Press Clippings for the week ending
Saturday, 13 September 2003

A random selection of cuttings
from newspapers and magazines

The reopening of the Chateau d'Eau featuring the Colonna Troupe, Paris, September 1872

Mdlle. Colonna (Amelia Newman, fl. late 1860s-1870s),
English ballet and cancan dancer

(photo: Gaston & Mathieu, Paris, circa 1872)

'PARIS, Thursday Night [12 September 1872]… On Sunday [5 September 1872] the new Parisian Alhambra [i.e. like the Alhambra in Leicester Square, London,] was inaugurated, the CHATEAU D'EAU reopening its doors, after thoroughly redecorating the auditorium and adding a vast promenade and café at the back of the balcony. The entertainment is essentially a theatrical one, consisting of a farce, Le Charmeur (The Charmer); a mythological "fantasie," in four tableaux, entitled Le Boudoir de Venus (The Boudoir of Venus); and a review, called Une Poignee de Betises (A Handful of Trifles). The most successful of these three pieces is La Boudoir de Venus, where we have the mutiny of the signs of the zodiac against the sun, with Venus at the head of the insurgents. This subject is a vehicle for much satire on revolutions in general, and a great deal of fun is got out of a scene where Venus overhauls the private treasure of the orb of day, and finds the complete wardrobe of a Parisian lady of fashion. The scenery is extremely handsome, a Transformation Scene after the English style and a pretty ballet exciting great wonder and delight. In the concluding review the famous Colonna troupe appear, and, tastefully attired in Indian costume, go through their peculiar quadrille [the can can], which is here denominated La Dance des Pampas (The Dance of the Pampas). The public on this side of the Channel [in France] is not yet quite accustomed to smoke and drink in a Theatre, but there is no doubt they will soon learn, especially if their comfort is as well attended to as at this establishment. The view from the spacious promenade is excellent, and the adjacent saloon, set out with small tables for isolated parties, is spacious and comfortable. To-morrow evening, the 14th inst., is fixed for the reopening of the FOLIES BERGERE, when we are promised two new ballets and plenty of clever acrobatic performances.' (The Era, London, Sunday, 15 September 1872, p.10a/b) * * * * * * * * Mdlles. Judic and Thérésa in Paris, December 1872

Anna Judic (1850-1911)
French actress and chanteuse

(photo: unknown, Paris, circa 1875)

'PARIS, Thursday Night [5 December 1872]… THE CAFE CONCERTS are now in hot water with the police authorities, and a new and stringent code of rules has been forced upon them. The songs had approached the highest pitch of immorality, no sacred or refined subjects being free from the ruthless attacks of the writers of these vicious effusions. Certain costumes have always been forbidden upon the Music Hall platform, such a priestly dresses or burlesque policemen in any shape or form, and now the artistes have been prohibited from appearing as soldiers. This is a real blow for some of the singers, who, as line's-men with red hair and nose to match, were always sure of a laugh. It is very curious to watch them now, as they assume white trousers and old-fashioned swallow-tail coats with large brass buttons, the imagination of the good-humoured spectators being left to supply the missing warrior-like attributes. The programme, too, has to be submitted each day to a comptroller, and this bill, once stamped and approved, must be rigorously adhered to. All the double entendre songs, given in the opera bouffes at the theatres, and more especially those so charmingly interpreted in such wicked style by Madame [Anna] Judic in La Timbale d'Argent (The Silver Cup), are ruthlessly tabooed at these establishments. The reason given for this arbitrary measure is a very peculiar one and augurs badly for the prospects of the modern stage. It is stated that these merry and improper ballads can be allowed only in a Theatre, because the Music Halls are frequented by loose characters, and the entertainments presented should aim at elevating their minds and not try to debase them still more by pampering their depraved tastes.

Thérésa (Emma Valadon, 1837-1913)
French café-concert and opera bouffe singer

(photo: Franck, Paris, probably 1869)

'In a few days the GAIETE closes for the rehearsals of the Christmas fairy spectacle, which is to outdo all the former marvels of La Biche au Bois and La Roi Carotte. La Paul aux Œufs d'Or (The Goose with the Golden Eggs) is the title of the novelty, which, already brought out some years back, has been entirely remodelled and arranged anew. It is in four acts and twenty-two scenes or tableaux, while the cast comprises twelve male and thirty-three female parts, independently of the numerous auxiliaries of both sexes. We are promised four grand ballets, in the first act that of "Les Odalisques," in the second a dance of young girls and a divertissement with bells, and in the third the infernal gallop. The scenery will be worthy of the gorgeous and quaintly designed costumes, and Mdlle. Theresa will sing six new songs. One scene will show an array of celebrated women of all nations and period, from Eve downwards.' (The Era, London, Sunday, 8 December 1872, p.10a) * * * * * * * * Alice Maydue at the Royal music hall, London, October 1890

Alice Maydue (fl. late 19th century), English music hall comedienne

(caricature by Leonard Raven-Hill from
Pick-Me-Up, London, Saturday, 25 October 1890, p.54a)

'Miss Alice Maydue came on gaily, winking at us all as if she quite realised that it was a lark to be alive, and sang "Little Annie Rooney." I daresay some of you have heard it before. Annie has been that fellow's sweetheart for a good while now, and I really think it's about time the little affair was settled. Then probably she'll change her name to Annie Macpherson or Annie O'Mulligan, or something that won't rhyme with anything.' (Pick-Me-Up, London, Saturday, 25 October 1890, p.54b) * * * * * * * * Nora Delaney, London, 1913 – 'From Hallo Girl to Principal Boy'

Nora Delaney (1901-1973), English actress and singer

(photo: J.P. Bamber, Blackpool, Lancashire, circa 1919)

'Quite a romance is associated with Miss Norah Delaney, who is playing Aladdin in the Kennington [Theatre, south London,] pantomime. 'Four years ago Miss Delaney was a telephone operator in Manchester, having occupied that position for two or three years. When she ran away from home to join the stage she came to London and secured a small part in a Croydon pantomime. 'Three years ago Miss Delaney had a better pat in pantomime at Sunderland and last year made her first appearance in London proper as second "boy" at the Marlborough Theatre. This year saw her debut as principal "boy" at the Kennington. 'Miss Delaney is known on the [music] halls as "The Girl in the Uniform." She pays a return visit to the Palace Theatre in March [1913] and next year is booked to appear at the Pavilion and Tivoli for long runs.' (The Evening News, London, Saturday, 11 January 1913, p.4e) * * * * * * * *

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© John Culme, 2003