Misplaced Pages

This is an old revision of this page, as edited by Kanamirei (talk | contribs) at 15:10, 25 December 2024. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

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. The musical was later staged in Tokyo (at the Tokyo Imperial Theater), Yokohama and Osaka in 1912.

It was produced under the influence of Japonisme, time of high popularity of everything Japanese in Europe. 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

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.”

Musical Numbers

Cast

Background

Japonisme and authenticity

Around mid-19th century, Japan became fashionable in Europe due to expanded import of Japanese art and goods to the continent; European countries, including United Kingdom, fell to a Japonisme "craze". In the 1862, the first World Fair in London was visited by Takenouchi Yasunori; since then, Japans popularity 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'.

The Mikado, unlike the next generation of British operas with the foreign setting, did not portray Japanese culture realistically and wasn't intending to, as "fantasy version of Japan" was used to freely satirise British politics. Concern for authenticity later played a big part in other productions, like The Cingalee (Sri Lanka), The Blue Moon (India), San Toy and A Chinese Honeymoon (China) and The Geisha (Japan). 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. 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 based on Japanese literature, might have been a "mere thread on which to hang the pretty scenes".

As a seal of approval to The Mousmé’s authenticity, a statement from Ito Hirokuni (Baron Ito), son of the Japanese prime minister Ito Hirobumi, was included in the programme:

"I feel bound to say that of The Mousmé shows the best picture of Japan I have seen on your English stage, and although I understand that Mr. Courtneidge sacrificed considerable time visiting Japan to get the real spirit of my country for his new play, the result justifies the trouble he has taken. He is giving much pleasure to my compatriots and myself".

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.

In order to achieve realistic image of Japan, Robert Courtneidge visited the country to study the culture, mannerisms and customs to include in the production; this was remarked on in both the London première programme and in promotional text in the monthly magazine Playgoer and Society Illustrated. In his autobiography Cortneidge described how, in preparation for opera, he travelled along the Trans-Siberian railway and "spent a busy fortnight in Japan, absorbing all of the scene, costume and customs that I could".

Courtneidge also sent composer Howard Talbot to Japan to add into the musical score the "occasional Japanese phrase." The costume designer C. Wilhelm never travelled abroad, however his designes were properly researched and he paid careful attention to detail; an article about The Mousmé in Cassell's Magazine notes that there were nearly 400 costumes. In the programme, Ito Hirokuni described female costumes in particular as "very true to life, their colouring and style quite reminding of the dresses of the people at home."

Reception

Courtneidge had four companies touring The Mousmé in 1912, taking the musical to 100 locations. Expansive production endded up being a financial disaster for its producer, given that he was "used to nothing but success."

The opera was met with general praise in Britain. The main reason was simingly authentic representation of the exotic Japan through sets and costumes, which "made a ‘virtual tour’ of Japan possible and facilitated imaginary travel."

The responses towards The Mousmé in Japan, where it toured to in 1912, were more varied. Zoe Kincaid Penlington criticised it in The Far East, saying that "a superficial acquaintance with real Japan would enable one to see how hopeless was the interpretation of local colour." However, Japanese audiences were not all against the production. Most of them were drawn to the western music and the European culture which it represented. By accepting The Mousmé, the audience viewed it as the consequence of making oneself seen by the modern world; by attending the show, the Japanese asserted themself as "modern and cosmopolitan."

References

1. ^ "The Mousmé". Gilbert and Sullivan Archive. Retrieved 3 November 2024.
2. 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.
3. ^ 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.
4. Balme, р. 10
5. "Bandmann Company: The Mousmé". The Times of India. 12 November 1912.
6. "Illustrated Sporting and Dramatic News, 21 October 1911". British Musical Theatre. The Gilbert and Sullivan Archive. Retrieved 24 December 2024.
7. ^ "The Mousmé". V&A Museum. Victoria and Albert Museum. Retrieved 24 December 2024.
8. ^ Balme, p. 12
9. ^ Balme, p. 13
10. "Robert Courtneidge". British Musical Theatre. Gilbert and Sullivan Archive. Retrieved 25 December 2024.
11. Balme, p. 14
12. ^ Balme, p. 18
13. Kincaid, Zoë (6 July 1912). "Amusements". The Far East. p. 506.

• 1911 musicals
• Musicals by Howard Talbot
• West End musicals
• Original musicals
• British musicals
• Musicals set in Japan
• Musicals set in palaces