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Bournemouth - View From Pier Shelter Prior to 1905. And 'The Cingalee'.

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posted by alias pepandtim on Tuesday 4th of August 2020 07:51:21 AM

The Postcard A Hartmann series postcard that was posted in Bournemouth on Saturday the 11th. March 1905 to a Miss Dido Lush who lived in Ealing, London W. The message on the divided back of the card was as follows: "Dear Little Dido, We do think it so sweet of you to send us a card. Just as we were at our wedding breakfast. Hope you got our little note. J. is delighted with your most useful present. Again many thanks for it, and for the p. card. Love, Valerie & J". Bournemouth Bournemouth is a large coastal resort town on the south coast of England to the east of the Jurassic Coast, a World Heritage Site, 96 miles (155 km) long. According to the 2011 census, the town has a population of 183,491, making it the largest settlement in Dorset. With Poole to the west and Christchurch in the east, Bournemouth forms the South East Dorset conurbation, which has a total population of over 465,000. Before it was founded in 1810 by Lewis Tregonwell, the area was a deserted heathland occasionally visited by fishermen and smugglers. Initially marketed as a health resort, the town received a boost when it appeared in Augustus Granville's 1841 book, The Spas of England. Bournemouth's growth truly accelerated with the arrival of the railway. The town centre has notable Victorian architecture, and the 202-foot (62 m) spire of St Peter's Church, one of three Grade-1 listed churches in the borough, is a local landmark. Bournemouth's location has made it a popular destination for tourists, attracting over five million visitors annually with its beaches and popular nightlife. The Lower, Central and Upper Gardens are Grade II* public parks, leading for several miles down the valley of the River Bourne through the centre of the town to the sea. 'The Cingalee' So what else happened on the day that the card was posted? Well, the 11th. March 1905 marked the final performance in London of 'The Cingalee'. 'The Cingalee', or 'Sunny Ceylon' is a musical play in two acts by James T. Tanner, with music by Lionel Monckton, lyrics by Adrian Ross and Percy Greenbank, and additional material by Paul Rubens. It opened at Daly's Theatre in London, managed by George Edwardes, on the 5th. March 1904, and ran until the 11th. March 1905 for a total of 365 performances. The musical also had a short Broadway run, opening at the original Daly's Theatre in New York on the 24th. October 1904, and running for 33 performances. 'The Cingalee' is set in Ceylon, and concerns colonial tea planters (one of the most popular songs in the score is called simply 'Tea, tea, tea') in an era before the island became Sri Lanka. It was given a showy production, and was a success in London. The fashion there for shows set in exotic Asian locales had been started by 'The Mikado' and was continued by 'The Geisha', 'San Toy', 'The Nautch Girl', 'A Chinese Honeymoon' and others. However there is little in the music to give 'The Cingalee' an Eastern flavour. Monckton's catchy sextet, 'The Island of Gay Ceylon', his 'Pearl of Sweet Ceylon' and Ruben's 'White and Brown Girl', 'Sloe Eyes', 'Monkeys' and 'You and I' are highlights of the musical score. The London cast included Hayden Coffin, Rutland Barrington, Huntley Wright and Isabel Jay. A young Lily Elsie also appeared in the show, as did Topsy Sinden. Roles and Original Cast Principal roles were: - Harry Vereker (A Tea Planter) – C. Hayden Coffin - Boobhamba (A Noble of Kandy) – Rutland Barrington - Sir Peter Loftus (High Commissioner and Judge, Ceylon) – Fred Kaye - Myamgah (An Indian Servant) – Willie Warde - Bobby Warren, Dick Bosanquet, Freddie Lowther, Jack Clinton, Willie Wilson (Pupils of Vereker on the Tea Plantation) - Captain of The Guard – Norman Greene - Attendant – F. J. Blackman - Chambhuddy Ram (A Baboo Lawyer) – Huntley Wright - Nanoya (A Cingalese Girl) – Sybil Arundale - Peggy Sabine – Gracie Leigh - Naitooma, Sattambi, Mychellah, Coorowe (Four Tea Girls on Vereker's Plantation) – Carrie Moore, Alice d'Orme, Freda Vivian, Doris Severn - Angy Loftus (Sir Peter's Daughter) – Doris Stocker - Miss Pinkerton, Fräulein Weiner, Mademoiselle Chic, Signorina Tasso (Angy's Governesses) – Nina Sevening, Mary Fraser, Mabel Hirst, Joan Keddie - Lady Patricia Vane – Isabel Jay Synopsis of the Cingalee Act I - Henry Vereker's Tea Plantation, Karagama, Ceylon Seventeen year old Nanoya is a Cingalese girl who had been betrothed at the age of four to the potentate of Boobhamba as one of his many wives, each dressed in a different colour to prevent mistakes and consequent jealousy. To avoid this fate, she had absconded and gone to work on a tea plantation belonging to Harry Vereker (but which has been fraudulently leased to him by a rascally lawyer, Chambuddy Ram). Harry falls in love with Nanoya and wishes to marry her. Chambuddy has also expropriated a famous black pearl that formerly sat in the forehead of a great idol. It has found its way to London and, after a convoluted set of adventures, Harry buys it to adorn his intended. Prince Boobhamba appeals to the British High Commissioner against Chambuddy, who is ordered to produce both Nanoya and the pearl within 24 hours. By chance he learns the true identity of Nanoya, and she is handed over, together with the pearl, to the Court. Act II - Boobhamba's Palace by the Lake of Kandy Harry, his mentor Lady Patricia Vane, Nanoya's 'teacher of deportment' Peggy Sabine and Chambuddy, to bolster his own position, all seek to rescue Nanoya from her fate, to inevitable failure. Boobhamba then capriciously decides to marry Peggy Sabine instead, but she has words to say about that, and Chambuddy, in love with Peggy himself, backs her up. So Harry pairs off with Nanoya, Chambuddy pairs off with Peggy and Boobhamba is left with his existing harem. Musical Numbers Act I – Vereker's Tea Plantation, Karagama, Ceylon 1. Opening Chorus – 'Sleepy Ceylon.' 2. Octet: Tea Girls and Pupils – 'Girls on a tea plantation...' 3. Vereker – 'Beyond the bar of fair Manaar...' 4. Nanoya and Vereker – 'Little girl to school must go...' 5. Chorus and Scene – 'What on earth is that?' 6. March, Chorus and Song, Boobhamba – 'Hail the noble deeply venerated...' 7. Chambhuddy – 'Some years ago when a very chotah boy...' 8. Lady Patricia – 'As you have to decide on a bride...' 9. Naitooma and Tea Girls – 'Tea, Tea, Tea.' 10. Peggy and Chambhuddy – 'White and Brown Girl.' 11. Sextet – 'In the Island of Gay Ceylon.' 12. Nanoya – 'My Cinnamon Tree.' 13. Finale Act I – 'Have you found the girl?' Act II – Boobhamba's Palace by the Lake of Kandy 14. Opening Chorus – 'At the Palace of Boobhamba...' 15. Nanoya, Tea Girls and Chorus – 'I'm a maiden merry, sorry to be sold...' 16. Concerted Number – 'I'm afraid I do not quite understand...' 17. Chambhuddy – 'If English Pot a rich man be...' 18. Vereker – 'My dear little Cingalee.' 19. Quartet – 'True Love.' 20. Naitooma and Chorus – 'A Cingalese Wedding.' 21. Chorus – 'On the quiet lake the moonbeams shimmer...' 22. Song - Boobhamba and Chorus – 'A Happy New Year.' 23. Song - Nanoya – 'You met a little girl one day...' 24. Duet - Peggy and Chambhuddy – 'In a jungle once on a time...' 25. Finale Act II – 'Cingalee, Cingalee...' Critical Reception of Cingalee Contemporary critics were overwhelmingly enamoured of the musical. The Stage commented: 'The Cingalee has all the elements that make for long runs. It is elaborately set and staged, charmingly dressed; the music is in Mr. Monckton's best vein, and the lyrics abound with graceful and well-turned lines'. The St. James's Gazette noted that: 'The first performance was received with rapture on Saturday night by an enthusiastic audience, and played with the most admirable vivacity and smoothness by a brilliant company". In Lionel Monckton's music, The Daily Telegraph saw: 'A distinct leaning towards the traditions of genuine comic opera, and in this connection it is pleasant to find that what may be called the Savoy manner has served its composer as a bright answer'. The Standard agreed, judging that: 'On the whole, this will be set down as decidedly the best of Monckton's scores'. Several critics commented that the second act was dramatically, if not visually, less effective than the first, although they offered different reasons, and a few papers regarded the piece ripe for pruning. The Daily News stated that : 'A rather long interval helped to prolong the performance until close on midnight'. The Globe agreed that four hours was 'A little too much', but thought that 'The task of condensation will be easy'. The Cingalee toured the British provinces, but then was only remounted on small scales, and only up to the pre-war 1940's. The condescending racial nature of the musical's libretto would be unacceptable today, and so the work is unlikely to be revived. Litigation Surrounding the Cingalee Captain Frederick John Fraser of the Indian Army sued George Edwardes, the producer of The Cingalee, in 1905 in King's Bench before Mr Justice Darling. Fraser had written a comic opera called 'Hanjiahn', or 'The Lotus Girl'. He took this to Edwardes, who agreed to produce the opera within three years or pay a penalty of £300. Edwardes suggested that Fraser work with James T. Tanner to develop the work. Eventually, however, Edwardes returned the manuscript to Fraser unproduced. Tanner went on to write, and Edwardes produced, 'The Cingalee'. Fraser sued on the basis of breach of copyright, claiming that his scenario had been used without his consent. The defence countered that the libretti were not similar, that all plays hold points in common and that, if anything, both works used 'The Geisha' as their model. The jury found that an unfair use had indeed been made of Fraser's piece by the appropriation therefrom of characters, plot and other ideas. They assessed the damages at £3,000 plus court costs. The case was noted in the press for the amount and quality of witty repartee among witnesses, counsel and Judge. A 1930 memoir by one of Fraser's legal team assessed that the prosecution had erred by attacking the character of an obviously honourable man, and that the previously closely balanced case had been won by a legal ambush on one of the witnesses, the theatrical costume designer, Percy Anderson. Anderson had written a sympathetic letter in April 1904 to the plaintiff indicating that Fraser had been badly treated by Edwardes, but when called as a witness by the defence, Anderson testified in support of Edwardes. The plaintiff's counsel produced the forgotten letter in Anderson's handwriting, and made the unfortunate witness read it to the court, causing a sensation. The jury, swayed by this evidence, were viewed as too generous in the damages awarded, and the defence appealed, primarily on that basis, with £2,000 being paid into court. An out of court settlement was reached for damages of this £2,000, plus costs, with all imputations by both sides being withdrawn, before the appeal could be argued.



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