Robinson Crusoe, a grand comic Christmas pantomime

"The history of England in twenty minutes": p.78-[85]; "Fifteen years' management of Drury Lane & Covent Garden theatres royal. 1879-1893 ... By Sir Augustus Harris": p. [87]-100.

De la saltation théatrale, ou, Recherches sur l'origine, les progrès, & les effets de la pantomime chez les anciens : avec neuf planches coloriées : dissertation qui a remporté le prix double à l'Académie des inscriptions & belles-lettres en novembre 1789 /

Engraved plates in Getty Research Institute copy are hand-colored.

The bridal of Pennacook; entertainment in tableaux and pantomime, illustrating an Indian legend,

Illustrated cover.

Psiché, ballet-pantomime en trois actes ...

Mode of access: Internet.

Little Bo-Peep, or, Harlequin Jack and Jill : gorgeous Christmas pantomime /

Without music.

Le Sicilian, ou l'amour peintre ; Ballet-pantomime en un acte /

Mode of access: Internet.

Jocko; ou, Le singe du Brésil; drame en deux actes, à grand spectacle, mêlée de musique, de danses et de pantomime.

In collaboration with Merle. - cf. Quérard.

Les marchandes de modes, ou Une soirée de carnaval; pantomime-folie en deux actes, mêlée de danse.

Mode of access: Internet.

Jacqueline d'Olzebourg : mélodrame en trois actes, orné de pantomime, danses et combats /

Includes stage directions.

Le petit poucet, ou L'orphelin de la forêt; drame en cinq actes et en prose, mêlé de chants, pantomime et danses.

Mode of access: Internet.

Seasonal festivals and pageants : spring pantomime /

Music arranged for pianoforte.

The rose and the ring : or, The history of Prince Giglio and Prince Bulbo; a fire side pantomime for great and small children /

Mode of access: Internet.

Things that fall over : Women's playwriting, poetics and the (anti-)musical

Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical. The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon. Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.

(Un)settlement: Political Parody and the Northern Irish Peace Process

This essay examines Tim Loane’s political comedies, Caught Red-Handed and To Be Sure, and their critique of the Northern Irish peace process. As “parodies of esteem”, both plays challenge the ultimate electoral victors of the peace process (the Democratic Unionist Party and Sinn Féin) as well as critiquing the cant, chicanery and cynicism that have characterised their political rhetoric and the peace process as a whole. This essay argues that Loane’s transformation of these comedic pantomime horses into Trojan ones loaded with a ruthless polemical critique of our ruling political elites is all the more important in the context of a self-censoring media that has stifled dissent and debate by protecting the peace process from inconvenient truths. From these close and contextual readings of Loane’s plays, wider issues relating to the political efficacy of comedy and its canonical relegation below ‘higher forms’ in Irish theatre historiography will also be considered.

Developing social skills in autistic children through ‘Relaxed Performances’

Families living with autism often feel unable to attend social and cultural events largely due to the fear of their child attracting negative or even aggressive reactions from others. The ‘joint attention’ that is part of the theatre experience however may be a powerful factor in the development of social and communication skills for such children. ‘Relaxed performances’ offer an opportunity for them to access and engage with theatre by making special arrangements designed to reduce tensions associated with visits to public places. Aspects of the production such as the use of lighting and sound effects which may trigger adverse reactions are also adjusted. This paper reports on how one local theatre drew on the findings of a national project to mount a ‘relaxed performance’ of their annual pantomime. It discusses the theatre’s preparations and presents evidence of the impact the event had on local children with autism and their families. The success of both the national and this local project marks a new beginning for improved access to the theatre for an audience that has hitherto felt largely excluded.