RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1964 https://digitalrepository.lib.hku.hk/catalog/qz20zx09r HONG KONG BEFORE THE CHINESE 43 as a humble amateur I appeal humbly to the professionals for assistance; and, much less humbly, to other amateurs to take over the gathering of data on Hong Kong before the Chinese.* By Hong Kong, I mean that southern part of the district now known as Po On,1 previously known as San On,122 and still earlier included within Tung Kwun,31 or partly within Tung Kwun and partly within Kwai Shin,60 which today comprises the Colony and leased territory of Hong Kong. By Chinese, I mean such of the inhabitants (and ancestors of the inhabitants) of that territory as would not have been described in a contemporary official document by one of the terms used for non-Chinese, i.e. I Ti Jung Man.67 If this definition appears negative it cannot be helped, since Chinese literature itself does not, until modern times, contain any word which corresponds to our word "Chinese", but has always had several terms for what might be called "Non-Chinese". Although one Chinese-type grave, said to date from the Han151 Dynasty, has been found in New Kowloon, and although one small Buddhist temple has behind it the foundation of a previous structure said to date from the Tsin158 Dynasty, there is no evidence of Chinese settlement before the end of the Tang.139 Up to and including the Tang Dynasty all the inhabitants, and up to the Yuan Dynasty most of the inhabitants of what is now the Colony and leased territory of Hong Kong are described, if described at all, as Man.88 The two Chinese clans with the longest records of continuous local residence (the Tang44 of Kam Tin,56 Lung Yeuk Tau7 and Ping Shan; and the Man of San Tin125 and Cha Hang11) go back indisputably to early Sung;132 and their traditions, to which I shall be referring again, speak of two other clans (Mo5 and Chan17) having been before them. The oldest building, except the temple previously mentioned, of which there is evidence, is the fort of Tuen Mun141 built in the Nan Han99 (Canton) Dynasty in A.D. 958. Another document refers to the appointment of a military commander of Tuen Mun in A.D. 954. I cannot be assailed if I say "Anything before A.D. 900 is, for this territory, before the Chinese." The Frame. The natural question to be asked is "Before the Chinese, who?" Before I attempt to answer this question, there *All local place names are given in the Cantonese pronunciation. Notes giving Chinese characters and romanization in the Barnett-Chao system are given at the end of the article.—Ed. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1970 https://digitalrepository.lib.hku.hk/catalog/ww72j0241 BOOK REVIEWS 211 to a local princess. Fifteen years later he hears that his mother and several members of his family are guarding the Chinese border very close to where he is. When the play starts, he is longing to see his own people again, and his wife, the princess, makes him admit the reason for his sadness to her and also his identity. She agrees to help him to get out of the barbarian camp on condition that he comes back the next day. The most dramatic moment of the play is the brief encounter between Ssu Lang and his mother and his first Chinese wife. However, he keeps his word and returns. The second play is a farce. The philosopher Chuang Tzu tests his wife. He pretends to be dead and reappears under the form of a young handsome scholar. He seduces his wife and even persuades her to break open the coffin in which her husband lies to remove his heart to make a medicine for him. However, when the wife opens the coffin, the philosopher reappears and confounds her. She commits suicide from shame. Besides the translations, the book also includes a general introduction to Chinese opera, some photographs of scenes from the two plays, detailed explanations of extracts from Ssu Lang visits his mother (the latter have been recorded on tape and are available from the publisher), a glossary of Chinese theatre terms and an index. By choosing these two plays, the author has presented nearly all the different kinds of Chinese opera characters (only the painted faces are not represented). Both plays are very well known and often played; for example here in Hong Kong, by the Chun Chau Peking Opera School in Lai Chi Kok Amusement Park. Ssu Lang visits his mother was, moreover, played two months ago in the City Hall by a group of amateurs; and famous airs from this opera are as well known to the Chinese as are the famous airs of Verdi to Italians. The background explanation is an excellent summing-up of what must be known in order to enjoy a Chinese opera; and if one wants to know more, one can read the Chinese Classical Theatre by the same author. This earlier book speaks in generalities, but here A. C. Scott gives two precise examples and shows how the principles of Chinese operas work in a given play. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1971 https://digitalrepository.lib.hku.hk/catalog/z029vt43g 70 ALINE K. WONG the changing urban conditions in Hong Kong and in response to altered Government policies. Much of the earlier efforts of the Kaifongs were directed toward charity and relief and toward general cultural-recreational activities. In recent years, many Kaifongs have changed their attention in two directions: firstly, from passive welfare work to active community development; secondly, from information transmission to more active promotion of government policies. The trends in the development of different types of Kaifong activities since 1949 show that while the traditional welfare work of the Kaifongs (including the giving of regular and emergency relief, medical services, free education, free burial and funeral services) has remained static or even has begun to decline, the organization of women and youth in both recreational and educational activities, and the organization of community campaigns, etc. have developed rapidly since the early 1960s. Furthermore, the rapidly increasing volume of Kaifong petitions to the Government in the past seven years or so also points to the growing significance of the Kaifongs' political function. In general, these changes in Kaifong functions can be attributed to two related causes: a) the financial difficulties of the Kaifongs, and b) the influence of Government policy. As community organisations the Kaifongs do not obtain any financial support from the government. In the early days, most of the Kaifongs derived their income from membership subscriptions and from private donations from their leaders and others. These form the two main sources for their income. Emergency operations such as relief after floods and fires were mostly financed by special fund-raising drives. While membership subscriptions are a constant source of income, private donations are not a dependable source. And as Kaifong membership grows, and as the demands for welfare services rise with the increase in urban population, the task of running the associations becomes more and more complicated. Structurally speaking, the Kaifongs become more complex and functionally more diverse. But as the Kaifongs have always operated on small or medium-sized budgets, the large part of which are devoted to meeting regular running and depreciation costs, what is left is only enough for small operations of various sorts. On the other hand, the Kaifong leaders are only amateurs in organizational management, besides ================================================================================ 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 218 CARL T. SMITH Sim-ple Assemblies for young he's and shees, Races, Regattas, Croquet, Sunday Teas. But, hark, the Prompters warning whistle blows, And bids me bring my prologue to a close. Some of the local references are lost to us today, but then they brought smiles, if not laughter. A history of the Amateurs picks up some of the lighter side of life in Hong Kong in the past. THE CURTAIN RISES Soon after Hong Kong was established as a British military base in China officialdom encouraged amateur theatricals as a wholesome diversion from the tedium of military life. The first attempt to bring drama to Hong Kong was to have been a combination of professionals and amateurs, but the project came to an abrupt end before it was well under way. A flamboyant Frenchman from Singapore named Gaston Dutronquoy announced in November 1842 that he had obtained the permission of the authorities to erect a theatre "on a grand and imposing scale" behind his tavern, the London Hotel, which was located on Queen's Road. He informed an interested public that though the Theatre was not yet built, the actresses had already arrived. Backed by a claim of official sanction and available talent, Mr. Dutronquoy with his own flair for the theatrical announced "to the nobility, gentry and clergy of this flourishing and opulent Colony that their Theatre is advancing rapidly towards completion. It is on a most splendid scale, and what with the pieces that will be performed, the scenery that will be produced, and the splendid assemblage of rank, beauty and fashion which they hope to be honoured with, there is no doubt but that the blaze of splendour will dazzle the eyes of all beholders". He assured his public that the actresses' "beauties and talents are only to be surpassed † As I wrote this paper more for entertainment than scholarship, I have not included documentation. The notices and reviews of the plays have been found in the local press: The Friend of China, The China Mail, The Hong Kong Register, The Daily Press, The Hong Kong Telegraph and The South China Morning Post. The appended list of performances and dates has been compiled from the same sources. Page 240 Page 241 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 219 by their spotless virtues". A claim that must have raised a few eyebrows. While the actresses were available, there seemed some doubt about the actors. Lord Saltoun, Commander of the Forces, noted on the 25 November 1842 that the Theatre was to open on Wednesday, "But who are to be the actors, I have no idea. I believe some amateurs from the navy”. Once opened, the life of the Theatre was short. Mr. Dutronquoy departed from Hong Kong quite suddenly on the 17th of December. It was alleged that he had to close his Hotel and Theatre under orders from the authorities and pay a fine of $500. This was denied by his agent who stated that the reason for the closure was because Mr. Dutronquoy had “received personal violence added to insult and abuse the preceding evening". One wonders if the "spotless virtues" of the actresses may have been the cause of his troubles. The next notice of dramatics is in December 1844 when a proposal to form a company of amateurs under the patronage of the Governor was announced. It was expressly stated that the authorities regarded the project as a "protection against vice”. Little action took place, however, until the winter of 1845-46 when a group had been organized, a venue secured, and five bills put on between December and June at Aqui's Theatre in the Lower Bazaar. This theatre had been erected some few months previous to the amateurs' first performance there. It was intended for Chinese entertainment, but, being available, it was used by the Hong Kong Amateurs even though it was in the heart of the Chinese section of the city, an area which was usually avoided by the European population of the day. Loo Aqui, the owner of the Theatre, was a leader of the Chinese community. It was alleged that he was allied with pirates but during the recent British-Chinese hostilities he had been very useful in securing provisions for the British forces. As a reward for these services he had been permitted to take up a number of lots in the Lower Bazaar, the area which was allotted to Chinese who had aided the British. On his property, Loo Aqui ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 220 CARL T. SMITH established brothels, a gambling hall, opium divans, a temple, his family house and the Theatre. As the location and arrangements of Acqui's Theatre were not very satisfactory, there was a movement to build something more suitable. Immediately after the first performance of the Amateurs, it was announced that plans for a new theatre were under consideration. The China Mail, 8 January 1846, gave its full support: We are glad to learn there is at length a fair prospect of a Theatre being erected in Hong Kong. The project was suggested last year, and as it not only met with general approbation from the public, but received the sanction of His Excellency and the support of the civil and military servants of the Government, it is rather inexplicable how it was suffered to drop. We are indebted, we believe, to the same parties who lately favoured the public with an amateur performance in the Lower Bazaar, for taking the matter up again, and they seem now to have begun very properly by first testing the feelings of the middle classes upon the very important point of subscriptions. We are assured that the amount already subscribed for is more than half what will be required to erect a spacious building, adapted alike for the purposes of a Theatre and a Ballroom, or a hall for public meetings. With some proofs of support from the community at large, we trust the Governor's patronage will be continued, and the merchants and official gentlemen will take the matter up in good earnest, and complete what has already been auspiciously begun. When the plans are sufficiently matured we would suggest the propriety of bringing them before the public in a well-defined shape, by circular, or advertisement in the public papers. For this purpose our columns will be at the service of the committee gratuitously. A meeting to enlist shareholders was held at the house of Leonard Just, a watchmaker, in February 1846. The eventual outcome of the meeting was the erection of the Victoria Theatre on the hill behind the Hong Kong Club. The lot was up Wyndham Street somewhat to the south of Wellington Street. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 222 CARL T. SMITH acceptable to the better parts of the community. There were those who looked with disfavour on the theatre. The behaviour of the habitues of the pit, as well as vulgarities in some of the productions of the day, brought the stage into disrepute among the strait-laced. Attitudes were beginning to change, however; in part this was due to attendance at the theatre of that most moral Queen, Victoria. As for the quality of the inaugural performance at the Victoria Theatre in Hong Kong, a reviewer said of the actors, "though somewhat behind the great houses, yet they were such as to give hope of good things ere long. It must be borne in mind, that with several of the performers it was their first appearance on any stage". On the other hand, so few were interested in appearing on the stage, it was a matter for concern as "the corps dramatique consists of only eight members it does not auger well for the general diffusion of dramatic talent among the 'aspiring youth' of the colony". At the next performance, the reviewer faced the dilemma of how to criticize amateurs and still not discourage them. He gently suggests that "we may perhaps be allowed to hint, that a little more time and attention would not be ill-bestowed by the performers in studying the characters they assume as some are considerably over-acted. But our wish is not to be censorious". After this initial burst, amateur dramatics limped for three seasons and then faced death. In 1852 under a heading "The expiring drama" amateurs were invited to attend a meeting at the City Hotel "to plan for a series of productions for the season in order to prevent the demolition of the Victoria Theatre". There was a revival of interest and the season opened in January. It was noted that the new group, which called itself the Victoria Amateurs, was received "with unmingled applause by the fullest and most fashionable audience we ever witnessed in the Theatre or anywhere else in Hong Kong”. Revived interest in amateur dramatics was necessary if the Theatre was not to be converted to other uses for it was not a paying venture for its proprietor, George Duddell. The Anglican Bishop had offered to lease it from him for conversion into a Sailors Home. Duddell, however, had interests of his own in ================================================================================ 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 225 management. We hope they may not be out of pocket as the Garrison Company was last year. After the initial ballyhoo about the Committee, described as a "scolding given in true washer-woman style", which only amused the town, the season was a great success. A slightly sour note was injected into the 1862-63 season because only four performances were given, while it had been announced when advertising for subscriptions that there would be six. Complaints compounded in 1863-64 when prices were advanced to a sum which was thought to be "just beyond the limit to which a class were prepared to pay for entertainment". Consequently, the theatre for the first performance was only half filled. The 1865-66 season also began inauspiciously. At a meeting in November to arrange for the coming season, there was such poor attendance that it was feared the Amateurs might have to give up. When the Amateur Dramatic Corps looked back on its history, it gave its founding date as 1860, however, in the announcements of the group in the 1860s it is called the Hong Kong Amateur Theatrical Society. THE THEATRE ROYAL Amateur dramatics took on a new vigour with the organisation or reorganisation of the theatrical group in 1860. Revived interest emphasised the need of a suitable theatre. Until the opening of the Theatre Royal in the City Hall in 1869, various makeshift arrangements had to be made after the Victoria Theatre was closed in the 1850s. In 1861, the China Mail looked toward the future: We hope the time is not distant when a neat permanent building constructed on the best known principles of acoustics will take the place of the temporary mat sheds, which need so much exertion on the performers' part, and indulgence on that of the audience. The acoustics are bad. Now that the capability of having these entertainments annually is beginning to be procured, it would be well to take measures soon, to ================================================================================ 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 227 was commendable that the A.D.C. had departed from farce and burlesque, its venture into something more serious was not altogether successful; but the fault may have been not in the type of drama but in the type of characters of the particular play. It was the opinion of the reviewer that "In selecting plays they should have no out-of-the-way characters. A success at home may not be suited to Amateurs, such as these in Hong Kong. Some dramas are written for special actors". He suggested that "perhaps the amateurs could give a selection, perhaps one or two scenes, or an act from a standard play, for example, the scene between Wolsey and Cromwell in Henry VIII." This had been done by the Hon. Mr. York at the inauguration of the City Hall's Theatre Royal in 1869 during the visit of His Royal Highness, the Duke of Edinburgh. The suggestion was not taken up, and the Company attempted another serious piece, the popular play "The Caste". In this, the amateurs had to compete against the standard set by performances given a short time before by two different travelling professional companies in which actresses played the female parts. The comparison was not kind to the amateurs. As usual, the reviewer was reluctant to criticize, but he did venture to say that the performance might tend to lessen subscriptions for the next season. He thought too much had been spent on the costumes, when, in fact, in his view, "people go to see acting, not wardrobe". The A.D.C. returned to something lighter, and in 1876 put on a very successful burlesque, "The Field of the Cloth of Gold," by William Brough. The opening scene in the London production had been the harbour of Calais; in Hong Kong, it was the Praya between City Hall and the Bath House of the Victoria Recreation Club. The field of the cloth of gold was East Point. Though it was agreed that there was not much scope for dramatic talent in the piece, it was pronounced "an undoubted success, and far surpasses, in splendour of the get-up, number of performers, and brilliancy of the scenes, anything hitherto placed on the boards of this colony". Unfortunately, its lavishness had to be paid for, and it took several seasons before the A.D.C. had a balance. One of the perennial favourites was the burlesque "Aladdin the Wonderful Scamp". It was given in 1863, 1867, 1875 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 229 But things changed with the appearance of Mrs. Ayres* on the amateur stage in 1879 in the production of Sheridan's "The School for Scandal". Two other ladies were courageous enough to join her. Mrs. Ayres used the stage name of Mrs. Bernard. The other ladies were listed as Mrs. Hockey (Mrs. Atwell Coxon) and Madame Chervau (probably Mrs. Vaucher). At every performance Mrs. Ayres received enthusiastic notices: On her appearance in 1880 in "New Men and Old Acres", the reviewer said, It is an unqualified pleasure to see this gifted lady on the stage. Her ease, grace and perfect action are something wonderful and her power to depict character amounts to something like genius. She was the gay, true-hearted girl of eighteen to the life; and as she portrayed the joys and sorrows of the English girl, she swayed the audience to tears and laughter as she willed. In a production given a year later, it was noted, This power to move the feelings of an intellectual and intelligently-critical audience is not given to many amateurs, especially to ladies who kindly consent to promote wholesome public recreation in this way; but Mrs. Bernard has certainly given the most conclusive proofs that such may be achieved in this direction and it is hoped that the example thus shown by her and the other ladies who have taken part in these innocent enjoyable entertainments will be followed by others. Her last performance in Hong Kong was in September 1883 when she appeared in "She Stoops to Conquer". As usual, the reviewer was enthusiastic. One great advantage enjoyed by Mrs. Bernard is her apparently perfect confidence in her own powers. The result of this confidence is an ease, naturalness and accuracy in her acting, which must be envied by other amateurs who have not graced the boards as often as Mrs. Bernard. Mrs. Bernard also gets an excellent conception of the roles in which she plays, bringing out all the points and idiosyncrasies of the characters she is representing. * Probably wife of Dr. P.B.C. Ayres, Colonial Surgeon 1873-1897. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 230 ! CARL T. SMITH INNOVATIONS In 1886 a musical sketch was introduced entitled “Cups and Saucers". It was written by George Goldsmith, Junior, as a satire against the craze of the day for collecting blue and white china at exorbitant prices. There were only two characters, one male, one female, the latter played by Mrs. Fraser-Smith, wife of the editor of the Hong Kong Telegraph. It contained the song "Foo-chow chan aring, ching a ring China”. The Club announced another serious production for 1888, "The Rivals". There was the inevitable comparison with the earlier performance of "The School for Scandal". When it was announced that the A.D.C. had resolved to play Sheridan's comedy of "The Rivals", many residents entertained the feeling that they had undertaken too much, although against this idea it could well be argued that the performances here of "The School for Scandal” were most enjoyable, it was argued that Sheridan's masterpiece was placed before the Hong Kong public when the A.D.C. was in the heyday of its existence. Furthermore, the successions of costume and scenery possible in "The School" were not available in “The Rivals". Looking at both of these performances, however, and taking into account the gorgeousness of scenery and dressing in "The School" as well as the exceptional ability of several of the actors who have passed away from these shifting scenes, we do not find that the A.D.C. did an unwise thing in deciding upon "The Rivals". The Amateurs and the public have had their share of burlesque and of modern pieces of late; and it was, we think, a healthy change to come back to the legitimate comedy of the last century. The reviewer noted that two of the actors in "The Rivals" were well on their way to filling up a gap left by the retirement of Mr. Hockey (Mr. Atwell Coxon) and Mr. Treab (Mr. Beart), an accomplished comedian. One of the newcomers was Mr. James Whittall, later to become a taipan at Jardine Matheson and Company, A first of a series of Christmas pantomimes was staged in 1889. It had "splendid spectacular effects, light and appropriate ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1982 https://digitalrepository.lib.hku.hk/catalog/mk61z420p 231 music, a dazzling transformation scene, and a rollicking harlequinade." It enlisted a great many people for the leads, chorus and orchestra. Not everyone in Hong Kong was happy about pantomimes. In 1891 in the "Beauty and the Beast" "the indiscreet censure lately passed by the Bishop upon the Pantomime was noticed in a verse or so--and a comical but somewhat misplaced representative of his Lordship appeared in the Harlequinade". The A.D.C. tried its hand at light opera in 1894 with the performance of Gilbert and Clay's "Princess Toto". It was described, however, as "vapid and unattractive". The Choral Society had for some years been presenting light operas and had already given "Iolanthe" and "The Gondoliers". In subsequent years the A.D.C. did "Trial by Jury", "Yeomen of the Guard", "His Excellency", and "The Gondoliers". During this same period, along with the works of Gilbert and Sullivan, other currently popular musical plays were staged. THE GENIUS OF MR. SINCLAIR With more frequent visits of professional companies, the A.D.C. increasingly found it difficult to sustain interest and attendance. This resulted in financial losses and threatened the future of the Amateurs. A new era arrived when Mr. Walter Sinclair assumed direction of A.D.C. productions in 1912. Sinclair was imaginative and venturesome and mounted productions that were different from those presented by the travelling companies. The A.D.C. took on new life. Among Sinclair's innovations was his introduction to Hong Kong of the playwright Lord Dunsany. In 1921 he presented an evening's programme of four Dunsany plays. One of these was "The Compromise of the King of the Golden Isle". It was the play's world premiere. The setting was Chinese. During the interval preceding it, to set the mood, a group of Chinese amateur musicians played Chinese music. It was particularly noted that the music "was not unpleasing, for people who have heard only the cymbals and tom-toms may find music in the sweetness of some of the native banjos and fiddles". ================================================================================ 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 242 CARL T. SMITH 1 Dec. 1852 - first performance of amateurs under new management. 12 Feb. 1853 — Victoria Amateurs. "Twice Killed" farce (John Oxenham, 1837) "Slasher and Crasher" farce (J. M. Morton, 1848) 19 Mar. 1853 meeting at Victoria Theatre for purpose of forming a Corps Dramatique to arrange for another performance at an early date. 20 Apr. 1853 "Animal Magnetism" farce (Mrs. E. Inchbald, 1758) "A Kiss in the Dark" farce 19 May 1853 last night of season of Victoria Amateurs. "Time Tries All" dramatic drama (J. Courtney, 1848) "Toothache, or The Prince and the Chimney Sweep" farce 1853/54 27 Oct. 1853 Meeting at Victoria Theatre of those interested in theatricals to make arrangements for the coming season. (I found no notice of any performance for this season). 1860/61 3 Jan. 1861 "Still Waters Run Deep" (T. Taylor, 1855) 1861/62 1862/1863 29 Jan. 1861 new theatre, Hong Kong Amateur Theatre, performance by officers and gentlemen who have organized this establishment: "A Bachelor of Arts" (P. Hardwicke, 1853) "A Nice Firm" (T. Taylor, 1853) 25 Feb. 1861 performance of Gentlemen Amateurs Mon. last. 28 Mar. 1861 theatrical season drawing to close. Appreciation to the Committee. Difficult to see how the Amateur Theatrical Company could have managed without aid from the garrison. Dec. 1861 - first performance of season: "Cool as a Cucumber" (M. W. B. Jerrold, 1851) "The State Secret" (A. Snodgrass, 1821, or T. E. Wilks, 1836) in same commodious erection as served so well for last year's performances, 23 Jan. 1862 second public performance of Hong Kong Amateur Theatre: "Not a Bad Judge" comic drama (J. R. Planche, 1848) "The Critics" facetious tragedy (Sheridan, 1779) 1862 season "Cramond Brig" (W. H. Murray, 1826) Dec. 1862 The theatre a reproduction of last year's design. "Uncle Zachary" comic drama (John Oxenford, 1860) "Fearful Tragedy in Seven Dials" (Charles Selby, 1857) ================================================================================ 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 326 BOOK REVIEWS amount of information provided. "Newspapers in Asia" is an indispensable book of reference to any student of media and communications in this part of the world. ANTHONY LAWRENCE Insects of Hong Kong, by D. S. Hill, Phyllis Hore, and I. W. B. Thornton, Hong Kong University Press, 1982, 503 pp. This is a long-waited book for entomologists, ecologists and naturalists. It covers all major groups of insects in Hong Kong and lists all commonly occurring insects according to habitats. The contents are presented in a clear, interesting and systematic manner. After concisely introducing what insects are in the first chapter, commonly occurring insects are then listed according to habitats in tabular form, with species name, common name and family given. Their relative abundance, and special remarks on each named species, (such as associated host and economic importance) are also included. A key to the major groups of terrestrial invertebrates (down to order level) is then provided. This is followed by a systematic treatment of all major groups of local insects arranged by order and family. The insect species of each order are adequately described, modes of life, ecological significance and notes of biological interest being detailed in each case. Numerous photographs and line drawings are given, with actual size of insect species indicated, A chapter each on common arachnids and myriapods is included in order to assist amateurs to distinguish an insect from these commonly encountered arthropods. Notes on collecting and storing insect specimens and a glossary of entomological terms are provided in the appendices. A list of important references in relation to local insects and an exhaustive index are provided at the end of the book. All in all, this book is authoritative and is a substantial contribution to scholarship. It is an excellent companion to standard texts of entomology and is the first book of its kind ever published in Hong Kong. The treatment is well-balanced, suitable for ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 160 minority in the foreign community.' The effects of this discrepancy on the local dramatic scene will be dealt with later. By 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. II. Theatrical Criticism In 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). The 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. All 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 168 so 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. Eight 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. 45 A 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 47 ================================================================================ 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 195 his alarm allayed amidst the warmest applause from the audience for his clever and successful "sell". In addition the editor wrote that this Prologue afforded H. E. more valuable hints how to treat the Rebellion than all the suggestions that have been submitted to him since his arrival. Apparently Bonham was "so much delighted that we are not without hopes a report on the performances may form the subject of his first despatch from Shanghae”. So much for modesty. As regards the performances themselves, the writer had it in confidence from a tall whiskered male who occupied a front seat disguised in a dress coat, that although Hong Kong theatre is now more conveniently lit up in the Victoria Theatre in acting Shanghae would not suffer by comparison". "That treaty port chauvinism was not lacking even at that early stage was made clear when the visitor insisted that our Head Actor has been brought from Hong Kong”. Despite his earlier lukewarm praise he must have made some sour remarks too, for the editor wrote that "except as to the heroine, his critical skill was evidently at fault in discriminating the excellences of the other performers in Betsey Baker; and all he could be got to say regarding Apartments was something about Mr. and Mrs. Keeley having many worse imitators” (Robert Keeley, 1793-1869; and Mrs. Keeley (Mary Ann Coward), 1806-1899: famous British actors). (NCH 26.3.1853). 5.5.1853 (Thur) G.A.A. BECKETT: "Siamese Twins" (1834) T: Farce (1 act) R. BUTLER: "The Irish Tutor" (1822) T: Farce (1 act) C: Amateurs F: Music by the band of the Susquehanna Th: Imperial Theatre (B) N: Final performance of the season R: The close of the season by the amateurs who called themselves the "Lily Troupe" for a "bumper house"; with some “admirable music by the Band of Susquehanna" — a steamer belonging to the U.S. Japan Squadron. (NCH 7.5.1853). 8.3.1854 (Wedn) J.M. MADDOX: “A Fast Train! High Pressure!! Express!!!" (1853) T: Farce W.B. BERNARD: “A Practical Man" (1849) T: Farce C: Amateurs P: Music Th: Tac Ming Theatre (C) R: At the start of the evening a, for part of the audience at least, unexpected treat was in store: “On the rising of the curtain a ludicrous incident quite upset our friend BUSKIN. He was set down to enact "Colonel Jack Delaware" (in A Fast Train — JH) but a storm met him as soon as he appeared on the stage and he was fairly hissed off when a stranger leapt over the footlights and announced his intention of supporting the character. The curtain dropped and after a short delay the volunteer Yankee came forward, dressed in the most extravagant fashion and took up the part with great spirit". Was the leading actor-manager really taken by surprise? This could hardly be, and it must be assumed that it was, like the "rebellion" before, a set up. At any rate the "interloping Yankee was enrolled in Buskin's company. The musical department was sustained by "Messrs Thalberg and Koenig with their usual talent and success". Both these noms de théâtre were after well known musicians: Sigismund Thalberg (1812-1871), a Swiss pianist and composer; and Friedrich Koenig, a German violinist. (NCH 11.3.1854). ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 198 T: Farce (1 act) C: Amateurs F: Music Th: D R: 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). — To 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). 14.8.1856 (Thur) N.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery T: Negro farce C: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C) N: The whole evening was announced as a "Grand Ethiopian Musical Soirée" R: 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". 19.9.1856 (Fri) Concert by Ali Ben Sou Alle and some local amateurs. Instruments: Turkophone, "Turkophonini", clarinet, piano. Programme: G. 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) R: 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 ================================================================================ 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 208 12.10.1858 (Tue) Concert by Mr. Martin Simonsen N: No review was published. Mr. Simonsen had also visited Hong Kong; there he had given his last recital on September 20, 1858 (CM 23.9.1858). 16.2.1859 (Wedn) T: Comedy (2 acts) J.M. MORTON: "Whitebait at Greenwich" (1853) T: Farce (1 act) C: Amateurs F: Music by the band of H.M.S. Highflyer Th: Theatre Royal (E) R: 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). 22.2.1859 (Tue) Concert by Prof. Shonbrun, piano, and some local amateurs. Th: Theatre Royal (E) + R: 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". For 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). T ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 212 26.12.1861 (Thur) Concert by Signor Robbio, violin, and some local amateurs, Programme: 4 L. 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. Th: N.N. R: 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). February and March 1861 Performances by "Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew - ― וי N: 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). 13.2.1863 (Fri) J.M. MORTON: "Our Wife, or the Rose of Amiens" (1856) T: Comic drama (1 act) H A. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act) C: Amateurs (Local and British officers) 13.2.1863 (Fri) J.M. MORTON: "Our Wife, or the Rose of Amiens" (1856) T: Comic drama (1 act) A. MAYHEW & H. SUTHERLAND EDWARDS: "The Goose with the Golden Eggs' T: Farce (1 act) C: Amateurs (Local and British officers) F: Music by the band of the 67th regiment Th: Theatre Royal (G) N: First performance of the season R: Casts: ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 231 attitude 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). 6.5.-12.5.1865 Two concerts by Mr. and Mme Simonsen (violin and singing resp.) TH N.N. R: 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). 8.5, 1865 (Mon) PELHAM HARDWICKE: (= C. MATHEWS) "A Bachelor of Arts" (1853) T: Comic drama (2 acts) J.M. MORTON: "The Two Bonny Castles" (1851) T: Farce (1 act) C: Amateurs of the Shanghai Volunteer Corps Th: Lyceum Theatre (1) R: According to both the Herald and the Record the pieces went off successfully (NCH 13.5.1865; SCR 22.5.1865). 17.5.1865 (Wedn) Concert by Mr. and Mme Simonsen Th: Lyceum Theatre (1) R: 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. 20.5.1865 (Sat) Concert by Mr. and Mme Simonsen, with the Band of the 67th Regiment. Programme: "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”, 'Monastery Bells", "Valse de concert" (song). Th: Lyceum Theatre (1) R: 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1997 https://digitalrepository.lib.hku.hk/catalog/wp98g7579 158 that you cannot please all the members all the time there is still a role for societies like the Royal Asiatic Society to play in Hong Kong. It is interesting to recall that some of the best research on Hong Kong history has been carried out by amateurs, often by RAS members. We, as members, must continue to ask ourselves the question: How can the local Branch make Hong Kong a better place and how can we members continue to serve the community, including both Chinese and Westerners? References Bard, Solomon. 1995. “Archaeology in Hong Kong: A Review of Achievements”, Archaeology in Southeast Asia, University of Hong Kong: 383-395. Chambers Biographical Dictionary. Revised edition 1969. states: “(Bowring) ... acquired knowledge of 200 languages”. Dudgeon, David and Richard Corlett. 1994. Hills and Streams: an Ecology of Hong Kong, Oxford University Press. Endacott, G. B. 1958. A History of Hong Kong, Oxford University Press. Hayes, James William. 1989. “Letter to the Chairman, Consultative Committee for the Basic Law”, Journal RASHKB, 29: xvi and xvii. 1997. "The Royal Asiatic Society Hong Kong Branch", Journal RASHKB, 34: 129-145. Pfister, Lauren F. 1993. "Clues to the Life and Academic Achievements of One of the Most Famous Nineteenth Century European Sinologists-James Legge (AD 1815-1897)", Journal HKBRAS, 30: 180-218. Ride, Lindsay and May, 1996. An East India Company Cemetery, ed. Bernard Mellor, Hong Kong University Press. The Royal Asiatic Society: Its History and Treasures. 1979. eds. Stuart Simmonds and Simon Digby, The Royal Asiatic Society London. ================================================================================