Press Clippings for the week ending
Saturday, 1 February 2003

A random selection of cuttings
from newspapers and magazines

* * * * * * * * Clara Vesey's Benefit at the Opera Comique, London, Monday, 25 April 1876

Clara Vesey, Emily Soldene's sister

(photo: The London Stereoscopic & Photographic Co Ltd, London, 1872)

'On Monday afternoon [25 April 1876] Miss Clara Vesey took her first benefit at the Opera Comique, when a number of popular artistes gave their services. The first item in the entertainments was the comedy of Sweethearts and Wives [by O.C. Kenney, first performed at the Haymarket, London, in July 1823], in which Miss Clara Vesey represented in a graceful manner the character of Laura. Miss Vesey was much applauded when she came upon the stage. The great feature of the cast was the amusing delineation of Billy Lackaday by Mr [Edward] Terry. Mr Terry made quite an original character, and an exceedingly comic one, of Billy Lackaday, and the song pleased so much that it was encored. Miss Louise Henderson, Miss Linda Verner, and Messrs Clifford Cooper and Grahame appeared in the comedy, which, hackneyed as it is, appeared to give pleasure to the audience. This was followed by something far more amusing, an American farce entitled The Fool of the Family, in which Miss Jennie Lee displayed remarkable vivacity. The chief incidents in the farce are the sudden elevation in life of a Yankee Farmer, the determination of his eldest daughter, Lucretia, to be a grand lady; while the "fool of the family," Betty, will not quit her old habits and her unsophisticated ways, represented with extraordinary drollery by Miss Jennie Lee, afforded much mirth to the audience. There is a courting scene between Betty and her father's head man, Zeb (Mr H. Taylor), which was the funniest specimen of love-making we have ever seen. It was as if some comical episode by Artemus Ward had been dramatised. Miss Lee was greeted with most enthusiastic applause. She was well supported by Mr Taylor, whose Yankee grotesqueness and whimsical dancing pleased greatly. Then came The Rough Diamond [i.e. A Rough Diamond by J.B. Buckstone, first produced at the Lyceum, London, 8 November 1847], unusual interest being given to this lively little piece by the appearance of Mr [J.B.] Buckstone as Cousin Joe. Mr Buckstone's impersonation recalled so many pleasant memories that it would have been interesting even without the quaint drollery which this veteran actor knows so well how to impart. We need hardly say that Mr Buckstone was received with the greatest favour. Miss Rose Evelyn played Margery with much vivacity. The concluding piece was [Charles Dibdin's] The Waterman [first performed at the Haymarket, London, 17 August 1774], rendered attractive by the appearance of Miss Kate Santley as Wilhelmina, and Miss Emily Soldene as Tom Tug. The Waterman was a somewhat novel character for Miss Soldene, who evidently trusted to the vocal pieces introduced rather than to any special effort of a nautical character. True she was clad in appropriate costume, but she did not "hitch her trousers up" or dance a hornpipe. The impersonation was quite subdued and inoffensive. Miss Soldene was very successful in her singing. "The Jolly Young Waterman" was encored, "My trim-built wherry," greeted with hearty applause, and "The Bay of Biscay" was also redemanded. Miss Kate Santley sang "Pray, Goody," with much taste, and was encored. She also acted the coquettish Wilhelmina with great spirit and vivacity. Mrs [Henry] Leigh was the best possible representative of Mrs Bundle, whose declaration that she was in the habit of reading "Shiksper" caused a shout of laughter, owing to Mrs Leigh's droll way of pronouncing the name of our national bard. Mr [Edward] Marshall was a capital exponent of the drolleries of Robin, and the song "Cherries and Plums" was encored. Mr. J.E. Rae played Bundle extremely well. The house was not so well filled as we expected to see it.' (The Era, London, Sunday, 30 April 1876, p.4d)

Emily Soldene

(photo: unknown, probably London, circa 1873)

* * * * * * * * Alice Lethbridge and Bert Haslem at the Oxford music hall, London, July 1894

Alice Lethbridge

(photo: Alfred Ellis & Walery, London, circa 1894)

'Miss Alice Lethbridge and Mr Bert Haslem's new duologue, A Pair of Secrets, has been considerably shortened. It has been a case of "cut the cackle" and get on with the dancing. – and such dancing, too! Miss Lethbridge trips it with an airy grace that is irresistibly fascinating, and when at the conclusion of the marionette dance she hangs limp over her partner's shoulder the audience become enthusiastic and vigorously insist upon an encore.' (The Era, London, Saturday, 21 July 1894, p.14b) * * * * * * * * Gus Elen at the Cambridge music hall, London, August 1899

Gus Elen

(photo: Hana, London, circa 1900)

'Mr Gus Elen is a great favourite down East [i.e. the East End of London], as he is, for the matter of that, everywhere, and "You've only got to stop just where you is," is the carol of a coster whose imagination is so powerful that it converts his one room into a most imposing maison, the comedian's enumeration of its resources being dryly mirth-provoking. Perhaps, though, one likes best his assumption of the coster who has made his pile, taken unto himself some of the ways of the upper classes, only to find that his son persists in such eccentricities as drinking his soup from the plate and tossing the housemaid for drinks! Mr Elen's make-up, his expressions of utter disgust, and his quaint malapropisms are very diverting.' (The Era, London, Saturday, 26 August 1899, p.18b) * * * * * * * * London Hippodrome's second edition of Hullo Tango!, September 1914

Jack Norworth and Nora Bayes,
the popular American vaudeville partnership responsible for
'Shine on Harvest Moon' and other hits.

(photo: unknown, USA, circa 1910;
reproduced by kind permission of Murray Pfeffer and the Big Bands Database Plus)

'The Hippodrome has had a long and deserved success with its entertaining revue, Hullo Tango! [produced 23 December 1913]. But, owing to important and necessary changes in the cast, a second edition was brought into being last week with every likelihood of continued popularity. The names of Miss Ethel Levey, Miss Shirley Kellogg, and Mr. Gerald Kirby no longer appear on the programme, but Miss Violet Loraine and Mr. Morris Harvey are there to give point to various scenes, while Mr. Billy Merson is a comical little gentleman who should stir the most pessimistic heart to mirth. Then there is Mr. Leo Carillo, who works wonders with an instrument that suggests a blend of harmonium and an accordion, and Mr. Eric Roper and Mr. William Fullbrook are young actors who are "coming on" finely as comedians. But best of all, there is Mr. Jack Norworth, an American singer whose charmingly simple and easy manner is an artistic pleasure. He sings delightfully, and it is difficult to tell whether to give preference to "Kitty on the Telephone," "Those Beautiful Eyes," or "Sister Susie's sewing shirts for soldiers." The latter ditty is a tongue-twister that would baffle Mr. Wilkie Bard himself, while also it is in a healthy vein of sarcasm that should be appreciated in these days when "troup de zèle" is a fault from which many communities suffer. There are some stirring patriotic songs in the Hippodrome programme also.' (The Lady, London, Thursday, 10 September 1914, p.402b) * * * * * * * * Patricia, comedy with music, His Majesty's Theatre, London, 31 October 1924

Max Rivers and Dorothy Dickson,
'in their brilliant burlesque dance of Rudolf Valentino in Patricia.

Patricia's success ensured a transfer to the Strand Theatre, London, on 2 March 1925,
where the production closed on 28 of that month after a total run of 170 performances.

(photo: ? Stage Photo Co, London, 1924)

'Frankly, I remember little or nothing of Dion Titheradge's production, PATRICIA, now running (or rather dancing) at His Majesty's. Perhaps this is just as well, as Patricia is one of those more vapid musical comedies that one tries to remember to forget. In other words, Patricia belongs to that type of the usual old play with the usual new clothes. You see every character, and almost every song and incident coming; and when they've come you wish you hadn't. At least, that's how Patricia struck me. (Perhaps she will again – in a more forcible way – when she reads this). I hasten to add, therefore, that there seem quite a large number of persons in London who like this thought-annihilating type of musical play; and if a "good play" is one which prevents you from thinking till you get home, then Patricia is one of the best plays of this season. 'The memory of Patricia herself in the incredibly dainty person of Dorothy Dickson will, however, keep many a young man awake at nights. Dorothy is the daintiest of singers and dancers, with legs that could dance on egg shells with out bursting anything but an impatient yolk. Comedy, too, is kept well to the fore by sparkling Cicely Debenham – that most vitalising of "live wires" – as well as by Billy Leonard, Ambrose Manning, Stella St. Audrie, Arthur Chesney, and dear old Willie Warde (of old Gaiety fame), while Mary Leigh, Josephine Quest and others please both ear and eye. Still, in these cold nights, the show at His Majesty's makes you feel less of "Pat" that "Ricia"!' (The Theatre World and Illustrated Stage Review, London, February 1925, p.37) * * * * * * * *

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© John Culme, 2003