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Entertainment in Leicester Square, 1865
Royal Alhambra music hall, Leicester Square, London, 1865
‘Sunny Spain, with the exception of cork trees, posadas, and other characteristic features is in full force, at Mr. Strange’s parti-coloured establishment. Manolas, Pandesetas, and delightful pas, by pretty Madrid coquettes, render one particular half hour in the evening [the ballet Divertissement Espagnol], wonderfully attractive for young gentlemen admirers of bounteous mother Nature as exemplified in the female form divine. In these premature dog days the dancing waters (Hydrotallemena) of the ingenious [Professor] Silvester are also peculiarly refreshing to witness, added to which are the balancing feats of Sextillian, the duets of Mesdames Constance [Loseby] and [her mother] Losebini, the graceful performances of the Infant Blondin, the contributions of many favourite vocalists, and last, but far from least, an excellent band, under the direction of Mr. Hird.’
(The Era, London, Sunday, 11 June 1865, p.12c)
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An opinion of Opera Bouffe as performed in England, 1867
‘What a pity it is that a well organised endeavour is not made, whereby a firm footing would be secured in our country for this class of entertainment. It is true that abortive efforts have from time to time been made to adapt and modify some popular work of Offenbach’s, in order that it might be rendered suitable for performance on the English stage; but when the music had been slashed about, and the libretto "purified," what a washed-out and colourless result was presented to the public! The representation of Orphée aux Enfers at the Haymarket [Orpheus in the Haymarket, 26 December 1865], of La Belle Hélène at the Adelphi [Helen; or, Taken from the Greek, a burlesque by F.C. Burnand and M. Williams, June 1866], and of Barbe Bleue at the Olympic [Blue Beard Re-Paired, 2 June 1866], will probably be fresh in the memory of those amongst our readers who were so unfortunate as to witness them. Nothing more pitiable can be imagined than were these abject attempts to transplant in England that which flourishes to merrily in France. One exception may be made to the catalogue of managers, who, by shortshightedness or general incapacity, have done such grievous injury to the cause which they professed a desired to assist: the exception referred to is Mr. German Reed, who, in his Opera di Camera performances at the Gallery of Illustration, gave the public a better idea of what this species of entertainment should be than has been known before or since.
‘The latest and most Quixotic notion of all was to bring together a company of English artists, in order that they should perform an adaptation of the Grand Duchesse; but, just fancy at what theatre it was to be mounted - why, at Covent Garden! [The Grand Duchess of Gerolstein, Covent Garden, 18 November 1867]. Assuredly nothing could have been more ill-advised, and it is difficult to believe that so rare a piece of folly can ever have been in the serious contemplation of anybody - even a London manager. The absurdity of the idea lies in the fact that Covent Garden is no theatre for comedy of any kind; and if Opera Bouffe is to find a home in England, a residence must be selected, if possible, not larger than the Adelphi Theatre.
‘It may not be profitless to trace the causes which have led to the repeated failures in this branch of theatrical enterprise. In the first, and most important place, must be ranked the undeniable fact, that the libretti of Offenbach’s most successful operas are not to the taste of the British public at large. It would be but a nonsensical waste of time to go into the question as to whether our pubic is right or wrong; but it will probably be conceded that, were an English author to set to work at a book for a comic operetta, he would produce a result, not one half as witty as the works of Offenbach’s collaborateurs, but twice as acceptable to an English audience. In the second place, it must be borne in mind that a piece of this sort, in Paris, is written for the resources of a particular theatre, and the vocal infirmities of each member of the troupe are consulted. How much more necessary, then, that our actors, who have not half the intelligence of the French, should receive similar consideration. In support of this last remark, we may allude to certain performances by amateurs, of Mr. Frederic Clay’s Out of Sight (in aid of the Guards’ Industrial Schools and the Cambridge Hospital), also of Mr. Arthur Sullivan’s Cox and Box (in aid of the "Bennett Fund"); in both cases the musical work had been specially designed to meet the means of the executants, and the result was a complete and uniformly excellent performance - such, indeed, as to make one regret the level of mediocrity of amateur efforts in general.
‘If, then, by a little care and attention, a good representation of light opera can be obtained from those who have not been professionally trained to their work, it seems rather had to explain how it happens that managers cannot, or will not, bestir themselves to supply a want which is now generally felt.
‘Let us hope that somebody, with a head on his shoulders, may soon be found to take this matter seriously in hand. It is by no means so difficult as might be supposed; and we feel satisfied, if a fitting-sized theatre were opened to-morrow for the performance of light opera in a worthy manner, that the enterprise would meet with ready and lasting support on the part of the public.’
(The Tomahawk, London, Saturday, 24 August 1867, pp.174 and 175; for recent comment on this subject, see Kurt Gänzl, The British Musical Theatre, Macmillan, London, 1986, vol.I, pp.1-11)
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The millinery nuisance, 1906
Nero, the poetic play by Stephen Phillips, with Herbert Beerbohm Tree in the title role; a special performance for the theatrical profession, His Majesty’s Theatre, London, 13 February 1906.
‘Nero is an imperial piece, imperially set and acted…
‘Forty per cent. of the feminine side of the profession [in the audience] plumped in favour of the huge matinée hat nuisance.
‘Mr. and Mrs. Tree and several members of his notably gigantic company towered above a hedge of tulle, aigrettes, and satin bows. A few players of lesser stature were swamped from view by aggressive chiffon choux…’
(The Daily Mirror, London, Wednesday, 14 February 1906, p.5b)
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