Difference between revisions of "Captain Hall"

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(Contribution to South African theatre and performance)
(Sources)
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== Sources ==
 
== Sources ==
  
 
+
[[F.C.L. Bosman]], 1928[http://www.dbnl.org/tekst/bosm012dram01_01/]: p. 398-413, 426, 440, 493, 507.
[[F.C.L. Bosman]], 1928[http://www.dbnl.org/tekst/bosm012dram01_01/]: p. 398-413, 405, .
 
  
 
[[Jill Fletcher]], 1994
 
[[Jill Fletcher]], 1994
 
  
 
Go to [[South African Theatre/Bibliography]]
 
Go to [[South African Theatre/Bibliography]]

Revision as of 06:28, 23 June 2015

Captain Hall (18**-18**) was an officer in the 73rd Regiment, stationed in Cape Town, and an active member of the Garrison Players.

Contribution to South African theatre and performance

For a while (1850-1852) he was apparently the leading figure of the Officers of the Garrison, playing an inspirational and managerial role in the company, and specifically the 73rd Regiment's theatrical endeavours. Hence the company is frequently referred to as Captain Hall's Company in the period 1859-52. After this (1853 to 1855), though Bosman still refers to "Captain Hall's Company" as the dominant company of 1854, Hall only appears to have acted for the Officers of the Garrison - and briefly for the visiting professional G.V. Brooke- on occasion, with the administration passing to other officers. After 1855 no more is heard of him.

Between 1850 and 1850 however, Hall was clearly one of the main and most accomplished (though apparently not always consistent) amateur performers in the Garrison Players, and among the roles specifically mentioned in his case are: "Iago" in Othello (1852), "Zero" in St Cupid, or Dorothy's Fortune and an unnamed role in The Bloomer Costume (1853), "the brewer" in The Queen's Horse (1854), "Cassio" in Othello and an unnamed roles in The Lady of Lyons and The Angel in the Attic (G.V. Brooke , 1855).

(For the other plays he may have been involved in as leader of the company and actor, see Captain Hall's Company and the Officers of the Garrison)

Sources

F.C.L. Bosman, 1928[1]: p. 398-413, 426, 440, 493, 507.

Jill Fletcher, 1994

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