This "Harlequinade" suggests, at least, that not all Petipa deserves full restoration.
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Instead, he reimagined Petipa's creation as a new piece, "Harlequinade," with at least two marvellous roles.
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There's a good reason that ballets like "Harlequinade" are often presented in pieces or "variations," sans story.
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The evening also includes excerpts from Alexei Ratmansky's "Harlequinade," with Isabella Boylston as Columbine and James Whiteside as Harlequin.
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The season opens with one of these ("Harlequinade," May 217-21970) and closes with another ("The Sleeping Beauty," July 21980-6).
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"Harlequinade," a two-act comic ballet, is a reconstruction of Marius Petipa's work, with staging and additional choreography by Mr. Ratmansky.
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When George Balanchine made a "Harlequinade" in 1965, he worked from his memory but also reinvented freely to suit modern tastes.
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Ratmansky's cheery "Harlequinade" made its debut last June, and now it kicks off the company's spring season with a week of performances.
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Watching Mr. Ratmansky's "Harlequinade," I often wished for more meddling — more of his feeling for character and off-kilter sense of humor.
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"Harlequinade" is a two-act comic ballet, set to music by Riccardo Drigo, that had its premiere in 1900 in St. Petersburg.
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His latest reconstruction is "Harlequinade," starring the familiar Italian commedia dell'arte characters Harlequin and Columbine, based on Marius Petipa's original version from 1900.
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The Ballet Theater gala performance will also include excerpts from Alexei Ratmansky's "Harlequinade," a new production that Ballet Theater announced earlier this year.
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"Harlequinade," Mr. Ratmansky's reconstruction for Ballet Theater of that two-act Petipa antique, had its debut at the Metropolitan Opera House on Monday.
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The gala opened with the Act I ballabile and the Act II Hunt of the Larks from "Harlequinade," both high-spirited and appealing.
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Also on the program, titled "Mischief, Mischief and More Mischief," is the decadent "Walpurgis Night" and "Harlequinade," a comedic romp starring sly commedia dell'arte characters.
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The plot of "Harlequinade," based on the conventions and stock characters of commedia dell'arte, is only slightly more fleshed out than the Harlequin story I've described above.
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Ballet fans know the "Harlequinade" that George Balanchine, who danced in the Petipa ballet as a student in Russia, created for New York City Ballet in 1965.
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Friday and Saturday feature the final presentations of his staging of "Harlequinade," a comic ballet in the commedia dell'arte tradition, inspired by the archival notes of Marius Petipa.
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" A.B.T.'s season features a new reconstruction of Petipa's 1900 commedia-dell'arte charmer, "Harlequinade," by Alexei Ratmansky, and "Afterite," by the British showman Wayne McGregor, set to Stravinsky's "The Rite of Spring.
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"Harlequinade," which has its premiere at Ballet Theater on June 4 in a staging by Alexei Ratmansky, is a highly conversational ballet, inspired by the popular 18th-century theatrical form known as commedia dell'arte.
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There were later versions of "Harlequinade" in Russia by Fyodor Lopukhov (in the 1930s) and Pyotr Gusev (in the '70s); and, at New York City Ballet, by George Balanchine (1965, with additions in 1973).
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Last fall, Mr. Branagh directed (with Rob Ashford) himself in a one-act Terence Rattigan caprice called "Harlequinade," in which the multiple Oscar nominee played a vainglorious actor and had a field day doing so.
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American Ballet Theater livens up its spring season with the premiere of Alexei Ratmansky's "Harlequinade," in which he, once again, immerses himself in historical notations to uncover those precious things that are lost so quickly in dance: steps.
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In "Harlequinade," staged by Mr. Ratmansky from period sources, mime is bright, vivid, musical; but in "Swan Lake," staged by Kevin McKenzie, large parts of the mime are missing, others have been changed, and few are played with power.
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It's a great chore to fight against dancer habit, but every decrease in strict adherence to the old ways in "Harlequinade" is a decrease in strangeness, weakening the power of what's left, making it seem smaller, of only antiquarian interest.
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The latest project by Alexei Ratmansky, American Ballet Theatre's choreographer-in-residence, is a reconstruction of Marius Petipa's comic 1900 ballet "Harlequinade" (at the Metropolitan Opera House, June 4-9), based on a mountain of archival sources, leavened by his own fanciful imagination.
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So, rather than patch together a "Harlequinade" based on the versions he knew or dream up his own, like Balanchine, Mr. Ratmansky went back to a trove of dance notations kept at Harvard: detailed scores written out in a system of lines, dots, arrows, X's and O's.
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" This season, after a 15-year break, the Trocks, as the troupe is known, revive Robert La Fosse's sparkling "Stars and Stripes Forever" (inspired by George Balanchine's 1958 ballet) and present two new pas de deux: "Tchaikovsky Pas de Deux," a stand-alone work — again, after Balanchine — and "Harlequinade.
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And beginning Monday, Alexei Ratmansky's new production of "Harlequinade," a comic ballet in two acts set to music by Riccardo Drigo, takes the stage with what looks to be a stellar opening-night cast: Isabella Boylston as Columbine, James Whiteside as Harlequin, Gillian Murphy as Pierrette and Thomas Forster as Pierrot.
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When excerpts from "Harlequinade" were performed at the Ballet Theater gala a few weeks ago, it was easier to appreciate their happy spirit and savor the performances: the childlike exuberance of Mr. Whiteside, limbs whirling with joy, leaping high; the freshness of Ms. Boylston, who makes the best case for the simple pleasures of the choreography.
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In the second half of their three-week stint at the Joyce, the formidable fellas in tutus will perform a slapstick version of "Swan Lake, Act II" paired with a cheeky take on the 20007th-century Petipa ballet "The Little Humpbacked Horse," and either a riff on Balanchine's midcentury "Harlequinade Pas de Deux" or "Paquita Pas de Trois," another 223th-century relic that the Trocks have freshened up as only they can.
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The harlequinade lost popularity towards the end of the 19th century and disappeared altogether in the 1930s, although Christmas pantomimes continue to be presented in Britain without the harlequinade.
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The Browning Version & Harlequinade Harlequinade is a comic play by Terence Rattigan. The play was first performed on 8 September 1948 at the Phoenix Theatre, London, along with The Browning Version.
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Beerbohm, Max. The Saturday Review, 14 May 1904, p. 621 The Fairy's Dilemma is a parody of the conventional harlequinade and of melodrama. However, the play was written decades after the heyday of the harlequinade.
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The only solution, she thinks, is to transform the mortals into harlequinade characters. She changes Parfitt into Harlequin, Jane into Columbine, the judge into Pantaloon and Sir Trevor into Clown. All are angry, but Rosebud insists that they play the harlequinade and uses her magic to force them to do so. While Rosebud looks on, everyone is affected by the magic and must play their harlequinade parts.
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The New York City Ballet still perform Harlequinade consistently to the present day.
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The work is a one-woman play that preceded Rattigan's Harlequinade, which she also appeared in, each night as part of a never- before-seen double bill.Zoë Wanamaker and John Dagleish To Appear In Harlequinade , London Theatre Direct. Quoted: 27 July 2015 In 2016 she appeared in the world premiere production of Elegy at the Donmar Warehouse.
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By the 1860s, Beverly's work as a scene painter displaced the costume change bringing in the harlequinade in some productions. The extravaganza became differentiated from the pantomime by, among other things, the centrality of a "magical transformation scene" and the diminishing of the harlequinade clowning. Some British and American Victorian burlesques also retained a transformation scene.
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6 They appeared together in a Harlequinade at the opening of the Surrey Theatre, as Harlequin and Columbine, which ran during the Christmas season that year.The Observer, 24 December 1865, p. 3; and 25 February 1866, p. 1 They repeated their Harlequinade with variations during the Christmas seasons of 1868,The Observer, 27 December 1868, p.
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The harlequinade lost popularity by the 1880s, when music hall, Victorian burlesque, comic opera and other comic entertainments dominated the British comedy stage. In pantomime, the love scenes between Harlequin and Columbine dwindled into brief displays of dancing and acrobatics, the fairy-tale opening was restored to its original pre- eminence, and by the end of the 19th century the harlequinade had become merely a brief epilogue to the pantomime. It lingered for a few decades longer but finally disappeared completely by the middle of the 20th century. The last harlequinade was played at the Lyceum Theatre in 1939.
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Originally a mime (silent) act with music and stylised dance, the harlequinade later employed some dialogue, but it remained primarily a visual spectacle. Early in its development, it achieved great popularity as the comic closing part of a longer evening of entertainment, following a more serious presentation with operatic and balletic elements. An often elaborate magical transformation scene, presided over by a fairy, connected the unrelated stories, changing the first part of the pantomime, and its characters, into the harlequinade. In the late 18th and 19th centuries, the harlequinade became the larger part of the entertainment, and the transformation scene was presented with increasingly spectacular stage effects.
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710–12 The pantomimes had double titles, describing the two unconnected stories such as "Little Miss Muffet and Little Boy Blue, or Harlequin and Old Daddy Long- Legs.""Theatre Royal, Haymarket", The Times, 3 Feb 1862, p. 8 Illustration of the Harlequinade in The Forty Thieves (1878), showing Swell, Pantaloon, Harlequin, Columbine (above), Clown and Policeman In an elaborate scene initiated by Harlequin's "slapstick", a Fairy Queen or Fairy Godmother transformed the pantomime characters into the characters of the harlequinade, who then performed the harlequinade. Throughout the 19th century, as stage machinery and technology improved, the transformation of the set became more and more spectacular.
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In 1930s Russian choreographer Fyodor Lopukhov founded the ballet company of the Theatre. The first ballet premiere, Harlequinade, choreographed by Lopukhov, took place on June 6, 1933.
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Stoll brought Robey to cinema audiences a further four times during 1923. The first two films were written with the intention of showcasing the comedian's pantomime talents: One Arabian Night was a reworking of Aladdin and co-starred Lionelle Howard and Edward O'Neill,"One Arabian Night", British Film Institute, accessed 2 February 2014. while Harlequinade visited the roots of pantomime."Harlequinade", British Film Institute, accessed 2 February 2014.
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Branagh also starred in The Winter's Tale, Harlequinade and The Painkiller. Kenneth Branagh Theatre Company also includes Judi Dench (The Winter's Tale), Zoë Wanamaker (Harlequinade/All On Her Own), Derek Jacobi, Lily James and Richard Madden (Romeo and Juliet) and Rob Brydon (The Painkiller). In September 2015, it was announced that The Winter's Tale, Romeo and Juliet, and The Entertainer would be broadcast in cinemas, in partnership with Picturehouse Entertainment.
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By the early 1800s, the pantomime's classical stories were often supplanted by stories adapted from European fairy tales, fables, folk tales, classic English literature or nursery rhymes. Also, the harlequinade grew in importance until it often was the longest and most important part of the entertainment. Pantomimes usually had dual titles that gave an often humorous idea of both the pantomime story and the harlequinade. "Harlequin and ________", or "Harlequin _______; or, the ________".
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Harlequinade was dedicated by both Drigo and Petipa to the new Empress, Alexandra Feodorovna, a work which would prove to be the last enduring flash of Petipa's choreographic oeuvre.
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Clown became more important, embodying anarchic fun, and no longer simply a servant of Pantaloon. Grimaldi built the character up into the central figure of the harlequinade. He developed jokes, catch-phrases and songs that were used by subsequent Clowns for decades after his retirement in 1828, and Clowns were generically called "Joey" for four generations after him. Clown became central to the transformation scene, crying "Here we are again!" and so opening the harlequinade.
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Harlequinade) (1900). Petipa revived a substantial number of works created by other choreographers. Many of these revivals would go on to become the definitive editions on which all subsequent productions would be based.
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Jerrold Robertshaw as the Demon Alcohol Gilbert had always been fascinated by pantomime, particularly the harlequinade that concluded every pantomime in the early and mid-Victorian era. When Gilbert was growing up, the harlequinade was an extremely popular part of the Christmas pantomimes that were produced at most of the major theatres in London.Crowther, pp. 712–13 Gilbert admired the elegant dancing part of the Harlequin and in 1879 played this character in a pantomime that he co-authored, The Forty Thieves.
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The artwork is a mixture of digitally enhanced photographs overlaid with painting. This serves the story very well as the fantastic Harlequin follows and interacts with the sensible Missy in her normal world. The backgrounds are made very drab, compared to the colorful characters which almost vibrate on top of them. At the back of the book is Gaiman's essay, "Notes on a Harlequinade," which tells us a little about the old harlequin stories of the Italian Commedia dell'arte and the English Harlequinade.
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An 1890 bookcover showing the harlequinade characters Harlequinade is a British comic theatrical genre, defined by the Oxford English Dictionary as "that part of a pantomime in which the harlequin and clown play the principal parts". It developed in England between the 17th and mid-19th centuries. It was originally a slapstick adaptation or variant of the Commedia dell'arte, which originated in Italy and reached its apogee there in the 16th and 17th centuries. The story of the Harlequinade revolves around a comic incident in the lives of its five main characters: Harlequin, who loves Columbine; Columbine's greedy and foolish father Pantaloon (evolved from the character Pantalone), who tries to separate the lovers in league with the mischievous Clown; and the servant, Pierrot, usually involving chaotic chase scenes with a bumbling policeman.
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He never holds a grudge or seeks revenge. John Rich brought the British pantomime and harlequinade to great popularity in the early 18th century and became the most famous early Harlequin in England. He developed the character of Harlequin into a mischievous magician who was easily able to evade Pantaloon and his servants to woo Columbine. Harlequin used his magic batte or "slapstick" to transform the scene from the pantomime into the harlequinade and to magically change the settings to various locations during the chase scene.
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He was nominated for a Lawrence Olivier award for his productions of Noël Coward’s Easy Virtue and Terrence Rattigan’s The Browning Version & Harlequinade (1988). His play A Map of the Region was shortlisted for the Bruntwood Prize in 2011.
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Alongside playing as a session and tour member for Miles Kane, McGuinness finished the recording of his third album in London. The Invitation to the Voyage was released on 6 August 2012, and contained the singles "Lion", "Thunderbolt", "Shotgun" and "Harlequinade".
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86 which also starred Drury Lane regulars Marie Lloyd, Dan Leno and Herbert Campbell.Findlater & Tich, p. 47 As well as the title role,Rohmer, p. 79 Little Tich also played the minor part of the Yellow Dwarf in the harlequinade.
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Hartnoll, Phyllis and Peter Found (eds). "Harlequinade", The Concise Oxford Companion to the Theatre, Oxford Reference Online, Oxford University Press, 1996, accessed 21 October 2011. The basic plot of the harlequinade remained essentially the same for more than 150 years, except that a bumbling policeman was added to the chase. In the first two decades of the 18th century, two rival London theatres, Lincoln's Inn Fields Theatre and the Theatre Royal, Drury Lane (the patent theatres) presented productions that began seriously with classical stories that contained elements of opera and ballet and ended with a comic "night scene".
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Harlequin inherits his physical agility and his trickster qualities, as well as his name, from a mischievous "devil" character in medieval passion plays. The Harlequin character first appeared in England early in the 17th century and took centre stage in the derived genre of the Harlequinade, developed in the early 18th century by John Rich. As the Harlequinade portion of English dramatic genre pantomime developed, Harlequin was routinely paired with the character Clown. As developed by Joseph Grimaldi around 1800, Clown became the mischievous and brutish foil for the more sophisticated Harlequin, who became more of a romantic character.
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The Harlequin character came to England early in the 17th century and took center stage in the derived genre of the Harlequinade, developed in the early 18th century by the Lincoln's Fields Theatre's actor-manager John Rich, who played the role under the name of Lun. As the Harlequinade portion of English pantomime developed, Harlequin was routinely paired with the character Clown. Two developments in 1800, both involving Joseph Grimaldi, greatly changed the pantomime characters. Grimaldi starred as Clown in Charles Dibdin's 1800 pantomime, Peter Wilkins: or Harlequin in the Flying World at Sadler's Wells Theatre.
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Les Millions d'Arléquin (en. Harlequin's Millions) (ru. "Миллионы Арлекина", Milliony Arlekina) also known under the title Harlequinade (ru. "Арлекинада", Arlekinada) is a ballet comique in two acts and two tableaux with libretto and choreography by Marius Petipa and music by Riccardo Drigo.
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The story uses characters from the Harlequinade. The opening scene of the piece reveals Clochette alone, singing as she sits at the spinning wheel. Gilbert and Sullivan would reuse this idea in the opening scene of their 1888 opera, The Yeomen of the Guard.Ainger, p.
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In 2017, she appeared as a guest artist with La Scala Theatre Ballet when it visited Southern California. In 2019, Copeland danced Harlequinade opposite Calvin Royal III in the roles of Pirrette and Pierrot, in a rare instance of a black couple dancing together in ballet.
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Columbine (Colombina in Italian) is a lovely woman who has caught the eye of Harlequin. In the original commedia dell'arte she was variously portrayed as a Pantaloon's daughter or servant. In the English harlequinade she is always Pantaloon's daughter or ward.Hartnoll, Phyllis and Peter Found (eds).
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324 By the end of the 19th century, the harlequinade had become merely a brief epilogue to the pantomime, dwindling into a brief display of dancing and acrobatics.Crowther, Andrew. "Clown and Harlequin", W. S. Gilbert Society Journal, vol. 3, issue 23, Summer 2008, pp. 710–12.
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Randell made the film while also appearing on stage in a double bill of Terence Rattigan plays, Harlequinade and The Browning Version. Filming started 16 August."'All Passion Spent' Now Talked for Jane Wyman; Paramount Signs Beauty" Schallert, Edwin. Los Angeles Times 6 Aug 1949: 7.
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A pantomime version of Robinson Crusoe was staged at the Theatre Royal, Drury Lane in 1796, with Joseph Grimaldi as Pierrot in the harlequinade. The piece was produced again in 1798, this time starring Grimaldi as Clown. In 1815, Grimaldi played Friday in another version of Robinson Crusoe.Findlater, pp.
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Lopukhov's version is still performed by companies and particularly by schools primarily in Russia but also throughout the world. The second version that is performed with regularity is the choreographer George Balanchine's version, given under the title Harlequinade, originally staged for the New York City Ballet in 1965.
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The now-classical features of the clown character were developed in the early 1800s by Joseph Grimaldi, who played Clown in Charles Dibdin's 1800 pantomime Peter Wilkins: or Harlequin in the Flying World at Sadler's Wells Theatre, where Grimaldi built the character up into the central figure of the harlequinade.
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A Merry Madcap (1896), Cinderella (1893-1894),"Plays of the Month" Theatre Magazine (February 1, 1894): 105. Harlequinade and Justice Nell (1900),J. P. Wearing, The London Stage 1900-1909: A Calendar of Productions, Performers, and Personnel (Scarecrow Press 2013): 17, 36-37. and her final London appearance, in The Critic (1911).
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As You Like It, Act 2, scene 7 In the English harlequinade, Pantaloon emerged as the greedy, elderly father of Columbine who tries to keep the lovers separated but was no match for Harlequin's cleverness. His servant Clown's antics, however, slowed him in his pursuit of the lovers. Later, Pantaloon became Clown's assistant.
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50–51; Crowther, pp. 716–17 After writing and thinking about the harlequinade for half a century, and like some of Gilbert's earlier works, The Fairy's Dilemma "sets pantomime fantasy alongside modern everyday life... a harlequinade parodied and subverted."Crowther, p. 719 As The Observer noted in their opening night review of the piece, Gilbert turns inside out, as no other dramatist could do as well, conventional Christmas pantomimes, "with their good fairies and wicked demons supernaturally influencing the destinies of unnatural lovers.... Mr. Gilbert makes the goodness of the Fairy Rosebud as perfunctory as the wickedness of the Demon Alcohol; and it is she who, with a view to her own professional advancement, invents for the Demon the malignant plot".
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After working as William Gaxton's partner in vaudeville, she acted on stage in England. While there, she helped to introduce the play Broadway to British audiences. Her Broadway credits include The Royal Family (1951) and The Browning Version / Harlequinade (1949). Blakeney portrayed the mother of Henry Aldrich in seven consecutive films about The Aldrich Family.
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In the last year of the century, Pierrot appeared in a Russian ballet, Harlequin's Millions a.k.a. Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo, its dancers the members of St. Petersburg's Imperial Ballet. It would set the stage for the later and greater triumphs of Pierrot in the productions of the Ballets Russes.
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Harlequin is the comedian and romantic male lead. He is a servant and the love interest of Columbine. His everlasting high spirits and cleverness work to save him from difficult situations into which his amoral behaviour leads during the course of the harlequinade. In some versions of the original Commedia dell'arte, Harlequin is able to perform magic feats.
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Today Gusev's staging is performed by several Russian ballet companies. In the 1930s and 1940s, Gusev created many pas de deux set to music taken from the Petipa/Imperial-era repertory. Among these pieces was Le Talisman pas de deux, the Harlequinade pas de deux, La Esmeralda pas de deux, and La Source pas de deux.
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Houses were good at first, but despite its initial success and good reviews, the audience dwindled, and it lasted only 90 performances and was withdrawn on 22 July 1904.Ainger, p. 399 Violet Vanbrugh speculated that too few theatregoers remembered the old harlequinade well enough to enjoy the parody. Nevertheless, the piece was sent on a brief tour.
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He also included, like Vainonen, a puppet show staged by Drosselmeyer during the Christmas Party scene. The puppet show foreshadows the later fantasy scenes by having a Prince, a Princess, and a Mouse King as characters. He later did new versions of the classical ballets: Raymonda (1938, Kirov Theatre), Harlequinade (1945, Minsk Theatre), The Sleeping Beauty (1952, Novosibirsk Theatre).
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Harlequinade was divided into two sections, Pessimist and Optimist. The biting portrait of the Pessimist and subtle portrayal of the Optimist were intended as symbols of all the tragedy and comedy in the world. The accompanying orchestra consisted of flute, clarinet, bass clarinet, trumpet, drums and voice. As with much of her early work, little is known about the choreography.
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Each one had a cast of over a hundred performers, ballet dancers, acrobats, marionettes and animals, and included an elaborate transformation scene and an energetic harlequinade. Often they were partly written by Harris."Mr. Pitcher's Art", Obituary, The Times, 3 March 1925Anthony, p. 87 Herbert Campbell and Harry Nicholls starred with Leno in the next fifteen Christmas productions at Drury Lane.
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Clown and Fred as Harlequin, c. 1875 Harry Payne (25 November 1833 – 27 September 1895) and Frederick Payne (January 1841 – 27 February 1880) were members of a popular Victorian era of British pantomime entertainers. They were billed as The Payne Brothers. Fred Payne became known for portraying Harlequin, and Harry became famous as Clown in the Harlequinade that followed Victorian pantomimes.
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She was a guest artist at Carnegie Hall in April 1928. The Dance Art Society, a cooperative producing organization, included thirty of its members in the featured ballet, entitled The Mills of the Gods."The Dance: Studio Groups", New York Times, March 18, 1928, pg. 123. She danced in a diminutive harlequinade and a Beardsleyesque composition called The Faun and the Peacock.
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Cover of Harlequin Valentine Harlequin Valentine is a bloody and romantic short story (1999) and graphic novel (2001) based on the old Commedia dell'arte and Harlequinade pantomime. Both the short story and the graphic novel were written by Neil Gaiman. The latter was drawn by John Bolton, and published by Dark Horse Books. The short story has been republished in Fragile Things.
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Forster, p. 65 Grimaldi's fame was established primarily by his numerous successes as Clown in pantomimes. His Clown satirised many aspects of contemporary British life, and made comic mockery of absurdities in fashion. Grimaldi quickly became the most famous Clown in London, gradually transforming the Clown character from a pratfalling country bumpkin into the most important character in the harlequinade, more important even than Harlequin.
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The harlequinade developed in England in the 17th century, inspired by the commedia dell'arte. It was here that Clown came into use as the given name of a stock character. Originally a foil for Harlequin's slyness and adroit nature, Clown was a buffoon or bumpkin fool who resembled less a jester than a comical idiot. He was a lower class character dressed in tattered servants' garb.
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3) and Harlequinade. Salutation-Dance of Greeting did not remain in the Martha Graham Dance Company repertory. The choreography and other details of the piece are lost. Graham also created other dances with the same name, including a 1930 work set to music by Arthur Honegger (originally called Prelude to a Dance) and a 1932 piece with music by Carlos Chávez (originally called Prelude).
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The colors of the tassels are yellow, white, red, and blue, which represent the four colors of the Eight Banners. When artists perform, they use their fingers to hit the drumhead and shake the drum to ring the bells. Traditionally, octagonal drum is performed by three people. One is the harpist; one is the clown who is responsible for harlequinade; and the third is the singer.
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Hollingshead, John. Good Old Gaiety: An Historiette & Remembrance, pp. 39–41 (1903) London: Gaity Theatre Co Many of Gilbert's Bab Ballads, stories and other works, especially in the 1860s, reflect his interest in the harlequinade and his ideas about the moral issues that it presented, particularly in connection with the cruel character of Clown.Gilbert, W. S. "Getting Up a Pantomime", London Society, January 1868, pp.
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Although this constraint was only temporary, English pantomimes remained primarily visual for some decades before dialogue was introduced. An 18th-century author wrote of David Garrick: "He formed a kind of harlequinade, very different from that which is seen at the Opéra-Comique in Paris, where harlequin and all the characters speak."Davies, Thomas. Memoirs of the life of David Garrick, New edition, 1780, I. x.
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Despite its visible decline by 1836, the pantomime still fought to stay alive.Mayer, p. 309. After 1843, when theatres other than the original patent theatres were permitted to perform spoken dialogue, the importance of the silent harlequinade began to decrease, while the importance of the fairy-tale part of the pantomime increased."The Origin of Popular Pantomime Stories", Victoria and Albert Museum, accessed January 8, 2016.
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This entertainment was first produced at the Gaiety Theatre by its proprietor, John Hollingshead (also a member of the Club), as the Wednesday matinee on 13 February 1878.Hollingshead, John. Good Old Gaiety: An Historiette & Remembrance, pp. 39–41 (1903) London: Gaity Theatre Co Robert Soutar (Nellie Farren's husband) acted as director/stage manager, with John D'Auban choreographing the Harlequinade that was played at the end of the pantomime.
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Joseph Grimaldi Joseph Grimaldi (18 December 1778 – 31 May 1837) was an English actor, comedian and dancer, who became the most popular English entertainer of the Regency era.Byrne, Eugene. "The patient", Historyextra.com, 13 April 2012 In the early 1800s, he expanded the role of Clown in the harlequinade that formed part of British pantomimes, notably at the Theatre Royal, Drury Lane and the Sadler's Wells and Covent Garden theatres.
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Lavish sets and athletic clowning were expected, along with elaborate ballets. By far the most popular of these pantomimes was Fox's Humpty Dumpty. The plot had young Humpty and his playmates turn into harlequinade characters and romp through a candy store, an enchanted garden and Manhattan's costly new City Hall. Fox's mute passivity set him apart from the raucous clamor surrounding him, and audiences took the little man to their hearts.
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The Christmas Pantomime colour lithograph book cover, 1890, showing harlequinade characters Pantomime (; informally panto)Lawner, p. 16. is a type of musical comedy stage production designed for family entertainment. It was developed in England and is performed throughout the United Kingdom, Ireland and (to a lesser extent) in other English-speaking countries, especially during the Christmas and New Year season. Modern pantomime includes songs, gags, slapstick comedy and dancing.
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Broadbent, chapter 10. In the 17th century, adaptations of the commedia characters became familiar in English entertainments."Early pantomime", Victoria and Albert Museum, accessed 21 October 2011 From these, the standard English harlequinade developed, depicting the eloping lovers Harlequin and Columbine, pursued by the girl's father Pantaloon and his comic servants Clown and Pierrot.Smith, p. 228 In English versions, by the 18th century, Harlequin became the central figure and romantic lead.
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In spite of the criticisms of Bluebeard, the critics unanimously praised the seventy-eight-year-old Petipa's seemingly limitless imagination in the creation of classical dances, proving once again that no other choreographer in Europe could claim to be his rival. On the nearly eighty- year-old Petipa presented one of his greatest ballets, Raymonda, set in Hungary during the middle ages to the music of Alexander Glazunov, which premiered to great success. Petipa's Pas classique hongrois (or Raymonda Pas de Dix) from the last act of the ballet would go on to be one of his most celebrated and enduring excerpts, with the challenging choreography he lavished onto Legnani (who danced the title rôle) becoming one of the ultimate tests of the classical ballerina. Petipa presented what would prove to be his final masterpiece on at the Hermitage Theatre, Les Millions d'Arlequin (or Harlequinade), a balletic Harlequinade set to Drigo's music.
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295 On 8 July 1808, Bologna was hired to entertain guests at a masked ball at Burlington House. There, he met Lord Byron, who admitted to being such a fan of pantomime that he based his poem Don Juan on an afterpiece given by Delpini, a character from the harlequinade. So impressed was he at Bologna's performance, that he asked Bologna to reserve him a seat at all of his future benefits.
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321 As in most pantomimes, he played a dual role, in this case first as "Bugle", a wealthy but abrasive eccentric womaniser, and after the transformation to the harlequinade, as Clown.McConnell Stott, pp. 171–73 Mother Goose was a runaway success with its London audiences and earned an extraordinary profit of £20,000. It completed a run of 111 performances over a two-year residency, a record for any London theatre production at the time.
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It developed partly from the 16th century commedia dell'arte tradition of Italy, as well as other European and British stage traditions, such as 17th-century masques and music hall. An important part of the pantomime, until the late 19th century, was the harlequinade."The History of Pantomime", It's-Behind-You.com, 2002, accessed 10 February 2013 Outside Britain the word "pantomime" is usually used to mean miming, rather than the theatrical form discussed here.
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206, Cambridge University Press, 2009 was a pantomime written by W. S. Gilbert. As with many pantomimes of the Victorian era, the piece consisted of a story involving evil spirits, young lovers and "transformation" scenes, followed by a harlequinade. The piece premiered at the Lyceum Theatre, London on 26 December 1867. It was the only pantomime written by Gilbert alone, although before and afterwards he collaborated with other authors on pantomimes for the London stage.
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Harley Quin was "easily the most unorthodox" of Christie's fictional detectives. Inspired by Christie's affection for the figures from the Harlequinade, the semi- supernatural Quin always works with an elderly, conventional man called Satterthwaite. The pair appear in fourteen short stories, twelve of which were collected in 1930 as The Mysterious Mr. Quin. Mallowan described these tales as "detection in a fanciful vein, touching on the fairy story, a natural product of Agatha's peculiar imagination".
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He was also nominated for the London Evening Standard emerging talent award. As part of the original cast he appeared on the original london cast album. In 2015, he joined the Kenneth Branagh Theatre Company, appearing in productions of Harlequinade and The Winter's Tale at the Garrick Theatre In 2016 he played Lysander in A Midsummer Night's Dream at the Young Vic. In May 2017 he appeared in Common at the Royal National Theatre.
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An 18th- century author wrote of David Garrick: "He formed a kind of harlequinade, very different from that which is seen at the Opéra Comique in Paris, where harlequin and all the characters speak." Davies, Thomas. Memoirs of the life of David Garrick, New edition, 1780, I. x. 129, quoted in the Oxford English Dictionary By the early years of the 18th century, "Italian night scenes" presented versions of Commedia traditions in familiar London settings.
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Wilkinson advanced to the position of soloists in her second season with Ballet Russe and remained with the group for six years. She performed with the company across the U.S., routinely dancing the waltz solo in Les Sylphides.Rivka Galchen, "An Unlikely Ballerina", The New Yorker, September 22, 2014. Her repertoire also included roles in Ballet Imperial, Le Beau Danube, Capriccio Espagnol, Gaite Parisienne, Giselle, Graduation Ball, Harlequinade, Swan Lake, and Variations Classiques.
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Jessie Bateman as the Fairy Harlequin and the Fairy's Dilemma, retitled The Fairy's Dilemma shortly after the play opened, is a play in two acts by W. S. Gilbert that parodies the harlequinade that concluded 19th-century pantomimes. It was produced at the Garrick Theatre by Arthur Bourchier, lessee of the theatre, on 3 May 1904 and ran for 90 performances, closing on 22 July 1904. The work was Gilbert's last full-length play.
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Pantomime has a long theatrical history in Western culture dating back to classical theatre. It developed partly from the 16th century commedia dell'arte tradition of Italy and other European and British stage traditions, such as 17th-century masques and music hall. An important part of the pantomime, until the late 19th century, was the harlequinade. Outside Britain, the word "pantomime" is often understood to mean miming, rather than the theatrical form discussed here.
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He became so dominant on the London comic stage that the harlequinade role of Clown became known as "Joey", and both the nickname and Grimaldi's whiteface make-up design were, and still are, used by other types of clowns. Grimaldi originated catchphrases such as "Here we are again!", which continue to feature in modern pantomimes. Born in London to an entertainer father, Grimaldi began to perform as a child, making his stage debut at Drury Lane in 1780.
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Mathilde Kschessinska, Anna Pavlova, and Fyodor Chaliapin were among the great artists who performed at the Hermitage Theatre for the last Russian tsar. Among the ballets performed there was the premiere of Marius Petipa's Harlequinade, in 1900. The Bolsheviks closed the theatre and utilised the building for administrative purposes. It was not until 1991 that performances were resumed on this stage, with the likes of Svyatoslav Richter, Mstislav Rostropovich and Yelena Obraztsova appearing as guest stars.
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In April 2015, Branagh announced his formation of the Kenneth Branagh Theatre Company, in which he would appear as actor-manager. With the company, he announced he would present a season of five shows at London's Garrick Theatre from October 2015 – November 2016. The shows were The Winter's Tale, a double bill of Harlequinade and All On Her Own, Red Velvet, The Painkiller, Romeo and Juliet and The Entertainer. Branagh directed all but The Entertainer, in which he starred.
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Rosemary Dunleavy (born New York City) studied ballet with Bella Malinka and Nina Popova at the High School of Performing Arts. After graduation she attended the School of American Ballet and in 1961 joined New York City Ballet. She performed in the premieres of George Balanchine's A Midsummer NIght's Dream, Harlequinade, Don Quixote and Jewels. In 1971 she retired from dancing and became Balanchine's full-time assistant balletmistress, and since 1983 she has been City Ballet's balletmistress.
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The scene would switch from being inside some house or castle to, generally speaking, the streets of the town with storefronts as the backdrop. The transformation sequence was presided over by a Fairy Queen or Fairy Godmother character. The good fairy magically transformed the leads from the opening fairy story into their new identities as the harlequinade characters. Following is an example of the speech that the fairy would give during this transformation: Lovers stand forth.
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Her repertory included principal roles in Apollo, Serenade, Concerto Barocco, Symphony in C, Ivesiana, Stars and Stripes, Tarantella and Jewels among others. Balanchine made solo roles on her in Don Quixote, Raymonda Variations, Harlequinade, and A Midsummer Night's Dream. Almost from the beginning of her tenure at the New York City Ballet, she began to teach at the School of American Ballet and she occasionally taught company class. Later, Mr. B asked her to teach a "newcomers" class for dancers joining the company.
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From these, the standard English harlequinade developed, depicting the eloping lovers Harlequin and Columbine, pursued by the girl's foolish father, Pantaloon, and his comic servants.Smith, p. 228 The basic plot remained essentially the same for more than 150 years. In the first two decades of the century, two rival London theatres, Lincoln's Inn Fields Theatre and the Theatre Royal, Drury Lane, presented productions that began seriously with classical stories with elements of opera and ballet and ended with a comic "night scene".
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"One is that stage romance and fantasy should be brought down to earth with reminders of prosaic reality. The other is that real life should take on some of the romance and fantasy of the stage." Crowther notes that in the play, the "supernatural" fairy and demon speak in a more natural manner than the mortals, who Gilbert calls "unnaturals". The play shows the tension between Gilbert's love of the harlequinade and his disapproval of the morality that it portrays.
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In 2013–14 she played Anne Faulkner in the theatrical version of Strangers on a Train at the Gielgud Theatre, produced by Barbara Broccoli. From January to February 2015, she starred opposite Shaun Evans in Hello/Goodbye at the Hampstead Theatre. In August 2015 she joined the Kenneth Branagh Theatre Company in The Winter's Tale and Harlequinade which ran at the Garrick Theatre from October 2015 until January 2016. Raison played the wife of Kenneth Branagh's character in both plays.
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The classical pairing of the White Clown with Auguste in modern tradition has a precedent in the pairing of Pierrot and Harlequin in the Commedia dell'arte. Originally, Harlequin's role was that of a light-hearted, nimble and astute servant, paired with the sterner and melancholic Pierrot. In the 18th-century English Harlequinade, Harlequin was now paired with Clown. As developed by Joseph Grimaldi around 1800, Clown became the mischievous and brutish foil for the more sophisticated Harlequin, who became more of a romantic character.
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After other appearances, including one with his brother Fred in Gilbert and Sullivan's Thespis in 1871, choreographed by their father, he went to Drury Lane in 1883, where he played Clown for the last twelve years of his life. In 1892 Punch said of him: Harry Payne was described by George Grossmith as "the best clown in my time".Grossmith, p, 172 Harry Payne opened each Boxing Day Harlequinade at Drury Lane with a somersault followed by a cheerful "Here we are again!"Partridge, p.
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Nellie Farren soon became the theatre's star "principal boy" in all the burlesques and played in other comedies. She and comic Fred Leslie starred at the theatre for over 20 years, with Edward Terry for much of that period. Her husband, Robert Soutar was an actor, stage manager and writer for the theatre. A typical evening at the Gaiety might include a three-act comic play, a dramatic interlude, a musical extravaganza, which might also include a ballet or pantomime (in the tradition of a Harlequinade).
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Hartnoll, Phyllis and Peter Found (eds). "Harlequinade", The Concise Oxford Companion to the Theatre, Oxford Reference Online, Oxford University Press, 1996, accessed 21 October 2011 Secondly, the characters did not speak; this was because of the large number of French performers who played in London, following the suppression of unlicensed theatres in Paris.Mayer, David. "Pantomime, British", Oxford Encyclopedia of Theatre and Performance, Oxford University Press, 2003, accessed 21 October 2011 Although this constraint was only temporary, English harlequinades remained primarily visual, though some dialogue was later admitted.
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In that capacity he supervised or conducted recording sessions, working with leading British composers including Ralph Vaughan Williams. During the Second World War Walker served in the Royal Naval Volunteer Reserve."James Walker", Memories of the D'Oyly Carte Opera Company, reproducing profile from The Savoyard, accessed 20 February 2010 In the Christmas season of 1945–46 Walker made his professional London debut as conductor of The Glass Slipper "A Pantomime with Music Ballet and Harlequinade" by Herbert and Eleanor Farjeon at the St James's Theatre.
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A critic from The Times remarked that the pair's death scene together was "truely affecting"."Truely affecting", The Times, 21 August 1802, p. 6 Bologna and Grimaldi's on-stage partnership had by now become the most popular on the British stage; the Morning Chronicle thought they "stood unrivalled" compared to other acts within the harlequinade."Mr Grimaldi and Mr Bologna at Easter", Morning Chronicle, 31 August 1802, p. 11 On 21 November 1802, his wife Mary bore Grimaldi his only child, a son, Joseph Samuel, whom they called "JS".
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Their entertainment style is generally designed to entertain large audiences. Modern clowns are strongly associated with the tradition of the circus clown, which developed out of earlier comedic roles in theatre or Varieté shows during the 19th to mid 20th centuries. The first mainstream clown role was portrayed by Joseph Grimaldi (who also created the traditional whiteface make-up design). In the early 1800s, he expanded the role of Clown in the harlequinade that formed part of British pantomimes, notably at the Theatre Royal, Drury Lane and the Sadler's Wells and Covent Garden theatres.
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Change by theatrical means has been seen as central to the pantomime of the Victorian period. After a long evolution, a transformation scene then became standard at the end of Act 1 or beginning of Act 2 of a pantomime. The convention in the middle of the 19th century was of a long transformation scene, of up to 15 minutes. In the later 18th century, genres including the harlequinade and masque ended with a transformation scene to a temple, drawing to a close with the suggestion of harmony restored.
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Biographical file for John D'Auban, list of productions and theatres, The Theatre Museum, London (2009) D'Auban married Warde's sister, Emma, in 1871, with whom he also performed. In the 1871 Christmas season, in the Harlequinade section of the pantomime Nip Van Winkle at the Pavilion Theatre, D'Auban played Harlequin, Emma was the "Harlequin à la Watteau", D'Auban's sister Marie was Columbine, and John Warde was Clown.The Era, 7 January 1872, p. 8 The next Christmas, D'Auban and Warde appeared together as the eponymous Valentine and Orson at the Elephant and Castle Theatre.
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The Invisibles travel to San Francisco where they meet Takashi, an employee of Mason Lang's who is working on a time machine.The Invisibles (Vol. 2) #5 Ragged Robin reveals that she has been sent from the future using a working version of Takashi's time machine when King Mob takes her to the dimension that the Invisible College, the Invisibles' headquarters, inhabits.The Invisibles (Vol. 2) #6 Meanwhile, Jack Frost and Lord Fanny obtain a powerful supernatural device called the “Hand of Glory” from a mysterious trio called the "Harlequinade".
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Brandt joined American Ballet Theatre's Studio Company in 2009, then became an apprentice with the main company in November 2010, and by June 2011 was in the Corps de Ballet. In August 2015, she worked her way up and was appointed a soloist in the company. She was assigned to fill in for lead roles such as Medora in Le Corsaire Princess Praline in Whipped Cream and Columbine in Harlequinade. Her repertoire also include roles in La Bayadère, Cinderella, Le Corsaire, Don Quixote, The Firebird, The Nutcracker, The Sleeping Beauty and Swan Lake.
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The story concludes with Missy eating the raw heart (with a side of hash browns and ketchup) at a diner; she is transformed into a new harlequin, while the old harlequin is transformed into a kitchen helper named Pete, who has no memories of ever being the harlequin. The story includes many of the classic characters from the Harlequinade in modern forms. Most obviously is Harlequin and his sought- after love Columbina, who is named Missy in this modern version. Pantaloon, the third person in the love triangle, also exists here in full.
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Satirical depiction of Giuseppe Grimaldi, 1788 From the age of two, Grimaldi was taught to act the characters in the harlequinade by his father. Although he and his younger brother John Baptiste both displayed acting talent, Joseph was groomed for the London stage. He made his stage debut at the Sadler's Wells Theatre in late 1780, when Giuseppe took him on stage for his "first bow and first tumble". On 16 April 1781, Richard Brinsley Sheridan, the manager of Drury Lane, cast both Giuseppe and Grimaldi in the pantomime The Wizard of the Silver Rocks; or, Harlequin's Release.
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The episode "Fire from Olympus" shows a character's address in a police file indicating that Gotham City is located in New York state. The episode "The Mechanic", however, implies that Gotham resides in a state of the same name; a prison workshop is shown stamping license plates that read "Gotham: The Dark Deco State" (as a reference to the artistic style of the series). The episode "Harlequinade" states that Gotham City has a population of approximately 10 million people. This figure was also given in the 1960s Batman TV series episode "Egg Grows in Gotham", the thirteenth episode of the second season.
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The reviews by literary critics were mostly negative. The critics deemed the prose overwritten, the characters weak and uninteresting, and scenes which should have been tragedy instead a "harlequinade". The New York Times wrote: "It is not only that her publishers have not seen fit to curb an almost ludicrous lushness of writing but they have not given the book the elementary services of a literate proofreader." Zelda was greatly depressed by the negative reviews, though she acknowledged to Maxwell Perkins that a review from William McFee, writing in The New York Sun, was at least intelligible.
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Baggy pantaloons (named after Pantalone from the Harlequinade) were originally work clothing, and were worn by urban French Sans-Culottes seeking to distinguish themselves from the overdressed aristocratic fops of the Ancien Régime who wore tight knee breeches.Britannica: Sansculottes In the Islamic World, loose fitting harem pants and the shalwar kameez were traditionally worn for modesty. These trousers remain typical everyday menswear in modern Iran, Afghanistan and Kurdistan. Subsequent conflict between the Ottoman, Russian and Holy Roman Empire resulted in the development of the European loose trousers or Sharovary worn as folk costume in Greece, Bulgaria, Hungary, Poland and Ukraine.
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Ryoji Tsurumi (1990) "The Development of Mother Goose in Britain in the Nineteenth Century", Folklore 101:1, pp.28-35 In the first scene, the stage directions show her raising a storm and, for the very first time onstage, flying a gander – and she later raises a ghost in a macabre churchyard scene. These elements contrast with others from the harlequinade tradition in which the old miser Avaro transforms into Pantaloon, while the young lovers Colin and Colinette become Harlequin and Columbine. A new Mother Goose pantomime was written for the comedian Dan Leno by J. Hickory Wood in 1902.
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George Hook Lupino, c. 1890 The Lupinos were a theatrical family who often claimed that their scion arrived in England in 1620, as a penniless refugee. George William Lupino was a puppeteer and the family continued to earn a theatrical living becoming associated with the harlequinade at Drury Lane. George Lupino Hook (1820–1902) adopted the stage name Lupino from performing with the familyRaymond Mander, Joe Mitchenson Pantomime : a story in pictures (London, 1973). In the 1881 census, the family are shown living at 50 Merrion Street, Leeds - as performers, with the middle name Lupino (RG/11 4536/28 pp.9).
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Soldier's Tale was a chestnut horse with a narrow white blaze bred in Kentucky by his owner Syd Belzberg's Budget Stable Inc. He was one of the best horses sired by Stravinsky who won the July Cup and the Nunthorpe Stakes in 1999, a year in which he was voted Cartier Champion Sprinter. Soldier's Tale's dam Myrtle showed above-average ability in a brief racing career, winning a maiden race and finishing third in the Princess Margaret Stakes. She was descended from the British broodmare Harlequinade, who was the ancestor of major winners including Lemon Souffle and Golden Lilac.
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The Browning Version is a play by Terence Rattigan, seen by many as his best work, and first performed on 8 September 1948 at the Phoenix Theatre, London. It was originally one of two short plays, jointly titled "Playbill"; the companion piece being Harlequinade, which forms the second half of the evening."Phoenix Theatre", The Times, 9 September 1948, p. 7 The Browning Version is set in a boys' public school and the Classics teacher in the play, Crocker-Harris, is believed to have been based on Rattigan's Classics tutor at Harrow School, J.W. Coke Norris (1874–1961).
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Petipa allowed Kschessinskaya to create only a small number of new roles, as he considered the Italian Pierina Legnani to be the superior ballerina. Although she was able to command top billing in theatre programmes or on posters, her efforts to obtain more new roles were thwarted by Petipa, whose authority over the artistic direction of the Imperial Ballet was not challenged even by the Emperor himself. Among the few roles Kschessinskaya created were Flora in Le Réveil de Flore (1894) and Columbine in Harlequinade (1900). She also became the first Russian danseuse to master the 32 fouettés en tournant of Legnani.
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During his term with the School of American Ballet he performed in various shows with the New York City Ballet, including Harlequinade, Swan Lake, Vienna Waltzes, Sleeping Beauty and George Balanchine The Nutcracker. While in production with George Balanchine The Nutcracker, he was featured in the film, The Nutcracker Family : Behind the Magic, directed by Virginia Loring Brooks. Malek-Jones also starred in the film adaptation for the independent film Tap Dreams, directed by Anthony Giordano. Malek-Jones appeared with the Paper Mill Playhouse in various theater productions such as The King And I and Carousel.
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The meretriciously multicolored Harlequin—"shining like a solar spectrum" (11: "Harlequin")—is an "artificial serpent" whose "essential goal" is "falsehood and deceit" (8: "Harlequinade"). An old serving-woman connives in his scheming by accepting a bribe to procure Columbine's favors (11: "Harlequin"). These puppets live under a sky swarming with "sinister black butterflies" that "seek blood to drink", having "extinguished the sun's glory" with their wings (19: "Black Butterflies"). The sun itself is nearing the end of that glory: at its setting it seems like a Roman reveler, "full of disgust", who slits his wrists and empties his blood into "filthy sewers" (20: "Sunset").
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He became so dominant on the London comic stage that harlequinade Clowns became known as "Joey", and both the nickname and Grimaldi's whiteface make-up design are still used by other clowns. The comedy that clowns perform is usually in the role of a fool whose everyday actions and tasks become extraordinary—and for whom the ridiculous, for a short while, becomes ordinary. This style of comedy has a long history in many countries and cultures across the world. Some writers have argued that due to the widespread use of such comedy and its long history it is a need that is part of the human condition.
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129, quoted in the Oxford English Dictionary. The majority of these early pantomimes were re-tellings of a story from ancient Greek or Roman literature, with a break between the two acts during which the harlequinade's zany comic business was performed. The theatre historian David Mayer explains the use of the "batte" or slapstick and the transformation scene that led to the harlequinade: Playbill of an English circus and pantomime performance, 1803 Pantomime gradually became more topical and comic, often involving spectacular and elaborate theatrical effects as far as possible. Colley Cibber, David Garrick and others competed with Rich and produced their own pantomimes, and pantomime continued to grow in popularity.
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It was the most exciting part of the "panto", because it was fast-paced and included spectacular scenic magic as well as slapstick comedy, dancing and acrobatics. The presence of slapstick in this part of the show evolved from the characters found in Italian commedia dell'arte. The plot of the harlequinade was relatively simple; the star-crossed lovers, Harlequin and Columbine, run away from Columbine's foolish father, Pantaloon, who is being slowed down in his pursuit of them by his servant, Clown, and by a bumbling policeman. After the time of Grimaldi, Clown became the principal schemer trying to thwart the lovers, and Pantaloon was merely his assistant.
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His guyish plots blown upnay, do not frown; You've always been a guynow be a Clown. Dan Leno and Herbert Campbell in Babes in the Wood, 1897, at the Drury Lane Theatre This passage is from a pantomime adaptation of the Guy Fawkes story. The fairy creates the characters of the harlequinade in the most typical fashion of simply telling the characters what they will change into. The principal male and female characters from the beginning plotline, often both played by young women, became the lovers Columbine and Harlequin, the mother or father of Columbine became Pantaloon, and the servant or other comic character became Clown.
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300px ;Gods :Jupiter, Aged Deity – John Maclean :Apollo, Aged Deity – Fred Sullivan :Mars, Aged Deity – Frank Wood :Diana, Aged Deity – Mrs. Henry Leigh :Venus, Aged Deity – (Miss Jolly)Rees, pp. 42–43; Programme, 26 December 1871, Savoy TheatreGänzl, Kurt. "The Jollys: from Buck House to the Workhouse", Kurt of Gerolstein, 7 June 2018 :Mercury – Ellen "Nellie" Farren ;Thespians :Thespis, Manager of a Travelling Theatrical Co. – J. L. Toole :Sillimon, his Stage Manager – J. G. Taylor :Timidon – Mr. Marshall :Tipseion – Robert Soutar (Nellie Farren's husband) :Preposteros – Harry Payne :Stupidas – Fred Payne The Payne brothers were the most famous harlequinade Harlequin and Clown of their day.
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Illustration of the Harlequinade in The Forty Thieves, showing Swell, Pantaloon, Harlequin, Columbine (above), Clown and Policeman The Forty Thieves is a "Pantomime Burlesque" written by Robert Reece, W. S. Gilbert, F. C. Burnand and Henry J. Byron, created in 1878 as a charity benefit, produced by the Beefsteak Club of London. The Beefsteak Club still meets in Irving Street, London. It was founded by actor John Lawrence Toole and others in 1876, in rooms above the Folly Theatre, King William IV Street. It became an essential after theatre club for the bohemian theatre set, such as Henry Irving, Toole, John Hare, W. H. Kendal, F. C. Burnand, Henry Labouchère, W. S. Gilbert and two hundred of their peers.
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He studied at the Sadler's Wells Ballet School, joined the opera ballet there and then took part in the inaugural performance of The Sadler's Wells Ballet Company — what is now Birmingham Royal Ballet. He then worked in musicals and at the Malmö Opera House, Sweden, until the founding of "Ballet Workshop" at the Mercury Theatre, London, brought the chance for would-be choreographers to try their talents. Darrell proved to be their best discovery and from 1951 to 1955 made a series of skilled and original works there. This experience led, in 1952, to his first professional commission when Anton Dolin invited him to create a new version of Harlequinade for Festival Ballet.
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The published scenario of the pantomime in which he appeared, Les Trois Planètes, ou la Vie d'une rose (Paris: Gallet, 1847), notes on its titlepage that it was produced at the Funambules on October 6, 1847; but a letter from Billion to Théophile Gautier (now in the Bibliothèque Spoelberch de Lovenjoul as MS C491, f. 530) makes it clear that the premiere was postponed until November (see Storey, Pierrots on the stage, p. 59, n. 51). That début was in The Three Planets, or The Life of a Rose, a "grand pantomime-harlequinade-fairy play" in the old style of his father's day, with feuding supernatural agents, magic talismans, energetic mayhem, and Harlequin's triumphant conquest of Columbine.
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The character first appeared in the harlequinade Aladin in 1788 as 'The African Magician', but was given the name Abanazer in 1813 in Aladdin or The Wonderful Lamp at Covent Garden Opera House in 1813, described as 'A New Melo-Dramatick Romance', and revived in 1826. Other names which have been used for the character are Mourad, Abel el Nesir, Kiradamac, Abanazac and Hocus Pocus. It was with Henry James Byron's Aladdin or the Wonderful Scamp in 1861 that the modern pantomime took form and the character was essentially established. Byron added burlesque (as can be seen by the name parodying the earlier opera) so the character is evil but played for laughs.
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Stedman, p. 143 In 1877, D'Auban began working with Richard D'Oyly Carte, Gilbert and Arthur Sullivan by arranging the dances for their comic opera The Sorcerer."The Making of the Sorcerer" at The Gilbert and Sullivan Archive, accessed 15 December 2009 In 1878, D'Auban trained Gilbert in his dances as Harlequin for the Harlequinade section of The Forty Thieves.Stedman, p. 156 D'Auban arranged the dances for the next Gilbert and Sullivan opera, H.M.S. Pinafore, which became extraordinarily successful.H.M.S. Pinafore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 For the Christmas season in 1879, he choreographed the extravaganza burlesque of Gulliver's Travels by H. J. Byron at the Gaiety.Macqueen-Pope, p.
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The Royalty Theatre produced the play in the West End of London with its counterpart Harlequinade in 1988, starring Paul Eddington and Dorothy Tutin as Andrew and Millie Crocker Harris, with a stellar supporting cast including Jean Anderson, John Duttine, Daniel Beales, Jack Watling and Simon Shepherd. It was directed by Tim Luscombe The Theatre Royal Bath put the play on in 2009 in a double bill with Chekhov's one-act play Swansong, both starring Peter Bowles.Nightingale, Benedict. "Elegance that defies shallow expectation, twice", The Times, 15 July 2009 A production at the Chichester Festival Theatre (alongside South Downs, a new play written in response to it by David Hare) marked Rattigan's centenary in 2011.
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The story of Aladdin is drawn from the Arabian Nights, a collection of Middle-Eastern fables. It was first published in England between 1704 and 1714; and this story was dramatised in 1788 by John O'Keefe for Covent Garden as a harlequinade and included the character of 'Aladdin's Mother' (but unnamed) played by Mrs Davett. She was the widow of a tailor (as in the original story) and this was the profession in many later versions. In 1813, she had the same profession but was the Widow Ching Mustapha, and again in 1836, played by Eva Marie Veigel (Mrs Garrick), but the character was not yet comic nor played by a man.
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That summer she attended a summer arts program, Belvoir Terrace, in Lenox, Massachusetts. Edward Villella, who was visiting his daughter, suggested Alexandra audition for the School of American Ballet in NYC. One month later, in the fall of 1991, Alexandra auditioned for SAB and was accepted. During the first month at SAB she got her first break. Another student could not get her working papers in time to perform in the annual performance of George Balanchine’s The Nutcracker with the New York City Ballet at Lincoln Center. Alexandra was asked to replace her in the role of “Pollichinelle”. Alexandra also performed children’s roles with the company in Balanchine’s Coppélia, A Midsummer Night's Dream, Harlequinade, Sleeping Beauty’s “Garland Waltz”, and Mozartiana.
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They would transition into the new characters as the scenery around them changed and would proceed in the "zany fun" section of the performance. From the time of Grimaldi, Clown would see the transformed setting and cry: "Here We Are Again!" The harlequinade began with various chase scenes, in which Harlequin and Columbine manage to escape from the clutches of Clown and Pantaloon, despite the acrobatic leaps of the former through windows, atop ladders, often because of well-meaning but misguided actions of the policeman. Eventually, there was a "dark scene", such as a cave or forest, in which the lovers were caught, and Harlequin's magic wand was seized from his grasp by Clown, who would flourish it in triumph.
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She received her contract that same week for her 16th birthday. Clive Barnes of the NY Post wrote on December 30, 1996, “Ansanelli an authority which is given by good fairies, not just instilled by fine teachers, This young Ansanelli seems a kid with a golden future.” NY Post Anna Kisselgoff of The New York Times, December 25, 1996, wrote, “Ansanelli a true prodigy ... commands the stage with a presence that is both bold and dreamy. Ms. Ansanelli is a rare find, a dancer of nuance and originality.” NY Times, December 25th, 1996, Anna Kisselgoff On February 3, 1997, Ansanelli performed Columbine from Balanchine’s Harlequinade at the World Financial Center’s Winter Garden celebrating St. Petersburg and later that year was named one of Elle Magazine’s “25 to Watch”.
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The score for Marius Petipa's Les Saisons (The Seasons) was originally intended to have been composed by the Italian composer and conductor Riccardo Drigo, who was Glazunov's colleague and close friend. Since 1886, Drigo held the posts of director of music and chef d’orchestre to the Ballet of the St. Petersburg Imperial Theatres, while also serving as conductor for performances of the Italian operas in the repertory of the Imperial Opera. Petipa's Les Millions d’Arlequin (also known as Harlequinade) was also in its preliminary stages at the same time as Les Saisons, and was originally intended to have had a score supplied by Glazunov. Since Drigo and Glazunov had an affinity towards each other's assigned ballet, the two composers agreed that Glazunov would compose Les Saisons and that Drigo would compose Les Millions d’Arlequin.
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Thereafter, until the end of the century, Pierrot appeared fairly regularly in English pantomimes (which were originally mute harlequinades but later evolved into the Christmas pantomimes of today; in the nineteenth century, the harlequinade was presented as a "play within a play" during the pantomime), finding his most notable interpreter in Carlo Delpini (1740–1828). His role was uncomplicated: Delpini, according to the popular theater historian, M. Willson Disher, "kept strictly to the idea of a creature so stupid as to think that if he raised his leg level with his shoulder he could use it as a gun." So conceived, Pierrot was easily and naturally displaced by the native English Clown when the latter found a suitably brilliant interpreter. It did so in 1800, when "Joey" Grimaldi made his celebrated debut in the role.
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Maria Elisabet Stenberg adopted the name of Lisette Stenberg, and was engaged at the Stenborg Theatre in Stockholm. The Stenborg Theatre, which was categorized as a boulevard theater by foreigners, was a not considered fashionable by the aristocracy, but was the most popular Stockholm theater among the public: it was said that while the nobility preferred the French Theater of Gustav III and the wealthy burghers the Royal Dramatic Theatre, the wider public frequented the Stenborg Theatre, which was very successful. Lisette Stenberg was a multi talent and successfully active in the three capacities as an actress, singer and musician. Stenberg made her debut as an actress at the Stenborg Theatre in the Harlequinade Arlequin Favirot- sultaninna ('Favorite Sultaness of Harlequin') on 2 April 1789, and made an immediate success.
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The first was produced by the BBC in 1978 for their program "An Evening With the Russian Ballet", and the second was produced by Gosteleradio for Russian television in 1991 when the Maly Theatre Ballet gave a rare performance of Arlekinada at the Mariinsky Theatre. Lopukhov's one-act version of the ballet is still occasionally performed by companies and especially by schools not only in Russia but throughout the world. In honor of the 65th anniversary of Les Millions d'Arléquin, George Balanchine staged an important revival of the work for the New York City Ballet under the title Harlequinade. This production premiered at the New York State Theater in New York City on 4 February 1965 with Patricia McBride as Columbine, Edward Villella as Harlequin, Suki Schorer as Pierrette and Deni Lamont as Pierrot.
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The theatre's frontage The auditorium from the stage On 18 February 1888 during the last performance of the pantomime Babes In The Wood the show was interrupted by the behaviour of a group of students and others who threw squibs on to the stage, dried peas at the actresses and who argued loudly with the manager. In 1896 the pantomime was followed by a short Harlequinade and then by a showing of early films. In 1912 'Jimmy' Chute died and the Prince's became a limited company with the theatre being managed by Abigail Philomena Chute (née Henessy, 1855-1931), his widow, together with her co-director, John Hart. The finances needed to mount 'in house' productions became increasingly difficult to raise and the Prince's became reliant on touring productions and its annual pantomimes in order to survive.
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In the 30 years she spent dancing with the company she had numerous roles created for her by George Balanchine such as: Hermia in A Midsummer Night's Dream; Tarantella; Colombine in Harlequinade; the ballerina role in the Intermezzo of the Brahms–Schoenberg Quartet; Rubies; Who Cares? ("The Man I Love" pas de deux and "Fascinatin' Rhythm" solo); Divertimento from Le Baiser de la Fée; Swanilda in Coppélia; Pavane; the paper ballerina in The Steadfast Tin Soldier; the Pearly Queen in Union Jack and the "Voices of Spring" section of Vienna Waltzes. Jerome Robbins created roles for McBride in Dances at a Gathering (pink), In the Night (third nocturne), The Goldberg Variations, The Four Seasons (fall) and Opus 19/The Dreamer, among other ballets. In 1979, she danced in Le Bourgeois Gentilhomme (ballet), a ballet based on the 1670 play by Molière.
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John Rich, earlier in the century, made Harlequin with his slap stick able to transform stage props; and later Joseph Grimaldi as Clown was in charge of transformations. Early pantomime related to and contained the traditional harlequinade by means of a transition in which a group of characters descended from the traditional types from the commedia del arte were transformed and "revealed" as being the key characters in the pantomime of the fairy tale that followed. A production in 1781 of Robinson Crusoe by Richard Brinsley Sheridan is credited with breaking down the rigid separation implied by the transformation, leading to the 19th century view of pantomime. A transformation scene parody, in a British political cartoon from 1864 The dominance of transformation scenes as spectacular ends in themselves has been attributed to the work of William Roxby Beverly, from 1849.
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The Phoenix has had a number of successful plays including Norman Ginsbury's Viceroy Sarah in 1935, and John Gielgud's Love for Love during the Second World War. Harlequinade and The Browning Version, two plays by Terence Rattigan, opened on 8 September 1948 at the theatre. In 1950, it staged Frederick Lonsdale's final play The Way Things Go. In the mid-1950s, Paul Scofield and Peter Brook appeared at the theatre. In 1968, a musical version of Chaucer's The Canterbury Tales opened and ran for around two thousand performances. Night and Day, a 1978 play by Tom Stoppard, ran for two years. The theatre hosted many musicals in the 1980s and 1990s, including The Biograph Girl with Sheila White, The Baker's Wife by Stephen Schwartz directed by Trevor Nunn, and Into the Woods by Stephen Sondheim, starring Julia McKenzie.
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Opus numbers and composition dates are shown where known and Promenade concert dates where relevant: Gavotte Humoristique Op. 6, Dreaming (Op. 7), Serenade Op. 15 (Proms premiere 26 September 1895), Petits Morceaux Op. 16 Nos. 1–5 (Triste, Joyeuse, Le Plaisir, Le Bonheur, L'innocence), Twelve Easy Exercises for Cello Op. 18, Minuet Op. 19 No. 3, Chant D'amour, Gondoliera Op. 20 Book 1 No. 2, Souvenir or Reverie Op. 20 Book 1 No. 3, Légende Op. 20 Book 2 No. 1, Berceuse Op. 20 Book 2 No. 3 (Proms premiere 16 September 1897 with Squire playing cello), Danse Rustique Op. 20 Book 2 No. 5, Chansonette Op. 22 (Proms premiere 10 September 1897 with Squire playing cello), Tarantella in D minor Op. 23, Bourrée Op. 24, Meditation in C Op. 25, Humoresque Op. 26, Six Morceaux Melodiques Nos. 1–6 (Canzonetta, Danse Orientale, Elegie, Madrigal, Idylle, Harlequinade).
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Pyotr Gusev revised many of the ballets of Marius Petipa and Lev Ivanov throughout his career, though he is often not credited for his choregraphic revisions. In 1955 he presented a new version of Le Corsaire with the ballet historian Yuri Slonimsky for the Ballet of the Maly/Mikhailovsky Theatre. Today Gusev's production of Le Corsaire is included in the repertory of the Kirov/Mariinsky Ballet. Gusev's revision of the choreography of the scene Le Jardin animé from Le Corsaire is included in several productions of the ballet, notably American Ballet Theatre and the Kirov/Mariinsky Ballet's productions, and is considered the standard choreographic text. Gusev also staged a new one-act version of the 1900 Petipa/Drigo ballet Les Millions d’Arlequin under the title Harlequinade for the Ballet of the Maly Theatre, a production that was largely based on Fyodor Lopukhov's version of 1933 for the same company.
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Roos's professional theatrical debut occurred in May 1921 in a performance of The Harlequinade at the Neighborhood Playhouse in New York City. In 1930, Roos performed the role of Sofya Alexandrovna in a classic performance of the Anton Chekhov play Uncle Vanya at the Cort Theatre in New York City, a production that one critic called "unforgettable". The show ran for 71 performances. Her other Broadway credits included Peer Gynt (1960), Orpheus Descending (1957), Joan of Lorraine (1946), War President (1944), The Trojan Women (1941), Abe Lincoln in Illinois (1938), Daughters of Atreus (1936), Black Widow (1936), Panic (1935), Tight Britches (1934), Life Begins (1932), Little Women (1931), Schoolgirl (1930), Veneer (1929), Grand Street Follies [1928], Lovers and Enemies (1927), Makropoulos Secret (1926), Loggerheads (1925),Grand Street Follies [1924], This Fine-Pretty World (1923), The Player Queen (1923), The Green Ring (1922), and The Idle Inn (1921).
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Petipa's famous pas de trois from the first scene is still danced today by most companies nearly unchanged, as Petipa usually did when staging a pas de trois classique, having the ballerina who dances the first variation leaving the stage before the end of the Entrée (as in Petipa's Grand Pas de Trois des Odalisques from Le Corsaire, or his Pas de Trois from Paquita). The first dancers to perform the pas de trois in the 1895 revival were Olga Preobrajenskaya, Georgy Kyaksht (famous for creating the role of Harlequin in Petipa's original 1900 Harlequinade), and Varvara Rykhlyakova. According to a press account: "...a captivating Pas de Trois, which is technically difficult, is performed en pointe for the most part with multiple turns, and was excellently performed by the Danseuses and their partner." The Waltz of the first scene or the Valse Champêtre (or the Valse Villageoise) is danced in many different versions by ballet companies today.
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She performed Morphoses for an educational seminar Works & Process at the Guggenheim Museum. Dance partner Benjamin Millepied, director of the Paris Opera Ballet as of September 2014, created on Ansanelli Triple Duet, performed for Dances Concertantes at Sadler’s Wells, London, in 2002 and We Were Two to music by Philip Glass performed for the French Institute Alliance française at Florence Gould Hall. Ansanelli originated principal roles in Broadway choreographer Susan Stroman’s Makin' Whoopee, Saint Petersburg’s Boris Eifman’s, Musagète in the role of Tanaquil LeClercq, Italy’s Mauro Bigonzetti’s Vespro. Ansanelli’s Balanchine repertory included from the title role in The Firebird and principal roles from Stars and Stripes, Allegro Brillante, The Steadfast Tin Soldier, Dances Concertantes, Symphony in C, Who Cares?, Scotch Symphony, Western Symphony, The Nutcracker, Valse Fantasie, The Four Temperaments, Serenade, Vienna Waltzes, Brahms–Schoenberg Quartet, Liebeslieder Waltzes, “Swanilda” from Coppélia, Stravinsky Violin Concerto, Divertimento No. 15, A Midsummer Night's Dream, "Rubies" in Jewels and “Columbine” in Harlequinade.
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The play was Stoppard's first for the theatre since 2006 and a special screening was broadcast live to cinemas. She subsequently had roles in the Kenneth Branagh Theatre Company production of The Winter's Tale at the Garrick Theatre in late 2015 and an associated work, Terence Rattigan's Harlequinade, also at the Garrick, which humorously depicts a postwar CEMA- sponsored theatrical troop at a provincial theatre in Brackley making a hash of Romeo and Juliet and "the intrigues and dalliances of the company members". Chok was nominated in the 2015 BBC Audio Drama Awards (Best Debut Performance In An Audio Drama) for her performance in the BBC Radio 3 production of British Chinese novelist Xiaolu Guo's first play, Dostoevsky And The Chickens (2014), in which she co-starred. In Liao Yimei's comedy drama Rhinoceros in Love, also for Radio 3, she plays the beautiful Mingming, the object of a zookeeper's longing, in a performance described by the Sunday Times as 'bewitching'.
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The spectacular piece with which Charles débuted there had been set in such a fairyland: The Three Planets, or The Life of a Rose was, as noted above, a "grand pantomime-harlequinade-fairy play" that was "in three parts and twelve changes of scene, mixed with dances, transformations, and sumptuous costumes".Les Trois Planètes, ou la Vie d'une rose, grande pantomime arlequinade féerie, dialoguée dans le genre anglais, en trois parties et douze changemens à vue, mêlée de danses, transformations et travestissemens (Paris: Gallet, 1847). A glance into the volume of pantomimes that Emile Goby published in 1889, Pantomimes de Gaspard et Ch. Deburau, turns up nothing so ambitious as this. Instead, one finds what Adriane Despot concluded were the usual sorts of productions on Jean-Gaspard's stage: "light, small-scale, nonsensical adventures enlivened with comic dances, ridiculous battles, and confrontations placed in a domestic or otherwise commonplace setting."Despot, p. 366.
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De Luz then joined New York City Ballet (NYCB) as a soloist in 2003, and in January 2005, he was promoted to the rank of principal dancer. His featured roles since joining New York City Ballet include: George Balanchine's Ballo della Regina, Coppelia (Frantz), "Divertimento" from Le baiser de la fée, Donizetti Variations, The Nutcracker ("Cavalier", "Tea", and "Candy Cane"), Harlequinade (Harlequin and Pierrot), Jewels ("Rubies"), A Midsummer Night's Dream (Oberon), Symphony in C (Third Movement), Tarantella, Theme and Variations, Tschaikovsky Pas de Deux, Valse-Fantaise, Vienna Waltzes, Peter Martins' Jeu de cartes, Octet, The Sleeping Beauty (Bluebird), Swan Lake (Pas de Quatre), Jerome Robbins' Andantino, Brandenburg, Dances at a Gathering, Dybbuk, Fancy Free, Four Bagatelles, The Four Seasons (Fall), The Goldberg Variations, Other Dances, Piano Pieces, and Christopher Wheeldon's Mercurial Manoeuvres. De Luz originated a featured role in, Jorma Elo's Slice To Sharp, Peter Martins' Romeo + Juliet (Tybalt), and Christopher Wheeldon's Shambards and Alexei Ratmansky's Concerto DSCH. In 2003, De Luz became a permanent guest faculty member of The Rock School in Philadelphia.
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As noted above this interest began much earlier for Erdman. As early as 1946, John Martin noted, "She is keenly alert to modern experiments in the other arts music, poetry, visual design and employs them freely."Martin, John, "The Dance: Majority Young Artists of Ability Coming of Age With Honors in Spite of Obstacles", The New York Times (December 15, 1946) Her musical collaborations with composer Ezra Laderman which had begun in 1956 with Duet for Flute and Dancer, inspired by Erdman's interpretation of Debussy's solo flute composition Syrinx in her 1948 solo Hamadryad and culminating in the 1957 group work Harlequinade, featuring dancer Donald McKayle, were the subject of a feature story in Time magazine in April 1957.—————, "Scoring for Dancer", Time Magazine, (April 1, 1957): 80 In the theater Erdman had choreographed a production of Jean-Paul Sartre's The Flies (1947) for the Vassar Experimental Theatre, the Broadway production of Jean Giraudoux's The Enchanted (1950) and collaborating with writer William Saroyan and composer Alan Hovhaness, she directed and choreographed Otherman or The Beginning of a New Nation (1954) at Bard College.
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The most famous of these revivals were Le Corsaire, Giselle, La Esmeralda, Coppélia, La Fille Mal Gardée (with Lev Ivanov), The Little Humpbacked Horse and Swan Lake (with Lev Ivanov). Many pieces have survived in an independent form from Petipa's original works and revivals in spite of the fact that the full-length ballets that spawned them had disappeared from the Imperial Ballet's repertoire. Many of these pieces have endured in versions either based on the original or choreographed anew by others – the Grand Pas classique, Pas de trois and Mazurka des enfants from Paquita; Le Carnaval de Venise Pas de deux from Satanella; The Talisman Pas de deux; La Esmeralda Pas de deux; the Diana and Actéon Pas de deux; La Halte de Cavalerie Pas de deux; the Don Quixote Pas de deux; La Fille Mal Gardée Pas de deux; and the Harlequinade Pas de deux. All of the full-length works and individual pieces which have survived in active performance are considered to be cornerstones of the ballet repertory.
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Gänzl, pp. 89-90 It was even translated into German, and premièred as Im Schwurgericht, at the Carltheater on 14 September 1886, and as Das Brautpaar vor Gericht at Danzer's Orpheum on 5 October 1901.Gänzl, pp. 96-97 Richard D'Oyly Carte's opera companies (of which there were often several playing simultaneously) usually programmed Trial by Jury as a companion piece to The Sorcerer or H.M.S. Pinafore. In the 1884–85 London production, a transformation scene was added at the end, in which the Judge and Plaintiff became the Harlequinade characters Harlequin and Columbine and the set was consumed by red fire and flames.Wilson and Lloyd, p. 35 From 1894, the year when the D'Oyly Carte Opera Company established a year- round touring company that had most of the Gilbert and Sullivan works in its repertory, Trial by Jury was always included, except for 1901-03, and then again from 1943-46, when the company played a reduced repertory during World War II. From 1919, costumes were by Percy Anderson, and a new touring set was designed by Peter Goffin in 1957.
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