This real photograph cigarette card of Jennie (otherwise Jenny) Eddy was issued in the United States in the early 1890s with the Sweet Caporal' cigarettes.
'A TALENTED ACTRESS.
'Mrs. George S. Knight, of whom the press of the country praise to the clouds will open at the Grand Opera House Friday evening, Nov. 1 . all her comedies and comedetta's are full of pleasing music and graceful dancing. The Detroit, Mich., Free Press pays this beautiful compliment to the lady. Mrs. George Knight, a player who has long been a favorite with this public, began a week's engagement at Miner's last night. Her present undertaking is in the line of theatrical entrainments which Rosina Vokes has popularized. In one may judge from last night's results, it seems to give cheering promise of success for Mrs. Knight and of lively entertainment for those who seek diversion at the theatre. She has gathered a company of pleasing performers who work harmoniously, industriously and conscientiously, while she herself may truthfully be said to have practically renewed the winsome youth that all remember who knew sprightly and melodious Sophie Worrell in her girlhood. The matronly figure of two years ago is no longer there; in its stead is a lithe and graceful woman, who dances and with abandon, sings with a voice that has the ring and the freshness of youth, and revels in the merriment which she helps to set in motion. In brief, a surprising transformation has been wrought and one might almost fancy the inexorable years had turned back.
'The bill last evening comprised an amusing bit in one act entitled Beauty Bess, which was acted by Edward Warren, Ted Peeper, James Paxton, Annie Ryan, Mollie Leece and Jennie Eddy. Then followed the comedetta which has been known her for two seasons as The Circus Rider, but which is now called Hoop La! In this Mrs. Knight played the Rosina Vokes part with genuine dash and nerve, and added to the ordinary business of the scene a recitation and a song. The third and last piece was a one-act farcical comedy entitled My Lord in Livery in which the ladies and gentlemen of the first piece, very much aided and abetted by Mrs. Knight, appeared to admirable advantage. The specially conspicuous features of the evening's entrainment were the signing of Mrs. Knight, Miss Jennie Eddy and Miss Mollie Leece, and a spirited dance that involved the entire cast and called forth warmest approval from all parts of the theatre.'
(Eau Claire Daily Leader, Eau Claire, Wisconsin, 29 October 1889, p. 3c)
'Miss Jenny Eddy, a relative of the famous Eddy family of actors, will make her debut in vaudeville at the Dunfee Comedy theater [Syracuse] next Monday at the matinee. She is to fill a week's engagement at the house. Miss Eddy is a versatile and engaging young woman, and when she was in legitimate made a great success. She is to be featured at the Comedy.'
(The Evening Herald, Syracuse, New York, Thursday, 20 April 1899, p. 4e)
'The Bijou [Atlanta] is the home of refined vaudeville. It plays the same class of attractions that one sees in the best vaudeville play houses in the greater cities. . . .
'Smith and Fuller are going to contribute what promises to be the most acceptable act of the season in the musical line. Theo Smith has invented a great many musical novelties, and with the assistance of Miss St. George Fuller, the vocalist and harp soloist, the musician has gone rapidly to the front, until now the act is one of the cards of the profession. The Jenny Edgar trio will also be a card. Miss Eddy is one of those bright and clever little women who has a knack on [sic] making friends, and with the help of her clever little partners, two white lads who have become proficient in the art of character impersonation, the act is one that is always delighting. The little boys black up to look like cotton field ''nigs,'' and they can sing and dance with the best of them. Genora and Theol, the equilibist contortionists, will over a novelty that will add to the force of the bill. Miss Theol is a charming woman to look at. She has been an artist's model and she is without doubt the most graceful woman contortionist known to the managers. . . .'
(The Atlanta Constitution, Atlanta, Georgia, 1 March 1903, features supplement, p. 5f/g)
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