Press Clippings for the week ending
Saturday, 4 May 2002
A random selection of cuttings
from newspapers and magazines
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* * * * * * * * Maurice Moscovitch on tour in Australia, 1926
‘Maurice Moscovitch, whose recent revival of The Great Lover [Shaftesbury Theatre, London, 30 April 1926, 42 performances] was not particularly successful, has sailed for Australia, taking a repertory of plays with him, including Arms and the Man, Trilby, They Knew What They Wanted (obviously the part of the Italian wine-grower must greatly appeal to Mr. Moscovitch), The Fake, and The Music-Master. The last of these has been well known in American for ten years - it is a favourite part of David Warfield, that great American player - and Mr. Moscovitch hopes to produce it in London on his return from the Antipodes. The tour opens in Melbourne on September 18th.’ * * * * * * * * In praise of Kate Terry, 1867
‘SHADOWY PRAISE. - Mr. Tom Taylor, ŕpropos of his striking appreciation of Miss Kate Terry’s acting, most unnecessarily thought fit to assure us, that "he stands in no relation to the lady which can account for loss of reason, or suspension of the faculty of judgment, in relation to her acting." In the case of any other author, of one less original in his genius, less powerful in his pots, less condensed and witty in his dialogue, - of one, in fact, who had not bequeathed to the literature of his country such jewels as The Serf, Settling Day, Sense and Sensation, and last, not least, The Antipodes; who had lent the undying lustre of his name to many other dramas which else had been the mis-shaped abortives of semi-sterile brains; in any other but the Shakespeare of the nineteenth century, we might have suspected that some of this praise of such an actress arose from gratitude for the life which she had infused into his works. But Mr. Tom Taylor is above such a suspicion. Alas! Miss Kate Terry will soon be lost to the stage; but, courage! Mr. Taylor! Her sister [Ellen] still remains. No doubt, before the gods, jealous of mankind’s enjoyment of your genius, transport you to Parnassus, your fertile brain may light upon some piece which may contain a character worthy of her talents, and which no irreverend scribbler shall dare to call The Sister’s Penance.’ * * * * * * * * Maud Millett dressed by Madame Humble of Conduit Street, 1896
‘One gets some very good ideas for smart gowns occasionally from the theatres. Those worn by Miss Maud Millett [as Dora Hedway] in Jedbury Junior [Terry’s Theatre, London, 14 February 1896] are well worth describing. They were all made by Mdme. Humble, 19, Conduit Street, who has exceptionally good taste. In the first act Miss Millett, as "the Grey Dove," is gowned to perfection, every detail having been carefully considered and carried out in the most wonderful manner. The dress is of delicate dove-grey cloth, the skirt falling in plain, graceful folds. The perfectly-fitting coat bodice has pointed revers, and short, full basques ending in points in front. Lines of handsome steel sequins go across the white satin vest, which has an inner vest of soft-tinted lace, both being confined in a deep band of silver sequins. A light, delicate touch is given to this costume by a large, soft cravat-bow of which and mauve chiffon at the neck, while the grey felt picture hat, with its becoming border of grey feather trimming, the white and grey ostrich plumes, steel buckles, and upstanding white osprey, give the finishing touch to this costume, which suggests many ideas for wedding and going-away gowns. The design of the rose-pink satin ball gown in the second act is quite unique. The skirt has lines of finely-gathered white chiffon, drawn together at the foot, forming a series of points terminating with bunches of small Banksia roses in delicate shades of pink and white, over a satin jupe with silver embroidery. The bodice is of pink chiffon over white, forming a pouch in front, the side pieces being in finely-embroidered lisse, sewn with pailletes. A soft ruche interspersed with roses round top of bodice, and deep waistband. The sleeves are composed of pink satin, forming large bows, edged with white chiffon ruching, caught together in the middle with small paste buckles. No description can do this gown justice; it must be seen to be really appreciated, and it is difficult to say in which of the three Miss Millet looks most charming. The soft white silk gown in the last act is most simple, but its very simplicity is a work of art. The skirt is quite plain, the front of the bodice being draped from right to left with a rich lace scarf, fastened at the waist with a bunch of crimson roses. The sleeves are quite tight and perfectly plain, with the exception of two puffs at the top and a little lace at the wrists.’ * * * * * * * *
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© John Culme, 2002