La Divine Amylla

La Divine Amylla (fl. early 20th Century), dancer
(photo: Hana, London, circa 1908/1909)

This real photograph postcard, probably dating from about 1908/1909, is by Hana, theatrical and music hall photographer, London.

‘Beauty and Classicism at The Empire [Johannesburg, South Africa].
‘The ”sensation” of the Empire season just now, the ”top-liner,” is Mdlle. Amylla, classic dancer. She brought a huge audience to the Palace [sic] on Monday, and there has been little or no falling off through the week. Opinions may clash as to the ”sensuality” of the lady’s show. I can see none. It is Art, pure unadulterated Art, of a kind that explains the furore created by Maud Allan and her imitators in England. The ”divine Amylla,” I should imagine, is unequalled in her own line. She is the embodiment of Moods – lithe, sinuous, graceful, sometimes snake-like in her dancing; reflecting the meaning of the music, subtly conveying its lesson without words. In her illustration of the Chopin Marche Funebre, she is the very abandonment of woe, crushed to the earth by calamity; a one bound she reaches the other Pole, when Mendelssohn’s Spring Song begins – she is the Spirit of Youth, the Nymph of dancing for sheer lightness of heart in ”meadows trim with daisies pied.” As the awakened statue she is a picture of unreasoning ecstasy in her dance before the shrine. But the masterpiece is her presentation of Herodia’s daughter, the young lady who so charmed her step-father by her dancing that he vowed a vow she should have whatso’er she wishes – and she took him at his word and got the head of John the Baptist, in disfavour with her mother because he had condemned that person’s marriage with her deceased husband’s brother Herod. This items is distinctly ”thrilly.” We have to imagine Herod sitting in the great hall, in ”bad eminence,” with his vindictive spouse by his side, surrounded by stern soldiery. Enter Salome, fit daughter of a wanton mother, very neglige as to costume. She dances after a fashion fit to wile the senses of any man, until once can fancy the enraptured Herod crying, ”with an oath,” that she could have her wish even to half of his kingdom. ”Being instructed of her mother,” she compasses the death of John, and presently receives the ghastly head, which she now fondles, now taunts, now spurns, a very Megæra tormented by the memory of her own crime. It is a wonderful, a magnetic illusion, lasting until the woman falls, exhausted as much by physical strain as by mental stress so it is presented. There was no questioning Amylla’s triumph. She gripped the crowded house from the first, and her hold grew stronger until the ”Salome incident,” which drew thunders of cheering and brought her again and again to the divided curtain.’
(The Transvaal Critic, Johannesburg, South Africa, Friday, 4 December 1908, quoted in The Encore, London, Thursday, 28 January 1909, p. 9 advertisement)

Doris Ashton

Doris Ashton (fl. 1919-1938), English popular singer, variety theatre entertainer and pantomime principal boy
(photo: Hana, London, circa 1919)

Doris Ashton appears to have had some success as a popular singer in the United Kingdom during the 1920s and ’30s. She began her career in 1919 and that year and the following she was at the London Coliseum. In 1920 she made a handful of recordings in London for the Regal label. She next appeared in Pot Luck!, described as a ‘Cabaret Show,’ which opened for a successful run at the Vaudeville Theatre, London, on 24 December 1921. The cast also included Jack Hulbert, Beatrice Lillie, Mary Leigh, Margaret Bannerman, Norah Blaney and Gwen Farrar, and Maidie Scott. ‘Miss Doris Ashton has a good voice, which she has no need to force.’ (The Daily Mirror, London, Tuesday, 27 December 1921, p. 12a)

During 1926 and again in the 1930s, Doris Ashton made a number of broadcasts for the BBC. In the late 1920s she also appeared with the entertainer Billy Rawson. They were at the London Palladium together in 1928, the year in which they made an 8 minute synchronized sound film in London for the De Forest Phonofilm company, which was released in May that year. In January 1929 the couple appeared in the pantomime Dick Whittington and His Cat, at the Metropole Theatre, Glasgow. This was followed in March by a personal appearance on stage at the Astoria cinema in London.

Doris Ashton’s other pantomime parts included as the Princess Guenevere in the Brixton Theatre, London, pantomime of 1927/28, St. George and the Dragon. At Christmas 1931 she was principal boy at the Brixton Theatre’s pantomime, Sleeping Beauty. ‘Miss Doris Ashton is a principal boy good enough in diction, presence, and voice for Drury Lane – or should it be in these days be the Lyceum?’ (The Times, London, 28 December 1931, p. 8b) (The last Drury Lane pantomime was The Sleeping Beauty at Christmas 1929). Miss Ashton returned to the Brixton Theatre for the Christmas pantomimes of 1936 and 1937, respectively Babes in the Wood, when she appeared as Robin Hood, and The Sleeping Beauty, when she appeared as the principal boy.

The Three Meers

a cabinet photograph of The Three Meers (fl. late 19th/early 20th Century), English comedy wire act (left to right, George Omo, Alf Meers and his wife, May Meers)
(photo: Hana, London, circa 1900)

Alfred Meers, said to have been born about 1868 at Cheltenham, Gloucestershire, England, the son of Robert Meers and his wife, Lucy (née Koplen), married May Vinson Warren in Manhattan, New York, on 12 April 1896.

”’Alfy” Meers is now a landlord, as he writes me, having purchased two houses at Catford, London, one of which is called the ”Meers,” and the other ”Warren” Villa. His title must be increasing in size in consequence. When you see him, ask him what ”Pop’s” Villa comes off.’
(The Music Hall and Theatre Review, London, Friday, 21 September 1894, p. 10c)

The Royal music hall, London
‘What a technically known as ”straight shows” are apparently slowly but surely becoming almost a dead letter in the music halls. It has become quite a rarity to see either vocal or acrobatic performers who do not introduce more or less comedy into their act, skill of the most expert order often being made subservient to mere comic fooling. The Meers don’t go quite as far as this, but they have re-modelled their clever wire act in such a manner as to appeal to the risible faculties of the audience, as well as to its appreciation of a distinguished exposition of the art of wire-walking. Mr. Alf Meers is responsible for most of the fun, and, together with his partner, performs a series of feats that are remarkable for extraordinary powers of balancing the body while careering on a thin, lightly-stretched wire. As a conclusion he mounts a wire which is made to travel along at a very rapid speed, maintaining his foothold in surprising fashion. After this comes tumultuous applause from the audience, who can but be delighted with what they have seen.’
(The Music Hall and Theatre Review, London, Friday, 9 August 1901, p. 91c)

‘The Meers now proceed on a short provincial tour. They return to the London Pavilion early in September, and thereafter again visit the Continent.’
(The Music Hall and Theatre Review, London, Friday, 16 August 1901, p. 111d)

‘The Meers, whose comic wire act, entitled ”Early Morning,” is so popular a constituent of the Pavilion programme just now, shortly proceed on another tour of the Continent. They go to Amsterdam for a fortnight, to Brussels for a for fortnight, and to Dusselldorf for a fortnight. In December they cross the Atlantic, in fulfilment of engagements that will occupy them six months.’
(The Music Hall and Theatre Review, London, Friday, 6 September 1901, p. 157c)

‘Another sensational European novelty heads the bill at Keith’s Theatre this week, where the three Meers, from the Palace Theatre at St. Petersburg, make their debut.’
(The New York Times, New York, Sunday, 20 April 1902, p. 14b)

‘THE THREE MEERS.
‘(Alf. Meers, May Meers and Geo. Omo)
‘Alf. Meers, the manager of the Three Meers, was born in Cheltenham, in the county of Gloucester, England, and made his first appearance before the public as a boy four years old, at Newsome’s Circus, in Liverpool, 1872. He is the originator and first producer of three people on one wire at the same time. He is also the originator of ”the endless wire trick.” Mr. Meers made his first American debut in 1894, with the Lottie Collins Co., and has returned three times to fulfil successful engagements. The Three Meers open on the Keith Circuit Oct. 23, 1903.’
(The New York Clipper, New York, Wednesday, 25 February 1903, p. XIIb)

‘The Three Meers.
‘Comedy wire artistes. Now doing a round of the chief provincial towns. In October next they sail for America, where they are under contract for twelve months. After this they return to England to fulfil an engagement at the Empire, Leicester Square.’
(The Variety Theatre, London, Friday, 14 July 1905, p.9)

Winifred Hare, English actress and singer, and popular pantomime principal boy

Winifred Hare (1875-?1930), English actress and singer,
and popular pantomime principal boy
(photo: Hana, London, circa 1908)

‘When [Hervé’s] Chilperic is produced at the Coronet and Camden Theatres next March it will be found considerably altered in story from the version which set the town a-talking thirty years ago, when, as The Referee reminds us, the brothers Mansell produced it at the Lyceum. The new author, inspired by the whitewashing with which recent historians have rehabilitated Henry VIII., Nero, and other quondam-reprobates, has set himself the task of demonstrating that Fredegonde, the much-abused third wife of Chilperic, was much more sinned against then sinning, and that the charges recited against her by historians are mere symptoms of a monstrous conspiracy organised by Brunchant, Chilperic’s brother’s wife, to punish Fredegonde because she prevented Brunchant from stealing Chilperic’s kingdom. In this formidable task the new author has an ally who will surely convince the most pedantic of critics that the historians must have been mistaken, for “Fredegonde” is to be represented by Miss Winifred Hare, and in this re-incarnation no one will think her capable of any worse crime than that of stealing hearts.
(programme note, Camden Theatre, Camden Town, north London, week beginning Monday, 8 December 1902)

Rita Barrington as The Blue Bird in Jack and the Beanstalk, Theatre Royal, Drury Lane, 1899

Rita Barrington (fl. late 19th/early 20th Century), English dancer, a pupil of John D’Auban, as she appeared as The Blue Bird in the pantomime, Jack and the Beanstalk, Theatre Royal, Drury Lane, London, 26 December 1899 (photo: Hana, London, 1899/1900)

‘AMUSEMENTS IN BIRMINGHAM … GRAND THEATRE. Proprietor and Manager, Mr J. W. Turner. – Mr Dan Leno is attracting huge houses here, where he is the life and soul of the new musical farce, In Gay Piccadilly, which is being played for the first time in Birmingham by Mr Milton Bode’s company. The many disguises he assumes in his rôle of a comic detective, his patter, and his extraordinary antics are excruciatingly funny. Mr Dan Leno is well supported by Mr Johnnie Danvers as Ebenezer Tinketop, Mr. George Sinclair, and Mr Tim Riley. Miss Florence Darley, Miss Emily Stevens, and Miss Lillie Young all played well. Miss Beatrice Willey sang very sweetly as Lady Molly, and Miss Adie Boyne, a clever little comedienne, created much fun as Gladys Ada; and mention must be made of the exceedingly pretty dance which was beautifully executed by Miss Rita Barrington.’ (The Era, London, Saturday, 11 November 1899, p. 23a)

Rita Barrington (fl. late 19th/early 20th Century), English dancer, a pupil of John D’Auban, as she appeared as The Blue Bird in the pantomime, Jack and the Beanstalk, Theatre Royal, Drury Lane, London, 26 December 1899 (photo: Hana, London, 1899/1900)

’AMUSEMENTS IN BIRMINGHAM … GRAND THEATRE. Proprietor and Manager, Mr J. W. Turner. – Mr Dan Leno is attracting huge houses here, where he is the life and soul of the new musical farce, In Gay Piccadilly, which is being played for the first time in Birmingham by Mr Milton Bode’s company. The many disguises he assumes in his rôle of a comic detective, his patter, and his extraordinary antics are excruciatingly funny. Mr Dan Leno is well supported by Mr Johnnie Danvers as Ebenezer Tinketop, Mr. George Sinclair, and Mr Tim Riley. Miss Florence Darley, Miss Emily Stevens, and Miss Lillie Young all played well. Miss Beatrice Willey sang very sweetly as Lady Molly, and Miss Adie Boyne, a clever little comedienne, created much fun as Gladys Ada; and mention must be made of the exceedingly pretty dance which was beautifully executed by Miss Rita Barrington.’ (The Era, London, Saturday, 11 November 1899, p. 23a)

Ludwig Amann

Ludwig Amann (b. 1855), German impersonator (photo: Hana, London, circa 1899)

Palace Theatre, Bordesley, near Birmingham, July 1906

‘Ludwig Amann, who tops the bill at Bordesley Palace this week, is a man of many faces. In fact he can impersonate anyone. He depends only and solely upon the mobility and extraordinary flexibility of his features. Mr. Amann was born in Munich in 1855. Once he was performing in Odessa, and one evening received an anonymous note, which read: ”Study Gen. Gourko.” He improved the hour before going to the theatre in studying and impersonating the autocrat. When about to begin the evening’s performance, a detachment of police arrested M. Amann. Without a word of explanation he was led through the streets to Gen. Gourko’s Palace. ”You impersonate celebrated men,” he roared, ”impersonate.” Summoning all his nerve, M. Amann turned to the General a duplicate of his own face and overbearing manner; Gourko burst into a roar of laughter, and the ordeal was over.’ (The Birmingham Owl, Birmingham, Friday, 3 August 1906, p. 11a/b)

Godwynne Earle (fl. late 19^th/early 20^th Century), American actress, dancer and singer, advertises Rowlands’ Kalydor (advertisement from The Lady’s Realm, London, September 1905, p. 14; photo: The Hana Studios Ltd, London, circa 1905)

Godwynne Earle made regular appearances in pantomime and on the music halls in the United Kingdom between 1897 and 1906.

Godwynne Earle

Godwynne Earle (fl. late 19^th/early 20^th Century), American actress, dancer and singer, advertises Rowlands’ Kalydor (advertisement from The Lady’s Realm, London, September 1905, p. 14; photo: The Hana Studios Ltd, London, circa 1905)

Godwynne Earle made regular appearances in pantomime and on the music halls in the United Kingdom between 1897 and 1906.

Lily Landon (fl. late 1880s/1890s), English music hall serio-comic and pantomime principal girl

This real photograph cigarette card, published about 1900 by Ogden’s of Liverpool for its Guinea Gold Cigarettes, features a portrait of the English music hall serio-comic and pantomime principal girl, Lily Landon. (Photo: unknown, probably Hana, London, circa 1897)

Hungerford music hall, London. ‘A little lady called Lily Landon did much to dispel our aversion to the appearance of precocious children upon the stage; there is real talent in this youthful personage, and her clear and unstrained articulation might with advantage be emulated by many maturer aspirants upon the boards. There should be a successful future in store for Lily Landon.’ (The Entr’acte, London, Saturday, 6 June 1885, p.11a)

Oxford music hall, London. ‘The younger members of the serio-comic sisterhood find fascinating representatives in Miss Queenie Lawrence, who has happened on a very good song, “The Duchess of Leicester-square;” in Miss Lily Landon, who looks pretty in an old gold costume; in Miss Marion Keates, a promising recruit who is piquant in an “answer” song; and in Miss Ray Maskell, a capital dancer.’ (The Era, London, Saturday, 21 July 1894, p.14a)

At Christmas 1898 Lily Landon appeared in the title role of the pantomime Cinderella at the Theatre Royal, Glasgow. Other members of the cast included Evie Greene, Mark Sheridan, Nellie Christie, George Spry and Harry Lupino.

Theatre Royal, Edinburgh. ’Dick Whittington has achieved an immediate artistic and financial success, and it is admitted on all sides here that this beautifully illustrated edition of the always-popular pantomime story is the most expensively mounted and best acted pantomime that Howard and Wyndham have yet given us. Scenery and dresses are provided in lavish profusion and magnificence, and the company is strong and well equipped for the enjoyment of holiday audiences. The theatre has been packed in every corner nightly all week, and the morning [matinée] representations have drawn equally large houses. As Idle Jack Mr Mark Sheridan is the very epitome of fun, his droll humour and peculiarly amusing style causing peals of merriment all through the evening. Mr W.E. Richardson, who proves as effective in pantomime as in comedy and drama, gives able support as the Cook, a judicious and clever performances that will please the most exacting. Mr Harry Cole invests the rôle of Fitzwarren with many diverting features, and Messrs Drew and Alders, whose grotesque antics provoke shouts of laughter, are decidedly happy in all they say or do. Miss Cissy Fitzgerald is successful in no ordinary degree as Dick, and is a welcome recruit to the rather limited ranks of first-class pantomime boys; while a great deal of admiration is centred in Miss Lily Landon, who plays Alice so prettily, and sings so delightfully. Miss Nellie Christie is immensely amusing as Queen Susantusan, and Miss Violet Englefield’s violin solo remains a conspicuous feature of the performance.’ (The Era, London, Saturday, 30 December 1899, p.8a)