Press Clippings for the week ending
Saturday, 24 May 2003
A random selection of cuttings
from newspapers and magazines
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Royal Marionette Theatre, Adelaide Gallery,
'A new place of entertainment was opened on Monday [12 January 1852] at the Adelaide Gallery, called The Marionette Theatre, in which the performers are all dolls, on a miniature stage, somewhat after the style of the Puppet Theatre at Cologne. It is certainly a novelty in London, and bids fair to excite a considerable share of curiosity. One thing, however, is needed, and that is refinement. We do not allude to the theatre itself, for every attention has been paid to elegance and a delicate taste in the audience part; nor to the stage department, which is beautifully got up in its miniature splendour of scenery, dresses, and decorations; nor to the puppet actors and actresses, though their faces are certainly very coarsely painted, the effect of distance (or rather, proximity) being miscalculated; but what we do allude to is to the orchestra. It is far too noisy and commonplace; it is like a vulgar street-band at times, where one's ears are outraged by the persevering tyranny of a boisterous cornopean and a piccolo, both played with the utmost force of the human lungs. Let us suggest to the proprietor of this novel and, in other respects, elegant little theatre, that the miniature character of the stage should be kept up in the orchestra, which ought to give the effect of a full band heard through a diminished medium. The selection of the music, also, requires a different taste from that which is at present displayed. It should be pleasing, graceful, elegant; but we have no doubt these things will be greatly improved in a short time. The arrangements of scenery, decorations, and furniture are complete. There was an opening address, so neatly and wittily written, as to remind us of the prologues of Goldsmith, spoken by a figure in full evening costume, representing the manager and introductory scene in burlesque verse, full of apt allusions, displaying the resources of the company in various departments. The acting of the dolls is very amusing, especially their vain struggles at walking, and their utter inability to accomplish that apparently simple performance. As to their dancing, it is wonderful. We were kept in a constant oscillation between admiration and excruciating laughter at their highly-finished operatic style. There was also a sailor's hornpipe danced to perfection, amidst the prolonged plaudits of the whole audience. The perfect keeping of everything on the stage would have made us quite forget their diminutive size, had it not been for the occasional intrusion on our view of the hands of the musicians. We must not omit to notice that "God save the Queen" was sung by the whole company, arranged on the stage, as is usual in out theatres upon opening nights. The effect of the spoken pieces was better than those of mere action, the words giving an intention to the gestures of the puppets that was wanting when there was no vocal aid to the illusion.' |
Royal Marionette Theatre
(The Literary Gazette, and Journal of Belles Lettres, Science and Art, London, Saturday, 7 February 1852, p.143a, advertisement)
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'An interesting novelty has appeared at the Marionette theatre in the form of an Italian grotesque divertissement, called Arlechino Fortunato, which is rife with the spirit of the ancient pantomime. Nothing can be more amusing than the tricks of Pierrot, or than the quaint movements of Pantaloon. The activity of Arlechino, and the grace of Colombina, are well sustained. The chief feature of this clever grotesque is a Signor Saltarello, whom mimes wonderfully. The celerity of his movements rivals quicksilver, and his vaulting and bounding certain eclipse any living pantomimist we have seen. Arlechino Fortunato has brought crowded audiences to this elegant little theatre during the week.'
'The amusing exhibition of Marionettes increases in excellence and popularity. On Monday [9 February 1852] an "infinitesimal operetta" was produced with success the personages being a fat cook, a pretty housemaid, a long-legged guardsman, and a potential policeman, whom the ladies have asked furtively to supper. The party is then seriously disarranged by the sudden entrance of the gruff master of the house. From these slender materials an amusing succession of accidents and whimsical situations is worked out; but the main object of the author has been to make his little piece served as the medium for a series of sharp political and social hits at the current topics of the day. These are administered with a wholesome degree of outspoken candour, and draw forth a corresponding amount of enthusiasm from among the audience. The motions of the Marionettes are now under better control they walk more humanly. In the supper scene in the United Services [Club], the effort as each takes his chair is really admirable.'
'The Marionettes keep their ground, and fresh pieces only exhibit their "infinite variety." On Monday [1 March 1852] a new satirical political sketch was produced, called Poll Practice; the purport of which was to expose the bribery and corruption of elections, but this purport was so imperfectly set forth, and the doggerel verse so wearisome with bad puns, that although the puppets were enabled to display their variety of action by this piece, it must be considered as their least successful performance. In the Manager's Room we observed some novelties, among them the introduction of a puppet whose imitation of Sims Reeves is laughably exact. The long drawling, and alternate shouting and whispering of our admirable tenor, were easily imitated, but this puppet hits and very tone and manner of his original.'
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Sims Reeves (1818-1900), English tenor
(photo: Herbert Watkins, London, circa 1860)
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Romulus and Remus; or, The Two Rum'uns, |
Kate Bishop (1848-1923), English actress
(photo: Hills & Saunders, London, probably late 1870s)
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'Mr Robert Reece's latest Vaudeville burlesque scarcely possessed those qualities likely to secure it that "green old age" which its title indicated, and consequently, after a comparatively brief career, it has had to make way for a revival of a more mirth-exacting production, from the pen of the same author. Romulus and Remus [or, The Two Rum'uns, first produced at the Vaudeville, 23 December 1872], "a new story on an old foundation," is the work which now invites our country cousins "up for the Cattle Show" to come and laugh, and that the Managers have done wisely in again giving it a place in the bills, the large audiences which have assembled nightly during the week have testified in a manner the most gratifying. The "bright particular star" of the original performance was Miss Nelly Power, whose place as Apollo, "the patron of the twins," is now filled by Miss Kate Bishop, whose name is a guarantee for quiet humour, combined with grace and refinement, not too often associated with burlesque, but when discovered, most acceptable. The secret of this lady's popularity is, we think, to be found in the fact that while she never lacks force she shuns being "fast." In speaking, singing, and dancing she is equally pleasing, and invariably exercises over her auditors a charm which is not to be resisted. Certainly, Apollo is not a great part, but Miss Bishop makes it of some importance, and while working a spell by the aid of curious things such as a cabman satisfied with Mrs Prodgers she also works a spell upon her hearers, and makes claims upon their admiration which are not to be denied. Miss Kate Phillips, borrowed if we may use the word from the Strand [Theatre], now represents Baccaharia, a young lady, whose name we need hardly say affords the author easy opportunity for the exercise of his punning propensities. Miss Phillips is a clever little lady, and she does full justice to the part, and renders good service in the music. The prominent features in the production are, of course, the Romulus of Mr David James and the Remus of Mr Thomas Thorne. The fun which these gentlemen extract from their respective parts has afforded us subject for comment on more than one occasion, and it only remains to be said that roars of laughter now accompany their doings as of old; that the "twins," the one fat and the other thin, sing their classical duet, in which we learn that the Latin word they like the most is "Jam," with renewed vigour; that the pathetic "we don't know no more" of Romulus, in response to a demand for an encore, is again acceptably ludicrous; that the babes transformed into swells of the first water, but with a change of bulk, continue to delight with another duet, "How terribly strange it is," descriptive of their similarly of tastes; and that their statuesque poses are once more to be numbered among the funniest things at present before the public. Mr J. Bernard takes the place of Mr Fenton as the Wolf, Mr Lestocq represents Numitor, Miss Cicely Richards plays in quite fascinating style as Tatius, and smaller rτles are satisfactorily filled by the Misses Palmer, Lang, and Brittain. The attractions of The Two Roses remain undiminished, and Mr Ernest Cuthbert's pretty comedietta Legacy Lore continues to be the initiatory item in a capital programme.'
* * * * * * * * Leona Dare's accident, Princess's Theatre, Valencia, Spain, 1884 |
Leona Dare
(photo: Emile Tourtin, Havre, France, circa 1876)
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Leona Dare, whose real name was Susan Adeline Stewart, originally appeared under the name Zoe. She was taught gymnastics by Thomas Smith Hall (who appeared in that capacity with his brother Stewart Hall as the Brothers Dare), whom she met in New Orleans in 1871. The couple subsequently married, although Miss Dare later denied that it was a marriage as such. During her brief international career, appearing in Europe, England and America, she was variously billed as 'The Queen of the Antilles' and the 'Pride of Madrid.'
'Lately, at the Princess's Theatre, Valencia, Spain, Leona Dare, the American acrobat, was suspended from the roof of the theatre by her feet, and held in her teeth the ropes of a trapeze-bar on which a male acrobat, known as M. George, was performing. During the act Miss Dare was seized with a nervous fit and dropped the trapeze. M. George and the apparatus dropped whirling to the floor. The audience were horror-stricken. Every one rushed for the doors, and a panic ensued, in which many people were crushed and otherwise injured. Miss Dare clung to the roof, screaming hysterically. She was rescued with difficulty after the excitement had somewhat subsided, and is now confined to her bed from exhaustion following the shock. M. George has since, by cable, been reported dead, and Miss Dare in a precarious condition.' * * * * * * * *
Royal Theatre of Varieties, Holborn, London, |
De Dio
(photo: unknown, circa 1907)
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'The Royal programme has been greatly strengthened by the reappearance of Mdlle. De Dio in a new and startling scene, produced by Mr P.H. Boggis, entitled "In Search of Faith." [The] charming young lady represents a Pagan maiden who is searching for the true faith. [She] has many difficulties to overcome. A darkness as of night gathers, and a storm bursts, the rain descending in torrents. The searcher after the truth is discouraged; the cross of the believer seems afar off, and despair seizes its would-be follower. But only for a very short time. Suddenly from the dark background shines forth the cross, and the maiden sees it with much the same feelings of joy and thankfulness experienced by the shipwrecked mariner when he, amidst the howling storm, beholds the lifeboat's speedy approach. Overcome by a powerful revulsion of feeling, the white-robed neophyte casts herself at the foot of the cross, no longer afraid of the storm and the darkness. Mdlle. De Dio's movements are both graceful and appropriate, and this new scene adds considerably to the attractiveness of her unique entertainment. She continues to appear as She, in "The Fire of Life," suggested by Mr Rider Haggard's well-known novel, and upon her flowing draperies are also thrown various floral patterns and pictures [i.e. either lantern slide or cinematograph images]. A portrait of Mr Kruger thus exhibited excited, on the night of our visit, quite a hostile demonstration; while Mr Chamberlain's familiar features, including, of course, the single eye-glass, were recognised with much applause. The Royal has unquestionably a very powerful attraction in Mdlle. De Dio, who rejoices in the possession of personal advantages which are of supreme importance in a performance of this kind. An early turn is Mr Harry Lawson, who obtains a good reception with a ditty entitled "On me." Miss Childie Stuart gives a brisk rendering of "Chase me, Charley," the lady who is responsible for this somewhat enigmatic expression being a lady of uncertain age but certain intentions in the matrimonial line. The Mayvilles have again returned to the Royal, and their Liliputian [sic] entertainment is as cleverly worked as ever. The lady gives a pleasing rendering of Miss Kate Carney's song "Three pots a-shillin'," the necessary touch of realism being imparted by the presence of a miniature donkey and coster's barrow, Mr Mayville acting as the boy who has charge of the animal. Mr Fred Herbert has made his mark as a topical vocalist, and his references to current events as they present themselves to "the man on the spot" are greatly appreciated by the audience, who recall the singer again and again. The Missouris, three in number, appear in the garb of Old Gaul [? in kilts] to give an eccentric acrobatic performance. Their quick formation of a human pyramid is a very smart piece of work, and their tumbling feats are amusing and neatly done. The lavish applause with their doings evoke is well deserved. Mr Arthur Lennard is still giving with success his well-studied illustrations of "the language of London town." Homely pathos marks the song which tells of the mother who watches from the cottage by the sea the passing vessels, for is not her darling boy a sailor? Miss Lily Morris appears as the representative of a young lady who evidently takes a despondent view of life she laments that she was not born with a silver spoon in her mouth, and wonders why she was born at all. Miss Morris sings her ditties in good style, and success crowns her spirited efforts. Griffin and Dubois, described as acrobatic grotesques, are decidedly clever, and their reception is of the most flattering description. Miss Rosa Glenn continues to win fame as a cornet soloist; and Miss Marie Collins scores with "The finest exhibition in the world" and other ditties. Mr Charles Bignell, who never commits the fault of boring his hearers with stale songs, has made a great hit with "What ho! She bumps!" Mr Paul Martinetti and his clever pantomime company are appearing her in Caught in a Storm, and the fun and frolic continue to excite the heartiest merriment. The realistic storm of rain with which the merry piece concludes is most effective. The principal performer is supported by Mr Alfred Martinetti, the Misses Josephine and Clara Martinetti, Messrs John Heard, Emile Jossel, Adolfo Marcelli, and Harry Chapman. Miss Lily Burnand gives a spirited rendering of "The lady with a past" and "Baby May;" the Sisters Sprightly, duettists and dancers, do not belie their name; and the new series of Edison-Thomas life-size pictures are well worth witnessing. The front of the house is under the careful supervision of Mr George Burgess, assisted by the ever-genial Mr Edward Swanborough.' * * * * * * * * Nora Bayes at the London Palladium, 1926 |
Nora Bayes (1880-1928), American vaudeville and musical comedy star
(photo: Melbourne Sparr, circa 1926)
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'Following Palladium Pleasures [24 February 1926], a revue entitled Life [30 August 1926] is now at the Palladium. Under the management of Maurice A. Cowan (who has rapidly come to the fore in the short time since he abandoned journalism for the business side of the stage), it has already been seen on tour with Clarice Mayne and G.S. Melvin in the leading rτles. They will play in the Palladium version of the revue, which is being strengthened for West End presentation. Fred Rome and Reginald Arkell supply most of the "book" Mr. Arkell's sketch, "Seeing Is Believing," is included and most of the music is by Frederick Chapelle. Mr. Cowan has also acquired a sketch or two from the Cambridge "Footlights" society. |
A poster for Palladium Pleasures, a revue with music by Vivian Ellis,
produced at the London Palladium on 24 February 1926.
Palladium Pleasures closed on 28 August 1926 after a run of 314 performances.
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© John Culme, 2003