Hanlon Brothers

a carte de visite photograph of three of the Hanlon Brothers, ‘the celebrated American gymnasts’
(photo: unknown, probably England, mid 1860s)

The Alhambra, London, company appears at the Theatre du Châtelet, Paris, including premier ballerina Giovannina Pitteri and the Hanlon Brothers, acrobats.
‘Echoes from Paris …
‘The Theatre du Châtelet has re-opened its doors for the performances of the London Alhambra. There are two ballets in which 100 danseuses, the stars of their profession, are headed, says the critic of the Petit Journal, by the star of stars, Mdlle. Pitteri. There are also pantomimic scenes of a diverting character, supported by capital clowns, of the greatest ”suppleness.” A comic ballet deserves especial notice. It is entitled Ki-ki-ko-oh-ki-key, and the most facetious member of the company plays in an ape’s skin. The ”Marseillaise” is sung by 100 vocalists, with a chorus of the audience. The Petit Journal, whose critic, according to custom, writes in the first person singular, thus notices the exhibition. ”I do justice to the acrobats, the gymnasiarchs, and the dancers of Mr. [Frederick] Strange, but I regret to see this fine theatre given up to such spectacles. The level of art was already low enough in the stage of the Châtelet, but a witty expression, a spicy couplet, indemnified the public for the silliness of the dialogue. But now the Châtelet only replaces the Hippodrome, without the equestrian exercises. It replaces the hippodrome very advantageously, I admit. Let gaiety and freedom from care once more be vouchsafed to us, and everyone will rush to see the performances of the brothers Hanlon, three truly surprising acrobats. I say three – rather two and a half – for one of the brothers, a nice little fellow, is hardly ten years of age. The feats of the Hanlon brothers are so marvellous and so daring that the managers thought proper to warn the public beforehand, lest the amphitheatre soul resound with the shrieks of terror.”’
(The Court Circular, London, 20 August 1870, pp. 784c-785a)

Lulu

a carte de visite photograph of Lulu, the ‘female’ trapeze artist formerly known as the boy acrobat El Niño Farini, who was actually Sam Wasgate (1855-1939), the adopted son of William Leonard Hunt (1838-1929),
known to the world as the tightrope walker and acrobat, The Great Farini.
(photo: Sarony, New York, circa 1875)

‘At a recent performance in a Dublin circus [Hengler’s] Lulu, the well-known gymnast, met with a terrible accident. She is propelled from a spring platform about sixty feet into the air, and then catches a trapeze. On this occasion she missed the catch, and did not fall perpendicularly on the net intended to receive her, but sideways against the gallery railings, and thence rebounded into the arena. Her injuries are most fearful, and the doctors entertain no hope of her recovery.’
(Galveston Daily News, Galveston, Texas, Tuesday, 5 September 1876, p.3f)

‘The London Athenaeum thinks it may be worth stating that ”Lulu,” the female gymnast, whose recent fall from a trapeze in Dublin has excited public attention, is a man.’
(Galveston Daily News, Galveston, Texas, Sunday, 17 September 1876, p.8g)

a presentation photograph (approximately 8 ¼ by 6 inches) of the English music hall comedienne, Daisy James (1880?-1940), autographed and dated 1913 by her for the music publisher, Bert Feldman of B. Feldman & Co
(photo: Campbell Gray, London, probably 1913)

Daisy James

a presentation photograph (approximately 8 ¼ by 6 inches) of the English music hall comedienne, Daisy James (1880?-1940), autographed and dated 1913 by her for the music publisher, Bert Feldman of B. Feldman & Co
(photo: Campbell Gray, London, probably 1913)

Hetty King

a ‘Fielding’s Cardette’ of Hetty King (1883-1972), the celebrated English male impersonator in private attire
(photo: Fielding, Leeds, UK, circa 1920)

For a short film of Hetty King in the 1960s performing ‘Goodbye Bachelor Days,’ see YouTube

a cabinet photograph of Marie Majilton (née Berrington, fl. late 1860s-1890s) of the English acrobatic dancers The Majiltons, who achieved considerable success in the United States in the 1870s
(photo: Sarony, New York, circa 1872)

‘Of the Majilton troupe, billed for the Opera House Nov. 10 [1874], the Philadelphia Bulletin speaks in this complimentary fashion:
‘The celebrated Majilton family now performing at Col. Woods’ Museum, consists of three members – Marie Majilton, Charles Majilton and Frank Majilton. They all occupy advanced positions in the school of art adopted by the troupe, and are natural comedians as well as agile dancers and expressive pantomimists. In the grotesque branch of their profession they are also proficient. The new piece now running at the Museum was written for the Majiltons by Frank Green, of London, and under the title of “Farrago,” which means a medley, shows the adventures and mishaps of a part of French country people, men and women in Paris, surrounded by the sights, acts, plots and scenes of that fascinating metropolis. The Majiltons are admirable, and infuse such a degree of life, animation and spirit into their parts as to draw from the audience continued laughter and applause. Their acting and dancing are alike received with universal praise and commendation. One of the enjoyable features of the evening’s entertainment is an original and sparkling medley overture, entitled Farrago, introducing solos for violin, flute, cornet and trombone, arranged expressly for the Majiltons by Mr. Fred Perkins.’
(Nashville Union and American, Nashville, Tennessee, Friday, 6 November 1874, p. 4b)

a cabinet photograph of Marie Majilton (née Berrington, fl. late 1860s-1890s) of the English acrobatic dancers The Majiltons, who achieved considerable success in the United States in the 1870s
(photo: Sarony, New York, circa 1872)

‘Of the Majilton troupe, billed for the Opera House Nov. 10 [1874], the Philadelphia Bulletin speaks in this complimentary fashion:
‘The celebrated Majilton family now performing at Col. Woods’ Museum, consists of three members – Marie Majilton, Charles Majilton and Frank Majilton. They all occupy advanced positions in the school of art adopted by the troupe, and are natural comedians as well as agile dancers and expressive pantomimists. In the grotesque branch of their profession they are also proficient. The new piece now running at the Museum was written for the Majiltons by Frank Green, of London, and under the title of ”Farrago,” which means a medley, shows the adventures and mishaps of a part of French country people, men and women in Paris, surrounded by the sights, acts, plots and scenes of that fascinating metropolis. The Majiltons are admirable, and infuse such a degree of life, animation and spirit into their parts as to draw from the audience continued laughter and applause. Their acting and dancing are alike received with universal praise and commendation. One of the enjoyable features of the evening’s entertainment is an original and sparkling medley overture, entitled Farrago, introducing solos for violin, flute, cornet and trombone, arranged expressly for the Majiltons by Mr. Fred Perkins.’
(Nashville Union and American, Nashville, Tennessee, Friday, 6 November 1874, p. 4b)

Marie Majilton

a cabinet photograph of Marie Majilton (née Berrington, fl. late 1860s-1890s) of the English acrobatic dancers The Majiltons, who achieved considerable success in the United States in the 1870s
(photo: Sarony, New York, circa 1872)

‘Of the Majilton troupe, billed for the Opera House Nov. 10 [1874], the Philadelphia Bulletin speaks in this complimentary fashion:
‘The celebrated Majilton family now performing at Col. Woods’ Museum, consists of three members – Marie Majilton, Charles Majilton and Frank Majilton. They all occupy advanced positions in the school of art adopted by the troupe, and are natural comedians as well as agile dancers and expressive pantomimists. In the grotesque branch of their profession they are also proficient. The new piece now running at the Museum was written for the Majiltons by Frank Green, of London, and under the title of ”Farrago,” which means a medley, shows the adventures and mishaps of a part of French country people, men and women in Paris, surrounded by the sights, acts, plots and scenes of that fascinating metropolis. The Majiltons are admirable, and infuse such a degree of life, animation and spirit into their parts as to draw from the audience continued laughter and applause. Their acting and dancing are alike received with universal praise and commendation. One of the enjoyable features of the evening’s entertainment is an original and sparkling medley overture, entitled Farrago, introducing solos for violin, flute, cornet and trombone, arranged expressly for the Majiltons by Mr. Fred Perkins.’
(Nashville Union and American, Nashville, Tennessee, Friday, 6 November 1874, p. 4b)

Mlles. Serpolette, Folette, Risette and Clair de Lune

‘Quadrille Fin de Siecle,’ a cabinet photograph of Mlles. Serpolette, Folette, Risette and Clair de Lune, the Parisian can can dancers who made their sensational American debut at Koster & Bial’s, New York, in November 1892
(photo: Sarony, New York, 1892)

‘KOSTER & BIAL’S.
‘At Koster & Bial’s last night the second half of the programme was made up of imported Parisian ”specialties,” which were loudly applauded by the motley crowd. A novelty announced with a ”quadrille fin de siècle” by four dancers from the neighbourhood of the Batignolles.
‘They were supposed to hail from the Moulin Rouge, the home of high kicking and acrobatic performances, but from their comparatively slight knowledge of the figures of the dance, it is probably that, if they did come from Paris at all, it was from one of the smaller cafés. They have the South Fifth Avenue manner. Mlles. Serpolette, Folette, Risette, and Claire de Lune are four very large and rather vulgar-looking women of mature years. They do not dance ven as well as the four women in The Black Crook, nor do they attempt the same gymnastics, but the ”quadrille” is identical with that dances at the Fourteenth Street house.
‘Their performance seemed to please the crowd at Koster & Bial’s. M. and Mme. Berat, Marie Vanoni, with ”Georgie” and ”La Cantinière”, the grotesque Eduardos, and the Americans, Wood and Shepard, were all more interesting to decent folk. The Rendezvous and Barbe Bleu (condensed) operettas were well given.’
(The New York Times, New York, Wednesday, 22 November 1892, p. 5)

‘New York has a new attraction at one of her music halls. The four French dancers, Mlles. Serpolette, Clair de Lune, Folette and Risette, who made their first appearance in this country last week on Koster & Bial’s concert hall stage gave what may be safely called the most sensational terpsichorean exhibition that has ever been witnesses on the American stage. Their exhibition was anything but artistic, or even fetching. It consisted in a more than liberal display of lingerie, some very high kicking, squatting on the floor with legs stretched out at right angles, making somersaults and other feats of similar nature.’
(Oshkosh Daily Northwestern, Oshkosh, Wisconsin, Monday, 28 November 1892, p. 4a)

‘Dancing before the footlights in New York city just now are a number of young women from Paris’ Maulin Range [sic] and Jardin de Paris, who are creating a sensation, the like of which has not been experienced in many a day, says a writer in the World of that city. According to the writer a new dance has been introduced by the French called le grand ecart. The English name for it is not very dignified. Perhaps the feat is less so, but we must accept it as an artistic excellence. Imagine the dignity of a young woman sinking down to the floor her limbs at right angles to the body. The undignified phase is lost in the rapturous applause which comes from all parts of the house, even from the box tiers of the Four Hundred… .’
(Hamilton Daily Democrat, Hamilton, Ohio, 17 December 1892, p. 3d)

‘COLUMBIA THEATER [Brooklyn].
‘Babes in the Wood may be seen for another week at this spacious and handsome theater, before making way for The Isle of Champagne. It is a showy, spectacular piece, with a dash of burlesque, a dash of vaudeville, a bit of pantomime, some singing, incessant music, brilliant effects of costume, scenery and lights, and more than a dash of dancing. The performance of the four French dancers, who wrap their legs around their necks and perform the bone racking feat called ”the split,” makes a genuine sensation. Arthur Dunn and Timothy Cronin in the comic parts are really funny.’
(The Brooklyn Daily Eagle, Brooklyn, New York, Sunday, 12 February 1893, p. 5a)

an extra large cabinet photograph, 12 ¾ x 7 inches, of Emma Carson (fl. 1880s), American actress and singer, as she appeared in a revival of H.B. Farnie’s burlesque version of Offenbach’s Bluebeard, produced at the Bijou Opera House, New York, Tuesday, 6 May 1884
(photo: Moreno, New York, 1884)

‘BIJOU OPERA-HOUSE.
‘A crude burlesque of that bright, spirited trifle, Barbe-Bleue, was given last night at the Bijou Opera-house. The French piece, done here several years ago by Irma, Aujac, and a clever company, is perhaps almost forgotten now. Lydia Thompson, without doubt the only woman who could charm away the stupidity of broad and vulgar burlesque, originally presented Farnie’s version of the Offenbach farce in this city. This version was used last night, though hardly in its right form. The performance, like most things of its kind, was composed chiefly of extravaganza, absurdity, and womanhood with a small amount of clothes. A “variety ball” dance, at the end of the first act, seemed to enliven the audience. Much of Offenbach’s music written for Barbe-Bleue was not sung. That part of it which was sung fared badly. Mr. Jacques Kruger as Bluebeard, and Mr. Arthur W. Tams as Corporal Zong Zong were the most efficient members of the company. Miss Emma Carson and Miss Irene Perry were not especially entertaining, and Miss Pauline Hall appeared to be a rather lame Venus. There was little talent shown by these mediocre exponents of the ancient leg drama. Luckily, Mr. Kruger was amusing.’
(The New York Times, New York, Wednesday, 7 May 1884, p. 4f)