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A lively and accessible account of the most popular form of nineteenth-century English theatre, and its continuing influence today.
Judge Peyton is dead and his plantation Terrebonne is in financial ruins. Peyton’s handsome nephew George arrives as heir apparent and quickly falls in love with Zoe, a beautiful octoroon. But the evil overseer M’Closky has other plans—for both Terrebonne and Zoe. In 1859, a famous Irishman wrote this play about slavery in America. Now an American tries to write his own.
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Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays. The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe. Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.
Written in 1864 and set during the Irish rebellion of 1798, Arrah na Pogue is is an entertaining tale of romance and misadventure with rascally rebels, despicable villains and love struck youths. As night falls on the Wicklow mountains, the popular but incorrigible rebel Beamish MacCaul is lying in wait. He's out to ambush the cowardly rent-collector Michael Feeny and relieve him of a 'big lump of money.' That done, he's off to marry Fanny Power. Down in the valley, love is in the air for Shaun the Post and our heroine Arrah Meelish too. But Arrah has a secret. And Michael Feeny's found out. As Shaun and Arrah celebrate their wedding, revenge comes a-calling. Love must conquer all - including the hangman's noose. The play is full of Boucicault's trademark comic roguery, farce and melodrama, which has influenced Irish playwrights including Synge, O'Casey, Shaw and McDonagh. This edition features an introduction by leading Boucicault scholar Dr Scott Boltwood.
The first full critical study of Dion Boucicault, one of the most dynamic and influential figures in nineteenth-century theatre.
Reproduction of the original: The Colleen Bawn by Dion Boucicault
Deirdre McFeely presents the first book-length critical study of Dion Boucicault, placing his Irish plays in the context of his overall career. The book undertakes a detailed examination of the reception of the plays in the New York-London-Dublin theatre triangle which Boucicault inhabited. Interpreting theatre history as a sociocultural phenomenon that closely approximates social history, McFeely examines the different social and political worlds in which the plays were produced, demonstrating that the complex politics of reception of the plays cannot be separated from the social and political implications of colonialism at that time. The study argues for a shift in focus from the politics of the plays, and their author, to the politics of the auditorium and the press, or the politics of reception. It is within that complex and shifting field of stage, theatre and public media that Boucicault's performance as playwright, actor and publicist is interpreted.
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