text:
The Tent City of New Jersey: Desperate victims of the economic slump forced to live in makeshift homes in forest
In scenes reminiscent of the Great Depression these are the ramshackle homes of the desperate and destitute U.S. families who have set up their own 'Tent City' only an hour from Manhattan.
More than 50 homeless people have joined the community within New Jersey's forests as the economic crisis has wrecked their American dream.
And as politicians in Washington trade blows over their country's £8.8 trillion debt, the prospect of more souls joining this rag tag group grows by the day.
Building their own tarpaulin tents, Native American teepees and makeshift balsa wood homes, every one of the Tent City residents has lost their job.
Destitute: Charlie Errickson, 54, sat eating his lunch outside his shelter as he struggles to survive
Welcome to Tent City: The community where ever person has lost their job and home because of the U.S. financial crisis
These people have been reduced to
living on handouts from the local church and friendly restaurants and
the community is a sad look at troubles caused as the world's most
powerful country struggles with its finances.
'We have been in and out of the camp for a year,' said ex-hotel worker Burt Haut, 43, who lives with his wife, ex-teacher Barbara, 48 in a tent styled like a teepee from the Old West.
financial difficulties since the credit crisis three years ago have
caused us to camp on public ground, at the back of churches and down the
backs of closed down stores.
'We have had help from our friends and family, but we have run that well dry.
'We are trying to get back on our feet and with help from the camp leadership we hope to get back onto a social security scheme or help with some assisted housing.'
by the loss of their jobs and their homes, the residents of Tent City
struggle to get by without day-to-day luxuries that we take for granted
such as food on the table and a roof over their heads.
Ex-minister Steve Brigham, 50, runs Tent City, which consists of a dirt road running through a two-acre encampment which has flowerpots laid out front of proud tents and homes.
Functioning as near to a normal town
as possible, Tent City is governed by democratic rules agreed by all the residents.
They all must agree to no fighting, to clean the camp, to volunteer their time when they have it, and to most importantly keep the noise down after 10pm.
Getting by: Elwood Hires, 39, and Cynthia Berlinger, 33, inside their recently completed makeshift shelter in the woods
The camp is currently involved in a legal battle with local Ocean County authorities which wants to remove the camp and the case has gone all the way to New Jersey Superior Court.
Steve and the community of Tent City want Ocean County to provide a purpose built shelter for the homeless and are working with a local lawyer working who works for free.
'This is a place to recover, to dry
out, to get back on your feet to help to re-enter the world,' said
minister Steve who was ordained eight years ago but has given up all his
possessions to live in poverty with the growing community in Tent City.
'We have a petrol-powered generator that heats up the water for the shower and lets us wash up dishes after donated meals.
'We have pet chickens which are not for eggs, they are to eat the ticks that could make us feel very ill with Lyme disease or a blood infection.
'It is a racially diverse community with Mexicans, Polish, Irish, African American and white people.
'There are eight women living here too, which was a problem in the past, but has now made the camp more calm by their presence.
'The struggle for every day existence here makes us realise how lucky we are when we have our homes and our lives all in front of us with our televisions and microwave meals.'
Ramshackle: This home looks barely able to stand up but still houses a homeless person, who has also brought their car to the community
Even though the camp has relied heavily on the ingenuity of Steve and his able helpers, keeping hope alive in Tent City is his toughest task.
'We have a working chapel here that is built out of recovered wood and a tarpaulin roof,' explained Steve.
'In summer we perform the service outside in a circle laid out with chopped tree bases as seats.
'It is not a requirement to come to a service, but spirituality and hope can help these people who have hit their darkest hours.'
One couple who have lived for over a
year in the camp are Elwood and Cynthia, who have both built there own
cabin complete with functioning door and even have got themselves a
'We have upgraded
from our tarpaulin tent to a balsa wood one, which should help us in
the winter in case the snow weighs down our roof,' Elwood said.
'Hopefully in the summer too the temperature wont be so hot as well.
'Every help we get from Steve puts us that bit further on the path to a social security cheque or a government assisted housing scheme.
'I used to work cleaning for a local restaurant and Cynthia used to be a waitress.'
For Burt and Barbara the care that they receive here is preferable to living on benefits provided by the Government.
Nowhere to go: Homeless Burt Haut, 43 and his wife Barbara Haut, 48 outside their makeshift shelter in the tent city in the woods in Lakewood, New Jersey
'The care and community offered by the Tent City is wonderful,' said Burt.
is just like getting back to nature and it makes you realise that all
our wonderful appliances like microwaves, telephones and even cars are
not essential.
'Food, shelter and water is what you need and is what we get here.'
One member of the motley crew who lives in Tent City claims to be the nephew of country great Johnny Cash.
'I used to be a guitarist and played at BB Kings' club in New York City,' said Mark.
'But my girlfriend left me, I lost my home and I travelled round Toms River near here sleeping rough.
was told about Tent City and minister Steve by a fellow homeless person
and I walked down here and approached him for a space in his camp.
is like a family here and he helped me get set up with a camping tent
and now I have friends and people to talk to, which I have not had since
my life collapsed.
family can't seem to help me no more and I have accepted that every
time that they have tried to I have let them down and failed to sort my
life out.
'I don't know what I would do if I didn't have this place to live in.'
This is shower room that serves the tent city that the homeless people have made by drilling to the natural water table and then pumping it up to the heater so the residents can wash in the woods
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text:
Moscow still waits Astana's response on Baikonur spaceport use prospects
Moscow (Voice of Russia) Jan 15, 2013
Russia's still has not received an official response from Kazakhstan to its note issued on December 13, 2012 regarding the prospects of using the Baikonur space port, a source with the national space industry told Interfax Saturday. The Russian government sent its note in response to a statement made by the head of the Kazakh Space agency Talgat Musabayev on December 2012. "The Russian note dated December 13, 2012 aroused numerous publications in the Kazakh media but so far there has been no infor ... read more
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Review of the hardback: 'Stokes has drawn on such splendidly evocative accounts of the plays and players that one almost feels that one was present at some of these - in modern terms - extraordinarily brave and advanced stagings of French drama in London.' The Times Literary Supplement
The French Actress and her English Audienceby John Stokes
View All Available Formats & Editions
For centuries English and French theatrical traditions have had an uneasy relationship with one another: mutual admiration, mutual envy, mutual distrust. Just as the fascination of difference lies in the potential for sameness, so these opposed traditions have observed each other at close quarters and invited each other back home. In this unusually detailed and carefully illustrated book, John Stokes explores the reception of the French actress by the English audiences, from the early nineteenth century to the middle of the twentieth - a period when the relationship between England and France was transformed and redefined. Mlle Mars, Sarah Bernhardt and Edwige Feuillere are among the many actresses invoked; prominent English spectators include William Hazlitt, Charles Dickens, and Oscar Wilde. The result is a vivid coming together of theatre history and cultural studies, and will appeal to scholars of English and French literature as well as students of acting.
Editorial Reviews
Product Details
- 9780521843003
- Publisher:
- Cambridge University Press
- Publication date:
- 03/21/2005
- Pages:
- 232
- Product dimensions:
- 6.10(w) x 9.00(h) x 0.80(d)
Read an Excerpt
Cambridge University Press
0521843006 - The French Actress and Her English Audience - by John Stokes
Introduction: The golden age of acting
It paid apparently, in the golden age of acting, to sit through interminable evenings in impossible places - since to assume that the age was in that particular respect golden (for which we have in fact a good deal of evidence) alone explains the patience of the public.
Henry James1
Sometimes the most beguiling face of the Other belongs to our closest neighbour. That, at any rate, has usually been the case with the tangled relations - mutual admiration, mutual envy, mutual distrust - that have always existed between the English and French theatres. Just as the fascination of difference lies in the potential for sameness, so these opposed traditions have observed each other at close quarters and invited each other back home. There were French actors in London as early as 1629; Charles Ⅱ, who had spent time in Paris, patronised French troupes in the 1660s and 1670s, and although royal hospitality inevitably waned during subsequent reigns, further visits to London took place throughout the 1720s and 1730s. In 1738 there were violent protests when a French company was given permission to open at the Haymarket, and a rather similar situation occurred in 1749 when another French company, backed by David Garrick, tried to establish itself at the same theatre. Again there were riots. Those very first visits had prompted some disquiet at the presence of female performers; later the reasons for protest were economic and political. But continuously volatile relations between two cultures, as well as the financial insecurities typical of all theatre business, only make the number of trips in both directions look all the more impressive.
The eight chapters that make up this book encompass an extended phase in the protracted dealings between theatrical practices that have always been notorious for their formal contrasts. They do so by focusing, in quite precise ways, upon a number of French actresses who appeared in England between the early nineteenth century and the middle of the twentieth: a period of time that saw the emergence, the triumphs and the transformations, the eventual demise of the great Romantic performer, a dynastic line far more narrowly defined than any English tradition, a theatrical transmission that has, in fact, no English equivalent at all. The consistency of theatrical conventions and of play texts were clearly factors, but the Romantic period in France exhibited a complex set of political attitudes at the same time as it mapped out an aesthetic. The Romantic actress became an active vehicle for the expression of history, by turns a contemporary phenomenon, a vision or parody of the past, the living embodiment of lost chances and social cost.
Consequently I pay little or no attention to those other French artistes - singers, dancers - who fascinated English audiences over the decades, and I make few attempts to offer broad generalisations about Anglo-French cultural relations. Theatrical reception is always made up of disparate interpretation. If, on the French side, my emphasis is mainly upon the theatrical conditions that determined their initial appearances, on the English one it is upon the way the actresses were seen and felt by individuals, particularly by writers and artists. These responses were, inevitably, extremely various and I have no wish to force a pattern on a whole range of subjective interpretations, allowing simply for a shared historical moment.
On the few occasions when journeys in the reverse direction are invoked, by the English to France, it is usually for reasons of context.2 Only rarely were the cross-channel visits reciprocal exchanges and there were distinctive and recurring concerns on both sides that were neither intellectually balanced nor historically synchronised. However, the frequency of trips in both directions certainly did increase significantly throughout the nineteenth century. Writing in 1899, Clement Scott, a conservative critic who nonetheless considered himself an advocate of internationalism,3 was able to announce that, in addition to legendary visits to London by the Comédie-Française in 1870 and 1879,
without setting foot in Paris, it has been possible for English playgoers, in a course of years, to become familiar with such varied and special talent as that of Rachel and Sarah Bernhardt, Regnier and Lafont, Bressant and Delaunay, of Lacressionère and Geoffroy, of Ravel and Berton, of Dupuis and Baron and Leonce, of Got and Coquelin. Without even visiting the Boulevards, we have been able to discriminate between Aimée Desclée and Fargueil, and Schneider and Chaumont, and Blanche Pierson and Bartet, and Leonide Leblanc and Pasca, and Granier and Judic, and Jane Hading and Réjane, and who shall say how many more representatives who have their little day and disappear?4
Arranging these seasons was never straightforward, as Scott well knew. Despite his appreciation of the number of those French performers who, within recent memory, had been welcomed in England, he wondered how many playgoers
who, though perfectly familiar with the French play seasons at the old St James's, at the old Princess's, at the defunct Holborn, at the Opéra Comique, at the Gaiety, at the Royalty and the Adelphi, illuminated by Sarah Bernhardt and Coquelin, are aware that in the year 1848 one of the most important companies in Paris, came to London to play 'Monte Cristo' at Drury Lane, and was literally hissed and hooted off the stage by a body of roughs and enthusiasts, who came fully persuaded that English art would be ruined at once and irretrievably if French plays were ever to be permitted at any theatre save the St James's, where they were to be graciously tolerated, but there and there alone. (Scott, 2, 437)
This refers to a salutary moment in 1848 when the Théâtre-Historique had been booed off the stage at Drury Lane and pamphlets had been distributed enjoining Britons 'to stand by the British Drama'.5 The French, it was undeniable, had long made their presence felt simply by virtue of the number of their plays that had ended up, in one form or another, upon the English stage. Yet, as Michael Booth has pointed out, the fact that 'many plays of the time, whether comedies, farces, or melodramas, were taken from the French', does not necessarily mean that the English theatre was moribund or had no identity of its own.6 The range of dramatic material on offer was wide, the acting often vibrant, and performances must always be related to the local milieu, the expectations of experienced audiences. These make it apparent that the French influence was not always stultifying. The most famous joke against the French neo-classical tradition - Mr Curdle's definition in Nicholas Nickleby of the unities as 'a kind of universal dovetailedness with regard to place and time - a sort of general oneness' - occurs alongside Nickleby's own praise of a French piece he has been asked to translate for its 'abundance of incident, sprightly dialogue, strongly-marked characters'.7 It is true that Dickens had little time for Rachel and the kind of tragedy that she represented, but there were plenty of other French performers whose art he enjoyed immensely.
Performers interpreting their own repertoire in their own language make different and probably greater demands upon an audience than plays which have been translated and adapted for local conditions; and, in any case, my primary concern here is not with plays so much as with players, and very specifically with actresses. (I retain the word 'actress', incidentally, rather than the currently preferred and supposedly neutral 'actor', not because the women lacked power - they were often in control and always influential - nor because they were sexually provocative in ways unknown to men - obviously both sexes can be attractive on stage, and to both sexes - but because of the language used about them, and the traditions to which they belonged. Performing women were compared with other women, rather than with men.)
It is also true that actresses have suffered from prejudice and even from persecution as well as having been the beneficiaries of occasional privilege.8 They have been vilified and outlawed for the supposed immorality of their profession; they have been acclaimed for reasons having little to do with their talent; they have had freedoms thrust upon them that other women have been denied - and have then been made to pay a price for an independence they may not have sought. Women on stage have been observed in prurient ways and simultaneously honoured for their uniquely inspirational power. This was overwhelmingly the case with the great French actresses of the seventeenth and eighteenth centuries: a distinguished line of brilliant women courted by writers, admired by their peers, and often scapegoated by their religion. Champmeslé,9 Lecouvreur,10 Clairon:11 it was a uniquely eminent list that had immediately entered legend and to which most later French actresses have had to relate.
Yet for all the achievements of individuals, the English have always been aware that in comparison with their own traditions French acting, both gesture and declamation, appears rigidly codified and ponderously oratorical. This has made heavy demands upon English audiences whilst causing them to be peculiarly sensitive to discrepancies and changes whenever they occur. Add the fact that the same types (emplois) recur throughout the classic French repertoire in a quite unEnglish way - soubrettes, ingénues, grandes coquettes and so on - and the challenge of difference becomes that much greater. It is difficult to determine the ease, or otherwise, with which English audiences, even in quite recent times, could grasp alexandrines delivered at high speed or catch the drift of Parisian argot, could recognise some subtle variation in character or respond to rhetorical and gestural emphases. In the nineteenth century there was a good deal of cynicism about these interpretative abilities from those who admitted to not possessing them,12 though translations were sometimes made available at theatres and the professional critics, at least, do seem to have been remarkably well equipped.
All of which ensured that visits by French actresses were anticipated, scrutinised and analysed with unique intensity. Their charismatic influence upon English culture, by no means confined to those who had a professional investment in theatre, has never been appreciated as the long-lasting phenomenon that it undoubtedly was. The actresses provided stimulus for novelists, poets, essayists, artists of every kind, for whom comparisons between past and present, as well as between contemporary performers, were irresistible.13 And while these oppositions could sometimes work to restrict meaning, and to stimulate an unhealthy appetite for supposed rivalry between women, a spectator sport of a quasi-voyeuristic kind, they could equally generate flashes of insight and shape new definitions, as one dazzling performance lit up another. Together the French actresses constitute a myth of a golden age of acting - a myth for which we have, as Henry James might say, 'a good deal of evidence'.
Underpinning the cross-channel journeys, alongside a wish to entertain, to inspire, and to impress, there was invariably the hope of financial profit and political advantage.14 We begin in the post-Revolutionary, post-Napoleonic period, when mutual curiosity was exceptionally lively, but even then there were still strong precedents lingering on from the previous century.15 On the two occasions (1751 and 1763-4) when he had made extended stays in France, David Garrick had been anxious to meet with the great of the literary and theatrical worlds, an ambition he had achieved. And while he may have felt ambivalent towards French theatre, this did nothing to prevent him from planning for reciprocal arrangements between London and Paris, collaborating with Jean-Louis Monnet of the Opéra-Comique in 1749. Monnet made an initial arrangement with John Rich of Covent Garden for two performances a week. This fell through when Rich backed off, fearing the degree of anti-French sentiment in London. At Garrick's suggestion, Monnet then moved to the Haymarket. What followed was determined more by matters of politics than of theatrical taste: a divided audience made up of pro- and anti-French factions, accusations of disloyalty directed at an MP who had supported the project, fighting in the streets, the intervention of the Lord Chamberlain bringing the season to a halt, eventually Monnet's arrest.16 Nevertheless, the friendship between Monnet and Garrick survived these disasters and Monnet is to be seen as a pioneer. More than a century later, in 1911, he was being invoked as 'an early impresario, a fore-runner of those cosmopolitan managers who have, since his day, led troupes of comedians from Paris to London, New York and the ends of the world'.17
Just as Garrick, with his distant French ancestry, was probably bi-lingual and unquestionably well read in the history and theory of French theatre, Hippolyte Talma, his opposite number in terms of theatrical reform, could claim to have been brought up in partly in London.18 As a boy, he visited London theatres and acted with an amateur company composed of French residents. In the 1780s Lord Harcourt, his friend and benefactor, even mooted the idea of a London branch of the Comédie-Française that would specialise in the classic French repertoire. This came to nothing but it did give Talma an entrée into Parisian theatrical circles and he eventually joined the Comédie himself in 1787, later becoming a determining figure in its complex fortunes during the revolutionary and Napoleonic periods.
Prolonged hostilities inevitably put a halt to any further plans for exchanges between England and France, although there was a short break in 1802, following the Peace of Amiens, when it was possible to visit the continent once more.19 After Waterloo, French performers were back in London in relative strength, though they were for most part culled from popular Parisian theatres such as the Vaudeville. There were regular weekly events organised by aristocratic ladies at the Argyll Rooms, where short plays - farces, one-act comedies, the occasional Molière - would be delivered in the original before music and the dancing of waltzes and quadrilles that went on until one or two o'clock in the morning. These subscription evenings, attracting a Society clientele, were extremely well attended: on one evening in 1819 some '400 fashionables' were reported to be present.20
By comparison with the Argyll entertainments, the series of recitations from French classics eventually given by Talma and Mlle George at the King's Theatre in the summer of 1817, though brief, stands out as a special event. The pair were not only famous stars but they had led highly charged political careers, which made their presence in London notable as a symptom of changing diplomacy as well as a matter of theatrical interest. Despite the considerable courtesies paid them (private boxes for John Philip Kemble's Macbeth), the times were still felt to be sensitive. Invited to speak at Kemble's grand farewell banquet Talma, in the heat of the festive moment, proposed a toast wishing 'success to the British Nation, and to the British Stage', a gesture much appreciated by those present - although he had subsequently to explain it away to his compatriots.21
At the same moment as a changing political climate allowed French performers to come to London so the English, as Fanny Kemble was to put it, began 'as they have since continued, in increasing numbers, to carry amazement and amusement from the shores of the Channel to those of the Mediterranean, by their wealth, insolence, ignorance and cleanliness'.22 Naturally, when in Paris the English headed for the theatres. Sir Walter Scott, in the capital in 1815, declared that 'he never received greater pleasure from any theatrical exhibition' than from a performance by Mlle Mars.23 William Charles Macready, there in 1822, also delighted in Mars: 'Nor was her voice her only charm: in person she was most lovely, and in grace and elegance of deportment and action unapproached by any of her contemporaries.'24
Although there were French actors in London in the 1820s and, although seeing Mlle Mars continued to be one of the recommended experiences for English tourists in Paris, it was not until late in the decade that she eventually appeared in London, at the King's Theatre in 1828. She returned in 1832, this time to Covent Garden, brought over by an adventurous but badly organised actor now turned manager, Pierre Laporte, but there were rows about money and Laporte apparently ended up out of pocket.25 In general, both English managers and French artistes would look to make a sound profit from a London season,26 although the possibilities inevitably reflected organisational changes on the French theatrical scene.
Earlier in the century a licensing system operated in Paris whereby individual theatres were allowed to specialise in particular forms. So, for example, at various times the Variétés, the Vaudeville, the Gymnase and the Palais-Royal were permitted to stage vaudevilles, while the Porte-Saint-Martin, the Gaîté and the Ambigu-Comique offered melodrama. In time these rigid demarcations broke down and the eventual abolition of the licensing system in 1864 led at first to a burst of classic plays in boulevard theatres, but this was short-lived: 'as even the Comédie-Française was discovering at the time, there were more lucrative works waiting to be put on than the classics'.27
Inevitably business fluctuated, despite the general increase in theatrical activity. A commentator writing in 1889 compared the present situation in Paris which, despite the large number of theatres, seemed to be lacking in energy, to 1832 when, although there were only five state-supported and eight commercial or boulevard theatres, the sheer quantity of plays staged was overwhelming.28 A modern historian notes the overall growth that followed 1864: 'by 1882 the eleven theatres operating in Paris in 1828 had grown to twenty-three, and the total revenue had risen from 4,789,000 francs to 20,168,000 francs'.29 The figures are complex and hard to judge but it does seem clear that the Parisian theatres saw a steady increase in profits in the course of the century, some of it due to the tourist trade, and that this bottomed out in the early 1880s. That same pattern of growth and slump may be reciprocally reflected in the regular appearances of French performers in London; stars could easily find material ripe for export among all the diverse theatrical activities of their home town and turn to their London seasons as a useful source of additional earnings in the event of a downturn.30
The first figure to make major profits through the wholesale importation of French performers was John Mitchell, a Bond Street ticket agent, whose clients included Queen Victoria herself.31 Mitchell's entrepreneurial skill lay in his creation of a stylish Society event. In 1842 he took possession of the St James Theatre in King Street, an elegant new building that had been raised on the site of an ancient inn some seven years earlier. Even before Mitchell's time the programme at the St James had had a French inflection: a new farce, The French Company, staged in 1835, had a character purporting to be a star of the Comédie-Française and in 1836 Jenny Vertpré, already a popular London performer, was in residence with a permanent company that invited established French stars to join it for short engagements. The repertoire included Tartuffe and Le Mariage de Figaro. Success with more home-grown products was limited: The Village Coquettes, a comic opera by Charles Dickens and John Hullah, ran for a mere twenty nights, and in the later 1830s there was even recourse to the kind of animal acts which had proved so successful at Drury Lane. But French ballet and German opera did well and when Mitchell took possession of the theatre he capitalised on this precedent by inviting more foreigners and by instigating a series of annual seasons that ran for some twelve years, causing the St James sometimes to be known simply as 'The French Theatre'. Among French actresses, Plessy, Rachel (who had made her English début at Her Majesty's in 1841 but who appeared for Mitchell throughout the 1840s right up until her last London performance in 1855), Déjazet, Vestris, Doche, Rose Chéri, all starred at the St James; among French actors: Perlet, Bouffé and Lemaître.
Mitchell's French seasons took place early in the year and such was his theatre's prestige that they attracted a formidable Society audience. As the Morning Post was able to proclaim in 1845:
Here fashion plumes its wings for more enlarged re-unions - the coteries, freed from the confined limits of the salons of the country mansion, now rejoice at the sight of the painted canvas - the real now gives place to the artificial - and fine ladies and fine wits, and MPs and captains on leave, breathe more freely in the gas-freighted atmosphere of the theatre, than in the halls decked with freshest flowers - the wit of the stage and l'esprit of the actors save the necessity of personal effects - and infinite is the profit of the exchange. The announcement of the French Plays is to London what the dove was to the ark - the various orders essay to leave their hum-drum domesticity, and rush to Mitchell's Library to secure stalls and boxes. Bearded precursors, like the pioneers of the Imperial army, precede the troupe, and give 'note of preparation'; while fresh relays of myriad bonnet-boxes rejoice the various streets and outlets of St James's Square.
Even the limited capacity of the St James proved to be an asset:
Its size secures its exclusiveness, and imparts to it rather the air of a distinguished family performance than that of a public theatre - and we confess that when we weigh the large sums paid to the artistes, and the innumerable contingent expenses of such an establishment, so confined in its limits, we are greatly astonished at the courage and perseverance of the manager. The programme is singularly rich in names of Parisian dramatic celebrity; the company has been selected with great judgment, and the appearances of the stars have been so arranged that a succession of variety is secured. As each of the celebrities has a peculiar style, and the dramas have been written for their especial interpretation, a positive excellence in the principal character and in the ensemble may be with safety reckoned upon.32
That same year, 1845, Mitchell arranged for Macready and Helen Faucit to appear in Hamlet in Paris, and for a time he had plans to establish there a sister theatre to the St James, though these never materialised. The Rachel seasons remained his greatest triumph; so proud was Mitchell of his association with the actress that he presented the Comédie-Française with a portrait of her to hang in its galleries.33 In 1854 Mitchell retired from the St James, but foreign entertainers and French companies continued to appear at theatres through into the 1870s, including one run by Raphael Félix, Rachel's brother. At the turn of the century the St James prospered under the patrician rule of the actor-manager George Alexander before becoming notable for a time as the home of thrillers and other more lightweight diversions. It is at least historically apt that it should have been there that, more than a century later, in 1951, the Renaud-Barrault Company would take up a brief but impressive residency featuring Edwige Feuillère, and in 1953 that the same theatre would host a visit from the Comédie-Française. My final chapter places the great success of Feuillère amidst a renewed bout of francophilia brought on by the cultural deprivations of a European war in which the French had been seen as allies.
Following on from Mitchell's pioneering stint at the St James, the most ambitious manager in the business of importing French stars in the latter half of the century was John Hollingshead, who ran the Gaiety Theatre (itself based on the Théâtre Lyrique in Paris) between 1868 and 1886. Once again, it was a highly entrepreneurial venture, as Hollingshead makes quite clear in his various autobiographies, where he likes to refer to 'speculations' that were his own 'and no one else's'.34 The Paris Commune of 1871 had caused some members of the Comédie-Française to flee to London, where they had made a substantial impression; Hollingshead's greatest coup was to bring the company over in its entirety in 1879. Even if the visit did fire an idealistic movement for an endowed theatre in England, the 1879 negotiations 'were conducted in a purely commercial spirit. Whatever worship of art there may or may not have been in the transaction was discreetly kept in the background on all sides'.35 Hollingshead's invitation was at first resisted by the then Director of the Comédie, Emile Perrin, who feared that if the company left Paris it would jeopardise its state payment of some £10,000 a year. In the event, Perrin was able to accept because its Paris home needed large-scale redecoration, which would in any case involve closure of the theatre. The London season therefore suited everyone. Perrin, 'a gentlemanly merchant', says Hollingshead, was obviously a skilled bargainer and he demanded that the company be paid in advance week by week over the six-week season. Hollingshead recouped by doubling the normal seat prices; he could at least be sure of a full house on the evenings when Sarah Bernhardt was due to appear. These were so popular that a black-market system was in operation - from which, of course, Hollingshead claims not to have benefited. Even so, the financial details that he provides reveal the tremendous impact that Bernhardt's presence had upon attendance figures and make it even less surprising that she should have left the Comédie soon after her London triumph. Not that Bernhardt was the first star, by any means, to have chafed against the restrictions imposed by the national company. Both Rachel and Plessy had done so, making their London appearances all the more financially pressing and, with luck, rewarding. Having spotted a market opportunity, Hollingshead brought Bernhardt over in 1882 and by the following year he could boast that he had organised ten seasons of French plays.
Back in the 1840s the St James had found success as the London home of French drama partly because of Mitchell's deliberate policy of inviting performers of many kinds, a pattern followed later by other managements, who imported individuals and companies from the whole spectrum of Parisian theatres: vaudevilles from the Variétés, farces from the Palais-Royal, controversial modern melodramas from the Gymnase. By the 1860s, when inferior French companies looked for a London season, Hollingshead was able to remind them that 'English people and especially Londoners, are almost as familiar with the best performances in Paris as the Parisians themselves'.36
The English could certainly be critical - even, or perhaps especially, when they visited the Comédie-Française at the theatre in the rue de Richelieu. The acknowledged prestige of an ancient house did little to alleviate mixed feelings, in which respect and alienation were combined.37 When Hollingshead found himself being taken around 'The First Theatre in Europe', he was initially struck by 'the stage-entrance and the porter's lodge very lofty, clean and quiet; very unlike the dismal and dirty dens which architects have planned for the stage-entrances of most London theatres', as well as by 'a broad, richly-carpeted staircase', 'walls adorned with portraits of past literary and artistic celebrities' and a large Green Room which 'was like a room in the palace of Versailles, loaded with portraits of those who had done honour to the theatre from the old days of its foundation'. This magnificence contrasted strongly with the front of house where 'our seats were narrow and cramped, the floor was dirty and uncarpeted, and the dust in the spaces at the back of the seats staring us in the face might have been taken out with a small shovel'. Most of all Hollingshead was distressed by the quality of the drama on offer, specifically by Dumas fils's L'Etrangère. He concluded:
The mission of the Théâtre-Français, if it has a mission, is certainly not to take away from the Gymnase or the Vaudeville a commonplace drama of shallow conventional intrigue, which would do no credit to any theatre. The Théâtre-Français does not draw eight or ten thousand pounds sterling per annum from the pockets of the French taxpayers to produce such a tawdry piece of French dramatic workmanship as this play. By producing 'L'Etrangère' it has probably put money into the pockets of its sociétaires, for the piece is undoubtedly popular; but the Français is subsidised to fly in the face of popularity, if popularity is only to be gained at the expense of art.
Too many people in England regarded the Théâtre-Français with 'a blind and superstitious reverence - the offspring of hearsay and ignorance', whereas Hollingshead, the individualist businessman, was 'accustomed to be governed by what I see, and not by what other people tell me'.38
© Cambridge University Press
Meet the Author
John Stokes is Professor of Modern British Literature in the Department of English, King's College London.
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text:
UFC Fight Night 44
Swanson vs. Stephens Date: June 28, 2014
Venue: AT&T Center
Location: San Antonio, Texas
Main Card (on Fox Sports 1)
Cub Swanson (20-5) vs. Jeremy Stephens (23-9)
Kelvin Gastelum (8-0) vs. Nicholas Musoke (12-2, 1 NC)
Cezar Ferreira (7-3) vs. Andrew Craig (9-2)
Ricardo Lamas (13-3) vs. Hacran Dias (21-2-1)
Clint Hester (10-3) vs. Antonio Braga Neto (9-1)
Joe Ellenberger (14-1) vs. James Moontasri (7-1)
Preliminary Card (on Fox Sports 1)Colton Smith (3-3) vs. Carlos Diego Ferreira (9-0)
Johnny Bedford (19-10-1, 1 NC) vs. Cody Gibson (11-4)
Marcelo Guimarães (8-1-1) vs. Andy Enz (7-1)
Ray Borg (6-1) vs. Shane Howell (13-7)
Preliminary Card (on UFC Fight Pass)
Oleksiy Oliynyk (48-9-1) vs. Anthony Hamilton (12-2)
UFC Fight Night 44 Start Times
Main Card on Fox Sports 1: 10 p.m. ET / 7 p.m. PT
Preliminary Card on Fox Sports 1: 8 p.m. ET / 5 p.m. PT
Preliminary Card on UFC Fight Pass: 7:30 p.m. ET / 4:30 p.m. PT
Stipe Miocic didn't have to wait long to find his first challenge for the UFC Heavyweight Championship. The promotion announced Wednesday that the champ will return to the ring Sept. 10 for a bout ag read news >>
Titan FC officials on Thursday revealed to MMAWeekly.com that the promotion has inked its first deal with a female fighter. read news >>
Watch the UFC Fight Night 87: Overeem vs. Arlovski Post-Fight Press Conference, shortly after the event, live on MMAWeekly.com. read news >>
Former UFC middleweight champion Anderson Silva underwent successful gall bladder surgery Wednesday morning, his manager told MMAWeekly.com. read news >>
Watch the Bellator 155: Carvalho vs. Manhoef preliminary bouts LIVE STREAM on MMAWeekly.com on Friday at 7 p.m. ET. read news >>
In advance of the June 4 event, UFC will host a media conference call with the UFC 199: Rockhold vs. Bisping 2 main and co-main event stars at 5:30 p.m. ET. read news >>
Three contests have been added to Bellator 156: Galvao vs. Dantas 2 on June 17 at Save Mart Center in Fresno, California, completing the fight card. read news >>


text:
To subscribe to our monthly updates, email firstname.lastname@example.com
Join in our next event- more details here
Prepare to be entertained, amused and shocked by
Just Eat It!
Come along to see our showing of Just Eat It in the Garden Room at St.Paul's Church complex on Blandford Road, St.Albans at 8pm on Tuesday 7th June.
This is part of the run up to this year's Sustainable StAlbans Week which will this year have the theme of sustainable food. We'll have more information about this year's event and ideas on how you can be involved.
Donation of £5 on the door to cover film licence and room hire.
Tea and coffee and home made refreshments made using unwanted ingredients available.
Great British Bee Count 2016 - Sign up
Join Britain's biggest bee survey from 19 May to 30 June 2016.
Our tiny bees make a huge difference to our lives. We can thank them for our food, garden plants, and crops. But our bees are under threat and they need our help.
Sign up now for the Great British Bee Count and do something positive for our bees.
There's always more you can do to help our bees - take a look at some ideas
We are asking Hertfordshire County Council to divest from fossil fuel investments! Please sign our petition here. It only takes a moment.
Hertfordshire County Council Pension Fund has £129,078,000 invested in Fossil Fuel industries,including BG Group PLC, Royal Dutch Shell PLC and Rio Tinto PLC.
Fossil fuel industries make up 3.71% of the pension fund.
Herts County Council has carbon emission reduction targets while continuing to invest in fossil fuel companies, which increase emissions across the UK and globally.
We need national and local investment in renewable energy companies and infrastructure and we need major institutions including local government to divest from fossil fuels
Find out more on the Divest Herts website
What are we asking Hertfordshire County Council to do?
Immediately freeze any new investments in fossil fuels
Divest from direct ownership and any commingled funds that include fossil fuel public equities and corporate bonds within 5 years
How can schools help? For lots of information and ideas take a look at our Schools Page - including details on making your own bug hotel.
We're looking for more schools who would like to become more bee friendly. We can help you transform a small piece of land near their school into a flower rich wonderland for bees, bugs and humans to enjoy, or to build a bee and bug hotel using recycled materials.
Is your school up for it? Get in touch at email@example.com
Take a look here at what your St.Albans parliamentary
candidates had to say on issues of sustainability and fairness -
remind yourself what they promised!
Our thanks to Ivor Kellock for his help with this video.
Copyright St Albans Friends of the Earth 2008 email: firstname.lastname@example.com


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Season 34, Episode 15 Saved by the Sun
First Aired: April 24, 2007
The promise of solar energy is examined. Included: the world's largest solar-thermal plant, at Kramer Junction in the Mojave Desert; solar-powered homes; and comments from Sarah Kurtz, who helped design the solar cell that's powering the Mars rovers; Caltech chemistry professor Nathan Lewis, who is working on a "solar paint" to turn homes into solar cells; and Rocky Mountain Institute cofounder Amory Lovins, who'd like the U.S. to transition from fossil fuels by 2040.
Next On TVSee all »
Sun May 29 1:00am
Colosseum: Roman Death TrapSeason 42, Episode 14 PBSI'll Watch199 Watching
Cast & Details See all »
- Premiered: March 3, 1974
- Rating: None
- Premise: PBS's premier science-documentary series, which has won six Peabody Awards and more than 20 Emmys (four in 2002 alone) since its 1974 debut. `Nova' clearly, and often engagingly, `demystifies' a vast range of science, technology and history topics---past a… (more)
Trending TonightSee all »
Wynonna Earp
Wynonna Earp9:00 pm | SyfyI'll Watch137 Watching
Roots7:00 pm | A&EI'll Watch124 Watching
Real Time With Bill Maher9:00 pm | HBOI'll Watch106 Watching
Antonio Carlos Jobim and the Art of Bossa Nova: Jazz Play-Along Volume 8
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Popular Shows
- 1. Game of Thrones
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1977 chevrolet monte carlo second hand
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1977 Chevrolet Classic Monte Carlo Landau
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11 year old 14.2hh built like a tank Quarter horse/ morgan mare. I bought this mare for my daughter but she is a little to much horse for a total beginner…$2,000 CAD
Wylye is a fancy , kind boy showing fluid movement in all 3 gaits, has been competed to 3rd level. He has auto changes and we have been working on tempi…$35,000
Jiggy is a very gentle boy, he is broke to ride, pack and was used in harness. He has been on mountain pack trips and hunting trips in the Chilcotin and…SOLD
1/2 andalusian gelding 6 yrs. old 15.1 hh going well with ground work loves to learn,Not started under saddle because family health concerns . From champion…SOLD
Coming 3 year old Paint mare. Had 10 rides on her in October 2012, trainer said out of the 50 horses he had rode she was in his top 5. Needs someone to…SOLD
SALE PENDING 5 year old Registered Paint Gelding. Started, good on trails, good with farrier/worming etc. Been around a bit of cattle. Needs time put on…SOLD
Going well under saddle, loves the trail, but would be a great jr./ sm. ladies dressage or jumper. Champion Andalusian bloodlines.Price Neg. to approved…SOLD
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Santa Barbara, CA


text:
I'm a regular reader of your magazine here in the UK. I would really like to see a good, well-researched story on IP SANs, iSCSI and Linux. I've been noticing lots of activities in this area, and it looks like Linux is playing a big role in this. I got involved in the subject because I'm on a committee that should (supposedly) decide on network storage strategies at our place (News International, big corporation). There are a couple of small companies already offering iSCSI targets, and all of them appear to be Linux-based. See for instance www.pyxtechnologies.com (this is Andre Hedrick) or technomagesinc.com. The subject is pretty hairy. If you want more information or links, let me know.
—Antonio Cordova, Pre-Press Consultant, News International
I saw, in the September 2002 issue of LJ ["What Has 1.1 Terabytes, 9,503 BogoMips and Flies?"], a project system that listed the CPU performance in BogoMips. What is a BogoMip, and how is it measured?
—Frank Jansen
BogoMips are a measurement of how fast the kernel runs a simple delay loop. See the BogoMips Mini-HOWTO at www.tldp.org/HOWTO/mini/BogoMips.html.
What font are you now using in the headlines on the cover of your magazine? I know this is a strange question, but I rather like that font, and being a graphic designer, I would like to use it.
—Tiago Oliveira
Lydia Kinata replies: We use the DaxWide font family on the cover and for article titles and headers within the magazine. DaxWide comes in several weights, from very light to "Extra Black". It's a very useful font.
I read your article on secure PHP applications in Linux Journal, October 2002, and I thought it was quite useful. An additional source of information on the subject is the "The OWASP Guide to Building Secure Web Applications and Web Services" (www.owasp.org/guide). A lot of "good practices" are combined in a single document.
—Peter Fokker
I know some people think the "battle" between Linux and Microsoft is a religious quest, but the letter from Renato Carrara is just plain silly. [See the "Don't Run Microsoft Ads" letter in LJ, November 2002]. A magazine is a business proposition, and ads pay for the magazine. As long as they don't flagrantly violate good taste, magazines should run whatever ads are proffered. Microsoft is probably astute enough to understand it would not find a receptive market here.
—Gary W. Nickerson, Director, Information Technology, Rockefeller Brothers Fund
In the November 2002 issue, "2002 Readers' Choice Awards" (page 72), the number of voters given in the first paragraph is incorrect. It should read "Almost 6,000 voters...".
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|Working with Command Arguments
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|Secure Desktops with Qubes: Installation
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|CentOS 6.8 Released
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|Secure Desktops with Qubes: Introduction
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|May 25, 2016
- Secure Desktops with Qubes: Introduction
- Secure Desktops with Qubes: Installation
- Download "Linux Management with Red Hat Satellite: Measuring Business Impact and ROI"
- Working with Command Arguments
- CentOS 6.8 Released
- The Italian Army Switches to LibreOffice
- Linux Mint 18
- ServersCheck's Thermal Imaging Camera Sensor
- Chris Birchall's Re-Engineering Legacy Software (Manning Publications)
- Petros Koutoupis' RapidDisk
Geek Guides
Until recently, IBM's Power Platform was looked upon as being the system that hosted IBM's flavor of UNIX and proprietary operating system called IBM i. These servers often are found in medium-size businesses running ERP, CRM and financials for on-premise customers. By enabling the Power platform to run the Linux OS, IBM now has positioned Power to be the platform of choice for those already running Linux that are facing scalability issues, especially customers looking at analytics, big data or cloud computing.
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text:
Bring a buddy.4.55 / 5.00 9,932 Views
Yugi and Kaiba have a duel to the death!4.46 / 5.00 36,818 Views
Vampire Pixel in the Neon City
A sinister deal is underway in the underbelly of Neon City4.34 / 5.00 11,368 Views
"I can hear you asshole!"
-Tom 2005
Matt did not appear. It only included Tom, Edd, and Tord
Hang on... Whare's Matt?
When Tord explained to the interviewee he said that Tom would call Tord a Commie and Tord would respond to Tom by calling him a Jehovah Witness you could hear Tom yell "Screw You asshole!"
When I heard that I lol'd so hard.


text:
Next-generation sequencing of BRCA1 and BRCA2 in breast cancer patients and control subjects.
Balabanski L, Antov G, Dimova I, Ivanov S, et al.Mol Clin Oncol. 2014 May;2(3):435-439.
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In Science this week: CRISPR-based barcodes to trace cell lineages, and more.
The director of the National Institutes of Health Francis Collins sang the national anthem this week before a baseball game.
French researchers criticize unexpected government plan to cut research funding, ScienceInsider reports.
Jeremy Berg is to be the next editor in chief of Science magazine.
Privacy Policy. Copyright © 2016 Genomeweb LLC. All Rights Reserved.


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This part fits the following Toyota Tacoma trims: Dlx Mirror
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text:
These animal illustrations, entitled Word Animals and formed out of letters in the name of animals, are created by Melbourne-based graphic designer Dan Fleming. The cute animals include money, crocodile, snail, flamingo, elephant, etc.
Via deisgntaxi
By Monica on Sun Feb 24 2013
By Monica on Sun Feb 24 2013
Rule by Poorly Drawn Lines.
Estately crunched the data and came up with what questions states disproportionately ask in Google...
message in a bottle by xkcd
College Humor has put together this handy flowchart to assist in determining which pet is best...
As the infographic below shows, the answer is quite a lot. A lot of factors are at play when...
How Much Would Darth Vader's Suit Cost, not only is it a spacesuit, but it's a spacesuit with a...
By Wrong Hands.
How Long Do Animals Live?
"Which Pet Should You Get?" by Caldwell Tanner of College Humor.
Artists Jason Freeny, Ben Qwek, and Adam Tan worked together with Mighty Jaxx to create XXRAY, a...
Photographer Patrick Hall films people's reactions as they get shocked with a handheld stun gun.
"Anatomy of Generations" by illustrator John Atkinson of Wrong Hands.
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List all words ending with ankerite
Only the word ankerite was found, nothing longer.
Some random words: dun nomina naked eerie ofay other we
This is not a dictionary, it's a word game wordfinder.
- Help and FAQ - Examples - Home
Privacy and Cookies Policy - Share - © Copyright 2004-2016 Morewords.com - 88.245mS


text:
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Celebs With Crayon-Colored Hair!
| September 27, 2012 - 3:43 pm
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$3,000 1993..Harley Davidson FLSTN Heritage NostalgiaHarley-Davidson · Raceland, LAThe bike number 480 out of 2700. This is in excellent condition, just as nice as the day it left the dealership. It is a non molested mot...Josephharrison J. · 4 days ago
$5,000 1969..Triumph Bonneville T120Triumph · Lake Spivey, GA1969 Triumph Bonneville T120. Complete and correct frame up matching numbers restoration, with only 900 miles. Runs like new, first kick ...Andremichelson A. · 4 days ago
$3,255 1932 Indian Chief VINTAGEIndian · Edmonds, WAlooking at.1932 Indian Chief VINTAGE, For sale rare matching number 1932 Indian Chief. 99 point AMCA winners circle motorcycle last judge...Elizabethe B. · 4 days ago
$5,800 1939..Zundapp K800Zundapp · Ashburn, VAZundapp was a large scale motorcycle manufacturer in Nuremberg Germany between 1917 and 1984. Production of the K-series began in 1933 an...Robertsublett R. · 4 days ago
$3,750 1947..Harley Davidson WL 45 FlatheadHarley-Davidson · Altoona, PAThere are obviously some repop parts as well as a lot of good originals. I believe the tank and fenders are original. Front fender is obv...Rosebell R. · 4 days ago
$3,500 2007 Honda Shadow Sabre MotorcycleHonda · Jacksonville Beach, FLBlack with Flames Motorcycle Cruiser. Model Type: Cruiser Condition: Used - (Excellent Condition) Miles: ONLY 6900 - Perfect Runni...Michael H. · 5 days ago
$4,600 1979..Ducati Ssd 900 DarmahDucati · Severance, COELECTRIC START , UPDATED ELECTRICS , BRAKES ,OHLIN'S SHOCK , NEW FORK SEALS , GREAT SOUNDING EXHAUST. POWDER COATED FRAME AND RIMS , PAIN...Larrymartinez L. · 4 days ago
$8,400 1953/.Indian Chief RoadmasterIndian · Elk Grove, CAComplete restoration, just completed with 61 break in miles. 80 inch with Bonneville cams and followers, this bike has a linker carb, bu...Madelinethayer M. · 4 days ago
$3,000 2009 Harley-Davidson TouringHarley-Davidson · Gonzales, LASTOp,Extras include factory ABS/Anti-Lock Brakes, Screamin' Eagle high flow oval black air cleaner kit w/ rain sock, Screamin' Eagle Race...Jannet O. · 4 days ago
$2,746 2012 Kawasaki Ninja ZX6RKawasaki · Ringtown, PAJump,This bike is in excellent condition and runs great. The bike has been lowered about 1 inch and it sits great. It has no scratches or...Cindy H. · 4 days ago
$2,800 2006 Harley-Davidson : Softail FLSTNIHarley-Davidson · Holloman AFB, NMUp,This bike looks to be really well taken care of and runs and rides out like new. The upgrades on this unit really set it apart from th...Olivia M. · 4 days ago
$2,600 2010 Bmw S1000rrBMW · Springfield, TNMade,Weighing only 404 lbs, and putting out a claimed 193 hp, this is one of the most potent, sophisticated and lightest sport bikes ever...Lisa J. · 4 days ago
$2,056 2 0 0 9 Ktm Duke 690KTM · Amarillo, TXThe bike does not have any scratches at all on it and it has never fallen. I rode it a few times lately and it is running perfect. I adde...Lana M. · 4 days ago
$2,900 2009 Harley Davidson Street GlideHarley-Davidson · Lehigh Acres, FLTo Low miles. 96" motor & 6-speed. The Street Glide comes standard with HK premium cd stereo, lowered suspension, trimless fenders, & muc...Alicia K. · 4 days ago
$3,400 1/9/4/1 Indian Four CylinderIndian · Indianapolis, INI purchased it from a Georgia gentleman who won it in a drawing from the AMA museum. It was reported to be mostly original , a possible f...Donna W. ·2 listings · 4 days ago
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Screen Actors Guild 2008
SAG Awards: The Actors Arrive!
Brad and Angelina's big entrance, Eva Longoria's train accident, Christina Applegate and more from the red carpet outside the Shrine Auditorium
Published: Sunday Jan 27, 2008 | 09:20 PM EST
More from PEOPLE
Latest News!
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- Tracy Anderson Says Jennifer Lopez's Kids Love to Crash Mom's Workouts: 'Max Is so Full of Energy'
- Popping Bottles! Justin Bieber Helps Celebrate Lewis Hamilton's Grand Prix Win by Taking a Giant Swig
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Bring a buddy.4.55 / 5.00 9,826 Views
Yugi and Kaiba have a duel to the death!4.47 / 5.00 36,311 Views
Vampire Pixel in the Neon City
A sinister deal is underway in the underbelly of Neon City4.34 / 5.00 11,281 Views
Lew gherics disease, WTF!?
That's so funny if you read the sins book fast enough because it's all the same from the page before it!
What teh shit ?!?!?
Kobe Bryant !!! Please don't rape me ... hahahaha
this is unforgetable !!! hahaha
And that sin list !!! lolll
beebo is my cat...
wow that was funny
BEEBO 4 is awsome man
yeah man BEEBO 4 is one of the FUNNYIST flashis on this web site MAN
This is one of my faveorite beebo parts


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Bring a buddy.4.54 / 5.00 9,335 Views
Yugi and Kaiba have a duel to the death!4.48 / 5.00 33,757 Views
Vampire Pixel in the Neon City
A sinister deal is underway in the underbelly of Neon City4.34 / 5.00 10,791 Views
im still watching ur 19 birthday video
Your song...
I loved it. It was short, simple, and well written. I can also really relate to it, since the same thing is happening to me this year. Great job.
I turned 20 june 8th. It's fun, huh?
At first
I didn't think it was gonna be going anywhere but then the song started and I i changed my whole opinion. I am 21 and I'm still a jack off but I love it. No need to fear age, you just do the same shit with gray hairs.
happy birthday
to you.
you are 20 now, but don´t pressure yourself to much you are still young : D
I am younger than you... but enjoy these years as much as you can, like me : 3


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Genesis Games
This page contains Cheats for Animaniacs organized by sections for Genesis. This game has "Action Platformer" as genre, made by Konami, released on May 14, 1994. If you can't find a hint or secret in our list, then please check this page periodically for the latest updates.
Sponsored Links
Boxshot & Details
- Developer: Konami
- Publisher: Konami
- Genre: Action Platformer
- Release: May 14, 1994
- ESRB: Not Set
Use one of the following Passwords:..From: roro98
Submit Cheats
If you know cheats, secrets, hints, glitches or other level guides for this game that can help others leveling up, then please Submit your Cheats and share your insights and experience with other gamers.
Stuck in this game? Set a specific, clearly defined question and let other gamers answer your question or view answers to previously asked questions. If you think you are an expert then please try to help others with their questions.
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Trailers & Gameplay Videos
Animaniacs - Gameplay Footage
- May 28, 2014, Views: 36
View All Videos
Animaniacs - Intro
- May 28, 2014, Views: 52
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Bring a buddy.4.51 / 5.00 6,962 Views
Yugi and Kaiba have a duel to the death!4.47 / 5.00 27,169 Views
Vampire Pixel in the Neon City
A sinister deal is underway in the underbelly of Neon City4.39 / 5.00 9,272 Views
haha oh man
i haven't laughed that hard in a flash movie in a long time. could have done without that annoying guy. but damn that was so funny. sweet job. CRAB BATTLE
gr8 work
lol hilarious! laughin for long
Dude, do you even know what you have here?
This, good sir, is how a flash is supposed to be made. I couldnt stop laughing. I grant your product a spot in my Favorites, where only three other movies reside. MAKE MORE, DAMMIT!
God that made me laugh so much, man that crab kicks butt.
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Funny stuff.
Thanks for making this. Gave me a good laugh. Nicely done. :)


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The Environmental Protection Agency (EPA) issued a notice announcing the Vessel General Permit (VGP) program as part of the National Pollutant Discharge Elimination System (NPDES) under the Federal Water Pollution Control Act (FWPCA).
A federal court previously ruled that the long-standing exemption from the NPDES permitting requirement was invalid and directed that the exemption be vacated as of December 19, 2008. The VGP program has been developed in response to that ruling. The program addresses 28 separate discharges from ships including, but are not limited to, ballast water discharges, deck washdown and runoff, bilge water, gray water, seawater cooling overboard discharge, controllable pitch propeller hydraulic fluid, and hull husbandry.
Covered vessels (basically commercial vessels, foreign and domestic, of 79 ft in length and greater) operating on navigable waters of the United States have to adopt best management practices for each of these waste streams. In addition, covered vessels of 300 gross tons and greater will have to submit Notices of Intent (NOIs) relating to these discharges. The EPA also released its 163-page VGP permit and a 126-page Fact Sheet and a 180-page Economic Analysis.
Finally, it released the State and Tribal Certifications related to the VGP program. The EPA also issued a news release stating that the program affects approximately 61,000 domestic vessels and 8,000 foreign vessels. Note: Subsequent to the signing of this notice, the federal court granted a motion to delay implementation of the VGP program until February 6, 2009. This is a work in progress and there are certain to be further developments. 73 Fed. Reg. 79473 (December 29, 2008).
(Source: Holland & Knight)
Maritime Today
The Maritime Industry's original and most viewed E-News Service
The designs for a multi access zero emissions cargo ship will be unveiled at the 5th Natural Propulsion Seminar in Wageningen, Netherlands, on Tuesday, May 24.
Australia's NSW Environment Protection Authority (EPA) has fined Carnival PLC $15,000 after one of its P&O Cruises ships, the Pacific Jewel, breached new low sulfur fuel regulations in Sydney Harbour.
For over one year the HUMMEL has been contributing to improved air quality at the port of Hamburg. Becker Marine Systems' LNG Hybrid Barge will also be supplying
Japan and Canada share "serious concerns" over reclamation and militarisation in the South China Sea, Japanese Prime Minister Shinzo Abe said on Tuesday, in an
The Atlantic Ocean could be gearing up for an active hurricane season, meaning North American residents may want to pay attention.
In recent years, single hurricanes
Indian Merchants' Chamber provides a platform to urban developers to address various issues pertaining to the restructuring of Mumbai City
Mumbai, May 23, 2016:


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I used garden grocer when I went to Disney World, and my order got there before I did. The online process was easy, and they delivered as promised.
I used Garden Grocer for a recent trip we took to Disneyworld. I placed my order about a week before we arrived. I received a text from Garden Grocer the day we arrived letting me know that my items had been delivered. I had bell services deliver my items. So convenient!!! I will definitely being using Garden Grocer on our next trip to Disney. :)
Couldnt be happier with the service. Nothing like showing up and the beer is in the fridge!


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When the crew beams a big pile of ship aboard, they decide to beam down to a planet with a frozen fart-based atmosphere to investigate. The DustBuster club quickly find themselves trapped in a nightmare vacation to Vegas. Is Worf behind the lack of door locks on the Enterprise? Is Picard's love of trashy novels distracting him from mounting a sincere rescue operation? Is playing along with a bad book the only way to escape it? It's the episode where we declare that we're here to defend democracy, not necessarily to practice it. Show notes
Scott Tobias and Genevieve Koski of The AV Club bring us their recommendations – the thriller We Need to Talk About Kevin starring Tilda Swinton, in wide release in February, and the award-winning comic fantasy series Locke & Key.