Anna Thibaud (1867-1948), French singer
(photo: unknown, Paris, 1906)
Mollie Cusins (b. about 1880), English-born American actress/entertainer, as she appeared with her ‘Gaiety Quartette’ in London, 1901
(photo: Alfred Ellis & Walery, London, 1901, published in Up to Date, London, Saturday, 1 June 1901, p. 20)
‘Miss Mollie Cusins, a London actress, was accused by a distiller at Maida-Vale of stealing a dog she was leading through the streets. She had him arrested for slander and recovered a verdict of one farthing (half a cent) .’
(The Bourbon News, Paris, Kentucky, Friday, 27 March 1903, p. 3)
The cover of the ‘Souvenir and Story of the Play’ for the New York production of Oscar Asche’s Chu-Chin-Chow, a ‘Musical Tale of the East,’ which was produced at the Manhattan Opera House, New York, on 22 October 1917, transferring to the Century Theatre, New York, on 14 January 1918. After a total of 208 performances the production went on a United States tour.
(‘Designed, Engraved and Printed by The Sackett & Wilhelms Corporation, New York,’ 1917)
The original London production of Chu-Chin-Chow, was produced at His Majesty’s Theatre on 31 August 1916 and ran until 22 July 1921, a total of 2238 performances. The leading roles of Abu Hasan and Zahrat Al-Kulub were first played in London respectively by Oscar Ashe (1871-1936) and his wife, Lily Brayton (1876-1953). In New York those parts were taken by Tyrone Power senior (1869-1931) and Florence Reed (1883-1967).
Charles Lauri junior (1860-1903), English pantomimist and animal impersonator, in make up as a monkey
(photo: Van Bosch, Paris, circa 1894)
’… A parrot’s dress is often covered with real feathers, at very considerable cost, whilst every hair in the dress worn by puss in “Puss in Boots” is worked on, hair after hair, and takes at least three weeks to make. The face is partly a mask and partly painted. This latter remark also applied to the “make-up” of a poodle dog. Mr. Charles Lauri is certainly the most famous poodle and cat we have, and is a past-master not only in reproducing their movements, but in the marvellous way in which he reproduces the face of the animal he wants.
‘Some time ago I watched him make-up and dress for a monkey, and as his methods of working then practically govern his other remarkable animal studies, it may not be uninteresting to recount them here. The mask is an important item. This is put on the lower part of the face, so as to obtain the heavy, protruding jaw of the animal. It is made of a chocolate-coloured leather, with small straps. The movement of the eyebrows is obtained by a thread concealed in his heavy dress. The actor has a spring in his own mouth, which works the mouth of the animal and shows the two rows of ivory teeth.
‘First Mr. Lauri binds his ankles with a couple of strong, stout strips of linen. Then come the brown socks – there is a hole for every toe – the dress proper is put on, and combed out. Dressed entire, the face is the next thought. He “blues” both eyes all round, then with a mixture of lard and burnt umber – save where the mask is to come – he covers his face, not forgetting the hands and arms. A little blue is added to the brown on the face, and a few wrinkles are painted about the eyes in black and red. Then the mask is put on – being strapped round the neck and over the head. Wig and whiskers complete the operation – and we have a magnificent monkey… .’
(Harry How, ‘Pantomime Masks and Properties,’ extract, The Strand Magazine, London, December 1894, pp. 671-672)
Charles Lauri junior as the monkey in The Sioux, a mimetic sketch at the Canterbury music hall, London, 1894May 22, 2015
The front cover of The Amusing Journal, published in London, Saturday, 22 September 1894, features ‘A Photograph from Life on One Negative. From a Photo specially taken for the “A.J.” by Alfred Ellis, 20 Upper Baker Street, N.W.’ The caption further states, ‘EXCITING INCIDENT AT THE CANTERBURY. – Mr. Chas. Lauri attacked by a Gorilla.’
Charles Lauri junior (1860-1903), English pantomimist and animal impersonator, whose repertoire had long included apes of one sort or another, devised an ‘Indian pantomime ballet divertissement’ for the Alhambra, Leicester Square, entitled The Sioux, which was produced on Monday, 12 October 1891. According to The Era (London, Saturday, 17 October 1891, p. 16a), the music was by Walter Slaughter, ‘costumes by M. and Madame Alias, and incidental dances arranged by Francis Wagner. The scene is a picturesque settlement in the “Wild West.” Here the settler (Mr H. Plano) and his daughter (Miss Hooton) and his little son (Miss Taylor) and his Nigger slave (Mr H. Ewins) seem to be very happy notwithstanding that some murderous Indians are prowling about, and they become happier still with the appearance of the settler’s eldest son (Mr F. Kitchen), a gallant and and handsome young middy, who has been sailing the seas. Of course, he is welcome for himself alone, but he is doubly welcome seeing that he has brought along some very pretty present and one very ugly one in the shape of a man-monkey (Mr Charles Lauri). It is to that monkey we have to look for the principal fun, for, although the settle is very vigorous when it comes to fighting, and the middy can dance very nimbly, and the Nigger servant is exceedingly active, and when occasion calls can double himself up in a tale in less than no time, the man-monkey claims all the attention, and it is not diverted even when a section of the Alhambra corps de ballet, with their beauty concealed by Indian disguises and hideous “war paint,” come on headed by their chief (Mr H. Kitchen), and, armed with formidable knives and axes, proceed to dance their grotesque dances, and finally to set fire to the settler’s house. The man-monkey is not to be denied. He will drag a “go-cart,” or play at ball, or spoil the dinner and set everybody sneezing by playing too freely with the pepper-box, or outdo the middy in dancing, or cut funny antics before a mirror, or pelt the Indian enemy with bricks, or masquerade as a soldier, or walk a perpendicular rope with all the skill of a Japanese funambulist. This rope ascent and descent by Mr Charles Lauri is the most notable thing in connection with The Sioux, and on Monday evening it called for a hurricane of applause. There is much leaping through windows, and many strange disappearances through trick boxes and sacks, and in the end, when the man-monkey has assisted the settler’s youngest daughter to escape from the burning house, and has been shot, the artist give a remarkable illustration of pantomimic skill in the realisation of the animal’s death.’
Charles Lauri subsequently adapted The Sioux ballet as a mimetic sketch for the music hall stage, giving the first performance at the Canterbury, Westminster Bridge Road, London, on 10 September 1894. The piece ran for a week or so before setting out on a UK tour. The part of the daughter was played by 9 year old Maud Violet Street, for whom a special license was granted.
Police Intelligence, Lambeth, south London, before Mr. Andrew Hopkins, magistrate
‘Mr. W.H. Armstrong, solicitor, applied on behalf of the manager of the Canterbury and Paragon Music-halls for a licence for a child named Maud Violet Street, not in her ninth year, to appear in a play without words called The Sioux. he explained that she would be on the stage only about half an hour. – Mrs. Street, the mother of the child, said her daughter simply had to play on the stage with a ball, and run about as a child would do in the garden. – Mr. Hopkins: Is there anything else she has to do? – Mr. Armstrong: she has to get into a swing. – Mr. Hopkins: How does she get off the stage? – Mrs. Street: she is brought off by a lady supposed to be her sister. – Mr. Hopkins: What is the play about? – Mrs. Street: It’s an Indian play, but there is nothing to cause any harm to the child. – Mr. Hopkins: does she get carried off by Indians? – Mrs. Street: No, nothing of that sort. – Mr. Armstrong explained that the piece was one in which Mr. Charles Lauri played the part of a monkey. – Mr. Hopkins: there is nothing in which the child is exposed to danger. She is not saved by an animal or anything of that sort? – Mrs. Street: No, sir. – Mr. Hopkins: Very well, then, she shall have the licence.’
(The Standard, London, Wednesday, 22 August 1894, p. 3d)
Back and front covers for the Theatre Metropole and Opera House, Camberwell, south London, programme for the week beginning Monday, 28 June 1897
(lithographic printers: Armitage & Ibbetson, Bradford, Yorkshire, 1897)