Press Clippings for the week ending
Saturday, 25 January 2003
A random selection of cuttings
from newspapers and magazines
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* * * * * * * * Amateurs upon the legitimate stage, London, 1883 |
Lillie Langtry
(photo: W. & D. Downey, London, circa 1885)
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'The modern matinée is the unwholesome outcome of the craze that has befallen society since Mrs. Langtry made a temporary success as an actress. Every impecunious person thinks himself or herself capable of making a fortune on the stage when the ordinary chances of life are played out or obliterated. Scarcely a week passes but the public are summoned to see the feeble and immature efforts of vain women, who have at least some excuse for their excessive ambition, and vainer men, who are so steeped in egotism that reason appears to have temporarily deserted them. Such performances are from first to last worthless. They may suit the dramatic coach or trainer; they may please the fussy ladies who patronize the stage and manufacture benefits; they may be convenient to the hangers-on of amiable incompetency – but, as a test of talent, they are childish and absurd. Genius is not a purchasable commodity, but genius alone of an extraordinary kind would warrant the overflow of these budding Juliets, these feeble Romeos, these wearisome Julias, and these sucking Claudes, who have tested the patience of their friends and naturally provoked the severity of all who have made a study of the stage. Acting cannot be learned in a day or a week – it cannot be mastered by a course of lessons from any master without they are supplemented by hard work and incessant practice. It will certainly be a bad day for the stage when – for want of a better word, amateurishness is allowed to get a footing on the legitimate stage. There is far too much of it floating vaguely about just now – far too much of it encouraged and petted, and unquestionably there is as much attention paid to flabby feebleness as there is to sound, hearty and robust work. Amateurs are no doubt all very well in their way. They are harmless enough in their own circles, and they only borrow a reflected light from the egotism that is inseparable from the dramatic calling. Indirectly amateurs encourage a love for the theatre; there are no more constant playgoers in existence than your self-satisfied amateurs. * * * * * * * *
A night at the Duke of Connaught, Woolwich,
'This establishment, though not a music-hall proper, is well known to the Woolwich folk by reason of the entertainment (supported by music-hall artists) which from week to week takes place there. Mr. Will Davies, who has been for many years associated with the neighbourhood, finds his Saturday night ventures greatly appreciated, and from time to time, as occasion serves, gives what is called an "extra night." Tuesday last being the Queen's birthday, was thought to be a fitting opportunity, and the entertainment provided was well responded to. The Connaught hall was filled in every part, and the numerous visitors greatly enjoyed the good things set before them. Master Joe Clevement, a clever dancer and banjo soloist, made an excellent commencement, and was succeeded by that well-known artist, Miss Ada Lundberg. Miss Lundberg made a very happy selection from her extensive repertoire, and left, the company like "Oliver Twist" asking for more. Mr. Paddy Wenburn, however, was ready, and as Mr. Davies tries hard to keep faith both with the artist and the audience, the Irish singer took possession of the stage, and with "Kilkenny Fair" and an Irish dance kept his hearers in the best of humours. Mr. Alf. McAsher's dancing pleased immensely, as did the burlesque business of Mr. Arthur Vining and Miss Nelly Ridgway. Miss Ida Roselle looked nice in the dress of a midshipman, and her singing and dancing gave great pleasure. Sailor Ward, who has been for some time past in the doctor's hands, sang a capital selection of sea-songs, preceding Professor Hotine, who put his dogs and monkeys through their work, producing great merriment amongst the onlookers. With an amusing burlesque sketch by Mr. Will Briscoe and Miss Ada French, the entertainment was brought to a close. Mr. Davies is to be congratulated upon the success of his efforts, and the smart and orderly way in which they were carried out.' * * * * * * * * The Palace Theatre of Varieties, London, December 1895 |
Loie Fuller posing as Salomé
(photo: Langfier Ltd, London, circa 1894)
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'The third anniversary of the opening of the Palace Theatre was signalized there last night [Tuesday, 10 December 1895] by the production of an exceptionally long programme – so long, indeed, that, although begun at an earlier hour than usual, it did not end until midnight. It was composed of about 40 names, including those of Miss Loie Fuller and many other well-known performers [i.e. Lottie Collins, the Poluski Brothers, Tennyson & O'Gorman, the Sisters Hawthorne, G.W. Hunter, Florence Selman, et al]. Miss Fuller's astonishing skirt dances, such as "La Nuit" and "La Dame Blanche," retain all their former power to please. The sixth series of the Palace tableaux vivants, after works by English and foreign masters, concluded the entertainment, which, notwithstanding some increases in the prices of admission, was witnessed by a full house. It is understood that a new series of living pictures will be produced next month.' |
Tableaux Vivants, 6th Series, Palace Theatre, London, week of Monday, 2 December 1895
(from programme printed by Henry Good & Son, London, 1895)
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* * * * * * * * Marie Lloyd at Collins's music hall, Islington Green, London, September 1899 |
Marie Lloyd
(photo: unknown, circa 1899)
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'A most cordial greeting awaits Miss Marie Lloyd, as bright, as gay, and as insouciant as ever. Like the true artist she is, Miss Lloyd presents some striking contrasts in her impersonations. What a remarkable difference there is, for instance, between the rather vulgar young person who, in bloomers of a very loud pattern, goes "biking in the park" and the modest-looking damsel from the country who has never "lost her last train yet!" The clever comedienne can just as readily portray the shy rustic maid as the hoydenish London slavey out for a holiday, and rejoicing in the sensation she is creating amongst the spectators of her performance. Most enthusiastic is the popular little lady's reception at "the hall by the green".' * * * * * * * * Millie Legarde joins The Belle of Brittany, Queen's Theatre, London, December 1908 |
Millie Legarde as Mlle. Denise de la Vire
in The Belle of Brittany, Queen's Theatre, London, December 1908 to March 1909.
The part of Denise was created by Lily Iris at the Queen's on 24 October 1908.
(photo: Foulsham & Banfield, London, 1908)
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'Miss Millie Legarde took up the rôle of Denise, vacated by Miss Lily Iris, in The Belle of Brittany at the Queen's on Monday [7 December 1908]. Several new numbers have been added, notably a love song for Mr. George Graves, which is one of the quaintest efforts of this versatile comedian, who keeps the audience convulsed with laughter.' * * * * * * * * At the Alhambra, London, August, 1924 |
Dollie and Billie (fl. early 1920s), American duettists.
The poster, right, of Dollie and Billie at the Theatre Apollo, Rome, in the mid 1920s,
is reproduced from a contemporary postcard by kind permission of Martin and Rada Shapiro's VintagePostcards.com
(photo, left: Jerome Ltd, Manchester, England, 1924)
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'The ever-changing bill at the Alhambra always provides fresh novelties or old friends, among whom last week "Little Tich" was perhaps the most conspicuous in the latter category. But it is to a "turn" like Jack Hylton and his famous band that the most generous applause is directed, and last week certainly this "British Master of Rhythm" made heads nod and toes tap to his beat as he directed a remarkably capable group of instrumentalists through various tuneful frolics. Then there were the Dollie and Billie Sisters [sic], who roused much applause, and Rebla, a comedian and juggler of rare ability. And those who like skilful dancing were much impressed by the spirited work accomplished by Ivan Kotchinsky, Mlle. Du Boisson, and others in some excellent numbers that included a Tzigane Love Dance and a Gipsy Knife Dance. But then the Alhambra always provides a good programme – last week, this week, next week! – always different, yet always the same.'
* * * * * * * *
Heather Thatcher to be painted by A.L. Grace, London, 1925
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Heather Thatcher as Jane Wallace in the musical comedy,
Tell Me More, Winter Garden, London, 26 May 1925.
(photo: Stage Photo Co, London, 1925)
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'Heather Thatcher, beloved of all Winter Gardeners, and one of the successes of Tell Me More, is among the twelve actresses whose portraits are being painted by A.L. Grace for an album of stage beauties. When this attractive volume appears I can quite imagine that Mr. Grace will be one of the most unpopular men in London – in the opinions of those actresses who are not included in this memorial to theatrical loveliness. The names of all the chosen twelve are not divulged at present, although it is an open secret that Isabel Jeans, who, like Heather Thatcher, more than deserves the honour, is one of them. By these two alone one would say that qualifications for the book of beauty must include talent as well as exceptional good looks.' * * * * * * * * |
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© John Culme, 2003