BL - Wednesday, 19 November 2008
'ROYAL ACADEMY OF MUSIC.
'The final concert of the season by students of the Royal Academy of Music was given at St. James's Hall on Tuesday, and opened with two movements from the Quartet of Brahms in G Minor, Op. 25, played with refinement and artistic feeling by Miss Ethel Cave, Miss Ethel Petitt, and Messrs Spencer Dyke and Tertis. One of the best solos of the afternoon was the Air Varie/ of Vieuxtemps, admirably played by Miss Jessie Smithers, an extremely promising lady violinist. . . .'
(The Era, London, Saturday, 28 July 1900, p. 15c)
Alice Ingram, the following, among many references
Theatre Royal, Birkenhead, pantomime, Cinderella,
Maud Sutherland as the Spirit of Mischief
Alice Ingram - Fairy Queen
Minnie Davis - Prince Primrose
Ada Attewell - Ariel
Harriet Clements - Cinderella
George Beckett - Cat
G. Harker - Baron
Ada Attewell - columbine
George Beckett - harlequin
Gardner Boleno - clown
H.G. Boleno - pantaloon
Zamezou family - sprites
Liverpool Mercury, Liverpool, Monday, 28 December 1868, p. 3e
Theatre Royal, Ipswich
'The attendant during the past week has been poor, owing, no doubt, to the municipal elections. On Monday The Organge Girl and the burlesque of Ixion were the attractions. In the first named, Miss Mary Parker as Jane Fryer was good, and Miss Blanche Newton, Miss Nelly Parker, and Mr W. Percival, in the respective parts of Ellie, Mrs Gregory Dyngell, and John Fryer, secured success. The principal characters in the burlesque were filled by the Misses Nelly Parker, Mary Parker, Blanche Newton, Lillian Huntley, and Mr James Fawn, all of whom, in their acting, singing, and dancing, were well received.'
(The Era, London, Sunday, 2 November 1873, p. 6a)
'MISS VIOLET CAMERON now replaces Miss Edgcumbe in the part of Fraisette in The Old Guard at the Avenue Theatre, and invests the part with novelty and freshness. Miss Annie Halford has been substituted for Miss Wentworth in the ro^le of Murel, and has been successful in creating a good impression therein. Miss Phyllis Broughton as the Vivandie\re, Mr Arthur Roberts as the Mayor, Miss Henrietta Polak, and Messrs Dallas, Alec Marsh, Joseph Tapley, Grahame, and Roche continue to deserve praise and evoke applause.'
(The Era, London, Saturday, 7 April 1888, p. 8b)
Royalty Theatre, London
pantomime, Harlequin King Humpty Dumpty; or, Simple Simon, The Maiden Blueize, and the Fairies of the Silver Dell, '. . . A Fairy Rifle Corps is one of the prettiest features in the pantomime, and there is also a grand ballet, in which a pas seul is danced by Miss Minnie Hamilton. . . .'
(The Era, London, Sunday, 4 January 1863, p. 10c)
The Sun music hall, Knightsbridge, London
'Miss Rose Heath, who is a pretty girl in her early teens, agreeably sang of ''Tripping o'er the hills where the buttercups and daises grow,'' and also of two hearts being moulded into one, ''Down where the pansies grow.'' She danced amirably. A Hornpipe, with which she terminated her performance, elicited applause of the heartiest description. . . .'
(The Era, London, Saturday, 4 June 1881, p. 4c)
Hammersmith Theatre of Varieties
'Miss Rose Heath, a young and pretty serio-comic, who will be better when she has acquired more confidence.'
(The Era, London, Saturday, 8 April 1882, p. 4b)
'BUCALOSSI'S NEW COMIC OPERA, DELIA, AT THE GRAND THEATRE.
'SPARKLING, bright, witty, humorous, and fascinating may justly be the words appended to Bucalossi's newest chef d'oeuvre, which, this week, is attracting crowded houses at the above theatre. A musician of Mr. Bucalossi's calibre, whose charming ''valses'' have resounded in every ball room, and with their charming melodious rhythm have captivated more than one loving soul, cannot fail in whatever he writes. He knows how to attract his hearers, and he knows the wants of the public. His orchestration is skilful, his chorus-writing most effective in its ensemble, rich in melody and harmonic combinations. There is life and vitality in his new opera, Delia, and its success may be assured. The libretto has been compiled by F. Soulbieu (an English journalist, who on this occasion has assumed the above nom de plume,) after Scribe's La Frileuse, and bears sings of a clever hand. The action and situations carry us back to former times, when Offenbach was the revered Jupiter of the operatic Olympus, and the famous Mademoiselle Schneider, respelendent in her diamonds, The Grand Duchess of Geroldstein. The company, especially organised for the provinces by Mr. Horace Guy, is in every respect the best all-round operatic company we have heard for a long time. No expense nor pain has been spared in mounting Delia with all possible splendour and dazzling grandure. The charming military costumes, the elegant and picturesque ''roccoco'' dresses all sparkling new in colours varied like the rainbow, lend enchantment to the scenes, and are well worthy of the best traditions of the Gaiety. The heroine (Princess Delia,) Miss Fanny Wentworth, is the life and soul of the piece; she is an exceelent actress, a graceful dansese, and sings with care and musicianly understanding. The lower register of her voice is much fuller than her real soprano, and a distinct break is noticeable in that direction, otherwise her method is agreeable and pleasant. The fair young lady met with a hearty reception, and several numbers had to be repeated in response to loud and vociferous applause. The graceful ''gavotte chantante'' fairly roused the house, and had to be repeated. The same distinction was accprded to Delia's song, ''A simple rustic maid,'' to a charming duet in waltz rhythm for two ladies, and an excellent spirited quartette, ''Trick Track,'' and other items. Mr. George Mudie (Baron von Homburgh) is a consummate actor, and kept the house roaring with laughter - his make-up, his very figure were a perfect study, and called to my mind a Hogarthian personage immortalized in his ''morning.'' This very clever artiste introduced a topical ditty in the last act, suggested by Monsieur Marius, which created quite a furore. The other characters in the opera, Marguerite (Miss Bertha Hochheimer,) The Duchess (Miss Adelaide Newton,) Prince Max (Mr. Lytton Grey,) Conrad von Halberstad (Mr. Louis Batten,) The Sergeant (Mr. Arthur Kingsley,) were fully well sustained. The mis en sce\ne, especially the encampment outside the City of Hildesheim, was picturesque and characteristic. The accompaniments, under Mr. Augustus T. Macinnes, were given with care, and the singing of the chorus was exact in their ensemble and pure in tone. Mr. Melville deserves the thanks of the musical public for giving us the opportunity of hearing constantly new works, many of which have been heard at the Grand for the first time, and have hereafter proved a gold mine to their authors and composers, and let us express a hope a similar fate will be that of Delia, and like the Irrlicht, in Goethe's Ma:hrchen, that she will shine brighter and brighter.'
(Oreste/s, The Dart: The Midland Figaro, Birmingham, England, Friday, 29 March 1889, p. 5a)
'MISS BERTHA HOCHHEIMER, Queen Isabel, in Messrs Rowan and Guy's Manteaux Noir, Grand, Cardiff, Sept. 10th.'
(The Era, London, Saturday, 1 September 1888, p. 6d)
'MISS JENNY LOUISE HENGLER. - Special novelties will be provided at Hengler's Grand Cirquie, Argyll-street, on the 25th instant, when the above-named accomplished lady takes her annual benefit. Miss Hengler's admirers are legion, and a crowded house may be anticipated at both the morning and evening performances.'
(The Era, London, Sunday, 22 March 1874, p. 4b)
'HENGLER'S CIRCUS. - The locality known for some time past as the Palais Royal, in Argyll-street, once the spot whereon stood Argyll House, the residence of the fourth Earl of Aberdeen, is now transformed into a circus, and denominated Hengler's Cirque. Here Mr Charles Hengler has brought his renownded troupe of equestrians and his find stud of horses. . . . Much praise is due to Miss Jenny Louise Hengler [daughter of Charles Hengler], who appears on a highly-trained horse called Shamrock, bred by the Duke of Portland, and goes through a series of evolutions known as the ''Haute Ecole.'' . . .'
(Bell's Life in London and Sporting Chronicle, London, Saturday, 23 September 1871, p. 8e)
'Mr Jones Finch, the Lessee and Manager of this pretty little Theatre, who, by having suitable pieces played by a clever company, is deseerving and securing extensive support from the people for whom he caters, on the 4th inst. produced, and during the past week continued to have performed, a new drama, in a prologue and two acts, entitled In the Clutch of the Enemy. . . . The performances concluded with the favourite drame of The Roadside Inn. Between the pieces comic personations were given by Mr Harry Windley, who sang as a German after the manner of Mr Hillier, and gave Mr Arthur Lloyd's son of ''The Promenade Elastic,'' mixing up with it the talk of the first-named artiste in the character of ''The Timid Lover.'' He also sang humourously about the experiences of a good-tempered father of a very large family. Mr Windley dressed well, has a good voice and action; he was warmly applauded by the audience, who enjoyed his performances none the less because they were imitations of the doings of others.'
(The Era, London, Sunday, 12 October 1873, p. 11c)
'MR. HARRY WINDLEY is a very good bad Baron [in the pantomime Babes in the Wood], the part showing off to excellent advantage his powers as a comedian. - Manchester Evening Mail. Mr H. Windley as the Baron Badlot is a treat, his laughing song being very funny. - Manchester Sunday Chronicle.
'Stage Manager and BARON BADLOT, PRINCE OF WALES'S THEATRE, SALFORD.'
(The Era, London, Saturday, 4 January 1890, p. 3b)
Philharmonic music hall
'. . . Miss Louie Sherrington, one of the newest as well as one of the best ''serio-comics,'' presented a lighter style of entertainment, which was in every way worthy of the hearty approval it received. Miss Sherrington possesses a capital voice, a handsome physique, and a pretty figure, and if she continues to avoid the slang indulged in by so many ladies of her class, may count us among her sincerest friends and well-wishers. As a rule, serio-comic sons, if not tained with vulgarity, have but little point, but those rendered by Miss Sherrington, ''The Language of Flowers,'' '' Those Cards in the Guards,'' and a new version of the old minstrel refrain, ''It's no use knocking at the door,'' may be looked upon as exceptions, and as ''The Dancing Belle'' that lady illustrated the style of the fashionable ball-room will grace and effect. . . .'
(The Era, London, Sunday, 10 February 1867, p. 10a)
The Regent music hall
'. . . Miss Louie Sherrington, who manages to be coquettish and fascinating without being coarse or unladylike, pleases her admirers with her song of ''Those cards in the Guards,'' and another, which she sang with her usual vivacity. . . .'
(The Era, London, Sunday, 10 March 1867, p. 10a)
'MR CHARLES WARNER has furnished us with the following reminiscence in connection with Drink. He says: - ''I had taken a little holuday from Sunday to Monday and run over with some friends to Boulogne. Mr thomas Thorne was one of my travelling companions. We visited the theatre, the fair, and every conceivable place of amusement in the short space of time allotted for our little trip. The time came for our return. We arrived at the quay, got on board the steamer, waited for some time. I began to feel anxious, as I was due at Sadler's Wells Theatre at 6.30, for the first time of presenting Charles Reade's drama Drink to the Islingtonians. The theatre was at the time under the management of Mrs Bateman. I began to feel awfully anxious. I knew it was long past the time for starting. I turned to my friend and said, 'Tom, something's amiss; let's inquite.' We went to the captain, and to my horror leanred that the tide did not serve, and we should be at least an hour and a half before we would leave Boulogne. What could I do? I could not arrive till nearly two hours after the curtain was to rise. What misery I endured no man can tell. I sent telegrams to poor Mrs Bateman about every quarter of an hour. At length we steamed out of the harbour. I was more dead than alive with the terrible anxiety. At Dover, by some horrible fatality, the train was detailed about twenty minutes before starting. At last we reached London, nearly eight o'clock. I rushed from the station - people thought I was an escaped lunatic - jumped into a cab, and arrived at Sadler's Wells. A great crowd awaited me outside the theatre, and cheered me to the echo. Mrs Bateman had read my telegrams, and the good, kind creatures had waited patiently two hours for the late Coupeau.'''
(The Era, London, Saturday, 19 October 1889, p. 8a)
'Skirt dancing is developing by degrees. The latest improvement in it is by a fair madamoiselle names Clara Wieland. Clara postures and spins and twirls her skirts on a stage set with mirrors, the effect being that of a twenty-fold reproduction of herself. Another innovation is the throwing shadowgraphs of faces, flags, and mottoes on the dancer as she occupies the centre of the stage. One wonders what will be the next development.'
(The Newcastle Weekly Courant, Newcastle-upon-Tyne, England, Saturday, 2 December 1893, p. 5a)
The Cambridge music hall, London
'A very successful debut has been made at the Commercial-street house by Miss Gipsy Woolf, a clever and attractive young lady, who already shows a grace and piquancy in both song and dance. She impersonates a so-called timid girl - a shy young person whose experiences are already familiar on the variety stage - and then takes the stage in a coon song with an accompanying dance, scoring an unmistakable success in all she does.'
(The Era, London, Saturday, 15 July 1899, p. 16a)
Grand music hall, Clapham Junction, London
'. . . Miss Childie Stuart made three acceptable contributions to the bill in the shape of ''A little bit of paint,'' ''A high old time,'' and a pretty petticoat dance. Miss Stuart, by-the-way, was described on the programme as a ''danseur.'' If the complier cannot do better in french than this he had better ''stick to the language he's used to,'' as poor Fred Leslie might have sung. . . .'
(The Era, London, Saturday, 24 August 1895, p. 14c)
'Miss Childie Stuart, after a successful tour of nine weeks, returns to London to fulfil the numerous contracts she holds.'
(The Era, London, Saturday, 27 June 1896, p. 17b)
The Granville music hall, Waltham Green
'. . . Miss Daisy James gave a piquant rendering of ''Pop goes the weasel,'' and Miss Childie Stuart in a very smart get-up warbled ''Chase me, Charlie.''. . .'
(The Era, London, Saturday, 23 September 1899, p. 18b)
'A NEW COMEDY, in four acts, written by Mr. Albery, and entitled Forgiven, has been produced at the Globe Theatre. The story deals with the fotunes and the follies of a young artist of good repute, Claude Redruth by name. In the first act, which is in the nature of a prologue to the more essential events of the drama, Claude is shown to be the rejected suitor of Lady Maude Dart, an unfeeling coquette, who had encouraged the lover merely for her own diversion and the more securely to punish the audacity of his passion. To hide his sufferings and to rest his troubled heart, Claude seeks refuge in a retired village, presumably in Devonshire, and here suddenly discovers that he has unconsciously won the love of Rose, a simple rustic maiden, the daughter of Paul Cudlipp, a gardener. The artist persuades himself that he can forget the past and requite the affection of Rose by a devotion not less sincere. The act concludes with much tender plighting of troth, and an understanding that the twain are to become man and wife as speedily as may be. An interval of some months is supposed to elapse. When Claude next appears he is the womehat dissatisfied husband of the gardener's daughter. The scene is transferred to London. Rose possesses much natural intelligence and refinement, but she is comparatively uneducated, little versed in the usages of polite life, and a sense of her inferiority is beginning to afflict both herself and her mate. Her definciencies become the more apparent when Lady Maude is introudiced, and seeks to resume her old influence over Claude. Piqued at his finding consolation in marriage so soon after her dismissal of his suit, Lady Maude is now bent upon relatliation, and cruelly resolves upon exciting dissension between the painter and his wife. At first her ladyship is worsted by the perfect trustfulness and simplicity of Rose, but her hour of triumph arrives. Claude's fidenlity is gradually undermined, and he becaomes again the slave of his passion for Lady Maude. He neglects his wife shamefully, learns to despise her, and is mean enough to treat his humble but worthy old father-in-law, the gardener, with harsh insolence. By the time the close of the third act is reached, Lady Maude's vindictive plan has been completely carried out. She has parted the newly wedded pair, and has again the pleasure of spurning the addresses of Claude. The final scenes are occupied by very arbitrary endeavours to administer poetic justice. Credibility is defied, and the dramatist commits a series of the most outrageous assults upon his own creations. Again some months have elapsed, and Rose is discovered living in strict seclusion apart from her husband, employed in tending a child, the fruit of her hapless marriage. In her retirement she is visited by a mysterious Mrs. Radmor, who teaches her all kinds of accomplishments; she is now able to paint pictures equal in merit to the works of her husband. Mrs. Radnor is in truth Lady Maude in disguise, deeply penitent and amazingly amended. From a demon of darkness she has become, as though by a pantomimic transformation, an angel of light. Of course, thanks to the labours of her preceptress, Rose is now thoroughly fitted to be the partner of the absent Claude, should he ever reappear to claim her. He does reappear in dued time. By the merest chance he calls at Rose's cottage, not knowing it to be hers, to ask for a drink of water. Recognition and reconciliation ensue - fortified and clinched, as it were, by the presence of the baby - of whose existence the father was unaware, and upon this joyful situation the curtain rapidly descends.
'Such is the leading theme of Mr. Albery's new play. The story is deficient in freshness, and the thread of interest is frail and attenuated enough. Sympathy is but feebly moved by the sins and troubles of Claude, who is not, indeed, a person entitled to any sort of favourable regard. Upon the English stage the victim of the allurements of a siren rearely succeeds in obtaining much commiseration; an opinion prevaling that he is rightly served whose distress results from his own weakness and indiscretion. And the play suffers from the redundancy of its dialogues, its multipolicity of small complications, and the frequent pause in its action owing to the episodic indidents and irrelevant characters that cling like parasites to the plot, and sap such little strength as it ever possessed. In addition to the main story, the audience are required to concern themselves with the loves of one Richard Fallow, a gentleman of satiric inclunation who is called ''Diogenes'' by his intimates, and Miss Laura Creamer, the daughter of a mischief-making lady who writes novels and alludes to herself as ''Poor Modest Me.'' Lord Dart, the uncle of Lady Maude, is introduced - an abrupt nobleman whose cheif characteristic consists in a passion for taking pinches of snuff from the boxes of his neighbours. Orleigh Dart, his lordship's son, also appears, a foolish young gentleman in love with his cousin Maude, and furnished with the catch phrase of ''Don't you know?'' which he persistently repeats. Fruther, there is Mr. Chatham Pole, an obtuse and unscrupulous member of parliament. These personages greatly hinder the progress of the fable and prolong it even to tediousness. It says mauch for Mr. Albery's work, however, that after deductions have been made for these numerous flaws, it yet remains possessed of a handsome balance of merit, sufficient, perhaps, to secure its prosperity for some time to come. Forgiven is, indeed, with all its errors, marked by singular cleverness, often capriciously and even wantonly exercised, but yet not to be denied. The dramatist does not conduct his plot with much art, but many of his scenes and situation are most ingeniously contrives, and he has a ready appreciation of dramatic effect. As a writer, Mr. Albery improves. He is less prone than hertogore to extravagant conceits, and if his jests wear sometimes too premeditated and strained an air, and he is apt to mistake rudeness for repartee, his dialogue altogehter has gained much in brightness and refinement. The love passages in the first act are graceful and poetic - the interview of the lovers beside the old sun-dial in the cottage garden being as good as any of its kind in the modern drama, and there is no lack of paths, and even of passion, in the later scenes of the comedy. If Mr. Albery can but learn to discipline his abilities and to exercise better judgment in his choice of subject, he should be able to produce a play of far more enduring worth than Forgiven. Meantime, the audience were to its virtues very kind and to its faults a little blind. The play succeeded, and perhaps, on the whole, deserved to succeed, if only because if affords Mr. Compton an unusual opportunity of manifesting his perfect command of his art. The excellent comedian invests the part of Paul Cudlipp, the gardener, with a humour that is at once forcible and subtle, and supplies here and there the necessary touches of natural sentiment with genuine artistic skill, Even Paul's least likely utterances acquired a probably air from the actor's simple and unforced method of delivery. The arduous part of Claude is very well played by Mr. Montague, who obtains able support in the intelligence and tenderness of Miss Addison's Rose. Miss Louise Moore succeeds more in the penitent than in the arrogant moods of Lady Maude. Miss Nelly Harris is a thoroughly efficient Laura Creamer, and Mr. Flockton makes a finished little character-part of the rather shadowy Lord Dart. Altogether, the representation was very creditable to Mr. Montague's company, and the performers well desdrved the frequent applause they won. The scenery and stage fittings left nothing to be desired.'
(The Pall Mall Gazette, London, Wednesday, 13 March 1872, pp. 991b/992a)
'I am always ready to give praise where praise is due. It is not very often than I am really surprised, but dropping in at the Tivoli the other evening, I chanced on Miss Lily Harold's ''turn,'' and by the time she had finished her two songs my eyes were very wide open indeed. From seeing her at the Gaiety, where her figure was so prominent in many burlesques I must candidly confess I had nver suspected Miss Harold of much ability. She was in fact one of those young ladies whose fortune seemed to me to lie in her face - and other personal attractions.
'But here she was tripping lightly over the stage, singer her songs well in the prettiest little voice imaginable, and executing a step-dance with a vivacity which is the last quality I should ever have credited her with. It is evident that since leaving the Gaiety Miss Harold has been putting in some real hard work, and I heartily congratulate her on the result. Another important item. Miss Harold has thoroughly mastered the art of stage-costume. The average music-hall woman mistakes gaudiness for beauty in the matter of clothing, and therefore to say that Miss Harold is the best-dressed lady on the Halls is perhaps, though true enough, not very high praise. Let me say, therefore, that her dresses are simply delightful.'
(Incog, Pick-Me-Up, London Saturday, 8 December 1894, p. 146a/b)
'THE WHITE-EYED KAFFIR
'AT THE EMPIRE, NEWCASTLE-ON-TYNE.
'An excellent evening's entertainment is to be obtained at the Empire this week, for the programme contains quite a large number of names familiar to and esteemed by music hall patrons. That witty entertainer, Mr George H. Chirgwin (the White-eyed Musical Kaffir), is again in Newcastle, and last night he kept the crowd in a hight state of merriment for a full half-hour. With him impromptu jokes, catchy songs, and mannerisms as original as they are amusing, he is a comedian one is never tired of listening to.
'G.H. Chirgin, one of the most versatile and most delightful of the many leading comedians on the music hall stage, commenced a short season at the Empire Theatre last night. In a drowded house his success was really great. Mr chirgwin has the faculty of touching the audience by sentiment, and in the next breath convulsing all with unheard of drolleries. The secret is that besides his whimsicalities and infectious fun he is a finished musician, and the master of a sweet, plaintive voice of rare purity. Despite all his new business - and he provided some capital items last night - he was called upon as usual to give the treble solo of the blind boy with 'cello accompaniment, and his passionate ode to his beloved fiddle. The performances all through was a talented effort, and gave intense pleasure to all.
'G.H. Chirgwin, the ''white-eyed Kaffir,'; has pride of place on the Empire Theatre programme this week, and deserves it. Chirgwin has been on the ''halls'' for a very long time now, but letterly the provinces have not seen much of him. He has not visited this cirty for more years than one cares to remember. The proper - the conventional - thing to say regarding his performance would be, ''Age cannot wither,'' &c., but custom having decidedly rendered stale that particular quotation, one is content to say that it is perfectly true. He is as frsh as ever, and the oddments which go to make up his show are startlingly funny. His puns, his singing, his bagpipe and violin playing, his ''altogether'' - to borrow Trilby's expressive phrase - are unique.
'The above notices are from the Newcastle press.'
(The Era, London, Saturday, 17 March 1900, p. 18c)