The Importance of Being Earnest
The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personæ to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, the resulting satire of Victorian ways; some contemporary reviews praised the play's humour and the culmination of Wilde's artistic career, while others were cautious about its lack of social messages. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play; the successful opening night marked the climax of Wilde's career but heralded his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, planned to present the writer with a bouquet of rotten vegetables and disrupt the show.
Wilde was tipped off and Queensberry was refused admission. Their feud came to a climax in court, where Wilde's homosexuality was revealed to the Victorian public and he was sentenced to imprisonment. Despite the play's early success, Wilde's notoriety caused the play to be closed after 86 performances. After his release from prison, he published the play from exile in Paris, but he wrote no further comic or dramatic work; the Importance of Being Earnest has been revived many times since its premiere. It has been adapted for the cinema on three occasions. In The Importance of Being Earnest, Dame Edith Evans reprised her celebrated interpretation of Lady Bracknell. After the success of Wilde's plays Lady Windermere's Fan and A Woman of No Importance, Wilde's producers urged him to write further plays. In July 1894, he mooted his idea for The Importance of Being Earnest to George Alexander, the actor-manager of the St James's Theatre. Wilde spent the summer with his family at Worthing, where he wrote the play in August.
His fame now at its peak, he used the working title Lady Lancing to avoid preemptive speculation of its content. Many names and ideas in the play were borrowed from people or places the author had known. Wilde scholars agree the most important influence on the play was W. S. Gilbert's 1877 farce Engaged, from which Wilde borrowed not only several incidents but "the gravity of tone demanded by Gilbert of his actors". Wilde continually revised the text over the next months. No line was left untouched and the revision had significant consequences. Sos Eltis describes Wilde's revisions as refined art at work; the earliest and longest handwritten drafts of the play labour over farcical incidents, broad puns, nonsense dialogue and conventional comic turns. In revising, "Wilde transformed standard nonsense into the more systemic and disconcerting illogicality which characterises Earnest's dialogue". Richard Ellmann argues Wilde had reached his artistic maturity and wrote more and rapidly. Wilde hesitated about submitting the script to Alexander, worrying it might be unsuitable for the St James's Theatre, whose typical repertoire was more serious, explaining it had been written in response to a request for a play "with no real serious interest".
When Henry James's Guy Domville failed, Alexander agreed to put on Wilde’s play. After working with Wilde on stage movements with a toy theatre, Alexander asked the author to shorten the play from four acts to three. Wilde combined elements of the second and third acts; the largest cut was the removal of the character of Mr. Gribsby, a solicitor who comes from London to arrest the profligate "Ernest" for unpaid dining bills; the four-act version is still sometimes performed. Some consider the three-act structure more effective and theatrically resonant than the expanded published edition; the play was first produced at the St James's Theatre on Valentine's Day 1895. It was freezing cold but Wilde arrived dressed in "florid sobriety", wearing a green carnation; the audience, according to one report, "included many members of the great and good, former cabinet ministers and privy councillors, as well as actors, writers and enthusiasts". Allan Aynesworth, who played Algernon Moncrieff, recalled to Hesketh Pearson that "In my fifty-three years of acting, I never remember a greater triumph than first night".
Aynesworth was himself "debonair and stylish", Alexander, who played Jack Worthing, "demure". The cast was: John Worthing, J. P.—George Alexander Algernon Moncrieff—Allan Aynesworth Rev. Canon Chasuble, D. D.—H. H. Vincent Merriman—Frank Dyall Lane—F. Kinsey Peile Lady Bracknell—Rose Leclercq Hon. Gwendolen Fairfax—Irene Vanbrugh Cecily Cardew—Evelyn Millard Miss Prism—Mrs. George CanningeThe Marquess of Queensberry, the father of Wilde's lover Lord Alfred Douglas, had planned to disrupt the play by throwing a bouquet of rotten vegetables at the playwright when he took his bow at the end of the show. Wilde and Alexander learned of the plan, the latter cancelled Queensberry's ticket and arranged for policemen to bar his entrance, he continued harassing Wilde, who launched a private prosecution against the peer for criminal libel, triggering a series of trials ending in Wilde's imprisonment for gross indecency. Alexander tried, unsuccessfully, to save the production by removing Wilde's name from the billing, but t
The Silver King (1919 film)
The Silver King is a lost 1919 silent film drama directed by George Irving and starring stage star William Faversham. It is based on a play by The Silver King by Henry Arthur Henry Herman. William Faversham - Wilfred Denver Barbara Castleton - Nellie Denver Nadia Gray - Cissie Denver Lawrence Johnson - Neddie Denver John Sutherland - Jaikes Warburton Gamble - Herbertr Skinner Helen Meyers - Olive John Sunderland - Geoffrey Ware Daniel Pennell - Baxter Cecil Yapp - Henry Corkett William O'Day - Elijah Coombes Louis Hendricks - Cripps Robert Ayrton - Bilcher The Silver King at IMDb.com synopsis at AllMovie
Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
The Squaw Man (play)
The Squaw Man is a 1905 western/drama stage play in four acts written by Edwin Milton Royle. It debuted on October 23, 1905, at the Wallack's Theatre, starring William Faversham in the title role, as Captain James Wynnegate known as Jim Carson; the doomed bad man, Cash Hawkins, was played by William S. Hart. Directed by Edwin Milton Royle and William Faversham, The Squaw Man was produced by Liebler & Company. Receiving significant critical acclaim, the play ran for 222 performances before closing on April 1, 1906; the Squaw Man has had four Broadway revivals, in 1907, 1908, 1911 and 1921. The 1911 revival starring Dustin Farnum ran for only eight performances; the 1921 revival starring William Faversham at the Astor Theatre ran for 50 performances. The story has been adapted into a novel, three films and a musical. All three films were directed by Cecil B. DeMille. Herbert Sleath as Henry Wynnegate Adrienne Morrison as Nat-u-ritch Selene Johnson as Diana Selina F. Royle as Lady Elizabeth Wynnegate Katherine Fisher as Lady Mabel Wynnegate William Faversham as Capt. James Wynnegate Frederick Forrest as Rev. Belachazar Chiswick C. A. Carlton as Bates Hugo Toland as Malcolm Petrie Cecil Ward as Sir John Applegate William Elville as The Right Rev. Bishop of Exeter Brigham Royce as Sir Charles Majoribanks Ella Duncan as Mrs. Chichester Chichester Jones George Fawcett as Big Bill, foreman Emmett Shackelford as Shorty Bertram A. Marburg as Andy Mitchell Lewis as Grouchy Baco White as Himself Theodore Roberts as Tab-y-wana Evelyn Wright as Little Hal William S. Hart as Cash Hawkins Frederick Watson as Nick, the bar-keep Mortimer Martini as McSorley Wells Edward Knibloe as Parker W. H. Sadler as Pete Chester White as Parson Joseph Judge as Punk Lillian Wright as Mrs. Hiram Doolittle Boyd Southey as Mr. Hiram Doolittle William Frederick as Bud Hardy The first act of the play is set in England in the 1800s.
The lead character is Capt. James Wynnegate, his older cousin, heir Henry Wynnegate, Earl of Kerhill, steals from the family trust fund and speculates heavily. Henry loses the fortune. Capt. Wynnegate is in love with Diana, she returns the affection of the captain. As the money has been lost, Capt. Wynnegate agrees to take the blame, he is accused of being a thief, which allows Henry to avoid suspicion and protects the name and the reputation of his wife. He goes to the Wild West of Montana, where he buys the Red Butte Ranch and makes a name for himself under the alias Jim Carson. In the second act, several years Henry and Diana show up; the bad man, Cash Hawkins, is about to shoot Jim when the Ute Indian maiden, Nat-u-ritch, shoots Hawkins from the sidelines and saves Jim's life. Nat-u-ritch, the daughter of Chief Tab-y-wana, rescues Jim several more times, it is revealed through exposition in the third act, they have a son, Little Hal. Jim marries Nat-u-ritch; the marriage between a white man in his social position and an Indian woman is deemed scandalous.
By the fourth act, more time has passed and Diana comes West again with news that Henry has died. The English solicitor shows up and persuades Jim that Hal should be taken to England and raised as the heir to the large Wynnegate estate. Jim agrees to send the boy away. Jim and his social group believe it is his right to take the child away from his mother. Nat-u-ritch's father, Chief Tab-y-wana's resolve is not much different. At the first sign of disobedience the chief voices his sentiment. "If she will not obey, beat her. If she disobeys again, kill her." Knowing that she is going to lose her son, hearing that she will be arrested for killing Hawkins, Nat-u-ritch commits suicide. Now Jim is free to be with his English woman; the play concludes with the Indian chief standing stoically erect with the pathetically limp figure of the little mother squaw, his daughter, lying across his outstretched arms, the reversal of the usual Pieta. The Squaw Man at the Internet Broadway Database
The Man Who Lost Himself (1920 film)
The Man Who Lost Himself is a lost 1920 American silent comedy drama film directed by Clarence G. Badger and George D. Baker, it was produced by its star, stage actor William Faversham, Lewis J. Selznick; the film is based on a story by Henry De Vere Stacpoole. Faversham plays dual roles of an American who looks just like him; as described in a film magazine, American Victor Jones finds himself penniless and stranded in London. He meets the Earl of Rochester, the similarity between the two is so noticeable that friends mistake Jones for the Earl; the Earl is estranged from his wife and family, owes great sums of money, is considered in a bad light by acquaintances. He gets Jones drunk and sends him to the Rochester mansion, commits suicide; until Jones receives a note written by the Earl prior to his death, he does not perceive his position. After reading the note, Jones begins to pose as the Earl, but reveals this scheme. However, he has fallen in love with the Earl's widow and they decide to reside in the United States.
William Faversham as Victor Jones / Earl of Rochester Hedda Hopper as Countess of Rochester Violet Reed as Lady Plinlimon Radcliffe Steele as Sir Patrick Spence Claude Payton as Prince Maniloff Mathilde Brundage as Rochester's Mother Emily Fitzroy as Rochester's Aunt Downing Clark as Rochester's Uncle According to The New York Times reviewer, provided the viewer could accept that an American, with no prior knowledge of the Englishman's life, could pass for him, "Any one disposed to make the necessary assumptions may, undoubtedly will, enjoy the photoplay, for the two leading rôles are played by William Faversham with unfailing pantomimic ability and sureness of characterization." The Man Who Lost Himself on IMDb The Man Who Lost Himself at AllMovie
Broadway theatre known as Broadway, refers to the theatrical performances presented in the 41 professional theatres, each with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City. Along with London's West End theatre, Broadway theatre is considered to represent the highest level of commercial theatre in the English-speaking world; the Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2017–2018 season total attendance was 13,792,614 and Broadway shows had US$1,697,458,795 in grosses, with attendance up 3.9%, grosses up 17.1%, playing weeks up 2.8%. The majority of Broadway shows are musicals. Historian Martin Shefter argues that "'Broadway musicals', culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and contributed to making New York City the cultural capital of the Western Hemisphere.
New York did not have a significant theatre presence until about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 people. They presented Shakespeare ballad operas such as The Beggar's Opera. In 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager, they established a theatre in Williamsburg and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida; the Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the year the 2,000-seat Park Theatre was built on Chatham Street. The Bowery Theatre opened followed by others. By the 1840s, P. T. Barnum was operating an entertainment complex in Lower Manhattan. In 1829, at Broadway and Prince Street, Niblo's Garden opened and soon became one of New York's premiere nightspots.
The 3,000-seat theatre presented all sorts of non-musical entertainments. In 1844, Palmo's Opera House opened and presented opera for only four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burton's Theatre; the Astor Opera House opened in 1847. A riot broke out in 1849 when the lower-class patrons of the Bowery objected to what they perceived as snobbery by the upper class audiences at Astor Place: "After the Astor Place Riot of 1849, entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working class and the slumming middle class."The plays of William Shakespeare were performed on the Broadway stage during the period, most notably by American actor Edwin Booth, internationally known for his performance as Hamlet. Booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865, would revive the role at his own Booth's Theatre.
Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, Charles Fechter. Theatre in New York moved from downtown to midtown beginning around 1850, seeking less expensive real estate. In the beginning of the 19th century, the area that now comprises the Theater District was owned by a handful of families and comprised a few farms. In 1836, Mayor Cornelius Lawrence opened 42nd Street and invited Manhattanites to "enjoy the pure clean air." Close to 60 years theatrical entrepreneur Oscar Hammerstein I built the iconic Victoria Theater on West 42nd Street. Broadway's first "long-run" musical was a 50-performance hit called The Elves in 1857. In 1870, the heart of Broadway was in Union Square, by the end of the century, many theatres were near Madison Square. Theatres did not arrive in the Times Square area until the early 1900s, the Broadway theatres did not consolidate there until a large number of theatres were built around the square in the 1920s and 1930s.
New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" The Seven Sisters shattered previous New York records with a run of 253 performances. It was at a performance by Keene's troupe of Our American Cousin in Washington, D. C. that Abraham Lincoln was shot. The first theatre piece that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is considered to be The Black Crook, which premiered in New York on September 12, 1866; the production was five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy". Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham.
These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step forward from vaudeville and burlesque, towards a more literate form. They starred high quality singers, instead of the women of questionable repute who had starred in earlier m
Herbert Arthur Chamberlayne Blythe, known professionally by his stage name Maurice Barrymore, was an India-born British stage actor. He was the patriarch of the Barrymore acting family, father of John and Ethel, great-grandfather of actress Drew. Born Herbert Arthur Chamberlayne Blythe in Amritsar, India, he was the son of William Edward Blythe, a surveyor for the British East India Company, his wife Charlotte Matilda Chamberlayne de Tankerville who had some French descent. Herbert, the youngest of seven had an older brother named Will and two sisters named Emily and Evelin. Three other siblings had died in infancy. Matilda, after a difficult pregnancy, died shortly after giving birth to Herbert on 21 September 1849. In his formative years Herbert was raised by his Aunt Amelia Blythe, his mother's sister, by other family members. Amelia, a Chamberlayne by birth, had married a brother of Herbert's father and was a Blythe by marriage. Herbert was sent back to England for education at Harrow School, studied Law at Oxford University, where he was captain of his class football team in 1868.
Herbert became enamored of the sport of boxing. The Marquess of Queensberry Rules were established at this time but it wasn't unusual to see bare knuckle fights. On 21 March 1872 Herbert won the middleweight boxing championship of England. Years many of Herbert's friends would be sports figures of the day boxers and wrestlers such as William Muldoon, John L. Sullivan, James J. Corbett and a young actor named Hobart Bosworth, the latter of whom Herbert would stage in an amateur bout with his son Lionel. Herbert's father expected him to become a barrister, but Herbert fell in with a group of actors, which scandalized the elder Blythe; that same year 1872 Herbert sat for his first posed theatrical photographic portrait by noted photographer Oliver Sarony, an older brother of the better remembered Napoleon Sarony. In order to spare his father the "shame" of having a son in such a "dissolute" vocation, he took the stage name Maurice Barrymore, inspired by a conversation he had with fellow actor Charles Vandenhoff about William Barrymore, an early 19th-century English thespian, after seeing a poster depicting Barrymore in the Haymarket Theatre.
He wanted his first name to be pronounced in the French manner instead of the English. His friends avoided that altogether by calling him "Barry". On 29 December 1874, Barrymore emigrated to the United States, sailing aboard the SS America to Boston, joined Augustin Daly's troupe, making his début in Under the Gaslight, he made his Broadway début in December 1875 in Pique opposite Emily Rigl. Maurice and Georgiana had been introduced earlier by her brother John Drew Jr. who had befriended Maurice when he first arrived in America. After a brief courtship and Georgie married on 31 December 1876, had three children: Lionel and John. While their parents were on tour, the children lived with Georgiana's mother in Philadelphia. Maurice owned a farm on Staten Island to keep his collection of exotic animals. Georgiana died 2 July 1893, from consumption. For a summer in 1896, Lionel and John were left on the farm in the care of the man who fed the animals. Barrymore remarried one year after Georgie's death to Mamie Floyd, much to Ethel's consternation.
During his career, Maurice Barrymore played opposite many of the reigning female stars of the time including Helena Modjeska, Mrs. Fiske, Mrs. Leslie Carter, Olga Nethersole, Lillian Russell, Lily Langtry. On 19 March 1879, in Marshall, Texas and fellow actor Ben Porter were shot by a notorious gunfighter and bully named Jim Currie. Barrymore and Porter had played cards earlier with Currie; that evening, while Barrymore and the actress Ellen Cummins dined at the White House Saloon, an intoxicated Currie began insulting and goading them into a fight. Barrymore challenged Currie to a fistfight. Currie shot him in the chest and shot Porter in the stomach. John Drew, Jr. with the company, showed up at the doorway after being alerted by all the commotion but Currie didn't shoot him. Porter was killed. Georgie several months pregnant with Ethel, rushed to Texas to be at her husband's side enduring a long train trip, he made a full recovery, returned to Marshall for the legal procedures that followed.
Currie's brother was Andrew Currie, mayor of Shreveport, from 1878 to 1890 and a member of the Louisiana state legislature, who used his influence to secure a not guilty verdict. An enraged Barrymore vowed never to return to Texas. According to a 2004 A&E Biography piece, after the Ben Porter tragedy, Barrymore asked Georgiana to tour with him and Helena Modjeska in a play he had written. Georgiana and the children had converted to Roman Catholicism under Helena's influence. Learning that he and Helena had resumed their romance, given ownership of the play by Barrymore, forced his hand by closing it. Helena's husband, its producer, sued her; the real reason for Georgiana's actions never got into the press. However, Barrymore's many dalliances did make the newspapers. In 1884, Barrymore wrote. During this period he sailed with his wife Georgiana and their children Lionel and John respectively 6, 5 and 2, to England to visit relatives he hadn't seen since migrating to America. (He had inherited some money from his aunt Amel