RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 186 who evidently had no 'tender cares' to occupy them, manfully maintained their seats in front, and remained so spellbound as to forget entirely the courtesies of gallantry and good breeding. We are of opinion that a perusal of Lord Chesterfield's 'Hints' might be a useful exercise for such as have no innate impulses to enable them to understand and practice what is conveyed in the phrase 'Place aux Dames' when those fair patronesses choose to honour public entertainments with their presence". 129 Once front seats were shunned by ladies, but that was not the case in mid-century Shanghai. In the Regulations to be Observed on the Evenings of Performances at the Shanghae Theatre printed in the North China Herald of February 14, 1857, it was even stipulated that, "after the front row had been set apart for the exclusive accommodation of H.B.M. Consul and the French and American Consuls, the seats numbered 2 to 6 will be reserved for ladies, and the gentlemen who escort them." VII. The Plays From the references above, and even more from the Calendar of Performances, it will be clear that the dramatic fare in Shanghai consisted for the greater part, nay for nearly one hundred percent, of pieces that could easily amuse the people. That is to say: farces, comediettas, burlesques, melodramas, burlettas, musical comedies or whatever name may be invented for the genre. There is no space here, nor is it within the scope of this Survey, to give an analysis of these plays, so I shall keep myself to some general remarks. Most pieces that were performed dated from the 19th century, but there were some from the previous one, like Henry Carey's The Dragon of Wantley (1737), a short three-act opera with music by John Frederick Lampe which burlesqued the Handel style works which were then in vogue (but hardly a century later); and James Townley's (or was it David Garrick's?) High Life below Stairs which one rather antiquarian critic thought "worth whole bales of farces of the 'Box and Cox' pattern". Sheridan's The Rivals (1775) was also on the programme several times (although not on that of the local amateurs) but it is remarkable (and, considering the travesties that were common, maybe just as well) that a classic comedy like Goldsmith's She Stoops to Conquer was not tackled. 130 Of contemporary authors the most prolific was John Maddison Morton and it should cause no surprise that his plays took top of the bill: no ================================================================================ 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). ================================================================================