Press Clippings for the week ending
Saturday, 15 February 2003

A random selection of cuttings
from newspapers and magazines

* * * * * * * * Annie Baldwin and Company in Aberdeen, September, 1878;

Annie Baldwin (fl.1870s), English actress

(photo: unknown, probably United Kingdom, 1870s)

"Will You Buy a Leetle Dawg!" ' On Tuesday [24 September 1878], during the performance of Formosa by Miss Annie Baldwin and her company at Her Majesty's Opera House, Aberdeen, a most amusing incident occurred. It happened when, towards the middle of the first act of the drama, Bob Saunders, played by Mr Gomersal, the dog fancier, comes upon the stage with sundry fancy puppies stuffed, all except the head, into his coat pockets. Bob had just sallied from the right wing when, glancing towards the upper private box opposite, according to the custom of some experienced actors, his eye had probably caught that of one of the two male occupants. At that instant Bob had to speak the catch word of the part "Buy a little dawg!" which, of course, was received with laughter by the audience generally; but the laughter was quickly turned to astonishment when one of the gentlemen in the box stood up, and with an excited look and in a very distinct Continental ascent, protested that he did not want to buy one dog, and that he thought it a most unusual proceeding on the part of any actor to ask him "one so wonderful impertinent question!" "No; vat would I vant a leetle dog for?" Mr Gomersal, judging it prudent to ignore the observation, uttered a few more lines of his part, but the stranger, in the tone of a man who wished to set himself right with somebody, again remarked, rather excitedly, that he did not want a "leetle" dog; and that he had visited the Theatre for amusement, and not for the purpose of purchasing a canine pet. On Mr Weston (Miss Baldwin's Acting-Manager) visiting the box and endeavouring to explain the meaning of the offending speech, the foreigner became still more excited, and had to be ejected. Outside the Theatre he informed an admiring crowd that he did not think much of art "in dis country," and that where he came from Directors of Theatres do not sell "dawgs on dere stage." After the departure of the offending German the curtain was run up, and each query of Bob's "Do you want to buy a little dawg?" was the signal for fresh merriment.' (The Era, London, Sunday, 29 September 1878, p.6c) * * * * * * * * The Internation Vaudevilles, New York, August 1890

Maud Branscombe (fl.late 1870s-1906)
English actress and photographic beauty

(photo: Elliott & Fry, London, circa 1885)

'The Internation Vaudevilles, appearing simultaneously at the Union Square and Standard theatres, last Saturday [16 August 1890], achieved immediate popularity. The troupe is in some respects the best that has been seen here. It is deficient in pretty women and graceful dancers; but these can be readily engaged on this side of the Atlantic. Minnie Cunningham, from Birmingham, is not up to the American mark, and Maude [sic] Branscombe, the much-photographed beauty, made a fiasco of her statuesque poses because the lights were not worked properly. That was her misfortune, not her fault; but a failure can never be explained to the public. 'The men were all successes, except Charles Chaplin, the descriptive singing comedian, who belongs to our free and easy singer class. Lieutenant Travis, the ventriloquist, is a capital actor and makes his lay figures seem lifelike. The Brothers Borani appear and disappear as by magic. The xylophone trio, from Russia, are unsurpassed. Leonce is a capital juggler, but should give feats that have not been anticipated by other performers. The boy Avolos are wonderful gymnasts. Taken by and large, the show is far above the average. But we must draw the line at Crowley, Jr., the trick monkey. He is unworthy of the name of his Central Park predecessor.' (unattributed press cutting, probably New York, Saturday, 23 August 1890) * * * * * * * * Kate Paradise, ballet mistress at the Lyric, London, 1895 'We are once again to see our Kate Paradise – ever the most graceful of dancers – in London. She has been engaged to appear as principal danseuse in the forthcoming light opera, Bric-à-Brack [i.e. The Bric-à-Brack Will, Lyric, London, 28 October 1895]. Paradise or no Paradise, I would even go to the reverse side of that place to see Kate dance.' (The London Illustrated Standard, London, Saturday, 2 November 1895, p.6) * * * * * * * * Katie Lawrence deputises for Marie Collins Tivoli music hall, London, 4 April 1896 'Just in the nick of time came Miss Katie Lawrence on Saturday night to aid a manager in his predicament. It was at the Tivoli, and Miss Marie Collins was late. Mr. Dowsett had no one to go on, and the stage waited. Miss Katie Lawrence was in the auditorium, and volunteered to "go on and do her best." This offer was immediately accepted, and in her ordinary attire, with no music books, she took the stage, a chord in "D," and, with the assistance of Mr. Angelo A. Asher and his excellent orchestra, she sang "Change of a Quid," and brought down the house.' (The Stage, London, Thursday, 9 April 1896, p.15a) * * * * * * * * Albert Chevalier at Coster & Bial's, New York, 1896

Albert Chevalier (1861-1923)
English actor and music hall star

(photo: The London Stereographic Co Ltd, London, circa 1895)

'Chevalier has simply caught the town. He opened at Koster and Bial's on Monday evening, and his success was immediate and unqualified. Nearly all his coster ditties have been sung already by American imitators; such in various degrees of Third Avenue nasal tones and in various grades of local concert halls, and this has, up to the present, been the New Yorkers' idea of the purest "Cockney as she is spoke." Now, such ideas are severely shaken, and "Chimmie Fadden" takes a back seat to make room for the "Coster Bloke." Nothing so picturesque as this type of individual has ever been discovered on the Bowery. A society audience crowded the boxes of Koster and Bial's handsome hall. Just such an audience has applauded [Yvette] Guilbert, and murmured delight over the wonderful light effects of La Loie [Fuller], but over Chevalier they simply went wild with enthusiasm. His success seems already to have put the letter "h" out of fashion; if this goes on the aspirate will soon be defunct in New York society.' (The Encore, London, Friday, 10 April 1896, p.5a/b) * * * * * * * * Marie Lloyd loses a diamond brooch, London, 1896 'Miss Marie Lloyd had the misfortune to lose her diamond brooch at the Metropolitan Music-hall [London] on Friday last [15 May 1896]. She had the brooch on when she entered her dressing room. The piece of jewellery consists of the name, MARIE. Miss Lloyd will be pleased to remunerate the finder.' (The Encore, London, Thursday, 21 May 1896, p.6b) * * * * * * * * Happy Fanny Fields at the Tivoli music hall, London, 1902

Happy Fanny Fields (1884-1961)
American vaudeville comedienne

(photo: Hana, London, circa 1900)

'The picture [above] depicts this smart little American girl in her burlesque imitation of a German Katrina. Miss Fanny Fields, who is one big bubble of mirth and merriment, tells, amongst a lot of other funny stories, how she stood in the front ranks of the crowd on Coronation day [9 August 1902], when a big burly man came and stood "right in front of my face. When I had recovered my breath, I touched him on the shoulder and said, 'My friend, are you opaque?' 'No, mum,' says he, 'but I'm O'Brien'".' (The Playgoer, London, September 1902, p.337) * * * * * * * * Aida Overton Walker in London, 1903

Aida Overton Walker (1880-1914)
American actress, singer and dancer

(photo: White, New York, circa 1902)

'Aida Overton Walker. A member – more, the leading "star" lady of the [Bert] Williams & [George W.] Walker Negro Company, who have been charming London audiences with In Dahomey [Shaftesbury, 16 May 1905], Aida Overton Walker is a delightful lady and a brilliant dance. She plays the part of a naughty child, every eager and ready to get into any sort of trouble that comes handy, from putting one some smart young lady's new ball dress to smashing all the crockery just as the dinner bell is ringing. Aida Walker is a born actress, and could shine in serious parts, and even Shakespearian drama. But singing and dancing ate her great points. She is the wife of Mr. George Walker, who is part manager of the company.' (The Royal Magazine, London, September 1903, p.387) * * * * * * * *

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© John Culme, 2003