An interesting artefact of both London theatre history and women's studies. On one side of a 35 x 25 cm rectangle of vellum. Dusty, and creased at head, with slight damp staining, and with a central horizontal fold. The 27 signatures are arranged in three columns, beneath the following inscription: 'The accompanying Fountain Pen is presented to Mr. Percy Nash by members of the staff who took part under his direction in the production of the "Suffrage Girl" as a small token of their appreciation of his inspiring example, unfailing geniality and timeless zeal.' The signatures of Nash's wife and brother-in-law (see below) do not appear to be present. 'The Suffrage Girl', was a play written by film pioneer Percy Nash while an executive at Selfridge's department store in London, and performed by the store's employees in 1911 at the Court Theatre. (For more information see E. D. Rappaport's 'Shopping for Pleasure: Women in the Making of London's West End' (Princeton, 2001), as well as S. Croft, 'Votes For Women and other plays' (1909), the latter referring to a performance at St Andrews Church, West Kensington, on 6 February 1911. According to Bernard Ince, in his essay 'The other Percy Nash: Theatrical Interludes in the Life of a Film Pioneer': 'in March 1911 appeared an amateur performance of The Suffrage Girl at the Court Theatre which Nash wrote, produced, and acted [in]. Described as "A Play of the Period when Women will have Votes", the cast was made up almost entirely from Selfridges' [sic] staff (named the Arlington Association), and included Nash's second wife, Jessie Nash née Rihll (1882-1956), whom he had married in 1912. She played the role of Dora Spencer under the stage name of Joan Ritz, and subsequently became a star of the silent screen. Also in the cast, in the role of Harry Fancourt, was Nash's brother-in-law, Louis Rihll (1879-1931), a talented amateur comedian and singer who also acted in two of Nash's later films, Harold Brighouse's Hobson's Choice (1920) and Conan Doyle's The Croxley Master (1921). Rihll had also appeared with the Tatlers and the Co-Optimists Revue parties, and was on the Council of the Concert Party Proprietors' Association. The Suffrage Girl has attracted considerable coverage in discourses on feminist, suffragist and consumer interactions of the early Edwardian era. Kaplan and Stowell have argued for example that the musical perhaps reflected "Selfridge's views on shopping, fashion, and free womanhood" and consider the production "a bizarre attempt to accommodate women's suffrage to the conventions of the shop-girl musical. " In a later analysis, Diane Rappaport commented, "If bizarre, The Suffrage Girl acted out the complex intersection between consumption and the theater, notions of modern femininity, and the mass market … [its] incredible popularity … suggests that its formula gratified a very broadly defined audience." In a preview, Nash, who would have been bemused rather than flattered by the attention paid to his amateur musical creation by later historians, stated "I have read hundreds of plays - most of them bad - but this is the first time I have written one. Whether mine is good or bad remains to be seen."' (Nash's play is also possibly the work of the same title referred to in Kaplan and Stowell's 'Theatre and Fashion: Oscar Wilde to the Suffragettes' (CUP, 1995) as 'an anonymous anti-suffrage comedy written for performance at the Corn Exchange, Thrapston, in January 1909', a copy of which is present in the Lord Chamberlain's Collection of the British Library.). N° de ref. de la librería
Título: [ Percy Nash, pioneer film director. ] The ...
Editorial: Without place or date. London circa
Año de publicación: 1911
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