Difference between revisions of "The French Spy"
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[[F.C.L. Bosman]] (1980: p. 203) in turn cites [[William Groom]] (1899-1900), who mentions a performance of a work entitled ''[[The French Spy, or The Wild Arab of the Desert]]'' (a "great historical military drama") by an author called "Aubert". | [[F.C.L. Bosman]] (1980: p. 203) in turn cites [[William Groom]] (1899-1900), who mentions a performance of a work entitled ''[[The French Spy, or The Wild Arab of the Desert]]'' (a "great historical military drama") by an author called "Aubert". | ||
| − | The most concrete information, besides the ''Tatler'' article of 1831, however comes from Daphne Brooks who refers to ''[[The French Spy]]'' by J.T. Haynes (perhaps the "Mr Haines" mentioned in ''The Tatler''?), a title confirmed by the text published as ''[[The French Spy, or The Siege of Constantina]]'' by | + | The most concrete information, besides the ''Tatler'' article of 1831, however comes from Daphne Brooks who refers to ''[[The French Spy]]'' by a "J.T. Haynes" (i.e. John Thomas Haines, as given in the Samuel French publication of 1861). perhaps the "Mr Haines" mentioned in ''The Tatler''?), a title confirmed by the text published by Samuel French (New York, 1861[]) as ''[[The French Spy, or The Siege of Constantina]]'' by John Thomas Haines ()[]. The play was in part a transformation play, with the leading lady playing three male roles as part of the action. |
| − | It seems most likely that the play performed in South Africa was | + | It seems most likely that the play performed in South Africa was the 1861 Haynes version, which in the mid 19th century had become a stock play for actresses specializing in roles involving male impersonation and transformation acts. Perhaps the "Aubert" referred to by Bosman in this case was the name of the actress playing the transformation role? |
==Translations and adaptations== | ==Translations and adaptations== | ||
Revision as of 07:02, 10 January 2020
The French Spy is the shortened title found for performances of a number of military dramas in the 19th century, often part of an equestrian act, military extravaganza, or circus performance.
Contents
The original text
The title of the works occur in a variety of combinations in various sources over the years, often without an author being listed.
For example, Allardyce Nicoll (1930) lists both The Arab of the Desert, or The French Spy, (which he refers to as a melodrama and gives the performance date of 2/1/1831) and The French Spy (now referred to as a "spectacle" and performed at the Queen's Theatre on 4/4/1831). According to The Tatler of Wednesday, 27 April, 1831[1], the work was by a "Mr Haines and billed as a “Grand Melo-dramatic Military Spectacle”).
F.C.L. Bosman (1980: p. 203) in turn cites William Groom (1899-1900), who mentions a performance of a work entitled The French Spy, or The Wild Arab of the Desert (a "great historical military drama") by an author called "Aubert".
The most concrete information, besides the Tatler article of 1831, however comes from Daphne Brooks who refers to The French Spy by a "J.T. Haynes" (i.e. John Thomas Haines, as given in the Samuel French publication of 1861). perhaps the "Mr Haines" mentioned in The Tatler?), a title confirmed by the text published by Samuel French (New York, 1861[]) as The French Spy, or The Siege of Constantina by John Thomas Haines ()[]. The play was in part a transformation play, with the leading lady playing three male roles as part of the action.
It seems most likely that the play performed in South Africa was the 1861 Haynes version, which in the mid 19th century had become a stock play for actresses specializing in roles involving male impersonation and transformation acts. Perhaps the "Aubert" referred to by Bosman in this case was the name of the actress playing the transformation role?
Translations and adaptations
Performance history in South Africa
1866: Performed as The French Spy, or The Wild Arab of the Desert, a "great historical military drama" (said to be by "Aubert"), in Cape Town by the Le Roy and Duret Company on 9 and 11 April, with Madame Duret portraying three characters, as well as six in the accompanying play, The Actress Of All Work, or My Country Cousin (Oxberry).
1867: Performed as The French Spy the Theatre Royal in Cape Town by the "Le Roy's Original Company" on 8 April, with Betsy Baker (Morton)
1867: Performed as The French Spy the Theatre Royal in Cape Town by the "Le Roy's Original Company" on 10 April, with Ireland as It Is (Amherst?)
Sources
Facsimile version of the 1861 version of The French Spy, or The Siege of Constantina, Google E-book[2]
Facsimile version of The Tatler of Wednesday, 27 April, 1831, in Tatler: A Daily Paper of Literature, Fine Arts, Music, and the Stage, Volume 2. Published by J. Onwhyn: p.480 [3]
Facsimile version of the "Handslist of plays produced between 1800 and 1850" from Allardyce Nicoll. A History of Early Nineteenth Century Drama (Vol II 1800-1850): Internet Archive[4]
Facsimile version of the "Handslist of plays produced between 1800 and 1850" from Allardyce Nicoll. A History of Early Nineteenth Century Drama (Vol II 1800-1850): Internet Archive[5]
Daphne Brooks. 2006. Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910. Duke University Press: pp. 183-194[6]
F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik: pp. 203-9, 221-2, 294.
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