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Playing to the Crowd: London Popular Theatre, 1780–1830 by Frederick Burwick (auth.)

By Frederick Burwick (auth.)

The first examine of the productions of the minor theatres, how they have been tailored to attract the neighborhood buyers and the audiences who labored and lived in those communities.

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Extra info for Playing to the Crowd: London Popular Theatre, 1780–1830

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Occasions for further collaboration recurred in subsequent years. Opening on Monday, September 9, 1811, M. 6 This, of course, was during that interval after the fire that destroyed Drury Lane (February 24, 1809) and before the subsequent reopening (October 10, 1812). This new comic opera is more complex than The Gipsy Prince in all aspects of plot, character, and dialogue. The music, too, is Moore’s, although he gratefully acknowledges the assistance of Charles Edward Horn: The Music, which I have ventured to compose for the Opera, owes whatever little dramatic effect it may possess to the skilful suggestions and arrangements of Mr.

Yes, for thee too charming stranger, I could smile at every danger. Gipsy Prince. ’Tis for me, a lonely stranger, Thou dost smile at every danger. Antonia. Far, oh far, thy steps may wander Ere thou find a heart that’s fonder. Gipsy Prince. Far, oh far, my steps may wander Ere I find a heart that’s fonder. Antonia. No, no, whatever fate is thine, Thou canst not meet a love like mine— Gipsy Prince. No, no, whatever fate is mine, I ne’er can meet a love like thine. (15–16) For the finale, the lovers are joined by the gipsies, and they sing in chorus new words to the song first sung by Gipsy Prince.

Ha, ha, ha, hah! hah, ha! — Oh! I shall die! Leatherhead. But you shall weep for this fun by-and-by. ii, p. iv). Moore exhibits a mastery of his medium in all the songs for his romance plot. Arising naturally and spontaneously from the emotional context, the songs function as a lyrical counterpart to the dramatic monologue as revelation of the characters’ thoughts and feelings. Moore uses the solo to articulate very distinct aspects of character and situation. For example, when Miss Hartington sends her maid Susan off to Leatherhead’s library to confirm that De Rosier is there, she is anxious because he has fallen in fortune and that her wealth will keep him away.

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