324:
582:
692:
572:. After Connie Gilchrist and Rosie Boote had started the fashion a score of the Guv'nor's budding stars left him to marry peers or men of title while other Gaiety Girls settled for a banker or a stockbroker. The Guv'nor finding this was playing ducks and drakes with his theatrical plans had a 'nuptial clause' inserted in every contract... Debutantes were competing with the other girls to get into the Gaiety chorus while upper-class youths were joining the ranks of the chorus boys.
465:(1914). The heroines were independent young women who often earned their own livings. The stories followed a familiar plot line – a chorus girl breaks into high society, a shop girl makes a good marriage. There was always a misunderstanding during act one and an engagement at the end. In the words of a contemporary review, Edwardes’ musicals were "Light, Bright and enjoyable." These musicals were widely imitated by other British producers, and, within a decade, in America.
501:
29:
156:
376:. If Edwardes didn't invent the genre, he popularised it in Britain and was the first producer to elevate them to international popularity. He used the best writers and composers to create entertainments appealing to his Victorian and Edwardian audiences. Although he never acted in his productions, Edwardes controlled every other aspect of them.
281:
s runaway success (it became the longest-running piece in musical theatre history up to that time) showed
Edwardes and other producers that topical, light comedies could be enormously successful. At the same time, the death of Fred Leslie and retirement of Nellie Farren by 1892 helped bring to an end
601:
was hired as the resident composer and music director. Edwardes' shows at Daly's had more coherent plots and more romantic music specifically composed for the plot of the piece, rather than a collection of topical popular songs. They were more like what musical comedy was to become at maturity than
525:
in 1896, "clothed in accordance with the very latest and most extreme modes of the moment." Many of the best-known London couturiers designed costumes for
Edwardes' productions. The illustrated periodicals were eager to publish photographs of actresses in the latest stage hits, and so the theatre
356:
before him, Edwardes wanted to produce musical plays that were more respectable (and would attract a more affluent, polite crowd) than risqué burlesque. But
Edwardes sought pieces that integrated spoken dialogue and music in a lighter, less satiric way than Gilbert and Sullivan had, using topical
529:
Gaiety girls were polite, well-behaved young women and became a popular attraction and a symbol of ideal womanhood. They were much sought after by the "stage door johnnies" of the 1890s—some of them becoming popular actresses or marrying into society and even the nobility. For example, in 1907,
401:
as the resident composer and music director, and created a series of shows featuring fashionable characters and costumes, tuneful music, romantic and topical lyrics and pretty dancing. He embedded these elements in an often tenuous but nonetheless continuous original narrative. Like burlesque,
385:
402:
Edwardes' "girl" musicals featured chorus lines and other devices for the display of women's bodies, but within the context of the simple narrative, elaborate displays of contemporary fashion and scenery, and light parody of social convention and topical issues.
1120:
186:, which opened at Christmas 1885. After this, in 1886, Hollingshead retired, and from then on the Guv'nor (as Edwardes came to be known) was in charge, with the assistance of the theatre's star player,
1139:
372:
in 1893 (both of which were produced by
Edwardes at the Prince of Wales Theatre), met with strong success and confirmed Edwardes on the path he was taking. Edwardes dubbed his new musical plays
336:
In the 1890s, Edwardes hit upon a new strategy for the Gaiety, which was a variation from the kinds of shows that he and Carte had produced and also had elements of the Gaiety burlesques and of
69:
and others, and sent touring companies around
Britain and abroad. In the early 1890s, Edwardes recognised the changing tastes of musical theatre audiences and led the movement away from
1117:
93:, Lincolnshire, England. He was the eldest of four sons and three daughters of James Edwards, comptroller of customs, and his wife, Eleanor Widdup. Edwardes' parents were
43:; 8 October 1855 – 4 October 1915) was an English theatre manager and producer of Irish ancestry who brought a new era in musical theatre to the British stage and beyond.
1070:
1102:
804:
Edwardes died at his home in Regent's Park, London, just before his 60th birthday. He was buried at St Mary's
Cemetery, Kensal Green, and was survived by his wife,
554:
At the old Gaiety in the Strand the chorus was becoming a matrimonial agency for girls with ambitions to marry into the peerage and began in the nineties when
1382:
535:
1136:
796:
broke out, Edwardes was making his annual visit to a German spa. He was imprisoned in
Germany for several months, which exacerbated his health problems.
515:". These were fashionable, elegant young ladies, unlike the corseted actresses from the earlier burlesques. In Edwardes' shows, these ladies were, as
808:. Although Edwardes left valuable properties, he also left considerable debts. His theatrical enterprises continued to operate under the guidance of
1021:
648:. After a falling out with Coffin, Edwardes found success at Daly's with a series of English-language adaptations of European operettas, including
1377:
152:, where she became a principal player. The couple married in 1885 and produced three daughters, including one named Dorothy, and a son, D'Arcy.
1322:
1250:
344:, had a musical style similar to the Gilbert and Sullivan comic operas. Into this mix, he incorporated some of the elements of the form that
277:
choreographed the Gaiety burlesques until 1891. These new burlesques were very successful and toured widely in
Britain and abroad. However,
1392:
904:
46:
Edwardes started out in theatre management, soon working at a number of West End theatres. By the age of 20, he was managing theatres for
144:
until 1885. During this time, he added the "e" to his surname. While working at the Opera
Comique, Edwardes met his future wife, singer
215:, Edwardes turned the Gaiety back to producing burlesques, but these were "new burlesques": full-length pieces with original music by
1387:
229:
978:
539:
468:
Perhaps to balance the "girl" musicals, the Gaiety also presented a series of what could be described as "boy" musicals, such as
1067:
207:
operas that he had produced for Carte, but the Gaiety's audiences were used to burlesques, and so
Edwardes sold the rights to
129:
in the late 1870s, with Edwardes being given the trusted position of treasurer. He eventually became Carte's manager at the
125:
in 1875 and later became a partner in his production company. He and young Edwardes moved to London to work for Carte at the
1099:
555:
289:. In addition, after Gilbert and Sullivan stopped working together exclusively in the 1890s, Edwardes produced Gilbert's
597:
opened in 1893, but Daly did not produce many works. In 1895, Edwardes took over the management of the theatre, where
1312:
1288:
1223:
1048:
1031:
989:
1348:
323:
241:
161:
106:
20:
1307:
765:, among other theatres. Edwardes was a founder member of the Society of West End Theatre Managers, along with
109:. However, his cousins were Irish theatre managers John and Michael Gunn, and they obtained a job for him at
149:
1182:
950:
762:
581:
814:
602:
their Gaiety Theatre siblings, the more review-like "Girl" musicals. These shows included hits like
373:
300:
253:
78:
598:
445:
286:
122:
47:
898:
757:
668:
296:
291:
51:
733:
680:
780:
Edwardes raced horses, and one of this thoroughbreds, Santoi, won many prizes including the
1372:
1367:
1335:
1194:
745:
650:
604:
563:
285:
Edwardes produced shows at other theatres as well. For instance, in 1892, he took over the
204:
178:
138:
8:
1346:
The George Edwardes Musical Comedy Society: live recreation of Edwardian Musical Comedies
674:
662:
173:
70:
1244:
938:
751:
711:
705:
685:
439:
349:
566:
married Rosie Boote, who had charmed London the previous year when she sang Maisie in
1284:
1236:
Rutland Barrington: A Record of 35 Years' Experience on the English Stage, By Himself
1219:
1198:
1027:
985:
820:
594:
568:
470:
457:
362:
247:
169:
62:
61:
For the next three decades, Edwardes ruled a theatrical empire including the Gaiety,
55:
1090:
by Raymond Mander and Joe Mitchenson (New York: Taplinger Publishing, 1969), pp. 7–8
859:
789:
774:
488:
235:
1352:
1316:
1234:
1143:
1124:
1106:
1074:
1052:
908:
739:
724:
720:
716:
691:
656:
482:
421:
406:
345:
274:
195:
66:
863:
785:
781:
700:
645:
559:
451:
427:
312:
94:
851:
1361:
1327:
637:
630:
616:
590:
415:
390:
368:
353:
329:
187:
134:
130:
126:
90:
812:, who managed to produce a number of hits over the next few years, notably
809:
805:
766:
715:(1902). As Edwardes' success grew, he needed another theatre and added the
512:
511:
A major attraction of Edwardes' shows was his glamorous, dancing corps of "
504:
476:
145:
1045:
719:
to his chain of musical houses. There he produced a series of musicals by
526:
became an excellent way for clothiers to publicise their latest fashions.
1004:
793:
770:
755:(1913). At the Lyric Theatre, in 1903, he produced Caryll's comic opera
728:
531:
398:
270:
266:
200:
141:
74:
1345:
641:
610:
543:
521:
433:
337:
304:
262:
216:
183:
937:
Biographical file for John D'Auban, list of productions and theatres,
965:
885:
410:
405:
For the next two decades, the "girl" musicals, with popular songs by
357:
songs, fashionable costumes and sassy byplay between the characters.
211:, which became a hit at another theatre. Following on the success of
110:
500:
105:, after which he was sent to London to take the examination for the
627:
102:
155:
634:
622:
308:
98:
28:
219:, instead of scores compiled from popular tunes. These included
1005:
A History of The Musical – After G & S; The Gaiety Musicals
626:(1899). The stars at Daly's included strong, romantic singers:
340:
entertainments. The earliest of these shows, taking a cue from
182:
a burlesque in a full-length format with an original score by
858:, Oxford University Press, 2004, accessed 18 September 2008,
824:, both beginning in 1917, that paid the debts of the estate.
1118:
Information about the famous costume designs of the musicals
384:
1342:, New York: Appleton-Century-Crofts, 1962, pp. 467–68
176:
in which the Gaiety specialised. Together, they produced
193:
The next show that Edwardes produced at the Gaiety was
1009:
The Cyber Encyclopedia of Musical Theatre, TV and Film
593:
to build a new London theatre that they would share.
495:
307:
before it became associated with several successful
133:
and then was Carte's first managing director of the
348:had established on Broadway a decade earlier. Like
1185:, Thoroughbred Heritage, accessed 15 February 2023
299:in 1894. He also became manager of the struggling
137:in 1881, helping to produce several of the famous
576:
1359:
172:as manager at the Gaiety Theatre, producing the
16:English theatre manager and producer (1855–1915)
1308:Article on the rise of Edwardian musical comedy
1199:Sleeve notes from the Hyperion recording (2000)
983:, pp. 257–60 (2002) Manchester University Press
318:
101:, Ireland. He attended St James's College, in
1063:
1061:
1159:"The Society of West-End Theatre Managers",
1077:, Musicals Tour at PeoplePlayUK theatre site
954:article that describes the U.S. performances
50:. In 1885, Edwardes became a manager at the
1383:People associated with Gilbert and Sullivan
920:
918:
916:
1249:: CS1 maint: location missing publisher (
1232:
1058:
999:
997:
388:Souvenir – 1st anniversary performance of
1267:The encyclopaedia of the musical theatre
1181:DeWick, Catherine and Patricia Erigero.
981:Imperialism and Music: Britain 1876–1953
913:
690:
580:
558:, a star of the Old Gaiety, married the
499:
383:
322:
154:
27:
1216:Gilbert and Sullivan – A Dual Biography
994:
856:Oxford Dictionary of National Biography
640:. They were joined by soubrette dancer
589:Edwardes joined with American producer
413:, filled the Gaiety Theatre, including
168:In 1885, Edwardes was hired to succeed
1378:English theatre managers and producers
1360:
1213:
1041:
1039:
883:"Theatrical Humour in the Seventies",
397:At the Gaiety Theatre, Edwardes hired
852:"Edwardes, George Joseph (1855–1915)"
846:
844:
842:
840:
838:
836:
379:
230:Frankenstein, or The Vampire's Victim
1336:"History of British musical theatre"
1313:Information about the Gaiety Theatre
303:, London, and transformed it into a
1393:19th-century English businesspeople
1260:The Catholic who's who and yearbook
1218:. Oxford: Oxford University Press.
1036:
13:
924:"Mr. D'Auban's 'Startrap' Jumps".
833:
84:
14:
1404:
1301:
931:
496:The Gaiety Girls and high fashion
19:For those of a similar name, see
1388:Burials at Kensal Green Cemetery
1340:The Complete Book of Light Opera
1319: (archived 12 February 2009)
889:, 20 February 1914, p. 9, col. D
703:for several musicals, including
1293:Reid, E. and H. Compton, eds.,
1255:discussing Edwardes' racehorses
1188:
1175:
1166:
1153:
1129:
1111:
1100:Description of the Gaiety Girls
1093:
1080:
1026:, pp. 198–219, Routledge, 2003
1014:
969:obituary, 5 October 1915, p. 11
116:
21:George Edwards (disambiguation)
1023:Operetta: A Theatrical History
972:
958:
944:
892:
877:
868:
577:Other theatres and later years
1:
1207:
282:the era of Gaiety burlesque.
1233:Barrington, Rutland (1908).
311:under the composer-director
7:
1274:The British musical theatre
1137:"Actresses and the Peerage"
763:Empire Theatre of Varieties
319:Popularising musical comedy
242:Ruy Blas and the Blasé Roué
162:Ruy Blas and the Blasé Roué
10:
1409:
1330:and the Edwardesian Legacy
1086:Coward, Noel. Foreword to
1055:, ArthurLloyd theatre site
538:and she later married the
150:D'Oyly Carte Opera Company
18:
815:The Maid of the Mountains
148:, whom he brought to the
1214:Ainger, Michael (2002).
907:10 December 2008 at the
827:
799:
585:Cover of the Vocal Score
254:Cinder Ellen up too Late
159:Souvenir programme from
79:Edwardian musical comedy
1297:(1891); rev. edn (1892)
1163:, 24 April 1908, p. 17.
1123:12 October 2007 at the
1105:13 October 2006 at the
761:. He also managed the
699:Edwardes also used the
519:noted in its review of
446:The Girls of Gottenberg
287:Prince of Wales Theatre
1051:4 January 2008 at the
928:, 17 April 1922, p. 17
864:10.1093/ref:odnb/38669
758:The Duchess of Dantzic
696:
669:The Count of Luxemburg
586:
562:and then in 1901, the
508:
394:
333:
165:
113:'s Royal Opera House.
107:Royal Military Academy
37:George Joseph Edwardes
33:
1351:12 March 2012 at the
1201:, accessed 4 May 2008
734:The Earl and the Girl
694:
681:The Girl in the Train
678:(1913). He produced
584:
503:
387:
326:
261:(1892, with music by
158:
89:Edwardes was born at
31:
1295:The dramatic peerage
1258:Burnand, F. C. ed.,
1142:3 March 2016 at the
777:and sixteen others.
746:The Dancing Mistress
564:Marquess of Headfort
409:and lively books by
360:The first of these,
221:Monte Cristo, Junior
213:Little Jack Sheppard
205:Gilbert and Sullivan
179:Little Jack Sheppard
139:Gilbert and Sullivan
123:Richard D'Oyly Carte
58:, who soon retired.
48:Richard D'Oyly Carte
1073:17 May 2007 at the
1020:Traubner, Richard.
979:Richards, Jeffrey.
675:The Marriage Market
663:The Dollar Princess
346:Harrigan & Hart
1323:A 2005 publication
1172:Barrington, p. 241
939:The Theatre Museum
752:The Girl from Utah
712:The Girl from Kays
706:Three Little Maids
697:
686:Vaudeville Theatre
587:
509:
440:The Spring Chicken
395:
380:The Gaiety Theatre
374:"musical comedies"
350:Thomas German Reed
334:
166:
34:
901:Carmen up to Data
784:in 1901. He also
651:Les p'tites Michu
605:An Artist's Model
569:The Messenger Boy
471:The Messenger Boy
458:The Sunshine Girl
248:Carmen up to Data
170:John Hollingshead
121:Michael Gunn met
56:John Hollingshead
1400:
1283:(Cassell, 1975)
1281:The Gaiety Years
1276:, 2 vols. (1986)
1269:, 2 vols. (1994)
1254:
1248:
1240:
1229:
1202:
1192:
1186:
1183:"Ascot Gold Cup"
1179:
1173:
1170:
1164:
1157:
1151:
1133:
1127:
1115:
1109:
1097:
1091:
1084:
1078:
1068:"Musical Comedy"
1065:
1056:
1046:"Gaiety Theatre"
1043:
1034:
1018:
1012:
1001:
992:
976:
970:
962:
956:
948:
942:
935:
929:
922:
911:
896:
890:
881:
875:
872:
866:
848:
790:County Tipperary
775:Arthur Bourchier
695:Edwardes in 1903
556:Connie Gilchrist
548:The Gaiety Years
540:Duke of Leinster
489:Theodore and Co.
236:Faust up to Date
1408:
1407:
1403:
1402:
1401:
1399:
1398:
1397:
1358:
1357:
1353:Wayback Machine
1334:Lubbock, Mark.
1317:Wayback Machine
1304:
1242:
1241:
1226:
1210:
1205:
1193:
1189:
1180:
1176:
1171:
1167:
1158:
1154:
1144:Wayback Machine
1134:
1130:
1125:Wayback Machine
1116:
1112:
1107:Wayback Machine
1098:
1094:
1085:
1081:
1075:Wayback Machine
1066:
1059:
1053:Wayback Machine
1044:
1037:
1019:
1015:
1003:Kenrick, John.
1002:
995:
977:
973:
963:
959:
949:
945:
941:, London (2009)
936:
932:
923:
914:
909:Wayback Machine
897:
893:
882:
878:
873:
869:
849:
834:
830:
802:
740:The Quaker Girl
725:Percy Greenbank
721:Lionel Monckton
717:Adelphi Theatre
657:The Merry Widow
579:
498:
483:The New Aladdin
422:The Circus Girl
407:Lionel Monckton
382:
321:
203:similar to the
119:
95:Roman Catholics
87:
85:Life and career
67:Adelphi Theatre
32:George Edwardes
24:
17:
12:
11:
5:
1406:
1396:
1395:
1390:
1385:
1380:
1375:
1370:
1356:
1355:
1343:
1332:
1320:
1310:
1303:
1302:External links
1300:
1299:
1298:
1291:
1277:
1270:
1263:
1256:
1230:
1224:
1209:
1206:
1204:
1203:
1187:
1174:
1165:
1152:
1150:website (2007)
1128:
1110:
1092:
1088:Musical Comedy
1079:
1057:
1035:
1013:
993:
971:
957:
943:
930:
912:
899:Programme for
891:
876:
874:Ainger, p. 111
867:
831:
829:
826:
801:
798:
782:Ascot Gold Cup
701:Apollo Theatre
646:Huntley Wright
595:Daly's Theatre
578:
575:
574:
573:
560:Earl of Orkney
497:
494:
463:After the Girl
452:Our Miss Gibbs
428:A Runaway Girl
381:
378:
320:
317:
313:Leopold Wenzel
301:Empire Theatre
292:His Excellency
269:and lyrics by
225:Miss Esmeralda
118:
115:
86:
83:
63:Daly's Theatre
52:Gaiety Theatre
15:
9:
6:
4:
3:
2:
1405:
1394:
1391:
1389:
1386:
1384:
1381:
1379:
1376:
1374:
1371:
1369:
1366:
1365:
1363:
1354:
1350:
1347:
1344:
1341:
1337:
1333:
1331:
1329:
1328:Gertie Millar
1324:
1321:
1318:
1314:
1311:
1309:
1306:
1305:
1296:
1292:
1290:
1289:0-304-29372-5
1286:
1282:
1279:Hyman, Alan.
1278:
1275:
1272:Gänzl, Kurt.
1271:
1268:
1265:Gänzl, Kurt.
1264:
1261:
1257:
1252:
1246:
1238:
1237:
1231:
1227:
1225:0-19-514769-3
1221:
1217:
1212:
1211:
1200:
1196:
1191:
1184:
1178:
1169:
1162:
1156:
1149:
1145:
1141:
1138:
1135:Gillan, Don.
1132:
1126:
1122:
1119:
1114:
1108:
1104:
1101:
1096:
1089:
1083:
1076:
1072:
1069:
1064:
1062:
1054:
1050:
1047:
1042:
1040:
1033:
1032:0-415-96641-8
1029:
1025:
1024:
1017:
1010:
1006:
1000:
998:
991:
990:0-7190-4506-1
987:
984:
982:
975:
968:
967:
961:
955:
953:
947:
940:
934:
927:
921:
919:
917:
910:
906:
903:
902:
895:
888:
887:
880:
871:
865:
861:
857:
853:
850:Gänzl, Kurt.
847:
845:
843:
841:
839:
837:
832:
825:
823:
822:
817:
816:
811:
807:
797:
795:
791:
787:
783:
778:
776:
772:
768:
764:
760:
759:
754:
753:
748:
747:
742:
741:
736:
735:
730:
726:
722:
718:
714:
713:
708:
707:
702:
693:
689:
687:
683:
682:
677:
676:
671:
670:
665:
664:
659:
658:
653:
652:
647:
643:
639:
638:Marie Tempest
636:
632:
631:Hayden Coffin
629:
625:
624:
619:
618:
617:A Greek Slave
613:
612:
607:
606:
600:
596:
592:
591:Augustin Daly
583:
571:
570:
565:
561:
557:
553:
552:
551:
549:
545:
541:
537:
536:Lord Churston
533:
527:
524:
523:
518:
514:
506:
502:
493:
492:
490:
485:
484:
479:
478:
473:
472:
466:
464:
460:
459:
454:
453:
448:
447:
442:
441:
436:
435:
430:
429:
424:
423:
418:
417:
416:The Shop Girl
412:
408:
403:
400:
393:
392:
391:The Shop Girl
386:
377:
375:
371:
370:
369:A Gaiety Girl
365:
364:
358:
355:
354:W. S. Gilbert
351:
347:
343:
339:
332:
331:
330:A Gaiety Girl
325:
316:
314:
310:
306:
302:
298:
297:Lyric Theatre
294:
293:
288:
283:
280:
276:
272:
268:
264:
260:
256:
255:
250:
249:
244:
243:
238:
237:
232:
231:
226:
222:
218:
214:
210:
206:
202:
198:
197:
191:
189:
188:Nellie Farren
185:
181:
180:
175:
171:
164:
163:
157:
153:
151:
147:
143:
140:
136:
135:Savoy Theatre
132:
131:Opera Comique
128:
127:Opera Comique
124:
114:
112:
108:
104:
100:
96:
92:
91:Great Grimsby
82:
80:
76:
72:
68:
64:
59:
57:
53:
49:
44:
42:
38:
30:
26:
22:
1339:
1326:
1294:
1280:
1273:
1266:
1259:
1235:
1215:
1195:Lamb, Andrew
1190:
1177:
1168:
1160:
1155:
1148:Stage Beauty
1147:
1131:
1113:
1095:
1087:
1082:
1022:
1016:
1008:
980:
974:
964:
960:
951:
946:
933:
925:
900:
894:
884:
879:
870:
855:
819:
813:
810:Robert Evett
806:Julia Gwynne
803:
779:
767:Frank Curzon
756:
750:
749:(1912), and
744:
738:
732:
731:, including
710:
704:
698:
679:
673:
667:
661:
655:
649:
621:
620:(1898), and
615:
609:
603:
599:Sidney Jones
588:
567:
547:
528:
520:
516:
513:Gaiety Girls
510:
505:Gaiety Girls
487:
486:(1906), and
481:
477:The Toreador
475:
469:
467:
462:
461:(1912), and
456:
450:
444:
438:
432:
426:
420:
414:
404:
396:
389:
367:
366:in 1892 and
361:
359:
341:
335:
328:
290:
284:
278:
275:John D'Auban
258:
257:(1891), and
252:
246:
240:
234:
228:
224:
220:
212:
208:
194:
192:
177:
167:
160:
146:Julia Gwynne
142:comic operas
120:
117:Early career
88:
60:
45:
40:
36:
35:
25:
1373:1915 deaths
1368:1855 births
794:World War I
786:bred horses
771:Helen Carte
729:Adrian Ross
709:(1902) and
672:(1911) and
532:Denise Orme
399:Ivan Caryll
327:Poster for
271:Adrian Ross
267:Fred Leslie
201:comic opera
75:comic opera
1362:Categories
1208:References
644:and comic
642:Letty Lind
611:The Geisha
544:Alan Hyman
522:The Geisha
517:The Sketch
434:The Orchid
338:music hall
305:music hall
265:, book by
263:Meyer Lutz
217:Meyer Lutz
199:(1886), a
184:Meyer Lutz
174:burlesques
1245:cite book
1239:. London.
1161:The Times
966:The Times
926:The Times
886:The Times
688:in 1909.
546:wrote in
507:, c. 1890
411:Owen Hall
111:Leicester
71:burlesque
1349:Archived
1140:Archived
1121:Archived
1103:Archived
1071:Archived
1049:Archived
952:NY Times
905:Archived
743:(1910),
737:(1903),
666:(1910),
660:(1907),
654:(1905),
628:baritone
614:(1896),
608:(1895),
534:married
480:(1901),
474:(1900),
455:(1909),
449:(1907),
443:(1905),
437:(1903),
431:(1898),
425:(1896),
419:(1894),
279:Dorothy'
259:Don Juan
251:(1890),
245:(1889),
239:(1888),
233:(1887),
227:(1887),
223:(1887),
1315:at the
821:The Boy
792:. When
684:at the
635:soprano
623:San Toy
363:In Town
342:Dorothy
309:ballets
295:at the
209:Dorothy
196:Dorothy
99:Wexford
41:Edwards
1287:
1262:(1910)
1222:
1030:
1011:(2003)
988:
491:(1916)
65:, the
828:Notes
800:Death
97:from
54:with
1285:ISBN
1251:link
1220:ISBN
1028:ISBN
986:ISBN
818:and
727:and
633:and
352:and
103:Clee
73:and
39:(né
1325:on
860:doi
788:in
550:,
542:.
273:).
77:to
1364::
1338:,
1247:}}
1243:{{
1197:.
1146:,
1060:^
1038:^
1007:,
996:^
915:^
854:,
835:^
773:,
769:,
723:,
315:.
190:.
81:.
1253:)
1228:.
862::
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
