Press Clippings for the week ending
Saturday, 10 May 2003

A random selection of cuttings
from newspapers and magazines

Renton Nicholson's Judge and Jury Society Garrick's Head, Bow Street, London, 1850

Advertisement for Renton Nicholson's Judge and Jury Society
at the Garrick's Head, Bow Street, London, 1850

(Bell's Life in London, London, Sunday, 1 September 1850, p.2a)

'Among the miscellaneous attractions of those days [the 1840s and early 1850s], the Judge-and-Jury shows, as they were called, held a conspicuous position, and after the theatres and other places of amusement were closed attracted audiences of a class composed chiefly of men-about-town, revelers, nightbirds, and frolicsome roysterers of the Tom-and-Jerry stamp. The entertainment consisted of thinly-veiled skits in the form of mock trials on the society scandals of the day, and were conducted with a sham solemnity and a grotesque parody on the legal procedure which were certainly diverting. Humour of the broadest type was the prevailing characteristic of these shows spicened only too frequently by the ribaldest of wit and the rankest of obscenity, such as at the present day would not be tolerated for a single instant. The father of this class of entertainment was a versatile humorist of the name of Nicholson – "Baron" Nicholson he dubbed himself – whose establishment was located at the Garrick's Head, Bow Street, Covent Garden. In the window of this popular hostelry was displayed a brief of Brobdignagian proportions bearing in bold characters the title of the suit. The room where the causes célèbres were conducted seated about three hundred people, and was fitted up with the customary appointments of a regular court, viz., the bench for his lordship, and seats for the counsel on either side, the jury and the witnesses. The counsel, who were fully fledged in wig and gown, consisted of three remarkable characters, whose professional cognomens were Mr Bosanquet Thesiger, Sir Barnacle Follett, and another whose personal appearance and admirable make-up and mimicry had earned for him the sobriquet of Lord Brougham's double. The other functionaries of the court were the usher and a "protean" witness named Brooks. The Baron himself, a corpulent, jovial-looking personage, took his seat upon the bench promptly upon the assembling of the parties, and opened the proceedings by calling for a glass of brandy and water with a cigar, which was the signal for counsel for the plaintiff to begin. The following, which is one of the "Baron's" advertisements, conveys a pretty good notion of the general nature of these entertainments, and of the proceedings at similar establishments. '"GARRICK'S HEAD AND TOWN HOTEL, BOW STREET, COVENT GARDEN. Gentlemen visiting London will do themselves a moral wrong, and will merit the censure of their friends at home, if they go back to the provinces without being able to say to their inquiring connections that they have witnessed the extraordinary entertainments provided for the interlection of the convivial in the magnificent saloon of the above-named hotel. Monday night the Judge-and-Jury Society will hear a cause redolent of larkery after darkery, being the Queen on the prosecution of Scard against Pakenos. Tuesday and Wednesday the concert. Thursday the Judge-and-Jury Society will sit again to decide a most important case of breach of promise of marriage, 'Hitchon v. Rogers.' Friday the concert. Saturday (Oh! Such a night!) the Judge-and-Jury Society will wind up the week with a serious, momentous and straddling case of crim. con., being the affair lately so much whispered about of the Hon. Viscount Limpus v. The Hon. Powderham Pelter Plantaganet Priapus Pulverton. In this cause it is anticipated that several men of fashion and ladies in their own right will be examined. Mr Bosanquet Thesiger, Mr Mansfied and Thurlo Pipps are retained for the Plaintiff, and the double of Lord Brougham and Mr Coke Tenterden Phunk will appear for the Defendant. Mastication and Apollo [i.e. food and music and/or singing (in Roman mythology Apollo, the sun god, was the god of music)] every night after the theatres. Repose and matin feed [i.e bed and breakfast] half-a-crown," etc. 'After quitting the Garrick Head, Nicholson took an establishment opposite, subsequently migrating to the Coal Hole in the Strand, and finally to the Cyder Cellars in Maiden Lane. He was for some time editor of a racy little journal called Ncholson's Noctes, and just prior to his death [18 May 1861] published an interesting autobiography. The success of the original Judge-and-Jury Society brought a host of competitors into the field, but none of them achieved the success of the Baron's. One the latter's demise in 1862 [sic] the protean witness Brooks started another with the original corps which had its court in the Strand, and later on in Leicester Square, while opposition shows on similar lines were held in other parts of the town. Improvement in public tastes, however, and severer police restrictions, gradually rendered them unpopular, and with the decadence of public support they died a natural death.' (Charles Douglas Stuart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895, pp.8-11) * * * * * * * * The Boisset Troupe at the Middlesex music hall, London, July 1894 'The sensation of the bill is provided by the Boisset Troupe in their pantomimic act. The wonderful feats achieved by this combination are executed with an utter absence of effort that robs them of all appearance of difficulty. The comic side of the turn is quite safe in the hands of the droll little fellow who is such a tower of strength in their sketches. (The Era, London, Saturday, 21 July 1894, p.14b) * * * * * * * * Jenny Valmore's rise and fall, 1887 to 1899

Jenny Valmore (fl.1890s)
English music hall comedienne and vocalist

(photo: unknown, London, 1895/96)

Foresters music hall, London. ‘Miss Jenny Valmore’s serio-comic songs are very well appreciated.’ (The Entr’acte, London, Saturday, 2 April 1887, p.6a) ‘The People’s Idol. MISS JENNY VALMORE Imitation is the sincerest flattery. Usual success, LONDON PAVILION, Twenty-ninth Week; ROYAL CAMBRIDGE, Fourth Week. Sold and Exclusive Agent, Hugh J. Didcott. (The Era, London, Saturday, 20 February 1892, p.28b) 'Being in the neighbourhood of the Holborn Town Hall one day this week, our interviewer called upon Miss Valmore. She resides in the vicinity, and we may add that she was not prepared to receive visitors. She was busily engaged in cooking the mid-day meal, and an excellent cook she is, we are told. However, with a little patience we elicited the following particulars from the lady regarding her professional career. 'Miss Jenny Valmore was born in Manchester, and made her first appearance at the Queen's Theatre of that city, playing the part of Mab in [the pantomime] "Jack the Giant Killer," she being at the time only nine years of age. Miss Nellie Farren was playing the part of Jack in the same play. A few years after this, Miss Valmore had a position as a teacher to the young, but this did not last long. The temptation to shine in a different profession had taken possession of her, and she shook the dust of the school-room from her feet, and once more joined the ranks of the profession, and made her début at "Day's," Birmingham, as a serio[-comic singer]. From that time to this she has forged rapidly ahead, and now stands quite at the top of the ladder in her particular line of business. One of her specialities is what is termed refrain songs. One of the first was "Yes, you do," and others since have come out thus: "Yes, you are, no, we're not," and "So you do." After her first appearance at "Day's," Miss Valmore appeared in the pantomime at the Grand Theatre, Birmingham, where she played a principal part. 'During this engagement she was the recipient of a prize given annually to the handsomest lady in the pantomime by the proprietors of a local paper, and the audience were the judges. (And good judges, too. They should not want juries in cases of that sort). 'Asked if she was fond of her profession, she replied thus:- "Like it? Of course I do. Do you know, I often think there is a great deal of misconception on the part of the public as to life behind the scenes. While it is true that the career of an artist on the music-hall stage is not altogether one to be envied, it is not generally so bad as painted. On the whole, it may be said that the variety performer's life is a happy one. Much, of course, depends on the way she is received, and incidentally on the regularity with which she draws her salary. Although there is no bother on the latter score with the London halls."… '"I was over [in the United States] about five years ago - at Tony Pastor's. I then joined Koster and Bial, and played the part of 'Helen of Troy' in the burlesque of that name. I was altogether six months in America. I return to New York to fulfil an engagement at Koster and Bial's this fall. In the meantime I go into the provinces for five weeks, commencing Easter Monday. I am also booked for the Empire, Johannesburg, in November. I return to the [English] Syndicate Halls after my visit to America, and have been booked by them for six years. I may add that I appeared nightly at the [London] Pavilion, on one occasion, for twelve months, and did not miss a single performance. I think that is a record engagement; don't you?" 'Our interviewer quite agreed with the charming songstress. '"Now about your latest successes in songs?" '"Oh, one of my best is the one I am now singing, entitled 'All the blessed lot of us,' which was written for me by Mr. Tighe, a well-known [English] provincial song writer; and another one by Messrs. Bennett, Scott, and Mills, entitled 'The early bird.' I have others in preparation, which will be produced in due course." '"Who is your agent?" '"My agents are Messrs. Bevereley and Pacey, Waterloo Road."… (The Variety Stage, London, Saturday, 14 March 1896, p.2b) 'Jenny Valmore, who is playing at the Palace Theatre, Newcastle-on-Tyne, in the pantomime of Dick Whittington has been dangerously ill with neuralgia of the heart, but has now again taken up the part of Alice, though against her doctor's orders. On Saturday night the audience insisted on seeing Miss Valmore, and she was sent for in a cab. After she had made a short speech from the stage the performance was allowed to proceed.' (The Era, London, Saturday, 15 January 1898, p.19a) 'Jenny Valmore, Seriously Indisposed. Have had to postpone all Engagements for a time. Agent, Tom Shaw.' (The Era, London, Saturday, 5 February 1898, p.32c) The Cambridge music hall, London. 'Miss Jenny Valmore, in dainty skirts of silken sheen, captures the audience by her chic and vivacity in her amusing song "Lower Down." When, however, in another song she asserts that she doesn't "pad her chest," the audience shout "Yes, you do," even though there be ample evidence of the absolute accuracy of her denial.' (The Era, London, Saturday, 7 January 1899, p.18c) The Parthenon music hall, Greenwich. 'Too little was heard on the night of our visit of Miss Jenny Valmore, who only gave one song, that in which she appears in vain to the gallantry of her audience, who the more she protests that she does not paint or powder, or slyly sip the cup that inebriates, the louder cry "Yes you do!" the lady departing in apparent displeasure, but accompanied by such warm expressions of admiration as to bring her back smilingly to acknowledge the enthusiastic applause.' (The Era, London, Saturday, 14 January 1899, p.18c) 'Miss Jenny Valmore, we regret to learn, met with a serious carriage accident at Thornton-heath last Saturday evening [1 July 1899], receiving such injuries as to require her immediate removal to the Croydon General Hospital [South London]. Whist driving from the National Palace of Varieties at Croydon, where she had been fulfilling an engagement, her carriage came into collision with another vehicle, driven by a Mr M'Gill. Miss Valmore was thrown from her seat and sustained severe injuries on her head and back. To add to the confusion Miss Valmore's horse bolted. The waggonette was reduced to a complete wreck, while the horse attached to it was so badly hut that it had to be destroyed. Both Mrs M'Gill and the children were badly shaken, and received a number of contusions. Miss Gillmer, Miss Valmore's friend, was very much shaken, and the coachman received a severe cut on the side of his face. The greatest sufferer, however, was Miss Valmore herself. That lady was removed to Croydon General Hospital as quickly as possible, and Dr. Genge ascertained that her jaw was badly fractured. Her face, too, was terribly cut, the skin on one [side] being almost entirely removed – a very grave circumstance in the case of an artiste. Under the most favourable circumstances she will not be able to leave the hospital in less than three weeks. A sad feature of the affair is that Miss Valmore's husband, Mr Pride, a successful Liverpool merchant, only came up to see his wife on Saturday. He waited up for her all night, and knew nothing of the accident until he came to Croydon on the Sunday morning. 'Mrs Jay, the wife of the popular resident-manager of the National Palace, showed the sufferers every kindness, putting Miss Gillmer up for the night, and in other way was most solicitous. Miss Valmore was to have appeared at three London halls this week, and the news of the distressing accident that has befallen her will be read with widespread regret. On inquiring at the hospital this (Thursday) afternoon a representative was informed that Miss Valmore, who has been cheered by many kind messages, was progressing very favourably. We are sorry to add that Miss Valmore's handbag was not found after the accident.' (The Era, London, Saturday, 8 July 1899, p.19a) 'Miss Jenny Valmore, who recently met with a trap accident, was stated last week to be in a somewhat serious condition. She, however, underwent an operation on Saturday [8 July 1899], when a piece of bone was skilfully removed from the injured jaw. The surgeon's work was successful work was successful, and as the incision was made from the inside of the mouth, the pretty features of the popular artiste will in no way be disfigured. Miss Valmore is now at her home in Brixton.' (The Era, London, Saturday, 15 July 1899, p.17a) * * * * * * * * Ethel Levey in Little Johnny Jones, New York Theatre, New York, 1905

Ethel Levey (1881-1955), American actress and singer

(photo: unknown, probably New York, 1905)

'Ethel is here seen as The Earl of Bloomsbury, one of the three parts she takes in [the revival of] her husband's production at the New York Theatre [8 May 1905]. As said husband, Geo. M. Cohan, wrote the words and the music and has his wife, his mother, his father and himself in the play, it may be said to be something of a family matter.' (unknown Press cutting, probably New York, 1905) * * * * * * * * Bessie Clifford returns to England, 1917 and 1918

Bessie Clifford (c.1885-1967), American popular singer and dancer

(photo: James Bacon & Sons, Newcastle-upon-Tyne, England, circa 1914)

'In an agreeably varied programme submitted at the Holborn Empire this week pride of place must be given to Miss Bessie Clifford, a comedienne and dancer of more than average ability. Miss Clifford introduces her performances with a rollicking ragtime number, "I Am Going Back To Dear Old Dixieland," and follows this up with a regular tongue twister, with an American flavour, "Yaaka Hula Hickey Dula." Her third contribution was the catchy little ballad, "Chinky Winky China Town," in which her millinery runs Mlle. Gaby Deslys' headgear a good second in the matter of size and originality of design. Finally Miss Clifford sings a sentimental love song adapted to music from the Bing Boys [i.e. The Bing Boys are Here, the highly successful revue or 'A Picture of London Life in seven panels,' with music by the American composer Nat D. Ayer, produced at the Alhambra Theatre, Leicester Square, London, 19 April 1916].' (The Era, London, Wednesday, 20 June 1917, p.12d) 'At the Halls. Bessie Clifford in Another Joyous Show. 'With the United States, as it were, "topping the bill" this week, it is only natural that a representative of that great Republic should be making the hit of her life at the Holborn Empire. Bessie Clifford, who came her first in Come Over Here at the London Opera House [19 April 1913] has established herself as a prime favourite. She knows how to sing and dance and dress (she has some gorgeous costumes), and her hair – Geo Whiz! – it's some stuff. But Bessie is an artist to her finger-tips, and I guess Camberwell folk will be very pleased with her during the coming week.' (The News of the World, London, Sunday, 29 December 1918, p.6c) * * * * * * * * Nat C. Goodwin's fifth divorce, New York, 1918

Nat C. Goodwin (1857-1919), American actor
as Sir Horace Plumley, Bt., in H.V. Esmond's comedy, When We Were Twenty-one,
Knickerbocker Theatre, New York, 5 February, 1900; revived, same theatre, 21 January 1901
Comedy Theatre, London, 2 September 1901

(photo: unknown, probably New York, 1900)

'Much-Married Actor. Nat Goodwin Divorced by His Fifth Wife. 'What Nat Goodwin, the well-known actor, does not know of married life, is not knowledge. This week his fifth wife, Margaret Moreland, obtained a divorce from him. – The matrimonial adventures of Nat Goodwin, who is in his 62nd year, have surprised two continents, and he himself has been very candid on the subject. His first wife was Miss Eliza Weatherby [i.e. Eliza Weathersby], a famous New York beauty. After her death, he married Mrs. Nella Pease, who was known as the Belle of Buffalo. This union was dissolved by divorce, and Mr. Goodwin next married Miss Maxine Elliott, sister-in-law of Sir Johnston Forbes-Robertson. This marriage, too, proved to be unsuccessful, and in 1908, Mr. Goodwin was wedded to Miss Edna Goodrich, from whom he parted after three years of matrimony. Miss Moreland was his fifth wife. In an article some six years ago, entitled, "Why Four Beautiful Women Married Me," Mr. Goodwin spoke of his first wife as "one of the most beautiful women I ever knew, and one of the most self-sacrificing wives that ever blessed a man with her devotion and love." He was also loud in his admiration of Miss Maxine Elliott, declaring that she was "one of the cleverest women I ever met, with channels of emotion that manifested womanhood in the true sense of the word.' (The News of the World, London, Sunday, 15 September 1918, p.2f) * * * * * * * *

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© John Culme, 2003