Press Clippings for the week ending
Saturday, 30 August 2003
A random selection of cuttings
from newspapers and magazines
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Alfred Wigan and Rosa Bennett |
Alfred Wigan (1818-1878), English actor manager
(photo: Heath & Beau, London, probably 1862)
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'The most notable event of the week has been the opening of the Haymarket for its regular winter season, and the production, on Thursday [7 October 1852], of
Holcroft's admirable comedy of The Road to Ruin [first produced at Covent Garden, 18 February 1792]. A favourite actor new those these boards, Mr. [Alfred] Wigan, and an actress, new altogether to London, Miss Rosa Bennett, made their first appearances, and more absolute success in both instances could not well have been wished for. We have a special liking for these old and sterling plays, and when so well represented as on Thursday, by every members of the company, all alike good in their conception of the respective characters, perfect in the dialogue, and correct to the costume of the period without extravagance or exaggeration, a picture is afforded of lively and genuine interest. Mr. Leigh Murray's Harry Dornton was a noble and truthful personification of the gay but generous-hearted spendthrift, and the trying development of the conquest of his better feelings, urging to repentance, was portrayed with a manly and heart-stirring reality. The Goldfinch of Mr. Wigan was an exquisite portrait of the fast school of an age gone by, and it is because such are lost to us by the locomotive taking the place of the four-in-hand, and the shrill whistle that of the lively smack of the whip, that we delight in these remembrances of the past. They tell of the works of the old masters, and contrast vividly with the trashy concoctions that we are so often called upon to admire, because they are new. Miss Rosa Bennett performed with remarkable ease and naturalness in the part of Sophia, tossing her ball, and receiving her lover's avowals and his valentine in a plum-cake, with charming simplicity and playfulness. Had we space we would speak more of the parts in detail, for they were all filled in a manner worthy of note. We trust this and other plays of similar calibre will be often represented. The delight and interest evinced by the crowded audience of Thursday is a sure guarantee that they will be appreciated.'
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Mdlle. Beatrice in the title role of J. Palgrave Simpson's |
Mdlle. Beatrice (Marie Beatrice Binda, 1839-1878), Italian actress,
on tour in England in 1867 in the title role of Fanny Kemble's
English version of Frederick Schiller's Mary Stuart
(photo: W. & D. Downey, Newcastle-on-Tyne, probably 1867)
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'Last night the novelty of an entirely new drama, founded on the most melancholy story in the world, attracted a very large attendance at the Theatre Royal [Dublin]. There was a very natural expectation that the nationality of Mdlle. Beatrice would enable her to feel quite at home with the character of Marie Antoinette, and it was also felt that the natural dignity and refined grace which so invariably distinguish the gifted lady's impersonation, would, of course, be more apparent in her new part than in any which she had hitherto essayed. Both these popular assumptions were fully justified, and it may be doubted if Mdlle. Beatrice ever appeared to greater advantage. Mr. Palgrave Simpson deserves very considerable praise for the conservative spirit in which he has worked out his drama. Almost entirely above prejudice, he has re-written history with a truthfulness and a vigour, a poetic grace, and a refined judgment not at all common on the modern stage. There were few themes which afforded greater scope for ad captandum thunders than the dreadful tumults of the Revolution. Mr. Simpson has made excessive uproariousness its own satirist, and the course brutalities of the cobbler Simon are the best arguments against his wild system of outlawry and ruffianism. True liberty requires no such advocates, and invariably falls under such a system of culture. The play runs through twelve scenes in four acts, and the interest is well sustained throughout. The first act closes with the attack on the Palace of Versailles by the Sans Culottes led on by Santerre, the brewer; the second shows the Royal family in flight and the re-arrest at Varennes; the third the imprisonment in the Temple and the separation of the King from Marie and her children; the last shows the domestic privation and misery of the beautiful Queen, closed by her execution amid the riot and brawl and execration of an infuriate mob. Unlike most historical plays, Marie Antoinette is not overcrowded. The language is not inflamed or turgid, there is nothing unreal or mock heroic throughout, and it has the charming quality of cohesion and completeness; so that with the very attractive advantage of Mdlle. Beatrice as Queen, it is hard to see how success can fail. Last night's representation was very happy indeed; there were not of the hitches of an "opening night;" the members of the company played well and with a common sympathy; the scenery was exceedingly handsome and executed in the best style. Mdlle. Beatrice, although seemingly suffering from indisposition, played with touching effect and well sustained power, and her many personal advantages lent a charming reality to the sad story. In the earlier scenes her attire was of regal magnificence, and well suited the high demeanour of the original character and accomplished prototype. Still more effective was her portraiture of the melancholy grandeur of fallen greatness; and the thrilling effect of her queenly dignity on the callous soul of Simon, when that ruffian lays rude hands on the sleeping Dauphin, will not be soon forgotten. We are glad to be able sincerely to congratulate Mdlle. Beatrice on the unalloyed success of Marie Antoinette, and to know that she had added one more to the many representations which her genuine skill and painstaking industry have made peculiarly her own.'
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Lily Harold at the Metropolitan music hall, |
Lily Harold (fl. late 19th/early 20th century), English music hall singer,
formerly a chorus girl at the Gaiety Theatre, London
(photo: probably Hana, London, late 1890s)
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'A very pleasing turn is that of Miss Lily Harold, whose appearance alone would ensure a favourable reception. Her songs including "I wonder why the fellows all laughed" and "It's a good thing, push it along." Miss Harold sings with point and expression, and her success is undoubted.'
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'Bonnie' Kate Harvey and Fred Fordham, |
'Bonnie' Kate Harvey (fl. late 1870s-1890s), English music hall serio-comic singer
(photo: James Bacon, Newcastle on Tyne, circa 1894)
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'In the Probate and Divorce Division to-day Sir F. Jeune had before him the case of "May v. May, Symonds, and Fletcher." It was a petition presented by the husband, Charles John May, better known as Fred Fordham, the music-hall artist, praying for the dissolution of his marriage with Alice Janet May, better known by her professional name of "Bonnie Kate Harvey," also a music-hall artist, on the ground of her alleged misconduct with the two co-respondents, one of whom, George William Fletcher, a traveller in the jewellery trade, was now dead. The allegation in the petition was denied.
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© John Culme, 2003