Posts Tagged ‘Alhambra (Leicester Square London)’

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La Malaguenita in the ballet Carmen, Alhambra, Leicester Square, London, 1912

November 10, 2013

La Malaguenita (active 1912), Spanish dancer, as she appeared in the revival of the ballet Carmen, choreographed by Augustin Berger and produced at the Alhambra, Leicester Square, London, on 24 January 1912.
(photo: Foulsham & Banfield, London, 1912)

‘OUR LONDON LETTER … JAN. 27 [1912].
Carmen, in the shape of a ballet, was revived at the Alhambra on Wednesday night. The present production is vastly better than the first, some two or three years ago [actually 7 May 1903], which had Guerara [Rosario Guerrero] for its heroine. The hand of Dion Calthrop Clayton, the new art director of the theatre, is apparent in the picturesque color scheme. The very atmosphere of Spain is reproduced. Alfred Moul, the managing director of the Alhambra, has for a long time been in Spain collecting characteristic dancers. He has certainly met with very great success. At the head of the importation is La Malaguenita, whose table dance is likely to be the sensation of the city. Mlle. Gaschewska [Anna Gaszewska], who was originally engaged to play Carmen, was suddenly prevented, but in her place Mr. Moul got Maria Le Bella, who gives a perfectly ideal performance. Bizet’s music is used, with the interpolation here and there of a composition by George Byng, the libretto maestro essential to ballet dancing. Carmen is likely to prove a great success.’
(The New York Clipper, New York, Saturday, 17 February 1912, p. 2a)

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Lottie Montal in London, 1874

September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat ”risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to ”make the unskilful laugh,” but it would certainly tend ”to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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Lottie Montal at the Alhambra, Leicester Square, London, 1874

September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat ”risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to ”make the unskilful laugh,” but it would certainly tend ”to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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September 10, 2013

Lottie Montal (née Louise Felicie Augustine Jean, 1851-1933), Parisian-born singer, at the time of her appearances at the Alhambra, Leicester Square, London, in 1874.
(cabinet photo: The London Stereoscopic & Photographic Co Ltd, London, 1874. Please note that this photograph has suffered water damage.)

In 1874 Miss Montal was married in London as his third wife to the French-born touring violinist, Horace Remy Poussard (1829-1898). In 1887 Miss Montal was married in New Zealand to Wynne Aubrey MacLean (1857-1890). After his death she lived for a while in London, where she taught singing. She died in London on 13 October 1933.

The Alhambra, Leicester Square, London, week beginning 3 August 1874
‘The Alhambra was crowded to repletion on Monday. The herione in The Pretty Perfumeress, recently played by Miss Kate Santley, is now personated by Miss Lottie Montal, an arch, bright-eyed, clever little lady from Australia, who sings nicely and acts charmingly.’
(Reynold’s Newspaper, London, Sunday, 9 August 1874, p. 5d)

The Alhambra, Leicester Square, London, week beginning 10 August 1874
‘Notwithstanding the repeated statement that everybody is out of town, we found a large assemblage at the Alhambra on Monday evening, so that it is evident the programme must have especial attractions for those who have not yet gone to the seaside, hillside, moorside, or lakeside… . Filling the place of Miss Kate Santley as Rose Michou, the heroine of Offenbach’s opera bouffe La Jolie Parfumeuse, we have an Australian prima donna, new to the London boards, by name Miss Lottie Montal. It was singular to notice, in one scene especially, the remarkable similarity in Miss Lottie Montal’s conception of the character to that of Miss Kate Santley. We are not aware whether this was intentional or accidental, but the result was the same, and the likeness went far to secure the favour of the audience, apart from Miss Montal’s own claims, which, personal and otherwise, are considerable. With a graceful figure and remarkably easy action Miss Montal combines pleasing features, eminently calculated to add to charm to such a character as that she is now depicting. Her voice is not powerful, neither has it the finest quality of tone, but one great merit belongs to it, which is not likely to pass unappreciated in opera bouffe, it is very flexible, enabling the fair owner to execute any florid passages with great ease. This was noticeable in the drinking song of the second act, one of the prettiest melodies of La Jolie Parfumeuse, in which Miss Montal revealed her best qualities as a singer. The song was rendered with much sparkle, dash, and vivacity, and was deservedly encored. In many other instances Miss Montal was entitled to very sincere congratulations, and the more she becomes accustomed to the large area of the Alhambra the more successful we believe she will be. The somewhat “risky” scene of the second act, considerably toned down since the first night, leaves nothing at present to offend the fastidious, which (thanks to the droller of Mr [Harry] Paulton, who aids Miss Montal admirably here) it is full of fun. The lady, greatly to her credit, resists the temptation to make the incident too suggestive, and we feel grateful. It might easily be played so as to “make the unskilful laugh,” but it would certainly tend “to make the judicious grieve,” and Miss Montal’s judgment in leaving well – or ill – alone must be highly commended… .’
(The Era, London, Sunday, 16 August 1874, p. 11a)

Following her engagement at the Alhambra, Miss Montal was due to appear at the Criterion Theatre, London, but illness intervened.

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Horace Howard and Phyllis Monkman’s Black and White Dance

June 22, 2013

Horace Howard and Phyllis Monkman as they appeared in the ‘Black and White Dance’ in the revue 8d. a Mile which was produced at the Alhambra, Leicester Square, London, on 9 May 1913.
(photo: Daily Mirror Studios, London, 1913)

The ‘black and white dance,’ where the dancers’ white shoes, hats and accessories appeared to move by themselves on a totally blacked-out stage, was a novelty introduced from the United States.

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Mdlle. Nadje, formerly of The Three Delevantis

June 18, 2013

Mdlle. Nadje (née Amelia Cecilie Bowden, 1885-1966), English ‘hand-balancer and expert in equipoise’
(photo: Foulsham & Banfield, London, circa 1906)

Mdlle. Nadje was a younger daughter of John Bowden (1825-1908) by his second wife, Rose (Watson). Bowden, whose stage name was Delevanti, was head of the Delevanti Troupe of equestrians, acrobats and wire-walkers.<br.
The Royal music hall, week beginning Monday, 30 January 1899
‘The Three Delevantis well deserve their description as ”graceful.” they perform various feats of bending and contortionism in an easy and supple way and with an absence of all apparently strain and effort which completely removes any unpleasant impression from their work.’
(The Era, London, Saturday, 4 February 1899, p. 20a)

The Royal music hall, week beginning Monday, 10 December 1900
‘The Three Delevantis, ”bric-à-brac artistes and hand-balancers,” are three symmetrically shaped and prepossessing young ladies, who have been thoroughly well trained in their business, and rapidly revolve on the tops of decanters, turn somersaults with marvellous agility and activity, and do clever things upon a pair of ladders. They are evidently admired, and their turn evokes ardent applause.’
(The Era, London, Saturday, 15 December 1900, p. 21b)

The Walthamstow Palace, week beginning Monday, 12 June 1905
‘Loud applause greeted the appearance of Mdlle. Nadje, who as hand-balancer and expert in equipoise has surely no superior. The exceeding grace of the performance, in addition to its cleverness, was recognised at once and vehemently cheered.’
(The Stage, London, Thursday, 15 June 1905, p. 18b)

‘I Lead – – OTHERS Follow
‘MLLE. NADJE
‘Now Playing eighth month on Keith, Proctor and Williams’ Circuit WITHOUT A BREAK.
‘I am the ONE and ONLY ORIGINAL DELEVANTI (NADJE), the only daughter of the original John Delevanti. I have played three engagements at THE ALHAMBRA, London, and TWICE BEFORE QUEEN ALEXANDRA OF ENGLAND.
‘I return for six weeks, December 23, 1907. I also have played SOUTH AFRICA.<br. ‘Finish the Season on K., P. and W. time June 13. Begins Orpheum circuit from June 23 to November 17.
‘I can stay forever in America.
‘LET ‘EM ALL COME. There is only one NADJE – THE REAL THING.
‘The Principal Performer for ten years of The Three Delevantis. My DAD’S name is JOHN. I am in no way related to any other artist in my line of work claiming to be related to THE THREE DELEVANTIS.
‘Wood of April 29, K. & P., 23d Street, New York.’
(Variety, New York, 27 April 1907, p. 27, advertisement)

Orpheum, Los Angeles, week beginning Monday, 8 July 1907
‘Mdlle. Nadje, an equilibrist who has been a feature of the London music halls for two seasons and has appeared privately before the king and queen of England.’
(Los Angeles Herald, Los Angeles, California, Sunday, 7 July 1907, part II, p. 3a, with photograph)

1909, ‘From Mdlle. Nadje, Alhambra Theatre, London
‘STAFFORD-MILLER CO., St. Louis, USA. ‘Quite without an equal are your preparations. Really I would consider it a serious handicap if I had to use some other powder than your Carmen [complexion powder]. It is beautiful and has kept my skin so perfect.
‘NOTE. – This letter is from a professional woman acclaimed for her beauty in three countries.’
(New York Tribune, New York, Sunday Magazine, 3 October 1909, full-page advertisement)

Tivoli Theatre, Melbourne, Australia, Saturday, 20 November 1915
‘Mdlle. Nadje, described as a ”physical culture” girl, appeared in the regulation Canadian bathing costume, and performed some clever acrobatic turns, for which, as well as for her graceful posing, she was heartily applauded.’
(The Argus, Melbourne, Victoria, Monday, 22 November 1915, p. 6b)

The King’s Theatre, Adelaide, week beginning Monday, 7 November 1921
‘The advent of the charming Franco-American artist, Mddle. Nadje, at the King’s Theatre, has been enthusiastically hailed. The vivacious little lady, whose beautiful figure has been so much admired and commented upon, gives a clever and artistic performance. Her attire, which is suitable both for her act, and to display her shapely proportions, consists of a perfectly fitting costume of silk, and she gives a unique display of posing, acrobatics, and physical culture. On her first entrance, Mdlle. Nadje wears an elegant Parisian gown, which must excite the envy of the lady members of the audience.’
(The Register, Adelaide, South Australia, Wednesday, 9 November 1921, p. 9c)

‘… Mdlle. Nadje is not of French birth. She was born in London. At the age of 15 she went to America, and since then has been before the footlights, adopting a Hindu stage name. She has played in the leading theatres of the United States, London, Paris, and Brussels. In many places she has given a lead to ladies desirous of taking up physical culture. ”Invariably,” she declared subtly, ”after my talks they want to kiss me. Will the Adelaide ladies be the same?” was her parting question as she walked gracefully on to the stage in one of her charming gowns.’
(The Advertiser, Adelaide, South Australia, Thursday, 10 November 1921, p. 12e)

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June 18, 2013

Mdlle. Nadje (née Amelia Cecilie Bowden, 1885-1966), English ‘hand-balancer and expert in equipoise’
(photo: Foulsham & Banfield, London, circa 1906)

Mdlle. Nadje was a younger daughter of John Bowden (1825-1908) by his second wife, Rose (Watson). Bowden, whose stage name was Delevanti, was head of the Delevanti Troupe of equestrians, acrobats and wire-walkers.<br.
The Royal music hall, week beginning Monday, 30 January 1899
‘The Three Delevantis well deserve their description as “graceful.” they perform various feats of bending and contortionism in an easy and supple way and with an absence of all apparently strain and effort which completely removes any unpleasant impression from their work.’
(The Era, London, Saturday, 4 February 1899, p. 20a)

The Royal music hall, week beginning Monday, 10 December 1900
‘The Three Delevantis, “bric-à-brac artistes and hand-balancers,” are three symmetrically shaped and prepossessing young ladies, who have been thoroughly well trained in their business, and rapidly revolve on the tops of decanters, turn somersaults with marvellous agility and activity, and do clever things upon a pair of ladders. They are evidently admired, and their turn evokes ardent applause.’
(The Era, London, Saturday, 15 December 1900, p. 21b)

The Walthamstow Palace, week beginning Monday, 12 June 1905
‘Loud applause greeted the appearance of Mdlle. Nadje, who as hand-balancer and expert in equipoise has surely no superior. The exceeding grace of the performance, in addition to its cleverness, was recognised at once and vehemently cheered.’
(The Stage, London, Thursday, 15 June 1905, p. 18b)

‘I Lead – – OTHERS Follow
‘MLLE. NADJE
‘Now Playing eighth month on Keith, Proctor and Williams’ Circuit WITHOUT A BREAK.
‘I am the ONE and ONLY ORIGINAL DELEVANTI (NADJE), the only daughter of the original John Delevanti. I have played three engagements at THE ALHAMBRA, London, and TWICE BEFORE QUEEN ALEXANDRA OF ENGLAND.
‘I return for six weeks, December 23, 1907. I also have played SOUTH AFRICA.<br. ‘Finish the Season on K., P. and W. time June 13. Begins Orpheum circuit from June 23 to November 17.
‘I can stay forever in America.
‘LET ‘EM ALL COME. There is only one NADJE – THE REAL THING.
‘The Principal Performer for ten years of The Three Delevantis. My DAD’S name is JOHN. I am in no way related to any other artist in my line of work claiming to be related to THE THREE DELEVANTIS.
‘Wood of April 29, K. & P., 23d Street, New York.’
(Variety, New York, 27 April 1907, p. 27, advertisement)

Orpheum, Los Angeles, week beginning Monday, 8 July 1907
‘Mdlle. Nadje, an equilibrist who has been a feature of the London music halls for two seasons and has appeared privately before the king and queen of England.’
(Los Angeles Herald, Los Angeles, California, Sunday, 7 July 1907, part II, p. 3a, with photograph)

1909, ‘From Mdlle. Nadje, Alhambra Theatre, London
‘STAFFORD-MILLER CO., St. Louis, USA. ‘Quite without an equal are your preparations. Really I would consider it a serious handicap if I had to use some other powder than your Carmen [complexion powder]. It is beautiful and has kept my skin so perfect.
‘NOTE. – This letter is from a professional woman acclaimed for her beauty in three countries.’
(New York Tribune, New York, Sunday Magazine, 3 October 1909, full-page advertisement)

Tivoli Theatre, Melbourne, Australia, Saturday, 20 November 1915
‘Mdlle. Nadje, described as a “physical culture” girl, appeared in the regulation Canadian bathing costume, and performed some clever acrobatic turns, for which, as well as for her graceful posing, she was heartily applauded.’
(The Argus, Melbourne, Victoria, Monday, 22 November 1915, p. 6b)

The King’s Theatre, Adelaide, week beginning Monday, 7 November 1921
‘The advent of the charming Franco-American artist, Mddle. Nadje, at the King’s Theatre, has been enthusiastically hailed. The vivacious little lady, whose beautiful figure has been so much admired and commented upon, gives a clever and artistic performance. Her attire, which is suitable both for her act, and to display her shapely proportions, consists of a perfectly fitting costume of silk, and she gives a unique display of posing, acrobatics, and physical culture. On her first entrance, Mdlle. Nadje wears an elegant Parisian gown, which must excite the envy of the lady members of the audience.’
(The Register, Adelaide, South Australia, Wednesday, 9 November 1921, p. 9c)

’… Mdlle. Nadje is not of French birth. She was born in London. At the age of 15 she went to America, and since then has been before the footlights, adopting a Hindu stage name. She has played in the leading theatres of the United States, London, Paris, and Brussels. In many places she has given a lead to ladies desirous of taking up physical culture. “Invariably,” she declared subtly, “after my talks they want to kiss me. Will the Adelaide ladies be the same?” was her parting question as she walked gracefully on to the stage in one of her charming gowns.’
(The Advertiser, Adelaide, South Australia, Thursday, 10 November 1921, p. 12e)