Press Clippings for the week ending
Saturday, 16 March 2002
A random selection of cuttings
from newspapers and magazines
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* * * * * * * * Emerald and gold jewellery for Louisa Angel, 1865 |
Louisa Angel
(photo: Heath & Beau, London, 1862-1863)
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‘Miss Louisa Angel, having recently concluded a successful engagement at the theatre Royal, Newcastle-upon-Tyne, has just been presented with a testimonial in the shape of a massive gold bracelet, set in emeralds, and a valuable gold necklet, also set in emeralds, the bracelet bearing the inscription - "Presented to Miss Louisa Angel by a few friends at Newcastle-upon-Tyne, as a mark of esteem, and in token of their sincere good wishes for her continued success. - May, 1865."’ * * * * * * * * Comfort and elegance of a modern theatre, 1878
‘Our forefathers were contented with very rough accommodation when they visited the Theatre, but Managers in modern days find it to their account to make their Theatres not only comfortable, but elegant. The enterprise and good taste of Mr John Hollingshead, for example, cannot be too highly commended. To enter the Gaiety [in London] is like entering a Palace rather than a Theatre. The taste and elegance of the decorations, and the artistic tone pervading every part of the Theatre, must especially commend the Gaiety to all who value refinement of style in theatrical decoration.’ * * * * * * * *
Helen Barry in Lady Clancarty; or, Wedded and Wooed
‘Lady Clancarty is such a success at the Queen’s that it is to be repeated until further notice. The theatre suits the play, and the Queen’s, under good management, might become the Chatelet of London. There is no need to make comparisons between the casts at the Olympic and Queen’s Theatres, but Miss Helen Barry may be entreated to study her entrances and to avoid that strange jerkiness which becomes ludicrous at times. For example, look at Lady Clancarty’s entrance with the basket in the prison scene. Miss Helen Barry bounces in and pulls herself up short, as if she had been suddenly stung. Grace and nature are wonderful gifts on the stage. Miss Helen Barry has wonderfully improved in all but deportment. In this respect there is little to choose between Edith Dombey [the part she played in Andrew Halliday’s play, Heart’s Delight, founded on Dickens’s Dombey and Son, Globe Theatre, London, 17 December 1873] and Lady Clancarty. Angularity is not nearly so beautiful as a soft curve.’ * * * * * *
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© John Culme, 2002