Press Clippings for the week ending
Saturday, 25 October 2008

A random selection of clippings
from newspapers and magazines

Estelle Wentworth in The Serenade
at the National Theatre,
Washington, D.C.,
Monday, 3 June 1907

Estelle Wentworth

Estelle Wentworth (fl. late 19th/early 20th Century,
American actress and singer

(photo: unknown, USA, circa 1906)

'The opening of the second week of summer light opera by the Aborn Opera Company at the National Theater last evening brought out an audience almost as large as that which greeted Robin Hood last week.
'The vocal honors of the evening went to Miss Estelle Wentworth who had the part of Yvonne. Her one coloratura song in which she sang sixths and thirds to the flute was the most difficult and finely executed vocal part of the evening. Her notes were pure and limpid, and sung with an artistry which nearly equaled that of Maconda and Melba in similar passages. Miss Wentworth was obliged to sing her song three times.
'Equal honors were accorded to Albert Parr, who took the part of Lopez, after the romance which he sings in the third act, and excellent work was done by Huntington May as Romeo, Karl Stall in the part of Alverado, Edith Bradford as Dolores, and Charles P. Swickard, who was the Duke of Santa Cruz. The humorous characterizations were intrusted to George Frothingham in the part of the tailor, Gomez, and Paul Branson the grand opera tenor, whose notes ''have all gone to protest,'' each of whom kept the house in constant merriment.'
(The Washington Post, Washington, D.C., Tuesday, 4 June 1907, p. 2g)

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Elsie Janis in London, 1914

Elsie Janis

Elsie Janis (1889-1956),
American actress, singer, writer and producer

(photo: Foulsham & Banfield, London, circa 1915)

'Makes Alfred Butt of the Palace Talk Terms for New Act.
'London, April 4 [1914]. - Elsie Janis has become a ''manager,'' according to Alfred Butt, proprietor of the Palace theater, where Miss Janis is to open in the new Revue in a fortnight.
'''When Miss Janis was in London last summer,'' Mr. Butt explained to-day, ''I signed her to appear at the Palace. When she arrived back her a few weeks ago she informed me she had brought two other artists and I must find places for them on the bill.
'''I saw them to-day for the first time and asked them both to sign contracts. To my amazement they said they couldn't sign, that they already were under contract to Miss Janis. I asked her what it all meant and she told me she had both these music hall artists tied up tight for twelve months. If I wanted their services I must negotiate with their manager - and I did.'''
(The Syracuse Herald, Syracuse, New York, Sunday, 5 April 1914, section 1, p. 1b)

'London has become the duelling ground for two rival queens of American musical comedy, Miss Elsie Janis and Miss Ina Claire. In The Passing Show (Palace Theatre, 20 April 1914), a London equivalent for the Follies, Miss Janis astounds and fascinates the multitude by her imitation of celebrities; and also her facility in dance and jest. With Sam Bernard in The Belle of Bond Street (Adelphi Theatre, 8 June 1914), Miss Claire similarly interests with imitations, singing and dancing at intervals.'
(The La Crosse Tribune, La Cross, Wisconsin, Monday, 6 July 1914, p. 7e)

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Ada Reeve at the Tivoli, Melbourne,
Saturday, 1 September 1923

Ada Reeve

Ada Reeve (1876-1966),
English actress and singer

(photo: unknown, mid 1920s)

'New Songs at Tivoli.
'''Soon the new songs will be old songs, and I hope you will like them just as well,'' said Miss Ada Reeve in a bright little speech of thanks following an enthusiastic reception at the Tivoli Theatre on Saturday. Last seen here in revue, Miss Reeve has returned to the vaudeville type of entertainment, in which her fine work is better known to Australians.
'The new songs were all contrasted, giving Miss Reeve many opportunities for the illustration of her very great skill, recognised the world over, in comedy and pathos. As ever, her humour was delightful, and her more serious moods gripped the hearts of her hearers. Good advice to wanderers - ''Don't Forget to Come Back Home'' - was followed by a humorous discourse on dancing and loving. ''My Son,'' a mother's fireside reverie on the promise and the downfall of a youth, was impressively given. The interior setting helped this number and some of the others. ''Ain't It Nice?'' was another light reflection on the simple joys of youth. A chorus-song told of the pleasure found by a tramp (though perhaps more apparent to the song-writer) in the moonlight and other features of the open-air life. There followed some highly favoured songs with the retrains ''I never forget I'm a lady,'' ''When Richard the First sat on the throne,'' and ''Ain't yer, Jim?'' All were great successes.
'Among other new turns on a bright bill were the graceful posing and gymnastics of the seven Franchettis (whose make-up enables them to represent groups of statuary), and the popular comedy of Morris and Kuming. The singers known at the Big Four began a brief return visit, and Ristori and others continued to please.'
(The Argus, Melbourne, Australia, Monday, 3 September 1923, p. 12a)

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© John Culme, 2008