Willie Edouin (1846-1908), English comic actor, as ‘The Heathen Chinee’ (based on Ah Sin, a character imagined by Bret Harte for a poem, first published in 1870) in Lydia Thompson‘s production of H.B. Farnie‘s burlesque, Blue Beard; or, the Mormon, the Maiden and The Little Militaire, first produced at Wallack’s Theatre, New York, 16 August 1871. After 30 performances the piece began a tour of the United States. Lydia Thompson’s production of Blue Beard, in which Willie Edouin appeared again as ‘The Heathen Chinee,’ was first seen in London at the Charing Cross Theatre on 19 September 1874. This pose shows Edouin stepping away from the playing cards which have just fallen out of his ‘Chinee’s’ long sleeve, as in Harte’s poem.
(carte de visite photo: Fradelle & Marshall, 230 & 246 regent Street, London, W, probably 1875)
Wallack’s Theatre, New York, Wednesday evening, 16 August 1871
‘MISS LYDIA THOMPSON and her new burlesque company commenced an engagement at Wallack’s Theatre on Wednesday evening, Aug. 16th, the house having been closed the two preceding evenings for rehearsals. Although the troupe had been announced to appear on Monday evening, the delay on the passage of the steamship Queen, which bore them to our shores and only arrived on Friday, the 11th inst., rendered it advisable that the opening should be postponed rather than risk a possibly imperfect performance, as the company had never, hitherto, acted together… . Willie Edouin created much hilarity by his grotesque acting of Corporal Zoug-Zoug. He walked with a gait which defies description, but which convulsed the audience with laughter. In the third scene he was introduced as a Heathen Chineee, which he personated in an excellent manner, singing a Chinese song, and performing a Chinese grotesque dance which met with great favor, being thrice re-demanded. He also, with [Harry] Beckett, presented in a realistic manner the celebrated game of euchre played by Ah Sin, as described by Bret Harte, which was rapturously received. His ping being made of India rubber became the vehicle of likewise creating much mirth… .’
(The New York Clipper, New York, Saturday, 26 August 1871, p. 166b)
Memphis Theatre, Memphis, Monday, 8 January 1872
‘This temple of the Muses was packed from pit to dome last evening by an enthusiastic and fashionable audience, on the occasion of the initial performance of the famous Lydia Thompson blondes, in the extravaganza called Blue Beard. From the rise until the fall of the curtain the troupe kept the audience in a roar of laughter. By way of change, a charming solo, duet or quartette would be introduced, all of which were sung in an artistic and operatic manner. Miss Thompson has lost none of her old-time playful abandonment. Last night she skipped and pirouetted through the part of ”Selim” with airy grace and bewitching sweetness. Burlesque holds its position on the stage as an amuser of the people, and, while it may not aim to accomplish lofty ends, it is still a form of entertainment that is harmless, and, at the same time, fruitful of much innocent enjoyment. Of burlesque, Miss Thompson is now the recognized exponent, and deserves thanks fo the admirable manner in which she has pleased eye and ear in Blue Beard. Next in importance to Miss Thompson in the success of the troupe if Mr. Harry Becket, whose ”make up” and acting as the polygamous ”Blue Beard” presented the same rare appreciation of the broadly humorous which has always characterized his art labors. Willie Edouin, too, as ”Corporal Zoug Zoug” and the ”Heathen Chinee,” also came in for a large share of applause, and, indeed, the entire company appears to be one that will work harmoniously together and be the source of much entertainment to the theater-going public. Two points in Miss Thompson’s characterization were remarkable. One was her interpritation of the song, ”His Heart was True to his Poll,” which was full of an energetic humor for which we did not give her credit; the other was her personal appearance as the ”Shepherd boy,” wheein she looked as though was had strayed out of one of Virgil’s eclogues, with the bloom of the pastoral age upon her. Blue Beard will be presented again this evening.’
(The Public Ledger, Memphis, Tennessee, Tuesday, 9 January 1872, p. 2c-d)
Academy of Music, Charleston, Thursday, 4 April, 1872
‘THE LYDIA THOMPSON TROUPE.
‘A Crowded Audience and a Brilliant Initial Performance.
‘The beautiful burlesquers of Miss Lydia Thompson’s new troupe took simultaneous possession of the Academy of Music and the hearts of its crowded audience at their initial performance last evening. The merry travestie upon the doleful legend of Blue Beard was irresistibly comical, and, with its rollicking humor, its excruciating puns, and its accompaniments of charming dresses and lovely forms, it brought down the house. Miss Lydia Thompson was the jauntiest of sous-lieutenants; Miss Eliza Weathersby, the jauntiest of O’Shabacacs, and Miss Nellie Kamp the pearl of pages. We give place aux dames, as it our duty, but the success of the evening was won by Willie Edouin, the Heathen Chinese, whose euchre scene from the tale of Truthful James was applauded to the echo. To-night will be given the legend of the love-lorn Lurline.’
(The Charleston News, Charleston, South Carolina, Friday, 5 April 1872, p. 3c)
Charing Cross Theatre, London, 19 September 1874
‘Mr Willie Edouin, who re;resented a corporal and a ”Heathen Chinee,” is an extremely clever actor, but his performances are, we should say, a good deal too violet for English tastes. His ”Heathen Chinee,” however, is very much superior to his corporal. His dancing as the Chinee is little short of miraculous, and his antics generally are very laughable, though rather verging towards incontinent extravagance.’
(The Examiner, London, Saturday, 26 September 1874, p. 1056b)
‘… It would be impossible to find for Selim another impersonator as graceful and refined as Miss Lydia Thompson, or for Blue Beard a more humorous representative that Mr. Lionel Brough [replacing Harry Beckett]. But the American actors [sic], Mr. John Morris, who, in presence of the audience, transforms himself instantaneously from a young man to an old one, from man to woman, and from an old woman to a younger girl; and Mr. Willie Edouin, who plays the part of the ”Heathen Chinee,” and after a series of most grotesque performances cheats Blue Bear at euchre, could not be replaced at all. How these gentlemen ever got into the piece is a problem which cannot be solved by analysis. But there they are and there they are likely long to remain. Many playgoers, and a far greater number of non-playgoers, had been congratulating themselves on the fact that burlesque was dead; that it had at last given way to opera bouffe, which was, in its turn, to give way to opéra comique, so that in the end all fun of a farcical kind and set to music would disappear from the stage. This was neither possible nor desirable; and Miss Lydia Thompson’s experiment has shown that, with whatever violence burlesque may be driven out, it will return. No one, however, would have wished for its disappearance had the class in general been as free from vulgarity as it the individual specimen of it which Miss Lydia Thompson has now brought forward.’
(The Pall Mall Gazette, London, Monday, 26 October 1874, p. 10)
Footlight Notes 