H. Booth - Revision history

Satj: /* Sources */

2016-07-30T03:23:55Z

Sources

Satj at 04:12, 23 July 2016

2016-07-23T04:12:00Z

Satj at 04:10, 23 July 2016

2016-07-23T04:10:43Z

Satj: /* Contribution to SA theatre, film, media and/or performance */

2016-07-23T04:09:48Z

Contribution to SA theatre, film, media and/or performance

Satj: /* Contribution to SA theatre, film, media and/or performance */

2016-07-23T03:52:39Z

Contribution to SA theatre, film, media and/or performance

Satj at 03:51, 23 July 2016

2016-07-23T03:51:50Z

Satj at 09:49, 21 July 2016

2016-07-21T09:49:30Z

Satj: /* Contribution to SA theatre, film, media and/or performance */

2016-07-21T09:49:05Z

Contribution to SA theatre, film, media and/or performance

Satj: /* Contribution to SA theatre, film, media and/or performance */

2016-07-21T04:41:55Z

Contribution to SA theatre, film, media and/or performance

Satj: /* Contribution to SA theatre, film, media and/or performance */

2016-07-21T04:27:41Z

Contribution to SA theatre, film, media and/or performance

@@ Line 23: / Line 23: @@
 == Sources ==
-[[F.C.L. Bosman]], 1928. ''Drama en Toneel in Suid-Afrika, Deel I: 1652-1855''. Pretoria: [[J.H. de Bussy]]. [http://www.dbnl.org/tekst/bosm012dram01_01/]: pp. 194, 203-4, 209-220, 225, 242-3, 368, 370, 380 and 388
+[[F.C.L. Bosman]], 1928. ''Drama en Toneel in Suid-Afrika, Deel I: 1652-1855''. Pretoria: [[J.H. de Bussy]]. [http://www.dbnl.org/tekst/bosm012dram01_01/]: pp. 194, 203-4, 209-220, 225, 242-3, 368, 370-1, 380 and 388
 Fletcher, 1994
@@ Line 30: / Line 30: @@
 Go to the  [[ESAT Bibliography]]
 == Return to ==

@@ Line 15: / Line 15: @@
 Between 1830 and 1832 the new company presented numerous plays under his guidance (see [[All the World's a Stage]]). He announced his return to England and supposedly ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of ''[[Wild Oats, or The Strolling Gentleman]]'' (O'Keefe) and ''[[The Castle Spectre]]'' (Lewis) was held for him by the company, before he actually departed.
+However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of ''[[Wild Oats, or The Strolling Gentleman]]'' (O'Keefe) and  ''[[The Spectre Bridegroom]]'' (Montcrieffe) was held for him by the company, before he actually departed.
 The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town.

@@ Line 15: / Line 15: @@
 Between 1830 and 1832 the new company presented numerous plays under his guidance (see [[All the World's a Stage]]). He announced his return to England and supposedly ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of ''[[Wild Oats, or The Strolling Gentleman]]'' (O'Keefe) was held for him by the company, before he actually departed.
+However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of ''[[Wild Oats, or The Strolling Gentleman]]'' (O'Keefe) and ''[[The Castle Spectre]]'' (Lewis) was held for him by the company, before he actually departed.
 The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town.

@@ Line 15: / Line 15: @@
 Between 1830 and 1832 the new company presented numerous plays under his guidance (see [[All the World's a Stage]]). He announced his return to England and supposedly ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of was held for him by the company, before he actually departed.
+However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of ''[[Wild Oats, or The Strolling Gentleman]]'' (O'Keefe) was held for him by the company, before he actually departed.
 The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town.

@@ Line 15: / Line 15: @@
 Between 1830 and 1832 the new company presented numerous plays under his guidance (see [[All the World's a Stage]]). He announced his return to England and supposedly ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of was held for him by
+However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of was held for him by the company, before he actually departed.
 The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town.

@@ Line 13: / Line 13: @@
 The success of these ventures led him to stay on for a while, to found the new [[English Amateur Company]] (or the [[British Amateur Company]]) in 1830, under the revived motto of [[All the World's a Stage]].
-Between 1830 and 1833 the new company presented (or Booth was involved in) plays such as ''[[The Castle Spectre]]'', ''[[The Lying Valet]]'', ''[[The Gambler's Fate]]'' (Thompson), ''[[The Miller's Maid]]'' (Saville), ''[[ The Flying Dutchman]]'' (Fitzball), Weber's opera ''[[Der Freischütz]]'', ''[[The Spectre Bridegroom]]'' (Montcrieff).
+Between 1830 and 1832 the new company presented numerous plays under his guidance (see [[All the World's a Stage]]). He announced his return to England and supposedly ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-He ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
+However, it appears he either went home and returned, or did not go, for in 1832 he is sometimes involved in productions by the company, though no longer its manager. On 9 March 1833 a benefit performance of was held for him by
 The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town.

← Older revision		Revision as of 09:49, 21 July 2016
Line 1:		Line 1:
−	Mr [[H. Booth]] (-) was a professional British actor manager. Often referred to ~~merely~~ as [[Mr Booth]].	+	Mr [[H. Booth]] (-) was a professional British actor manager. Often referred to simply as [[Mr Booth]].

	== Biography ==		== Biography ==

@@ Line 17: / Line 17: @@
 He ended his stay in the Cape with excerpts from the ''[[The Merchant of Venice]]''.
-The critic for the [[Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town and evidently did well enough to retire to England in 1833 on the proceeds.
+The critic for [[The Commercial Advertiser]] criticised Booth's acting, particularly in the more serious roles, such as Shakespeare, but he was popular, as a professional in a predominantly amateur society had a recognisable influence on English theatricals in  Cape Town and evidently did well enough to retire to England in 1833 on the proceeds.
 [TH,JH]

@@ Line 11: / Line 11: @@
 On his arrival in Cape Town in 1829,  Booth - like most performers "playing the Empire" - offered to do a few performances during his lay-over. Beginning in November, 1829, he thus initially presented a few works with the help of various local amateur performers,  playing the lead in such as standard works as Sheridan's ''[[Pizarro, or The Death of Rolla]]'',  Jerrold's ''[[Black-Eyed Susan, or All in the Downs]]'', Shakespeare's ''[[Othello, or The Moor of Venice]]'' and Colman's ''[[The Wags of Windsor]]''.
-The success of these ventures led him to stay on for a while, to found [[The New English (British) Amateur Company]] in 1830, under the revived motto of [[All the World's a Stage]].
+The success of these ventures led him to stay on for a while, to found the new [[English Amateur Company]] (or the [[British Amateur Company]]) in 1830, under the revived motto of [[All the World's a Stage]].
 Between 1830 and 1833 the new company presented (or Booth was involved in) plays such as ''[[The Castle Spectre]]'', ''[[The Lying Valet]]'', ''[[The Gambler's Fate]]'' (Thompson), ''[[The Miller's Maid]]'' (Saville), ''[[ The Flying Dutchman]]'' (Fitzball), Weber's opera ''[[Der Freischütz]]'', ''[[The Spectre Bridegroom]]'' (Montcrieff).