Press Clippings for the week ending
Saturday, 28 December 2002

A random selection of cuttings
from newspapers and magazines

* * * * * * * * The Eagle, City Road, London, 1867

The Eagle, City Road, London,
from Bartlett's Illustrated Map of London

(published by Smith & Son, 63 Charing Cross, London, 1867)

Half a pound of tu'penny rice, Half a pound of treacle, That's the way the money goes; Pop goes the weasel. Up and down the City Road In and out the Eagle That's the way the money goes; Pop goes the weasle. 'When the Grecian, Shoreditch, was rebuilt for the last time in 1876-7, it was the end of an era during which the site had fused three elements of entertainment: a pleasure garden, a theatre, and a variety saloon called the Eagle. When it was bought by General Booth for the Salvation Army in 1882, this fusion had become an anachronism; since 1870 the premises had been disreputable and they were a suitable capture for the Hallelujah Lads and Lasses…' (Victor Glasstone, Victorian and Edwardian Theatres, Thames & Hudson, London, 1975, p.52). Marie Lloyd's father, John 'Brush' Wood, an artificial flower maker and later publican, had been a waiter at the Grecian Saloon. It was on this site, at either the Eagle Tavern or the Grecian Theatre, that Marie made her debut in 1885. * * * * * * * * Snip-Snap-Snorum; or, Harlequin Birds, Beasts, and Fishes, The Grecian Theatre, London, Thursday, 24 December 1874

George Conquest (1837-1901)
English actor, manager and dramatist

(photo: unknown, probably London, circa 1878)

There are certain philosophers in this mundane sphere of ours who are never tired of proclaiming that it is quite possible to have too much of a good thing. There are not a few mortals who swear by the other side of the question, and the patrons of the Grecian are among the number. Their Pantomime this year occupies something more than four hours in representation. Do they tire of its many attractive features? Not a bit of it. Why, enthusiasm is stamped upon the faces of every one of them long before the curtain rises. It is heard in their repeated shouts and ear-piercing whistles; in the manner in which they take up the familiar strains of the overture; while no sooner are the lights turned down than the voice of the shouter is hushed; the fingers that assisted in whistling are dived deep into breeches pocket; eager anticipation is evident on every face. There is just one cry of "hats off in front," and everybody has settled down to the enjoyment of Snip-Snap-Snorum; or, Harlequin Birds, Beasts, and Fishes. This wonderful production – and we say wonderfully advisedly – is the joint work of Messrs [George] Conquest and [Henry] Spry, who, seeing that they have furnished the Christmas dish at this Theatre for the past eighteen years, must have gauged with tolerable accuracy the tastes of the visitors. The novelty saw the light on the evening of Thursday last, and without the slightest hesitation, we express the opinion that in the wit of its dialogue, in the humour of its situations, in the brilliancy of its dresses, in the chaste and elegant nature of its ballets, in the picutresqueness of its groupings, in the lively and catching nature of its music – the piece may almost be classed as an opera-bouffe – in its many gymnastic wonders, in the fun and bustle of its Harlequinade, and the skill of the various artistes engaged, it will bear comparison with any Pantomime likely to be seen this Christmas, and will, ere many days have elapsed, become the talk of the town. Those who wish to fathom the mysteries of the story of Snip-Snap-Snorum will have opportunity enough when they visit the establishment. For ourselves, we may say that we found so much to laugh at; so much to delight both eye and ear; so much to excite our wonder and our admiration; so many ludicrous incidents and complications following close upon each other, that we bade the story go hang, and gave ourselves up to the thorough enjoyment of the feast of fun placed before us, without troubling much about its component morsels or the thread which held them together. This much, however, we may reveal. There is a certain fascinating Princess, Sweetlips, whose lips and whose hand are sought by all the world in general, and by Herbert the Hunter, and Prince Violet in particular. Her Father, King Furibon, the Furious, changed his bitter foe, Demonio, by turns into a Bird, a Monkey, and an Oyster, being himself transformed before the story is completed, from a King to a Lackey, and becoming, in consequence, the subject of kicks innumerable. And here we pause to remark that the idea of a French comedy produced in Paris some eighteen months since has been very ingeniously worked out, and gives rise to some of the most amusing episodes in the production. The valet of Prince Violet – by name Quake – is a kind of human talisman. Slap him in the face and wish, and the wish is granted. After three wishes the locale of this extraordinary charm is changed, and ere long it finds a seat - Just in the place where honour's lodged. 'Poor Quake suffers much, but the King, when he has changed places with him, suffers more; for, being mistaken for the charm-bearing lackey, he is kicked from pillar to post, and is fain to seek refuge even in the Mangrove Swamp, where, by the aid of Daddy Longlegs, he succeeds in capturing his foe Demonio, now bearing the form of a monkey, and to pave the way for felicity all round. We skim thus lightly over the story because more important matters claim our attention. And first among these is the marvellous versatility displayed by Mr George Conquest. The wonders ha has worked in previous years; the curious forms he has taken, ranging from an animated oak tree to being all head, we have duly recorded in these columns. Now he has fresh mysteries in store. When first we catch a glimpse of him in the Devil's Pool, he bears the form of a bird. But what a bird! Perhaps it may be most aptly described as having the appearance of an ornithological giraffe; endowed with speech; something of a philosopher; susceptible of the tender passion; and with marvellous capacities in the way of yawning, sleeping, and winking its left eye. And then the monkey! Never was monkey like him seen upon the stage. Not only in those entomological hunts in which monkeys delight, but in every movement was this one most natural. His tail was eloquent of fun; his teeth cracked jokes as well as nuts; the art of "how to scratch" was illustrated in a style so graphic as to have made glad the bosom of a Scotchman; and his agility was on a par with that of the prehensile-tailed denizens of tropical forests. And this agility reminds us that we have not yet alluded to the Phantom Fight in the Mangrove Swamp. In previous years we have described its various details, and it only remains to be said that now, as then, the [George] Conquests, pere et fils, shoot upwards like rockets, shoot downwards like meteors, appear and disappear with lightning-like speed, dart hither and thither in fashion quite bewildering, and, in fact, become living embodiments of perpetual motion. Both merit our warmest praise, but to Mr Conquest, senior, we offer our highest compliments upon the extraordinary skill exhibited throughout, and our heartiest congratulations upon the success once more achieved. Mr Herbert Campbell as Furibon the Furious, and Mr Arthur Williams as Quake, not only sang well and danced well, but contributed no small share of the fun. There is the scene in the King's Bed Chamber, for instance, where the two worthies who have changed their identities, as explained above, quarrel for possession of the bed and over the time-honoured maxim which says – "Last in bed put out the light." The King's Bed Chamber boasts a light which won't be put out, or rather which, being put out, puts itself [on] again, and here the laughter of the spectators is loud and long. But we must not be tempted into particulars, for to do justice to all the amusing incidents would be impossible without the limits of ordinary space. Both gentlemen were seen at their very best, and found their reward in the oft-repeated merriment of the house. Miss Lizzie Conquest looked simply fascinating as the Princess Sweetlips, and played the part in admirable style. What wonder that the Princess has so many suitors for her hand! Miss Milly Cook made a decided hit as Prince Violet. This young lady was new to us, but we discovered in her acting just that amount of chic which is bewitching, because not vulgar. She has a pretty face, a good figure, evident intelligence, and ready wit. Miss Milly Cook is evidently the right stuff (she will forgive us the term) of which good burlesque actresses are made, Miss Annie Delamonte, as Herbert the Hunter, in robust fashion rendered excellent service, speaking the lines and singing the songs intrusted [sic] to her in a manner which must have delighted the authors, and which certainly pleased the large audience present. Miss M.A. Victor, as usual, was full of fun and vivacity as Amazonia, an unusually strong-minded woman, who never tires of exclaiming "That's the sort of girl I am." Miss Victor introduced a song with drum accompaniment, and put the "human talisman" through his facings in a style which was the double-distilled essence of comicality. Two clever little ladies, in the persons of the Misses Laura and Ada Conquest, took the house by storm as the Queen Bee and the Butterfly Queen. They are evidently "chips off the old block" in the matter of talent. Miss Alice Denvil as Presto, Mr F. Donne as King Card, Mr H. Grant as King Skate; Messrs Fleming, Brookes, Hodes, Misses Inch, Nelson, Primer, Matthews, and Bower, in less prominent parts were all efficient. And even now we have not told of the merry music and the incessant fun of the third scene – the King's Palace, Vestibule, and Grand Staircase – a scene which come before us literally in the twinkling of an eye. Nor have we described the wonderful procession of Birds, Beats, and Fishes, embracing "specimens" which range from an elephant to an owl; from a lion to a lobster; nor have we spoken of the prowess and beauty of a brilliantly clad Amazonian Army; nor of the dazzling delights of the Transformation Scene entitled the Floral Home of the Queen Bee. We merely throw out the hint that in these will be discovered fesh sources of attraction; fresh aids to holiday enjoyment. In the Harlequinade Mr Reuben Inch makes a very diverting Clown; Mr Osmond is Harlequin; Mr W. Ash, Pantaloon; and the Misses Barry and Conway, Columbines. Their practical fun takes place at the expense of fishmongers and pastrycooks, blind men, unoffending cripples, et id genus omne, and sends the audience away convinced that Snip-Snap-Snorum is one of the brightest, funniest, merriest, and most successful Pantomimes ever seen on the Grecian boards.' (The Era, London, 27 December 1874, p.13c/d) * * * * * * * * Carry Nelson and her burlesque company at the Charing Cross Theatre, London, Wednesday, 23 December 1874

Carry Nelson (1836?-1916)
English burlesque actress and singer

(photo: Adolphe Beau, London, circa 1874)

‘In the interval between the disappearance of the Lydia Thompson troupe - which has made laughter hold both its sides for many weeks - and the reappearance of Miss Ada Cavendish as Mercy Merrick, in the well-known play by Wilkie Collins called The New Magdalen, [the manager of this theatre] Mr W.R. Field has secured Miss Carry Nelson and her burlesque company for a short engagement of twelve nights. Aladdin; or, the Wonderful Lamp, is an old tale for burlesque purposes. It was Mr H.J. Byron who wrote it [in 1861] for us in the old days at the Strand [Theatre], when James Rogers was Widow Twankey and Marie Wilton was the wilful Aladdin. Another version is, however, preferred on this occasion, namely, that of Mr Frank [W.] Green, which, according to the programme, required "a reviser" in a Mr Harry Robinson. By this we presume is meant, not that Mr Green’s extravaganza wants the assistance of an editor, but because it is thought as well to have a poet on the premises in order to sprinkle the trifle every evening with what are known as topical allusions. It is quite certain, at any rate, that some revising hand is constantly at work, for the jokes are carried down to the loss of Lady Dudley’s diamonds, and the serious reprimands designed for an "ad captandum" effect are dated so recently in the present week as the publication of the Lord Chamberlain’s proclamation on the subject of scanty clothing on the stage. It is fair to say that Miss Carry Nelson and her troupe require no correction at all, and may without hesitation echo, as they do, the sentiments of Lord Hertford on behalf of themselves and their sister artists. They have been trained in the burlesque or extravaganza school of the past, and are evidently not inclined to imitate the tricks of Parisian comic opera. We cannot say that the story of Aladdin is followed very closely, or that much stress is laid on the loss and recovery of the Wonderful Lamp. There is a Widow Twankey, to be sure - here called Widow Mustapha - and there is an impecunious Monarch of China, with a lovely daughter beloved by Aladdin, and quite determined not to marry Tealeaf, already betrothed to her. There is a comic combat between Aladdin and the Emperor, in which the Monarch of China is shamefully beaten; but the triumph of the son of Widow Mustapha does not last long, seeing that Aladdin loses his lamp and is degraded to the low level of a London shoe-black. The boy’s brother is reduced to rags, and the wicked uncle is in as wretched a plight as the rest of his relations; and in this forlorn condition all three take to imitating the Christy Minstrels, sitting on chairs in front of Sir Edin Landseer’s lions at Trafalgar Square. Fortune, however, favours the bold, and before the curtain falls it is clearly shown that Aladdin means to marry the Princess, and that the nose of young Tealeaf has been completely put out of joint. Such success as the extravaganza contains is due mainly to the happy selection of music by Mr Henry Reed, and to the humour of Mr F.W. Irish, lately of the Lyceum Theatre, whose assistance is certainly invaluable. Miss Carry Nelson is no stranger in London. Playgoers can take their memories back to [5] May, 1862 - alas! it is nearly thirteen years ago - when the Nelson Sisters - Miss Carry and Miss Sara - were introduced to London at the St. James’s Theatre in the [‘fairy extravaganza’] of Prince Amabel[; or, The Fairy Roses]. Miss Carry Nelson, who is extremely popular in the Provinces, is a burlesque actress more after the pattern of Mrs John Wood than any one we can at present mention. The lady possesses a fund of dry and quaint humour, and long practice has enabled her to acquire a communicative and deliberate style which is not without its advantage. As a singer Miss Carry Nelson is also celebrated. She gave parodies on "Sweet Sprit, hear my prayer" and "A Dream of Love," which were heartily encored. Another excellent vocalist is Miss Beresford, who played the Chinese Princess, and might very well have been presented with one or two more songs. Her introduction with the popular "C’est l’Espagne," sung in French, was so satisfactory that every one would have been well pleased with some more. But the success of the evening was obtained by Mr F.W. Irish, both in the farce and in the extravaganza. He played Widow Mustapha in a very quaint, deliberate, and comic fashion, and his remarkable legend of "Poor Mrs Somebody," who "swallowed a spider which sat down beside her," is worthy, in its comical effect of comparison, with the comic songs written by Mr E.L. Blanchard for Mr [J.L.] Toole. This wonderful and apparently interminable song was encored three or four times. Mr Holmes Anton, who joined Mr Irish and Miss Nelson in the imitation of the Christy Minstrels, is another low comedian of much promise and considerable humour. He played the wicked uncle, Kiradaman, but much of his villainy was curtailed by an author anxious that the amusements should terminate at an early hour. Mr Osborne was the comical Emperor of China, who gets most of his fun from a Clown’s bladder, and Mr Harry Malcolm, the be-wacked Grand Vizier. Miss Edith Lynd had but a small character in Tealeaf, the thoughtless youth who aims at Princesses and misses his mark; and Miss Lottie Leigh and Miss Maude Digby headed a corps of Chinawomen and Amazons, consisting of Miss Maude Middleton, Miss Lucy Gore, Miss Adelaide Retu, Miss Walmsley, Miss Annie Leslie, Miss West, Miss C. Allever, Miss Desmond, and Miss Annie Morton. One of the Amazon dances was so pretty that it was nearly encored. The performances commenced with the farce of The Laughing Hyena [by Benjamin Webster], very amusingly played by Mr A. Lindsay, Mr F.W. Irish, Miss Caroline Adams, and Miss Edith Lynd, and concluded with the apparently inevitable Secret.’ (The Era, London, Sunday, 27 December 1874, p13a/b) * * * * * * * * Christmas, 1883, at the Middlesex music hall, Drury Lane, London

A poster for the bill at the Middlesex music hall ('The Old Mo'),
Drury Lane, London, 26 December 1883

(printed by Pewtress & Co, Little Queen Street, Lincoln's Inn Fields, London, 1883)

'Mr. [J.L.] Graydon makes careful estimates, fully appreciates that his supporters expect extra attractions at Christmas, and, as far as possible, supplies the demand. The programme which is being "attended to" this week at the Middlesex is of a very full and satisfying character, embracing nearly every type of performance common to the music-hall. There is one thing about the policy of the Middlesex manager which deserves mention, and it is this, - if a performer fails to satisfy the audience, Mr. Graydon does not inflict pertinaciously such unsatisfactory items upon his audience, and herein, with his rapid method of supplying the stage, consists the secret of his strength as a caterer. Miss Jenny Richardson makes early essays, and her general smartness gains for her decided marks of approbation. Messrs. Malcolm and Draycott, variety performers, have been practising with success, and Mr. George Ovenden has been doing his best to ingratiate himself into the favour of the Middlesex supporters, which Miss Gertie Russell has been warbling with a fair amount of success. Mr. Harry Dowton, whose talents as a mimic were first recognised by us, seems to be fast developing into a good character vocalist. Messrs. Rice and D'Albert are a couple of performers of the Ethiopian type, and very amusing they are. Mr. Frank Egerton exercises his vocal gifts to advantage, and Mr. G.W. Hunter parades his eccentric style with good effect. Miss Rosie May's good presence valuably assists her doings in the song-and-dance direction, and the Holsons tender their entertainment, which is more curious than satisfying. Mr. Slade Murray seems to have well established himself, and his doings at the Middlesex are vociferously applauded. Mr. Walter Munroe is a most serviceable artist, his singing and dancing alike being excellent. Miss Nelly Farrell's songs are entirely to the taste of the Middlesex folk, who are excellent judges of what Irish warbling should be. Miss Farrell is very successful here. Mr. Edward Mosedale has seen a considerable deal of the Middlesex in his time; he sang here when the hall was in its humble period, and he is singing here now that the grub has developed into a butterfly. The Sisters Terry are good-looking young ladies, whose presence invests their good vocal and saltatorial efforts with much interest. Cupid's Frolic is one of Mr. Maynard's productions, and enlists the services of Mesdames [Sophie] Burlette, [Annie] Lyall, and [Lizzie] Simms [sic], with Messrs. [George] Lacey and [Fred] Williams. The last mentioned pair make the best of their opportunities, and Miss Simms dances most cleverly. Miss Lizzie Villiers is a promising singer, and the concluding feature of the entertainment is supplied by the Brothers Leopold, who, however, are not the original troupe rejoicing in that name. Mr. Gus Leach is the chairman here, and he exercises his authority with admirable discretion.' (The Entr'acte, London, Saturday, 29 December 1883, p.5a/b)

Nelly Farrell (d.1889)
Irish serio-comic vocalist
(lithograph portrait after a photograph, unknown, circa 1885)

* * * * * * * * Harry Randall plays Mrs Desiccated Edwardes in Dick Whittington, Coronet, Notting Hill Gate, Christmas, 1908 'Mr. Harry Randall is too well known to need overmuch eulogy; suffice it to say that his representation of the old female cook, Mrs. Desiccated Edwardes, is by no means the worst thing he has done, and his resource, alertness, and experience as a comedian par excellence help materially to send the pantomime forward to the goal of success…' (The Era, London, Saturday, 26 December 1908, p.11a) 'Needless to say the part of Mrs. Desiccated Edwardes now fits Harry Randall like a glove, and he misses no chance of a bit of fun or harmless raillery against the idiosyncrasies of the moment, especially good being his suffragette outburst in Act II.' (The Era, London, Saturday, 23 January 1909, p.16b) * * * * * * * * King Cole, Theatre Royal, Glasgow Thursday, 11 December 1913

Clara Beck (fl. early 20th century)
English actress and singer

(photo: Foulsham & Banfield, London, circa 1912)

'This year's Royal, Glasgow, pantomime is a handsome production and well up to the high standard Messrs. Howard and Wyndham have accustomed their patrons to, and judging from the reception of King Cole last Thursday night when it was produced, I predict a long and successful run for it. The management have been fortunate in securing the services of many of the artists who helped to make King Cole one of the most successful pantomimes when it was played last year at the Tyne Theatre, Newcastle, a fact which no doubt accounts for the smoothness with which everything went on opening night. 'Miss Clara Beck, whose portrait appears above, is repeating the success she scored last year as the hero, and a very model hero she makes, alike good to look at and listen too, full of brightness and go all the time she is on the stage, and singing many of the best songs of the year for all they are worth – and a bit over. Miss Ivey Latimer, Miss Queenie Preston, Miss Ethel Love, and Miss Minnie Marshall are all good; while the always safe Mr. John Humphries, the Egbert Brothers, Mr. Alec Lauder, and Mr. Frank Fort see that things are kept lively. King Cole is certainly a success.' (The Pelican, London, Wednesday, 17 December 1913, p.5b) * * * * * * * *

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© John Culme, 2002