 | This article needs additional citations for verification .(January 2018) |
Genevieve Rogers | |
|---|---|
 Sketch of Genevieve Rogers in 1877-08-25 issue of the New York Clipper | |
| Born | Genevieve Rogers April 9, 1859 |
Genevieve Rogers, born in Louisville, Kentucky on April 9, 1859, was a stage actress who began her career when she was four-years-old. Her father, J. Howard Rogers, was a well-known scenic artist of the time and her mother also held a prominent position in theatre before her retirement.
Her first appearance on the stage was in The Enchantress at the Howard Athenaeum in Boston, Massachusetts; a grand operatic drama where she played the role of a child, working alongside Miss Caroline Richings; the star. She continued acting at the Howard Athenaeum, playing the roles of different child characters, until 1868, when she was granted the role of little Arthur Leigh in Rosedale and performed at the Boston Museum. Throughout the same season, she played as Puck in A Midsummer Night's Dream in a long run at the Continental Theatre, along with getting her education at the Dudley School, where, according to her teachers, she did very well.
In 1869 she moved with her parents to Chicago, Illinois and completed her education.
In April 1875, she returned once again to the stage, though this time under the management of Frank E. Aiken, one of the leading stage managers of Chicago for several years. Mr. Aiken's reputation allowed her access to the theatres of other managers around the United States, which eventually resulted in the adoration of her presence in them.
From 1875 to 1876, she acted as a wide range of characters, some of the most prominent being Kate Calvert in The Virginian, Juliana in The Honeymoon, Parthenia in Ingomar, Peg Woffington in Masks and Faces, Hester Arncliffe in An Unequal Match, Grace Holden in Grace Holden's Secret.
In September 1876, she acted as the title character in Maud Miller, and with that role continued to act in all of the major cities in the country at the time.
In March 1877, she returned to her first venue, the Boston Museum, and played there for the first time since her early childhood.
Under a five-year contract with Frank E. Aiken from April 1875, she proceeded to strengthen her repertoire. [1]
 | This section is empty. You can help by adding to it. (December 2017) |
The Maid of Arran, An Idyllic Irish Drama Written for the People, Irrespective of Caste or Nationality is an 1882 musical play by L. Frank Baum, writing and performing under the pseudonym, "Louis F. Baum", based on the novel A Princess of Thule by William Black. It was described as "A Play to Ensnare All Hearts and Leave an Impress of Beauty and Nobility Within the Sordid Mind of Man." The play resets the novel from Scotland's Outer Hebrides to Ireland. This was a well-received melodrama with elaborate stage effects, including a storm upon a ship, and an original score by Baum himself. Only the song-book for the windows use survives, which omits two of the songs referenced in the script. Baum played the main character, Hugh Holcomb, originally called Frank Lavender in the novel, in its initial tour, and later played Con. O'Mara, the heroine's father, in a community theatre revival.
George Washington Lafayette Fox was an American actor and dancer who became known for his pantomime Clown roles, and who based the characterizations for these roles on his inspiration Joseph Grimaldi.
Selina Simmons Belasco Dolaro was an English singer, actress, theatre manager and writer of the late Victorian era. During her career in operetta and other forms of musical theatre, she managed several of her own opera companies and directed the Royalty Theatre in London. She is best remembered as a producer of the original production of Trial by Jury by Gilbert and Sullivan. Dolaro sang the title role in the opera Carmen in the first English language version of that opera with the Carl Rosa Opera Company. She also wrote plays and novels.
Alice Julia Burville was an English soprano and actress, best known for her performances in Gilbert and Sullivan operas and other operettas in the 1870s and 1880s.
Pauline Markham was an Anglo-American dancer and contralto singer active on burlesque and vaudeville stages during the latter decades of the 19th century. She began by performing juvenile rôles in Manchester, made her debut on the London stage at 20 and a year later New York as a member of the British Blondes which introduced Victorian burlesque to America, where for a few years she would find phenomenal success before her career settled into a long steady decline.
Emily Soldene was an English singer, actress, director, theatre manager, novelist and journalist of the late Victorian era and the Edwardian period. She was one of the most famous singers of comic opera in the late nineteenth century, as well as an important director of theatre companies and later a celebrated gossip columnist.
Caroline Lucreza Brook Hill was an English actress. She began acting as a child in the company of Samuel Phelps and soon joined the company of J. B. Buckstone at the Haymarket Theatre. There she created roles in several new plays, including some by W. S. Gilbert, in whose plays she continued to act later in her career. She played at various London and provincial theatres in the 1870s. Hill married actor Herbert Kelcey in 1883, with whom she had begun to appear on stage. The couple played mostly in New York City in the 1880s, and, mostly in England, Hill continued to act through the 1890s.
Henry E. Dixey was an American actor and theatre producer.
George C. Howard (1818–1887) was a Nova Scotian-born American actor and showman who is credited with staging the first theatrical production of Harriet Beecher Stowe's Uncle Tom's Cabin.
Sarah Thorne was a British actress and actress-manager of the 19th century who managed the Theatre Royal at Margate for many years. She ran a school for acting there which is widely regarded as Britain's first formal drama school. The Sarah Thorne Theatre Club in Broadstairs is named in her memory.
William Gill, also known as William Bain Gill, William B. Gill, and W. B. Gill, (1842–1919) was a Canadian born Australian actor, playwright, theatre critic, journalist, and theatre manager. He is most famous for authoring Broadway's first hit musical, Adonis. Raised primarily in Australia, he began his acting career in 1862 at the age of twenty; working alongside his mother, the stage actress Mrs. Gill, at the Theatre Royal, Ballarat under the management of William Hoskins. The pair continued to work together during Gill's early career with theatre troupes managed by George Fawcett Rowe and G. B. W. Lewis; the latter managing a touring company in Asia. Initially an actor in minor parts, he gained a reputation as a gifted leading comedic actor in Melbourne between 1865-1868. He also worked briefly as the manager of the Princess Theatre, Melbourne.
The Globe Theatre (est.1871) was a playhouse in Boston, Massachusetts, in the 19th century. It was located at 598 Washington Street, near the corner of Essex Street. Arthur Cheney oversaw the Globe until 1876. From 1871-1873 it occupied the former theatre of John H. Selwyn. After a fire in May 1873, the Globe re-opened on the same site in December 1874. Architect Benjamin F. Dwight designed the new building. From 1877-1893 John Stetson served as proprietor; some regarded him as "a theatrical producer with a reputation for illiteracy in his day such as Samuel Goldwyn has achieved" in the 1960s. The theatre burned down in January 1894.
Sarah Frances Marie Martinot was an American actress and soprano singer who performed on stage in dramas, musical comedy and comic opera. Her career began at the age fifteen as Cupid in Ixion; or, the Man at the Wheel and, but for a few years absence, she remained active on stage in America and abroad until 1908. She was the first to play Hebe in an American production of H.M.S. Pinafore, the first Katrina in the comic opera Rip Van Winkle and the first to play the title role in an English adaptation of the operetta Nanon. Late in her life Martinot would fall victim to mental illness and spend her last few years confined to psychiatric institutions.
Jennie Lee was a Victorian Era English stage actress, singer and dancer whose career was largely entwined with the title role in Jo, a melodrama her husband, John Pringle Burnett, wove around a relatively minor character from the Charles Dickens novel, Bleak House. She made her stage debut in London at an early age and found success in New York and San Francisco not long afterwards. Lee may have first starred in Jo around 1874 during her tenure at San Francisco's California Theatre, but her real success came with the play's London debut on 22 February 1876 at the Globe Theatre in Newcastle Street. Jo ran for many months at the Globe and other London venues before embarking for several seasons on tours of the British Isles, a return to North America, tours of Australia and New Zealand and later revivals in Britain. Reduced circumstances over her final years forced Lee to seek assistance from an actor's pension fund subsidised in part by proceeds from Royal Command Performances.
Isabella Hill, better known as Mrs Howard Paul, was an English actress, operatic singer and actress-manager of the Victorian era, best remembered for creating the role of Lady Sangazure in the Gilbert and Sullivan comic opera The Sorcerer (1877).
Marie Litton was the stage name of Mary Jessie Lowe, an English actress and theatre manager. After beginning a stage career in 1868, Litton became an actor-manager in 1871, producing plays for four years at the Court Theatre, including several by W. S. Gilbert. She also appeared in, and sometimes managed, other West End theatres. In the late 1870s, Litton managed the theatre at the Royal Aquarium, where she had some of her biggest acting successes, including as Lady Teazle in The School for Scandal (1877), Lydia Languish in The Rivals (1878), Miss Hardcastle in She Stoops to Conquer and Rosalind in As You Like It.
Marie Delaporte was a French actress who played for many years in Paris and Saint Petersburg. She was known for her modesty, grace and decency.
Bessie Sudlow was the stage name of Barbara Eliza (Bessie) Johnstone, active in the United States as a burlesque performer from 1867 to 1874, then in Britain as an opera bouffe soprano from 1874 to 1880.
Linda Verner was a British singer and actress of the Victorian era who appeared in operetta, pantomime, Victorian burlesque and other comic and musical works in London and on tour in Britain and abroad from the 1870s to the early 1890s.
Carlotta Addison was an English actress. Stage appearances included leading roles in original productions of plays by T. W. Robertson, W. S. Gilbert, H. J. Byron and Arthur Wing Pinero.
 | This article about an American theatre actor is a stub. You can help Wikipedia by expanding it. |