Press Clippings for the week ending
Saturday, 8 November 2003

A random selection of cuttings
from newspapers and magazines

Dancing at the Bal Mabille, Paris, 1867

Mdlle. Irma, a can-can dancer at the Bal Mabille, Paris.

(photo: unknown, Paris, circa 1865)

'I went one evening to the famous Jardin Mabille. Mrs. Stowe has immortalized herself in Paris more by a sentence she wrote about this Garden than by her Uncle Tom. "Miss Beecher-Stowe," writes M. [Jules] Champfleury, "rendant compte, dans son Voyage à Paris, d'une excursion faite au Jardin Mabille, s'extasisit sur la delicatesse des danseuses, l'élégance de leurs cavaliers, et la parfaite distinction avec laquelle ils se livraient au quadrille. Observations curieuse a noter d'une Americaine, de l'auteur de l'Oncle Tom." 'It is curious; for the usual habit of the rigidly righteous from America and England who visit this place is to atone for the delight they have enjoyed by writing an essay on the utter absence of virtue in Paris. It was the evening of a special fête, and the garden was crowded with people from every clime, including more than a dozen princes, among whom were the Prince of Wales and several of the German princes who are now domesticated in England. The Prince of Wales and the Oriental princes were quite well known, although incognito, by all present, yet they were not persecuted by any idle curiosity. There was not in the large company a woman, with the exception possibly of a few who came for the reasons that took Mrs. Stowe there, who was what by any European code would be termed "virtuous;" yet each was treated with as much respect and gentleness as if she had been a guest at the Tuileries. Each dress was decorous and elegant. Nothing was thought too regal to be bestowed upon these fair creatures. The most delicate wine, the finest Neapolitan ices, were brought to them after each dance by the handsome youths who accepted their hands for the dance as a favour, and bowed gracefully on leaving them. There was no tipsiness, no swearing, no violence; it was only from the guide-books that one could have learned – except for one particular dance – that this was not a refined fête champetre given by the leaders of the best society. 'The scene was of wondrous beauty; hundreds of lamps hung over the company, shaped like great luminous lilies; aureoles and arches of light gleamed over the avenues stretching beneath the interlacing branches of trees; colored orbs shot red and golden light into strange dreamy grottoes; gorgeous flowers shone in exquisite parterres, from which emerged the marble forms of goddesses, fauns, and nymphs. A band, second in completeness to that of Strauss alone, occupied the centre of the crystal circle and mingled fragments of Beethoven, Mendelssohn, and Weber with the brilliant ecstasies of Launer, Strauss, and Offenbach. One piece the band performed which seemed to me to express the very life and soul of the strange scene I was witnessing; it was from Le Diable Voiteaux. When its first not was struck the dancers shot off in pairs in all eccentric movements, each following its own path in manifold little whirls, but never again returning to the original order; and the music was like unto it – a strain of a joy too full for consciousness; a delight born of the fullness of the present moment, and unhaunted by any thought or fear of what is beyond. 'I have already alluded to the particular dance which has been so often denounced – the can-can. It is odd, however, that a world which demands and sustains stage ballets should be scandalized by a dance in which each participant is dressed as carefully as in ordinary society – for no girl is even décollete at Mabille. It is true that the great feature of this dance is for the danseuse, in one of its movements, to grasp one foot in her hand and hold it above her head, while she dances on the other across and back, a trick more startling than obscene, and that there are one or two other tours and movements upon which the imagination may if it chooses put a bad construction. 'The French mot says, "What can not be said can be sung, and what can not be sung can be danced." This I know, that beside any opera-ballet I ever say, the Mabille dances, and even the can-can, are decent enough for the Shakers. The Mabille is, however, the resort of the demi-monde, though it is simply that world's place of amusement. "These people," said an intelligent Parisian to me, " are never so innocent as when here." It must be remembered also that here, when the Government forbids marriage unless the pair have a certain amount of money, and where parents may forbid it until their children are twenty-six or twenty-eight years of age, the illegitimate relations, while likely to be much more numerous than elsewhere, are likely also to have far less guilt in them. 'Indeed, I find myself unable to associate the idea of guilt, in the dark sense, with the French. They seem to me to be borne though all such scenes as this by a kind of gay spirit without falling into the mire – like those boys who wheel themselves like the wind along the Champs Elysées, bestriding a slender iron bar with two high wheels moving in the same line one after the other…' (from M.D. Conway, 'Parisian Sketches,' Harper's New Monthly Magazine, New York, December 1867, p.75) * * * * * * * * Gatti's music hall, London, week beginning Monday, 10 August 1868, with Kate Santley, Nelly Power, Harry Rickards, Harry Liston, et al

Nelly Power (1854-1887), English dancer and music hall serio-comic

(photo: The London Stereoscopic & Photographic Co, London, circa 1865)

'General excellence rather than striking novelty in any particular department characterises the entertainments now being offered to the public by the Messrs. Gatti. If, however, there is not any single "star" here just now, who is supposed to outshine all other Music Hall luminaries, the company comprises some sets of double stars, as for instance, Messrs. Liston and Rickards, and the Misses Santley and Power, not to speak of duettists, whose combined radiance gives to the performances even more "brilliance than those of any one" great artiste could do. Miss Kate Santley, on the night we here write of, enacted the parts of "The Pet of Rotten-row," "The Little Witch Nell," and "The Knight of the Garter," and her pleasant talk, cheerful manner, clever gesticulations, and merry singing, were received with acclamations. Miss Nelly Power, who has contrived, by being free and friendly with her audiences, to ingratiate herself so much with her admirers, that she is quite a favoured little Music Hall pet, does not depend only on the art of maidenly fascination for popularity, but treats her patrons to novel effusions, cleverly set forth. Her version of "Up in a balloon" [the original of which was sung by George Leybourne], a ditty about a bumpkin's visit a Music Hall, and a song, the verses of which end with the words "Nothing of the kind, I assure you," all pleased by their own inherent qualities, as well as through her arch and vivacious manner of delivering them. Associated with these two ladies in ministering to the enjoyment of the audiences here are Miss Agnes Wright and Miss Herminie. Mr. [Harry] Rickards sustains here, to the great satisfaction of the assembly, his characters of "Captain Jinks" and the apprentice of "Doctor Compos Mentis." His imitations of popular singers were exceedingly clever. The portraits of the tenor, the baritone, and the Niggers, were very good, and he imitated [William H. otherwise Horace] Lingard and [The Great] Vance pretty faithfully. With these laughter provoking performances, and Mr. Harry Liston's songs of "The Ginger-haired Swell," "Naughty Mary Ann," and "I'll tell your wife," it will be seen that the audience was furnished with an ample budget of comicalities. Messrs. Fleury and Wood made large contributions to the mirth of the company, the former by his personation of female character, and the later by his dancing and singing in the Negro style. Mr. Alfred Young sang with spirit and good effect "Pulling hard against the stream," and Mr. Montague, the musical director of the establishment, skilfully rendered a sentimental song. A gymnastic performance on suspended rings by Athya and Pera, and comic singing by Mr. George Ellis, were other items of the entertainment seen by us.' (The Era, London, Sunday, 16 August 1868, p.6b) * * * * * * * * Adeline Genée dances in public again at the Association of Operatic Dancing Matinee, Gaiety Theatre, London, 8 November 1923

Adeline Genée (1878-1970), Danish ballerina,
as she appeared in an 18th Century dance at the
Association of Operatic Dancing Matinee
at the Gaiety Theatre, London, 8 November 1923.

(photo: Stage Photo Co, London, 1923)

'By kind permission of Mr. Robert Evett, the first of what it is hoped will be a series of Annual Matinées, was given by the Association of Operatic Dancing at the Gaiety Theatre on the afternoon of Thursday, November 8th. The objects of the Matinée were two-fold – to draw the attention of the public to the work that the Association is doing, and to give an example of the capabilities of its members. 'The fact that the President of the Association, Madame Adeline Genée, was to appear herself, proved an immense attraction to the public, who came from all parts of the country to see this great artist dance again, and when the curtain went up for the first item there was not a seat to be had in the house. 'The first item on the programme was a divertissement with words entitled "No English Need Apply," which had been arranged to provide a setting for several groups of dancers who would otherwise have had to appear in a series of disconnected items. Of this number the Times critic wrote the next day: "This sets forth the popular view of English dancers, and shows how the distinction of being foreign seems essential to success sin this as in any other country. It is a clever, if rather bitter, little satire, and the excellent entertainment provided during the afternoon was an appropriate commentary on the sentiments it contained." In this divertissement we saw Lena King in a solo dance, and a particularly fine Russian dance by the Espinosa company from the Gaiety Theatre. There were also groups of Dutch dancers and of danseuses grotesques, the latter being led by Violet Minifie. Little Betty Armstrong made a capital little boy buttons, and the two speaking parts were well filled by Stephen Hall and W. Carlyle Atkinson. 'It has been whispered that Mr. D.G. MacLennan was a little doubtful as to whether a London audience would take much interest in Scotch dances which, with the help of Miss Moreen Lawrence, Miss Jean G. Lawson, and Mr. Alex McIntosh, he presented. The storm of applause which greeted the brilliant work of this little company should dispel that doubt for ever and a day. Mr. MacLennan's own contribution was remarkable: his foot work positively dazzled one. 'For the third item Madame Lucia Cormani had arranged an Italian "Tarantella," in which ten took part, led by Daisy Dalziel and Dorothy Chaplin. This number was absolutely authentic, but it appeared to lack a little of the fire and snap which one associates with this dance. 'In order to demonstrate how invaluable is a knowledge of the operatic technique to those who attempt what is generally known as "exhibition work," Espinosa had arranged a special dance on these lines for Ettie Landau and Espinosa, jun. The dancing of both was brilliant in the extreme, particularly the turns of Eddie Espinosa, but the arrangement missed that very great essential of this style of dance – that the dancers should dance for one another and not for the audience. 'For the last item of the first half of the programme we enjoyed the privilege of seeing Adeline Genée once again upon the stage. It is six or seven years since she last dance, and of course "pointe" work was out of the question. She therefore gave a scrupulously authentic representation of some eighteenth century dances, in which she was accompanied by the Chaplin Trio on their old-world instruments. The steps of these dances were all straightforward terre à terre steps, but they were perfectly executed, and once again the point was brought home that had she not been a dancer Madame Genée could have been a great comedy actress. In the Menuet she was accompanied by Phyllis Bedells, who made a charming young man of the period. 'The second portion of the programme was entirely devoted to a revival of that old Empire [Leicester Square] ballet, The Dancing Master [first produced 25 July 1910]. By reason of the fact that in this we saw both Phyllis Bedells and Espinosa in their old parts, that we saw a ballet to which much interest of a historical nature is attached, that we saw a delightful ensemble of young English dancers and one or two very excellent bits of miming by some older members of the company – for these reasons this was a most fascinating number. Nevertheless, it must be admitted that the impossible had been attempted.>br> 'Nobody, except those who were present, can realise how hard Espinosa worked to make this a success, and few who were in the company went through the rehearsals without learning something new that would prove of value to them in the future. But the conditions made absolute success an impossibility, and those critics who are inclined to throw cold water on what was done should bear that in mind. 'There were only five rehearsals, and at not one of these was everyone present. 'Phyllis Bedells made a charming re-appearance as the Débutante. Although obviously a little short of practice as regards the actual steps, we saw enough of her technique to realise why she has always been acclaimed as our leading operatic dancer. I think that the chief reason is the apparently effortless nature of her work. We have many young dancers who can perform intricate steps every whit as well as can Miss Bedells – at any rate as regards their legs. These, however, cannot hope to be place in the same category as she is until they learn to carry their bodies with the same ease and absence of strain as she does. They give the impression of "Look what a difficult step I am doing," whereas when we watch her we feel like repeating the well-known advertisement, "It's so simple." We all hope that Miss Bedells will return to the stage once more, because during her retirement she has acquired far greater powers of mime and of the mysterious art of projecting her personality across the footlights then she ever possessed before. 'The coryphées worked like Trojans, but owing to the small "set" they were too cramped, and, as explained above, there had not been a sufficient number of rehearsals. 'A word must be said for the excellent miming of Stephen Hall as the Baron; of Therese Heyman as Madame Pirouette; of Eunice Weston as Raphael; of Grace Cone as the Violinist, and of Jeanie Smurthwaite as Madame Lafleur. Molly Seton was the Call Boy, and one would have liked to have seen more of her dancing. 'At the close of the performance there were many calls, and a number of floral tributes. One for Madame Genée bore the following inscription: - "A token of admiration from the small band of English dancers who are appearing this afternoon in whom you have taken so much interest." Madame Genée would like to thank the senders of this particular bouquet through these columns, as she is unable to do so personally. 'The actual receipts for the Matinée, including the sale of the programmes, was £507. From this, however, entertainment tax (£60) and the very heavy expenses incurred by the production have to be deducted.' (The Dancing Times, London, December 1923, pp.226-229 and 232)

Some Committee members of the Association of Operatic Dancing, London, 1923,
left to right: Phyllis Bedells, P.J.S. Richardson, Adeline Genée, Edouard Espinosa and Lucia Cormani.

(photo: Photographia, London, 1923)

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© John Culme, 2003