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Lurline, Avenue Theatre, London, Saturday, 24 April 1886
'On Saturday evening a new burlesque, entitled Lurline, by Messrs. R. Reece and H.B. Farnie, was produced at this theatre, before a numerous and, generally speaking, well-amused audience. The "idea," as they say of shani fights, is that Sir Rupert, here called "the Rapless," converts his castle, very unsuccessfully, into a hotel, and is finally driven by impecuniosity to descend with Lurline to her abode. In this submarine residence, however, there is neither treasure – why not? nor food; and Sir Rupert is reduced to eating oysters, which turns out to be a crime. But there is a professor who speaks with an oppressive Scotch accent, and is altogether very dour. He teaches the naiads, and is visited by a School Board inspector. After this, Henley Regatta comes on, á propos de bottes, and Sir Rupert, more rapless then ever, is discovered as an itinerant performer. Lurline has followed him, and with her he returns. To state that Lurline is represented by Miss Violet Cameron is enough to intimate that the naiad makes a graceful and charming appearance. Her song on rising from the river depths was the gem of the evening. Mr. Arthur Roberts is "Sir Rupert," and his name is a guarantee for any amount of laughable by-play and funny "gag." He has some capital songs. His famished but faithful retainer "Skraggestein" (Mr. E.J. Lonnen) complains, not without ample reason, that he could put up with starvation, but that his master is killing him with puns. Mr. Ramsey Danvers, as the "Baroness von Geyser," would go a long way towards making the success of a pantomime. Then there are "Lord de Sophtroe," (Mr. Gerald Moore), a relation of Lord Dundreary, the professor (Mr. S. Wilkinson), and a large number of attractive young ladies as naiads, &c. The scenery (by Messrs. T.E. Ryan and A. Calcott) is excellent, the view of the Lorlei-berg by moonlight being especially worthy of praise. The piece is brilliantly mounted, and is bright and amusing for the most part, the professional and school-inspection interlude, however, being profoundly dull. The burlesque, which had caused much merriment during its progress, received a verdict of approval at the close. One or two political effusions, for which there seemed to be no other reason than a belief that devotees of burlesque are exclusively Conservative, revealed the fact that a few Liberals were among the audience.'
(The Daily News, London, Monday, 26 April 1886, p.2c)
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London theatre composer-conductors, 1906
'At one time or another, the majority of contemporary British composers of the male sex have officiated in the capacity of musical directors at London's leading playhouses. At the Savoy – the name which, after the National Opera House, first suggests itself when the music-drama is under discussion – the baton was long and honourably held by Mr. François Cellier, brother of (alas! That one should have to say the late) Alfred Cellier, of Dorothy and Doris fame, except on those rare occasions when Sir Arthur Sullivan elected to conduct his own delightful operas. Anon was Mr. Cellier succeeded in the conductor's chair by the brilliant young Scottish composer, Hamish McCunn, save on those few occasions when the bâton was wielded by Mr. Edward German at special performances of his own works. Mr. Walter Slaughter, Mr. Leslie Stuart, Mr. Ivan Caryll, Mr. Landon Ronald, Mr. Raymond Roze, Mr. Frank Lambert, Mr. Howard Talbot – all have wielded the conductor's "stick" with distinction to themselves and advantage to the "score." The glories of the Lyceum have passed away, or one might pause to speak of the zealous work in this onerous capacity so long carried on by Sir Henry Irving's old friend and faithful servitor, Mr. Meredith Ball.
'No London playhouse of late years has done more for the development of the hybrid genus "musical comedy" than Daly's theatre; and in order to achieve all that Daly's was fated to achieve in this line a musical director of the highest order of intelligence and ability at once became a necessity. Gifted as his predecessors have been, it is only fair to record the undoubted fact that in Mr. Howard Talbot the pretty playhouse in Leicester Square has an acquisition to is "fighting strength" that could with difficulty be over-estimated.
'Mr. George Edwardes is assuredly to be envied his possession of Mr. Talbot, who writes to me as follows: "In am an Irishman. I studied music at the Royal College of Music, Kensington Gore, under Sir Hubert Parry, Sir Frederick Bridge, Sir Walter Parratt, and Dr. F.E. Gladstone. Have composed and published many songs, piano pieces, orchestral works, a cantata, and comic operas. Among the latter the best-known are The Chinese Honeymoon, Wapping Old Stairs, Monte Carlo, The Blue Moon, Kitty Grey (in collaboration), and Three Little Maids (also in collaboration), and am under contract to write several more. I have conducted in nearly all the principal London theatres."
'Then at the Gaiety we have Mr. Ivan Caryll as conductor-composer, and at Wyndham's clever Mr. Howard Carr. Mr. "Jimmy" Glover has made several changes, but is best known in connection with the Theatre Royal, Drury Lane. Mr. Edward Jones is at the Vaudeville in succession to Mr. Walter Slaughter, now of the Coliseum. Mr. Leonard Chalk directs the destinies of the band at the Lyric Theatre, Mr. John Crook is quite an institution at the Duke of York's, whilst Mr. Edmond Rickett is at the Garrick. Mr. Christopher Wilson, now officiating as Mr. Otho Stuart's "Chief or the Orchestra" at the Adelphi, was for years association with the musical side of Mr. F.R. Benson's Shakespearean productions.
'Of London's two newest playhouses, Mr. Carl Kiefert is at the Aldwych, and Mr. Frederick Rosse has directed the musical destinies of the Waldorf ever since that beautiful theatre was opened. In Mr. Rosse's capable hands those destinies are remarkably safe. Apart from his powers as conductor and teacher, Mr. Rosse's work as composer that has appealed to me most strongly includes his dainty music to Mr. Bourchier's production of The Water-Babies at the Garrick, and several charming numbers written for Sergeant Brue at the Strand. But his gift is a varies one, and his musicianly talents of a wide order.
'Mr. Frederick Rosse has conducted at the Adelphi, Strand, Princes of Wale's, Lyric, Apollo, Garrick, Avenue, and New Theatre, is composer of All Abroad, At Zero, Water Babies, incidental music to Three Musketeers, A Royal Rival, Captain Kettle, A Queen's Romance, Monsieur Beaucaire, The Merchant of Venice, The Heir at Law, and a great number of songs, including The Crown Cycle "Love Letters," now appearing in this paper.
'Mr. Raymond Roze has written all the incidental music that "goes with" Mr. And Mrs. Fred Terry's spirited production of Dorothy o' the Hall at the new Theatre. At His Majesty's Mr. Adolph Schmid presides over the orchestra, and at the Comedy Mr. Ernest Haynes is in power. At the Prince of Wales's the bearer of an honoured name in the music world, Mr. Frank E. Tours, looks after his department, but at Terry's Mr. B. Bucalossi finished up with Mr. James Welch's regrettable breakdown in health. Mr. Arthur Wood is still at the Apollo, and Mr. Percy Fletcher at the Savoy. Mr. William Robins remains at his old post as musical director for Mr. [George] Alexander at the St. James's.
'The chef d'orchestre of the Haymarket – "the prettiest theatre in London" – is Mr. Graener. Paul Graener is quite a young man, having been born in Berlin in 1872. After completing his musical studies he became a conductor of opera in that city, at Königsberg, and at Bremen, and came to London in 1896. Messrs. Cyril Maude and Frederick Harrison were so favourably impressed by the masterly manner in which he conducted a symphonic concert at St. James's Hall shortly after his arrival in England that they offered him the post which Mr. Graener still occupies as chief of the admirable orchestra of the Haymarket Theatre. In the spring of 1900 he and other foreign artists resident in the Metropolis gave a very successful symphony concert at Queen's Hall in aid of the War Fund. If I am not very much mistaken, Paul Graener is destined to make his mark as a composer. He is an ardent and arduous worker, and several of his clever compositions have already been performed at concerts at Bournemouth and other centres.
'Of theatres rather outside the scope of the "legitimate," I may remind the reader that Mr. George Byng conducts the splendid orchestra at the Alhambra, Mr. De Reeder that of the Tivoli, whiles Messrs. Cuthbert Clark and Glazer share the leadership of the Empire Theatre's very admirable band of musicians.
'It is now some two or three years since Mr. Clarence Collingwood Corri assumed control of the orchestra at the London Hippodrome. In this position he has been a conspicuous success, notwithstanding the fact – almost unnecessary to point out to my readers – that this is, from the very nature of the entertainment, one of the most onerous posts of the kind in all London. Immediately previous to his appointment to the Hippodrome, Mr. Corri had been intimately associated with the music for various special productions at the Coronet and Camden Theatres. He is well known as a composer for the stage. In collaboration with Mr. George R. Sims, who wrote the "book," he was responsible for the sprightly music of that popular metropolitan and provincial success The Dandy Fifth, which, on successive tours, has charmed many thousands of pounds out of the pockets of the play-loving public.
'I may fittingly conclude these remarks with a reference to the musical arrangements of the Palace Theatre – that truly delightful mean betwixt the high-class theatre and the first-class music hall, and of such delicious memories in connection with the magical names of "English Opera," Sullivan and d'Oyly Carte. Mr. Herman Finck is the clever conductor of the Palace orchestra, which is one of the finest in London.'
(Percy Cross Standing, 'Chiefs of the Orchestras,' The Crown, London, Thursday, 24 May 1906, pp.60 and 61, with photographs of Howard Talbot, Walter Slaughter, Paul Graener, Herman Finck, Clarence Corri, and Frederick Rosse)
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The death of Charles Warner, New York, 11 February 1909
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