Casino Theatre (New York City)
The Casino Theatre was a Broadway theatre located at 1404 Broadway, at West 39th Street in New York City. Built in 1882, it was a leading presenter of musicals and operettas until it closed in 1930; the theatre was the first in New York to be lit by electricity, popularized the chorus line and introduced white audiences to African-American shows. It seated 875 people, however the theatre was enlarged and rebuilt in 1905 after a fire, seated 1,300, it hosted a number of long-running comic operas and musical comedies, including Erminie, The Vagabond King and The Desert Song. It was demolished the same year; the Casino Theatre, designed in Moorish Revival style by architects Francis Hatch Kimball and Thomas Wisedell, was the first theatre in New York to be lit by electricity. It was built more than 15 blocks north of where the theatre district was centered, 23rd Street. In 1890, New York's first roof garden was added to the theatre, it seated 875 people, however the theatre was enlarged and rebuilt in 1905 after a fire in 1903.
The redesigned Casino seated 1,300. The theatre opened with productions by the McCaull Comic Opera Company, it was first managed by producer and composer Rudolph Aronson, by Canary & Lederer from 1894 to 1903, from 1903 by the Shuberts. As the center of the Broadway theatre district moved uptown, north of 42nd Street, the Casino closed in 1930, it was demolished the same year, along with the nearby Knickerbocker Theatre, to make way for the expanding Garment District. The Casino hosted a series of successful operettas and other musical theatre pieces in the 1880s and 1890s, including the extraordinarily successful Erminie. In 1891, it premiered Cavalleria Rusticana in America, in 1894 it presented the first Broadway revue, The Passing Show. In 1898, it was host to the premiere of Clorindy, or The Origin of the Cake Walk, the first African-American musical to be presented before a white audience; the theatre is best remembered, however, as having been the home of the 1900 production of the Edwardian musical comedy, Florodora.
In that show, it became the first theatre in New York to feature a chorus line, the "Florodora Sextet". The sextet's original lineup included a number of ladies who would achieve fame and fortune; the production "elevated the chorus girl into... an attraction in its own right." Evelyn Nesbit was a chorus girl in the show in 1901. Over the decades, the theatre became known for its free Christmas presentations for New York children. Over the next decade, the theatre continued to present musicals and operettas, some of the most successful being A Chinese Honeymoon, The Earl and the Girl and The Chocolate Soldier. During World War I, it hosted transfers of several of the Princess Theatre musicals, among other musicals, such as The Blue Paradise and Sometime. In the 1920s, the theatre was the home of several hit operettas The Vagabond King and The Desert Song. Although the Casino had led the move uptown by the Broadway theatre district, by 1930, most of the theatres had moved further north, to the West 40s.
The last performance was the opera Faust, in January 1930. 1882: The Queen's Lace Handkerchief 1883: The Beggar Student 1884: Nell Gwynne 1885: Die Fledermaus 1886: Erminie 1888: The Yeomen of the Guard 1891: Cavalleria Rusticana 1894: The Passing Show 1895: The Wizard of the Nile 1896: In Gay New York 1897: The Belle of New York 1898: Clorindy, or The Origin of the Cake Walk 1900: Florodora 1900: The Casino Girl 1901: The Little Duchess 1902: A Chinese Honeymoon 1903: The Runaways 1904: Piff! Paff!! Pouf!!! 1905: The Earl and the Girl 1909: Havana 1909: The Chocolate Soldier 1912: The Firefly 1912–13: Seasons of Gilbert and Sullivan 1914: High Jinks 1915: The Blue Paradise 1916: Very Good Eddie 1917: Oh, Boy! 1918: Oh, Lady! Lady!! 1918: Sometime 1921: Tangerine 1922: Sally and Mary 1923: Wildflower 1924: I'll Say She Is – Marx Brothers 1925: The Vagabond King 1926: The Desert Song 1928: My Maryland 1929: The New Moon 1930: American Opera Company's Madama Butterfly and Faust Casino Theatre at the Internet Broadway Database Photos of the theatre and its stars
The Whirl of New York
The Whirl of New York is a Broadway musical that premiered at Winter Garden Theatre on June 13, 1921. It was an expanded and re-worked version of The Belle of New York; the show was billed not as a revival but as "founded on The Belle of New York.". The new version had music by Al Goodman and Lew Pollack, it ran for 124 performances. The premiere cast included: John T. Murray J. Harold Murray Dorothy Ward Nancy Gibbs Joe Keno Rosie Green Louis Mann Shaun Glenville
George Robert Sims
For the founding pioneer of New Port Richey, see George R. Sims George Robert Sims was an English journalist, dramatist and bon vivant. Sims began writing lively humour and satiric pieces for Fun magazine and The Referee, but he was soon concentrating on social reform the plight of the poor in London's slums. A prolific journalist and writer he produced a number of novels. Sims was a successful dramatist, writing numerous plays in collaboration, several of which had long runs and international success, he bred bulldogs, was an avid sportsman and lived richly among a large circle of literary and artistic friends. Sims earned a fortune from his productive endeavours but had gambled most of it away by the time of his death. Sims was born in Kennington, England, his parents were George Sims, a prosperous merchant, Louisa Amelia Ann Stevenson Sims, president of the Women's Provident League. Sims was the oldest of six children, who were exposed to their parents' cosmopolitan artistic and progressive friends, including suffragists.
He grew up in Islington and his mother took him to the theatre. He was educated in Eastbourne and Hanwell Military College and the University of Bonn, he had begun to write poetry at the age of ten, at Bonn he wrote some plays, including an adaptation of Dr. Wespe by Benedix, he completed his studies in Germany and France, where he became interested in gambling. In Europe, he translated Balzac's Contes drôlatiques, published in 1874 by Chatto and Windus. Sims was twice a widower. In 1876, he married Sarah Elizabeth Collis. In 1888, he married Annie Maria Harriss. In 1901, he married Elizabeth Florence Wykes who survived him. None of these marriages produced any children; the Times wrote in Sims's obituary that "so attractive and original was the personality revealed in his abundant output—for he was a wonderfully hard worker—that no other journalist has occupied quite the same place in the affections not only of the great public but of people of more discriminating taste.... Sims was indeed a born journalist, with the essential flair added to shrewd common sense, wide sympathies, a vivid interest in every side of life, the most ardent patriotism....
He was a successful playwright... a zealous social reformer, an expert criminologist, a connoisseur in good eating and drinking, in racing, in dogs, in boxing, in all sorts of curious and out-of-the-way people and things." He returned to England and worked in his father's business, but his interests lay in writing, he began to write stories and poetry. He began to publish pieces in Fun in 1874, succeeding editor Tom Hood and making friendships with fellow contributors W. S. Gilbert and Ambrose Bierce, he contributed early to the Weekly Dispatch. In 1876, Sims penned a satiric open letter "To a Fashionable Tragedian", humorously accusing actor-producer Henry Irving of inciting mass murder by emphasising the gore in his Shakespeare plays and of paying bribes to critics. Irving sued Sims and his editor Harry Sampson for libel, but after an apology he withdrew the legal action. In 1877, he began contributing to a new Sunday sports and entertainments paper, edited by Sampson, The Referee, writing a weekly column of miscellany, "Mustard and Cress," under the pseudonym Dagonet, until his death.
This was so successful that compilations of his verses from the paper, published as The Dagonet Ballads and Ballads of Babylon, sold in hundreds of thousands of copies and were in print during the next thirty years. He wrote amusing and popular travelogues as Dagonet, he became editor of One and All in 1879 and for various papers wrote about horse racing, showing dogs and leisure. Although Sims published his "Mustard and Cress" column every week for 45 years without fail, according to The Times, "week after week... the page read freshly and seemed always to have something new in it. It was sprinkled with neat little epigrams in verse, patriotic songs or parodies, with jokes, conundrums, catch-words, he talked of politics... philanthropy, reminiscence and drink, such travel as so confirmed a Cockney could enjoy....he would champion the cause of the unfortunate middle classes.... He took his readers into his confidence, told them all about... his friends... his pets.... And he contrived to do this without becoming egotistical or a bore."Sims is best-remembered for his dramatic monologue from The Dagonet Ballads that opens "It is Christmas Day in the workhouse".
Its zealous social concern aroused public sentiment and made Sims a strong voice for reform, dramatising the plight of suffering Londoners. He contributed numerous articles from 1879 to 1883 about the bad condition of the poor in London's slums in the Sunday Dispatch, Daily News and other papers. Many of these were published in book form, such as The Theatre of Life, Horrible London, The Social Kaleidoscope, The Three Brass Balls. In particular, in 1881, Sims and Frederick Barnard wrote a series of illustrated articles entitled How the Poor Live for a new journal, The Pictorial World; this was published in book form in 1883. He wrote many popular ballads attempting to draw attention to the predicament of the poor; these efforts were important in raising public opinion on the subject and led to reform legislation in the Act of 1885. Sims was appointed as part of an 1882 study of social conditions in Southwark in 1882 and as a witness before the 1884 royal commission on
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
National Library of Australia
The National Library of Australia is the largest reference library in Australia, responsible under the terms of the National Library Act for "maintaining and developing a national collection of library material, including a comprehensive collection of library material relating to Australia and the Australian people." In 2012–13, the National Library collection comprised 6,496,772 items, an additional 15,506 metres of manuscript material. It is located in Parkes, Canberra, ACT; the National Library of Australia, while formally established by the passage of the National Library Act 1960, had been functioning as a national library rather than a Parliamentary Library since its inception. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia. From its inception the Commonwealth Parliamentary Library was driven to development of a national collection. In 1907 the Joint Parliamentary Library Committee under the Chairmanship of the Speaker, Sir Frederick William Holder defined the objective of the Commonwealth Parliamentary Library in the following words: The Library Committee is keeping before it the ideal of building up, for the time when Parliament shall be established in the Federal Capital, a great Public Library on the lines of the world-famed Library of Congress at Washington.
The present library building was opened on 15 August 1968 by Prime Minister John Gorton. The building was designed by the architectural firm of Bunning and Madden in the Late Twentieth Century Stripped Classical style; the foyer is decorated in marble, with stained-glass windows by Leonard French and three tapestries by Mathieu Matégot. The building was listed on the Australian Commonwealth Heritage List on 22 June 2004. In 2012–13 the Library collection comprised 6,496,772 items, with an estimated additional 2,325,900 items held in the manuscripts collection; the Library's collections of Australiana have developed into the nation's single most important resource of materials recording the Australian cultural heritage. Australian writers and illustrators are sought and well represented—whether published in Australia or overseas; the Library's collection includes all formats of material, from books, journals and manuscripts to pictures, maps, oral history recordings, manuscript papers and ephemera.
92.1% of the Library's collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, where possible, delivers these directly across the Internet; the Library is a world leader in digital preservation techniques, maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. The Library collects material produced by Australians, for Australians or about the Australian experience in all formats—not just printed works—books, newspapers, posters and printed ephemera—but online publications and unpublished material such as manuscripts and oral histories. A core Australiana collection is that of John A. Ferguson; the Library has particular collection strengths in the performing arts, including dance. The Library's considerable collections of general overseas and rare book materials, as well as world-class Asian and Pacific collections which augment the Australiana collections.
The print collections are further supported by extensive microform holdings. The Library maintains the National Reserve Braille Collection; the Library houses the largest and most developing research resource on Asia in Australia, the largest Asian language collections in the Southern hemisphere, with over half a million volumes in the collection, as well as extensive online and electronic resources. The Library collects resources about all Asian countries in Western languages extensively, resources in the following Asian languages: Burmese, Persian, Japanese, Korean, Manchu, Thai and Vietnamese; the Library has acquired a number of important Western and Asian language scholarly collections from researchers and bibliophiles. These collections include: Australian Buddhist Library Collection Braga Collection Claasz Collection Coedes Collection London Missionary Society Collection Luce Collection McLaren-Human Collection Otley Beyer Collection Sakakibara Collection Sang Ye Collection Simon Collection Harold S. Williams Collection The Asian Collections are searchable via the National Library's catalogue.
The National Library holds an extensive collection of manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space; the collection relates predominantly to Australia, but there are important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection holds a number of European and Asian manuscript collections or single items have been received as part of formed book collections; the Australian manuscript collections date from the period of maritime exploration and settlement in the 18th century until the present, with the greatest area of strength dating from the 1890s onwards. The collection includes a large number of outstanding single items, such as the 14th century Chertsey Cartulary, the journal of James Cook on the HM Bark Endeavour, inscribed on t