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* * * * * * * * Ballet girls in London, 1868
'Ballet girls are seldom required in a theatre except when burlesques or pantomimes are played. They receive about 25s. a week. It is an error to suppose that, as a rule, they are "fast." On the contrary, they are usually the daughters or nieces of actors, and they work honestly for a small pittance." * * * * * * * * Prince Lee Lung, magician, at Hengler’s, Christmas 1906
‘The Christmas programme at Hengler’s Circus, including the revival of Little Red Riding Hood, is meeting with deserved support, and among the circus turns one of the best is contributed by Prince Lee Lung, late Court magician to the Dowager Empress of China. He performs his legerdemain feats in the centre of the ring without the aid of any stage accessories, and altogether his feats of magic may be described as wonderful.’ * * * * * * * * Adah Isaacs Menken at a seance, London, 1865
‘We are not aware that there is any affinity between horsemanship and spiritualism, though some persons might surmise some occult relation from the frequent appearance of Miss Adah Isaacs Menken at a select Sunday evening soirée at the West-end [of London], not a mile from Newman-street [off Oxford Street], where a knot of spiritualists meets to narrate their "experiences" in supernaturalism. At this gathering ladies, we believe, have the privilege of speaking, though we confess we have not heard that the fair Mazeppa - who some short time since astonished the frequenters of Astley’s [Theatre, London] by so bold, yet bare, a rendering of that character - has favoured the auditory at the soirée alluded to with her views on spiritual matters. As, however, she was in company of, and conveyed by, one of the Davenport brothers, it is not unfair to infer that, despite her very "material" impersonation of Mazeppa, her spiritualistic proclivities have by some strange process been strikingly developed.’ * * * * * *
Adah Isaacs Menken reprises her portrayal of Mazeppa
‘Miss Adah Isaacs Menken, who obtained so much celebrity in connection with her representation of Mazeppa, at Astley’s Theatre a short time since, made her début at the Glasgow Theatre Royal, in the same character, on Monday night week, and met with an enthusiastic reception from an audience that crowded the house in every part. Her classical illustration of the situations in which the hero of the piece is placed appeared to rival in the estimation of her admirers the daring feats of horsemanship which she is necessarily called upon to display in the rôle. The attraction continues nightly.’
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© John Culme, 2002