RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1980 https://digitalrepository.lib.hku.hk/catalog/kh04md207 PRESIDENT'S REPORT FOR 1979 (Covering the period March 27, 1979- March 23, 1980) I am pleased to report tonight on your Society's activities over the past year and on our ongoing projects. During the period we organized twelve lectures which, because so many members and most of your Council are away from Hong Kong in the high summer season, were arranged mainly for the Spring and Winter months. There were two overseas excursions and one local tour. Let me briefly review the lecture programme first of all: Talks to the Society In April 1979 two lectures were given. The first had Dr. Margaret Ng as our speaker: well-known in Hong Kong for her newspaper column, and also as a social philosopher concerned with different facets of the Chinese world-view. She spoke on "A Chinese theory of Discontent". The other speaker in April was Professor Rulan Chao Pian who talked to us once before, in 1975. She is presently visiting professor in Music at the Chinese University of Hong Kong and her talk, entitled "A Musicological trip to China”, was related to a recent visit to China where she had lectured to the National Academy of Musicology at Peking. In May Mr. Leonard Rayner lectured on "Communism in the Association of South East Asian Nations”. Mr. Rayner who moved to Hong Kong from Singapore a few years ago is a journalist and perhaps best known to us for his regular column in the South China Morning Post. In June Professor D. W. Y. Kwok, who has been Director of the Asian Studies Programme at Hawaii for the past six years, spoke on "The New Culture Movement in China”. Also in June, Dr. John Young of the Extra-Mural Studies Department of Hong Kong University, lectured on "The Hong Kong-Canton Connection, 1905-1925”, at the same time sharing his experience with us of a research trip to Canton and pointing out the archival research opportunities which exist in that city. In October Rev. Carl Smith talked on "The Amateur Dramatic Club (founded 1860) and the early history of Dramatic arts in Hong Kong. Since the new year we have had a relatively full programme. In January there were two lectures: one by the Rev. Father Harold Naylor who spoke on "Wah Yan College; a case study of an Anglo-Chinese school directed by an Irish Jesuit". Father Naylor has X ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p CONTENTS Page PRESIDENT'S REPORT viii ADDRESS BY DR. J.W. HAYES xiv ADDRESS BY REV. C.T. SMITH xvii TREASURER'S REPORT xviii LIBRARIAN'S REPORT xxi ARTICLES: Structure and Function in an Urban Organization: The Mutual Aid Committees JANET LEE SCOTT 1 Origin and Development of the Political System in the Shanghai International Settlement J.H. HAAN 31 The Strike and Riot of 1884 A Hong Kong Perspective - ELIZABETH SINN 65 The New Constitution and China's Emerging Legal System in Perspective W. ALLYN RICKETT Two Chinese Domestic Murders LETHBRIDGE 99 H.J. 118 Phonology of a Cantonese Dialect of the New Territories: Kat Hing Wai -- LAURENT SAGART 142 Saikung, The Making of the District and its Experience during World War II-DAVID FAURE 161 The Hong Kong Amateur Dramatic Club and its Predecessors - CARL T. SMITH 217 Village Education in Transition: The Case of Sheung Shui — NG LUN NGAI-HA 252 V ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p CARL T. SMITH THE HONG KONG AMATEUR DRAMATIC CLUB AND ITS PREDECESSORS THE PROLOGUE To set the mood for an article on Amateur Dramatics in Hong Kong, I quote a prologue to the performance of "the screaming farce", 'I've Written to Brown' presented on 21 April 1871 by the Hong Kong Amateurs. Ladies and Gentlemen, the pleasing task Is mine tonight your kindly smiles to ask, For those who now behind the curtain wait, With biding, anxious hearts to learn their fate. So let your verdict generous be, the while We strive a pleasant hour to beguile. But who can now a pleasant hour boast, With thirteen steamers daily up the coast Sharebrokers pressing one to sell or buy With telegrams cach minute from Shanghai With stern Welsh witnesses, who'd rather brook A Judge's ire than kiss a dirty book, And, by their word prepared to stand or fall Say they'll be if they will swear at all! With piece goods market all to pieces gone, Through sales of damaged shirtings ex the Don, And, piling agony, beyond endurance With Oily Phantom's new Chinese Insurance;† Where, of our interests most august protectors, They've such a crushing army of Directors! Since last we met, though some enlivening rays Of social light have cheered our nights and days, A quiet Picnic to Victoria Peak Photos in High Life, taken once a week †The American firm of Olyphant and Company organized in 1871 at Hong Kong the Chinese Insurance Company. It was the first insurance company on the China coast to cater especially to Chinese shippers and merchants. Its Board was composed of both Chinese and foreigners. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 224 CARL T. SMITH With children performing there was no question of respectability. It was announced some weeks after the first performance that "several ladies having expressed regret at not witnessing the late performance of the Portuguese children, Mr. Souza, with the consent of the parents, and at the request of the Committee, has consented to repeat the performance at an early date". In 1866 the Portuguese community built a club house at Shelley and Elgin Streets. Attached to it was a small theatre. It was used not only by Portuguese amateurs but, before the opening of the Theatre Royal in the City Hall in 1869, it was the venue for the productions of the Amateur Dramatic Club. The Theatre portion of Club Lusitano was demolished in 1873, The Germans built a club house on Wyndham Street in 1872. It contained a small auditorium. German amateur groups used it for plays and operettas. More appreciated by the non-German speaking community were the concerts and the appearance of Liedertafel singing groups. THE A.D.C—BORN IN A MATSHED An Amateur Theatrical Society was formed in 1860. Its membership was made up of both civilians and military officers. For the 1860-61 season they erected a new matshed. It was said that in its internal arrangements there was "no lack of comfort, indeed elegance has received its share of attention". It included a continental innovation the prompter's box was placed in the centre in front of the curtain "according to the French custom”. The Committee of the Society came under attack for alleged misuse of funds. At the second performance of the 1861 season it was deemed necessary to make a public statement refuting accusations which had appeared in the local press. The Committee had been charged "with spending the profits in cold fowl and sherry behind the scenes." Two professional ladies of the stage also figured in the accusations. The newspaper account of the public explanation concluded with the sentiment that "Hong Kong thanks the Amateurs and has fullest confidence in the ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 226 CARL T. SMITH see what should be done toward erecting a permanent theatre". The year following, 1862, plans for a Theatre and Assembly Room were on view at the Hong Kong Club. They were estimated to cost $34,000, but a newspaper reporter was more realistic. In his opinion "a glance shows it would cost $60,000 at least". Something as ambitious as this had to wait some years. It was finally realized with the opening of the City Hall in 1869. In the meantime, mat sheds, a large room in St. Andrew's School and the Club Lusitano were used. A public meeting in 1864 resolved that the Amateur Theatrical Matshed should be kept and a committee appointed to see to its preservation. One happy feature was the debt-free state of the theatre following a successful season. During the 60s there were notices of the Queen's Theatre on Queen's Road East. It was probably the adapted godown mentioned in the columns of Jarrett in his series "Old Hongkong" in the South China Morning Post. A Theatre Royal was on military ground, used not only for performances by the Garrison but also by visiting professional dramatic companies. In 1865 it was announced it was to be pulled down "for much needed barrack improvements". After its demolition, the Garrison amateurs used the Murray Barracks Canteen. The general public expressed its appreciation to the military for permitting the theatre to occupy their ground. It had, however, been a hot, stuffy place, poorly ventilated. TYPES OF DRAMA All the early productions of the amateurs were described variously as farce, burlesque, comic drama, facetious tragedy, vaudeville comedy or burlesque extravaganza. Perhaps the first play of a mere serious tone was given in 1875, when "Plot and Passion" by Thomas Taylor and J. Lang was presented. It was noted, however, that a drawback to such a play was its love scenes, as these were difficult when played by males only companies. The reviewer thought that while it ! ! ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 240 CARL T. SMITH THE LAST ACT The last performance of the A.D.C. before the Japanese occupation of Hong Kong was in February 1941. It was "The Circle" by Somerset Maugham. After the war the A.D.C. was not reorganised under that name. Club considers itself as carrying on the tradition of the Hong Kong Amateur Dramatic Club. The present Hong Kong Stage ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 241 # APPENDIX ## THE HONG KONG AMATEUR DRAMATIC CLUB AND ITS PREDECESSORS Significant Dates and Performances. (Authors and dates of first publication or production from A. Nicoll, A History of English Drama, "Handlist of Plays".) (Note: only ADC productions are noted here: professional performances, and performances by Garrison groups or other amateur groups not detailed here). ### 1844/45 18 Dec. 1844 proposed to form a dramatic company of amateurs under patronage of H. E. Governor Davis. ### 1845/46 3 Jan. 1846 Tues. last performance given by "Corps Dramatique" at Aqui's Theatre in the Lower Bazaar. 27 Jan. 1846 party of Amateur Performers presented "The Lady and the Devil" followed by "Fortune's Frolic" Aqui's Theatre. 24 Mar. 1846 Amateur Performers Wed. last, "The Midnight Hour" and "The Sleep Walkers" Theatre. 28 Apr. 1846 Amateur performance Mon. evening at Aqui's. 27 June 1846 - Amateur Performers fifth and last performance at Aqui's Theatre. 8 Jan. 1846 at length a fair prospect of a Theatre being erected in Hong Kong. Idea suggested last year. Half of funds needed already subscribed. 9 Feb. 1846 Meeting of shareholders of proposed Theatre at house of Mr. Just, corner Queen's Road and Pottinger Street. ### 1848/49 1 Nov. 1848 first public performance by amateurs in new theatre (the Victoria) erected by Mr. Duddell. "The Weathercock” (J. T. Allingham, 1805) followed by a comic song, concluded with farce "Rival Valets" (J. Ebsworth, 1805). 1 Dec. 1848 - Amateurs second performance. "Fortune's Frolic" farce (J. T. Allingham, 1799) "Bambastes Furioso" burlesque tragic operetta (W. B. Rhodes, 1810) "The Weathered" farce ### 1852/53 8 Nov. 1852 meeting at City Hall of persons interested in the revival of drama in Hong Kong. To take measures for preserving the Victoria Theatre to the community for purpose it was originally erected. Committee of four to organize Theatrical Company. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 243 12 Feb. 1863 week. 30 Apr. 1863 second amateur performance of season last amateurs gave fourth performance on Wed. subscription: 1863/64 ― 17 Dec. 1863 1864/65 ― 1865/66 ― first performance "Follies of a Night" vaudeville comedy (J. R. Planche, 1842) "A Kiss in the Dark" given also in 1853. 6 Feb. 1864 on 4th third subscription performance and on 6th third public appearance. 31 Mar. 1864- fourth and last performance of season: "Tailor of Tamworth" (also known as "State Secrets", T. Wilks, 1836) given also in 1861. "Alladin, the Wonderful Scamp" burlesque (T. C. Bryon, 1861) 16 June 1864 ___ public meeting resolved the Amateur Theatrical matshed should be kept up. 13 Oct. 1864 meeting of those interested in Amateur Theatricals agreed to continue them in next season in usual way. 2 Jan. 1865 a visiting professional group, the Lewis Company, gave first subscription night to the subscribers of the Amateurs 9 Nov. 1865 check given to movement for organizing a new Amateur Theatrical Corp by non-attendance at public meeting. To be hoped they shall not collapse in consequence. 1866/67 3 Jan. 1867 first at new Club Lusitano Theatre performance of season of Amateur Dramatic Society: "Sent to the Tower" farce (J. M. Morton, 1850) "Alladin, or The Wonderful Scamp" burlesque extravaganza (T. C. Bryon, 1860) also given in 1864. ― 4 Feb. 1867 second subscription night of Hong Kong Amateur Theatricals: "The Area Belle" farce (Brough and Halliday, 1864) "Shylock, or the Merchant of Venice Preserved" burlesque (F. Talfourd, 1853) 1866/67 7 Mar. 1867 1867/68 Hong Kong Amateur Theatricals third subscription night: "Slasher and Crasher" (J. M. Morton, 1848) given also in 1853. "Raising the Wind" (J. Kennedy, 1803) 23 Mar. 1867 Hong Kong Amateur Theatricals fourth subscription performance. — 28 Sept. 1867 Hong Kong Amateur Theatrical Society propose giving five subscription performances this season. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 244 1870/71 P 1871/72 1872/73 1873/74 — 1874/75 — CARL T. SMITH 25 Nov. 1867 first performance of season at Club Lusitano Theatre: "All that Glitters is not Gold" comedy (J. M. Morton, 1851) "Cox and Box, married and settled" farce (F. C. Burnard and J. M. Morton, 1867) 19 Dec. 1867 Hong Kong Amateur Theatrical Society second performance: "Romeo and Juliet" burlesque "Little Toddlekins" farce (J. Mathews, 1852) 4 Nov. 1870 Amateur Dramatic Club first performance of season at Theatre Royal, City Hall. "Diamond Cut Diamond" farce (W. H. Murray, 1838) "Orpheus and Eurydice" burlesque (H. J. Bryon, 1863) 20 Apr. 1871 "I've Written to Brown" farce (T. J. Williams, 1859) burlesque by Francis Talfourd. 28 Apr. 1871 "Ici, en Parlais Francais" (T. J. Williams, 1859) "Shylock, or the Merchant of Venice Preserved" burlesque (F. Talfourd, 1853) also given in 1867. - 26 Jan. 1872 - "The Two Bonnycastles" farce (J. M. Morton, 1851) "Masanielle" burlesque (R. B. Brough, 1857) 21 Feb. 1872 - "The Rifle and how to use it" farce (J. V. Bridgeman, 1859) 11 Apr. 1872 "Castles in the Air" comedy (T. W. Robertson, 1854) Instead of "Castles", the production may have been "Caste" by T. W. Robertson (1867) 3 Jan. 1873 - "Locked In" farce (J. P. Wooler, 1870) "The Cricket on the Hearth" 13 Feb. 1873 "Kenilworth, or Ye Queen, Ye Earl and Ye Maiden", burlesque 13 Apr. 1873 "The Blighted Being" farce (T. Taylor, 1854) "Checkmate" comedy (Andrew Halliday, 1869) 30 Oct. 1873 1853) "Plot and Passion" (T. Taylor and J. Lang, 1853) 15 Nov. 1873 "The Spitalfield Hospital" farcical comedy "Not such a Fool as she Looks" (H. J. Bryon, 1868) 2 Mar. 1874 —— "A Romantic Idea" (J. R. Planche, 1849) "The Steeple Chase" (J. M. Morton, 1865) 5 Apr. 1875 - "Ticket of Leave Man" (T. Taylor, 1863) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 174 unfortunate 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 **76 One 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 20 As 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 ================================================================================ 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. ================================================================================