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 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 214 Jacob Grimes: F. Shannons These performances drew the largest audiences of the season", which statement causes some surprise seeing that it had only just started. But the house was filled in every part and a good number of ladies in the dress circle graced the occasion, while the parterre was so crowded that many of the spectators had to stand". Noteworthy were the scenery, painted by Captain Hamilton; and, in Crinoline Mr. PHILLIPS as the jealous husband “which would be considered excellent on the boards of the Adelphi” (NCH 14.3.1863). 16.3.1863 (Mon) Repeat of the former. 26.3.1863 (Thur) J.M. MORTON: "Fitzsmythe of Fitzsmythe Hall" (1860) T: Farce (1 act) J.M. MORTON: "Where There's a Will There's a Way” (1849) T: Comic drama (1 act) C: Amateurs (Local and British officers) Th: N.N. (G?) R: Casts: Where There's a Will: Dona Francesca: Mr. W. Hyslop (of Gibb, Livington & Co) Don Manuel: D.A.C.G. Ewing Don Lopes Avila: Mr. Raymur Dona Blanche de Tavora: Mr. A. Broom (of Jardine, Matheson & Co) Don Scipio de Pompolino: D.A.C.G. Cooksley Fitzsmythe: Fitzsmythe: D.A.C.G. Cooksley His wife: D.A.C.G. Hayter Penelope, their daughter: Mr. A. Broom Frank Tottenham: Mr. Raymur Gregory, servant: D.A.C.G. Ewing It was remarked about Mr. Raymur that "this gentleman was of a backward turn in his orthography". So a pseudonym after all; the hint though does not make it clearer. There is no Raymur, nor a "Rumyar" (which would be a very strange name indeed) in the "Shanghai Almanac for 1862” — the last one available. Could it be Mr. E.I. Remier? Although the review of the 13th February had not been negative, tonight's performances were, in the eyes of the Herald. "upon the whole an improvement on those of the first subscription night, and the audience expressed their approbation in a more decided manner, so that everybody seemed pleased with the evening's entertainment", Where There's a Will There's a Way, an elegant drawing room play situated in 18th century Portuguese royal circles, "was placed on the stage in a very creditable manner, considering the slender means and appliances as being tasteful, rich and, we presume, correct for the period, while the ladies looked quite charming in their elegant dresses; the whole apparently got up 'regardless of expenses as the London playbills have it". In Fitzsmythe the best piece of acting was that of Mr. HAYTER as the old lady who, like Mr. Jourdain, was "ambitious of having "quality" friends and finery, while in her domestic occupations she revelled in jam and soapuds The "languishing Penelope" of Mr. BROOM was also quite fascinating”. (NCH 28.3.1863). 17.4.1863 (Fri) Concert by amateurs in aid of the Lancashire Relief Fund. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 221 Park Lanc?). The names of the actors mentioned in the advertisement must have been assumed ones. June and July 1864 Concerts by the Rhenish Band and the Band of the 67th Regiment. Loc.: The Bund R: NCH 28.5.1864, 2.7.1864 2-9.1864 H.J. BYRON: “Aladdin or the Wonderful Scamp" T: Burlesque extravaganza (1 act) C: Shanghai Amateur Burlesque Company Th: N.N. (l) R: That the hope expressed in the Herald of 2.7. was not forlorn was proved by the full house for Aladdin in which "numerous local hits and puns are introduced which took admirably, especially a parody pidgin English on the 'lost child' (see Survey). The dresses were excellent and the scenery well arranged" (NCH 1.10.1864). 24.9.-30.9.1864 During the week a concert was given by Mr. Desvachez (violin) and two amateurs, TH NM. R: Another adventurous musician had come to enliven the Settlement's cultural scene. Mr. DESVACHEZ. His concert was "fairly successful, but people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument may be handled. Some variety is required and although Mr. DESVACHEZ was assisted by an amateur on the violincello and a pianist this desideratum was hardly attained". (NCH 1.10.1864). 6.10.1864 Opening night of Lewis Australian Drama Company. No titles of plays recorded. Th: NẠN. (I R: The first night of an eight-week season by Lewis' Australian Drama Co. (see also Survey). In the Herald, no detailed reviews appeared, only short summaries. The opening pieces have not even been recorded (NCH 8.10.1864). 8.10.-14.10.1864 H.J. BYRON: "The Maid and the Magpie" (1858) T: Burlesque burletta (1 act) A.G. HARRIS: "The Rose of Castille" (1857) T: Opera (music by M.W. BALFE) J.R. PLANCHE: "Paint Heart Never Won Fair Lady" (1839) T: Comedy (1 act) C: Lewis A.D.C. Th: Lyceum Theatre (l) R: It was reported that the company attracted "olerably full houses". Of the plays, Byron's The Maid and the Magpie was "infinitely preferred; in it every actor is well up to his part and personates the character he represents with ludicrous fidelity". (NCH 15.10.1864). £5, 10, 1864 (Sat) Performance by the Portuguese Amateur Dramatic Corps. No titles of plays mentioned. R: In their own theatre, the Portuguese actors were as usual well up in their parts and ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 226 appearance. The music selected afforded great satisfaction to the audience and was really very well performed. The violin solos by a gentleman Amateur of the place were most deservedly encored. Indeed we fancy few home concerts could show anything of the same sort much better. Amateur concerts we are sure rarely could". 23.2.1865 (Thur) Concert by Signor Enrico Grossi, assisted by Messrs Desvachez and Terry, and the Rhenish Band. Th: Astor House Hotel R: All professional artists performed without any government subsidies so they had every reason to look forward to as large an audience as possible. Signor GROSSI evidently was a freemason for the Commercial Record reported that "his masonic relations produced for him a full house" (SCR 8.3.1865). Freemasonry, which had been introduced in Shanghai in 1849, was rather widespread among the (male) foreign residents and the brethren who had turned up rewarded Sr GROSSI's "efforts to please by frequent bursts of applause" (NCH 25.2.1865). No details of the programme were given. 14.3.1865 (Tue) Concert in aid of the Shanghai Volunteer Club fund. Th: Shanghai Club R: RCH 18.3.1865 21.3.1865 (Tue) J. COURTNEY: "Time Tries All" (1848) T: Drama (2 acts) J.M. MORTON: "To Paris and back for $5" (1853) T: Farce (1 act) C: Amateurs of the Shanghai Volunteer Corps Th: Lyceum Theatre (1) N: First performance of the season R: Not unexpectedly the Herald thought it "needless to descant here upon the merits and talents of the Company" (NCH 25.3.1865). The same pieces had been given on May 15, 1860. 23.3.1865 (Thur) M. BARNETT: "The Serious Family" (1849) T: Comedy (3 acts) J.R. PLANCHE: "The Invisible Prince" (1846) T: Extravaganza (1 act) C: Lewis' Australian Drama Company Th: Lyceum Theatre R: Lewis' Australian Drama Company had come back to Shanghai in early March (NCH 11.3.1865) for a second season of farce and comedy, but owing to difficulties in reaching an agreement with the Lyceum Theatre about the rent that was to be paid, the first night took place only on March 23 (NCH 18.3.1865). For the members of the Company see Survey; most of them appeared on the first night in The Serious Family. According to the Commercial Record (25.3.1865) "the acting was very equal throughout and the admirable manner in which the different actors and actresses assisted one another contributed largely to their success" - which seems to be a rather meaningless comment. The Invisible Prince, too, was put on the stage effectively and the mise en scene was very good. 27.3.1865 (Mon) W.B. GILL: "Which is Which?" T: Farce L... ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 232 not heard before and of which the best that can be said is that they are decidedly original. They seemed an imitation of the noise of braying of donkeys, but still they elicited great applause from the gallery [which was generally not regarded as very complimentary JH] perhaps from a certain feeling of sympathy. An amateur played Weber's "Aufforderung zum Tanz" with a "perfect feeling". To conclude the evening Mme SIMONSEN sung the "Valse de concert" (composer unmentioned) in which "she displayed her powers more than in any other piece she has sung" (SCR 22.5.1865). 24.5.1865 (Wedn) H. MAYHEW: "The Wandering Minstrel“ (1834) T: Farce (1 act) J.P. PLANCHE: "The Knights of the Round Table” (1854) T: Drama (5 acts) C: Amateurs of the Shanghai Mounted Rangers F: Music by the Band of the 67th Regiment; prologue read by Capt. Markham Th: Lyceum Theatre (1) ― R: In lieu of the old time favourites, Messrs Brushwood, Pickwick, Newcome and Mrs. Nesbit had come new faces. Most foreigners had not yet made Shanghai their permanent place of residence, so turnover in the theatre too was rather high. Tonight could be admired Mr. SMALLWEED who, in the Knights of the Round Table, as "the blameless king shewed a keen appreciation of his part and while he delivered the burlesque passages with much humour, proved by the taste with which he pronounced the prophetic eulogium on the Queen of England that he need not necessarily confine himself to broad burlesque in order to gain well-merited applause"; Mr. Edmund (also a member of the Amateur Burlesque Company) won golden opinions as Launcelot, whereas Mr. PEEKT as Merlin "displayed much cleverness in personating feeble old men". In The Wandering Minstrel "Mr. R.T. Larff, better known to the theatrical world as Mr. Wynnge (did this mean that he had two stage names? JH) sustained the reputation he has already gained as a low comedian and makes us the less deplore the absence of the well known and inimitable Brushwood” (last recorded performance 10.5.1860). Of course the female roles were taken by men, which led, as it always does, to some ridiculous scenes: "The company possesses great strength in the important particular of lady performers. The only drawback which, however, is immaterial in burlesque, lies in the great height and muscular development of the fair ones". Yet Miss Mary MIDDLESEX "bore away the palm for natural feminine get-up" and "nothing could excel the dash which Kate COVENTRY threw into the part of the vivandière", (NCH 27.5.1865). That not all patrons were equally pleased became evident from the Shanghai Commercial Record (5.6.1865) when it wrote: "an allusion which was considered too personal led to a corresponding in our columns" (i.e. the "Shanghai Recorder" which to the great regret of all historians treating the history of foreign Shanghai can no longer be found). At the end of the evening a number of toasts were proposed, among others to "Alabaster, to whose exertions much of the success of the company was due". This was a reference to Chaloner Alabaster (1831-1890), the British vice-consul who was also active in the North China Branch of the Royal Asiatic Society. In conclusion the Herald reported that "the arrangements were excellent and notwithstanding the warmth of the evening and the crowded state of the theatre, the air within the walls did not become oppressively hot. Punkahs were slung over the front seats and during the temporary pauses kept up a current of air", 27.5.1865 (Sat) Performance by Mr. Benjamin Seare. Programme unknown (reading, etc) Th: Lyceum Theatre (1) R: Both the Herald and the Record agreed that Mr. SEARE "is possessed of great talent" ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 234 in 1846 and kept by the London Missionary Society. (NCH 25.11.1865; SCR 24.11.1865). 14.12.1865 (Thur) J.M. MORTON: "Woodcock's Little Game” (1864) T: Farce (1 act) J.P. PLANCHE: "Faint Heart never won Fair Lady" (1839) T: Comedy (1 act) C. SELBY: "The Boots at the Swan" (1842) T: Comedy (1 act) C: Amateurs of the Shanghai Volunteer Corps F: Prologue spoken by Edward Lawrance and Mr. Groom Th: Lyceum Theatre (1) N: First performance of the season by the S.V.C. R: Again only stage names were used in the review. In Morton's piece, Woodcock's Little Game, Woodcock was played by Mr. DOLEFUL who had "evidently elaborated the part with great care." His only drawback was "a certain monotony in gesture". Another central character was Mrs. Colonel Carver, "inimitably performed by Mrs. St. CHAWLES. The majestic lady's make-up was characteristic and costly and many of her attitudes and tones reminded us of Miss Snowdon [Mary Jane Chippendale, 1837-1888; but she made her debut only in 1863 JH] whose imposing personation of similar female parts has assisted so many Haymarket triumphs". Exceptionally some slight attention was also paid to the staging when the critic wrote about the second scene that the "occasional glimpses of the whirling waltzers and partners-seeking promenaders were skilfully managed". In Faint Heart never won Fair Lady Mr. DOLEFUL again took a leading part, that of Ruy Gomez. However, the Herald was not inclined to accept this gentleman's reading of the character without some exception, as a greater prominence might have been given to the comic element. Lightness, vivacity and élan are indispensable in all characters written, as this one was, for Charles Mathews. However, as he had appeared in a humorous part before, Mr. DOLEFUL was perhaps anxious to show his versatility". Travesty abounded: "The most difficult part was essayed by Miss SOFTLY [as Charles, the King of Spain, a role cast for an actress JH]. For a man to play a lady's part is hard, for a lady to play a man's part is not easy, but for a man to play a man's part as a lady would play it is hardest of all. Charles II, the mischievous, frolicsome schoolboy at large, newly awaking to a sense of royal responsibility, has been a favourite part with some of our cleverest and prettiest actresses and Miss SOFTLY held her own when compared with these formidable competitors" About the Boots at the Swan the reporter confessed that "we are inclined to think this piece has been acted enough" (but hardly in Shanghai where it was on the boards for the first time). "The elaborate mimicry of the inimitable ROBSON made the deaf Boots as popular with the London public as Sam Weller had been before him, but a peculiar talent alone can render Jacob Earwig interesting to an audience ten thousand miles away from the little theatre in Wych Street* (i.e. the Olympic Theatre in London). (Henry Morley wrote about Robson in this part, 1857: "Mr. Robson, although deaf, is humorously wide awake. He is the Boots who is brisk and alive to all the humour of the street, who would be preternaturally knowing if he could but hear what people say. In word and look and action he is more the gamin than the simpleton. The extravagance of a most laughable farce is heightened by him to the utmost and there is not a long face to be seen while he is busy on the stage" *** 136) But, to continue with the Herald: "FUNNYDOG, the new low comedian, is a valuable accession to the company. His stable yard dress, wooden attitude and imperturbable face formed a perfect study for Leech and Cruikshank, and the finish with which he played the long, and we confess to us tiresome, drunken scene shows ================================================================================