Picture This: one year on

It’s amazing what can happen in just a year (not to mention how quickly one year can go!) This summer marks to first anniversary of the highly successful ‘Picture This’ series of monthly features on the Canterbury Cathedral Library website, the fruit of a partnership between the Cathedral Library and students from the Centre for Medieval and Early Modern Studies.

Picture thisTo celebrate this anniversary, there will be a half day symposium will be held at the Cathedral on Saturday the 17 August from 10am-1pm. During the symposium, an exhibition, including many of the items which featured in ‘Picture This’, will be launched. It will be open to the public from 19 – 30 August from 2-4pm. For more information about both of these events, and the series of features, take a look at the Cathedral’s webpages.

Over the past year, these brief features on the Cathedral’s webpages have informed, amused and stunned us with the wide variety and fascinating history of just a handful of rare books within the Cathedral Library’s collection. If you’ve been an avid follower of the series, you will know that they have taken in subjects as diverse as medieval heroism, early maps, scripture, Tudor prayer books and early modern frogs have all featured. If you’ve missed any of the posts, or would like to catch up on them, take a look at the full list of features.

We can’t wait to discover more in the next year of the series.

More Dickens Digitised!

After lots of hard work by a number of volunteers, I’m delighted to announce that we have now digitised almost all of our playbills for productions of works by Charles Dickens.

Although the bicentennial of Dickens’ birth was back in 2012, we have continued to work on this collection and, over the last few years, some very committed volunteers have made a wonderful contribution to this work.

Playbill advertising 'A Christmas Carol' at the Royal Victoria Theatre, December 1862

Playbill advertising ‘A Christmas Carol’ at the Royal Victoria Theatre, December 1862

Christopher Hall and Marjolijn Verbrugge spent a significant amount of time digitising all of our smaller playbills, which are now visible on our website. More recently, Elizabeth Grimshaw, who is completing an MA in Dickens Studies here at the University, has spent hours cataloguing our Dickens ephemera, and digitising the remaining (rather large) playbills as well as some illustrations. The digitisation involved Elizabeth painstakingly reconstructing the complete playbill in digital form from several digitised pieces, matching sections carefully to create an almost seamless effect. Matching up text and ensuring that the angles are correct is difficult at the best of times, and even more challenging with Victorian playbills and their miniscule text. Although a handful of the last playbills were digitised on the newly working oversize scanner, the majority of the credit for this work must go to our hard working volunteers!

The Dickens Collection has been assembled over many years and includes bibliographic gems, such as the nineteenth century part issues of Nicholas Nickleby (1838-1839), pieces of ephemera, such as some twentieth century ‘Pickwick’ playing cards, and illustrations. Amongst this assembly is a significant collection of Dickens theatrical material, particularly Victorian and Edwardian programmes, postcards and playbills.

Playbill for Oliver Twist, 1838

Playbill advertising ‘Oliver Twist’ at the City of London Theatre, 11 December 1838, staged while the serialisation was ongoing.

Dickens was something of a sensation in his day (to put it mildly) and it wasn’t long before theatre managers decided to cash in on the popularity of his serialised works. Borrowing heavily from the books, the unofficial productions of lengthy works such as Oliver Twist included tableaux taken from the published illustrations and adapted the stories to suit their needs. In fact, the craze for all things Dickens was so great that hack playwrights, such as Edward Stirling and William Moncrieff, would make up their own endings for serialisations which had not yet been completed. With a lack of copyright protection, or an ability to police every theatre in Britain (never mind the spin-offs put on stage in America), there was little which Dickens could do about these plagerised versions but rail against them in prose.

In any case, the risks paid off for the theatre managers in early years, with Dickens’ first full length works immensely popular on stage. Around the time of Martin Chuzzlewit’s appearance, appetites for Dickens on stage appear to have abated somewhat, perhaps due to the fact that productions of Oliver Twist, Nicholas Nickelby and The Old Curiosity Shop were all still being performed, as well as A Christmas Carol, which was published in December 1843, part way through Chuzzelwit’s serialisation. Of course, even limited success for performances of Dickens’ work on stage still proved profitable, with Dickens later cashing in to produce ‘official’ versions of his works in an attempt to limit plagerism. Even today, with television largely occupying the space which the Victorian Theatre filled, adaptations of Dickens’ works are widely popular.

We’re delighted that such an important section of the Dickens Theatrical Collection is now available on our website, with full zoom functionality, and would like to thank our volunteers for all their hard work.

If you’d like to learn more about performances of Dickens’ stories, take a look at our Dickens on Stage index.

 

 

Preserved, Assessed and Surveyed

You might have noticed that we were closed for much of last week; if you’ve wandered past the door to the reading room between last Tuesday and Thursday, you might have seen the sign on the door saying that we reopened on Friday morning. This closure was so that the team could focus on starting on two Preservation Assessment Surveys, which will guage the level of care needed in the future to maintain our collections.

The Preservation Assessment Survey was created and is administered by the British Library, which provides the tools for the job, plus endless expertise, encouragement and support. The idea behind the survey (and based on complicated equations) is that a reasonably random sample of around 400 items in a collection can give a snapshot into the preservation needs and state of a collection. Once the statistics have been gathered, the Preservation Assessment Survey team take the data and create a report highlighting issues which need to be addressed.

For our surveys, we also asked to include a measure of whether items were ready to be moved into the new basement store which will be opening with the Templeman extension. This will give us a really good idea of the work which we need to get done in the next couple of years, as well as the next few decades.

Title page of a script for Barnaby Rudge by Charles Selby, 1841

Script of Barnaby Rudge by Charles Selby, 1841

Because our collections are quite diverse, we decided to do one survey for our books and bound items, and another for our archival items. Of course, this wasn’t quite as straightforward as it sounds. We spent some time trying to decide whether published play scripts counted as books and unpublished play manuscripts are archival (answer, for the purposes of this survey: yes), which survey maps should come under (answer: books) and then classifying shelves as archival or book so that we could get our full sample! Thankfully, with help from Julia Foster of the Preservation Assessment Centre, we got the sampling done in just a day and made a start on the survey itself last week.

For each of these 800 items (two surveys of 400 items each, if you were wondering) we have to answer 15 questions on preservation, which include considerations of environment,usage levels and whether or not the item needs boxing. There is then a further set of questions, which detail the condition of the item and whether it has been damaged (by pests, dirt, poor handling etc.). As you can imagine, this provides a pretty comprehensive set of requirements for each of the items, and requires some consistency in answers, since the assessment of damage is quite subjective, and depends on the state of the last item you saw!

It took us a day or so to find our rhythm, working in two teams to start off our survey in the Special Collections Store and the British Cartoon Archive Store respctively. Archives, it turns out, take far longer to survey than books, since they have to be removed from (and returned to) boxes, and the questions take a little more imagination to answer than they do for bound items with titlepages. By the end of the first full day, we were proud to have completed surveying 60 archival objects and 47 books! (In fairness, those 47 books represented to total input of bound items from the British Cartoon Archive, which was quite an achievement).

By the end of the second full day, we had completed around 160 books and a similar number of archival items. Having started intesively, we’re now going to be carrying out the odd hour or so of surveying here and there (without closing the reading room!) to keep up the momentum until the closure of the data gathering section of this project, which should be around the end of August. Then, with our full set of 800 results, we’ll send the information off to Julia at British Library and await the report with great anticiptation.

Dion Boucicault's Deed Box

Bouciault’s deed box forms part of the collections

It really has been an interesting process so far (and we’re not even halfway through!) For one thing, it puts the size of collections into perspective. We ended up sampling just one item from the combined Fawkes and Calthrop Boucicault Collections, which makes up one of only two major collections on the Victorian playwright in the world. In comparison, we sampled several items in our Wind and Watermills Collections, which are used less intensively, perhaps due to the fact that the photographs can all be viewed online.

It has also been great to get to know the book collection slightly better. We still have a fair way to go, but already we’ve picked out some wonderful and occasioanlly eccentric items, amidst the rare editions and the early printed books. One particularly interesting section in our collection is about dialect; as Steve and I were going through the books, we came across a two volume set on The Craven Dialect (London, 1828), an area in North Yorkshire, which seems to have a lot of words specific to cows and their illnesses! Not much further on, I came across a book on Kentish Dialect by Parish and Shaw (Lewes 1888) which ranged from words which are now very familiar:

Blunder (vb) To move awkwardly and noisily about

to the very unfamiliar:

Mabbled (vb) Mixed; confused

This Kentish dialect dictionary has been interleaved with blank pages on the right hand side (recto), on which at some point someone has jotted down their own dialect discoveries, with their meanings, from time to time. It all goes to much our language has changed, even over just 100 years.

I’m sure that we’ll make many more discoveries as we carry on with the survey, which will, in the end, give us a much better understanding of our collections as a whole, and their needs. So thank you for your patience during those closure days; it really was helpful to get a chunk of the survey under our collective belt!

And I’ll let you know how it goes…(with running updates on Twitter – @UoKSpecialColls).

 

Upcoming closures

Now that we’re getting into the summer, we’re spending some time exploring aspects of Special Collections provision over the period of the Templeman redevelopment and taking stock of the collections. This means that we need to close the reading room on a few occasions over the coming weeks.

Special Collections will be closed

  • from 1pm on Monday 24th June
  • all day Friday 28 June
  • from Tuesday 2 – Thursday 4 July inclusive

We hope that this will not cause too much inconvenience; please do contact us if you have any concerns.

Bad women or victims? A Girl’s Cross Roads

Although it was a little while ago now, I’d like to take the opportunity mention the exciting event which I was involved in a couple of weeks ago: a read through of one of the Melville melodramas.

If you’re a regular reader of the blog, you’ll probably have noticed how I keep talking about the Melvilles – a theatrical dynasty who reached the peak of their success around the turn of the nineteenth century through to the 1930s. Two of the Melville brothers, Walter and Fred, were immensely successful in running theatres and producing (and often writing) hugely popular plays. One of the genres they specialised in was melodrama, and they created their own niche in this type, with the ‘Bad Woman’ dramas.

Cutting from an unidentified newspaper (0599996/1)

Cutting from an unidentified newspaper (0599996/1)

As part of UoK’s Melodrama Research Group, I was asked to provide something for one of the evening discussion sessions; although the majority of the group are film specialists, this time we looked to the stage for inspiration, and decided to do a read-through of one of these once popular but now largely forgotten plays.

I chose ‘A Girl’s Cross Roads’ by Walter Melville as our piece, largely because it wasn’t too long (so it should fit into the two-hours allotted), and because we had already created a surrogate of the manuscript for teaching purposes (this means that we can provide access to the text without further damaging the original). The play was first performed in 1903, although we do not know where this performance too place. It has, as far as we know, never been published (like most of the other Melville plays in our collection) and has been subject to very little academic study. While I suspect that this play was revived later by the Melvilles, I felt privileged to know that this would probably be the first time the play had been read-through in around 100 years.

Publicity image from 'Stageland', September 1905

Publicity image from ‘Stageland’, September 1905 (0600336)

It’s a gripping plot, heavily reliant on past misunderstandings, mistakes made in life and no small amount of coincidence, but proved to be an exciting read. The story centres around Jack Livingstone, who has married and lives a comfortable life until his wife, Barbara, with secrets of her own, begins to suspect that he does not love her. Through a range of conversations at the beginning of the play, it transpires that Jack is not in love with Barbara after all, and now regrets not marrying his childhood sweetheart Constance. Of course, the plot does not stop there: the villains Cuthbert Lumley and Tilly Vane, the ‘bad woman’ of the piece, discover that Constance is ignorant of her inheritance and plot to steal it by marrying her to Cuthbert. With Barbara struggling to cope with the knowledge that her husband wishes he had never married her and past problems with alcohol, Tilly hopes that once Constance is married, she will be free to marry Jack herself.

Publicity image for the play from 'Stageland', September 1905

Publicity image for the play from ‘Stageland’, September 1905 (0600336)

The play unfolds with surprising speed and with a significant amount of humour, not to mention a vast array of characters which our 7 strong cast managed by doubling and tripling up to cover all the parts! The read-through proved just how humourous the play was written to be, which is much clearer when reading it aloud in parts. Although there is a lot of slapstick which the small room and the limited acting experience of our group couldn’t quite do justice to, the script itself has some unexpected laugh-out-loud moments.

Most interesting to me, however, was that the play was not so stereotypical and one dimensional as the title (and stage melodrama’s posthumous reputation) led me to believe. Admittedly, there was little character development and little subtlety, but the plot was strong and the actors, particularly in the female roles, were given great opportunities to exercise their character talents. One character was developed throughout the play is that of Barbara (admirably played by Dr. Helen Brooks), who fluctuates between a victim of circumstance and of the hero, Jack, an obstacle to be overcome and a woman whose inability to maintain strict Edwardian control over herself led her to destruction.

Cutting from an unidentified newspaper (0599996/1)

Cutting from an unidentified newspaper (0599996/1)

Far from being a moral diatribe on how women should behave, this play used the three female characters to explore very different choices made in life. These choices prove to be the girls’ cross-roads in life, although it’s never made clear to which girl the title refers. Tilly Vane in particular, the villainess, has several monologues in which she regrets her life and the outcast which her choices have made her. All three women find their lives shaped by men, whether or not they want to be, and this offers a rather more complex message than that of Walter Melville as a ‘woman hater’, as he was accused.

 

There’s more information and some discussion about the read through on the Melodrama Research Group’s blog, and we do hope to have some more read-throughs in the future, now that we’ve been well and truly bitten by the Melville bug. It just goes to show that, even after 110 years, the Bad Woman dramas can still intrigue and entertain us, as they were written to do.