Bailey, Peter. "Conspiracies of Meaning: Music-Hall and the Knowingness of Popular Culture." Past & Present, no. 144 (1994): 138-70. http://www.jstor.org.proxy.library.brocku.ca/stable/651146.

"Collins' Music Hall, 10/11 Islington Green, London." Collins' Music Hall, 10/11 Islington Green, London. Accessed March 29, 2019. http://www.arthurlloyd.co.uk/Collins.htm#today.

"Collins Music Hall | Blue Plaques." English Heritage. Accessed March 29, 2019. https://www.english-heritage.org.uk/visit/blue-plaques/collins-music-hall/.

"Collins' Music Hall." Cinema Treasures. Accessed March 29, 2019. http://cinematreasures.org/theaters/30321.

"Collins Music Hall." Collins Music Hall. 2004. Accessed March 29, 2019. http://knowledgeoflondon.com/musichalls.html.

"Collins' Music Hall." Collins' Music Hall | Theatres Trust. Accessed March 29, 2019. https://database.theatrestrust.org.uk/resources/theatres/show/557-collins-music-hall.

Gelder, Sam. "Incredible 400-seater UNDERGROUND Theatre beneath Islington Green Could Finally Open Sally Greene." Islington Gazette. Accessed March 29, 2019. https://www.islingtongazette.co.uk/news/collins-theatre-400-seater-underground-venue- islington-green-finally-open-1-5657302.

"Islington: Social and Cultural Activities." British History Online. Accessed March 29, 2019. https://www.british-history.ac.uk/vch/middx/vol8/pp45-51.

Kathleen M. D. Barker. "Dance and the Emerging Music Hall in the Provinces." Dance Research: The Journal of the Society for Dance Research 5, no. 2 (1987): 33-42. http://www.jstor.org.proxy.library.brocku.ca/stable/1290622.

"London Concerts." The Musical Times 63, no. 951 (1922): 342-46. http://www.jstor.org/stable/910177.

"The Oxford Music Hall, 6 Oxford Street, London." The Oxford Music Hall, 6 Oxford Street, London. Accessed March 29, 2019. http://www.arthurlloyd.co.uk/TheOxfordMusicHall.htm.

Roe, Ken. "Shoreditch Empire Theatre." Cinema Treasures. Accessed March 28, 2019. http://cinematreasures.org/theaters/40956.

Scott, Derek B. "The Music-Hall Cockney: Flesh and Blood, or Replicant?" Music & Letters 83, no. 2 (2002): 237-58. http://www.jstor.org.proxy.library.brocku.ca/stable/3526497.

Sell, Michael. "Frank Matcham - Theatre Architect." Frank Matcham - Theatre Architect. Accessed March 28, 2019. http://www.arthurlloyd.co.uk/Matcham.htm.

"The Shoreditch Empire." The Shoreditch Empire | Christchurch Art Gavllery Te Puna O Waiwhetū. Accessed March 28, 2019. https://christchurchartgallery.org.nz/collection/69- 366/walter-richard-sickert/the-shoreditch-empire.

"Shoreditch Theatres and Halls." Shoreditch Theatres and Halls. Accessed March 28, 2019. http://www.arthurlloyd.co.uk/Shoreditch.htm#empire.

Spain, Geoffrey, and Nicholas Dromgoole. "Theatre Architects in the British Isles." Architectural History 13 (1970): 77-89. doi:10.2307/1568315.

Summerfield, Penny. "Patriotism and Empire." Imperialism and Popular Culture. July 03, 2018. Accessed March 29, 2019. https://www.manchesterhive.com/view/9781526119568/9781526119568.00006.xml.

This site was home to many events, from a plethora of plays and films, to operas and orchestras. What can also be said about this particular music hall is that it was seen as the 'fount of patriotism' and had a major impact on the various and complex society of the time.[1] This is as a result of the fact that it is believed the music hall manipulated the working-class in order to favour imperialistic ideals. What is more interesting about the Shoreditch Empire is the fact that initially it was not particularly large, with a capacity of only 250 people, it was more in the middle range for seating when compared to the other music halls in this assignment. After it was rebuilt it was determined to have seating capacity of 2,332.[2] Another area of interest is the fact that this theatre was a place for a variety of performances, there had been entire Shakespearean productions as well as more simple performances put on in this time. Not only were plays put on at this theatre, but there had also been orchestras here as well. Something which should be noted about this music hall is the fact that its capacity had multiplied almost 9 times in such a short time. This majorly suggests the fact that prostitution and alcohol sales had paid for the hall to be reconstructed at such a massive size.[3] The sales of alcohol and engaging in acts with prostitutes would generate major revenue for the music hall on top of the money they were getting from their general sales of tickets for their events. While this practice is seen as immoral by todays standards, especially the aspect of prostitution, at that time it was strictly business. With so many other music halls in London, Shoreditch was simply trying to get ahead of the competition.

[1] "Shoreditch Theatres and Halls," Shoreditch Theatres and Halls, , accessed March 28, 2019, http://www.arthurlloyd.co.uk/Shoreditch.htm#empire.

[2] "The Shoreditch Empire," The Shoreditch Empire | Christchurch Art Gallery Te Puna O Waiwhetū, , accessed March 28, 2019, https://christchurchartgallery.org.nz/collection/69-366/walter-richard-sickert/the-shoreditch-empire.

[3] Roe, Ken. "Shoreditch Empire Theatre." Cinema Treasures. Accessed March 28, 2019. http://cinematreasures.org/theaters/40956.

[4] Ibid.

[5] "Penny Summerfield, "Patriotism and Empire," Imperialism and Popular Culture, July 03, 2018, , accessed March 29, 2019, https://www.manchesterhive.com/view/9781526119568/9781526119568.00006.xml.

[6] Shoreditch Theatres and Halls," Shoreditch Theatres and Halls, , accessed March 28, 2019, http://www.arthurlloyd.co.uk/Shoreditch.htm#empire.

[7] Bailey, Peter. Music Hall: The Business of Pleasure. Open University Press: Milton Keynes,

1986.

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