BL, Thursday, 25 November 2008
'KEITH'S CIRCUS. - Charlie Keith opened here on Monday with his patent carriage circus, which, we must say, is most comfortable. Mr Keith produced a very attractive entertainment, which seems to give every satisfaction to a large audience. Mr C. Franks, who gave some splendid specimens of horsemanship; Carlo Bianchi, a clever juggler; Madame Ray, the lady horse trainer; Miss Boor, a charming ride; the clever musical Bianchis; Mr Tudor; Eugene Ray, a clever performer on the slack wire; and last, but not least, the clowns, the famous Charlie Keith and Mr Perry, all helps to make the performance most successful. On Tuwday there was a very good house, and there is no doubt Mr Keith will be well supported every evening during his week here.'
(The Era, London, Saturday, 8 July 1882, p. 10b)
'LA BELLE FINETTE RAYMUR and the Brothers DE CASTRO Fishish To-night a highly successful Engagement at the Music Hall, Jarrow. April 7th, GAIETY THEATRE, WEST HARTLEPOOL. At Liberty June 2d, for their highly sensational Gymnastic and Acrobatic Performances. Address, West Hartlepool.'
(The Era, London, Sunday, 6 April 1973, p. 13b)
'LA BELL FINETTE RAYMUR, ANA, La Petite ROSINA and DE CASTRO BROTHERS' usual Brilliant Success, ALLEN'S GRAND CIRCUS, DARLINGON. Proprietors in want of Novelties apply at once. France shortly. Four-Sheet Posters, Lithographs, Strong Nets, and Magnificent Wardrobes. Continental Agents, Parravicini and Corbyn.'
(The Era, London, Sunday, 18 January 1874, p. 13d)
'THEATRE AND OPERA HOUSE. - (Mr J.P. Weston, Proprietor.) - On Monday last Mr Weston opened the above place of amusement as a Theatre of Varieties for the summer season, and brought together an excellent and well-selected company, which has succeeded nightly in drawing good houses, the new undertaking appearing to be in greate favour than dramatic entertainments these summer evenings. Mr Weston has availed himself of the seervices of the principals engaged in the Museum Concert Hall, and in addition there has also appeared the Finette Raymur troupe of male and femal acrobats, includint the infant prodigy La Petite Rosina, and the phenomenon Thomas De Castro. The original Tula (the modern Samson) and Zeno (one of the cleverest performers we have had on the flying trapeze). The performances have concluded nightly with a display of Mark Wheeler's beautiful fairy fountain.'
(The Era, London, Sunday, 18 July 1875, p. 5b)
'We never visit this establishment without being impressed with a sense of the good taste and the liberality with which Mr Nugent caters for the comfort, the convenience, and enjoyment of his numberous patrons. His Hall, as we have repeatedly pointe dout, is really a model one in point of elegance, and the entertainments which are plces upon the handsomely-appointed stage are invariably of a varied and highly attractive character. . . . Messrs Nish and Martin furnish a very amusing Negro entertainment, and are followed by the Finette Raymur troupe of acrobats, a troupe which includes, among others, a couple of ladies, a child [i.e. La Petite Rosina] who excels as a clog dancer, and a youth [i.e. Thomas De Castro] who sets at defiance all the anatomical theories which were ever promulgated. One of these fine nights we shall ''square'' somebody; get behind the scenes, and find out what this young gentleman does with his backbone. We are certain he does not bring it on to the stage with him, for the strange positions in which he places himself, the knots into which he ties his frame, the contortions in which he indulges are not compatible with the possession of a spin. The results of these doings are not ornamental, and can hardly be pleasant, but that they are wonderful all must admit. . . .'
(The Era, London, Sunday, 28 October 1877, p. 4b)
The Marylebone music hall
'The Finette Raymur Troupe, six in number, gave an acrobatic and Terpsichorean entertainment which excited great admiration. The acrobatic portion of it included numerous difficult feats which were smartly executed, and the Terpsichorean section consisted of exceedingly good and novel skipping rope dancing by three young ladies names Rosina, Luie, and Frederica. . . .'
(The Era, London, Saturday, 18 November 1882, p. 4a)
Pullan's Music Hall, Bradford, Yorkshire
'Madame Cerito (a very good and rapid transormation dancer), Mons Geretti (a clever athlete on the flying rope), Miss Patty Rosa (characteristic vocalist and dancer), Mr and Mrs F. Harrold (comic duettists), and Mr Harry Brown (a favourite comic vocalist here) compose the new members of the company.'
(The Era, London, Sunday, 26 June 1870, p. 12b)
'MDLLE. CERITO, the Fascinating Premiere Danseuse, and the only acknowledged Transformation Dancer in Europe, a Ballet of Thirteen Characters combined in one Artist. Wardrobe superb. Just concluded her Fifth Engagement at the Provincial Alhambra, Hull. Accepted a Six Months' Engagement at the REICHARDI THEATRE ZU HAMBURGEINERSEITS. Miss PATTY ROSA, the Empress of Song and Dance, at Liberty Monday, August 8th. Mdlle. MACGREGOR'S GRAND PERIOD QUADRILLE TROUPE OF STAR DANCERS (Eight in number), in their grand Ballet, Cupid and Venus. Wanted, a Complete Pantomime Company for December 12th; also Twenty Ballet Ladies. Address, J. Hellawell, Victoria Music Hall, Manchester; or Trent House, 9, Walley-hill, Basford, near Nottingham.'
(The Era, London, Sunday, 31 July 1870, p. 1a)
Imperial Colusseum, Belfast
'Mr James Bradley (comic) appeared this week. Madame Cerito (transformation dancer) is excellent. Messrs Ward and Spandley (Niggers), maintain their well-earned reputation, and Miss Patty Rosa (a juvenite serio-comic) is very good, considering her age and experience. Miss Bertha Carlyle (characteristic) completes the company.'
(The Era, London, Sunday, 24 September 1871, p. 4d)
'MDLLE. CERITO, the Great Operatic, Spanish, Characteristic, and Transformation Dancer, appears nightly at the following establishments:- PAVILION THEATRE, Eight o'click, as principal solo Danseuse in the opening of the Pantomime; at the ALHAMBRA PALACE, LEICESTER-SQUARE, Twenty Minutes to Ten o'clock, in her great Transformation Dances; at TURNHAM'S NEW MUSIC HALL, EDGEWARE-ROAD, Twenty Minutes to Eleven, also in her Transformation Dances. All letters addressed to the Alhambra Palace.'
(The Era, London, Sunday, 11 January 1863, p. 1c)
The Marylebone music hall, Marylebone, London
'. . . Madame Cerito is a most agile transformation dancer, and her rapid change of costumes is something to be wondered at. . . .'
(The Era, London, Sunday, 3 January 1864, p. 5c)
'Colonel T. Allston Brown, the Dramatic Agent, of America, has been to Paris, Brussels, Cologne, and a few other places. During the past three weeks Mr. Brown has been in London, and has secured Mdlle. Cerito, the transformation dancer, for America. Colonel Brown will sail from Liverpool for America the latter part of this month.'
(The Era, London, Sunday, 12 November 1871, p. 9d)
Whitebait Music Hall, Glasgow
'An excellent programme, supported by talented artistes, has attracted very full audiences to this Hall during the week. Mdlle. Cerito, the transformation dancer, appeared here on Monday, and, as usual, was enthusiastically received. Miss Rosa also made a first appearance, and was much applauded. Miss Stuart has a sweet voice and a pleasing style; and Mr Harry Breeze, who has become a great favourite with the Whitebait patrons, as usual delighted them with his happy rendering of comic songs. Mr and Mrs J.W. White (duettists), and Mr and Mrs Leonard White (Negro comedians), also pleased the audiences.'
(The Era, London, Sunday, 12 May 1872, p. 5d)
'Success! The Great Arthur St. Vincent. Success!
'ARTHUR ST. VINCENT, acknowledged to be the most original and successful Comic that has visited HALIFAX (ODDFELLOWS' MUSIC HALL). Thunders of applause nightly. Pullan's, Bradford; Fleur-de-Lis, Sheffield; Victoria, Hartlepool; Wear, Sunderland, to follow. Address, HARRY BOX, Middlesex Music Hall, London, W.C.
'N.B. Songs and Duets written on moderate terms (Ladies' versions).'
(The Era, London, Sunday, 23 May 1869, p. 16b)
'MR. EDITOR. - Sir, - Observing a latter from Mr. J. Dallas respecting his song of ''Soap, Starch, and Candles,'' inserted in a penny song book, as sung by me, I beg to say it was not with my permission. Again, he slates that I never had the song from him; certainly not. I had a copy presented to me by Herbert Campbell, in exchange for anohter song then in my possession. Why Mr Dallas places a uery after the word gentleman, in referring to me, I cannot surmise. I always thought a gentleman was one who possessed education and manners. Since I have both thse qualifications, I beg to inform him I am a gentleman within the (?). Trusting I am not trespassing too much on your valuable space, I beg to subscribe myself yours respectfully, ARTHUR ST. VINCENT. N.B. - I may add that I sing the song of ''Snivelling Snooks,'' and entirely different song from Mr Dallas's. Perhaps he would like a copy.'
(The Era, London, Sunday, 26 June 1870, p. 6c)
The Metropolitan music hall, Edgware Road, London
'. . . Mdlle. [Eugenia] Montebello and Mr. Arthur St. Vincent, who are comic duettists with voices above the average for musicalness, have newly appeared here, and are well recieved. They represent a belle and beau, who sing of ''London Society'' being more to their taste than that of Baden-Baden, &c. Dressed nearly alike as fops, with peculiar hats and profuse whiskers, they carol a lively strain, the refrain of which is ''Hurrah for the Gaslight School.'' The manlike appearance and swagger of the lady cause much laughter. Again they come forward and exhibit cards bearing good representations of the Rose, the Thistle, the Shamrock, and other emblems of nations, and accompany the display of the pictures with appropriate melodies. When we saw them they were so earnestly called that they appeared a fourt time and sang ''A song of songs,'' which consisted of snatches of a very large number of popualr ditties well woven together and cleverly sung. . . .'
(The Era, London, Sunday, 29 October 1871, p. 12a)
'DPARTURE OF PROFESSIONALS FOR AUSTRALIA. - On Thursday the following members of the Music Hall Profession sailed from Southampton for Australia, viz.:- The De Castro troupe, Valentine Vose, Arthur St. Vincent, Mdlle. Montebello, Airee, Nellie Forrester, Harry Sefton, and Jessie Danvers. Through Messrs Durden and Wills, who witnessed their departure, they send kind regards to their brother and sister professionals.'
(The Era, London, Sunday, 31 August 1873, p. 4d)
'ST. VINCENT'S AUSTRALIAN ''MUSETTES'' AND CONCERT COMPANY of Six Star Artistes are now on Tour through England. Managers and Proprietors please send vacant dates for Halls. ARTHUR ST. VINCENT. N.B. - ''The Hindoo Marvel.'' Australia again in August. Permanent address, 32, Fitzroy-street, Fitzroy-square, London, N.W.'
(The Era, London, Saturday, 10 June 1882, p. 21a)
'DO THE CLODOCHES DANCE?
'ACTION AGAINST THE PROPRIETOR OF A Music Hall.
'(Specially Reported for The Era)
'COURT OF COMMON PLEAS, WESTMINSTER, April 23 
'(Sittings at Nisi Prius, before Mr. Justice Willes and a Middlesex Common Jury.)
'YOUNG V. NUGENT. - This was an action against the Proprietor of the Cambridge Music Hall, Commercial-street, Shoreditch, to recover a penalty of £100, upon the ground that he, being licensed for music only, had unlawfully permitted dancing to take place. Mr. Cole, Q.C., and Mr. Thomas appeared for the plaintiff, and Mr. Day, Q.C., for the defendant.
'Mr. Cole having opened the case to the Jury, a discussion arose as to the effect of a case against the defendant already decided in another court, from which an appeal had been taken to the Exchequer Chamber.
'Mr. Day contended that, as the defendant had paid one penalty, the remedy in that direction was exhausted, and he could only be indicted now according to the statute.
'His Lordship thought that, the licence being annual, a penalty might be enforced each year. He could not say that one penalty freed a man for life.
'Robert Francis Young, the plaintiff, was called, and he said - I have been a comedian since 1827. On the 12th March in the present year I went to the Royal Cambridge Music Hall. I paid 1s. for admission, and I purchased a programme. There was a stage and a drop-curtain, upon which there was a painting of a Venetian harbour, with fishing smacks. The scene ascended and descended. There were twenty-eight footlights, and an orchestra with fourteen musicians. Madame Leoni's name is not in the printed programme except where I wrote it in myself. She was announced by the Chairman to appear. She came upon the stage, and was first dressed in white muslin and fleshings, and she had on ballet or dancing shoes. She danced an English dance, a pas seul, and very well she did it. She danced, got applause, and made her exit left-hand. She then appeared L.H. in a Scotch bonnet and scarf, danced a kind of Highland fling, finished, applause, made her exit again L.H. Returned in an amber bodice with lappets behind, and a scarf. Her dress was trimmed with blue or green ribon [sic], such as people dance the Cachuca in. She danced a Spanish dance to the usual accompaniment of the band, and I think there were castanets. The band - a very good band, too - accompanied each of the dances. She made her exit L.H. again, returned in a tuck-up figured chintz dress, and danced an Irish jig. This finished her performance. There was then a song, and the act-drop came down. After it was drawn up again the Clodoche Troupe appeared. They were four in number, two being dressed as males and two as females. One of the men was dressed in blue or green checked -
'His Lordship - Oh, you needn't go through any more of the millinery. (A laugh.)
'Witness - They danced the French ''Can-Can'' Quadrilles, and were encored. I went to the Hall also on the 13th, 14th, and 16th but only saw Madame Leoni on the one occasion. The Clodoches I saw every night, with the same performance and the same accompaniment. I paid on each night.
'Cross-examined by Mr. Day - The French dancers are called grotesques, and are got up in a very grotesque style. They performed figures of an ordinary quadrille. It lasted perhaps twelve minutes. That was the only dancing, except Madame Leoni's, that I saw. I did not notice that the Clodoches had large inflated wind-bags attached to them. On the Wednesday night they were discovered sitting at a table, drinking; but they made their engrance on the Monday and Tuesday nights. On the Wednesday they san also, but not on the Monday or Tuesday. The men dressed as women went down and did the ''splits.'' That is something which is done by tumblers in the streets sometimes. It is also done in dancing.
'To his Lordship - I never saw Frenchmen dance the ''Can-Can.''
'Cross-examination resumed - I saw the ''splits'' done once to excite the audience. I didn't notice any Pantomime. The music was a bold air. I think U have heard it before, but I cannot say where. I used to dance myself at one time, but I never dance to that tune.
'To his Lordship - I don't play any instrument.
'Re-examined by Mr. Cole - I never head the opera of the Grande Duchesse. The tunes played were airs to which the figures of a quadrille might be danced, and the figures I saw danced were quadrille figures. They danced as partners, and at the close of the figure there was a change in the music.
'Mr. Day admitted that the defendant gave notice of an application for a music and dancing licence in October, 1871; but this application was withdrawn, and an application for music licence only was made and granted.
'Mr. Francis, the Deputy Clerk of the Peace for Middlesex, proved that since 1851 the Magistrates had granted licences for music or dancing, or both. Previous to that time there was only one form of licence, and it included both music and dancing.
'Mr. Day submitted to his Lordship that as a verdict for one penalty had already passed against the defendant in the case of Brown v. Nugent (which case was now under appeal upon questions of law), the penal operation of the 23d George II., cap. 36, was exhaused, and the only remedy remaining was to proceed by indictment. Further, that what had taken place was not dancing, ro at all events not ''public dancing,'' which he contended meant dancing in which the public took part.
'Mr. Justice Willes observed that dancing seemed to mean motion regulated by the sound of music.
'Mr. Day said that what was said to be dancing was a thing that was merely ancillary to the real entertainment; but he should produce evidence to show that it was not dancing.
'Mr. Justic Willes - Then what was it?
'Mr. Day - In Shakespeare there was this passage - ''What say you of young Master Fenton? He capers, he dances, he has eyes of younth, he writes verses.'' What he should submit was that Clodoche was ''capering,'' as distinguished from ''dancing.''
'His Lordship - Capering means to dance as if he were a goat.
'Mr. Day said that he should submit that the place was not kept for dancing, and, lastly, it was licensed. He then addressed the jury, saying that Mr. Cole had represented this as a struggle between Theatrical Managers and Music Hall Proprietors; but it was in reality a mere attempt by Mr. Young and others to levy black mail upon the Proprietors of Music Halls. Nor did Mr. Nugent represent the Music Hall Proprietors. He was not backed by the subscriptions of other people, but the whole burthen of the case rested upon himself. An attempt had been made to import prejudice into the case by saying that this was the ''Can-Can,'' but it was really something that was dance even at West-end Theatres. If there had been any impropriety which shocked Mr. Young - and even a common informer might have virtuous scruples - there was a proper remedy by indicting and punishing the proprietor of the house. The place was not kept for public dancing, and the French Grotesques were got up like mojntebanks or buffoons, which they really were, and they capered about the stage, but not to regulated music. Madame Leoni had appeared for a benefit without the knowledge of Mr. Nugent. Witnesses would be called to show that the performance of the Clodoches was not dancing at all, however, great their buffoonery might be. As to the ''splits'' it was done by street tumblers, and it was a hideous exhibition, but it was not dancing. Those idiotic buffoons were represented as dancing, but they performed mere idle movements for the pleasure of the people who went to see them. The Jury would have to decide whether dancing had taken place, although his friend treated his comments on the fine arts with comtempt. (Laughter.) He would ask the Jury whether they would be influenced by the suggestions of Mr. Young, a common informer, who brought the action to put £100 into his own pocket.
'Mr. John Ward was then called, and said - I have been engaged in the theatrical Profession for many years, being a pantomimist, dancer, and vocalist. I have been ballet-master at the Gaiety, and also a Clown. I have seen the performances of the Clodoches frequently, in Paris, at the Ambigue Comique. According to my opinion, dancing would not be a proper name to apply to their performances. It is more of contortion business than dancing. It is a kind of pantomimic action, knees and toes turned in, and getting into curious positions - this sort of business. (Loud laughter at witness's imitation.) It is all in a burlesque way, and they do it all ad libitum. There is no set arrangement in it at all. There is a regular measured movement to music for dancing; but there is not with them. It is all ad libitum do-as-you-like sort of business. They jump as Stead, the Cure, would jump, and they make up eccentric.
'To his Lordship - there is not grace whatever about them, and not dancing. Dancing is an art. The Clodoches do no steps whatever.
'Examination resumed - They don't stop exactly at the end of the music, but at any time. They pay no regard to the music.
'To the Jury - Of course they must have some music; but any sort of music would do. They could do their business without music.
'To Mr. Day - Music would not be any more necessary to them that if two men were doing the broadsword exercise.
'His Lordship - What do you think of the sword dance without music? Witness - Well, it would be rather awkward; but it requires a dancer to do the sword dance. I ahve not seen the Clodoches at this place, but they are the same people that I saw at Paris.
'His Lordship thought they were a long way off - 200 miles from the case - in calling a witness to say that was done at the Ambigue Comique.
'Witness (cross-examined by Mr. Cole) said - I don't see the Clodoches here. I don't do the ''Can-Can'' myself; I can do without that. If persons went through a quadrille figure I should call that dancing - if they changed partners, and went backwards and forwards.
'Mr. Day said he must take exception to his Lordship's previous definition of dancing, that it was a motion regulated by music, because that would apply to a march of the Grenadier Guards.
'Mr. Justice Willes - That was another name. Dancing is a motion regulared by music to which we give no other name.
'Mr. S.J. Hyams said - I am Vestry Clerk of Spitalfields. I saw the Clodoches twice at the Cambridge. The performance was so irregular and out of the ordinary way that I hardly know how to describe it. They tumbled about and jumped about, and two of them did what the plaintiff called the ''splits.'' Their movements did not appear to be regulated by the music.
'Cross-examined - I did not see anything like a quadrille. I never danced a quadrille in my life, and I am not a dancer. I think they took hands and danced across. I don't know what the music was, but I believe it was from a French opera. I cannot say whether it was from the Grande Duchess. It was a very pretty dance music. They stopped very abrupty in their dancing, and went off. I think they all jumped in one way, held hands, and went off at the side. They jumped up and down.
'Mr. Cole - This way? Witness - Well, that's not a bad imitation. (Loud laughter.)
'By Mr. Day - I have often seen a quadrille danced, but what I saw at this house did not suggest a quadrille to me.
'Mr. Robert Macrill said - I am Secretary to the defendant. The way in which Madame Leoni came to perform at the Cambridge was this: John Johns, the Clown at the Standard, had met with an accident that caused his death, and his brother came to ask if we could do anything good for the widow and children. I said, ''Send as many tickets as you can to-night, and we will accept them.'' Madame Leoni had been association with Johns at the Standard, and she came to the Hall without consulting Mr. Nugent or me. She was only there once. The performers of the Clodoches were dressed in an extremely groteque manner. The sleeves of their coats were made of a sort of oil-skin, and were inflated with air. The performance was a succession of contortionist movements; there was buffoonery and tumbling about the stage. There was nothing like the figure of a quadrille. I belive that Clodhopper is the English meaning of the word ''Clodoche.''
'By Mr Cole. - I don't think I advertised it as a quadrille; nor do I know that it is always so described. The description given of them in another advertisement is not correct. At any rate, they didn't dance a quadrille at our establishment. The ''Grand Duchess Quadrille'' is frequently played for our bymnasts. I know the Music Hall Defence Fund, and I recognise the paper produced; but the money subscribed there is not for the defence of Mr. Nugent alone. It is for the protection of all Music Hall Proprietors. It has been a very successful subscription, but it has nothing to do with Mr. Nugent personally.
'By Mr. Day - It has nothing to do with the present action, for which there is no subscription. Nearly every Music Hall Proprietor in London has been summoned, and nearly all have compromised by playing sums of £10, £15, or £20.
'Mr. Nugnet, the defendant, deposed that he was not aware of Madame Leone [sic] being about to peform; and he did not see her at the Hall.
'Cross-examined by Mr. Cole - I heard that the Clodoches went to the Philharmonic, where they were described as dancing a grotesque quadrille but possibly they might have had a different entertainment there to what they had at my place. The Defence Fund Circular is for the purpose of settling the appeal. the business of the Association is also to procure an alteration of the Act of Parliament, so that we may do slight pieces. This Society has not brought actions against the Theatres; but Mr. Syers, of the Oxford, has himself done so for opening on Good Friday. Their licences won't permit them to open on Good Friday.
'To his Lordship - I should call the Clodoches tumblers. It is the most ridiculous performance I ever saw.
'Mr. Fred Evans said - I am a ballet master, and I have been a Clown, but not a Pantaloon (Laughter.) I have seen the Clodoches in the Pantomine at Covent-garden, and their performance was not dancing.
'To Mr. Cole - I have not seen them in Shoreditch.
'Mr. Justic Willes, in summing up, observed that the Court of Queen's Bench had already decided that the music licence would not include dancing, and this opinion they must be bound by until it was reversed. As to one penalty only being recoverable, he thught that notion was founded upon a misconception of what had taken place before him in a previous case. He could not agree that public dancing meant dancing in which the public personally took part. There could be no doubt that Madame Leoni danced, and if this had taken place with the defendant's assent there would be an end of the case. The main question which the Jury would have to consider was whether the performance of the Clodoches was or was not dancing.
'The Jury found a verdict for the defendant, and, in answer to his Lordship, they said that they thought that Madame Leoni had appeared merely incidentally, and wihtout the knowledge or assent of the defendant.'
(The Era, London, Sunday, 28 April 1872, p. 7c)
'On Saturday evening, a large audience assembled in the City Hall to hear the performance of the company known as the ''Royal Hand-Bell Ringers,'' who, on their last appearance in Glasgow, some four years ago, met with a gratifying reception. The company numbers five members, Messrs Duncan S. Miller (conductor), H. Havart, F.B. Phillipson, w.J. Havart, and J.H. williams; and the carillon consists of about 100 finely toned bells, capable of producing as charming a combination of musical sounds as could well be heard. In the execution of one of the pieces in Saturday's selection - ''The March of the Israelites,'' from Sir Michael Costa's oratorio Eli - no fewer than 66 of thse bells were introduced by the five performers; and the extraordinary dexterity of the manipulators, the faultlessness with which every note was truck, and the exact time maintained by each performer, cannot be too highly spoken of. Equally successful was the company in the rendition of such pieces as ''The Huntsmen's Chorus,'' from Der Freischutz, a polka arrangement composed by Mr Miller, introducing imitions of ''Big Ben,'' the great bell of Westminster, and the beautiful serenade ''Mandolinata.'' But the selections most in favour with the audience were those illusttrative of English, Scotch, and Irish music - and such pieces as the ''March of the Men of Harlech,'' ''Rory O'More,'' ''Caller Herrin','' and ''The Blue Bells of Scotland,'' were enthusically received. A number of songs and glees were judiciously interspersed through the programme, and Mr Miller kept alive the interest in the special feature of the evening by a humourous running explanation of the art of bell-ringing. The entertainment was in every respect a most successful one, and the company certainly could not have had a more attentive or a more appreciative audience than that to which they performed on Saturday night.'
(The Glasgow Herald, Glasgow, Monday, 4 December 1876, p. 4f)