'Our lively "manager-author-actor and repentant weasel," Mr. C. Mathews, has vindicated with the courage of a Curtius the opinions expressed in his Lettre aux auteurs dramatiques de France. It is there prophesied that the new international law of copyright will have a serious effect upon the staple course of our theatrical entertainments, unless the Parisians nib their pens to suit the refinements of the British market; and certainly a more pointless adaptation than that of La Chasse au Roman with which the Lyceum opened on Monday, under the title of The Mysterious Lady, we have not for some time witnessed. It was spiritedly acted, and costumed to perfection; so that neither performers nor dressers are responsible for the noisy contest of plaudits and hisses which followed. The audience fully appreciated the prettiness and timidity of the lessee, the delicacy and ladylike bearing of Miss [Patty] Oliver, the gallantry of Mr. Belton, and the ferocious chivalry of Mr. Frank Matthews. But what all these characters were aiming at it is impossible to understand, and no amount of satin and point lace will ensure the success of an unintelligible and silly plot. Though somewhat prematurely announced in the bills for repetition every evening, we are glad to see that this piece has been withdrawn. In the absence of any sterling novelty, the public will gladly welcome the revival of the comedy of Speculation [by C.F. Reynolds, first produced at Coven Garden, 7 November 1795]. [The revival of] Mr. Planché's clever burlesque of The Golden Fleece [; or, Jason in Colchis and Medea in Corinth, first produced at the Haymarket, 24 March 1845] was not received with the marked favour which it deserved. The audience came evidently prepared for a series of brilliant Lyceum effects, and were not satisfied with the archaeological property of a dragon car lit up with red fire. Madame Vestris performed the part of Medea with great vigour, and Miss [Julia] St. George made a spirited, though rather juvenile Jason. Mr. [Charles] Mathew's "chorus" was inimitable. A new farce, entitled [A] House out of Windows [by William Brough], which concluded the entertainment, dispersed the audience at last in good humour. The dialogue of the characters, of whom Mr. [Robert or Samuel] Roxby is the chief, is carried on throughout the piece at windows and balconies, and a very amusing half-hour's plot is the result.' (the Literary Gazette, and Journal of the Belles Lettres, Science, and Art, London, Saturday, 23 October 1852, p.797b) * * * * * * * * Sir George and A Dragon; or, We are Seven, a burlesque by F.C. Burnand, Strand, London, 31 March 1870

Jessie Anstiss (fl. late 1860s/1870s), English actress and singer

(photo: The London Stereoscopic & Photographic Co Ltd, London, and
hand coloured by W.M. Thompson, 20 Cockspur Street, London, circa 1870 )

'Dear Judy, - Understanding that burlesque is shortly going to be done away with, as being contrary to the true interests of the drama, inasmuch as it induces a pack of people to pay their money to go to a theatre, when they might be improving their minds at half the cost at a music-hall, I attended the Strand the other night, and saw Mr. [Francis C.] Burnand's latest success. One great point about the new burlesque is, that there are not quite as many words as usual, while the comic business, which is Mr. Burnand's speciality, has not been omitted. I confess I don't quite see the joke of saying Sir instead of Saint George, or a instead of the Dragon - but that's a mere detail. Mr. [David] James is immense. There is only one actor who knows how to wear petticoats property, and his name, though begins with a T, is not exactly [Edward] Terry [as Princess Kalyba]. Miss Kate Santley is very good, of course, because she comes from a music-hall. Miss Bella Goodall doesn't, but she need not stamp quite so violently, nor look quite so ferocious. Miss [Jennie] Anstiss makes a great mistake in wearing a moustache, a thing a woman never should do on the stage (only they will); Miss Anstiss particularly ought not to do so, because she is a very pretty young lady without it. Last, but not least, Miss Lizzie Dashwood is perfectly charming – and funny – truly funny – really funny – not the usual female fun, but fun you can smile at without a pain in the cheek. As one of the unconsidered public, whose opinion is of no consequence whatever, I respectfully congratulate the Strand management on an enormous acquisition in this pretty little actress, who comes, of course, from one of those places which the clever people would have us believe are the receptacles for all that is the incompetent, vulgar, and objectionable [i.e. a music hall]. Ha! Ha! 'The Man in the Bad Back-Seat.' (Judy, or The London Serio-Comic Journal, London, Saturday, 20 April 1870, p.244a) * * * * * * * * Death and Obituary of Minnie Walton, 1879

Minnie Walton (d.1879), Australian actress

(photo: Lock & Whitfield, London, 1876)

'Death of Miss Minnie Walton. 'This favourite actress, whose personal attractions invited so much admiration when her debut was made on the London stage at the Haymarket five years ago [in 1874], expired, as recorded in our last week's number, at San Francisco, on the 1st of July. The deceased was a native of Sydney, New South Wales, and first came before the public as a vocalist. While fulfilling her professional engagements in American Miss Minnie Walton became the wife of Mr Frederick Lyster, who was associated with his brother, Mr W. Sauren Lyster, in the management of an English opera company. When that organisation visited California in 1868 Mr and Mrs Fred. Lyster accompanied the troop, and October 17th of that year Miss Minnie Walton – for the maiden name was always retained for professional purposes – made her first appearance as an actress as Eily O'Connor, in The Collen Bawn, at Maguire's Opera House, San Francisco. Her association with that company continued till the Californian Theatre was first opened, January 18th, 1869, when she transferred her services to that establishment, and there remained until the autumn of 1870. Her first appearance in new York was made at Wood's Museum, November 14th, 1870, when she was associated with the Lydia Thompson troupe, and played Venus, in Paris; or, the Apple of Discord After a few weeks Miss Minnie Walton returned to San Francisco, and rejoined the California company, remaining with them till the autumn of 1873. Her reappearance in New York took place at Augustin Daly's Broadway Theatre, his Fifth-avenue Theatre, in Twenty-fourth-street, having been burnt down, and the new one, now known as "The Globe," in twenty-eight-street, not being finished. Here in September, 1873, Miss Minnie Walton acted Violet in About Town, and afterward in Fritz, with Mr J.K. Emmet. On November 10th her services were transferred to the Grand Opera House, then under Mr Daly's management, her opening part being Rose in A Flash of Lightning. Joining Mr [Edward A.] Sothern in a professional tour through the States, she accompanied that actor on his return to England, and made her first appearance in England at the Haymarket, October 10th, 1874, as Mary Meredith in Our American Cousin. At the conclusion of her London engagement Miss Minnie Walton accompanied Mr Lyton Sothern to Australia, and, after performing in the Colonies for some time, returned to San Francisco, where her husband became the business Manager of Baldwin's Theatre. Though not an actress of the highest position, her face and figure always gave a charm to her stage assumption, and the death at an early age of one so fair to look upon will naturally create a feeling of deep regret among all who recognised in Minnie Walton their ideal of feminine loveliness.' (The Era, London, Sunday, 27 July 1879, p.5d) * * * * * * * *

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