Press Clippings for the week ending
Saturday, 29 March 2003

A random selection of cuttings
from newspapers and magazines

* * * * * * * * Mrs Stirling and Leigh Murray inThe Ladies' Battle; or, Un Duel en Amour, at the Haymarket Theatre, London, November 1851

Mrs Stirling (née Fanny Clifton; 1816-1895), English actress

(photo: Adolph Naudin, London, circa 1865)

'The dramatic season at the Haymarket commenced on Tuesday evening [18 November 1851] with the performance of the clever adaptation of [Augustin Eugène] Scribe [and Ernest Legouvé]'s Bataille des Dames, produced [in an adaptation by Charles Reade] last spring [7 May 1851] at the Olympic, under the name of The Ladies' Battle. This piece was selected on account of its affording to the recent important additions to the Haymarket company – Mrs. Stirling and Mr. Leigh Murray – the parts of the Countess d'Autreval and De Grignon, completely within the range of their abilities. The favourable manner in which this comedy was received by the audience, the readiness with which all the points were seized on, the interest taken in the progress of the story, and the thorough enjoyment which the beauty of its construction appear to excite, afforded a strong proof of the utter falsehood of the theory, which, if not actually propounded, is too frequently acted on in our theatres, that it is necessary for a dramatic production to be vulgar and outrageous that it may prove comic and effective, and amuse and interest a mixed public. 'It is not many years since Mrs. Stirling was more attractive on the stage, from the possession of an agreeable person and sweet voice, than from the skill she displayed in the representation of character and her appearance at the Haymarket derived additional interest from the fact of her engagement as leading actress at the most important London theatre being an acknowledgement of the rapid strides she has of late made in her art, and a recognition of the position she has attained to. Mrs. Stirling's progress on the stage has always been characterised by an exact estimate of the extent and nature of her own powers, and how well these are appreciated by the public was clearly shown by the loud, continued, and warm applause with which she was received on the present occasion, and no part could have been selected better fitted to display them than that of the Countess in The Ladies' Battle. Wanting both in the intensity of high tragedy and melodramatic force, Mrs. Stirling is most at home in that mixture of the tender and the playful, that alteration of vivacity and lady-like badinage, with touches of pathos, which pervade the character in the higher walks of modern French comedy; in fact, hers is peculiarly that style of acting that we lament to be obliged, in the present state of the English stage, to designate as French, and which is founded upon close study, careful finish, and complete personation. In Madame d'Autreval, nothing could be better than her spirited banter with the Baron, nor more finely discriminated than the mock and real earnestness which she is called upon to display in the course of the comedy. 'Mr. Leigh Murray's Grignon is an admirable piece of acting. He perfectly enters into a character morally brave, but physically a coward – a chain of antitheses from beginning to end, and the changes of manner which the part requires are marked with great discrimination, while the weakness is effectively displayed without the general tone of character being lowered. The nervous action of a man conscious that he is not secure of himself, with glorious impulses always thwarted, are given to the life. Mr. [John] Parselle performed the part of the proscribed lover unequally, but was, on the whole, spirited and effective. Mr. Howe was respectable as the Baron, and Miss [Amelia] Vining seemed to have a just notion of the young lady, but was rather too impressive in her expressions of grief.' (The Literary Gazette, and Journal of Science and Art, London, Saturday, 22 November 1851, pp.804c and 805a) * * * * * * * * Fanny Stirling as Miss Vandeleur in Does He Love Me?, Haymarket Theatre, London, 7 January 1861

Fanny Stirling (fl.1860s), English actress, daughter of Mrs Stirling

(photo: Heath & Beau, London, circa 1862)

'Miss Stirling has great natural powers, and merely requires cultivation in the art which she has chosen to realize a decided success. Her portraiture of the heroine was exceedingly natural, full of girlish impulse, and occasionally revealing extraordinary powers of fascination. In person and style she much resembles her mother, and in time will probably become as attractive an actress.' (The Athenaeum, London, Saturday, 12 January 1861) * * * * * * * * Agnes Huntington leaves Marjorie, Prince of Wales's Theatre, London, January 1890

Agnes Huntington (circa 1864-1953), American contralto,
in the title role of Paul Jones, Prince of Wales's Theatre, London, 12 January 1889

(photo: The London Stereoscopic Co., London, 1889)

'The success of Marjorie at the Prince of Wales' Theatre (which is now being played to the biggest business the theatre has ever known) is largely due to the singing of Mr. Hayden Coffin, Miss Camille D'Arville, and Madame Amadi; the dancing of Miss Phyllis Broughton; the drollery of Messrs. Harry Monkhouse, [Henry] Ashley, and [Albert] James, and the able support of many other excellent performers. The success of Marjorie is the more remarkable, as one member of the company (who was justly considered an attraction in Paul Jones [Prince of Wales's Theatre, London, 12 January 1889]) has apparently succumbed to a severe attack of newspaper criticism, and most ungraciously left in the lurch at a few minutes' notice the management to whom she to a large degree owes what success she had had in this country. In consequence, Mr. Joseph Tapley has resumed the role of Wilfred, in which he created so favourable an impression at the matinée last July [Prince of Wales's, London, 18 July 1889]. The success of Marjorie depends, not upon one "star" artist, but upon the combined efforts of an excellent, good all-round company, each a star in their way, and upon the wisdom of the management in relying upon English authors, an English composer, and an amusing opera of thoroughly English interests. 'Messrs. Clark and Metcalf, Miss Huntington's solicitors, send me the following letter, which I have pleasure in publishing, as I am always glad to give each side a hearing:- 'Sir, - May I claim the assistance of your paper in order to explain to the public my reasons for declinding to sing any longer the role of Wilfred at the Prince of Wales Theatre. 'My retirement from Marjorie has been grossly misrepresented by the notices which have been distributed to the public at the theatre, and it is only due to myself, as well as to the public, that I should explain that it is through no caprice that I have terminated a lucrative engagement, but that such termination has been brought about purely by the conduct of the management in compelling me to sing a composition which was so utterly unsuited to my voice that I could not continue to sing it without occasioning severe damage to the source of my income. 'It was promised from the first that the part of Wilfred, which was written for a tenor, should be re-written entirely to suit a contralto voice, such as my own; but this promise was never carried out, though it was widely published by the management in the advance notices that this had been done. My part was handed to me piecemeal, and it was not until within two or three days of the first and only full rehearsal that I received the whole of my part. I then found that it had not been re-written, but that the score had been altered here and there by dropping a note an octave or less. I leave those conversant with music to imagine the effect of this upon a tenor part when sung by a contralto, though, according to the opinion of the Managing Director [Horace Sedger], there is no such thing as tenor or contralto music, but that "music is music." The opinion of Mr. Carl Rosa with whom my contract was made, would I think have been different, and I am sure that he would never have asked me to sing tenor music. I thought that it would be impossible for me to play it for any length of time, and I so expressed myself; but determined to do my best, and I accordingly undertook the part. I soon found, however, that I could not continue it, and I accordingly informed the management of the fact. Promises of alteration were made, and I afforded Mr. [Walter] Slaughter [the composer of Marjorie] the opportunity of going through the music with me. He wished me to point our anything that did not suit me; but how could I do this? The whole part was written, as I have said, for a tenor voice, and it was not for me to recompose the music. Mr. Slaughter, moreover, assured me that the music had been altered to a form suited for a contralto, and this being so, I felt that it was useless to discuss matters further, and most reluctantly I gave notice to the management that, for fear of damaging and perhaps destroying my voice, I must withdraw from my engagement. 'Since my withdrawal notices have been issued at the Theatre intimating that, owing to my "breach of faith," the part of Wilfred will be performed by someone else. I leave the public to judge whether or not I have been guilty of any breach of faith. '45, Albert Gate. 'Agnes Huntington.' (The Topical Times, London, Saturday, 1 February 1890, p.6a) * * * * * * * * Irene Castle on Jazz and the Origin of Popular Dances, London, 1918

Irene Castle (1893-1969), American ballroom dancer, actress, writer and costume designer.

'Mrs. Vernon Castle, most celebrated of all ball-room dancers, knows of no dance called the Jazz.'

(photo: unknown, USA, circa 1917)

'Mrs. Vernon Castle, who has not been over [in England] very long from the States, says: "It is difficult to define 'Jazz.' The nigger bands at home 'Jazz' a tune: that is to say, they slur the notes, they syncopate, and each instrument puts in a lot of little fancy bits on its own. It requires a lot of brass. I have not come across a 'Jazz' band in England, and I doubt if there is one. On one point I am definite, there is no such dance as the 'Jazz,' and anyone who tells you there is, is wrong. In the States they dance to 'Jazz' music, but there are no fixed steps. In the States we are dancing everything very smoothly just now, but the valse will hardly ever be found on a programme. No! I do not think it will die: it will live in other dances. We get our new dances from the Barbary Coast. Of course, they reach New York in a very primitive condition, and have to be considerably toned down before they can be used in the drawing-room. There is one just arrived now – it is still very, very crude – and it is called 'Shaking the Shimmy.' I've not tried it yet, I can assure you. It's a nigger dance, of course, and it appears to be a slow walk with a frequent twitching of the shoulders. The teachers may try and make something of it – I won't attempt to prophesy, but that is the only novelty I know of. To my mind showy and eccentric methods of dancing are out of place in the ball-room, and freak steps show very bad form. As for 'dips,' they are just horrible."' (The Dancing Times, London, November 1918, p.35) * * * * * * * * By the Way, Apollo Theatre, London, 22 January 1925, transferred to the Shaftesbury, 9 November 1925

Cicely Courtneidge (1893-1980), English actress
as the interfering spinster in 'Tea for Three,'
a scene from By the Way, revue, Apollo, London, 22 January 1925.

(photo: Pollard Crowther, London, 1925)

'Last Weeks. 'Take heed that By the Way is now in its last weeks, for the end of this month sees its withdrawal from the Apollo. Therefore, if there is anybody who has been careless enough to miss this great little revue, let them hurry up and remedy their mistake. For By the Way is one of the brightest specimens of revue intime that London has ever seen. Its success has been something of a record, for, during a run of nearly a year, there have only been two editions, if one does not count the not too successful interpolation of Vincent Lopez and his band, and the withdrawal of Phyllis Bedells from the second edition. For any revue to have lasted so long with so little alteration proves rather conclusively, that the public does not quickly tire of a first-class entertainment. Even in the second edition the most successful items were those in the original production, thus showing that not only is Jack Hulbert one of our few notably good light comedians, but that he has an unerring taste in selecting the ingredients for a revue. 'Off to America. 'Not only will By the Way leave the Apollo but that irresistible couple, Cicely Courtneidge and Jack Hulbert will leave England very soon afterwards. They are off to America with a version of By the Way, in which many of the present company will appear. Because America has the unpleasant habit of making many of our actors and actresses forget to come home for a year or two – would that certain of our imitation "stars" would cross the Atlantic and forget entirely! – there is yet another reason for paying farewell visits. 'Sorry as we are to see them go, they are just the kind of artists whom we are proud to see in America as representatives of the lighter English stage. The polished art of Jack Hulbert is an asset to the theatre of any nation, and his wife is no less attractive, a genuinely humours comedienne. 'The Vogue of Good Dancing. 'No doubt Jack Hulbert will take special pains with the chorus he takes to America, for the Hulbert chorus is famous for good looks, and efficient and graceful – the two do not often go together – dancing. The girls in By the Way contribute some of the best work to be seen in London (although their producer is not an American!). Whilst on the subject of dancing, it is extraordinary how stage dancing, like the ballroom variety, has improved since the war. Nowadays most people can make a fairly creditable effort at the waltz, and fox-trot, and it really seems as if every chorus girl is a first-rate dancer. Gone are the days of languid, bored beauties. Instead, nearly every revue and musical comedy, in London or out of it, has a bunch of girls whose dancing is of a superlatively high standard of excellence. In the old days the famous Palace Girls were supreme; now there are dozens of equally expert troupes.' (The Theatre World and Illustrated Stage Review, London, November 1925, pp.14 and 15) * * * * * * * *

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© John Culme, 2003