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reviews. It had been common for reviewers to wait a few days before writing about a production. Scott insisted that the paying audience on the first night should expect to see a fully fledged production, and not one where the leading characters did not know all their lines. Theatre managers disliked the opening night reviews when they felt that a new piece had not had time to settle down yet. On the other hand, Scott supported actor-managers of his time by providing them with translations of popular French plays and with his own plays.
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418:, whose plays were notable for treating contemporary British subjects in realistic settings. Later, he favoured the grand and spectacular type of London theatrical production which had developed with new types of theatre building, electric lighting and technologies allowed more and more adventurous staging. As time went on, he became strongly conservative and opposed to the new drama of Ibsen and
422:, arguing that domestic intrigue, sexual situations and wordy philosophising were inappropriate for an evening at the theatre, and even harmful to society, especially young women. Scott especially became embroiled in legal claims through his outspoken criticism of various actors and actresses. His scathing attacks on Ibsen and Shaw became evident in their lack of journalistic neutrality.
429:
in 1898. He said that the theatre warps people's character and that it was impossible for a pure woman to be successful in a stage career, and that all leading actresses were immoral and could have achieved their success only by virtue of the extent of their "compliance". Even before the publication,
42:
and other journals, and a playwright, lyricist, translator and travel writer, in the final decades of the 19th century. His style of criticism, acerbic, flowery and (perhaps most importantly) carried out on the first night of productions, set the standard for theatre reviewers through to today.
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Scott played an important part in encouraging a more attentive attitude by theatre audiences. In his early days, it was not uncommon for audiences to be very boisterous and noisy, frequently booing and talking during productions, especially through the overture. He also insisted on first night
58:
and others. After he gave a particularly ill-considered 1898 interview, in which he attacked the morals of theatre people, especially actresses, he was forced to retire as a theatre critic, and his reputation and prospects suffered badly until, by the end of his life, he was impoverished.
434:
was forced to dismiss him. He soon retired and found his reputation and prospects much diminished. By the end of his life, however, he received a measure of forgiveness, and shortly before his death the theatre community held a generous benefit for him.
382:
and the support of its proprietor, J. M. Levy, allowed him to pioneer the essay-style review of drama, which came to replace the earlier bare notices. His column of notes and reviews became very popular throughout
Britain, and later his own magazine,
309:, and the couple had four children. She died in 1890, and he remarried Constance Margaret Brandon, an English journalist and actress, in San Francisco. Scott's long-time wish to be elected a member of the famous literary gentlemen's club, the
136:
in 1863 but held the position for only two years because of the intemperance of his published opinions and his unpopular praise of the French theatre. In 1871, Scott began his nearly thirty years as a theatre critic with
252:
and abroad, becoming known for his florid style. Scott's travels also inspired his creative writing. Some sources say that after a tour of New
Zealand, he wrote the tune to the "Swiss Cradle Song", later adapted as
290:. His writing was responsible for members of the London theatre set visiting and investing in homes in the area. Ironically, he was unhappy at the result of his popularisation of this previously pristine area.
430:
the transcript of the interview was released to the press, and Scott immediately received a firestorm of condemnation. Although he apologised and recanted his remarks, he was barred from theatres, and
425:
Scott outraged the theatre community with an extraordinary attack on the morals of theatre people in general, and especially of actresses, in an interview that was published in the evangelical weekly
236:(1878). Their adaptation so pleased the composer that he volunteered to write some new music for the English production. For all these, Scott adopted the pen name "Saville Rowe" (after
22:
387:, achieved wide circulation. He wrote his theatre reviews immediately after he saw the opening night of a piece which, together with his short temper and his dislike of critic
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farewell song, which white New
Zealanders "mistakenly thought an old Maori folksong". It is also used for the hymn "Search Me, O God", with lyrics by
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68:
989:
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265:. However, an Australian family has long claimed that the "Clement Scott" who wrote the tune is a pseudonym for a family member.
1015:
518:, Vol. XXVII, Winter 1973–1974, No. 2, University of Rochester Library Bulletin, University of Rochester, accessed 1 May 2014
240:) to match Stephenson's pseudonym, "Bolton Rowe", another Mayfair street. The pieces with Stephenson were produced by the
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161:. Scott continued to work at the War Office until 1879, when he finally decided to earn his living entirely by writing.
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Scott accumulated enemies among theatre managers, actors and playwrights over the years, picking quarrels with
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were colleagues. Scott's interest in writing and the theatre led him to brief dalliance with the failed
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Early in his career, he wrote approvingly of the "cup and saucer" realism movement, led by
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at the age of 62. Scott was buried in the crypt at the chapel attached to
Nazareth House,
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Scott fell into illness and poverty in his last years and died at his residence in
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36:(6 October 1841 – 25 June 1904) was an influential English theatre critic for
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Emeljanow, Victor (23 September 2004). "Scott, Clement
William (1841–1904)".
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as "the great dramatic hit of the season". It also played with success at
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the younger, who also was a clerk in the War Office, Scott contributed to
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printed an article which Scott had written about a visit to the north
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in 1898, when he accused Ibsen and Shaw of being harmful to society
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in New York. Scott and
Stephenson also wrote an English version of
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858:, Stibbons and Cleveland, Poppyland Publishing, Fourth ed. 2001.
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coast. He became enamoured of the district and gave it the name
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325:, Scott was forced to retire as a theatre critic and moved to
456:(1985), around the story of Scott's 1883 visit to Poppyland.
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Old Days in
Bohemian London: Recollections of Clement Scott
902:
Poppy-land; papers descriptive of scenery on the East Coast
188:'s plays, some of which were written in collaboration with
871:, Elizabeth Jones, Poppyland Publishing, Second ed. 2004.
752:. London (published 16 June 1904). 25 June 1904. p. 7
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Information about the Scott and
Stephenson collaborations
516:"A Chapter of the London Stage: The Clement Scott Papers"
624:, June 2001, MusicWeb International, accessed 1 May 2014
884:, Clement Scott, London: Macmillan, 1899. (two volumes)
701:, Norfolkcoast.co.uk, 2005, accessed 21 September 2009
689:, Norfolkcoast.co.uk, 2005, accessed 21 September 2009
343:, for writers who worked by the job, which he edited.
341:
The Free Lance, a
Popular Society and Critical Journal
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Scott married Isabel Busson du
Maurier, the sister of
920:, Mrs. Clement Scott (ed.), London: Hutchinson, 1919.
892:, Clement Scott, New York: Frederick A. Stokes, 1900.
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361:
210:). The latter was described by the theatrical paper
164:As well as criticism, Scott wrote plays, including
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699:"Norfolk History and Past Times – Garden of Sleep"
339:, later returning to London. In 1900, he founded
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395:, tended to involve him often in controversies.
687:"Norfolk History and Past Times – Louie Jeremy"
151:"), which were often published in the magazine
904:, Clement Scott, Carson & Comerford, 1886.
826:, StageBeauty.net, 2007, accessed 13 June 2014
804:Southend-on-Sea and district: historical notes
898:, Clement Scott, London: John Macqueen, 1896.
438:His papers are located in the library of the
842:, BBC Radio Times 1923–2009, 13 January 1985
543:(online ed.). Oxford University Press.
268:
87:, he became a civil servant, working in the
1021:People associated with Gilbert and Sullivan
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184:. He wrote several English adaptations of
990:International Music Score Library Project
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908:Some Notable Hamlets of the Present Time
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540:Oxford Dictionary of National Biography
479:The Encyclopedia Of The Musical Theatre
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856:Poppyland – Strands of Norfolk History
807:. John H. Burrows and Sons. p. 9.
790:– via British Newspaper Archive.
83:before his 21st birthday. Educated at
622:"A 206th Garland of British Composers
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99:Encouraged to write by the humourist
79:in north London, Scott converted to
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475:"Scott, Clement [William]"
362:Style, controversies and influence
130:He became the dramatic writer for
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25:Clement Scott, from a copy of the
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391:, the chief English supporter of
16:English theatre critic and writer
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882:The Drama of Yesterday and Today
485:: Schirmer Books. p. 1818.
331:The Drama of Yesterday and Today
931:Works by or about Clement Scott
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980:Sheet Music for "O Promise Me"
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1016:Converts to Roman Catholicism
896:From The Bells to King Arthur
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986:Free scores by Clement Scott
557:UK public library membership
481:. Vol. 3 (2 ed.).
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946:(public domain audiobooks)
824:"The Fall of Clement Scott"
760:– via Newspapers.com.
157:by his friend, the editor,
113:, and to Hood's own paper,
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982:, G. Schirmer, Inc., 1889.
975:Internet Broadway Database
297:Clement Scott memorial at
782:. 25 June 1904. p. 3
732:– via Google Books.
611:, 24 September 1876, p. 4
446:made his first film, for
257:" and as "Haere Ra", the
910:, Clement Scott, Illus:
744:"Death of Clement Scott"
634:"Music: Now Is the Hour"
459:
1006:British theatre critics
724:(179): 388. 1 July 1896
712:"The Theatrical Bazaar"
440:University of Rochester
354:, a convent run by the
29:magazine, aged about 40
1011:British travel writers
940:Works by Clement Scott
549:10.1093/ref:odnb/35982
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375:
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182:The Great Divorce Case
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956:Poppyland (1985) (TV)
869:Poppyland in Pictures
674:The Sunday Star-Times
620:Scowcroft, Philip L.
607:"Theatrical Gossip",
598:, 28 April 1878, p. 7
594:"Theatrical Gossip",
581:"Theatrical Gossip",
572:, 23 June 1878, p. 12
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34:Clement William Scott
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585:, 7 April 1878, p. 6
473:Gänzl, Kurt (2001).
378:Scott's position on
779:London Evening News
432:The Daily Telegraph
380:The Daily Telegraph
372:The Daily Telegraph
356:Sisters of Nazareth
278:The Daily Telegraph
244:, the producers of
139:The Daily Telegraph
91:beginning in 1860.
85:Marlborough College
56:George Bernard Shaw
39:The Daily Telegraph
749:The New York Times
677:, 13 December 2009
652:"Search Me, O God"
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119:, where Scott and
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642:, 19 January 1948
555:(Subscription or
307:George du Maurier
218:Wallack's Theatre
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186:Victorien Sardou
133:The Sunday Times
73:perpetual curate
67:Born the son of
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125:Victoria Review
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784:. Retrieved
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726:. Retrieved
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234:Le Petit Duc
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232:'s operetta
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1026:1841 births
889:Ellen Terry
444:John Madden
385:The Theatre
194:Nos intimes
144:The Theatre
1000:Categories
850:References
717:The Sketch
559:required.)
313:(to which
238:Savile Row
204:(1878, as
192:, such as
89:War Office
838:Poppyland
453:Poppyland
408:Entr'acte
329:to write
301:, Norfolk
287:Poppyland
276:In 1883,
270:Poppyland
242:Bancrofts
207:Diplomacy
944:LibriVox
327:Biarritz
174:Anne Mié
101:Tom Hood
992:(IMSLP)
988:at the
973:at the
933:at the
654:at the
609:The Era
596:The Era
583:The Era
570:The Era
448:BBC Two
282:Norfolk
226:Meilhac
213:The Era
106:The Era
27:Theatre
875:
862:
553:
489:
299:Cromer
230:Lecocq
222:Halévy
200:) and
180:, and
178:Odette
77:Hoxton
71:, the
460:Notes
393:Ibsen
259:Māori
198:Peril
154:Punch
52:Ibsen
961:IMDb
873:ISBN
860:ISBN
788:2023
758:2023
730:2023
639:Time
487:ISBN
420:Shaw
224:and
202:Dora
196:(as
959:at
942:at
722:XIV
545:doi
116:Fun
75:of
1002::
813:^
776:.
746:.
720:.
714:.
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