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Carmen-Up-To-Data,
a burlesque by George R. Sims and Henry Pettitt,
with music by Meyer Lütz,
produced at the Gaiety Theatre, London, 4 October 1890
following a short trial run at the
Shakespeare Theatre, Liverpool, 22 September 1890
The successful burlesque Carmen-Up-To-Data, by George R. Sims and Henry Pettitt, with music by Meyer Lütz and costumes designed by Percy Anderson, was produced by George Edwardes at the Gaiety Theatre, London, on 4 October 1890 following an short initial run at the Shakespeare Theatre, Liverpool, beginning Monday, 22 September 1890. The piece ran at the Gaiety for 240 performances, closing on 4 July 1891. The principal parts were played by Florence St. John (Carmen), E.J. Lonnen (José), Arthur Williams (Captain Zuniga), Horace Mills (Remendado), Jenny Dawson (Escamillo) and Letty Lind (Mercedes). Smaller parts were sustained by several Gaiety Theatre favourites, dancers and leading members of the chorus, including Florence Levey (replaced during the run by Sylvia Grey), Maud Wilmot, Eva Greville, Maud Hobson, Day ford, Blanche Massey (daughter of Rose Massey), Flo Henderson, and Hetty Hamer as Partagas.
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'Such an experienced manager as Mr. George Edwardes may be safely trusted to feel the pulse of the frequenters of the Gaiety Theatre, and when a superfine critic, cinuncto nare, objects that the plot is flimsy stuff, or that the local colouring of song or dance is quite inappropriate, the astute manager blandly smiles in his sleeve, accept the soft impeachment and appears to Cæsar, represented in the present instance by the British public, who have already given their verdict, "guilty, and do it again."
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'Mr. E.J. Lonnen, who seems glad to get back to Lonnun [i.e. London] (the genius loci must excuse this and other lapses from the paths of virtue) as José, was as amusing as ever, and sang "The Jolly Boys' Club" with immense spirit; even more successful was the song "Hush! the Bogie Man," in which Mr. Meyer Lütz has annexed a most dainty little bit of melody, and the effect is enhanced by the chorus singing the refrain pp. aux bouches fermées. This is decidedly the gem of the play, and was received with enthusiastic applause. It might have been as well, perhaps, to have mentioned that it was written by Harrigan and composed by Dave Braham, and as such finds its place in No. 15 of the Mohawk Minstrels Magazine, by whom it was sung ten years ago. It is, however, rather rough on Mr. Lütz to say that this is the only plum in the pudding.
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'The Gaiety Theatre was so crowded that people were dropping out of the doors - on their way to some less popular theatre. Notwithstanding this, I walked in and asked the courteous acting-manager if he could find me a seat anywhere. He expressed his deep regret, but they were doing such business that he was afraid there wasn't even a vacant tin-tack he could give me to sit on. I said I wouldn't mind sitting on somebody's knee, if it came to that - provided, of course, that she was agreeably young.
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'Miss Letty Lind is Mercedes, and her principal song is called "The Farm-yard." Miss Lind gives a passable imitation of the various entertaining and instructive chuckles made by lady fowls when they have laid an egg, or think they are about to lay an egg, or persuade themselves that they have laid an egg when they haven't. Personally, I should have thought a farm-yeard scene, to be complete, should at least have included an imitation of a cow-shed or even a clothes-prop, but these are not given. It is, however, in her admirable dances that Miss Lind brings down the house. (Yes; they are a trifle thin, my dear sir, but very graceful, all the same.)
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'In calling their burlesque Carmen up to Data, possibly the two dear clever boys who wrote it intended some crypto-jocosity of which the hidden meaning is known only to the initiated in these sublime mysteries. Why "Data"? On the other hand, "Why not?"
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'Mr. ARTHUR WILLIAMS as Zuniga is very droll, reminding some of us, by his make-up and jerky style, of MILHER as the comic Valentine in Le Petit Faust. Mr. LONNEN is also uncommonly good as the spoony soldier, and in the telling song of "The Bogie Man;" and in the still more telling dance with which he finishes it and makes his exit, he makes the hit of the evening, - in fact the hit by which the piece will he remembered, and to which it owes the greater part of its success.
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