63-465: Robert Courtneidge (29 June 1859 – 6 April 1939) was a British theatrical manager-producer and playwright. He is best remembered as the co-author of the light opera Tom Jones (1907) and the producer of The Arcadians (1909). He was the father of the actress Cicely Courtneidge , who played in many of his early 20th century productions. Courtneidge began as a comic actor in the late 1870s, working with Kate Santley , George Edwardes and others. In
126-416: A "tattered vagabond". He has received many complaints about Griffenfeld's behaviour from the citizens of Elsinore, and he wants to see for himself if they are true. He encounters Christina, who is struck by his resemblance to the statue, but he tells her that he is a mere strolling player, Nils Egilsson. After she leaves, he encounters Griffenfeld, who also notices the resemblance. Seeing another opportunity for
189-528: A 1913 German comic opera by Jean Gilbert . It was a hit for Courtneidge and ran to full houses at the Shaftesbury Theatre until Britain and Germany went to war in August 1914; anti-German sentiment brought the run to a premature and abrupt halt. Courtneidge's next shows, My Lady Frayle , Oh, Caesar! and The Light Blues (all 1916, the last of which included a young Noël Coward in its cast) all failed, and
252-413: A Scots musical Pim Pom set in a monkey house at the zoo. Courtneidge's wife was Rosaline May née Adams (stage name Rosie Nott). She was the daughter of the singer and actress Cicely Nott and the sister of three other actresses including Ada Blanche , a well-known pantomime star. In 1892 Courtneidge and his wife went to Australia, where he played comic roles for George Edwardes 's Gaiety company in
315-712: A practical joke, Griffenfeld asks "Egilsson" to impersonate the Prince Regent – dispensing fake honours to the townspeople, which will later be revealed as amusing hoaxes. Christina overhears their agreement, but left alone with the Regent once again, promises not to divulge their secret. Mats Munck has a meeting with Dame Cortlandt, in which she believes she is consulting him on arrangements for her marriage with Griffenfeld, but Mats believes that she plans to marry him . Dame Cortlandt finds his behaviour incomprehensible. Erling and Tortenssen now learn that their court appointments are
378-424: A provincial tour and a popular Broadway run in 1907. It then disappeared from the professional repertory but eventually became very popular with amateur groups. The impresario Robert Courtneidge , noting the bicentennial of Fielding's birth in 1907, decided to adapt Fielding's novel as a comic opera. He commissioned Thompson and Taylor to collaborate on the libretto and German to write the music. The eroticism of
441-451: A second Mikado " ( quoted in Wolfson 1976, p. 65). The London run of just over five months (162 performances, closing on 6 April 1895), cut short because of an influenza epidemic, was a disappointment. Nevertheless, the opera had a respectable provincial tour and a Broadway production opening at the former Broadway Theatre on 14 October 1895, which ran for 88 performances. The scene
504-736: A sham. Nanna and Thora reject their marriage proposals, given their impoverished status. Fed up with Griffenfeld's incessant practical jokes, Erling and Tortenssen assemble the townspeople, and are joined by Dame Cortlandt, who has realised what is going on, and they plan to go to Copenhagen to complain to the Prince personally. When Griffenfeld arrives, he tells them that the Regent is already in Elsinore to hear their complaints. The chorus are jubilant that their grievances will finally be heard, while Griffenfeld and his daughters pretend to be alarmed and to beg for mercy. The people of Elsinore await their audience with
567-557: A tryout at his old Manchester theatre, the Prince's, he brought the old farce On 'Change to the Savoy, winning good notices for his performance in the leading role of a vain and touchy Scottish professor, which he had first played in the 1880s. Although Cicely had made her career away from his management since World War I, Courtneidge regularly featured his younger daughter Rosaline in his casts, in such plays as The Sport of Kings (1924) and The Unfair Sex (1925), until her early death in 1926 at
630-474: A vein already familiar from The Mikado , The Geisha and San Toy . Despite a lavish production, including a spectacular earthquake scene, it was only modestly successful. In 1912, Courtneidge joined several other theatre managers in opposing an attempt to abolish theatre censorship. The managers believed that a licence from the Lord Chamberlain to present a piece insured them against legal action by
693-701: A work by an Australian author, Saving Grace . Among the company members was Courtneidge's younger daughter Rosaline. He returned to England by way of the US, where he presented Paddy the Next Best Thing in New York. Alexander Woollcott in The New York Times was no more laudatory than his critical counterpart in London, but the play ran well. In the 1920s Courtneidge returned to producing British provincial tours, including
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#1732891467778756-590: Is a comic opera in three acts by Edward German founded upon Henry Fielding 's 1749 novel , The History of Tom Jones, a Foundling , with a libretto by Robert Courtneidge and Alexander M. Thompson and lyrics by Charles H. Taylor . After a run in Manchester , England, the opera opened in London at the Apollo Theatre on 17 April 1907 for an initial run of 110 performances. It starred Ruth Vincent as Sophia and Hayden Coffin as Tom Jones. The piece also had
819-474: Is a large section of theatrical managers who will not deal justly. The actor is again forced to the wall, and compelled to fight for his rights." He had earlier resigned from the Actors' Association, of which he had been a founder member, disagreeing with its closed shop policy, but his indignation at a proposed new standard contract for actors led him to rejoin. In 1925, Courtneidge returned briefly to acting. After
882-405: Is delighted that, once again, all of his practical jokes are working beautifully, but his daughters are starting to feel some remorse over their treatment of Erling and Tortenssen. The new nobles make a pretence of behaving haughtily towards the young ladies, but soon crumble before the feminine tears. Left alone, the girls finally admit that they have real feelings for the men. Everyone gathers for
945-475: Is enjoying his new rank. He and Blanca decide to write a three-volume novel about their lives. Meanwhile, Dame Cortlandt once again confronts Mats Munck. She insists that she was engaged to the Governor. Now that Mats is Governor, she is engaged to him , but now he is not interested. Mats asks a nearby sentry if he is obliged to marry her. Griffenfeld changes places with the sentry, and says that he must. Griffenfeld
1008-576: Is laid in Elsinore , Denmark, in 1801. The people of Elsinore celebrate a newly unveiled statue of the Prince Regent. Its creator, Erling Sykke, has been named Sculptor to the Royal Family. After the townspeople leave, Christina remains, transfixed. She tells Erling that she is in love with the statue. Erling's friend, Dr. Tortenssen, has been named Physician to the King. The two men are in love with Nanna and Thora,
1071-551: Is rebutted and Honour pairs up with Gregory, a local youth. Blifil also attempts to slur Tom's honourable reputation, but Honour outwits him. Blifil proposes to Sophia, but is rejected. He and Tom come to blows, and Tom knocks him down. Western angrily rejects Tom's plea for Sophia's hand. Allworthy disowns Tom, and Sophia is in disgrace with Squire Western. Act 2 – The Inn at Upton Sophia, accompanied by Honour, has run away, intending to seek refuge with Lady Bellaston, her cousin, in London. Blifil and Squire Western arrive at
1134-405: Is well established in London society. Tom finds Sophia, who eventually realises that she has been mistaken in doubting his fidelity to her. Partridge has told Western the secret of Tom's birth: he is Allworthy's elder nephew and heir, and Western now gladly consents to Tom and Sophia's marriage. Act 1 Act 2 Act 3 Additional musical numbers cut from the original production but included on
1197-531: The Apollo Theatre on 17 April 1907 for an initial run of 110 performances. It starred Ruth Vincent as Sophia and Hayden Coffin as Tom Jones. Carrie Moore played Honour, and the comedian Dan Rolyat played Partridge. The producer's daughter, Cicely Courtneidge , made her professional début in the small rôle of Rosie. Costume designs were by C. Wilhelm . Audiences and critics both received Tom Jones enthusiastically. The critic Neville Cardus wrote, "Next morning I heard over and over again in my head most of
1260-785: The Charles Dillon and Barry Sullivan companies, and later with Kate Santley playing Hamet Abensellah in Vetah (1886). In 1885 he played Mr. Drinkwater in H.J. Byron 's Open House , a performance praised by The Manchester Guardian as "a well-studied sketch of a vain and irritable old widower." He made his London debut in 1887 at the Adelphi Theatre , in The Bells of Haslemere . His other roles included Pepin in Robert Reece 's English version of Auguste Coedes's Girouette (1889) and Major Styx in
1323-588: The Grossmith role of the Governor in a tour of His Excellency ; The Manchester Guardian wrote, "Mr. Courtneidge … though with very little vocal power, knows how to sing a patter song." By 1896 he had taken part in 19 Christmas pantomimes. In 1896 Courtneidge became manager of the Prince's Theatre in Manchester. The following year, reviewing his progress to date, The Manchester Guardian wrote: Mr. Robert Courtneidge has made some engagements which promise to maintain
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#17328914677781386-540: The Shaw Festival have found the libretto to be an excessively diluted version of the original novel and have produced rewritten versions with revised lyrics and dialogue. Richard Traubner asked in Opera News : But does a Tom Jones that pleased a refined Edwardian clientele still hold up, especially after Tony Richardson 's famous 1963 film version...? I'm not so sure. The libretto is almost devoid of ribaldry, many of
1449-625: The burlesques , Carmen up to Data , Faust up to Date , Miss Esmeralda and Joan of Arc . He and his wife remained in Australia during 1893 and 1894; he joined the J. C. Williamson company, appearing in On 'Change , La Mascotte , Sweet Lavender and Princess Ida and in pantomime. His daughter Cicely was born while he and his wife were in Sydney. On returning to England, Courtneidge toured with Kate Vaughan and May Fortescue , and in 1895 he played
1512-420: The "undeniable triumph" of the piece solely to Gilbert's "inventive genius as a librettist and stage manager." The Saturday Review rated Gilbert's libretto "a pretty fair specimen" of "genuine Gilbertian humour", but lamented the absence of Sullivan; of Carr's contribution, it said, "the music is neat, easy, the technical writing skilful, the orchestration correct; in fact there is nothing wrong with it. And this
1575-524: The D'Oyly Carte chorus. Choreography was by John D'Auban , and costumes were by Percy Anderson . His Excellency premiered at the Lyric Theatre, London , under the management of George Edwardes , on 27 October 1894. The production and libretto received enthusiastic notices, though the score met a mixed reception. After the opera opened, Gilbert wrote to Helen Carte , "if it had had the benefit of your expensive friend Sullivan's music, it would have been
1638-621: The Lifeguardsman . Mr. J. H. McCarthy's new play My Friend the Prince , Max O'Rell in On the Continong , and Mr. Lewis Waller in a new play by Mr. Sydney Grundy ." Courtneidge remained in charge of the Prince's Theatre until 1903, but he also gained a footing as a producer and director in the West End of London. In 1898, he produced the successful George Dance and Carl Kiefert musical The Gay Grisette . Among his later productions in Manchester
1701-518: The Naxos 2009 recording His Excellency (opera) His Excellency is a two-act comic opera with a libretto by W. S. Gilbert and music by F. Osmond Carr . The piece concerns a practical-joking governor whose pranks threaten to make everyone miserable, until the Prince Regent kindly foils the governor's plans. Towards the end of the Gilbert and Sullivan partnership, Arthur Sullivan declined to write
1764-548: The Next Best Thing at the Savoy Theatre . The reviewer of The Times expressed the hope that people in Ireland would not hear of the show: "Ireland has enough grievances to go on with". Nevertheless, the play was a popular success, and ran for 867 performances. Following this, Courtneidge took a touring company to Australia, presenting a repertory of comedies including The Man from Toronto , Somerset Maugham 's Home and Beauty , and
1827-537: The Regent. Mats Munck has drawn up their complaints in a formal legal document. Christina assures them that she foresees the Governor's downfall. Nanna and Thora beg forgiveness for their father, but the crowd will have none of it. Finally, the Regent arrives in a great ceremony. As evidence of the Governor's practical jokes, Harold and the Hussars dance a ballet for him. The Regent announces that Erling and Tortenssen's previous appointments are confirmed, and they are elevated to
1890-551: The Sullivan style, but nevertheless better than "that more vulgar mould in which he has found favour with the purveyors of variety entertainments." The paper judged the cast "exceptionally strong". Its comments on Nancy McIntosh accorded, to some degree, with Sullivan's: "[She] has of late made rapid progress and has become an actress of decided skill and charm, though her voice and singing are scarcely as good as they were when she came out." The Manchester Guardian concurred, attributing
1953-455: The age of 23. Courtneidge returned to presenting West End musical shows in 1927, directing Lehár 's The Blue Mazurka (1927) with English lyrics by Harry Graham at Daly's Theatre . His last London musical was The Damask Rose (1930), an attempt to emulate with Chopin 's music the success of Lilac Time , a piece written around Schubert 's music. The adaptation was by Clutsam (who had adapted Lilac Time ), with Courtneidge as co-author of
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2016-445: The book. A strong cast included Walter Passmore , and the piece won friendly notices. His final production was at the Prince's and on tour, a musical, Lavender (1930), with music by Clutsam. In the same year, Courtneidge published his memoirs I was an actor once , and in 1933 he wrote a novel, Judith Clifford . Courtneidge retired to Brighton , where he died in 1939 at the age of 79. Tom Jones (Edward German) Tom Jones
2079-466: The cast of His Excellency , Gilbert was able to engage former Savoy opera stalwarts George Grossmith , Rutland Barrington , Alice Barnett , Charles Kenningham and Jessie Bond , as well as John Le Hay and the young musical comedy star, Ellaline Terriss . Many of the choristers from the Savoy Theatre , who had been disappointed with the recent short run of Mirette there, joined Gilbert's production, and Helen Carte accused Gilbert of poaching
2142-477: The casting of the leading lady. Gilbert insisted on using his protege, Nancy McIntosh , in the part, who had played the heroine in Utopia . Sullivan and producer Richard D'Oyly Carte , along with many of the critics, had found her unimpressive and did not want her in any more of his operas. The two men were not able to settle their differences, and Gilbert and Sullivan once again had to find different partners. By 1894,
2205-442: The citizens of Elsinore. The King's Hussars enter, led by Corporal Harold. The Governor has compelled them to dance like ballet-girls every day from 10 to 2. Griffenfeld joins them, and chastises the Hussars for their lack of a sense of humour. He admits to Harold, however, that one of his practical jokes has backfired. Just for fun, he had proposed marriage to the extraordinarily wealthy Dame Hecla Cortlandt. He now wants to break off
2268-416: The daughters of Elsinore's governor, George Griffenfeld. Until now, the girls have scornfully refused the two suitors' advances. The young men hope for better luck, now that they have secured royal appointments. Nanna and Thora appear, and they appear receptive to the men's entreaties. But after the men leave, the girls admit that the appointments are a practical joke, one of many their father has perpetrated on
2331-603: The decade, he presented more West End musicals and operettas, producing his last show in 1930. In 1933 he wrote a novel, Judith Clifford . Courtneidge was born in Glasgow , Scotland. He appeared as an amateur actor in Edinburgh and later in Manchester . At Christmas 1878 he made his professional debut in the pantomime Babes in the Wood at the Prince's Theatre in Manchester. He toured with
2394-518: The early 1890s, he toured in Australia with Edwardes and J. C. Williamson companies. In 1896, he became a theatre manager in Manchester and then a West End theatre producer. In the first years of the 20th century, he began to direct musical theatre pieces and to write or co-write the book for some of his productions, including Tom Jones (1907). His most popular productions included The Arcadians (1909), Princess Caprice (1912), Oh! Oh! Delphine (1913) and The Cinema Star (1914). He directed
2457-405: The engagement, but he fears her dangerous temper. When she arrives, Griffenfeld asks her what she would do if, hypothetically, his proposal turned out to be a ruse. Her angry reply leaves him terrified. With his two daughters, he plots to trick Mats Munck, the local Syndic , into believing that Dame Cortlandt wants to marry Munck. After they leave, the Prince Regent appears, in disguise, dressed as
2520-440: The heroine, Sophia; and most important, his sweeping finales, which have a breadth that occasionally just touches Ralph Vaughan Williams territory. You may ... tire of so many jigs and other intrusive country dances, but that's Edward German for you, exactly. The opera is best known for a suite of three of its dance numbers for orchestra and the act 3 waltz song, which can be found on numerous recordings. A 2009 recording by Naxos
2583-534: The hit musical The Boy in 1917. After the war, he presented Paddy the Next Best Thing , which had a long run, and then took a touring company to Australia, presenting a repertory of comedies. In the 1920s, he returned to producing British provincial tours and became the lessee of the Savoy Theatre , presenting a mixture of productions ranging from Shakespeare to farce. A lifelong socialist, he joined with other managers in campaigning for fair pay and treatment of actors. He also returned briefly to acting. Later in
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2646-463: The honour and dignity of the English stage". His career as a producer-director continued in the West End. George Edwardes invited him to direct Ivan Caryll 's comic opera, The Duchess of Dantzic , in 1903. As an independent West End producer, Courtneidge began in 1905 with The Blue Moon . He soon began collaborating on the books of musicals that he produced, although in some cases he contributed only
2709-614: The inn in pursuit. There they meet Benjamin Partridge, the village barber and quack-doctor, who, it emerges, knows something about the foundling Tom's birth. Sophia and Honour arrive, but they and their pursuers remain unaware of each other's presence. Next to arrive is Tom, with Lady Bellaston, whom he has rescued from highwaymen. She is much taken with her gallant rescuer, and Sophia, believing Tom to be false, leaves at once. He sets off in pursuit of her. Act 3 – Ranelagh Gardens Sophia has gone to live with her cousin, Lady Bellaston, and
2772-409: The lyrics are a sorry collection of Latin locutions and/or olde-English fa-la-las, and the patter songs are pallid lists. That leaves Edward German's music, which is for the most part very accomplished, beautifully orchestrated and redolent of both the English countryside (Somerset) and London's pleasure gardens (Ranelagh) in the eighteenth century. Somehow, this composer of antique incidental music for
2835-566: The melodies ... I savoured the orchestration ... I returned to Tom Jones night after night; I sold several of my precious books to obtain admission". Tom Jones was still playing strongly at the Apollo when it closed after 110 performances. It would have run longer, but Courtneidge had already booked a provincial tour with the same cast. The piece also had a popular Broadway run at the Astor Theatre beginning on 11 November 1907, which interpolated
2898-443: The minimum needed to allow him to claim an interest in the copyright and royalties of the piece. Among the works credited to him as co-librettist are The Dairymaids (1906) and Tom Jones (1907). In 1909, Courtneidge became lessee of the Shaftesbury Theatre . In the same year, he had his biggest success, with The Arcadians , which ran for more than 800 performances. This was followed in 1911 by The Mousmé , an oriental piece in
2961-569: The music for this piece after Gilbert insisted on casting his protege, Nancy McIntosh , in the lead role; Sullivan and producer Richard D'Oyly Carte , proprietor of the Savoy Theatre , did not feel that McIntosh was adequate. The opera premiered instead under the management of George Edwardes in 1894 at the Lyric Theatre , running for 162 performances. It starred many of the Savoy Theatre regulars, such as George Grossmith , Rutland Barrington and Jessie Bond , as well as Ellaline Terriss , who
3024-454: The nobility. Corporal Harold is promoted to Colonel, Mats Munck is promoted to Governor, and Griffenfeld is degraded to the rank of Private. Lastly, he commands that Erling and Tortenssen marry Griffenfeld's daughters, and he invites the whole village to a banquet at the castle. After the chorus have left, Griffenfeld tells "Egilsson" that he is pleased with how well the joke is working. He ignores that his joke on Dame Cortlandt backfired. Harold
3087-443: The novel was reduced for Edwardian audiences. The influences of German's predecessor, Arthur Sullivan can be seen in the opera's patter songs and the pseudo-madrigal, "Here’s a paradox for lovers". However, the extended finales and much of the other music, as well as the orchestration shows German's own more romantic style. The opera premiered at the Prince's Theatre in Manchester , England, on 3 April 1907, opening in London at
3150-657: The old-fashioned Gabrielle (1921; composed by George Clutsam , Archibald Joyce and others), which was successful for several years. In 1923, he became the lessee of the Savoy, where his first production was The Young Idea by the 22-year-old Coward. He followed this with a mixture of productions ranging from Shakespeare to farce. During the 1920s, Courtneidge, a lifelong socialist, joined with other managers including Arthur Bourchier in campaigning for fair pay for chorus members and players of small parts. Many other managements lagged behind in this, for instance not paying salaries during rehearsals. Courtneidge said in 1924, "There
3213-850: The past prestige of the Prince's Theatre as the particular home in Manchester of comedy, light opera, and musical farce. Among the items may be mentioned Charley's Aunt , Morocco Bound , Monte Carlo , Newmarket , Gentleman Joe , a new play by Mr. George Dance, The New Barmaid , The Geisha , Dick Turpin à la Mode , Mr. Edward Terry 's season, the visit of the Carl Rosa Company , Miss Olga Nethersole 's season, The Lady Slavey , Little Tich in Lord Tom Noddy , The White Elephant , The Ballet Girl , The Circus Girl , Mr. Van Biene in The Broken Melody , Mr. Arthur Roberts in Dandy Dan
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#17328914677783276-421: The patriotic operetta Young England was only a modest success. After these financial setbacks, Courtneidge next produced less expensive extravaganzas in the provinces, including Oh, Caesar! Petticoat Fair , Fancy Fair (the last two of which he wrote) and Too Many Girls . He directed the hit musical The Boy (1917) at the Adelphi Theatre . In 1920, Courtneidge presented the non-musical comedy Paddy
3339-418: The police, local authority or anyone else. Among those whom Courtneidge joined in this successful opposition were Edwardes, Herbert Beerbohm Tree , Charles Frohman , Gerald du Maurier and Rupert D'Oyly Carte . In the same year, Courtneidge presented an English version of Leo Fall 's Der liebe Augustin , as Princess Caprice , with a cast including Courtice Pounds and Courtneidge's daughter Cicely. There
3402-671: The popular trend on the London stage had moved from traditional comic opera to a new genre, musical comedy , with such shows as The Gaiety Girl becoming quickly popular. Gilbert added elements of the new genre to his later works. In the case of His Excellency , after approaching George Henschel unsuccessfully, Gilbert selected Carr as the composer for the new piece. Carr had enjoyed success in musical comedy, with In Town (1892), Morocco Bound (1893) and Go-Bang (1894), but critics inevitably found him inferior to Sullivan. In His Excellency , among other satiric targets, Gilbert ridicules Henry Labouchère 's claims to impartiality in
3465-410: The production of The Gondoliers (1889), because of a financial dispute, but in 1893 they reunited to write Utopia, Limited . Encouraged by the modest success of this piece, the two agreed to write a new piece. In January 1894, Gilbert was ready with the scenario for a libretto that would become His Excellency , and which he hoped Sullivan would set to music. But the two collaborators disagreed over
3528-409: The song "King Neptune" from German's 1902 comic opera, Merrie England , into the third act. It then disappeared from the professional repertory. Due to the perceived raciness of the original novel even into the 20th century, the opera was initially avoided by amateur performing groups, but eventually reached a level of popularity comparable to Merrie England . A few modern performing groups such as
3591-498: The song "When a gentleman supposes". Labouchère, whose lover Henrietta Hodson feuded with Gilbert in 1877, had been a frequent theatrical critic of Gilbert's. Labouchère founded a personal weekly journal, Truth , in 1877, in which he pursued his anti-semitic, anti-suffrage and anti-homosexual social agenda. The journal was often sued for libel. The original production at the Lyric Theatre in London opened on 27 October 1894, and closed on 6 April 1895 after 162 performances. For
3654-471: The stage ... feels more at home in the operetta world with the Elizabethan setting of his patriotic Merrie England . One wants a saucier treatment for Tom Jones , perhaps along the lines of The Beggar's Opera . But that would deprive us of hearing German's fine martial songs; his convoluted, challenging chorus writing; some very catchy ditties for the soubrette, Honour; the famous coloratura waltz-song for
3717-553: The weddings, but Griffenfeld abruptly announces that the Regent's visit was a sham, and all of the honours he dispensed were practical jokes. But "Egilsson" turns the tables, and announces that he is the real Regent. All of the honours are to become permanent, and likewise Griffenfeld's demotion to the rank of Private is confirmed. The Regent asks Christina to marry him, and all of the couples are happily united. The Times praised Gilbert's libretto, rating it his best since The Mikado . The paper thought Carr's music an inferior copy of
3780-441: Was A Midsummer Night's Dream in 1901, in which Bottom was played by W.H. Denny and the tiny role of Peaseblossom was played by Courtneidge's eight-year-old daughter Cicely, making her stage debut. On leaving Manchester after seven years, Courtneidge was presented with a scroll inscribed by members of the theatrical profession headed by Henry Irving and the local community headed by C.P. Scott "to one who has done so much for
3843-538: Was some feeling in theatrical circles that Cicely's elevation to star status was due more to her being Robert Courtneidge's daughter than to any special talent. Of Courtneidge's two productions in 1913, Ivan Caryll 's American musical Oh! Oh! Delphine received a strong reception, but The Pearl Girl was only a moderate success. In 1914 Cicely Courtneidge and Jack Hulbert starred in The Cinema Star , an adaptation by Hulbert and Harry Graham of Die Kino-Königin ,
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#17328914677783906-538: Was the first complete professional recording of the opera, conducted by David Russell Hulme . Act 1 – The Lawn at Squire Western's Tom Jones, a foundling adopted in infancy by Mr Allworthy, is popular for his geniality and sportsmanship. Tom is in love with Sophia, Squire Western's daughter, but her father wishes her to marry Blifil, Allworthy's nephew and heir. Tom's feelings for Sophia are reciprocated. Western's trouble-making sister accuses Tom of impropriety with Sophie's maid, Honour, but this false accusation
3969-524: Was to become a major West End star. It was also produced in New York in 1895, and in German translation at the Carltheater, Vienna, in both 1895 and 1897. The opera also enjoyed a British provincial tour. From the late 1870s through the 1880s, Gilbert wrote a series of successful comic operas, working almost exclusively with Arthur Sullivan . The Gilbert and Sullivan partnership dissolved for several years after
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