Dagmar and DeCelle (active 1890s), Anglo-American duettists: Alexandra Dagmar (1868-1940), English music hall vocalist and pantomime principal boy, and Edmond DeCelle (1854?-1920), American tenor
(cabinet photo: Robinson & Roe, 54 West 14th Street, New York, and 77 & 79 Clark Street, Chicago, circa 1890)
‘A CHAT WITH MISS DAGMAR.
‘(By Our Special Commissioner.)
‘Few of the critics, lay and professional, who waxed so enthusiastic over Miss Dagmar’s performance in the pantomime [Cinderella, produced on 24 December 1894] at [the Metropole Theatre] Camberwell had any idea that the lady then made her first appearance in the capacity of a principal boy. But such was the case. Previously Miss Dagmar had appeared on our variety stage, and, as she is an important from America, the impression prevailed that she is a product of the United States. But that is not the case. Miss Dagmar is a London girl, of Danish parents, which may account for her Junoesque proportions and wondrously fair hair. Her association with the stage began some ten years ago, when a friend of the family, remarking her beautiful voice, suggested a professional career. Miss Dagmar was delighted by the very thought. Her father, however, was reluctant, and it was some time ere he could be prevailed upon to let his daughter avail herself of an introduction to Miss Sarah Thorne. But at length all obstacles were overcome, and Miss Alexandra Dagmar became a very humble member of the theatrical profession, playing a fairy, ”of something of that kind,” she vaguely recalls, in a travelling pantomime, on the old subject of ”Peter Wilkins.” She has a vivid recollection of papa escorting her to Maidstone and committing her to the sober and respectable care of a temperance hotel.
‘But good luck was in store for her – good luck that grew, as it sometimes will, out of another’s misfortune. The second girl fell ill – Miss Dagmar was, after no more than a week’s experience, promoted to the part thus vacated, and continued to play it during the fifteen weeks ensuing. Her great effort was a ballad entitled ”Waiting.” Miss Dagmar recalls that one of her companions during a delightful engagement was none other than Miss Janet Achurch, who played the Fairy Queen. After an experience on the stage as free from temptation and knowledge of the great world as a sojourn in a seminary might be, Miss Dagmar returned to the bosom of her family, and her further devotion to the stage was regarded with much disfavour. But the circumstances of her friends underwent a sudden change, and Miss Dagmar was, in fact, quite grateful for the necessity to make the most of her talent. The most lucrative engagement that offered was to visit America, and there join the Boston Redpath Lyceum Bureau.
‘This is a curious and interesting organisation. It forms concert parties and other entertaining bodies, and sends them the round of high-class social institutions – literary society, young men’s Christian associations, and the like. The performances were given in evening dress, and were as proper as proper could be. The company that Miss Dagmar first joined had especially a German character, and she became a notable singer of Volkslieder. For several years Miss Dagmar travelled with the Redpath Lyceum companies; and here one Mr De Celle appears on the scene. Mr De Celle comes from Chicago, and has all his life been devoted to music – as a singer and as a manager for eminent performers. In his time has has, for instance, engineered Remenyi and Ovide Musin, the violinists. Mr De Celle was the manager of the Lyceum company to which Miss Dagmar belonged, and took a special interest in the development of her voice. Some four years ago [sic] they were married.
‘When Miss Dagmar left the Redpath Lyceum she soon found herself in great request with the managers of high-class variety entertainments. At Koster and Bial’s, for instance, she is a great favourite. Alone, or as eventually she appeared, in association with Mr De Celle, Miss Dagmar has appeared at Koster and Bial’s for two years in the aggregate, and she rejoices in a general invitation from Mr Albert Bial to make the famous variety theatre her home. At first Miss Dagmar used to sing on the variety stage in evening dress. Then she had the happy thought of giving in costume excerpts from popular operas, her husband also taking part. The managers of the American theatres, so Miss Dagmar tells you, look upon the variety performer with friendly toleration. ”Sing your exceprt,” they say, ”and welcome. So far from your injuring us, you give us a valuable advertisement.” So Mr De Celle and his wife acquired a vast repertory of operatic fragments. An except from La Cigale was a notable favourite with American audiences. But when the duettists reached England a stern copyright law assailed their repertory on every side, and decimated it. They are left with nothing much to sing besides their always popular jödel. And the worst of it is, pay what money they will for original compositions, they get nothing to suit them.
‘One has run ahead a little. From time to time, ere yet they left America, Miss Dagmar and Mr de Celle appeared with ”combinations,” and notably with Mr William A. Brady‘s companies. They appeared in the variety scene when he produced After Dark, and when eventually he set out with Gentleman Jack, they ”supported” Mr Jim Corbett during a tour of the phenomenal success. Miss Dagmar, in making up her mind to visit England some nine months ago, had two objects in view. She wanted to ”go in for” a severe course of study; and she wanted to distinguish herself as a burlesque boy. Alas! burlesque boys were not in strong demand, and Miss Dagmar determined on a pilgrimage to Italy. But Mr. Brady, then about to exploit Corbett over here, begged his old friends to join him; and so they did, although there were not able to take part in the first week’s performances of Gentleman Jack at Drury-lane [21 April-5 May 1894]. This, by the way, was a memorable period of Miss Dagmar’s life. She wore tights for the first time! One’s demand for a full and particular account of the sensations that a young lady experiences in such circumstances is doomed to disappointment, for Miss Dagmar says, ”Well, you may call it the first time; for I had just had them on previously. That that began my career as a stage boy.”
‘London music hall managers were quick to appreciate the worth of the new turn. Since Miss Dagmar and Mr De Celle arrived in London they have never been out of an engagement, their notable successes having been achieved at the Palace Theatre, the Alhambra, and the Royal. Their services have been secured for well nigh six months to come, and during the spring and early summer they will visit a series of the great continental music halls. Meanwhile, neither of the objects that Miss Dagmar had in view when she determined to come to London has been lost sight of. She meant to study, and she is studying very diligently, with Mr [Albert] Visetti, at the Guildhall School of Music. As to the principal boy? Well, here is the progress of the principal boy. The tantalising delays attendant upon the completion of his theatre at Camberwell left Mr [John Brennan] Mulholland in grave doubt as to whether he should be able to do a pantomime this year or not. When at length he could make arrangements there was probably the shortest space of time at his disposal that ever a manager dared to contemplate for the preparation of a Christmas annual. But he had many potent influences at command, and with wondrous tact and energy he manipulated them to the point of success. Who should be principal boy? That was, indeed, a momentous question. Would Miss Dagmar like the engagement, said her agent? Was not Miss Dagmar, indeed, dying to show London what she could do in this capacity[?] She set to work, and for the first time in her life found herself an important figure in the development of a story on the stage. Miss Dagmar is perfectly delighted with her success. And, indeed, her ambition has received a particular incentive that is not yet the time to disclose. But the variety stage may, at any rate, take a hint to make the most of her while it can. Camberwell is not so very far from the Strand – nor too far for the excursions of observant managers, with eyes wide open when new ”talent” is airing itself, and words of honey on their lips when the discussion of future arrangements begins. Of one thing Miss Dagmar is quite certain. She never had a happier thought than when she determined, after so long an interval, to resume her theatrical career in circumstances curiously similar to those wherein she left it. The years ago she played in a pantomime with conspicuous success, and by the way of a pantomime she has stepped into a position of gratifying distinction on the London stage.’
(The Era, London, Saturday, 12 January 1895, p. 11e)
Footlight Notes 