BL, Monday, 1 December 2008 BL, Tuesday, 2 December 2008 'The funeral of Mr. Walter Montgomery took place on Thursday. The London correspondent of the Western Morning News says:-
'The funeral was, so far as regards undertakers' pomp, quiet enough, but it was not the less intesnely tragical. The bride-wido was among the mourners, and when the body of her husband was laid in the ground a most distressing scene took place. She laid her bridal wreath upon the coffin, and for some time absolutely refused to leave the grave. Her tears and sobs were heartrending, and it was long before she could be calmed.'
(John Bull, London, Saturday, 9 September 1871, p. 623a) Gatti's music hall, Charing Cross
'. . . Miss Lily Flexmore was announced on the programme as a high kicker and dancer. She succeeded by dind of some force in getting a portion of her left leg over her left shoulder, and her violent excertions said more for her energy than her grace. That she is by no means lacking in the latter qualification she proved in the few steps of her dance. In one of her selections she sang of poor Mary, who, since her advent on the stage, is sometimes liable to forget to come home at all, and at others is given to waking up at six in the morning with ''The Dandy Coloured Coon.'' ''I'm going to wink my eye and kick my tootsies high'' are phrases that Miss Flexmore aptly illustrates, though her vigorous emphasis is more to be commended than her pronunciation. . . .'
(The Era, London, Saturday, 21 January 1899, p. 20b/c) The Grand music hall, Clapham, South London
'Mr. J. Sparrow's Benefit. - The two-fold object was served on Tuesday last of commemorating the fifth anniversay of the Grand, Clapham-junction, and the annual benefit for the same number of times of the enterprising manager. . . .
'Miss Lily Flexmore put herself into inexpressible shapes in a clver dance. . . .'
(The Era, London, Saturday, 28 October 1899, p. 18b) Sadler's Wells, London
'. . . Miss Lily Flexmore is well described as an ''Indian-rubber girlie.'' She gives an acrobatic dance, which is remarkably clever of its kind, the marvellous way in which she twists her legs about causing astonishment.'
(The Era, London, Saturday, 24 November 1900, p. 19e) 'ASTLEY'S has witnessed the return of Miss Adah Isaacs Menken, who reappeared on Monday evening in her popular personation of William in Black-Eyed Susan, and has repeated the character through the week. Miss Menken has been very warmly received. Miss Josephine Fiddes has repreneted the interesting Susan, and Miss Nelly Nisbett, the most arch of soubrettes, has been a lively Dolly Mayflower, singing with excellent tatste the incidental song of ''All in the Downs.'' the capital Pantomime has concluded the evening, and in the Opening and Harlequinade the exertions of the company have fully secured the enjoyment of the spectators.'
(The Era, London, Sunday, 2 February 1868, p. 11a/b) The Palace Theatre of Varieties, London
'. . . Then we have at the Palace Miss Sophie Harriss, a vocalist with a strong and musical voice, which has evidently been trained and cultured with care. The result is that her ballads are delivered not only with keen expressiveness and penetrating volume of sound, but with that finish and accomplishment which only cultivation under experienced teachers can bestow. Miss Harriss comtributes two songs to the entertainment, and is cordially recalled and loudly applauded. . . .'
(The Era, London, Saturday, 29 October 1898, p. 20a) 'MISS SOPHIE HARRISS was born in Adelaide, South Australia, where she made her first appearance as a member of the chorus of a burlesque company. Then with W.J. Hollway's Shakespearian company she played small parts and Amiens, with sons, in As You Like It. A stock season followed. She then joined Williamson, Garner, and Musgrove's opera company, playing small parts and the Duchess, in Tambour Major; Padro, in Girofle-Girofla; Katisha, in The Mikado; Dick Whittington, in pantomime. A long season at the royal, Melbourne, with Bland Holt in Run of Luck and Alone in London (Liz Jenkinson), was followed by a pantomime engagement in Sydeny. Then came a long tour with Pinero's Magistrate, Miss Harriss playing Charlotte Verrinder, Mrs tidman, in Dandy Dick; the wife, in Nita's First; and also appearing in most of Frank Harvey's plays. This was succeeded by another long tour of comic operas, the parts she embodied including Countess, in Olivette; Prince, in Mascotte; Lady Jane, in Patience; Germaine, in Corneville; Madame Lange, in Madame Angot; the Drummer Boy, in Tambour Major; Ralph, in H.M.S. Pinafore; and many others. After fulfilling a pantomime engagement (Sinbad) at Melbourne came a season at the Opera House, Melbourne, with G.C. Miln's Shakespearian company, during which was produced The Three Musketeers, Miss Harriss playing Constance, afterwards appearing in pantomime, drama, comedy, opera, at all the principal towns in Australia and New Zealand, her last engagement there being the Prince, in Cinderella. After a visit to London she went to South Africal, playing comedy, musical comedy, &c. Then followed a happy engagement of eighteen months with the Lyrica opera company, Miss Leonora Braham the prima-donna, producing eighteen operas in twenty-two weeks, some of the parts which Miss Harriss played being the Queen, in Iolanthe; Katisha, in Mikado; Lady Blanche, in Princess Ida; queen, in The Bohemian Girl; Buttercup, in H.M.S. Pinafore; Mrs Cregan, in The Lily of Killarney; Duchess, in La Cigale; Edwidge, in Falka; Mrs Privett, in Dorothy; Prince, in The Mascotte; Lucia, in Cavalleria Rusticana; Lady Sangazure, in The Sorcerer; William, in Black Ey'd Susan; &c. Miss Harriss has also played the title-ro^le in Aladdin, at the Chicago Opera House; Selim, in Blue Beard, at the Crystal Palace; in the opera, Love and War, on tour; Robin Hood, in Santa Clause, at the Royal, Birmingham; and the following year at the Edinburgh Empire; Belle Bell, in Telephone Girl, on tour; Robinson Crusoe, at Brixton; Kathleen O'Mara, in Duchesse of Coolgardic, with songs, two seasons. An engagement at the cafe/ chantant, Crystal Palace, led to her appearance in the London music halls, and she has just singed a contract with Mr Robert Arthur for three years for pantomime. She will play the Prince, in Cinderella, at the new Theatre at Kennington. At the conclusion of this engagement she will reappear at the halls, starting at Brighton.'
(The Era, London, Saturday, 19 November 1898, p. 11b) 'OUR LONDON CORRESPONDENCE. 6t Fleet Street, Wednesday Night. . . .
'A little romance which has during the past few days greatly interested the world of the music halls has now reached a happy ''denuement.'' Mr Adney Payne, a director of several halls, particularly in the South of London, was some little time since betrothed to the pretty and clver young artist known to the stage as Miss Ethel Earle. the marriage was fixed for lst Saturday, and many guests were invited to the Trocadero for the wedding feast, when a postponement was announced by telegraph. The cause (for which the lady was not responsible) is clearly a matter which concerns only the two principal parties. It will suffice that Mr Adney Payne was present to-day at the Newington Licensing Sessions, and recieved the congratulations of his friends on his marriage, which, it seems, took place yesterday. the happy couple afterwards lunched quietly at a London restaurant, and then went to Brighton, where the honeymoon was interrupted only for a few hours owing to the necessary attendance of Mr Payne on the business of the license of the Canterbury and South London Music Halls, which came on at Newington to-day.'
(Glasgow Herald, Glasgow, Scotland, Thursday, 17 November 1898, p. 7e) The Empire, Bristol, England
'. . . Esta Stella, comedienne and dancer, certainly deserves to rank amongst the star arists. She is a pleasing vocalist, but excels as a dancer, graceful in movement, vivacious and winsome. She won high favour, scoring particularly with her coon songs and dance. . . .'
(The Bristol Mercury and Daily Post, Bristol, England, Tuesday, 16 May 1899, p. 8d) Gatti's music hall, Charing Cross, London
'. . . There is a freshness about the methods of Miss Esta Stella that recommend her to favurable notice in her ''romp'' son, ''What will you give me if I tell?'' She has a taste for dancing, for the display of which full opportunity is afforded in her ''Coon Christening,'' whereat the son of the dandified John James Brown receives his cognomen amid high festivity, examples of which are given by Miss Stella in some neat and dainty footplay.'
(The Era, London, Saturday, 24 November 1900, p. 19b) The Aquarium, Westminster, London
'. . . First on the list of artists was little Miss Lily Landon who sang ''Only to see her face'' and ''Some Day'' in charming style, the combination of freshness of voice and carful training which was exhibited in her delivery of these ballads being extremely pleasing. Miss Landon has evidently been carefully taught, but also appears to have a good deal of innate artistic instinct. . . .'
(The Era, London, Saturday, 24 October 1885, p. 10c) London Pavilion
'. . . Miss Lily Landon, a piquant and dainty serio, blessed with a feeling for comedy. . .'
(The Era, London, Saturday, 24 September 1898, p. 18b) The Parthenon music hall, Greenwich, London
'. . . The last but one in the list of performers for the evening was that fascinating burlesque artists Miss Lily Landon, whose histrionic and vocal qualifications and personal charms alike combined to render her one of the greatest favourtes of the night. Not the least pleasing feature of this young lady's special style are the educated clearness of diction with which he enunciates the English language and the apparently unconcious humour and innocense of manner with which she heightens the effect of points in her song, that in less delicate hands might be prilous. Her fetching interpretation of ''What a bit of luck'' literally brought down the house. . . .'
(The Era, London, Saturday, 18 March 1899, p. 18c) 'Mr. John Parry, the well-known humorous singer and pianist, died yesterday at Moulsey, at the age of sixty-nine. He first appeared in the concert-room in 1833, and after a brief trial of the lyric stage he devoted himself to a style of humorous entertainment which he may be said to have originated, and in which he has never been surpassed. From 1860 to 1869 he was associated with the entertainments of Mr. and Mrs. German Reed.'
(Pall Mall Gazette, London, Driday, 21 February 1879, p. 5b) 'THE LATE MR. JOHN PARRY. - The public, so long enjoying the admirable entertainments of the accomplished humorous singer and pianist, will hear with regret that their popular favourite has passed away. Mr. John Parry died on Thursday morning at his residence, at Moulsey, Surrey, having for some time past suffered from increasing infirmities. His medical attendant, Dr. Skimming, attended him to the last, but the utmost skill of the physician failed to arrest the progress of that nervous disorder which some time ago enforced Mr. Parry's retirement from professional life, although he appeared for his farewell benefit at the Gaeity Theatre, Feb. 7, 1877. Mr. John Parry was born in London in 1810, and inherited a ove of music from his father, who was of some repute as a composer. John Parry first appeared in the concert room in 1833, and after a brief trial of the lyric stage he devoted himself to a style of humorous entertainment which he me be said to have originated, and in which he has never been surpassed. From 1860 to 1869 he was prominently before the public in association with the entertainments of Mr. and Mrs. German Reed.'
(The Liverpool Mercury, Liverpool, Saturday, 22 February 1879, p. 8g) 'MR. JOHN PARRY. - Seven years ago Mr. John Parry, the popular ''buffo singer,'' retired into private life, taking with him the regerts of those who had so often listend to his iinimitable entertainments, leaving behind him as a legacy numberless songs, which proved of inestimable value to amateur comic singers desirous of creating a sensation in drawing-rooms. It will then surprise the public to learn that Mr. John Parry is about to emerge from his seclusion, having in the kindest manner possible volunteered his services on the occasion of the benefit of his friends, Mr. and Mrs. German Reed, at the Gallery of Illustration on Mondy evening next; and it is to be hoped that having againe made his bow before the public he will not think of at once retiring, but consent to give at least a few farewell performances, which cannot fail off attracting very large audiences.Entertainments are now as much a portion of the established amusements of London as the theatres; the former have their regular public, and number amongst their supporters a large proportion of the educated and fashionable worlds, hence then Monday next will prove peculiarly attractive.'
(The Daily News, London, Monday, 28 May 1860, p. 3c) 'GALLERY OF ILLUSTRATION.
'The entertainment of Mr. and Mrs. German Reed at the Gallery of Illustration was diversified and improved on Monday evening by the introduction of several songs, which Mr. John Parry executed, and by some new dramatic scenes in which that popular comic vocalist, hitherto unknown as an actor, took part. It is about seven, and not seventy years, as Mr. John Parry last night facetiously affected to believe, since ''Fair Rosamond,'' ''Blue Beard,'' and other humorous scenas with which his name is indissolubly associated, were given in public. During his seven years' retriement Mr. Parry is understood to have devoted himself chiefly to the cultivation of pictorial art, and some evidneces, or reminders, of his talent as a water-colour painter were produced on Monday evening, when he made his appearance at the sea-side villa of Mr. and Mrs. Reed, in the character of an artist. The artist has no only an eye for colour but also an ear for music, and he announces his own entry by singing \a la cantonnade, the air of the ''Miserere'' in the Trovatore. Mr. Reed at once recognizes his old friend, the ex-vocalust and actual painter, and presents him to the public, who, however, rquired no such introduction, and recived the new comer with the most raputrous applause. The host of the sea-side villa, away of his visitor's vocal accomplishments, presses him to sing, and, after the usual objections of ''I have a cold,'' ''It is so long since I tried anything of the kind,'' &c., have been fairly overcome, previals upon him to essay ''Fair Rosamond.'' This ingenious and amusing song, written by the late and much lamented Albert Smith, was one which Mr. John Parry used always to render with peculiar felicity, and we can award no higher priase to his execution of it last night than by saying thatit was quite worthy of his best days - by which we simply mean the days in which he enjoyed that immense popularity which, we believe, again awaits him.
'''Fair Rosamond'' was loudly and unanimously redemanded, but was not repeated. But in spite of the prolongation of the entertainment, through the addition of the new songs and scenes, it was impossible not to concede a repetition of a trio, given for the first time, whith which the first part of the entertainment concluded. The novelty of this trio consists in the manner in which the talents of Mrs. Reed, Mr. Reed, and Mr. Parry - both as singers and as pianists - are turned to account. The appearance of Mr. Reed as a volunteer is followed by that of Mr. Parry as a volunteer of another corps - not only a ''rifle,'' but a ''rival'' volunteer, as the sea-side composer informs the audience. The two volunteers, after a little mutal drilling, are joined by Mrs. Reed, who strikes up a martial song to the tune of the vivandi\ere's air in the Fill du Re/giment - the volunteers marching the while. Then one of the militaires takes the place of Mrs. Reed at the piano, and is afterwards released by his brother-in-arms, whi is again relieved by the admiring lady; and this replacement is carried on, without the slightest interruption occurring in the air, until the thorough musical and dramatic understanding between the three personages delights the audience, and calls forth an encore which is quite irresistible.
'In the second part Mr. Parry sang some reminiscenses from the Barber of Seville, and at the conclusion of the entertainment he was called for, together with Mr. and Mrs. Reed.'
(The Morning Chronicle, London, Wednesday, 6 June 1860, p. 5a) 'Miss Madge Rockingham is a native of Sheffield, where Mr Edgar Ward, the theatrical manager and musical director, heard her sing at a concert in the Albert Hall. He engaged her for Fairy Queen in the pantomime at the Theatre Royal, Plymouth, 1883, and so she made her first appearance on the stage. Subsequently, Miss Rockingham played Germaine throuout five tours of Les Cloches de Corneville, the last with Mr Shiel Barry. She appeared on tour in La Fille du Tambour Major, Les Manteaux Noirs, and The Princess of Trebizonde. Miss Rockingham played principal girl in Randolph the Reckless (with Mr Victor Stevens, Miss Alice Brookes, and Miss Alice Cooke); in Miss Esmeralda, with Maggie Duggan and Little Tich; and in Cartouche and Company, with Miss Vesta Tilley. Miss Rockingham also toured as Thames Darrell, in Little Jack Sheppard, with Miss Fanny Robina and Mr J.J. Dallas. For three years she was in management on her own account, the ''Madge Rockingham company'' appearing in the Gaiety version of Miss Esmeralda, also in a musical comedy, specially written by Mr Arthur Shirley and Mr Benjamin Landeck, entitled A Fight for Freedom. Miss Rockingham's pantomime engagements include the following:- Principal girl - alexandra Theatre, Liverpool; Theatre Royal, Sheffield; Theatre Royal, Bath; Avenue Theatre, Sunderland; and two Easter pantomimes at York; principal boy - Opera Comique, London; Theatre Royal, Brighton; Alexandra Theatre, Liverpool; Theatre Royal, Reading; and Theatre Royal, Kilburn. Next Christmas Miss Rockingham plays Aladdin at the West London Theatre. Meanwhile she is appearing as Madame Montesquieu with Miss Cissy Grahame's All Abroad company.'
(The Era, London, Saturday, 17 October 1896, p. 13d) 'The brilliant and animated spectacle of The Battle of Flowers, and the striking scenes of the earthquake in the Riviera, will probably attract many visitors to Drury Lane; but Pleasure is, on the whole, a weak repulsive play, Its story is long, without being ingeiously interwoven, and its personages take no hold, and deserve to take no hold, upon the sympathies of the spectagor. Surely a more unheroic hero than Jack Lovel, the Oxford undergraduate, who has won the love and corrupted the good principles of Jessie Newland, the Oxford girl, never stood forth on the stage to claim the enthusiastic admiration of an audience. His excuses for suddenly abandoning the object of his passion, the woman to whom he has pledged his faith, are of the flimsiest sort; and well may he turn his back, as he habitually does, to his victim, when she assails him with her reproaches. Jack Lovel has not, in truth, the faintest reason for believing the calumnies which have been poured into his too willing ear by his cousin, Major Lovel, for his own sinister purposes; and, as it happens that this unchivalrous behaviour follows immediately upon the receipt of the news that he has unexpectedly succeeded to a peerage and a large fortune, there is at least some ground for Jessie's suspicion that her lover has grown too proud to behave honourably toweards her. Not satisfied with this, however, Jack is unmanly enough to confide to his tempter the secret of poor Jessie's dishonour, and forthwith to start away on a life of idleness and dissipation in Nice and Monte Carlo, in the society of women and men of vicious and profligate habits. So weak as creature as this hardly deserved the faithful attachment of his college chum, Dick Doddipods, son of the ambitious alderman and tallowchander, albeit Dick is not himself a shining example of constancy and well-regulated conduct; and certainly he did not deserve to be followed to Niece and dug out of the earthquake ruins by the still loving and faithful Jessie, who is rewarded, if a reward it can be called, by a final reunion with her all two credulous and fickle admirer. This point in the story was reached at the close of the fifth act, and it is obvious that it brings to an end all that there was of plan and purpose in the play. The authors, Messrs. Harris and Pettitt, however, have deemed it necessary to bring their hero and heroine back to Gloucestershire, there to be received with loud cheerings at the gates of the village church by a numerous assemblage of tenants and neighbours. They have, moreover, found it necessary to eke out this barren incident by an abortive attempt of Major Lowel to seize upon his noble cousin, in the midst of all these friends and supporters, and carry him off to a lunatic asylum. This ridiculous plan was so obviously predestined to fail, that the two stalward policement in the background, with the handcuffs ready to be clapped on the Major as soon as the two seedy madhouse keepers had been arrested, were hardly needed to arouse the storm of dreision which arose at the curtain was about to fall. Mr. Harry Nicholls' Dick Doddipods, the good-natured idle youth, with his fund of amusing talk, contributed greatly to relieve the general monotony of the story of Lord Lovel's mean desertion and its consequences, as did the efforts of Miss Fanny Brough and Mr. Lionel Rignold in minor characters; but beyond that, together with Mr. Emden's scenery and the admirable stage management, which never fail to be forthcoming at Drury Lane, there was but little to delight the house. Mr. Gardiner could not possibly make the hero acceptable to the audience, nor could Miss alma Murray arouse much interest on behalf of a heroine who is hardly less wanting in womanly self-respect in her forlorn and cast-off state than she was in maidenly prudence before her misfortunes had befallen her. The rather chilling reception which Pleasure met with will have done good serive if it helps to impress on the minds of managers the truth that something more than scenic splendours and skilful stage management are needed to make a successful romantic drama.'
(The Graphic, London, Saturday, 10 September 1887, pp. 279c/282a) 'Mr. P. Corri's Benefit at Weston's. . . .
'Miss Nelly Moon, who is a new and very young candidate for public favour, appeared and sang as ''a Page'' and ''The Yellow Boy,'' and acquitted herself very well, and was favourably received, notwithstanding that she was very nervous. . . .'
(The Era, London, Sunday, 22 September 1867, p. 6d) Turk's Head Concert Hall, Hull, Yorkshire
'Miss Nelly Moon is at present the reigning star at this comfortable little place of amusement. Her ''Boy in Yellow'' and ''Mrs Jinks'' are highly popular, as also the ''Queen of the Turf.'' The Brothers Faulkland are also great favourites. On Wednesday evenening the Bernardo Family of acrobats appeared, and did some clever ground tumbling and bending.'
(The Era, London, Sunday, 4 June 1868, p. 12b) 'MISS NELLY MOON. - This fascinating serio-comic vocalist, who, during her engagement at the Surry Theatre has added so extensively to her popularity, took a benefit on Wednesday at that establishment, and was the recipient of special honours, her friends and admirers presenting her through Mr Holland with the handsome sum of one hundred guineas, contained in a beautiful silver gilt enamelled casket. We believe tht Mr Holland first introduced Miss Moon to the public in the song of ''The Boy in Yellow'' during his partnership with Mr Sweasey at the Royal Music Hall.'
(The Era, London, Sunday, 26 April 1874, p. 4b) 'ROYAL SURREY GARDENS. - Mr. F. Strange has engaged Mr. Howard Paul and a talented concert and entertainment party to appear next week in a series of amusing impersonations, all of which will be given in costume. Mr. Howard Paul ranks among the best of those who ''sing a song and tell a story'' on the stage, and the artistes who assist him, Miss Laura Joyce, Miss Blanche Owen, and Miss Nelly ford, come well endoresed as young and talented aspirants to public favour.'
(The Era, London, Sunday, 2 June 1872, p. 12a) The Marylebone music hall, London
'. . . Miss Blanche Owen, who is here, is new to us. She has a pleasing, winsome manner, and sings with ease and distinctness. The strains which she rendered in our hearing were ''While the sun is shining always make your hay,'' ''Good-bye, Charley,'' and another.'
(The Era, London, Sunday, 2 November 1872, p. 4c) 'Mr. Alexander McDonald.
'A successful and very interesting entertainment was tiven on Monday evening by Mr. Alexander McDonald, at the Spread Eagle Assembly Rooms, Wandsworth. Mr. McDonald is one of the many who have recently adopted the profession of a public reader, and at the same time he is one of the very few who can approachy Mr. Charles Dickens or Mr. Bellew either in voice or in the rendering of the works of grat authors. His longest as well as his shortest ''reading'' is committed to memory, and is delivered without nots or reference, word for word, as it is found in the book; with action suited to the word, and word to the action. His voice is powerful, felxible, and of very pleasing quality. Every word is distinctly heard, the softest utterance or the fullest exhibition of passion and energy being equally seized by the most distant among the audience. We have hear Mr. McDonald declaim the selection from Nicholas Nickleby with remarkable intelligence and force; but on Monday evening his selections were of the humourous type, including the ''Election for Beadle'' (by Dickens), ''Pyramus and Thisbe,''''Blind-man's Buff,'' and ''A Norrible Tale'' (by e.L. Blanchard). The audience was kept in full laughter throughout. The entertainment is very agreeably varied by the introduction of some ballads by Professional singers. Miss Blanche Owen, a very pretty lady with a ringing soprano voice, and a marvellous set of teeth, made an impression upon the audience generally, and upon the writer particularly. This was not the case with a young gentleman sho sung Kucken's ''O'er vale and mountain,'' and who was specially described in the programme as a ''tenor.'' The gentleman who presided at the piano played very cleverly, and, besides, contributed to the merriment of the vening by a quaint manner of walking on and off the stage.'
(The Era, London, Sunday, 6 March 1870, p. 5c) 'Miss ROSE NEWHAM, of Lydia Thompson's company, who has made such a hit in America with her graceful and eccentric dancing, left New York last Saturday on board the City of Chicago.' (The Era, London, Saturday, 1 June 1889, p. 15c) advertisement for pantomime, Sinbad the Sailor, Theatre Royal, Birmingham, cast headed by Marie Loftus as Sinbad, also included the Sisters Newham and Rose Newham (The Birmingham, Daily Post, Birmingham, England, Wednesday, 27 December 1882, p. 1a) panto Theatre Royal, Brighton, The Queen of Hearts, cast headed by Vesta Tilley as Colin, with Violet Newham as Truth and Rose Newham as the World. (The Era, London, Saturday, 5 January 1884, p. 4a) panto, The Grand, Little Bo-Peep, the cast headed by Edith Vane as Bo-Peep, Julia Warden as Boy Blue, Lionel Rignold as Simon, and Fred Story as Squire Grump, with Violet Newham as Tommy Tucker and Rose Newham as Little Miss Muffet (The Glasgow Herald, Glasgow, Monday, 8 December 1884, p. 9e) 'MISS ROSE NEWHAM, as NELLY, every Evening, GRAND THEATRE, BIRMINGHAM, Great Success. Opions of Press shortly.'

'MISS VIOLET NEWHAM, Billie, GRAND, BIRMINGHAM. At Liberty shortly. Burlesque Boy, Speciality Dancing, or Comedy. address above, or, Agents.'
(The Era, London, Saturday, 13 March 1886, p. 6c) 'MISS ROSE NEWHAM, as NELLIE, GRAND THEATRE, BIRMINGHAM. Mail, March 2d. - The dancing of Miss rose Newham is specially artistic. Offers invited for good Burlesque Companies only. Adddress above.'
(The Era, London, Saturday, 20 March 1886, p. 2a) 'MISS ROSE NEWHAM, Re-engaged by A. Melville, Esq., NEW GRAND THEATRE, DERBY. Offers for Good Burlesque Companies only.'
(The Era, London, Saturday, 27 March 1886, p. 2c) 'MISS ROSE (Late Rose Newham), Speciality and Burlesque Artiste, Resting. Address, 2, York-road, Montpelier, Bristol.'
(The Era, London, Saturday, 18 September 1886, p. 6b) 'MISS ROSE (late Rose Newham) from Gaiety, London. Christmas Arrangements complete. Burlesque and Speciality Artist.'
(The Era, London, Saturday, 16 October 1886, p. 24b) Theatre Royal, Bristol, panto, The Babes in the Wood, 'The two infants are impersonated with much ability by Mr Fosbrooke and Miss Rose Newham. . . . Mr W. Fosbrooke is intensely humorous as Tommny, and Miss Rose Newham gives a bright and vivacious performance [as] his sister Sally. . . .'
(The Era, London, Saturday, 1 January 1887, p. 16b) 'MISS ROSE NEWHAM (Miss Rose), Theatre Royal, Bristol. On Saturday the pantomime was played her for the last time, the occasion being for the benefit of Miss Rose Newham, who, in the paft of Sally, has proved one of the brightest gems of the production. - The Era, March 5th.'
(The Era, London, Saturday, 12 March 1887, p. 2b) 'MISS ROSE NEWHAM (late Gaiety Theatre), Specially Engaged for Principal Girl, PRINCE'S T., BRADFORD. Private address, 25, Peckham-park-road, S.E.'
(The Era, London, Saturday, 19 November 1887, p. 6b) 'MISS ROSE NEWHAM (late Gaiety Theatre), Burlesque and Speciality Artiste. Specially Engaged for Polly, Robinson Crusoe, Prince's Theatre, Bradford.'
(The Era, London, Saturday, 10 December 1887, p. 6b) 'PRESENTATION. - Miss Rose Newham, who recently appeared at the Prince's Theatre, Bradford, as Polly Primrose, has been made the recipient of quite a host of presents, one of the many being a massive half-hoop diamond ring.'
(The Era, London, Saturday, 10 March 1888, p. 14c) The Trevor music hall, Knightsbridge
'. . . Miss Rose Newham, late of the Gaiety Theatre, danced with considerable vim and vigour in pretty stockings and in a simple white dress which looked very becoming. . .
(The Era, London, Saturday, 18 August 1888, p. 8a) Nova Scotia, 1 November 1888
'. . . The American public is at present afforded a double opportunity of passing judgment on English burlesque, for, whilst the celebrate Gaiety compny has invaded New York, another troupe, organised by Mr Leavitt and headed by Miss Lydia Thompson, is touring through the country. Miss Thompson has brought out with her a pretty strong organisation, and Penelope, the three-act burlesque which Messrs Stephens and Solomon have concocted for the tour, contains much that is amusing . . . The balance of the cast and the chorus were very satisfactory, and some clever dancing, introduced by Miss Rose Newham, provoked loud applause. . . .'
(The Era, London, Saturday, 22 December 1888, p. 15e) 'Miss ROSE NEWHAM has been engaged to arrange all dances for the great Professor Herrmann's Vaudeville company.'
(The Era, London, Saturday, 27 July 1889, p. 15c)