This book presents Edwardian entertainment and the Edwardian entertainment industry as parts of a vital, turbulent era whose preoccupations and paranoias echo those of our own day. Responding to recent shifts of attitude towards the Edwardians and their world, the essays in this collection take as their provinence broad patterns of theatrical production and consumption, focusing upon the economics of theatre management, the creation of new audiences, the politics of playgoing, and the meteoric rise of popular forms of mass entertainment, including musical comedy, variety theatre, and the cinema.
This 2004 Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theatre, both in its own time and on the contemporary stage. The volume opens with a brief overview and introduction surveying the theatre of the time followed by an essay contextualizing the theatre within the frame of Victorian and Edwardian culture as a whole. Succeeding chapters examine specific aspects of performance, production, and theatre, including the music, the actors, stagecraft and the audiences themselves; plays and playwriting and issues of class and gender are also explored. Chapters also deal with comedy, farce and melodrama, while other essays bring forward new topics and approaches that cross the boundaries of traditional investigation, including analysis of the economics of theatre and of the theatricality of personal identity.
Focusing on Thomas Burke's bestselling collection of short stories, Limehouse Nights (1916), this book contextualises the burgeoning cult of Chinatown in turn-of-the-century London. London's 'Chinese Quarter' owed its notoriety to the Yellow Perilism that circulated in Britain at the fin-de-siècle, a demonology of race and vice masked by outward concerns about degenerative metropolitan blight and imperial decline. Anne Witchard's interdisciplinary approach enables her to displace the boundaries that have marked Chinese studies, literary studies, critiques of Orientalism and empire, gender studies, and diasporic research, as she reassesses this critical moment in London's history. In doing so, she brings attention to Burke's hold on popular and critical audiences on both sides of the Atlantic. A much-admired and successful author in his time, Burke in his Chinatown stories destabilizes social orthodoxies in highly complex and contradictory ways. For example, his writing was formative in establishing the 'queer spell' that the very mention of Limehouse would exert on the public imagination, and circulating libraries responded to Burke's portrayal of a hybrid East End where young Cockney girls eat Chow Mein with chopsticks in the local cafés and blithely gamble their housekeeping money at Fan Tan by banning Limehouse Nights. Witchard's book forces us to rethink Burke's influence and shows that China and chinoiserie served as mirrors that reveal the cultural disquietudes of western art and culture.
A quirky history that offers a new way of understanding the myth of the mummy's curse. Roger Luckhurst provides a startling path through the cultural history of Victorian England and its colonial possessions.
Green’s study is more than a biography of an Anglo-African composer.The first comprehensive study of Coleridge-Taylor’s life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.
Compiled from lectures and blog posts on Edwardian Promenade, the Pocket Guide to Edwardian England poses to give a fun, frothy, but thorough look at the time period made popular by Downton Abbey and Upstairs Downstairs! From the royal family of Edward VII to the working class, to the servants who toiled in great country houses and their masters, to the mighty politicians and their goals. For anyone wanting a short and concise, yet deeply engrossing look at this opulent era, Pocket Guide to Edwardian England is just book to take you away.
“Victorian England: We know what that was supposed to mean — all priggish prudery and "we-are-not-amused" harrumphing. Except now we know it wasn't all that . . . [Catharine Arnold’s] new biography focuses — deliciously — on the women who shared the scandalously plentiful sex life of Queen Victoria's eldest son, the Prince of Wales, later Edward VII.” —USA Today Edward Prince of Wales, better known as “Bertie,” was the eldest son of Queen Victoria. Charming and dissolute, he was a larger-than-life personality with king-size appetites. A lifelong womanizer, Bertie conducted his countless liaisons against the glittering backdrop of London society, Europe, and the stately homes of England in the second half of the 19th century. Bertie’s lovers were beautiful, spirited, society women who embraced a wide field of occupations. There was Lillie Langtry, the simple Jersey girl who would become an actress and producer; “Daisy” Brooke, Countess of Warwick, the extravagant socialite who embraced socialism and stood for Parliament as a Labour party candidate; bisexual French actress Sarah Bernhardt, celebrated for her decadent appeal and opium habit; and by total contrast the starchy Agnes Keyser, who founded a hospital for army officers. One of Bertie’s most intriguing liaisons was with American heiress Jennie Churchill, unhappy wife of Sir Randolph Churchill and mother of Sir Winston. While the scandals resulting from his affairs—from suicides to divorces—were a blight on the royal family, Bertie would become a surprisingly modern monarch. His major accomplishment was transforming the British monarchy into the modern institution that we know today and ensuring its survival in a period when every other European dynasty collapsed in the wake of WWI.
London's Soho district underwent a spectacular transformation between the late Victorian era and the end of the Second World War: its old buildings and dark streets infamous for sex, crime, political disloyalty, and ethnic diversity became a center of culinary and cultural tourism servicing patrons of nearby shops and theaters. Indulgences for the privileged and the upwardly mobile edged a dangerous, transgressive space imagined to be "outside" the nation. Treating Soho as exceptional, but also representative of London's urban transformation, Judith Walkowitz shows how the area's foreignness and porousness were key to the explosion of culture and development of modernity in the first half of the twentieth century. She draws on a vast and unusual range of sources to stitch together a rich patchwork quilt of vivid stories and unforgettable characters, revealing how Soho became a showcase for a new cosmopolitan identity.
