Press Clippings for the week ending
Saturday, 18 January 2003

A random selection of cuttings
from newspapers and magazines

* * * * * * * * Henry Irving's matinee for the theatrical profession, Lyceum Theatre, London, 19 April 1886

Henry Irving as Mephistopheles in W.G. Wills's adaptation of Goethe's tragedy,
first produced at the Lyceum Theatre, London, 19 December 1885.
From original artwork by 'R.Th.'

(photo: The London Stereoscopic and Photographic Co Ltd, London, 1885/86)

'The professional matinée at the Lyceum yesterday afternoon was attended by nearly sixteen hundred persons all more or less connected with the theatrical profession. The opportunity of seeing so large a concourse of actors and actresses, including many distinguished performers whose faces are familiar to London playgoers, attracted a considerable crowd to the portico in Wellington-street, by which entrance alone Mr. Irving's guests came and departed. Hereabouts, some time before the hour of two, the pavement as well as a portion of the roadway was occupied by a compact mass of spectators, who exhibited such interest in the proceedings, and appeared to be particularly anxious to identify the holders of the little oblong cards of invitation as they arrived in rapid succession in vehicles or on foot. Within, the house presented a very animated appearance. The distinction between pit and stalls had been abolished for the occasion, the entire floor being thus occupied with numbered seats; and some little time before the rise of the curtain upon the opening scene in Faust every visitor had found a place, and every part of the theatre, even to the far wall of the gallery, was studded with expectant faces. The expression "a friendly audience" can convey but a weak notion of the enthusiasm of a gathering such as that of yesterday. Doubtless it is only the actors themselves who know what it is to feel that they are submitting their efforts to the judgment of so vast a body of experts. Applause, as Mr. Irving observed in his few parting words, is the best of stimulants; but such a hurricane of welcome as met the popular actor and manager yesterday on his first appearance in the ample cloak which concealed the familiar garb of Mephistopheles, might well disturb the nerves of one less inured to public demonstrations. Mr. Irving, however, was manifestly equal to the occasion. Miss Ellen Terry, on the other hand, visibly moved by the demonstration that greeted her, faltered for a moment, but quickly regained her self-possession, and played, as indeed did the entire company, with more than ordinary spirit. That the play was followed by a speech need hardly be said. The manager has indeed no option, when his entire audience refuse to depart till he has reappeared before the footlights. So it was that after each performer of mark had been summoned, Mr. Irving stepped forth once more and told his friends what a delight it had been to him and his associates to welcome there that day so many professional comrades; and how sorry he was that he had not been able to offer "a private box to everybody"; and how when a special matinee of Faust was first suggested all around him were delighted with the idea. "It does not (he continued) often happen to us to appear as we have done to-day, before a great assemblage of professional friends and fellow-workers. I myself have the highest opinion of their opinion, and I am delighted that you seem to have liked our play to-day. One thing is certain; you at least have no conscientious scruples about applauding in the right place. Edwin Forrest, the celebrated American actor, once said, 'If you can't applaud, I can't act.' You all know what that means; and how necessary applause is as a stimulus to the actor. Perhaps many would applaud a great deal more if they know that by so doing they would get more out of us for their money. But I must not keep you long as you know that I have to take the chair at the dinner at Willis's Rooms to-night. When I thought of that charitable purpose I had some idea after the Church Scene in Faust of making a collection throughout the house; but it is, I fear, too late for that now. Ladies and gentlemen – one and all – in the name of the Lyceum company, I heartily thank you for your kindness, and wish you farewell." The Lyceum Theatre, we may here remind our readers, will now remain closed till Saturday evening next, when the representations of Faust will be resumed.' (The Daily News, London, Tuesday, 20 April 1886, p.6d) * * * * * * * * Freedom, Theatre Royal, Drury Lane, London, 4 August 1883

cast of Freedom, Drury Lane, 4 August 1883

'Freedom, the new four-act play by Messrs. G.F. Rowe and Augustus Harris, produced at Drury lane on August 4, 2will, in all probability, prove quite as great a success as The World or Youth [Drury Lane, respectively 31 July 1880 and 6 August 1881]. That this success will be mainly due to the truly magnificent manner in which the piece has been placed upon the stage, rather than to its real dramatic value, is a palpable fact. Not that the drama itself does not possess merit, but that the brilliancy of its setting overshadows its dramatic effect. 'The first act of Freedom takes place in a bazaar in an Egyptian city. The scene itself is a splendid example of pictorial art, and reflects great credit upon the painter, Mr. Henry Emden, who is also responsible for the scenery of the second and third acts. Here Araf Bey soon makes known the fact that he is madly in love with Constance Loring, the daughter of an English banker resident in Egypt. He proposes for the girl, but his suit is scornfully rejected by father and daughter. Meanwhile, Suleima, Araf's wife, has discovered her husband's passion, and has vowed vengeance against the fair Englishwoman. Hassan, a menial in the employ of Araf, has been endeavouring, by means of a trader whom he employs, to import a number of girls as slaves. The vessel containing these wretched creatures has been captured by Ernest Gascoigne, a commander in the service of Queen Victoria. He demands the release of the unfortunate prisoners, and the refusal of Araf Bey to grant his request is the cause of a bitter enmity between the two men – an enmity which is still further increased by the fact that Ernest Gascoigne is on the eve of marrying Constance Loring. The chief scene of the second act takes places at the English Consulate. The marriage of the English lovers has just been celebrated, but the happy pair are soon separated. Ernest is suddenly called to his ship, and in his absence his wife is artfully trapped and carried off by Araf. When Ernest returns to the Consulate he finds that Constance is missing, and the people in a state of rebellion. Then comes the search for the banker's daughter and Ernest Gascoigne's wife. After an introductory scene, the interior of Araf's palace is discovered in the third act. Here Araf's wife promises to befriend Constance, and, eventually, she manages the escape of Constance and Ernest – who has managed to gain access to the palace – by permitting them to pass through a private way. She has no sooner turned the key upon them than Araf enters, and, guessing the state of affairs, he demands to pass. Then occurs the most dramatic scene in the play. Araf struggles with Suleima, but she plunges a dagger into his heart and he falls lifeless to the ground. This is an original dramatic situation, and the audience took it on the first night with thunders of applause. The important scene in the fourth and last act – a lovely piece of painting by the veteran William Beverley – is in the desert. Ernest has been captured in his attempt to escape from Araf's palace, but Constance has happily been rescued. Ernest, now in the power of the trader whom he had deprived of his prisoners, is made to suffer the agonies of thirst. But, in good time, the English marines arrive on the scene, Ernest is rescued and reunited to his wife, and, as in the fairy-books, "all ends happily." Mr. George Fawcett Rowe and Mr. Augustus Harris, the joint authors of the production, have done much to deserve success. They have provided the public with a good stirring drama, possessing the scenes and situations of great moment, and incidents of very considerable interest and dramatic value. Freedom is, moreover, most elaborately mounted, and were it on account of the scenery only the play would be well worthy a visit. The chief praise for the acting in this remarkable drama falls to Mr. James Fernandez, who impersonates Araf Bey. This is a distinct personation, well-conceived and admirably acted. In its way it is absolutely perfect, and no better acting of its kind has been seen on the London stage. With very slender materials, Mr. Fernandez has contrived to present a character of marked individuality. He acts with care and with a delicacy of treatment which are truly refreshing when one considers how poorly the part might be played. Mr. Augustus Harris, actor, author and manager, has done nothing better than his Ernest Gascoigne, a manly, vigorous performance; his acting in the last act reveals an amount of power and intensity which few people would have thought he possessed. Miss Sophie Eyre acts with power and skill the rather ungrateful part of Suleima, and Miss Nelly Bromley is pretty and interesting as Constance Loring. Miss Lydia Foote is pathetic in a small character, and Miss Fanny Enson is charming as an English girl who is sought in marriage by an irrepressible Yankee. This latter character is played with quiet humour by Mr. G.F. Rowe, and the humorous portions of the play are further supported by Mr. Harry Jackson as a necessarily comic Dutchman, and by Mr. Harry Nicholls, who is evidently a favourite with the audience.' (The Theatre, London, Saturday, 1 September 1883, pp.151-153) * * * * * * * * Sophie Eyre as Rider Haggard's She, London, 1888

Sophie Eyre (1853?-1892), English actress, in the title role of She,
Novelty, London, 25 May 1888, and Gaiety, London, 6 September 1888

(photo: Samuel A. Walker, London, circa 1888)

'In 1888 Miss Eyre made a passing appearance at the Gaiety in Marina, the dramatised version of Mr. Barnes of New York, and in the following month created She, which was produced during her incumbency of the same theatre. There is probably no living actress who could as successfully have impersonated Mr. Rider Haggard's weird inspiration. In all the dazzling beauty and terrible fascination of the portrait, in its scorn, its witchery, its ruthlessness, its abject fear, its powerless hate, its supernatural episodes, and its final death-like swoon. Miss Eyre proved herself an actress of the highest order. That the play did not realise her expectations was due more to its inherent faults of construction than to its representation on the boards.' (Erskine Reid and Herbert Compton, The Dramatic Peerage, Raithby, Lawrence & Co Ltd, London, 1892, p.79) * * * * * * * * Charles Godfrey at the Oxford music hall, London, 1895 'The form of entertainment known as the "topical song" has seldom been so important, whether from an artistic or political point of view, as the new production at the Oxford Music-Hall, called 'Nelson,' which is simply a ballad of this type with a catching waltz-refrain and with well-devised scenic effect. It is declaimed, very convincingly, by Mr. Charles Godfrey in the character of Nelson, who is supposed to descend, in sight of the audience, from the column in Trafalgar-square to arouse the patriotism of the adherents of law and order. The song was received with tremendous enthusiasm, and, in spite of some most trenchant criticism of the existing state of things, no "counter-demonstration" was made. During the last verse a most realistic reproduction of [Benjamin] West's "Deck of the Victory" was shown. It is a skilfully-managed combination of painted figures with living performers in the foreground, and apparently some wax models among them, and is wonderfully illusive.' (The Times, London, Tuesday, 30 January 1894, p.7b) * * * * * * * * Wanda and Delia, English dancers, 1917

Wanda and Delia

(photos: unknown, 1917)

'Wanda and Delia, two clever dancers, who, once very popular at the Elysée Restaurant, are now on tour [in England]. They are very versatile…' (The Dancing Times, London, May 1917, p.239) 'Wanda and Dalia [sic], two young dancers who are to appear at the Kilburn Empire [London] next week, practising their steps on the sands. There was sunlight instead of limelight, while nature provided the scenery and the waves the music.' (The Daily Mirror, London, Thursday, 17 May 1917) * * * * * * * * Marie Tempest in Midsummer Madness, Lyric, Hammersmith, London, 3 July 1924 'To sit down and hammer a butterfly's wings to a deal board is just about as appropriate as to put into the cold terms of criticisms any comments upon Mr. Nigel Playfair's latest production at the Lyric Theatre, Hammersmith. Midsummer Madness, officially described as "a comedy with music in three acts," is like a scarf of finest gauze, a little too long perhaps, but possessed of a dainty fluttering charm that makes its elusive transparency quite fascinating. Mr. Clifford Bax has written the words that are "interrupted" by Mr. Armstrong Gibbs's music, and although if you are not in the mood the airy irresponsibility of the entertainment may at first irritate you, it will surely in the end attract and even enthral the most crabbed and unimaginative listener. To ask what it is about would be foolish, for Midsummer Madness is just a merry, irresponsible phantasy that tells of love that has no depth but considerable humour. Love, in fact, is a shuttlecock that is kept flying in the air by a quartette of characters who come to the garden of a country inn and there play for their own amusement a comedy in which Pantaloon and Harlequin, Columbine and an altogether unknown element in this familiar group – namely, a Mrs. Pascal – keep the feathery fabric flying. Pantaloon and Mrs. Pascal are natural affinities in age and worldly experience, but they coquette in a light-hearted manner, the elderly Pantaloon with the girlish Columbine, the mature Mrs. Pascal with the youthful Harlequin. There is nothing more to the "story" than this very "leit motif," but the delicacy of its treatment creates its charm, and if you can tune yourself to the mood of Midsummer Madness, why it is toward Hammersmith that you must set your face. 'Perhaps the real reason for waxing rhapsodical over Midsummer Madness is the fact that Miss Marie Tempest is once more to be seen and heard in a musical play. As Mrs. Pascal, the delectable widow of this quaint conceit, this most amazing woman proves once more that art knows no age, and that an actress who possesses personality and technique can rival and outshine the youngest and most beautiful incompetent the stage can produce. Perhaps Marie Tempest's singing voice is just a little worn by time, but there remains an exquisite accomplishment, a complete elegance of production and phrasing that makes an appeal that strikes the ear like a silver bell. A truly lovely performance is this on the part of Miss Tempest. All young actresses with ambition would do well to go to look at and list to Miss Tempest as Mrs. Pascal. Let them watch her hands, her feet, her eloquent little face, and be thankful that they can learn a lesson from an artist who approaches very near to genius in her line. Mr. Frederick Ranalow as Pantaloon [/Pat Nolan] is a lively and most sonorous partner to Miss Tempest's dainty rogueries, while Miss Marjorie Dixon as Columbine [/Chloe Mobin] and Mr. Hubert Eisdell as Harlequin [/Harley Quinn] are rightly considered worthy to make up this quartette of rare excellence.' (The Lady, London, Thursday, 10 July 1924, p.36b) * * * * * * * *

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© John Culme, 2003