Drama (3 acts) C: Lewis A.D.C. Th: Lyceum Theatre (1) R: 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. 26.4.1865 (Wedn) W. SHAKESPEARE: "Richard III”, act V T: Tragedy N.N.: The Frantic Husband** and probably: A. MAYHEW & H.S. EDWARDS: "The Goose with the Golden Eggs" (1859) T: Farce (1 act) C: Lewis A.D.C. Th: Lyceum Theatre (1) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 235 that in more congenial parts Mr. FUNNYDOG will help to compensate us for the loss of that most genial of humourists, our incomplete BRUSHWOOD". The critic ended with the following advice: "For the future it would be better to rehearse three pieces and play two of them the first night; then in the event of a second performance the piece which was received on the first occasion with the heartiest plaudits might be repeated, preceded or followed by the new Drama held ready and in reserve. We are inclined to offer this suggestion owing to the various complaints which we have heard of the lateness of the hour at which Thursday's entertainment concluded, and also from a selfish wish perhaps to have two dramatic treats instead of one” (NCH 16.12.1865). ## APPENDIX I ## Authorlist of plays staged in Shanghai 1850-1865 In this list full titles of the plays staged in Shanghai will be found as well as first nights in London (these generally according to Nicoll. History of English Drama). P: Performance in Shanghai ?: The play is listed under more than one author | Author | Play Title | First Night in London | P: Performance in Shanghai | | --- | --- | --- | --- | | AYTON, Richard (1786-1823) | "The Rendez-Vous" | 21.9.1818 | 24.3.1852 | | BARNETT, Morris (1800-1856) | **The Serious Family** | 30.10.1849 | 8.10.1859; 23.3.1865; 28.4.1865 | | A BECKETT, Gilbert Abbott (1811-1856) | "The Roofscrambler” | 15.6.1835 | 12.12.1850 | | | **Siamese Twins** | [14.4.1834] | 5.5.1853 | | | **The Turned Head** | 3.11.1834 | 27.1.1865 | | BERNARD, William Bayle (1807-1875) | "A Practical Man" | 20.10.1849 | 8.3.1854 | | BOUCICAULT, Dion (1822-1890) | **The Colleen Bawn or the Brides of Garryowen** | 29.3.1860 | 25.4.1865 | | | "The Octoroon or Life in Louisiana" | 6.12.1859 | 7.1.1865; 13.1.1865; 14.1.1865 | | | "Used Up" (with C. Mathews) | 1.6.1846 | 26.1.1853; 8.2.1857 | | BRIDGEMAN, John Vipon (1819-1889) | **I've Been Eaten My Friend!** | 8.9.1851 | 22.3.1854 | | BROOKS, Charles William Shirley (1816-1874) | "Anything for a Change" | 7.6.1848 | 14.5.1854 | | BROUGH, Robert Barnabas (1828-1860) | "Crinoline" | 18.12.1856 | March 1863; 16.3.1863; 1.4.1863 | | | **Medea or The Best of Mothers with a Brute of a Husband** | 14.7.1856 | 28.12.1864 | | BROUGH, William (1826-1870) | 'Apartments: Visitors to the Exhibition may be accommodated. A piece of extravaganza to suit the times' | 14.5.1851 | 23.3.1853 | | | "The Area Belle" (with A. Halliday) | 7.3.1864 | 30.9.1865 | | | "Conrad and Medora or Harlequin Little Fairy at the Bottom of the Sea" | 26.12.1856 | | 138 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 238 "Cool as a Cucumber" (24.3.1851). P: 26.3.1857; 30.3.1864; 4.4.1864 JOHNSTONE, J.B. (1803-1891) ? "Aurora Floyd" (May 1863). P: 26.11.1864; 17.4.1865 KENNEY, James (1780?-1849) **Love, Law and Physic** (20.11.1812). P: 28.1.1851 "Raising the Wind" (5.11.1803).144 P: 9.2.1858; 30.3.1864; 4.4.1864 **Sweethearts and Wives** (7.7.1823). P: 11.4.1865 **Truth out!** (7.3.1812). P: 10.11.1865; 20.11.1865 KÖRNER, Theodor (1791-1813) "The Governess" (= "Die Gouvernante"). P: 28.3.1864 KOTZEBUE, August Friedrich Ferdinand von (1761-1819) "The Harvest at Home". P: 28.3.1864 LACY, Thomas Hailes (1810-1873) "A Silent Woman" (17.8.1835). P: 29.6.1864 LILLE, Hubert "As Like as Two Peas" (30.6.1854). P: 16.3.1858 LINLEY, William (1771-1835) ? "The Honeymoon" (7.1.1797). P: 15.4.-21.4.1865 LOVER, Samuel (1797-1868) **The White Horse of the Peppers** (26.5.1838). P: March 1863; 16.3.1863 LYTTON, Edward Bulwer (1803-1873) "The Lady of Lyons or Love and Pride" (15.2.1838). P: 10.2.1864; 22.10.-28.10.1864(?); 29.4.1865(?) MADDOX, John Medex (1789-1861) "A Fast Train! High Pressure!! Express!!!" (25.4.1853). P: 8.3.1854 MARSTON, John Westland (1819-1890) "A Hard Struggle" (1.2.1858). P: 12.11.-18.11.1864 MATHEWS, Charles James (1803-1878) "A Bachelor of Arts" (under pseudonym: Pelham Hardwicke) (23.11.1853). P: 10.2.1858; 8.5.1865 "Little Toddlekins" (15.12.1852). P: 26.5.1864 "Used Up" (with D. Boucicault) (1.6.1846). 138 P: 26.1.1852; 27.1.1853; 18.2.1857 MAYHEW, Augustus Septimus (1826-1875) "The Goose with the Golden Eggs" (with H.S. Edwards) (1.9.1859). P: 13.2.1863; 17.2.1863; 26.4.1865 MAYHEW, Edward (1813-1868) "Make your Wills" (16.7.1836). P: 23.1.1856 MAYHEW, Henry (1812-1887) "The Wandering Minstrel" (16.1.1834). P: 24.5.1865 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 241 Aurora Floyd Burlesqued: W.B. Gill; 19.4.1865. The Babes in the Wood: J.H. Byron; 17.4.1865. A Bachelor of Arts: P. Hardwicke; 10.2.1858, 8.5.1865. Betsey Baker; J.M. Morton; 23.3.1853. Binks the Bagman: J.S. Coyne; 8.10.1857. The Birthday: T.J. Dibdin; 9.2.1858. Black-eyed Susan: D.W. Jerrold; 28.3-5.4.1865. Bombastes Furioso: W.B. Rhodes; 28.1.1851, 5.5.1858. The Boots at the Swan: C. Selby; 14.12.1865. Box and Cox: J.M. Morton; 15.5.1854, 18.2.1857. The Bride of Abydos: H.J. Byron; 22.10.-28.10.1864. Bullrick at Kroll: N.N.; 28.3.1864. Camille: A. Dumas Jr; 27.3.1865. A Capital Match: J.M. Morton; 23.4.1857, 3.12.1864. Charles the Second: J.H. Payne; 16.3.1858. Cinderella: H.J. Byron? T. Taylor?; 12.11.-18.11.1864, 28.4.1865. The Colleen Bawn: D. Boucicault; 25.4.1865. A Conjugal Lesson: H. Danvers; 26.3.1857. Conrad and Medora: W. Brough; 12.E.-18.E.1864. Cool as a Cucumber: M.W.B. Jerrold; 26.3.1857, 30.3.1864, 4.4.1864. Crinoline: R.B. Brough; March 1863; 16.3.1863, 1.4.1864. The Daughter of the Regiment: E. Fitzball? 15.4.1865. A Dead Shot: J.B. Buckstone; 11.4.1865. The Debut: N.N.; 1.4.1864. Delicate Ground: C. Dance; 13.2.1864. Diamond cut Diamond: W.H. Murray; 12.12.1850. Done on both sides: J.M. Morton; 10.2.1858. The Dragon of Wantley: H. Carey & J.F. Lampe; 26.1.1852. Duck Hunting: J.S. Coyne; 30.3.1864, 4.4.1864, The Dustman's Belle: C. Dance; 9.2.1858. Faint Heart never won Fair Lady: J.R. Planché; 8.10.-14.10.1864, 14.12.1865. A Fast Train! High Pressure!! Express!!!: J.M. Maddox; 8.3.1854. A Fearful Tragedy in the Seven Dials: C. Selby; 15.2.1860. Fitzsmythe of Fitzsmythe Hall: J.M. Morton; 26.3.1863. The Flowers of the Forest: J.B. Buckstone; 28.3.-5.4.1865. Fra Diavolo: H.J. Byron; 15.10.-21.10.1864. The Frantic Husband: N.N.; 26.4.1865. The Golden Farmer: J.C. Cross? B. Webster? 8.10.1857, A Good Night's Rest: C.G.F. Gore; 21.2.1856. The Goose with the Golden Eggs: A. Mayhew & H. Sutherland; 13.2.1863, 17.2.1863, 26.4.1865 The Governess (Die Gouvernante): T. Körner; 28.3.1864. Grimshaw, Bagshaw and Bradshaw: J.M. Morton: 2.6.1859. The 'Green' Bushes: H.J Byron: 30.9.1865. A Hard Struggle: J.W. Marston; 12.11.-18.11.1864. The Harvest Home: A.F.F. von Kotzebue; 28.3.1864. The Haunted Inn: R.B. Peake; 6.5.1852. The Heir at Law: G. Colman the Younger; 21.4.1851. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 242 High Life below Stairs: J. Townley; 21.4.1851. The Honey Moon: W. Linley? J. Tobin? 19.4.1865. A Household Fairy: F. Talfourd; 216.11.1864. I couldn't help it: J. Oxenford; 13.4.1865. III Treated Il Trovatore: H.J. Byron; 22.6.1864, 29.6.1864. The Infanticidal Farce: J.S. Coyne; 21.2.1856. The Invisible Prince: J.R. Planché; 23.3.1865. The Irish Tutor: R. Butler; 5.5.1853. Isabella: J.B. Buckstone; 28.3.-5.4.1865. I've Eaten My Friend: J.V. Bridgeman; 22.3.1854. Kenilworth: N.N.; 28.3.-5.4.1865. King John: W. Shakespeare; 12.11.-18.11.1864. A Kiss in the Dark: J.B. Buckstone; 26.3.1857. The Knights of the Round Table: J.R. Planché; 24.5.1865. A Lady and a Gentleman in a Peculiarly Perplexing Predicement: C. Selby; 13.12.1864. Lady Audley's Secret: C.H. Hazlewood? G. Roberts? W.E. Suter?; 28.12.1864. The Lady of Lyons: E. Bulwer Lytton; 10.2.1864. The Lady of Lyons: H.J. Byron?; 22.10.-28.10.1864, 29.4.1865. Lend me Five Shillings: J.M. Morton; see p. 15. A Lesson for the Ladies: J.B. Buckstone; 8.4.1865. As Like as Two Peas: H. Lillo; 16.3.1858. Little Toddlekins: C.J. Mathews; 26.5.1864. Love Laughs at Locksmiths: G. Colman the Younger; 9.5.1864, Love, Law and Physics: J. Kenney; 28.1.1851. A Lucky Escape: C.S. Cheltnam; 25.4.1864. The Maid and the Magpie: H.J. Byron; 8.10.-14.10.1864, 15.10.-21.10.1864, 15.4.1865. Make your Wills: E. Mayhew; 23.1.1856. Married Life: J.B. Buckstone; 12.11.-18.11.1864. Medea: R.B. Brough; 28.12.1864. A Most Unwarrantable Intrusion: J.M. Morton; 22.3.1854, 1.4.1864, Nature and Philosophy: N.N.; 9.5.1864. The Nigger Doctor and his Patient Patient: N.N.; 14.8.1856. No!: W.H. Murray? F. Reynolds?; 23.2.1852. No 1 round the corner: W. Brough; 23.1.1856. Nursery Chickweed: T.J. Williams; 28.3.-5.4.1865. The Octoroon: D. Boucicault; 7.1.-13.1.1865, 14.1.1865, On and Off: T.J. Williams; 25.4.1864. Our Wife: J.M. Morton; 13.2.1863, 17.2.1863. Perdita: W. Brough; 8.4.1865. Poor Pillicoddy: J.M. Morton; 15.3.1860, 26.5.1864. A Practical Man: W.B. Bernard; 8.3.1854. Princess Springtime: H.J. Byron; 10.11.1865, 20.11.1865. A Race for Dinner: J.T.G. Rodwell; announced but not performed. Raising the wind: J. Kenney; 9.2.1858, 30.3.1864, 4.4.1864. The Rendez-vous: R. Ayton; 24.3.1852. Retained for the Defence: J. Oxenford; 25.4.1864. The Review; G. Colman the Younger; 24.3.1852. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h Richard III: W. Shakespeare; 26.4.1865. The Rivals: R.B. Sheridan; 28.9.1858, 23.11.1864. A Roarer: N.N.; 19.4.1865. Rob Roy; C.H. Hazlewood? W.H. Murray? 28.3.-5.4.1865. A Roland for an Oliver: T. Morton Sr; 23.2.1852. Roofscrambler: G.A.à Beckett; 12.12.1850. The Rose of Castille: A.G. Harris; 8.10.-14.10.1864. The Rough Diamond: J.B. Buckstone; 13.4.1865. The Serious Family: M. Barnett; 8.10.1857, 2.6.1859, 23.3.1865, 28.4.1865. Siamese Twins: G.A.à Beckett; 5.5.1853. A Silent Woman: T.H. Lacy; 29.6.1864. Sink or Swim: T. Morton Jr; 16.2.1857. Slasher and Crasher: J.M. Morton; 21.2.1856. Still Waters Run Deep: T. Taylor.; 23.4.1857, 15.3.1860. Sweethearts and Wives: J. Kenney; 11.4.1865. Take that girl away: L.S. Buckingham; 15.2.1860; 3.12.1864. Time tries all: J. Courtney; 5.5.1858, 10.5.1860, 21.3.1865. To Paris and back for £5: J.M. Morton; 10.5.1860, 21.3.1865. The Turned Head: G.A.à Beckett; 27.1.1853. Turn out!: J. Kenney; 10.11.1865, 20.11.1865. 'T Was I: J.H. Payne; 27.4.1865. The Two Bonny Castles: J.M. Morton; 22.3.1854, 8.5.1865. The Unfinished Gentleman: C. Selby; 17.6.1865. Urgent Private Affairs; J.S. Coyne; 5.5.1858. Used Up: D. Boucicault & C.J. Mathews; 26.1.1852, 27.1.1853, 18.2.1857. The Wandering Minstrel: H. Mayhew; 24.5.1865. Where There's a Will There's a Way: J.M. Morton; 26.3.1863. Which is which?: W.B. Gill; 27.3.1865. Whitebait at Greenwich: J.M. Morton; 23.1.1856, 16.2.1859, 26.5.1864. The White Horse of the Peppers; S. Lover; March 1863, 16.3.1863. A Wonder: H. Carey S. Centlivre?: 12.11.-18.11.1864, Woodcock's Little Game: J.M. Morton; 14.12.1865. The Young Widow: J.T.G. Rodwell; 27.4.1865, 243 Page 268 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 246 King, F.H.H. and P. Clarke: “A Research Guide to China Coast Newspapers 1822-1911”, Cambridge (Mass), 1965. Kosch, Wilhelm: "Deutsches Theater Lexikon", Klagenfurt, 1960. Kounin, I.I.: "The Diamond Jubilee of the International Settlement of Shanghai", Shanghai, n.d. (c. 1939). Kunitz, Stanley (Ed.): "British Authors of the 19th Century", N.Y., 1936. Lang, H.: “Shanghai considered socially", Shanghai, 1875. Lanning, G. and S. Couling: "The History of Shanghai", Vol. I.; Shanghai, 1921. MacGuire, Paul: "The Australian Theatre", Melbourne, 1948. MacLellan, J.W.: "The Story of Shanghai from the opening of the port to foreign trade". Shanghai, 1889. Makepeace, Walter, Gilbert E. Brooke and R. St. J. Bradwell (Ed): 'One Hundred Years of Singapore", 2 vols.; London, 1921. Maybon, Charles B. & J. Fredet: "Histoire de la Concession Francaise de Changhai'', Paris, 1929. Maude, Cyril: "The Haymarket Theatre, Some Records and Reminiscences" London, 1903. Mullin Donald (Ed.): "Victorian Actors and Actresses in Review", Westport, 1983 National Union Catalogue. 1 Nicoll, Allardyce: "A History of English Drama 1660-1900", 6 vols,; Cambridge 1952ff. Pal, John: "Shanghai Saga", London, 1963. Pearsall, Ronald: "Victorian Popular Music", Newton Abbot, 1973. "The Player's Library. A Catalogue of the Library of the British Drama League”, London, 1950. Pope, W.J. Macqueen: "Haymarket, Theatre of Perfection", London, 1948. Reynolds, Ernest: "Early Victorian Drama (1830-1870), New York, 1965 (reprint of 1936 edition). Riemann, Hugo: "Musik Lexikon", Berlin, 1916 (8th edition). Rowell, George (Ed.): "Nineteenth Century Plays”, Oxford, 1972. “Shanghai Alamanac” 1855, 1856, 1858, 1862; Shanghai, 1854ff years. **Shanghai t'ung yen-chiu tzu-liao (Shanghai Research Materials), Hong Kong 1972 (reprint of 1936 edition). Smith, 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. Toll, Robert C.: 'Blacking Up. The Minstrel Show in 19th century America”, New York, 1974. Troubridge, 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. Williams, 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. Abbreviations: NOTES BGM: Boletim do Governo de Macao. NCH: North China Herald. SCR: Shanghai Commercial Record. 1 Performance 6.5.1852. NCH 8.5.1852. Only passing attention has been paid to the early theatre in Shanghai: Lanning & Couling. p. 429-430: MacLennan: p. 85-86. ================================================================================