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270:. Guest and his colleagues refused their consent, but Burnand went ahead without it. The members of the club performed a triple bill under stage names to avoid retribution from the university. The club prospered (and continues to the present day); Burnand acted and wrote plays under the name Tom Pierce.
1123:
I think Frank
Burnand is the most amusing man to meet. He is brimful of good humour. He will fire off joke after joke, and chaff you out of your life if he gets a chance. His chaff is always good-tempered. No one minds being chaffed by Burnand. I will not sing a song when he is in the room if I can
1035:
commented, "Mr
Burnand's experience as a librettist of comic opera, and Sir Alexander Mackenzie's inexperience in this class of composition might lead the public to expect a brilliant book weighed down by music of too serious and ambitious a type. The exact opposite is the case." Burnand's libretto
586:
Burnand's wife
Cecilia died in 1870 at age 28, leaving him with seven small children. In 1874 Burnand married her widowed sister, Rosina (d. 1924), who was also an actress. It was at that time illegal in England for a man to marry his dead wife's sister, although such marriages made outside British
189:
but was unable to emulate his rival's success as a comic opera librettist. In other forms of theatre
Burnand was outstandingly successful, with his works receiving London runs of up to 550 performances and extensive tours in the British provinces and the US. He published several humorous books and
514:
Mr
Sullivan's music is, in many places, of too high a class for the grotesquely absurd plot to which it is wedded. It is very funny, here and there, and grand or graceful when it is not funny; but the grand and the graceful have, we think, too large a share of the honours to
74:
and was expected to follow a conventional career in the law or in the church, but he concluded that his vocation was the theatre. From his schooldays he had written comic plays, and from 1860 until the end of the 19th century, he produced a series of more than 200
680:
in 1879. Burnand's prolific writing came at some cost in quality. A biographer wrote that he "was a facile and slapdash writer. False rhymes and awkward rhythms occur frequently in his verse, and his favourite devices included puns, topical references and slang."
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It grew less intolerant of opinions with which it disagreed; it became more catholic in its appeal; it began to discard its air of a Family Joke and aspired to be the
National Institution which it has since been proclaimed. Yet he always kept for it a note of
432:
in the title role, which found audiences on both sides of the
Atlantic. By this time Burnand was a skilled negotiator with theatre managements, and he was among the first authors to insist on profit-sharing instead of fixed royalties. For
140:, among other things, he wrote the popular column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life. Also admired were his burlesques of other writers' works. Burnand was a contributor to
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possibly help it. He will sit in front of me at the piano, and either stare with a pained and puzzled look during my comic song, or he will laugh in the wrong places, or, what is worse still, take out his pocket-handkerchief and weep."
759:
A later biographer, Jane
Stedman, writes, "His predecessor, Tom Taylor, had allowed the paper to become heavy, but Burnand's rackety leadership brightened it." Burnand, who declared himself "hostile to no man's religion", banned
1036:
was judged dull and confused, but
Mackenzie's music was "marked by distinction as well as humour." Stedman comments that Burnand's conviction that he, not Gilbert, should have been Sullivan's main collaborator defied the facts:
297:, leader of the English Catholics, Burnand announced that his vocation was not for the church but for the theatre. Father and son were reconciled, and Burnand returned to his original plan of reading for the bar at
1081:
became increasingly wordy and anecdotal, relying on far-fetched puns, but he was a good judge of talent, and under him the paper prospered. Stedman rates as a high point of his editorship the publication of
712:, writing a regular stream of genial articles. His best-known work for the magazine was the column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life.
720:"; alongside it, he rated as Burnand's best comic contributions his burlesques of other writers, such as "The New History of Sandford and Merton" (1872) and "Strapmore" by "Weeder" (1878).
861:
was less censorious, finding the piece moderately amusing, and correctly predicting that it would run successfully until it had to make way for the annual Gaiety pantomime at
Christmas.
158:
was a high point of his tenure in 1888–89. Many of his articles were collected and published in book form. His stage successes in the 1890s included his English-language versions of two
253:
750:, Tom Taylor, died in July 1880; the proprietors of the magazine appointed Burnand to succeed him. In Milne's view the magazine's reputation increased considerably under Burnand:
519:
144:
for 45 years and its editor from 1880 until 1906 and is credited with adding much to the popularity and prosperity of the magazine. His editorship of the original publication of
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After a winter of bronchitis, Burnand died in 1917 at his home in Ramsgate, at the age of 80. He was buried in the cemetery at St Augustine's Abbey church in Ramsgate.
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jurisdiction were recognised as valid; accordingly the wedding ceremony was performed in continental Europe. There were two sons and four daughters of this marriage.
346:. The following month he married an actress, Cecilia Victoria Ranoe (1841–1870), daughter of James Ranoe, a clerk; the couple had five sons and two daughters. He was
2313:
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1092:, which was soon turned into book form and has never been out of print. He was reluctant to retire, but was persuaded to do so in 1906, and was succeeded by
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261:
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1262:, in his burlesque of which Burnand parodied two genres: novels of high society and Italian peasant stories. Other authors whom he satirised included
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during the 20th century and is the only work of Burnand's still frequently staged. Its success encouraged its authors to write the two-act opera,
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in 1862, and practised for a short time, but his main interest was in writing. In the early 1860s he wrote several farces in partnership with
2358:
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By the 1870s, Burnand was generating a prodigious output of plays as well as comic pieces and illustrations for the humour magazine
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1895:
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Throughout the 1870s, Burnand maintained a prodigious output. For the stage he wrote 55 pieces, ranging from burlesques to
535:
became a popular favourite and was frequently revived. It was the only work not by Gilbert in the regular repertory of the
2378:
1659:
1626:
536:
118:
785:, a play by Morris Barnett, ran for 550 performances and toured extensively. It made so much money for the actor-manager
1856:
1710:
293:. This caused a breach between Burnand and his father, but the estrangement did not last long. To the disappointment of
1116:
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Known generally for his genial wit and good humour, Burnand was nevertheless intensely envious of his contemporary
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498:. The piece was written for a private performance but was repeated and given its first public performance at the
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Cowley, who died when her son was eight days old. Burnand senior, a stockbroker, was descended from an old
1959:
950:
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216:
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1874:, Gilbert & Sullivan, a selling exhibition of memorabilia, Archive: Other items, accessed 9 July 2014
1677:
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373:
146:
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1208:, later Burnand's rival as a comic playwright, made the opposite journey, severing his connection with
343:
1713:, National Portrait Gallery, accessed 9 July 2014. She had appeared in, among other things, Burnand's
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theological college, where his studies of divinity led him to leave the Anglican church and become a
285:
parish that became vacant, and it was agreed that he should train for the priesthood. He enrolled at
2045:
117:, with music by Sullivan. The piece became a popular favourite and was later frequently used by the
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complained of the "flatness and insipidity" of Burnand's text and of his vulgarising the original.
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266:
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76:
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Burnand was born in central London, the only child of Francis Burnand and his first wife Emma,
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282:
235:
132:
2304:
2047:
The "A.D.C.", being personal reminiscences of the University Amateur Dramatic Club, Cambridge
1575:
53:, was an English comic writer and prolific playwright, best known today as the librettist of
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2101:
1940:
1809:
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1181:
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823:: "With Gilbert and Sullivan I am sure we will have something better than the dull farce of
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649:
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310:
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155:
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1723:, and had performed together with her sister and Burnand in Burnand's one-act burlesque of
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421:(1863), among many others. His most memorable early success was another musical burlesque,
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1026:
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347:
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54:
1119:, Mark Lemon and most writers, dramatists and actors of the day. George Grossmith wrote:
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family, prominent in the silk trade; his wife was a descendant of the poet and dramatist
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s previous anti-Catholicism, although he was unable to prevent some antisemitic jokes.
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17:
2322:
2187:
2014:
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662:(1878; a charity collaboration among four playwrights, including Byron and Gilbert),
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547:
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159:
948:
followed later that year by a very successful English version of Audran's operetta,
684:
Burnand also translated or adapted for the London stage several French operettas by
477:, was played for years provincially and in the US, and was twice revived in London.
1719:
1112:
1048:
managed only 61 performances. Nevertheless, Burnand used his position as editor of
857:
595:
223:
67:
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1401:
1325:
700:. At the same time as his busy theatrical career, he was a member of the staff of
437:
this brought him a total of around £3,000. Other notable early works included an
130:. Among his 55-stage works during the decade was another frequently revived hit,
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1725:
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445:(1865), with music by Frank Musgrave, and more pun-filled burlesques, including
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59:
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Burnand graduated in 1858. His family had expected that he would study for the
242:. While at Eton, he submitted some illustrations to the comic weekly magazine,
1308:
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to print antagonistic reviews of the plays of Gilbert and refused to give the
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838:
709:
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381:
174:
32:
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in London. He had a very large circle of friends and colleagues who included
894:. Burnand wrote several musical works around 1889 and 1890 with the composer
461:
The Latest Edition of Black-Eyed Susan; or, the Little Bill that Was Taken Up
1427:
1031:
851:
591:
459:, both in 1866. Later in 1866 Burnand had a huge success with the burlesque
368:. He parted company with Byron when the magazine rejected his proposed 1863
274:
84:
2197:
2178:
2107:
A History of English Drama – Vol 5, Late Nineteenth Century Drama 1850–1900
2093:
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2055:
1871:
1482:
1108:
716:
considered it "one of the most popular series which has ever appeared in
239:
626:(1873; "a Christmas drawing room extravaganza" with songs by Sullivan),
172:(both in 1891). His last works included collaborations on pantomimes of
1470:. Vol. 4 (11th ed.). Cambridge University Press. p. 848.
2309:
1354:, online edition, Oxford University Press, 2014, accessed 7 July 2014
80:
1680:, Grove Music Online, Oxford University Press, accessed 8 July 2014
1481:
Williams, Montagu Stephen; Burnand, F. C. (Francis Cowley) (1860).
598:. He was the sole author of most of them, but worked on a few with
87:
and other stage works. His early successes included the burlesques
1259:
929:
797:
into production to make sure that it opened several months before
730:
610:
and even with H. J. Byron. His stage pieces of the 1870s included
577:
551:(1894), but it did not achieve much popularity in either version.
518:
423:
394:
303:
278:
227:
212:
31:
1315:, Oxford University Press, September 2004, accessed 8 June 2014,
560:
The Rise and Fall of Richard III, or, A New Front to an Old Dicky
1144:
in 1863–64 and frequently reprinted. This was followed by
819:, no fan of Burnand's farces, wrote, in anticipation of seeing
1111:, Kent, on the south coast of England and was a member of the
324:
In February 1860 Burnand had his first piece performed in the
2171:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas
1398:
Archive, Oxford University Press, 1927, accessed 8 June 2014
1750:, The Gilbert and Sullivan Archive, accessed 2 January 2013
570:, and six other stage works during the course of the year.
121:
as a curtain raiser; it remains regularly performed today.
49:(29 November 1836 – 21 April 1917), usually known as
2110:(second ed.). Cambridge: Cambridge University Press.
252:, where as an undergraduate he sought the approval of the
1603:, 1968, volume IX, 7, pp.132–133; and "Adelphi Theatre",
1077:
for the same theatre in 1909. His later contributions to
1044:
with Sullivan, ran for only 97 performances in 1894, and
962:. In 1891, he produced an English adaptation of Audran's
248:, one or two of which were published. In 1854 he went to
908:
was recorded by Retrospect Opera in 2016, together with
827:". For the Gaiety Theatre, Burnand wrote a burlesque of
1584:
Black-Eyed Susan; or, the Little Bill that Was Taken Up
388:, who accepted it for publication; Burnand remained a
1654:
Rollins and Witts, pp. 15, 140–186 and xxv–xxvi; and
1504:"Two Great English Humorists – Gilbert and Burnand",
1178:
The Fox's Frolic: or, a day with the topsy turvy hunt
1059:
Burnand's last stage works were a collaboration with
1966:, Gilbert and Sullivan Archive, accessed 9 July 2014
868:, a burlesque of the 1883 costume (Byzantine) drama
107:(1866). Also in 1866, he adapted the popular farce
1902:, Retrospect Opera, 2016, accessed 13 October 2017
1599:Lamb, Andrew. "Cox and Box" – A Postscript",
1073:, and he was partly responsible for a pantomime of
1009:, failed despite the contributions of the lyricist
66:The son of a prosperous family, he was educated at
2258:
2210:
1929:. No. 36804. London. 26 June 1902. p. 5.
277:, but the Burnands held the right to appoint the
238:'s house, and subsequently at the Theatre Royal,
190:memoirs and was knighted in 1902 for his work on
1590:, digitized by The British Library (2013), p. 51
1150:Personal Reminiscences of the A.D.C., Cambridge,
1029:. The blame was generally held to be Burnand's.
2314:New York Public Library for the Performing Arts
1121:
752:
512:
2310:F. C. Burnand letters and memoranda, 1873–1907
918:. Other stage pieces included adaptations for
872:by Henry Herman and W. G. Wills, presented at
27:British comic writer and dramatist (1836–1917)
8:
1872:Programme and description of 1894 production
1641:, 11 March 1895, p. 12; and "The Theatres",
1559:
1557:
1555:
1553:
1551:
1549:
1547:
1545:
1543:
1541:
767:One of Burnand's biggest successes, both in
554:More burlesques followed in 1868, including
2369:People associated with Gilbert and Sullivan
2312:, held by the Billy Rose Theatre Division,
1732:Patient Penelope; or, The Return of Ulysses
1692:Jacobs, p. 62; and Rollins and Witts, p. 15
1522:
1520:
1518:
1516:
1514:
1483:"B. B. : an original farce in one act"
1421:
1419:
1417:
1415:
1413:
1411:
666:(1878) and another frequently revived hit,
480:In 1866, Burnand adapted the popular farce
2005:, pp. 315–316, vol. 1, no. 10, Spring 1999
1233:Deceased Wife's Sister's Marriage Act 1907
457:, or The Ugly Mug and the Couple of Spoons
262:Cambridge University Amateur Dramatic Club
2160:CS1 maint: multiple names: authors list (
1838:, 14 October 1883, p. 7; and "Theatres",
1392:"Burnand, Sir Francis Cowley (1836–1917)"
1309:"Burnand, Sir Francis Cowley (1836–1917)"
880:. The same year, he wrote a burlesque of
2192:. London, Paris and Melbourne: Cassell.
1672:
1670:
1668:
1571:
1569:
1450:
1448:
1446:
1216:when Lemon turned down one of Gilbert's
1096:. In 1908, Burnand became the editor of
556:Fowl Play, or, A Story of Chicken Hazard
2384:English male dramatists and playwrights
2021:, 8 January 1909, accessed 17 July 2017
1637:, 15 July 1880, p. 6; "Savoy Theatre",
1633:, 30 March 1869, p. 10 "The Theatres",
1396:Oxford Dictionary of National Biography
1313:Oxford Dictionary of National Biography
1283:
1198:
954:(the grasshopper and the ant) retitled
463:, parodying the three-act melodrama by
2242:
2232:
2150:
2140:
2133:Parker, John, comp. & ed. (1914).
1759:"Theatrical Humour in the Seventies",
1254:, a moralising work for children; and
1170:The Real Adventures of Robinson Crusoe
1107:Burnand lived for much of his life in
934:Poster for the original production of
97:The Latest Edition of Black-Eyed Susan
2169:Rollins, Cyril; R John Witts (1961).
1386:
1384:
1382:
1380:
1378:
1343:
1341:
1339:
1337:
1335:
1303:
1301:
1299:
1297:
1295:
1293:
1291:
1289:
1287:
473:; the show ran for 400 nights at the
354:, and edited the short-lived journal
7:
2339:Alumni of Trinity College, Cambridge
1790:Burnand, 2nd Edition, vol. 2, p. 165
1231:This became legal in 1907 under the
1461:"Burnand, Sir Francis Cowley"
672:(1879). He provided a burlesque of
494:, with music by the young composer
392:writer for the rest of his career.
2137:(second ed.). London: Pitman.
2069:. Bristol and London: Arrowsmith.
1711:"Rosina (née Ranoe), Lady Burnand"
1601:The Gilbert & Sullivan Journal
1247:The History of Sandford and Merton
1146:My Time and What I've Done with It
226:, where, aged fifteen, he wrote a
25:
2205:Wilde, Oscar; Merlin Holland and
1949:. 11 November 1902. p. 7165.
801:'s similarly themed comic opera,
105:the Little Bill that Was Taken Up
2394:English male non-fiction writers
1425:"Death of Sir Francis Burnand",
1056:operas reviews in the magazine.
771:and on stage, was satire of the
704:under Lemon and his successors,
545:(1867), revised and expanded as
2374:People educated at Eton College
2296:Works by or about F. C. Burnand
2265:. London: J M Dent & Sons.
837:in October 1883, with music by
2066:A Society Clown: Reminiscences
1140:, was originally published in
789:that he was able to build the
380:. He showed his manuscript to
378:Mokeanna, or the White Witness
358:. He then joined the staff of
320:1860s: start of writing career
1:
2344:Converts to Roman Catholicism
1889:by Burnand & Solomon and
1678:"Burnand, Sir Francis Cowley"
1660:Grosvenor Light Opera Company
1627:Royal Gallery of Illustration
1348:"Burnand, Sir Francis Cowley"
904:, which was revived in 1894.
566:, which was a success at the
399:Theatre poster for Burnard's
2050:. London: Chapman and Hall.
1988:Rollins and Witts, pp. 15–16
1402:UK public library membership
1326:UK public library membership
999:Burnand's 1897 comic opera,
260:, of the establishment of a
2003:The Gilbert Society Journal
1676:Fredric Woodbridge Wilson.
1136:Burnand's best-known book,
1117:William Makepeace Thackeray
1088:by the brothers George and
1067:in 1905, on a pantomime of
958:, with additional music by
2410:
2173:. London: Michael Joseph.
2063:Grossmith, George (1888).
1925:"The Coronation Honours".
1174:Records and Reminiscences,
537:D'Oyly Carte Opera Company
502:in 1867. The reviewer for
450:, or, Taken from the Greek
250:Trinity College, Cambridge
119:D'Oyly Carte Opera Company
47:Sir Francis Cowley Burnand
2359:English opera librettists
1808:Wilde, p. 109, letter to
1508:, 18 November 1936, p. 14
1065:Theatre Royal, Drury Lane
992:in 1902, for his work on
562:. In 1869, Burnand wrote
426:, or the Man at the Wheel
330:Dido the Celebrated Widow
2354:English magazine editors
2219:. New York: Henry Holt.
2135:Who's Who in the Theatre
1979:, 22 February 1897, p. 7
1861:, 16 August 1884, p. 220
1763:, 20 February 1914, p. 9
1485:. Samuel French, London.
608:Henry Pottinger Stephens
264:, with a performance of
222:Burnand was educated at
2389:Punch (magazine) people
2186:Spielmann, M H (1895).
2082:Lee, Elizabeth (1914).
1915:, 10 October 1890, p. 7
1898:13 October 2017 at the
1842:, 8 December 1883, p. 8
1799:Rollins and Witts, p. 8
1682:(subscription required)
1467:Encyclopædia Britannica
980:played in 1895. He was
976:premiered in 1892, and
944:In 1890, Burnand wrote
864:In 1884, Burnand wrote
791:Prince of Wales Theatre
93:or the Man at the Wheel
2287:Works by F. C. Burnand
1825:, 9 October 1883, p. 9
1747:The Miller and His Man
1662:, accessed 8 July 2014
1645:, 25 August 1921, p. 6
1431:, 23 April 1917, p. 11
1321:10.1093/ref:odnb/32183
1126:
1098:The Catholic Who's Who
951:La cigale et la fourmi
941:
757:
743:
638:(1878, a burlesque of
624:The Miller and His Man
583:
574:1870s: prolific author
529:
517:
403:
316:
43:
18:Francis Cowley Burnand
2044:Burnand, F C (1880).
2001:(1925), excerpted in
1656:"Cox and Box on tour"
1154:The Incomplete Angler
1085:The Diary of a Nobody
978:Mrs Ponderbury's Past
933:
811:ran even longer than
734:
581:
522:
411:The Îles of St Tropez
398:
308:Burnand as Mr Punch,
307:
147:The Diary of a Nobody
35:
2379:People from Ramsgate
2189:The History of Punch
2015:""Burns & Oates"
1893:by George Grossmith"
1607:, 13 May 1867, p. 12
1188:Notes and references
1054:Gilbert and Sullivan
799:Gilbert and Sullivan
746:The third editor of
612:Poll and Partner Joe
564:The Turn of the Tide
77:Victorian burlesques
2261:Sir Arthur Sullivan
1563:Nicoll, pp. 289–291
1007:Alexander Mackenzie
888:Black Eyed See-Usan
648:, an adaptation of
618:(1871; a sequel to
401:Black Eyed See-Usan
2305:Profile of Burnand
2245:has generic name (
2153:has generic name (
1946:The London Gazette
1821:"Gaiety Theatre",
1372:Burnand, pp. 86–87
1042:The Contrabandista
942:
783:The Serious Family
773:aesthetic movement
744:
636:Dora and Diplunacy
600:Thomas German Reed
584:
542:The Contrabandista
530:
526:The Contrabandista
404:
370:literary burlesque
344:St James's Theatre
317:
162:operettas, titled
113:as a comic opera,
44:
2349:English humorists
2291:Project Gutenberg
2207:Rupert Hart-Davis
2102:Nicoll, Allardyce
2088:. London: Unwin.
1999:The Two Pins Club
1975:"Savoy Theatre",
1911:"Lyric Theatre",
1883:Chandler, David.
1852:"Dramatic Gossip"
1781:Spielmann, p. 365
1487:Other titles are
1400:(subscription or
1363:Burnand, pp. 7–17
1324:(subscription or
1307:Stedman, Jane W.
1270:as "Fictor Nogo".
1180:, illustrated by
1102:Burns & Oates
1040:, his rewrite of
990:Buckingham Palace
793:. Burnand rushed
781:(1881), based on
755:irresponsibility.
724:1880s: editor of
698:Robert Planquette
659:The Forty Thieves
582:Burnand, c. 1870s
428:(1863), starring
376:serial, entitled
348:called to the bar
334:musical burlesque
283:Church of England
16:(Redirected from
2401:
2364:Knights Bachelor
2300:Internet Archive
2276:
2264:
2250:
2244:
2240:
2238:
2230:
2218:
2214:Complete Letters
2201:
2182:
2165:
2158:
2152:
2148:
2146:
2138:
2129:
2097:
2078:
2059:
2031:
2030:Grossmith, Ch. 8
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2334:1917 deaths
2329:1836 births
1962:His Majesty
1941:"No. 27494"
1859:: A Journal
1726:The Odyssey
1352:Who Was Who
1264:Victor Hugo
1219:Bab Ballads
1094:Owen Seaman
1046:His Majesty
1019:Ilka Pálmay
1011:Adrian Ross
1002:His Majesty
970:Miss Decima
960:Ivan Caryll
926:Later years
878:J. L. Toole
841:, starring
830:The Tempest
825:The Colonel
817:Oscar Wilde
813:The Colonel
795:The Colonel
787:Edgar Bruce
778:The Colonel
775:. His play
736:J. L. Toole
714:A. A. Milne
674:Robbing Roy
620:Cox and Box
533:Cox and Box
523:Poster for
491:Cox and Box
486:comic opera
482:Box and Cox
417:(1862) and
366:H. J. Byron
267:Box and Cox
258:Edwin Guest
203:Early years
178:(1905) and
170:Miss Decima
115:Cox and Box
110:Box and Cox
95:(1863) and
60:Cox and Box
2323:Categories
1772:Lee, p. 97
1278:References
1256:Strathmore
1252:Thomas Day
1070:Cinderella
986:Edward VII
890:, for the
839:Meyer Lutz
710:Tom Taylor
592:pantomimes
455:Guy Fawkes
382:Mark Lemon
175:Cinderella
85:pantomimes
2235:cite book
2143:cite book
2126:217979088
1977:The Times
1927:The Times
1913:The Times
1840:The Times
1823:The Times
1761:The Times
1643:The Times
1639:The Times
1635:The Times
1631:The Times
1605:The Times
1506:The Times
1428:The Times
1404:required)
1328:required)
1063:, at the
1032:The Times
956:La Cigale
886:, called
876:starring
852:The Times
833:entitled
686:Offenbach
645:Diplomacy
287:Cuddesdon
279:incumbent
236:Cookesley
165:La Cigale
72:Cambridge
57:'s opera
2257:(1971).
2104:(1953).
1896:Archived
1887:Pickwick
1184:(1917).
1172:(1893);
1168:(1890);
1164:(1890);
1160:(1890);
1156:(1887);
1152:(1880);
1148:(1874);
1109:Ramsgate
984:by King
982:knighted
906:Pickwick
901:Pickwick
870:Claudian
821:Patience
809:Patience
804:Patience
664:Our Club
634:(1878),
630:(1877),
614:(1871),
413:(1860),
374:Reynolds
326:West End
315:s mascot
240:Worthing
213:Savoyard
182:(1909).
2298:at the
2198:1925026
2179:1317843
2094:3812858
2075:8060335
2056:9281323
2038:Sources
1495:(1863).
1075:Aladdin
676:to the
180:Aladdin
40:"Punch"
2269:
2223:
2196:
2177:
2124:
2114:
2092:
2073:
2054:
1013:and a
940:, 1894
807:, but
762:Punch'
742:, 1884
650:Sardou
452:, and
152:George
81:farces
1268:Punch
1260:Ouida
1210:Punch
1193:Notes
1142:Punch
1132:Books
1079:Punch
1050:Punch
994:Punch
835:Ariel
769:Punch
748:Punch
726:Punch
718:Punch
702:Punch
669:Betsy
632:Proof
484:as a
448:Helen
435:Ixion
424:Ixion
390:Punch
386:Punch
372:of a
311:Punch
281:of a
245:Punch
228:farce
192:Punch
142:Punch
138:Punch
133:Betsy
127:Punch
89:Ixion
36:From
2267:ISBN
2247:help
2221:ISBN
2194:OCLC
2175:OCLC
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