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Programme, The Beggar's Opera by Mr. Gay
Program for the performance of the play "every evening at 8.15 o'clock...new settings of the airs and additional music by Frederic Austin...conductor Eugene Goossens, scenery and costumes designed by C. Lovat Fraser."
R.U.R.
Must-read play looks to a future in which all workers are automatons. They revolt when they acquire souls (i.e., when they gain the ability to hate) and the resulting catastrophe make for a powerful theatrical experience.
Hammersmith Hoy
Sir Nigel Playfair seemed fated from birth to be a stereotypical middle-class Englishman, but a family history of enthusiasm for amateur theatrics and frequent visits with Sir W. S. Gilbert may have intervened. At Oxford and while studying for the bar, he thought of nothing but the stage, and he became a well-known acting member in the O.U.D.S. and in Philip Carr's Elizabethan and Restoration revivals. Just after the Armistice, Playfair assumed the management of the Lyric, which was gotten for a song--and then he sang it. Nothing in English stage history is more miraculous than the way Playfair, with the help of Lovat Fraser, Frederic Austin, Frederick Ranalow and others, made eighteenth century ballad-opera and prose comedy the London fashion in a suburban house. As far as modem England was concerned, 18th century drama was fresh material with which he could do what he liked. So he staged Gay's "The Beggar's Opera," and it ran for 1,463 performances, followed by 'revivals' of Congreve and Sheridan. His neatness of mind, precision, and primness was all a cosy, comic mask for Puck-who wanted to play pranks with the drama-and did so very successfully.
Riverside Nights
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Candied Peel
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R.U.R.
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