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‘Mdlle. Pertoldi, while executing one of her grand all-round swoops [in one of the ballets in the drama Round the World] the other night at the Empire, fell heavily. Weight and velocity aggravated that fall.’
(The Entr’acte, London, Saturday, 10 April 1886, p.5b)
‘The new musical extravaganza, entitled The Palace of the Pearl, was admirably produced by M. Marius on Saturday sen’night [Empire, 12 June 1886], and but little apology was needed at the hands of the manager on account of any shortcomings in the initial representation of so elaborately mounted a piece… The ballets owe their origin to the imagination of the fertile and clever M. Bertrand, who has an admirably trained corps of dancers, with the ever-delightful and accomplished premičre Mdlle. Pertoldi, ably seconded by that really finished little artist, Mdlle. Luna.’
(The Entr’acte, London, Saturday, 26 June 1886, p.6a)
In the ‘Moorish Ballet’ and the ‘Lace Ballet’ in The Palace of the Pearl, Mdlle. Pertoldi danced ‘as nimbly as ever, notwithstanding her physical ponderoisity.’
(The Times, London, Saturday, 19 June 1886, quoted by Ivor Guest, Ballet in Leicester Square, Dance Books, London, 1992, p.90)
* * * * * * * *
Louie Gilbert at the Foresters’ music hall, London, 1888
‘Miss Louie Gilbert is another lady high in favour with the Forestians. The gods are not always kind to sentimental vocalists; but they listened most intently to Miss Gilbert’s singing of "Sweet Italy," which, it will be remembered, was originally introduced into Jack-in-the-Box [Strand, London, 7 February 1887] by Miss Fanny Leslie. It is above the average of ballads, and the singer gave it with a sweet expression and a charm of style that are not often found combined in the prime donne of the music hall stage. But Miss Gilbert is something more than a mere singer, as she showed in her second and third songs. She has a good presence, and looks extremely well in pantomime prince’s costume.’
(The Era, London, Saturday, 14 April 1888, p.16a)
* * * * * * * *
Too Lovely Black-Ey’d Susan, a burlesque with
Fanny Leslie, Kate James, Dot Mario and Dan Leno, Crystal Palace, 1888
‘A New Burlesque Perversion of Douglas Jerrold’s Black-Ey’d Susan, written by Horace Lennard. Produced at the Crystal Palace on Monday, April 2d, 1888.
William - Fanny Leslie
Gnatbrain - Kate James
Hatchet - Frank M. Wood
Rager - Madge Seymour
Captain Crosstree - Frank Ayrton
Lieutenant Pike - Marie Shepherd
Doggrass - Mark Mills
Jacob Twigg - Mr. L. Fredericks
Blue Peter - Bessie Rignold
Seaweed - Miss E. Hamilton
Master-at-Arms - Theodore Reuss
Dolly Mayflower - Dot Mario
Susan - Dan Leno
‘A good deal has been written about the inanity of modern burlesque; but, in point of fact, it is not so much that this kind of entertainment as degenerated, as that it has altered in kind. A modern burlesque is
A modern burlesque is simply a variety entertainment with some sort of connection between the items. Ridicule of a well-known original is a secondary matter; the "items" and the favourite principals who interpret them are the thing, and on whether these are sufficiently numerous and sufficiently attractive depends the success of the "show." Judged by these canons, Mr Horace Lennard’s "perversion" of Black-Ey’d Susan must be pronounced unsatisfactory, and not much can be said for it judging by any standard. The piece opens with a smugglers’ chorus, sung by the buccaneer Hatchet and his pirate crew. Then enters Gnatbrian, a costermonger, with a barrow full of flowers, "a-growing and a-blowing." He, it appears, in the absence of William at sea, has been carrying on a flirtation with Mrs Williams (Susan); and Dolly Mayflower upbraids him for his infidelity to her own attractions. William, of course, soon turns up. He is a sham sailor, who pretends that he is going to sea when he is really off to London "on the spree." Gnatbrain pays a visit to Susan, who has become the infant still in arms, and the coster hugs and kisses Susan with her full consent. William next appears, and finds that his wife has pawned all the furniture. Hatchet and others arriving, William gets inside an eight-day clock, and there hears the smuggler chief tell Susan that he (William) has been drowned. Finally marines arrive, and the smuggler is arrested. In the second scene, the Port of Deal, we are introduced to Captain Crosstree, a marionette-like officer, who has to be wound up like a clockwork figure before he can either speak or sing. He, too, soon indulges in a flirtation with Susan, who gives him every encouragement. William enters in jealous rage, and Crosstree strikes him. For this William is condemned to death, and in the next division of the piece does a travesty of the celebrated scene, ’twixt decks, in Jerrold’s piece. Susan arrives with the baby, and after William has thrown it out of a porthole she and William change clothes. There is a burlesque trial, in which Susan is the prisoner and William is the witness. Finally Susan (as William) is sentenced to go to sea for life. William reveals himself, the baby is presented alive, and all, somehow or other, end well.
‘The dialogue of Too Lovely Black Ey’d Susan is no worse, as regards point and polish, than that of most of the old burlesques; and there is a commendable absence of that out-worn expedient, the pun elaborate. The piece, however, according to our present day ideas, is sadly "slow." There is a comparative scarcity of popular music hall airs, of ingenious and striking dances, of quaint "wheezes," and of individual exploits on the part of leading performers. Miss Fannie Leslie as William did all that she could do to keep things going; but her materials were scant, and she did not introduce much novelty on her own account. We all know how well Miss Leslie can dance a hornpipe; and her execution of that exhilarating step was one of the few items of the performances which evoked enthusiasm. She spoke William’s lines with remarkable distinctness and point, and sang some rather ordinary songs very agreeably. Miss Kate James’s vocalisation as Gnatbrain was pleasantly refined and free from strain or vulgarity; and she played the part in a bright and smart manner. Mr Frank M. Wood was efficient as Hatchet, and Miss Madge Seymour spoke her likes with spirit as Raker. Mr Frank Ayrton had a droll part in that of Captain Crosstree, but exhibited agility in his aerial leaps in a dance with Susan. Miss Marie Shepherd’s tall and well-proportioned figure made her a suitable representative of Lieutenant Pke; and Mr Marks Mills as Doggrass and Mr L. Fredericks as Jacob Twig were both satisfactory. Miss Dot Mario as an acceptable Dolly Mayflower, and Mr Dan Leno appeared with decided success as Susan. He gave a clever reading of the role on the lines laid down by the author, but we cannot say we care for the course adopted of making Susan a hideous elderly woman of immoral tendencies. There is little humour and less good taste displayed in the idea. It must, however, be owned that Mr Dan Leno managed to create much amusement by the introduction of various droll and original touches. Some of the airs composed by Mr Oscar Barrett were graceful and refined; too much so, indeed, for the purpose to which they were devoted; and the selected tunes were none of them strikingly inspiriting. A chorus, not all whose members could have competed with much chance of success for the golden apple of Paris, did not add greatly, either by their singing or their appearance, to the effect of the production; but a good word can honestly be said for the dresses and the scenery, which were neat and effective. Too Lovely Black Ey’d Susan lacks the virtue of "go" which will atone for many imperfections in an extravaganza; and, not possessing that quality, the smoothness of some of its verses and the neatness of some of its hits did not prevent our finding the entertainment tedious.’
(The Era, London, Saturday, 7 April 1888, p.8c)
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