71 Sentences With "roué" | Random Sentence Generator

None of this has prepared him to play a pre-revolutionary roué, he said.

He acted the part of the overbearing roué, dragging her onto the dance floor.

The law had caught up with a Palm Beach roué,A man of luxurious means.

"I'll put wheels on it and go," said Olivier Zahm, the roué editor of Purple magazine.

But he wanted to leave his four children something, and although abstemious by roué standards had no appetite for poetic penury.

It's a rainy winter, but a local roué promises that with the tourist season, opportunities for amorous activity will be overwhelming.

Hugh Grant, as a roué who seems to realize that his charm is a regrettably cheap commodity, enjoyed something of a comeback in Florence Foster Jenkins.

In it, the title character, a comely 15-year-old serving girl, is pursued by her rich roué of a master, who lays siege to her maidenhood.

A libertine history and the look of a roué gone to seed would not in themselves preclude the support of evangelical Christians, who are, after all, keen on repentance.

"Disgustingly handsome," in the words of the Princess of Monaco, he was a roué of some renown ("a moral wreck," in his daughter's view) and a lover of Sarah Bernhardt.

Her life is upended by a fleeting roadside encounter with Bajram, a roué from the neighboring village who asks for her hand in marriage on what is essentially a whim.

They have two grown sons, Jamie (Rory Keenan), a sometime actor and full-time roué, and the younger Edmund (Matthew Beard), a sensitive poet type (and O'Neill's alter-ego), who has an ominously bad cough.

The comedy and cruelties are nicely balanced, too, with an especially piquant contrast between Geraint Wyn Davies's Sir Toby Belch — the best and funniest Shakespeare roué I've encountered — and the scarily dour Malvolio of Rod Beattie.

A cane-twirling Mr. Jacobi, old enough to be his character's grandfather, plays the role as a gently camp confidant and occasional crooner who treats every remark as a seeming punch line in the continuing bad joke that this aging roué might otherwise call life.

Emerging at an ancient 33 in a sober haircut and dark suit, he played the worldly-wise yet spiritual ladies man to a poetry-curious audience of hirsute hippies whose idea of free love was let's-spend-the-night-together—where Stephen Stills was a blond demigod who fucked lots of chicks, Cohen was a jaded roué who bedded lots of women.

In 2007, Joan Roué, the great-granddaughter of Bluenose designer William Roué, started raising funds to build a new Bluenose. She cited the need for a new ambassador for Nova Scotia and Canada, listing the particulars at a Bluenose IV website. The name Bluenose III is owned by the province of Nova Scotia, and Roué could not reach an agreement for its use on the new schooner; Roué and North Atlantic Enterprises proceeded anyway, under the name Bluenose IV. An agreement was reached with Snyder's Shipyard to build the new replica when fundraising was completed. However, as of 2009, Roué had not succeeded in raising the required funds.

In 1921, Roué was rewarded with a gold watch and commemorative scroll because Canada won the International Fisherman's Race. A 1998 domestic postage stamp was issued in commemoration of William J. Roué that shows his portrait and the famous Bluenose schooner he designed. The stamp was designed by Louis Hébert of Montreal. Bluenose: A National Symbol of Canada (retrieved 1 October 2006) The Maritime Museum of the Atlantic in Halifax has an exhibit on Roué with his original design instruments and drawing board as well as a Roue designed sloop Vagabond and schooner Hebridee II. The W.J. Roué reading room was created in the Lunenburg NS library in 2002.

The Bluenose is a Canadian sailboat, that was designed by William James Roué as a one design racer and first built in 1946. Roué was also the designer of the Bluenose racing schooner, built in 1921. The term Bluenose is a nickname for people from Nova Scotia.

Designed by William James Roué, the vessel was intended for both fishing and racing duties. Intended to compete with American schooners for speed, the design that Roué originally drafted in autumn 1920 had a waterline length of which was too long for the competition. Sent back to redesign the schooner, Roué produced a revised outline. The accepted revisal placed the inside ballast on top of the keel to ensure that it was as low as possible, improving the overall speed of the vessel.

Arthur Merrill is a roué who continues to celebrate his rejuvenation surgery by taking a girl home - but she turns out to be the sweetheart of his son.

The Roue 20 is a Canadian sailboat, that was designed by William James Roué. Roué was born in Halifax, Nova Scotia in 1879. He lived in Dartmouth, Nova Scotia and worked from 1899 to 1931 for the family firm, Roué's Carbonated Waters, when he design the boat in 1922. Most sailboats are named for their imperial or metric length overall, but the Roue 20's designation instead indicates it was William J. Roué's 20th design.

He was described (under the name of "Sir Richard Lethmore") by Lady Spencer, wife of the prime minister Spencer Perceval, as "a most abominable profligate—a rustic roué, very rich and using his riches for the worst purposes".

During the roué Dylan performed a five night run at the Beacon Theatre in New York City. The tour finally came to a close on November 18 at the Fox Theatre in Detroit, Michigan after ninety-three concerts.

Robinson, p. 25 One further alteration to the revised design took place during construction. The bow was raised by to allow more room in the forecastle for the crew to eat and sleep. The alteration was approved of by Roué.

He appeared in the 1928 silent film Dry Martini as a roué artist. Though he made his last film in 1942, Albert Conti remained in the industry as an employee of the MGM wardrobe department, where he worked until his retirement in 1962.

14 and 55 Mazeppa and Faust up to Date (1888). Ruy Blas and the Blasé Roué (1889) made fun of the play Ruy Blas by Victor Hugo.Hollingshead, pp. 57–58 The title was a pun, and the worse the pun, the more Victorian audiences were amused.

From 1994 through 1997, the church rented space for services at the Chez Roué Banquet Hall in Forest Park, Illinois. Then as the ministry grew the Forest Park Mall, a 33-acre shopping mall, was purchased and the church held its first worship service at the mall on New Year’s Eve of 1997.

Polly begs Hortense to keep her secret and Hortense agrees. After Tony and Polly leave, Hortense sings how everything is "Nicer in Nice" with the ensemble. Then the "aging roué" character Lord Brockhurst arrives, leading to a comical meeting with the rigidly-mannered Percival Browne. Lord Brockhurst's domineering wife Lady Brockhurst is also introduced.

The late nineteenth century: Count d'Origo, a notorious roué, spots an attractive woman. Hoping to seduce her, he attempts to find out who she is. In fact she is Geraldine, a practiced courtesan. However, the local mayor tells the Count that she is Ottavia, the wife of his nephew, Enrico, a struggling young musician.

William James Roué (April 27, 1879 – January 14, 1970) was a naval architect famous for his design of the Bluenose fishing schooner, which sailed to victory in the Halifax Herald International Fisherman's competition in 1921, 1922, 1923, 1931 and 1938, and held the record for the largest catch of fish ever brought into Lunenburg.

As well as the 1998 Roué stamp, the Bluenose has been featured on three stamps: a 1929 50-cent issue, a 1982 60-cent stamp that commemorated the International Philatelic Youth Exhibition, and a 1988 37-cent issue that celebrated Bluenose skipper Angus Walters. Beginning in 1937, the Bluenose is depicted on the reverse of the Canadian dime.

Before her marriage, Cecilia has carried on an amorous correspondence with Colonel d'Aubigny, a worthless roué who has since died. These letters reappear in a packet addressed to Cecilia's husband. Cecilia implores Helen to act as if the letters were addressed to her rather than to Cecilia. Helen, from misguided devotion to her friend and gratitude for Cecilia's kind hospitality, agrees to the deception.

Spain in the 1930s. The Rubes clan is headed by the aristocratic father Cecilio, a roué in love with another woman, Paulina, although he lives with his wife and his teenage son, Sisi. His wife hates the thought and practice of normal sexuality in their marriage. Their son notes his parent’s sexual frustrations but must experience his own initiation into the mysteries of love and sex.

Two years later his son Kenny Rockhead sold the club to Roué Doudou Boicel, who moved his jazz and blues nightclub The Rising Sun there from its original home on Sainte-Catherine Street West. The move proved unsuccessful, and The Rising Sun subsequently moved back to its original home. The building was later resold and demolished, a victim of gentrification. Rufus Rockhead died in a Montreal veteran's hospital in 1981.

After returning to Great Britain in 1781 at the age of 27, Tarleton was elected a Member of Parliament for Liverpool and returned to office in the early 19th century. As such, Tarleton became a prominent Whig politician despite his young man's reputation as a roué. Given the importance of the slave trade to the British shipping industry in Liverpool, Tarleton strongly supported slavery as an economic means.

In 1960 Roué granted rights to produce the design in fibreglass to McVay Fiberglass Yachts of Mahone Bay, Nova Scotia, which built them until 1972. George William McVay had founded his company after he left Paceship Yachts. Herring Cove Marine of Herring Cove, Nova Scotia was producing the boat in 2010, but seems to have gone out of business by 2018. A total of 180 examples were completed by the time production ended.

Vidal was described as a "shameless roué with a face like a monkey," and in his official acts he was very sensitive to the importance of his position. He complained to Spanish officials on several occasions about public slights and offences. Starting in 1800, Vidal acquired through purchase and a royal grant several properties along Bayou St. John in New Orleans to establish a plantation. He sold the property in 1804, following the sale of Louisiana.

Bellevue, Coët Courzo, Coët Er Roué, Fetanstirec, Keranlay, Kercadoret, Kerdaniel, Keréré, Kergolvan, Kerguerec, Kerhelle, Kerhern, Kerhuiltan, Keriaval, Kerigan, Kerinis, Kerivaud, Kerjean, Kerlavarec, Kerlogonan, Kerlud, Kerouarch, Kerpenhir, Kerveresse, Lann Brick, Lann Y Nis, Le Brénéguy, Le Guilvin, Le Lézard, Le Moustoir, Le Nélud, Le Palud, Le Pont Er Lenn, Le Vinglé, Les Pierres Plates, Locquidy, Mané-Lud, Pointe de Kerpenhir, Pointe Er Hourel, Pointe Erlong, Pointe Er Ville, Pont Er Vugale, Rouick, Saint-Pierre Loperet, Scarpoche and Toul Y Niss.

His second feature was featured on Dutch television on channel Nederland 3 and was also later released on DVD. His third full feature "Laat ze maar komen" was released in 2011. Around the same time of his National theater presentations, his collaborative tour with Roué Verveer, Murth Mossel and Howard Komproe began. The comedy group was known as the Caribbean Combo and toured the Netherlands, Suriname and the Dutch Caribbean islands during the Winter months of 2010 and 2011.

Sophy Fullgarney is a manicurist whose clients include the Countess of Owbridge and the Duchess of Strood. The former is elderly and kind; the latter is younger and romantically inclined. They are both also clients of "Valma", the professional name of the palmist Frank Pollitt; he practises in the next door premises and is Sophy's fiancé. Sophy is the foster-sister of the beautiful Muriel Eden, and is set against Muriel's intended marriage to the notorious middle-aged roué, the Marquess of Quex.

Balthazar B (whose final name is never revealed) is born to riches in Paris. His father dies when he is young and his mother neglects him for her lovers. Instead he is brought up by a nanny and relies for male advice on his Uncle Edouard, who instructs him in the worldly life of an elegant roué. He is shipped off to a British boarding school, where he makes a lasting friendship with Beefy, a similarly displaced laird, who is eventually expelled.

Advertisement for a burlesque troupe, 1898 Souvenir programme for Ruy Blas and the Blasé Roué American burlesque is a genre of variety show. Derived from elements of Victorian burlesque, music hall and minstrel shows, burlesque shows in America became popular in the late 1860s and slowly evolved to feature ribald comedy and female nudity. By the early 1930s the striptease element of burlesque overshadowed the comedy and subjected burlesque to extensive local legislation. Burlesque gradually lost popularity beginning in the 1940s.

The programme from Ruy Blas and the Blasé Roué A programme or program (see spelling differences) is a booklet available for patrons attending a live event such as theatre performances, fêtes, sports events, etc. It is a printed leaflet outlining the parts of the event scheduled to take place, principal performers and background information. In the case of theatrical performances, the term playbill is also used. It may be provided free of charge by the event organisers or a charge may be levied.

Back in London, she starred in Ruy Blas and the Blasé Roué (1889), Mercedes in Carmen up to Data (1890), Euphrosynea in The Bride of Love (1890; her cymbal dance was a highlight of the production),Review of Bride of Love and the title role in Cinder-Ellen Up Too Late (1891). She also appeared in a number of charity events. Around this time, Lind became famous as a skirt dancer. Skirt dancing, popularised by Kate Vaughn in the 1880s, was a huge craze until around 1910.

Farren gained a large following among the theatre's mostly male audience. Farren created the role of Mercury in Gilbert and Sullivan's first collaboration, Thespis and created or played roles in works by Dion Boucicault, Anthony Trollope, Charles Dickens, William Congreve and Henry James Byron, among many others. In the 1880s, she created roles in the series of famous Gaiety burlesques with musical scores by Meyer Lutz, often written by Fred Leslie. Some of her most famous of these later roles were the title characters in Little Jack Sheppard and Ruy Blas and the Blasé Roué.

His last important works were for the South-Eastern Railway Company, and include its terminus at London Bridge, most of its stations on the North Kent line, and the Lord Warden Hotel and Pilot House at Dover. In addition to his architecture and playwriting, Beazley wrote two novels, The Roué, 1828, and The Oxonians, 1830. In Burnet's view, they are cleverly constructed, but "to modern taste they seem tedious and formal." He also wrote some architectural papers and a short book published in 1812 about the enclosure of waste lands.

Lemarcier was born in Paris. His father had been intendant successively to the duc de Penthièvre, the comte de Toulouse and the unfortunate princesse de Lamballe, who was the boy's godmother. Lemercier was a prodigy; before he was sixteen his tragedy of Méléagre was produced at the Théâtre Français. Clarisse Harlowe (1792) provoked the criticism that the author was "pas assez roué pour peindre les roueries" (not enough scamp to depict scamp tricks.) Le Tartufe révolutionnaire a parody full of bold political allusions, was suppressed after the fifth performance.

It was an anagram for a Latinized version of his family surname, "Arouet, l[e] j[eune]"; it reversed the syllables of the name of a family château, Airvault; and it has implications of speed and daring through similarity to French expressions such as "voltige", "volte-face" and "volatile". "Arouet" would not have served the purpose, given that name's associations with "roué" and with an expression that meant "for thrashing".Richard Holmes, Sidetracks, pp. 345–66; and "Voltaire's Grin", The New York Review of Books, November 30, 1955, pp. 49–55.

After that, George Edwardes hired him as musical director for the Gaiety Theatre's 1891 tour of America and Australia, conducting the burlesques Ruy Blas and the Blasé Roué and Cinder-Ellen Up-too- Late. He briefly returned to conducting in the British provinces, but in 1892, after nine years of touring, Edwardes hired Jones to conduct the musical In Town at the Prince of Wales Theatre on London's West End. He next was musical director for another West End musical, Morocco Bound (1893), and for the London production of The Gay Parisienne (1896).

Moratti, Mel. "Theatre in Melbourne 1888" at the Gilbert and Sullivan Down Under site At the same time, Leslie played roles in other pieces, for example David Garrick by Thomas W. Robertson at the Gaiety in 1886.Adams, p. 381 180px Leslie's Don Caesar de Bazan in Ruy Blas and the Blasé Roué (1888, a take off of Victor Hugo's play Ruy Blas), was perhaps the most popular of his later parts, and he and Farren starred at the Gaiety and toured in this production and in Miss Esmeralda, and Joan of Arc (1891).

During this time, he added the "e" to his surname. While working at the Opera Comique, Edwardes met his future wife, singer Julia Gwynne, whom he brought to the D'Oyly Carte Opera Company, where she became a principal player. The couple married in 1885 and produced three daughters, including one named Dorothy, and a son, D'Arcy. Souvenir programme from Ruy Blas and the Blasé Roué In 1885, Edwardes was hired to succeed John Hollingshead as manager at the Gaiety Theatre, producing the burlesques in which the Gaiety specialised.

Stewart, Maurice. 'The spark that lit the bonfire', in Gilbert and Sullivan News (London) Spring 2003. Beginning with Little Jack Sheppard (1885), Edwardes expanded the format of the burlesques to full-length pieces with original music by Meyer Lutz, instead of scores compiled from popular tunes."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9 These included Monte Cristo Jr. (1886); Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891) and Don Juan (1892, with lyrics by Adrian Ross).

Roué produced a design, at the request of a group from the Armdale Yacht Club in Halifax, for a small one- design sloop that would be both fast and elegant and could be sailed easily by two or three people. The schooner Bluenose was still afloat, but had been sold to the West Indian Trading Company for use as a freighter. The new class was given the name Bluenose to help perpetuate the memory of the great champion. The first Bluenose class sloops were launched in the spring of 1946, just months after Bluenose was lost on a Haitian reef.

In the Victorian era, musical burlesques generally included several breeches roles. According to the Grove Dictionary of Music and Musicians, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in travesty roles ... the plays themselves did not normally tend to indecency."Schwandt, Erich et al. "Burlesque", Grove Music Online. Oxford Music Online, accessed 3 February 2011 One of the specialists in these roles was Nellie Farren who created the title roles in numerous burlesques and pantomimes, including Robert the Devil, Little Jack Sheppard and Ruy Blas and the Blasé Roué.

Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others.

462 The Era was also untroubled by the plot, finding that it hinged on "a moment of genuine ethical exaltation"; it concluded, "Mr Pinero's genius is as strong as ever". "The Gay Lord Quex", The Era, 15 April 1899, p. 13; and "The Morality of Lord Quex", The Era, 13 May 1899, p. 17 The Times commented that intellectually Pinero stood alone among British dramatists, and praised the "undeniable humanity and interest" of the piece, but wished it had sprung from something loftier than "a combat of wits between a roué, who has to shuffle out of a discreditable past, and a young woman who, though it be for a good motive, has descended to immodesty and mean cunning".

Skipwith was parodied by Delarivier Manley as 'Sir Peter Vainlove' in the Adventures of Rivella published in 1714. She described him as having:The Adventures of Rivella, or the History of the Author of The New Atalantis Manley also described his pursuit of two mistresses, and Skipworth's philandering led to him living apart from his wife on at least one occasion. In 1707, Isabella Wentworth, a Lady of the Bedchamber to Queen Anne, wrote privately of his return: Skipwith left substantial sums to his housekeeper, Susanna Gurney, and her daughter, Charlotte. Historian D. W. Hayton, who describes Skipwith as 'an engaging roué', suggests this 'strengthens the suspicion' that Gurney was also his mistress, and her daughter his illegitimate child.

His other successes included Trelawny of the "Wells" (1898), a romantic comedy celebrating the theatre, old and new, and The Gay Lord Quex, about a reformed roué and a feisty young woman. A venture into opera, with a libretto for The Beauty Stone (1898), was not a success, and Pinero thereafter generally stuck to his familiar genre of society dramas and comedies. Although he continued to write throughout the first three decades of the 20th century and into the fourth, it is Pinero's work from the 1880s and 1890s that has endured. There have been numerous revivals of many of his plays; and some have been adapted for the cinema or as musicals.

Designed by William James Roué, the Sherman Zwicker is a nearly identical twin of Roué’s most famous hull, the Bluenose – widely considered the fastest racing schooner ever built. While the Bluenose split her time between racing and fishing, the Sherman Zwicker’s true purpose was to prolong the working life of the saltbank fleet; therefore, slight modifications were made to her rigging and propulsion to increase efficiency. This left her with the sleek purpose built racing hull of Bluenose, paired with a substantial Fairbanks Morse diesel engine, and a more compact, easier to tend rig. At the time she was a considered a modern transition vessel (vessels transitioning from sails to diesel power), and as such was one of the first and last of a kind.

He continued his studies at Trinity College, Cambridge, earning a Cambridge M.A. and B.Mus. in 1886 and gained a doctorate in music at Oxford in 1891. Jessie Bond in Carr's His Excellency Carr's first produced work (with lyricist Adrian Ross) was the burlesque Faddimir, or the Triumph of Orthodoxy at the Vaudeville Theatre in London in 1889, which gained the attention of producer George Edwardes. Edwardes began to commission songs from Carr and Ross, including a song for his next Gaiety Theatre burlesque Ruy Blas and the Blasé Roué. They next wrote the score for a burlesque of Joan of Arc, or, The merry maid of Orleans (1891), and then the songs for what many historians consider the first British musical comedy, In Town (1892).

However, in the 1860s and 1870s, burlesques were one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognise. Edwardes expanded the format, adding an original score composed chiefly by Meyer Lutz, and the shows were extended to a full-length two- or three-act format."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9, col. D These "new burlesques" included Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Joan of Arc by Adrian Ross and J. L. Shine (1891) and Cinder Ellen up too Late (1891).

Massey was the daughter of Rose Massey, a well-known actress in her time, who died of consumption in 1883."Personal and Other Jottings", The Morning Call, 7 October 1894 Massey appeared in plays, Victorian burlesques and Edwardian musical comedies as A Run of Luck (1888), Ruy Blas and the Blasé Roué (1889) (incorrectly listed as Blanche Massie),Vinent, W.T. Recollections of Fred Leslie, Volume 2, p. 100 (1894) Carmen up to Data (1890),Carmen Up To Data Photo (1890), Retrieved August 4, 2011 Cinder Ellen up too Late (1891), The Geisha (1896),Platt, Len. Joyce, race and Finnegans wake, p. 134 (2007)"Massey in The Geisha", Munsey's Magazine (August 1896) My Friend the Prince (1897), and Lady Madcap (1904).

Set in La Belle Époque of the turn-of- the-19th-cum-20th century Paris, the film opens with Honoré Lachaille (Maurice Chevalier) surrounded by members of high society in the Bois de Boulogne. As a charming old roué, he remarks that in Paris, marriage is not the only option for wealthy young bon vivants like his nephew Gaston (Louis Jourdan), who is bored with life. The one thing Gaston truly enjoys is spending time with Madame Alvarez (Hermione Gingold), whom he calls Mamita, and especially her granddaughter, the precocious, carefree Gilberte, also called Gigi (Leslie Caron). Following the "family tradition", Madame Alvarez sends Gigi to her great aunt Alicia (Isabel Jeans) to be groomed as a courtesan, a dignified word for a mistress of a wealthy man, to learn etiquette and charm.

On tour or in London she played in the burlesques Little Jack Sheppard (1886) and Miss Esmeralda (1887), and, as Farren aged, Blanche took the title roles in Ruy Blas and the Blasé Roué (1890) and Joan of Arc (1891). Blanche was only briefly among the top names in West End burlesque, but in the 1890s she achieved and maintained the highest degree of stardom in pantomime under the management of Sir Augustus Harris at Drury Lane. In the six seasons from December 1892 she starred there in the theatre's lavish pantomime versions of Little Bo-Peep, Robinson Crusoe, Dick Whittington and His Cat, Cinderella, Aladdin and Babes in the Wood. In the title role of Robinson Crusoe, she was singled out by The Times for mention before her famous co-stars, Little Tich, Dan Leno, Marie Lloyd and Herbert Campbell.

Crystal Palace playbill, 26 December 1889 Other later Gaiety burlesques choreographed by D'Auban included Ruy Blas and the Blasé Roué (1889) and Carmen Up to Data (1890). D'Auban continued to choreograph most of the Gilbert and Sullivan and other Savoy Theatre pieces throughout the 1880s and 1890s. These included Iolanthe (1882),Savoy Theatre playbill, Iolanthe, 25 November 1882Princess Ida (1884), The Mikado (1885)The Mikado , review in The Entr'acte, London, 28 March 1885, p.6a, accessed at the Footlight Notes website, 21 December 2009 (D'Auban is played by Andy Serkis in the 1999 film Topsy-Turvy concerning the making of The Mikado), Ruddigore (1887),Ruddigore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 The Yeomen of the Guard (1888),The Era, 6 October 1888, p. 9 The Vicar of Bray (1892), Captain Billy (1892), Haddon Hall (1892),Trutt, David.

Beginning with Little Jack Sheppard, however, Hollingshead's successor, George Edwardes, expanded the format of the burlesqes to full- length pieces with original music by Meyer Lutz, instead of scores compiled from popular tunes."Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9, col. D These included Monte Cristo Jr. (1886); Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead had managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz.

The word , meaning a debauched or lecherous person, is French, and its original meaning was "broken on the wheel." As execution by breaking on the wheel in France and some other countries was reserved for crimes of particular atrocity, roué came by a natural process to be understood to mean a man morally worse than a "gallows-bird," a criminal who only deserved hanging for common crimes. He was also a leader in wickedness, since the chief of a gang of brigands (for instance) would be broken on the wheel, while his obscure followers were merely hanged. Philip, Duke of Orléans, who was regent of France from 1715 to 1723, gave the term the sense of impious and callous debauchee, which it has borne since his time, by habitually applying it to the very bad male company who amused his privacy and his leisure.

Bizet's Carmen had first been produced in English in London in 1878 at Her Majesty's Theatre, starring Selina Dolaro and Durward Lely. An earlier burlesque of Carmen, called Carmen: or, Sold for a Song, by Robert Reece, had also been produced at the Folly Theatre in 1879, and several other burlesques followed.Adams, pp. 254–55 Burlesque of opera or classical works was popular in Britain from the 1860s to the 1880s. Other examples at the Gaiety include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).

This type of work, the Victorian burlesque, was popular in Britain at the time. Other examples include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Miss Esmeralda (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead had managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz. Hollingshead called himself a "licensed dealer in legs, short skirts, French adaptations, Shakespeare, taste and musical glasses."Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 01 Mar 2007 In 1886, Hollingshead ceded the management of the theatre to George Edwardes, whom he had hired in 1885.

Burlesque of opera or classical works was popular in Britain from the 1860s to the 1880s. Other examples at the Gaiety include The Bohemian G-yurl and the Unapproachable Pole (1877), Blue Beard (1882), Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Miss Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887), Mazeppa, Faust up to Date (1888), Ruy Blas and the Blasé Roué (1888), Carmen up to Data (1890), Cinder Ellen up too Late (1891), and Don Juan (1892, with lyrics by Adrian Ross).Programme for Carmen up to Data John Hollingshead managed the Gaiety Theatre from 1868 to 1886 as a venue for variety, continental operetta, light comedy, and numerous musical burlesques composed or arranged by the theatre's music director, Wilhelm Meyer Lutz. Hollingshead called himself a "licensed dealer in legs, short skirts, French adaptations, Shakespeare, taste and musical glasses."Arthur Lloyd Music Hall site (on Gaiety) Cuttings accessed 01 Mar 2007 In 1886, Hollingshead ceded the management of the theatre to George Edwardes, whom he had hired in 1885.

Danby as Blueskin and Florence Levey as Polly Stanmore in the revival of Little Jack Sheppard (1894) His first success on the London stage was as Morel in Monte Cristo Jr. at the Gaiety Theatre (1886) and in a tour of Australia in 1888/9 and the United States in 1889;Thomas Allston Brown, A History of the New York Stage From the First Performance in 1732 to 1901, Dodd, Mead and Company, New York (1903) - Google Books, p. 255 he played Captain Sneak in a revival of Alfred Cellier's The Sultan of Mocha (1887); Don Salluste in Ruy Blas and the Blasé Roué at the Gaiety Theatre (1889); Valentine in Faust up to Date in an American tour with the Gaiety Company (1890);Brown, p. 400 Jacques Darc in the burlesque Joan of Arc at the Opera Comique (1891);Review of Joan of Arc - The Daily News, London, Monday, 19 January 1891, p. 3cJ. P. Wearing, The London Stage 1890-1899: A Calendar of Productions, Performers, and Personnel, Rowman & Littlefield (2014) - Google Books pg.