Press Clippings for the week ending
Saturday, 19 September 2009

A random selection of clippings
from newspapers and magazines

Eva Tanguay makes her mark in
Who Is Who at
Sweeney & Coombs's Theatre,
Houston, Texas, Thursday, 11 January 1900

Eva Tanguay

Eva Tanguay (1879-1947), star of American vaudeville,
in characteristic pose on the cover of Up To Date, the London-published 3d weekly, Saturday, 11 May 1901

(photo: unknown, USA, circa 1900)

'Who Is Who Pleased a Large House Last Night.
'Aunt Mandy's Chewing Gum, or The Day the Mortgage Came Due, would be as appropriate as titles for the farce which was presented at Sweeney & Coombs' theater last night as is Who Is Who, the name given it by its author, but, since it has been demonstrated that a rose would be just as fragrant if referred to as a limburger cheese, there is no good and valid reason why one should expect the find to find any connection between the aforesaid farce and its official designation. Who Is Who is not a classic. It is advertised as a ''fun show'' and the claims that are made for it are substantiated in a very satisfactory manner. Its plot, which can be discovered without the aid of a microscope, if one's eyes are good, is so constructed as to admit of the introduction of a number of specialities, most of which are good and some of which are very good. Charles A. Pusey and Bert St. John, who are featured in the respective roles of the lawyer and the German capitalist, are both clever comedians and for the most part their stuff is clean and enjoyable. Some excellent work is done by Eva Tanguay, who will be remembered for the performances in Blaney's A Boy Wanted, The Brownies, The Merry World and other similar productions. Miss Tanguay is undoubtedly the hardest working soubrette on the American stage and she manages to interject more genuine ginger into the things she says and does than a score of ordinary girls. Her voice is not calculated to win her fame and fortune on the grand operatic stage and she is not as graceful as some of her sex, but in other respects she is a wonder. She is a real, live combination of centripetal energy and centrifugal force and, if, in making some of her rotary engine moves some night, she does not explode, it is to be hoped that she will nurse the by no means even tenor of her way for a long time to come.
'Harry N. Welch, a diminutive young gentleman with a falsetto voice, manages to make himself the source of considerable amusement in the part of the collector, and Katherine Weston is not bad as Mrs. Sackett. The remaining characters are in more or less capable hands. Barring a superfluous amount of horse play at times and one or two jokes which are a little off color, the show is as good of its kind as one could wish to see. The audience which saw it last night enjoyed it immensely and with the usual persistency of a Houston audience encored everything in sight until everything in sight became tired of responding. The clever cornet playing of the Whiting sisters was especially well received.'
(The Houston Daily Post, Houston, Texas, Friday, 12 January 1900, p. 6d)

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La Tortajada makes a return visit to the
Bijou, Washington, D.C., week beginning
Monday, 27 January 1902

Consuelo Tortajada

Consuelo Tortajada (1867-1957),
Spanish dancer and singer

(photo: unknown, circa 1906)

'The beautiful Tortajada, who will be recalled by all who saw her dance and heard her sing at the Bijou two months ago as one of the most finished artistes that has ever been seen on a local vaudeville stage, will this week come to the Bijou once more, prior to her departure for Europe. La Bell Tortajada's singing is one of the most important features of her work; she displays an extraordinary degree of vivacity in all that she does; her dances are truly the very poetry of motion, and a more finished or artistic disciple of Terpsichore is rarely beheld than this beautiful, fascinating, volatile Spanish woman, with her wonderful magnetism.
'The special Friday matinee for the ladies, at which free boxes of bonbons are distributed to the feminine patrons, will afford an excellent chance to see La Belle Tortajada.
'The remainder of the vaudeville part of the performance at the Bijou this week will be given the Takezawa Japs, six in number; Rae and Brosche, the great Hellman, the Fantas, and several others.
'As at present constituted, the Bijou chorus contains more really handsome girls than almost any chorus to be seen in the more pretentious traveling musical comedies, and under the stage management of Bert Leslie the company is doing some very commendable work in the burlesque line.'
(The Times, Washington, D.C., Sunday, 26 January 1902, The Drama and Society, p. 2b)

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© John Culme, 2009