Trevor Martin as the Doctor, publicity photo for the stage play Doctor Who and the Daleks in the Seven Keys to Doomsday, Adelphi Theatre, London, 1974.
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Adelphi Theatre, Chicago, 1984
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The end of the Adelphi Theater demolition
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The Illustrated London News' depiction of Richard and Barnabas Brough's Frankenstein, or The Model Man, a burlesque version of the story which played at London's Adelphi Theatre from December 1849 into 1850.
"Frankenstein's Footsteps: Science, Genetics and Popular Culture" - Jon Turney
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Review: Back To The Future The Musical
Great Scott! On Roger Bart's final night, It's only the Screen One review Back To The Future The Musical
#BTTFMusical #BackToTheFuture @BTTFmusical @rogerbartoffic @WillHaswell @Amber_Davies7 @camjmcall6
Back To The Future The Musical Trailer
“Lorraine. My Density Has Brought Me To You.” Or at least to the Adelphi Theatre, London for a night of wonderment of sheer spectacle, laughs and good music at the Back To The Future Musical. The latest in a now enlarging line of movies that have been adapted to the stage, which seems to have bucked the previous trend of the 90’s to do it the other way…
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ROLLING STONES FLASHBACK: LIVE IN DUBLIN 1965
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SOLD 🎭 Kinky Boots @ Adelphi Theatre 2015 (#85)
Title: Kinky Boots
Venue: Adelphi Theatre
Year: 2015
London Opening Night Sticker - Tuesday 15th September 2015
Condition: Marking to front cover
Author: Book by Harvey Fierstein Music and Lyrics by Cyndi Lauper
Director: Jerry Mitchell
Choreographer: Jerry Mitchell
Cast: Killian Donnelly, Matt Henry, Amy Lennox, Jamie Baughan, Amy Ross, Michael Hobbs, Jeremy Batt, Arun Blair-Mangat, Marcus Collins, Luke Jackson, Adam Lake, Javier Santos, Nana Agyeman-Bediako, Gemma Atkins, Paul Ayres, Beau Cripps, Emma Crossley, Ben Dawson, Jordan Fox, Callum Francis, James Gava, Edward Green, Robert Grouse, Gillian Hardie, Chloe Hart, Sophie Isaacs, Robert Jones, Catherine Millsom, Sean Needham, Tim Prottey-Jones, Verity Quade, Tumo Reetsang, Dominic Tribuzio, Alan Vicary, Michael Vinsen, Bleu Woodward
FIND ON EBAY HERE
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Lupe Vélez and Ruth Etting on a break from starring in the play 'Transatlantic Rhythm' at the Adelphi Theatre, London in 1936.
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"We found Hildesheim in his office, a Hebrew of rather the Adelphi Theatre type, with a nose like a sheep, and a fez."
This is one the many, many examples of how stuff like discrimination, or in this case antisemitism is presented as this total normal thing to do to a person in classical literature.
I don't know about this, both Jonathan and Bram Stoker, but comparing a proud jewish man who wears traditional clothing at work with a stereotype in theater made to be make fun at, and specifically calling how big his nose is not excusable just because this book is old. On top of (just like Jonathan did in Varna) mentioning that they bribed him.
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Adelphi Theatre, Chicago, 1989
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Today's DraculaDaily contains a nasty little nugget of antisemitism, in the form of one of the NPCs the Crew of Light bribes being specifically called out as Jewish and greedy.
...not to excuse Stoker's clear antisemitism, but some people might be wondering what the "Adelphi theatre type" he mentions is. Good news: It's probably less bad than you're thinking.
A brief google took me to Victorianweb.org, which is a pretty reliable source for information on the period. It's got a writeup of a lot of the minor theatres in London at the time, and it states:
"[The Adelphi] had more "tone" than the other minor theatres because its patrons in the main were the salaried clerks of barristers and solicitors."
It goes on to explain that the Adelphi specifically hosted a lot of plays by Dickens (and a lot of Dickens bootlegs) and a lot of burlettas (what we'd call comedy musicals today).
Stoker's saying "this guy is a little bit lower class than our heroes- probably in about the class position that Jonathan started out at, honestly- is an extremely bank-clerky bank clerk, and likes a good middlebrow comedy."
So yeah, calling this NPC "the Adelphi theatre type" is a bit like saying "you can tell just by looking at this guy that he trades crypto and has seen every fucking Marvel movie". (Not that much, but a bit.) Knowing that Stoker worked in theatre, it's a weird little bit of humanization in the middle of a super dehumanizing period-typical stereotype.
[ETA: @luanna801 pointed out in the notes that this could also mean "the type of antisemitic stock character one would see on stage at the Adelphi", like calling someone a Tyler Perry character. I don't know which interpretation is more likely to be accurate, but it's worth noting here.]
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A Little Night Music starring Jean Simmons opened at the Adelphi Theatre, London April 15, 1975
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September 22, 2012: Chichester Theatre Festival's production of Sweeney Todd, with Imelda Staunton and Michael Ball, closes at London's Adelphi after 207 performances.
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