David Linton

University of Winnipeg. Institute of Urban Studies

Tony J. Kuz

Mark Piel

Marcy Saprowich

The City of Winnipeg Assessment Department in 1990 conducted a general reassessment of all real property. This study analyzes the relation between assessed and market valuation of single-detached properties to determine the equity of the assessment process. The 1990 assessment and the 1985 market price valuations are compared for over 7,000 observations at the neighbourhood characterization area level employing a wide variety of statistical techniques. One of the study conclusions is that the property assessments are regressive.

An Equitably Assessed City?

Winnipeg Residential Tax Assessment in 1990

London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain’s status and position at the beginning of the twentieth century. Insecurities regarding Britain’s colonial rule as exemplified in Ireland and elsewhere, were compounded by growing demands for social reform across the country — the call for women’s emancipation, the growth of the labour, and the trade union movements all created a climate of mounting disillusion. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance placing satire, parody, social commentary, and critique at its core and found popularity in reflecting and responding to the variations of the new lived experiences. Multidisciplinary in its creation and realisation, revue incorporated dance, music, design, theatre, and film appropriating pre-modern theatre forms, techniques, and styles such as burlesque, music hall, pantomime, minstrelsy, and pierrot. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displayed ambivalent representations that reflected social and cultural negotiations of previously essentialised identities in the modern world. Part of a wide and diverse cultural space at the beginning of the twentieth century it was acknowledged both by the intellectual avant-garde and the workers theatre movement not only as a reflexive action, but also as an evolving dynamic multidisciplinary performance model, which was highly influential across British culture. Revue displaced the romanticism of musical comedy by combining a satirical listless detachment with a defiant sophistication that articulated a fading British hegemonic sensibility, a cultural expression of a fragile and changing social and political order.

1910–1930

Nation and Race in West End Revue

Tobias Becker

Len Platt

This is the first book to reconstruct early popular musical theatre as a transnational and highly cosmopolitan entertainment industry.

Popular Musical Theatre in London and Berlin

David Linton

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