Press Clippings for the week ending
Saturday, 21 December 2002
A random selection of cuttings
from newspapers and magazines
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* * * * * * * * See Saw Margery Daw, Theatre Royal, Drury Lane, London, Christmas, 1856 |
Rosina Wright
'our clever English Taglioni'
(The Era, Sunday, 20 July 1856)
(photo: Camille Silvy, London, circa 1860)
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'Mr. E.T. Smith has certainly produced this year one of the most gorgeous spectacles and glorious pantomimes that has ever gladdened the walls of Old Drury. Erst it was the glories of Mother Goose that claimed the fond remembrance of our forefathers, but now the palm must yield to Mr. E.L. Blanchard's pantomime of See Saw Margery Daw [;or, Harlequin Holiday and the Island of Ups and Downs]; and the Budget of 1856, will be in future the theme of fond recollections to the lovers of pantomime. The stare of astonishment, the screams of delight, and the loud, uproarious bursts of laughter, are the best test of a pantomime's success, and truly there was no lack of these on Boxing-night, from the very rising of the curtain till its fall in all the refulgence of Holiday's Fairy Home, "the last merry scene of all." The opening is of the true pantomime character – broad, palpable fun that the juveniles so much delight in, and which is, moreover, so well adapted to their capacities and ideas. The moral that adorns the tale in this instance, as we have previously stated, shows how Margery Daw is as perfect a Pickle of a Princess as need be, and how Necessity works such a change, that she descends from Royalty to Rags, and a scene of commotion ensues; pins, needles, scissors, cotton, worsted, bodkins, &c., become animated for the nonce to produce a sampler; prior to which comes one of those gorgeous scenic illustrations of Fairy Land, such as Beverley revels in, and Mr. Smith evinces a corresponding delight in producing with profuse outlay. Certainly anything so truly beautiful in every respect, so refulgent, so gay and glittering, and yet withal so artistic in its effects, and harmonious in tone and characters, Mr. Beverley has never yet achieved; and the burst of enthusiasm showed that the audience were unanimous in their opinion. And then such a ballet! upwards of a hundred and thirty figurantes and coryphées, headed by Rosina Wright and the Demoiselles Osmont, in the gayest and most piquante of dresses, and as light and airy as though they had just stepped from the realms of fairy land to pay Mr. Smith's friends a visit, and show them how joyous fairies are in their revels, and what elegant posés, pirouettes, and groups they can achieve and form; and how delighted that are at Christmas to see the juveniles at home, and welcome them with their entrechate à'plombs and gyrations. But all this must be witnessed to form an idea of its splendour and effect, as well as the other splendid scenes in the opening; more especially the transformation scene – the fairy factory of fancy – which presents to the eye an array of brilliant cascades, surrounded on all sides and displaying in the midst groups of fairies in silver tissue. It was a scene which ought to be in an extravaganza of the first class. Not only care the cascades ornamented by the beautiful fairy forms in silver, but similar fairy forms float in the air, and give a character to the scene which fancy herself could not go beyond. Here was Mr. Beverley called on to receive the enthusiastic applause of the audience, and so was Mr. Smith. The harlequinade portion is stronger this year than we ever remember it. All the pantomime characters are doubled: the Clowns are embodied by [Harry] Boleno and [Richard] Flexmore, in addition to whom the great Parisian Clown, [Jean-Baptiste] Auriol, is also enlisted, with his rich fund of comicalities, and peculiar style of entertainment, The agile Columbines are Madame Boleno and Miss Honey, both excellent artistes. Barnes and Tanner are the Pantaloons; and a "London fast gent" is typified by Mr. Halford; while the Sprites are by the Elliotts. The Harlequins are Deulin and Veroni. The comic business was quite up to the average of that kind of thing, and was elaborately worked out. The latest topics of the day are alluded to, and the crinoline skeletons, the French and English alliance, the Royal British Bank bubble, the Dred niggers, model farming, and garrotting, are certain of the text from which some eminently practical commentaries are evolved; and Auriol, who personated the Queen of Ouda, a monkey, and achieved his wonders upon the backs of chairs, came in for a due share of applause. Altogether, the pantomime was most successful in every respect. Mr. Smith was several times called forward and the applause throughout was most enthusiastic. The house was crammed to the very ceiling.' * * * * * * * * The Mikado, Savoy Theatre, London, 14 March 1885 |
Sybil Grey, Leonora Braham and Jessie Bond
in The Mikado, Savoy Theatre, London, 14 March 1885.
' Nothing could be better than the trio of the three Japanese maidens, with the excellent "business" introduced.'
(photo: Barraud, London, 1885)
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'Messrs. Gilbert and Sullivan's new opera, The Mikado, is quite equal to anything these long-associated craftsmen have ever turned out. The theme is ingenious and funny. Mr. Gilbert's text is of the best order, brimming over as it is with satire of exquisite finish. Sir Arthur Sullivan's music is thoroughly characteristic and melodious, while we may honestly say that the orchestral decorations which abound in the work are of the most fanciful and satisfying type. Splendid as the composer's achievements have been, Mr. Gilbert's services are, perhaps, even more glorious, for he has superintended the production, and his influence as a stage manager permeates the whole performance. When Mr. Gilbert asks for certain things he see that he gets them; he not only suggests, but he exacts implicit obedience; he is not only inventive, but he is a "man of authority," and insists on his wishes being carried out. Perhaps it is to his uncompromising disposition that such good results must be attributed, for at no other theatre do we ever see a comic-opera so well produced. The Mikado is a worthy follower of such works as Patience [Opera Comique, London, 23 April 1881] and [H.M.S.] Pinafore [Opera Comique, London, 25 May 1878], and as to its performance, it may be said that all a skilful stage-manager can do for a piece has been done for this; principals and extras taking a part in it have been carefully drilled; while everything in the shape of slovenliness is conspicuous by its absence. Miss Leonora Braham as Yum-Yum is a winning actress, and although her voice is of a delicate order she sings in musicianly fashion. Miss Braham appears, we fancy, to unusual advantage in this work. Miss Jessie Bond renders excellent support, as also does Miss Sybil Grey, though perhaps in a less emphatic degree. Nothing could be better than the trio of the three Japanese maidens, with the excellent "business" introduced. A part of a more severe order has been entrusted to Miss Brandram, a lady of marked ability as a singer and actress. Everything this lady is given to do is done remarkably well, and perhaps we can say nothing better in her praise. To Mr. George Grossmith is given the part of Lord High Executioner, and, as it may be imagined, this gentleman not only turns all his opportunities to account, but he invents fresh "business" continually. He has one or two very good songs to sing, and these he interprets with irresistible humour. Mr. Rutland Barrington, as a functionary who holds a long list of public offices, is happily cast, and it may be said that he makes the most of his part. We are happy to note, too, that Mr. Barrington's vocalism is of a better order than it has been for years. Mr. Durward Lely is cast in the part of the lover. His voice, though not of the most dulcet quality, is of a most serviceable type, and his performances are generally effective. He is admirably made-up, too, his face lending itself very happily to the Japanese cast of feature. Mr. Richard Temple plays the part of the Mikado. He does not appear till the second act, when he sings a very good song, to which his capital voice and excellent talent as a comedian give every importance. Mr. [Frederick] Bovill proves himself to be possessed of a very useful voice, and so also does another gentleman, who sings the basso music in the madrigal. So serviceable is he that it would be only an act of justice to give his name in the programme. * * * * * * * * Jack and the Beanstalk, Surrey Theatre, London, Christmas, 1886
'Mr. George Conquest's latest pantomime, Jack and the Beanstalk, is rich in colour and vivacity, and with the help of Mr. Spry he has conjured up an excellent entertainment, full of song, dance, and pretty pictures. Miss Maud Stafford, radiant in becoming costumes, poses as the historical Jack. Mr. Soames gives a magnificent scene of A Palace in the Moon. Innumerable gas-jets, sheltered by glass globes, decorate a lofty staircase designed in oriental taste, and are reflected and radiated from glistening pillars and walls. Comely female forms, brave in silver and gold, troop on to the stage and evolve in mysterious and mazy figures, whilst trophies and allegoric cars of Canada, Australia, and dusky India pass like pleasant recollections of the Colinderies and the Lord Mayor's Show. Subsequently Jack and his dainty sweetheart Mary (Miss Lillie Ernest) are beguiled to demoniac regions in order to contrive a second striking ballet of flame and lurid red. Ten scenes in all al allotted to the story, and when incident fails comicality steps in accompanied by topical songs, breakdowns, and political allusions. Mr. Dan Leno, plays Jack's Ma, his best effort being a remarkably clever marionette dance. His two constant companions, Mr. Johnnie Danvers and Mr. E.S. Vincent, are great at song. The giant (Mr. Conquest, jun.) dances with skill, albeit he is some twelve feet high, and Miss Florrie West represents the Man in the Moon in an engaging manner. The transformation Scene represents Fairyland, where artistic fancy vies with nature in producing wondrous plants and elfin flowers. Clown (Jimmy Grovini), Pantaloon H. Granville), Columbine (Mdlle. Phillipini), and Harlequin (Frank Sims) then rush on. On Christmas Even the Harlequinade was omitted owing to the lateness of the hour. * * * * * * * * Marvelle's Performing Dogs, Oxford music hall, London, 1894
'Dr. Watt's celebrated rhyme which embodies in it some familiar phrases on the nature of the dog would seem to be falsified by the performance of a troupe of collies at the Oxford. 'Tis their delight apparently to dance the serpentine; and if they bark it is with excitement at the prospect they have of distinguishing themselves in jumping over hurdles on their hind legs, in pushing large circular baskets, and in somersaulting. Even in the boxing bout between Rags, a rough terrier, and Jimmy, a fox terrier, it is evident that both dogs are the best of friends. The imitation of Louie Fuller is done marvellously well. The stage is darkened, and the limelight plays just as important a part in the illumination of the movements of the canine's skirts as of those of the lady. The pirouetting of the collie is very fantastic, the audience is highly amused thereat, and the gentleman who puts them through their paces has to answer a unanimous call.' * * * * * * * * Ali Baba and the Forty Thieves, Lyric, Hammersmith, London, Christmas 1900 |
Tom Woottwell (1865-1941)
English music hall comedian
(photo: unknown, England, circa 1897)
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'Here a capital evening's entertainment is provided by Ali Baba and the Forty Thieves, which is only about a quarter of the title which proceeds, Or the Woodman of Bagdad, the Beautiful Slave, and the fortunate made out of the Magical Cure. The pantomime is full of fun and "go," and the story is told most intelligently by the authors, Messrs. Brian Daly and J.M. East, who already have several successes to their credit. The dresses of the ladies are most artistic, whilst the scenery – particularly the Palace of a Thousand Joys, with its excellently conceived procession of the world's postage stamps and the transformation The Seasons of the Year – is really beautiful. Mr. Tom Wootwell, Mr. Willie Sott, and Mr. Harry Buss, a trio of thoroughly capable comedians, provided plenty of laughter, whilst Miss Rita Presano was a dashing principal boy, Miss Kitty Beresford a dainty and vivacious Morgiana and Miss Rosie Loftus Leyton was a pleasing Ganem. Miss Louis Bishop and Messrs. Fred Esmond and Will Vernon – the latter as two eccentric policemen – were all very funny. Mr. H.W. May's music is bright and tuneful, and the chorus showed evidence of much careful training. The pantomime was received with every expression of approbation. * * * * * * * * |
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© John Culme, 2002