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• W70720344 abstract "In 1852, Charles Kean commissioned Dion Boucicault to adapt Les Freres Corses (1) for English stage. Boucicault took 1850 Parisian version, adapted it into The Brothers and under direction of Charles Kean, who also played both leads, play opened on 24 February at Kean's Princess's Theatre (Era 29 February 1852). The play is a revenge tale about twin brothers who share a psychic link. Split into three acts, first two acts take place chronologically at same time and lead to one brother's death and his ghostly appearance to other. The third act leads to surviving brother's revenge. As a melodrama, time discrepancy in play is interesting is premise of ghosts and way action plays out. The play should have been no better received than its French counterpart, but due to staging of Kean's production, it was to become immensely popular. One month after opening at Princess, The Brothers was running in five other London Houses (Era 21 March 1852), by April it had reached Adelphi in Edinburgh (Era 4 April 1852) and next week it opened in Queen's Royal Theatre in Dublin. In Kean's eight year tenancy at Princess, it was performed two hundred and thirty six times (Wilmore 114). It was also popular with royal family: Queen Victoria had visited play several times and Prince Albert commissioned Edward Corbold to paint a scene of The Brothers as performed at Princess Theatre, and embracing portraits of all principal performers (Caledonian Mercury 12 April 1852). An insight into popularity of play can be found in Era newspaper, ten years after Kean's first production: The Brothers, with a freshness of invention, a well-constructed plot, and an ghost movement, at once seized attention of audience, and has not palled on popular taste. (Era 23 February 1862) The admirably ghost movement referred to was result of a device called a trap, also known the trap. The first 1852 review said that ghost was astonishingly contrived in play: First head was seen, and then, it slowly ascended higher and higher, figure advanced, increasing in stature it neared him, and profound silence of audience denoted how wrapt was their attention. Melodramatic effect was never more perfectly produced. (Era 29 February 1852) The article remains for most part, non committal about worth of rest of play, describing unexceptional. A rival newspaper, however, said that it was artistically neat in execution--terse, if not brilliant, in dialogue (Lloyd's Weekly Newspaper 29 February 1852). As it turned out cause of play's popularity was not script, but trap: play opened about London and rest of country, trap went with it, provincial theatres installing it part of their wood stage systems. When play was revived in years following its initial success, such at New Theatre in Nottingham, draw for audience was Corsican trap and other machinery (Era 3 December 1854) and not play itself. What is interesting about this is not mere contrivance of a ghost upon stage in a melodrama, but that device itself was seen essential to production, if play was incomplete without machinery. The glide trap is much a part of The Brothers main characters Fabien and Louis dei Franchi are; from first night it was staged trap has become, it were, part of text of this play. This can be demonstrated in two late twentieth-century collections of Victorian plays. Michael R. Booth based his 1969 text of The Brothers on Charles Kean's promptbook from Harvard Theatre Collection collated with Lord Chamberlain's copy (Booth 30) and his version of end of act one when glide trap is first used is LOUIS DEI FRANCHI has gradually appeared rising through floor, in his shirt sleeves, with blood upon his breast (Booth 30). …" @default.
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• W70720344 date "2011-02-01" @default.
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• W70720344 title "The Corsican Trap: Its Mechanism and Reception" @default.
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