Alice Atherton, American burlesque actress and entertainer

Alice Atherton (1854-1899), American burlesque actress and entertainer, who married Willie Edouin in 1873.
(photo: J. Gurney & Son, New York, early 1870s)

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Lisa Weber’s death and burial, Buffalo, New York, October 1887

Lisa Weber (1844?-1887), English burlesque actress, one of Lydia Thompson’s original ‘British Blondes.’ She died in reduced circumstances while on tour in the burlesque Little Jack Sheppard at Buffalo, New York, on 23 October 1887. She was buried at New Forest Lawn Cemetery two days later.

(carte de visite photo: Howell, New York, circa 1868)

‘Lisa Weber Buried.

‘Buffalo, Oct. 25 [1887]. – The curtain has fallen upon the last act of Lisa Weber’s life, and the actress has stepped out upon the boards of an unknown stage. It was an indescribably pathetic little funeral that took place from the Eagle House this morning. Lisa Weber was once a successful and popular actress on the burlesque stage. Reverses came with age, and this year she took out a variety company on the road. Last Monday night she played the rôle of ”Little Jack Sheppard” at the Adelphi Theatre, but on Tuesday she fell sick. Her illness continued during the week and she was ”left behind” by her company. Sunday morning she died. She was in destitute circumstances, and members of the profession playing in Buffalo did what could be done to provide for her temporal wants. To secure a final resting place a lot in Forest Lawn was bought. The Rev. John E. Bold, of St. James’s Episcopal Church, conducted the funeral service. The pall bearers were chosen from members of the dramatic company now in Buffalo. A large number of the dramatic profession was present.’

(The New York Times, New York, Wednesday, 26 October 1887, p. 5c)

Lydia Thompson, English dancer, burlesque actress and theatrical manageress

Lydia Thompson (1838-1908), English dancer, burlesque actress and theatrical manageress, who was well known on both sides of the Atlantic during a career which flourished for much of the second half of the 19th Century.
(photo: unknown, probably 1880s; cigarette card issued by W. Duke Sons & Co with Preferred Stock cigarettes in a series numbering 240, USA, circa 1890)

Gloria Martinez, ‘the Beautiful Cuban,’ American burlesque actress

Gloria Martinez (active 1890-1915), American vaudeville/burlesque actress, ‘professionally known as the Beautiful Cuban’
(photo: J.B. Wilson, Chicago, circa 1902; halftone postcard published by the Philadelphia Post Card Co, no. 66, circa 1902)

Gloria Martinez, whose real name was Julia Boyle, appeared in various United States touring vaudeville/burlesque companies, including The Jersey Lilies Company, the New Century Girls and The Midnight Maidens.

‘The Jersey Lillies this season is playing the same pieces as last season. Both were written by Leon Erroll. Mr. Erroll was with the show last year. His part is now taken by Charlie Howard, who is featured, although James E. (Bluch) Cooper is the owner and plays a principal comedy role… .
‘Marty Regan is the same good ”rube” [hick or redneck] constable and Miss [Lucia] Cooper the same imposing principal woman, perhaps a little too much so in tights.
‘Glora Martinez, however, made such an attractive figure at the head of the chorus in an Amazon March that Miss Cooper might well leave Miss Martinez in full possession of all the honors she has taken in the ”figger” [i.e. figure] division of the performance… .’
(Variety, New York, Saturday, 10 February 1912, p. 25b/c)

Ruth Stetson

Ruth Stetson (fl. 1880s), American burlesque actress
(photo: Conly, Boston, circa 1888)

‘Memories of old times were revived at the Fourteenth-Street Theatre last evening when Lydia Thompson reappeared before a Metropolitan audience as Prince Fritz in Oxygen. Those who expect to find any traces of time on Miss Thompson’s countenance will be to some extent surprised. She has preserved her appearance wonderfully. As to her voice, there is little of it left. But she has lost nothing in vivacity and grace, nor in that winsomeness of manner that made her a favorite years ago. The old burlesque burnished up with new local allusions and topical songs is just as absurdly funny as ever. It is the sheerest nonsense, so ridiculously bad that it makes people ashamed of themselves to laugh at it; but they do laugh, and that right heartily. The company supporting Miss Thompson is full of industry if not overburdened with skill. A more active and energetic set of buffoons it would be hard to find anywhere. Among them Miss Addie Cora Reed, Lillie Alliston, Ruth Stetson, and Leila Farrel, and Messrs. R.F. Carroll, Alexander Clark, and Louis de Lange especially distinguished themselves last night. The whole company joined in making the old burlesque move with the life of a too much galvanize corpse, and the audience was kept in a state of uproarious laughter from the beginning of the performance to the end.’
(The New York Times, Wednesday, 18 May 1886, p.4)

‘THE CORSAIR. Spectacular operatic burlesque, in three acts, music by Mr Edward E. Rice and Mr John J. Braham, libretto by Mr J. Cheever Goodwin, produced at the Bijou Opera House [NewYork], Tuesday, Oct. 18th, 1887.
‘In The Corsair all the essentials of the regular Rice burlesque are present, with the exception of clever comedians. Mr Frank David, who made some success as the comedian in The Pyramid, has been put in the principal role here, and falls flat. The other male members of the cast have few opportunities, although Mr [George A.] Schiller was occasionally humorous. Sig. [J.C.] Brocolini is the possessor of a fine voice, and used it to advantage as Seyd Pacha. Miss Annie Summerville was pleasing as Conrad, until she attempted to sing. Miss [Louise] Montague looked pretty and acted well as Medora. The remainder of the ladies [including Ruth Stetson as Fetnab] had nothing whatever to do. Mr Rice has composed a number of bright, catchy airs for the piece, and these were duly appreciated. The scenery calls for special mention, almost all of the sets being marvels of gorgeousness, especially the last one, which represented the Palace of Pearl. In another scene, that of the harem, it is stated in the programme that the curtains, which fill up the stage, alone cost $1,800.’
(The Era, London, Saturday, 5 November 1887, p. 15c)

Ruth Stetson also played the small part of Tip-Top, Chief of the Pages in The Crystal Slipper; or, Prince Prettiwitz and Little Cinderella, a burlesque produced by David Henderson which first opened at the Chicago Opera House on 11 June 1888 before heading off on tour. Although there were various changes in cast, others who appeared in the show induced Topsy Venn, May Yohe, Edwin (Eddy) Foy, Marguerite Fish, Ida Mulle and Little Tich. (For further information, see Armond Fields, Eddie Foy: A Biography of the Early Popular State Comedian, Jefferson, North Carolina, 1999, ch. 6)

‘Ruth Stetson, the well-known burlesque actress, is soon to wed Mr. George Brewster, an elderly and wealthy gentleman residing in New York.’
(Duluth Evening Herald, Duluth, Minnesota, Wednesday, 5 June 1889, p. c)

Fannie Leslie

a carte de visite photograph of Fannie Leslie (1857-1935), English singer, burlesque actress and music hall serio-comic, in an unidentified role
(photo: The London Stereoscopic & Photographic Co Ltd, London, late 1880s)

Emma Carson

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)

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)

Rose Newham

Rose Newham (née Rose May Newman, b. 1862),
acrobatic and skirt dancer in characteristic pose.
She was a younger sister of Amelia Newham (née Amelia Augusta Newman, b. 1845), otherwise known as Mlle. Colonna, who had caused a sensation in the late 1860s/early 1870s with her troupe of can can dancers.
(photo: Sarony, New York, late 1880s)

Rose Newham appearing on tour in the United States in Lydia Thompson’s Penelope Company, 1888
‘A VERY SENSATIONAL DANCE.
‘But High Kicking Which Does Not Offend Good Taste.
‘The startling and sensational dance and high kicking of Miss Rose Newham, of the Lydia Thompson Company, in the burlesque of Penelope, which is the opening performance of the company this evening at the New Park theatre, has been the talk of every city in which the dance has been witnessed.
‘Miss Newham kicks and points her toes to the flies, with quite as much ease apparently and quite as perpendicularly as a flagpole pointing its nob [sic] to the heavens. The dance is executed in the costume which was known in the Elizabethan period as a doublet and hose, but which has been considerably modified for the purposes of burlesque.
‘There is nothing at all suggestive in the highest of the high kicking and nothing to offend the most correct taste. The dance is simply graceful, fanciful, eccentric, sensational and entirely startling.
‘It is during the second act that a chord from the orchestra bring the dancer down to the footlights; here she stands for an instant until a measure in the music is reached that suits her, and her feet start into motion. The rapidity of her movements are well nigh inconceivable, and cannot be followed by the eye. Before one position can be flashed to the retina the nimble limbs have cleaved the circumambient air in a wholly different direction. The result is confusing and bewildering in the extreme, and yet not unpleasing. When Miss Newham kicks there is a perpendicular line that flashes from her hip upward past her shoulder, past her shell-like ear, and terminated by a green slipper waving triumphantly above her golden hair. For a moment she looks like a human being with one leg. The other leg has disappeared entirely from the place where it is usually found, and then as the dancing becomes more fast and furious, and it is impossible to follow her movements with any degree of accuracy, she seems to have two limbs on one side of her body – one over her head and the other with the foot still resting on the floor. The optical delusion is complete. The press throughout the country have been loud in their praise of the very remarkable dancing of this young lady; and one and all confess it to be the most graceful and the highest kick ever seen on the stage.
‘Miss Lydia Thompson and her famous burlesque company open this evening in Stephens’ and Solomon’s satirical burlesque Penelope. The company numbers fifty-five people and is the largest and most complete organization ever seen in Portland. The advance sale of seats have been remarkably large, and prospects point to a successful week’s engagement.’
(The Morning Oregonian, Portland, Oregon, Friday, 22 February 1889, p.5b)

Lydia Thompson’s production of Henry Pottinger Stephens and Edward Solomon’s burlesque, Penelope, opened at the Star Theatre, New York, on 15 October 1888, with herself playing Ulysses and Aida Jenoure in the title role.

Rose Newham
(photo: unknown, late 1880s/early 1890s)

The People’s Theatre, 199 Bowery, New York City, week beginning Monday, 2 February 1891
‘The People’s has reproduced the striking situations and sensational effects of After Dark, a play that appeals very strongly to the tastes of this theatre’s patrons. Edmund Kean Collier, a vigorous and admirable actor when the conditions favor, is now the impersonator of the heroic Old Tom, and the Eaza is that careful and occasionally powerful actress, Stella Rees. Among the vaudevilliers [sic] who appeard in the concert hall scene was Rose Newham, who, though not named on the programme, gave a capital interlude of dancing.’
(The Sun, New York, Thursday, 5 February 1891, p. 3b)

Cinderella, Academy of Music, East 14th Street and Irving Place, New York City, November 1891
‘there was a sort of mortuary jollity about the production of Cinderella at the Academy of Music, a suggestion of the dear, dead ago. As an English pantomime it is a very, very long way off, and as an American entertainment it is lacking in many essential qualities. The costumes, ballets and ballet music all brought back memories of The Babes in the Wood at Niblo’s – to which, by the bye, Cinderella cannot hold a candle – then there was deal of Bertha Ricci, of comic opera memory, and other souvenirs… . Miss Fannie Ward, the Cinderella, has the ghost of a voice… . The best member of the company if Rose Newham, the skirt dancer, who did a conventional pas seul with her best Drury Lane smile.’
(Alan Dale, The Evening World, New York, Wednesday, 25 November 1891, p 2e)

‘Rose Newham, the skirt dancer, will, it is said, star in a new comedy next season, backed by a Chicagoan.’
(Dunkirk Evening Observer, Dunkirk, New York, Tuesday, 10 February 1891, p.2b)

Rose Newham is including in a long list of ‘ACTRESSES – SHOWING BUST’ in ‘New Cabinet Photographs,’ available from ‘RICHARD K. FOX, Publisher, Franklin Square, N.Y.’
(advertisement, <I.>Life and Battles of James J. Corbett The Champion Pugilist of the World, published by Richard K. Fox, New York, 1892)

‘PROFESSIONAL CARDS.
‘Rose Newham
‘At Liberty. 325 West 34th Street.’
(The New York Dramatic Mirror, New York, Saturday, 8 February 1896, p. 27d)

Rose Newham, acrobatic and skirt dancer, New York, late 1880s

Rose Newham (née Rose May Newman, b. 1862),
acrobatic and skirt dancer in characteristic pose.
She was a younger sister of Amelia Newham (née Amelia Augusta Newman, b. 1845), otherwise known as Mlle. Colonna, who had caused a sensation in the late 1860s/early 1870s with her troupe of can can dancers.
(photo: Sarony, New York, late 1880s)

Rose Newham appearing on tour in the United States in Lydia Thompson’s Penelope Company, 1888
‘A VERY SENSATIONAL DANCE.
‘But High Kicking Which Does Not Offend Good Taste.
‘The startling and sensational dance and high kicking of Miss Rose Newham, of the Lydia Thompson Company, in the burlesque of Penelope, which is the opening performance of the company this evening at the New Park theatre, has been the talk of every city in which the dance has been witnessed.
‘Miss Newham kicks and points her toes to the flies, with quite as much ease apparently and quite as perpendicularly as a flagpole pointing its nob [sic] to the heavens. The dance is executed in the costume which was known in the Elizabethan period as a doublet and hose, but which has been considerably modified for the purposes of burlesque.
‘There is nothing at all suggestive in the highest of the high kicking and nothing to offend the most correct taste. The dance is simply graceful, fanciful, eccentric, sensational and entirely startling.
‘It is during the second act that a chord from the orchestra bring the dancer down to the footlights; here she stands for an instant until a measure in the music is reached that suits her, and her feet start into motion. The rapidity of her movements are well nigh inconceivable, and cannot be followed by the eye. Before one position can be flashed to the retina the nimble limbs have cleaved the circumambient air in a wholly different direction. The result is confusing and bewildering in the extreme, and yet not unpleasing. When Miss Newham kicks there is a perpendicular line that flashes from her hip upward past her shoulder, past her shell-like ear, and terminated by a green slipper waving triumphantly above her golden hair. For a moment she looks like a human being with one leg. The other leg has disappeared entirely from the place where it is usually found, and then as the dancing becomes more fast and furious, and it is impossible to follow her movements with any degree of accuracy, she seems to have two limbs on one side of her body – one over her head and the other with the foot still resting on the floor. The optical delusion is complete. The press throughout the country have been loud in their praise of the very remarkable dancing of this young lady; and one and all confess it to be the most graceful and the highest kick ever seen on the stage.
‘Miss Lydia Thompson and her famous burlesque company open this evening in Stephens’ and Solomon’s satirical burlesque Penelope. The company numbers fifty-five people and is the largest and most complete organization ever seen in Portland. The advance sale of seats have been remarkably large, and prospects point to a successful week’s engagement.’
(The Morning Oregonian, Portland, Oregon, Friday, 22 February 1889, p.5b)

Lydia Thompson’s production of Henry Pottinger Stephens and Edward Solomon’s burlesque, Penelope, opened at the Star Theatre, New York, on 15 October 1888, with herself playing Ulysses and Aida Jenoure in the title role.

Rose Newham
(photo: unknown, late 1880s/early 1890s)

The People’s Theatre, 199 Bowery, New York City, week beginning Monday, 2 February 1891
‘The People’s has reproduced the striking situations and sensational effects of After Dark, a play that appeals very strongly to the tastes of this theatre’s patrons. Edmund Kean Collier, a vigorous and admirable actor when the conditions favor, is now the impersonator of the heroic Old Tom, and the Eaza is that careful and occasionally powerful actress, Stella Rees. Among the vaudevilliers [sic] who appeard in the concert hall scene was Rose Newham, who, though not named on the programme, gave a capital interlude of dancing.’
(The Sun, New York, Thursday, 5 February 1891, p. 3b)

Cinderella, Academy of Music, East 14th Street and Irving Place, New York City, November 1891
‘there was a sort of mortuary jollity about the production of Cinderella at the Academy of Music, a suggestion of the dear, dead ago. As an English pantomime it is a very, very long way off, and as an American entertainment it is lacking in many essential qualities. The costumes, ballets and ballet music all brought back memories of The Babes in the Wood at Niblo’s – to which, by the bye, Cinderella cannot hold a candle – then there was deal of Bertha Ricci, of comic opera memory, and other souvenirs… . Miss Fannie Ward, the Cinderella, has the ghost of a voice… . The best member of the company if Rose Newham, the skirt dancer, who did a conventional pas seul with her best Drury Lane smile.’
(Alan Dale, The Evening World, New York, Wednesday, 25 November 1891, p 2e)

‘Rose Newham, the skirt dancer, will, it is said, star in a new comedy next season, backed by a Chicagoan.’
(Dunkirk Evening Observer, Dunkirk, New York, Tuesday, 10 February 1891, p.2b)

Rose Newham is including in a long list of ‘ACTRESSES – SHOWING BUST’ in ‘New Cabinet Photographs,’ available from ‘RICHARD K. FOX, Publisher, Franklin Square, N.Y.’
(advertisement, <I.>Life and Battles of James J. Corbett The Champion Pugilist of the World, published by Richard K. Fox, New York, 1892)

‘PROFESSIONAL CARDS.
‘Rose Newham
‘At Liberty. 325 West 34th Street.’
(The New York Dramatic Mirror, New York, Saturday, 8 February 1896, p. 27d)