‘MUSIC HALLS. Second Notice.
‘In the article on this subject which appeared in our impression of last week [see above], we took occasion to deplore the non-fulfilment of the rich promises which were held out when Music Halls first came before the notice of the public. We also bestowed a passing glance on the "comic singer," whose dreary and heart-breaking performances form the staple of the Music Hall entertainment as it stands at present. It might be fancied, after our remarks of last week, that in hearing a song from one of these hapless sons of mirth we must have reached the lowest pitch of jocular destitution; but this is not so, for, however deep the pain we endure from the male comedian, the suffering which we experience at the hands of the "serio-comic lady" is even harder to bear. Her very title is assuredly a misnomer, for there is nought of seriousness in her performance, whilst as for comedy - Heaven save the mark! - she knows not the meaning of the word! She appears on the platform and, with saucy bearing and shrill voice, howls forth some ditty about "cards in the Guards," or some "swell in Pall Mall," or, perhaps, she will tell you a domestic romance in which omnibus conductors, or policemen, or costermongers, form the important features. Wanting, alike, in point, grace, or humour, these songs can have no purpose save to indulge the degraded taste of the majority of those who nightly fill the Music Halls; amongst such of the audience as have been attracted in the idea that they would hear a rational performance, there can be but one feeling - pity.
‘We would gladly refrain from attacking women, but in this case, we cannot be silent, for we are satisfied that these songs are not only very stupid but extremely mischievous in their results, and those who sing them must not claim at our hands any consideration on account of that sex, which they have outraged by such unseemly and unwomanly performances. Grace is a woman, like hope in the human breast, should linger when all else is gone, and it is because these "serio-comic ladies" have no vestige of feminine refinement that we condemn them hopelessly and unreservedly.
‘Whilst on this subject, we are reminded, perhaps by contrast, of Madlle. Theresa, the diva of the Alcazar, in Paris, and, so far as regards pointlessness and stupidity, we are bound in truth to say that our remarks have no reference to her; she possesses that which, in a different walk of life, might have enabled her to obtain a high position as an artist. As it is, she is only a Music Hall singer - but such a one! No actor can see her, no musician can hear her, without marvelling at the rare amount of talent evinced by her. That her sphere of art is a low one - perhaps the lowest - no one will deny, but her pre-eminence in that sphere is also undeniable, and, at the risk of shocking some of our readers, we venture to think that many queens of song now before the public, whose names are cherished by lovers of the opera, will find themselves matched and outdone before Madlle. Theresa meets her equal.
‘But let us leave the heroine of the Alcazar. In England there are numerous representatives of her faults, but we shall seek in vain for anyone who can afford the least idea of her merits. We had a twofold object in alluding to the Parisian Café Chantant, and, although the French Music Hall is liable to reproach in certain matters, we think that some things might with advantage be transplanted in England. Imprimis you will find in most cases, a trim little orchestra of efficient performers, who rattle merrily through one or two overtures, a valse, or a march, and so forth, and who, if need be, are fit to play a better class of music in fair style. There are generally singers of some pretension who are equal to the proper performance of romances and operatic airs, and, in short, the class of entertainment is such as reasonable folks may take pleasure in hearing. We wish that as much could be said for our Music Halls! Until, however, the entire organisation of these places of amusement is remodelled, and until decent music and fair cultivation take the ground which is now occupied by buffoonery and vulgarity, no good result may be hoped for.
‘We have spoken our mind pretty plainly in this matter, and there are two and possibly more of these Music Halls which may not justly come under the strictures which we have passed upon the institutions in general. Of the exceptions which strike us, the Alhambra [Leicester Square], with its well-mounted ballets and capital scenery, may be cited as one, whilst the music rooms known as Evans’s, in Covent Garden, constitutes the other. In the latter case, the audience consists of men alone, and the entertainment is made up of songs, glees, and part songs, executed by a well-trained choir, in which will be found boys with fresh and lusty voices which it does one’s heart good to hear. There was, it is true, a funereal comedian there, whose name, we fancy, was Mr. Harry Sidney [otherwise Harry Sydney, 1825-1870, a popular comic singer of the day], but if we are right, he as taken his talents elsewhere, and at Evans’s the visitor will now chance to hear good music well executed. The establishment is admirably conducted, and as for the beaming proprietor, may his shadow never be less, and may his hospitable snuff-box never be empty!
‘It will be seen that we have not touched upon the more serious question of the evil influence exercised by the majority of Music Halls as they are now conducted, and we have purposely refrained from doing so. If the morality of a Briton is to be attacked, the best course is to make, in the first place, an appeal to his common sense. We have endeavoured to point out the utter stupidity and worthlessness of the entertainments which are to be heard at these places all over London, and it remains for the public to contribute its quota towards a general reformation, so that, in time, the Music Hall may really furnish a home for music, instead of being, as at present, an insult to the art from which it has filched the name.’
(The Tomahawk, London, Saturday, 21 September 1867, pp.209b-210a)