Press Clippings for the week ending
Saturday, 22 November 2003

A random selection of cuttings
from newspapers and magazines

Maud Branscombe as Georgette in 'Twas I, Olympic Theatre, London, March 1876

Maud Branscombe (fl. 1870s-1890s), English actress

(photo: Elliott & Fry, London, 1875.
Registered copyright in London by Elliott & Fry, 13 June 1875.)

'The Gascon [; or, Love and Loyalty], concerning which much evil report went forth after the initial performance [Olympic, 21 February 1876], is securing the success which we predicted for it, large audiences nightly assembling to enjoy and to applaud Mr Henry Neville's capital interpretation of the principal part. The drama is now preceded by that bright little comedietta called 'Twas I. The piece, which its unpretending little story wedded to some very sprightly music, was it may be remembered, presented some time ago as an operetta at the Gaiety; and at the Olympic it seems likely to create general interest and to secure general approval. Pretty Miss Maude Branscombe [sic] now represents Georgette, the village damsel, who is a candidate for the floral crown to be presented to the fair one who has been chary of her favours, and who has never given a kiss to anybody of the opposite sex, even during the period of courtship, and very charmingly does she play the part. Miss Branscombe's personal attractions have hitherto been her passport to public favour, and we were pleased to find that, intrusted with such a part as this, she was capable of doing it full justice. Mrs ['Granny'] Stephens was Mother Mag, that talkative, meddlesome busybody whose determination to stir up strife and to promote discord ends in her being drummed out of the village. Mr Lytton Sothern made a good representative of Dolorme, the young farmer whose admiration for his pretty cousin so nearly loses her the prize desired; and Mr Albert Bernard proved highly diverting as Marcel, the country lad and Georgette's lover, who, in the words "'Twas I." takes upon himself the burden of many sins not his own. The remaining parts were supported by Messrs Winstanley and St. Alban; Miss Hope, Miss Beaumont, &c.' (The Era, London, Sunday, 12 March 1876, p.10a) * * * * * * * * Cymbra; or, The Magic Thimble, a comic opera by Harry Paulton at the Strand Theatre, London, 24 March 1883

Camille D'Arville in the title role of Marjorie,
Prince of Wales's, London, 18 January 1890.

(photo: Alfred Ellis, London, 1890, negative no.6444-3)

'Cymbra is a very enjoyable work, excellent as regards both music and dialogue, added to which the piece is capitally staged. Mr. Harry Paulton evidently knows how to write dialogue, and his successes as a librettist here and at the Avenue have been of a most gratifying nature. His acting, too, in Cymbra is of an admirable order. In collaborating with Mr. Florian Pascal, Mr. Paulton has been fortunate, for Mr. Pascal possesses the gift of melody, and besides, writes admirably for the orchestra. The music in Cymbra is well scored, and therefore deserves to score well. 'The ladies who play leading parts at the Strand just now are all competent, and I don't know that I can honestly find fault with them; at the same time, not one of them is in any degree an enthusiast; each one does her work in an eminently respectable fashion, but does not exert herself to get over that borderline which dives the "big sizes" from the "mediums." The lady who calls herself Mdlle. Camille D'Arville is in possession of a nice little voice, but it is not equal to anything like fatigue, while it is evident that as an actress this lady has not enjoyed a plethora of experience. She is intelligent, and when more familiar with the English language, will without doubt do herself greater justice. Mdlle. Sylvia, too, possesses a good voice, and is bright and apt, but in this piece she has very few opportunities of showing at her best. But not one of the ladies at the Strand just now is by any means the equal in importance of Mr. Paulton, and this is not as it ought- to be.' (The Entr'acte, London, Saturday, 5 May 1883, p.4b) * * * * * * * * Lionel Mackinder and Dorothy Parry in The Captain of the School, Edward A. Parry and Frederick Mouillot's 'Story of Public School Life,' Gaiety, London, 10 December 1910

Dorothy Parry and Lionel Mackinder as Rhoda McIntyre and Tom Brant
in The Captain of the School, Gaiety, London, 10 December 1910.

(photo: Daily Mirror Studios, London, 1910)

'Many of those who went to the Gaiety expected a musical play in The Captain of the School. Some of these were agreeably disappointed. Others found that the play, apart from its absence of music, still kept up the traditions of the Gaiety in its lack of a good plot. The story of The Captain of the School may be summed up in a very few words. The captain, or head boy, of the school was seen kissing the master's daughter. The information came to the chief through a sneaking boy and a jealous under-master. Tom Brant the captain, struck the under-master when he heard he had carried the tale and was expelled by the "head," on the eve of the breaking up of the school. Brant, senior, arrives for the ceremonies, and Brant, junior, carries off his clothes and impersonates the old gentleman. The headmaster is most affable, the under-master is snubbed, the boys have a good time, and all goes well until the real Brant, senior, arrives at the supper-table, with a sheet round him. Explanations follow and forgiveness is extended to Brant, the captain of the school. That's all! 'It is a play for boys, but even the youngest schoolboy in the audience couldn't swallow it, quite. Who ever say such a school? Who ever knew such masters, or such boys? We weren't allowed to do such things when I went to school, and I hope they are not allowed nowadays. Fancy the headmaster's daughter intervening between him and a young scamp of a boy who had been given a mere five hundred lines as an "impot" for an offence that deserved two thousand! A word from the young lady and the boy was excused. 'And what a ridiculous breaking-up ceremony! If the authors wrote their play from actual experience they should thank their lucky stars they lived in those good old days. A public school boy's life in this enlightened age is not always a rosy one. 'Miss Dorothy Parry gave a bright, happy rendering of the not too difficult part of Rhoda McIntyre, the daughter of the headmaster. Mr. Lionel Mackinder played the captain of the school as he would in comic opera. As a performance it was funny, but as a sketch of a character in anyway approaching real life it was almost absurd. Mrs. [Gertrude] Mouillot's performance was excellent. I wish she had had more to do. 'The play was well mounted, and the dresses of the ladies were charming.' (The Playgoer and Society Illustrated, vol.III, new series, no.16, London, 15 December 1910, p.125) * * * * * * * *

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© John Culme, 2003