Draft:The Mousmé
 | Draft article not currently submitted for review.
This is a draft Articles for creation (AfC) submission. It is not currently pending review. While there are no deadlines, abandoned drafts may be deleted after six months. To edit the draft click on the "Edit" tab at the top of the window. To be accepted, a draft should:
It is strongly discouraged to write about yourself, your business or employer. If you do so, you must declare it. Where to get help
How to improve a draft
You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
Last edited by Kanamirei (talk | contribs) 31 days ago. (Update) |
| The Mousmé | |
|---|---|
| The Maids of Japan | |
| Music | |
| Lyrics | |
| Book | |
| Premiere | September 9, 1991: Shaftesbury Theatre |
"The Mousmé" or "The Maids of Japan" is a musical comedy in three acts by Alexander M. Thompson and Robert Courtneidge, lyrics by Arthur Wimperis and Percy Greenbank and music by Lionel Monckton and Howard Talbot, staged for the first time in 1911 at the Shaftesbury Theatre, London.[1] The musical was later staged in Tokyo (at the Tokyo Imperial Theater), Yokohama and Osaka in 1912.
It was produced at the time of Japanese influence on Europe in the form of Japonisme. The play is concerned with the authentic depiction of Japanese culture and strives to achive it with stage decor, costume design, plot elements and other aspects of the production. However, the music was almost completely Western with a few allusions to the Orientalist sound.
Plot
[edit]The story’s set in contemporary Japan during the Russo-Japanese War and follows two love stories. First centers on O Hana San, who sells herself to a Geisha house to pay off the gambling debts of her lover, Captain Fujiwara. The other story follows Miyo Ko San, the daughter of a Japanese general Okubo and an English mother. She is in love with Lieutenant Makei, however is betrothed to the officer Yamaki, who in turn has designs on O Hana San. The narrative ends with Yamaki being killed in an earthquake, freeing both couples and allowing them to live “happily ever after.”[2]
Musical Numbers
[edit]|
ACT I (The Shrine at Tsumura)[1]
|
ACT II (The Tea House of Sweet Content in Tokyo)
|
|
ACT III (The Temple Grounds at Tsumura)
|
Addendum
|
Cast
[edit]| Role | Actor (1911) |
|---|---|
| Captain Fujiwara | Harry Welchman |
| Lieutenant Makei | Nelson Keys |
| Hashimoto (a Tea House Keeper) | George Hestor |
| Tanaka (a Journalist) | Harry Ray |
| Suki (a Fourtune Teller) | Dan Rolyat |
| Miyo Ko San | Cicely Courtneidge |
| Mitsu (Mistress of Geisha) | Ada Blanche |
| O Hana San | Florence Smithson |
Background
[edit]- Japonisme
Around mid-19th century began a fashion for Japanese art and culture in Europe, including Britain. A Japonisme "craze" expanded by 1880s with 1884 Japanese Village Exhibition in Knightsbridge and 1885 comic opera The Mikado. After the premiere of the opera, Daily Telegraph wrote 'We are all being more or less Japanned'.[3]
- Production
The Mousmé was written by Alexander M. Thompson & Robert Courtneidge, with Courtneidge being the producer. The lyrics were written by Arthur Wimperis and Percy Greenbank and music composed by Lionel Monckton and Howard Talbot. The stage decor was designed by Conrad Tritschler. The choreography was arranged by Espinosa & Alfred H. Majilton. The costumes were designed by William Charles Pitcher and made by Mrs Woolcott, the wigs were made by Clarkson.[3]
In order to achieve this realistic image, Courtneidge visited Japan to study the culture, mannerisms and customs to include in the production. He sent also Howard Talbot to Japan to add into the musical score the occasional Japanese phrase.
- Authenticity
Concern for authenticity was shared by other productions which used foreign cultures as setting, like Sri Lanka (The Cingalee), India (The Blue Moon), China (San Toy and A Chinese Honeymoon) or Japan (The Geisha). The Mousmé represents a continuation in this tradition of musical comedies that were fixated on depicting foreign cultures authentically enough to serve as a “virtual travel” for British audience. [4] Unlike The Mikado, which is set in a fantasy version of Japan to freely satirise British politics, The Mousmé attempts to create distinctly Japanese plot, costumes and decor. Whether this goal was achieved or not is debatable. For example, the plot, althought written based on Japanese literature, might have been a "mere thread on which to hang the pretty scenes".[5]
The attention to detail in costuming and stage decor is apparent, but was still lacking as the Japanese audiences were not as impressed by it as British.
References
[edit]- ^ a b "The Mousmé". Gilbert and Sullivan Archive. Retrieved 3 November 2024.
- ^ Balme, Henry (2016). "Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy". Popular Entertainment Studies. 7 (1–2): 11. Retrieved 4 November 2024.
- ^ a b Haill, Catherine. "Costume design by Wilhelm for a Festival Dancer in Act III of The Mousme, Shaftesbury Theatre, 9th September 1911". Victoria and Albert Museum. Victoria and Albert Museum. Retrieved 5 November 2024.
- ^ Balme, р. 10
- ^ "Bandmann Company: The Mousmé". The Times of India. 12 November 1912.