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59d

#OTD in 1925.

The first of Ben Travers' "Aldwych farces", A Cuckoo in the Nest, opens at London's Aldwych Theatre in a production by actor-manager Tom Walls featuring the brothers Ralph Lynn, Gordon James and Hastings Lynn.

Travers made a film adaptation, which Walls directed in 1933, with most of the leading members of the stage cast reprising their roles.

https://en.wikipedia.org/wiki/A_Cuckoo_in_the_Nest

#books #literature #theatre

Photograph of a scene from the original 1925 product of A Cuckoo in the Nest: left to right: Tom Walls, Ralph Lynn, Yvonne Arnaud, Hastings Lynn and Madge Saunders.

The stage is likely set to represent a typical 1920s domestic interior, with detailed furnishings that create an authentic backdrop for the action.

All actors are actively engaged in the scene, with expressive body language and facial expressions that convey the humor and misunderstandings typical of a farce.

The interaction between characters is dynamic, with visible reactions and gestures that highlight the comedic elements of the plot.

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54d

"The time is out of joint: O cursed spite,
That ever I was born to set it right!"
Hamlet, Act I, scene v.

#OTD in 1759.

The earliest known professional performance of Shakespeare's Hamlet in North America (in Garrick's version) is given by the American Company in Philadelphia, with Lewis Hallam Jr. as Hamlet.

https://en.wikipedia.org/wiki/Hamlet

Hamlet at PG:
https://gutenberg.org/ebooks/1524

#books #literature #theatre

David Garrick expresses Hamlet's shock at his first sighting of the ghost (artist: unknown).

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28d

#OTD in 1920.

The Salzburg Festival in Austria is inaugurated with a performance of Hugo von Hofmannsthal's play Jedermann (Everyman, 1911) in front of Salzburg Cathedral, directed by Max Reinhardt.

https://en.wikipedia.org/wiki/Jedermann_(play)

https://en.wikipedia.org/wiki/Salzburg_Festival

Jedermann: Das Spiel vom Sterben des reichen Mannes by Hugo von Hofmannsthal at PG:
https://www.gutenberg.org/ebooks/28949

#books #literature #theatre

Alexander Moissi in Jedermann

https://archive.org/details/reinhardtundsein00steruoft/page/148/mode/1up?view=theater

The photograph of Alexander Moissi in the play Jedermann by Hugo von Hofmannsthal captures the actor in one of his most iconic roles. Moissi, known for his intense and expressive performances, is depicted wearing a rich, elaborate costume that befits the play's allegorical nature.

Moissi's pose and expression in the photograph likely convey the gravity and existential dread central to the play, which deals with themes of death and salvation. His face may be marked by a profound, almost tragic intensity, capturing the emotional depth for which he was renowned. The background of the image is likely minimal, focusing all attention on Moissi, his costume, and his compelling stage presence.

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14d

#OTD in 1921.

The Cervantes Theatre (Buenos Aires) opens with a production of Lope de Vega's La dama boba (The Foolish Lady, 1613). It is one of the earliest examples of the "comedia palatina" subgenre. De Vega completed it on 28 April 1613, as shown by a surviving manuscript copy in his own hand.

https://en.wikipedia.org/wiki/La_dama_boba

Books by Lope Vega at PG:
https://www.gutenberg.org/ebooks/author/25752

#books #literature #theatre

Reproducción digital facsímil del impreso original conservado en la Biblioteca Nacional de España. Sig. T/15003-020

https://www.cervantesvirtual.com/obra/la-dama-boba-2/

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12d

#OTD in 1895.

The stage version of Trilby by Paul M. Potter, based on the 1894 novel by George du Maurier, has its UK première at the Theatre Royal, Manchester, with a London première on October 30 at the Haymarket Theatre), with Herbert Beerbohm Tree and Dorothea Baird. The play is so successful that Tree can use the profits to build Her Majesty's Theatre. It also popularises the trilby hat.

https://en.wikipedia.org/wiki/Trilby_(play)

Trilby at PG:
https://gutenberg.org/ebooks/39858

#books #literature #theatre

British actors Herbert Beerbohm Tree (1852–1917) as Svengali and Dorothea Baird (1875–1933) in the title role in the original London production of Trilby (1895).

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9d

American poet and playwright Georgia Douglas Johnson was born #OTD in 1880.

Her first collection of poetry, "The Heart of a Woman" (1918), was one of the earliest books of poetry published by a Black woman in the United States. Her second volume, "Bronze" (1922), focuses more explicitly on racial issues, delving into the experiences of Black Americans and the injustices they faced in society.

https://en.wikipedia.org/wiki/Georgia_Douglas_Johnson

#books #literature #poetry #theatre

In the portrait, Georgia Douglas Johnson is depicted as a poised and elegant woman, likely in her middle years during the height of her literary career. Her facial features are soft yet defined, with a composed and thoughtful expression. She might have short, wavy hair styled in a way that reflects the fashion of the early 20th century, which adds to her sense of modernity and sophistication.

Johnson would likely be dressed in a formal, yet stylish outfit, reflecting both her literary status and her role as a leading cultural figure. A brooch or simple piece of jewelry might also be present, adding a touch of personal style.

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2d

#OTD in 1870.

The first performance of Alexander Pushkin's play Boris Godunov (1825) is given at the Mariinsky Theatre in Saint Petersburg by members of the Alexandrinsky Theatre.

It was written in 1825, published in 1831, but not approved for performance by the censor until 1866. It consists of 25 scenes and is mainly written in blank verse.

https://en.wikipedia.org/wiki/Boris_Godunov_(play)

Boris Godunov at PG:
https://www.gutenberg.org/ebooks/5089

#books #literature #theatre

Boris Godunov and his son on a painting by N.Nekrasov, featuring a scene from the play

N.Nekrasov - English Wikipedia

Picture "Boris Godunov overseeing the studies of his son".

In the painting, Boris Godunov is depicted as a weary and troubled ruler. He is likely dressed in rich, regal robes befitting a tsar, with heavy embroidery, furs, and a crown or ornate headwear that symbolizes his royal status. His face shows signs of deep distress and worry, with a furrowed brow, dark circles under his eyes, and a tense expression.

Fyodor, Boris Godunov’s young son, is typically portrayed as a boy or adolescent, dressed in princely garments. His clothing mirrors the richness of his father’s attire but on a smaller, less ornate scale, symbolizing his royal lineage and the expectations placed upon him.

The emotional intensity between Boris and Fyodor is central to the painting. Boris, weighed down by his guilt and fears, may be shown either embracing his son or holding him protectively, as if shielding him from the political turmoil.

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