Gabys Deslys and Surye Kichi Eida in the Ju-Jitsu Waltz, Gaiety Theatre, London, 1907

A real photograph postcard of ‘Mdlle Gaby Deslys & S.K. Eida, in the new Ju-Jitsu Waltz at the Gaiety’ published in A. & G. Taylor’s ‘Reality’ series, no. 1300, 70 Queen Victoria Street, London, EC
(photo: Bassano, London, probably 1907; there were at least five photographs taken at this sitting)

Gaby Deslys and S.K. Eida introduced the Ju-Jitsu Waltz to London audiences during the run of The New Aladdin, a musical extravaganza, which ran at the Gaiety Theatre, London, from 29 September 1906 to 27 April 1907.

Surye Kichi Eida (1878-1918), who was born in Japan, appears in the 1901 Census as an assistant gardener, living in Acton, West London, with his brother, Saburo Eida (1858-1911), an importer of art, and his family. In 1909 he married Ellen Christina Brown (1886-1931) and together they toured United Kingdom music halls in a Japanese dancing and ju-jitsu act, billed as Nellie Falco and S.K. Eida.

Ada Waugh

Ada Waugh (Mrs Bert Beswick, 1872?-1961), English actress and singer, as Liza Shoddam in J. Bannister Howard’s touring production of The Earl and the Girl, United Kingdom, 1907-1908, 1910 and again in 1915
(photo: unknown, UK, probably 1907)

Marguerite Naudin

Marguerite Naudin (1879?-), child prodigy, vocalist and actress, as she appeared as O Mimosa San in Frederick Mouillot’s principal touring company of The Geisha between 1901 and 1903.
(photo: unknown, probably London, circa 1901)

Marguerite Naudin, daughter of the French tenor, Emile Naudin (1823-1890), was a pupil of Isidore de Lara (1858-1935), the English song writer and vocalist. As a child she made a number of well-received concert appearances before embarking on a career in musical comedy and comic opera between about 1901 and 1907.

‘At Mr. De Lara’s concert on May 16 [1888] – the first given by him in London since his return from an eight months’ sojourn on the Continent – an interested début took place, that of little Marguerite Naudin, a child only nine years old, and daughter of the famous French tenor. This tiny girl, whose voice is peculiarly sweet and ”tender with tears,” sings perfectly in tune, with a justness of phrasing and passionate pathos that are simply marvellous in one so young. Whilst interpreting De Lara’s beautiful setting of Lord Lytton’s lines, ”If sorry have taught me anything,” she touched her audience to the very heart’s core; and yet, what should this pretty child know about sorrow, or have learnt from it? She has certainly been taught to mimic passion with such exactitude that he imitation may readily pass for the genuine article. Her rendering, too, of Tosti’s ”Pepita” was inimitably sympathetic and interesting. The Cavaliere Paolo himself could not have ”spoken” the charming song more effectively.’
(‘Our Musical-Box,’ The Theatre, London, 1 June 1888, p. 312)

‘At Miss Helen Townshend’s concert, besides the bénéficiaire, Isidor de Lara sang delightfully, and his Virgin Choir covered itself with chased glory. Little Marguerite Naudin also ”spoke” two songs most touchingly. I heard this gifted child again at De Lara’s second recital (June 4 [1888]), and was profoundly impressed by her imitative pathos. She is every whit as sympathetic as Pepi Hofmann, though quite in a different way. What voice she has is naturally veiled and tearful in quality, and there are tender little breaks in it that are ineffably touching.’
(‘Our Musical-Box,’ The Theatre, London, 2 July 1888, pp. 28 and 29)

Following her tour in The Geisha, 1901-1903, Marguerite Naudin again toured with Frederick Mouillot’s company as Chandra Nil in The Blue Moon in 1906 and 1907.

Phyllis Le Grand and Hilda Antony in Autumn Manoeuvres, Adelphi Theatre, London, 1912

Phyllis Le Grand (Mrs Robert Michaelis, 1888-1981) and Hilda Antony (Mrs Owen Roughwood, 1886-1962) as they appeared in Autumn Manoeuvres, a play with music by Emerich Kalman, which was produced at the Adelphi Theatre, London, on 25 May 1912.
(photo: Foulsham & Banfield; gowns by Lucille Ltd, Hanover Square, London; hats by Maison Lewis, Hanover Square and Paris)

Ivy Tresmand stars in Yvonne, Daly’s Theatre, London, 1926

programme cover for Yvonne, Daly’s Theatre, London, 22 May 1926, with a portrait of the English actress and singer, Ivy Tresmand (1898-1980) in the title role
(from original artwork by Charles Buchel; printed by Wightman Mountain & Andrews Ltd, London, 1926)

Yvonne, ‘a new and original musical comedy’ in three acts (based on an original Austrian production) was written by Percy Greenbank, with music by Jean Gilbert (1879-1942) and Vernon Duke (1903-1969), and additional numbers by Arthur Wood, was produced at Daly’s, London, on 22 May 1926. The cast, headed by Ivy Tresmand in the title role, included Mark Lester, Henry Hallatt, Gene Gerrard, Neta Underwood, Arthur Pusey, Maria Minetti, Dennis Hoey and the dancers Hal Sherman and Nan Wild.

Winnie Wayne

Winnie Wayne (fl. early 20th Century), ‘The Original Lady Singer of [It’s a Long Way to] Tipperary’
(photo: N.L. Craig, Stirling, Scotland, circa 1915)

This real photograph postcard of Winnie Wayne was issued by an unknown publisher about 1915. Miss Wayne’s appearances were billed as entertainments with nursery rhymes ‘in song and story.’

an unidentified Victorian acrobat

carte de visite photograph of an unidentified acrobat
(photo: Robert Bishop, 29 Kennington Park Road, London, 1868-1878)

The Tiny Websters

The Tiny Websters (fl. 1892-1895), English music hall duettists and dancers, billed as ‘Lilliputian Wonders’
(photo: unknown, probably UK, circa 1893)

The London Pavilion, week beginning Monday, 28 November 1892
‘The Tiny Websters (Lizzie and Louise) are heard to advantage in a new song called ”Smacky, smacky, smack,” and their dancing is extremely graceful.’
(The Era, London, Saturday, 3 December 1892, p. 16a)

‘“The Tiny Websters” – a duo of “identical Lilliputian sisters”, whose one notable hit, I Don’t Want to Play in Your Yard, was recorded with exquisite tenderness decades later, in 1957, by American vocalist Peggy Lee.’
(Michael Simkins, The Daily Telegraph, London, Wednesday, 19 September 2012, p. 22, a review of John Major’s book, My Old Man: A Personal History of Music Hall)

Michael Kilgarriff (Sing Us One of the Old Songs, Oxford University Press, 1998, p. 39) states that ‘I Don’t Want to Play in Your Yard,’ published in 1894, was also sung by Jenny Clare and Madelaine Majilton, and Julie Mackey. Various versions of this song, including Peggy Lee’s, may be heard on YouTube.

Charles Hawtrey in Time is Money, London, 1905 and 1909

a scene from Time is Money, Criterion Theatre, London, 3 August 1905, with, left to right, Dorothy Hammond as Mrs Murray, Mona Harrison as Susan, and Charles Hawtrey as Charles Grahame
(photo: unknown for The Play Pictorial, London, 1905)

Time is Money, a comedietta by Mrs Hugh Bell and Arthur Cecil, was first produced at the Theatre Royal, Newcastle-on-Tyne, 5 September 1890,

‘By way of answer to the complaint that the curtain-raiser is neglected, the Criterion Theatre has given us a lever de rideau in which no less an actor than Mr. Charles Hawtrey takes a part. Time is Money, the work in question, shows a little too grimly how quickly the clock moves in the theatre. It does not seem a very long time since it was a lively, fresh comedietta, but the other night one felt a little grieved that the actor should be using his gifts, and using them very ably, upon such mechanical humours and trifling verbal quips. However, a good deal of it is amusing. The favourite was in excellent form, and well supported by Miss Mona Harrison and Miss Dora Hammond.’
(The Sketch, London, 16 August 1905, p.156)

Charles Hawtrey revived Time is Money at the reopening of the London Hippodrome, 2 August 1909
‘A very comical episode is the basis of the little play ”Time is Money,” in which Mr. Charles Hawtrey has been appearing at the London Hippodrome. It is all about a gentleman who comes to propose to a lady. He takes a cab to the lady’s house, and in the natural excitement of the moment rushes indoors without paying the cabman. Not unnaturally, the cabman sends a message after him to remind him of the little oversight. Mr. Hawtrey plunges his hand apologetically into his pocket in order to give the maid the fare, and finds to his disgust that he has come out without money. He, therefore, instructs the maid to tell the cabby to wait and take him back. Cabby, however, has another engagement and cannot wait, and meanwhile the fare, that was eighteenpence just now, has already gone up to half-a-crown, and is still growing. Mr. Hawtrey’s representation of his embarrassment is quite delightful (says ”M.A.P.” [i.e. Mostly About People, a contemporary London periodical]), because when you have come to propose to a lady you can hardly begin by asking the loan of half-a-crown. The spectacle of Mr. Hawtrey singing a sentimental song at the piano to the lady’s accompaniment, and trying all the time not to hear the cabman’s appeal through the window for his long-delayed fare, is one of the funniest scenes imaginable.’
(Kalgoorlie Miner, Kalgoorlie, Western Australia, Saturday, 25 September 1909, p. 1e)

Sarah Bernhardt in America, 1906

Sarah Bernhardt (1845-1923), French tragedienne and theatrical manager, in America, 1906
(photo: unknown, circa 1905)

‘Chicago.
‘Manager Samuel Gerson, of the Garrick, went out to Davenport and booked Sarah Bernhardt at the new Independent theatre there under very unusual circumstances. The guarantee for one night if $3,000 and seats will be sold at $6 or more. The street railway company owning the system uniting Davenport with several nearby cities, including Rock Island, will build a loop around the theatre especially for the one Bernhardt night and run special cars. As the Theatrical Syndicate controls the bill posting service in Davenport not a sheet of paper will be put up, but the newspapers in the city are luckily not in the hands of the Trust, so they will be used. The theatre is owned by the Turners and has been made a handsome house by the Independents, who have just opened it. There is a great deal of wealth in Davenport, especially among the Germans. They were bound to have Bernhardt, and being free now to go after what they want instead of having to take what they get, it is expected that the future bookings of Davenport will show a wonderful change.’
(The New York Dramatic Mirror, New York, Saturday, 6 January 1906, p.12a)

‘Sarah Bernhardt had gone no farther on her tour of the United States then Washington before she wired her beauty doctor, the small Greek of Parisian education, Cassairato. Madame must have her lotions and her thousand and one intricacies of her toilet, and Cassairato, when she left in new York, must follow. He has gone with her on tour, and with them, playing a small part in the company, is the beauty doctor’s chic young wife, who is a far more successful exponent of his noble profession than the small doctor himself.’
(The New York Dramatic Mirror, New York, Saturday, 20 January 1906, p.2a)

‘Bernhardt’s Tour Extended.
‘Sarah Bernhardt, instead of playing a twenty weeks’ engagement in the United States, as originally planned, has agreed to extend her tour for ten weeks longer, and will play straight to the Pacific Coast before closing her season and returning to France. William F. Connor is now at work mapping out the new route. All arrangements have been made for Madame Bernhardt’s appearance on March 26 in Dallas, Tex., where she is obliged to play in a circus tent. The tent will seat four thousand people. It is to be set up in Cycle Park and will be draped with American and French flags. A huge sounding board will be built over the stage, so that those far away from the footlights may be able to hear well. The railroads will run excursion trains form points within one hundred miles.’
(The New York Dramatic Mirror, New York, Saturday, 17 March 1906, p.9a)

‘Sarah Bernhardt’s Cousin.
‘Maurice Bernhardt, said to be a full cousin of Sarah Bernhardt, is living in a home for aged and infirm Israelites at St. Louis, Mo. He is seventy-five years old and has been in the United States for fifty-four years. He visited his cousin at the Garrick Theatre when she played in St. Louis and had a long talk with her. He is not destitute, but lives in the home because he finds it an agreeable place of residence.’
(The New York Dramatic Mirror, New York, Saturday, 17 March 1906, p.9b)