Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the popular British stage from 1750 to 1840. It argues that this illegitimate stage was the site for a plebeian Enlightenment.
"A romp-filled and refreshingly diverse historical romance."—Buzzfeed Paris, 1889 The Exposition Universelle is underway, drawing merchants from every corner of the globe…including Luz Alana Heith-Benzan, heiress to the Caña Brava rum empire. Luz Alana set sail from Santo Domingo armed with three hundred casks of rum, her two best friends and one simple rule: under no circumstances is she to fall in love. In the City of Lights, she intends to expand the rum business her family built over three generations, but buyers and shippers alike can’t imagine doing business with a woman…never mind a woman of color. This, paired with being denied access to her inheritance unless she marries, leaves the heiress in a very precarious position. Enter James Evanston Sinclair, Earl of Darnick, who has spent a decade looking for purpose outside of his father’s dirty money and dirtier dealings. Ignoring his title, he’s built a whisky brand that’s his biggest—and only—passion. That is, until he’s confronted with a Spanish-speaking force of nature who turns his life upside down. From their first tempestuous meeting, Luz Alana is conflicted. Why is this titled—and infuriatingly charming—Scottish man so determined to help her? For Evan, every day with Luz Alana makes him yearn for more than her ardent kisses or the marriage of convenience that might save them both. But Luz Alana sailed for Paris prepared to build her business and her future; what she wasn’t prepared for was love finding her. "Herrera excels at propelling the romance genre and its form forward, and this book is no exception... Herrera is crafting swoony historical romances that aren't afraid to engage with the realities of the 19th-century while still making a bid for hard-earned happily-ever-afters."—Entertainment Weekly Can't get enough of the Las Leonas? Book 1: A Caribbean Heiress in Paris Book 2: An Island Princess Starts a Scandal Book 3: A Tropical Rebel Gets the Duke
In the fall of 1723, two London theaters staged, almost simultaneously, pantomime performances of the Faust story. Unlike traditional five-act plays, pantomime—a bawdy hybrid of dance, music, spectacle, and commedia dell'arte featuring the familiar figure of the harlequin at its center—was a theatrical experience of unprecedented accessibility. The immediate popularity of this new genre drew theater apprentices to the cities to learn the new style, and pantomime became the subject of lively debate within British society. Alexander Pope and Henry Fielding bitterly opposed the intrusion into legitimate literary culture of what they regarded as fairground amusements that appealed to sensation and passion over reason and judgment. In Harlequin Britain, literary scholar John O'Brien examines this new form of entertainment and the effect it had on British culture. Why did pantomime become so popular so quickly? Why was it perceived as culturally threatening and socially destabilizing? O’Brien finds that pantomime’s socially subversive commentary cut through the dampened spirit of debate created by Robert Walpole's one-party rule. At the same time, pantomime appealed to the abstracted taste of the mass audience. Its extraordinary popularity underscores the continuing centrality of live performance in a culture that is most typically seen as having shifted its attention to the written text—in particular, to the novel. Written in a lively style rich with anecdotes, Harlequin Britain establishes the emergence of eighteenth-century English pantomime, with its promiscuous blending of genres and subjects, as a key moment in the development of modern entertainment culture.
In Thomas De Quincey's 'The Caesars', readers are taken on a journey through the lives of the Roman emperors, exploring their rise to power, reigns, and eventual downfall. De Quincey's literary style combines historical facts with vivid imagery and psychological insights, providing a unique perspective on the often turbulent and brutal world of ancient Rome. The book offers a fascinating look into the complexities of power and the human psyche, making it a compelling read for history enthusiasts and literary scholars alike. De Quincey's work is a blend of historical analysis and literary prowess, making 'The Caesars' a valuable addition to the genre of historical literature. Originally published in the 19th century, this book remains relevant and thought-provoking to this day.
Winner-take-all business tycoon Jack Sinclair is on the hunt to get what's his: a slice of competing shipping empire The Kincaid Group. As the illegitimate and ignored heir, his reward has been a long time coming. And he has sexy, brilliant Nikki Thomas by his side to help make it happen. Right? Not exactly. Nikki is a corporate investigator on the Kincaids' payroll, so her loyalty is more than a little divided. Her hidden agenda is enough to make Jack want to walk away. But passion offers a second chance—until another truth is revealed that could tear them apart for good.
The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship by re-envisioning traditional approaches to artistic and social creation in the period. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extratheatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume’s essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a more capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.