Thomas S. Dare, gymnast, clown and pantomimist

Thomas S. Dare (about 1855-after 1910), American gymnast, clown and pantomimist
(photo: H.T. Reed & Co, London, 16 Tottenham Court Road, London, circa 1877)

Thomas S. Dare, whose real name was Thomas S. Hall, was born in New York and for a time worked with his brothers, George and Stewart, both of whom were also gymnasts. He was married for the first time on 1 July 1871 in New York City [(The Sun, New York, New York, Thursday, 12 February 1885, p. 2g)] to Susan Adeline Stuart/Stewart (1854/55-1922) who became internationally celebrated as the trapeze artist, Leona Dare. T.S. Dare subsequently married in 1882 Frances Mary Stevenson, whose stage name was Ada Dare, and was later professionally associated with the boxer James J. Corbett (1866-1933).

Mr. W. Knowles’s Benefit, Cambridge music hall, London, Tuesday evening, 29 May 1877
‘… Mr Steward [sic] Dare (the one-legged gymnast) and Little Hall (the American Clown) gave an exceedingly clever and also amusing exhibition of their talent as performers on the horizontal bar… .’
(The Era, London, Sunday, 3 June 1877, p. 4b)

‘Original, Sensational, Amusing.
‘STEWART H. DARE,
‘the Unipedal, or One-Legged, Gymnast,
‘and
‘THOMAS S. DARE,
‘the Merry Gymnastic Clown,
‘in their Wonderful and Mirthful Gymnastic entertainments. Big success everywhere. Splendidly dressed, and the handsomest Apparatus I the country. Read extracts from Testimonials:-
”’Gentlemen, – We take great pleasure in bearing testimony to the merit and success of your wonderful and unique entertainment. – J.H. JENNINGS, Oxford.”
”’Gentlemen, – I take great pleasure in recommending your wonderful performance to all Managers. – F. ABRAHAMS.”’
(The Era, London, Sunday, 11 November 1877, p. 17d, advertisement)

‘MARRIED [in London], at the Register office, Brixton, on Wednesday, the 20th inst. [December 1882], Thomas S. Hall, better known as Thomas Dare, of the Dare Brothers, to Miss Frances Mary Stevenson.’
(The Era, London, Saturday, 23 December 1882, p. 4b)

Springfield, Ohio, September 1886
‘Tony Pastor’s Own Company Tonight At the Grand.
‘Tony Pastor and company arrived this morning and are stopping at the Arcade. His company this season is stronger and better than ever. The Boston Press speaks as follows of the company: … Thomas S. and Stewart Dare, the marvelous gymnasts, and the performance of the latter, the one-legged acrobat, on the horizontal bar are truly marvelous, while the former is too well known in the role of grotesque clown and facial comedian to need any commendation… .’
(Springfield Globe-Republic, Springfield, Ohio, Wednesday, 15 September 1886, p. 1g)

‘ADA DARE SUED FOR DIVORCE.
‘She is in Lillian Russell’s Company and Her Husband is a Well-known Acrobat.
‘Thomas S. Dare, the well-known clown, pantomimist, and acrobat, has brought suit for absolute divorce against his wife, Ada Dare, an actress, who appeared last season in Sinbad, the Sailor, at the Madison Square Garden. She is now a member of the Lillian Russell comic opera company, which is on its way to San Francisco. Mr. Dare asks for a decree on the statutory grounds, naming as co-respondents several men said to be prominent in commercial and theatrical circles. Mr. Dare also asks for the custody of his seven-year-old son. According to the not of issue of the case, which has been filed for the September term of the Superior Court, Mr. Dare’s real name is Thomas S. Hall. The papers were served on Mrs. Dare early in August, when she was playing at the Madison Square Garden, but she was allowed the usual twenty days’ notice to pass by without making an answer, and it is probably that the decree will be granted without opposition.
‘Mr. Dare is widely known as a circus and variety performer both in this country and abroad. For eleven years he and his brother, Stewart H. Dare, a one-legged acrobat, travelled in Europe and met with great success. Another brother, George H. Dare, is also an acrobat. Dare’s first wife was Leona Dare, the trapezist, whom he met in New Orleans in 1869, and in 1871 they were married in this city. He taught her to perform on the trapeze and she accumulated a fortune in the business, but she left Dare in 1876. in 1880 she secretly obtained a divorce in Illinois in order to marry Baron Greenebaugh, an Austrian whom she met while performing abroad. The Baron was disinherited by his father and soon after abandoned his wife.
‘Dare was managing a music hall in Paris in 1882 when he met his second wife, whom he is now suing for divorce. Her name then was Frances Mary Stevenson, and she was a member of the Zento troupe of bicyclists. They were married in London, and performed together on the Continent until 1885, when they came to America.’
(The Sun, New York, Thursday, 1 September 1892, p. 9f)

‘PIQUO AND HIS LITTLE DECEPTION
‘If You Would Succeed in the Acrobatic Art Take a Foreign Name.
‘So Says a Clever Impersonator of That Highly Mischievous Character.
‘A gymnastic team which was billed under the names of Paulinetti and Piquo lately appeared at the Orpheum Theater in this city [San Francisco] and presented an act on the horizontal bar that was probably as entertaining as any that has ever been witnessed on the stage. One would infer from the Italian nature of the names that the possessors were born and reared in Italy’s sunny country, but would be somewhat surprised to learn that instead of being of foreign extraction the two gentlemen are both natives of these glorious United States, and to use the words of Piquo himself they are proud of it. There are tricks in all trades, and the theatrical profession is no exception to this general rule, but in an interesting talk with Piquo the reasons for this assumption of foreign cognomens were readily understood and it must be granted that the little deception practised on the American public is fully warranted by the attendant circumstances. It is a well known fact, says Piquo, that a variety artist who appears under a name peculiar to European countries is almost invariably assured of being well received by an American audience simply because there is a mistaken impression that whatever is foreign must be good. This, says he, militates against the American artist, especially in acrobatic performances, and Piquo evidently knows whereof he speaks, for he is no novice in the theatrical business. He first commenced to earn regular salary and thereby professionalized himself in 1868 in the city of New York, where he was born. His proper every day name is T.S. Dare, or Tommy Dare, as he is familiarly called by those who know him best. He played the part of the clown in the act, and will be remembered as having caused considerable merriment in that character. His partner, who rejoices under the name of Paulinetti when he is doing his turn, is Ph. Thurber when he is not going through his very clever and difficult scientific work on the horizontal bar.
‘Piquo says that the immediate cause of their taking the foreign names was the fact that they had traveled extensively throughout Europe, showing at the best music halls in the principal cities, and on returning to this country conceived the scheme. The first manager to whom they applied for an engagement, on learning that they had just arrived from across the pond and had closed a successful season of several months at the Folies Bergeres, in Paris, immediately contracted for their appearance at his theater and paid them double salary for the European name. When they first went to England as the American artists, ”Dare and Thurber,” they were coldly received by the English managers, who said there was a surfeit of that horizontal bar business in the theatrical market, ”don’t you know,” but condescended to give them a trial. The managers soon thawed out, however, on the opening night, when they saw how well the team was received by the languid English audiences, who really became enthusiastic in their applause. After that long engagements were the rule. Mr. Dare (of Piquo), for his identity must be preserved, is authority for the statement that English acrobatic artists cannot compare with the Americans engaged in the same line. In their gymnastic work, while the former are slow, studied and lumbering, the latter are more easy, quick and graceful. Piquo also says that the feats which he and Paulinetti perform are not on-half as difficult as answering to their foreign aliases. After a performance one evening a gentleman of color was overhead to remark to his companion, ”Say, Johnson, dem fellers, Polinaris and Pie-cut, were de best on de programme.”
‘Piquo’s countenance became sad when he said that there was some danger of the team separating, on account of some little misunderstand, but it is to be hoped that such an event will not occur, for two people who work so well together in public should experience no difficulty in getting along in their private life. But Piquo says that it is the gratitude of the world. To use his language: ”I have had a score of partners in the course of my theatrical career; have given them all the benefit of my thirty years’ experience in the acrobatic business, and the they gave me the frigid shake. But, never mind, if this one leaves me I will soon get another one, and we will hold on to the name of ‘Paulinetti and Piquo’ even if the new man should be Scandinavian.”’
(The San Francisco Call, Friday, 14 January 1898, p. 9b)

Whimsical Walker

Whimsical Walker (1850/51-1934), English clown
(photo: unknown, probably 1915/16)

‘Dear Girls and Boys –
‘How many of you have never seen a pantomime? Not many, I imagine, for the funny business between clown and pantaloon with which all proper pantomimes still conclude has always strongly appealed to the hearts of the children. I wonder if any of you have seen Whimsical Walker, the world’s most famous living clown. For some years he has been appearing regularly in the pantomime at Drury Lane Theatre, and because he is also appearing in the Trans-Atlantic British-made film comedies I have published his portrait, and feel sure a few facts about his adventurous career will interest you.
‘Mr. Walker was born at sea on July 5th, 1854, and first appeared before the public at Burnley as a tiny clown who emerged from a carpet bag carried by another member of the company. In 1872 he was engaged for the famous Sanger’s Circus in Westminster Bridge Road, London (as a boy ”Uncle Tim” saw and enjoyed many shows there), where a stage performance was given in addition to the circus. Mr. Walker admits that his stage efforts were so bad that he was sacked every night, but always re-engaged because of his skill in the circus. In 1874, and important period in his career, he was engaged by Charles Hengler to appear at his circus in London, where he was christened ”Whimsical Walker,” and for fourteen winter seasons he appeared there regularly. (”Uncle Tim” also enjoyed himself on rare occasions at Hengler’s, which stood on the site of the present Palladium.) In America Mr. Walker appeared with other circuses, including the great Barnum and Bailey shows, and was also commissioned to purchase the famous elephant Jumbo from the Zoo at a cost of £1,000.
‘Jumbo was an enormous success in America, many single day’s takings amounting to as much as £3,000. The cast was poured into great wooden casks and sent to a bank in New York.
‘In 1882 Whimsical Walker opened a theatre of his own in new York with a pantomime called Three Wishes. Its success brought temporary misfortune, for the top gallery dropped a bit when filled with people, a stampede followed, and actions for damages reduced poor Mr. Walker to the clothes he wore and a few dollars. He had to borrow money to return to Liverpool, where he was again engaged by Mr. Hengler.
‘On boxing Day, 1882, feeling in need of a refresher, Whimsical Walker chartered a horse at 7 a.m., and started off for a gallop. Before he had travelled far, however, the horse stumbled and fell, and the clown sustained a fractured leg, which laid him up for five months.
‘In a singularly adventurous career, this is the only serious accident he has ever suffered.
‘On February 20th, 1886, Whimsical Walker was honoured by a Command Performance to appear with his singing donkey before her Majesty the Queen at Windsor Castle. In commemoration of this visit the queen presented Mr. Walker with the beautiful diamond tie-pin which he is wearing in the [above] photograph.
‘In 1904 the great clown embarked for Australia for a long tour there, but on landing at Melbourne he was cabled for by Mr. Arthur Collins, of Drury Lane Theatre, and he returned immediately. The fact is that Whimsical Walker had been appearing every season in the Drury Lane harlequnade since 1890, and the reason for his sudden recall was that, owing to the death of Herbert Campbell, and the absence of Dan Leno from the cast, Mr. Collins felt that he could not possibly do without the popular clown as well.
‘I hope these details have not bored you. The subject fascinates me. I should like to write a big book about Mr. Walker’s life. Oh, I’ve forgotten to tell you that the first of these films in which he is now appearing on the screen is called The Knut and the Colonel, so mind you look out for it.’
(Uncle Tim, ‘The Young Picturegoer,’ Pictures and the Picturegoer, London, weed ending Saturday, 12 February 1916, pp. 463 and 464)

Whimsical Walker (1850/51-1934), English clown
(photo: unknown, probably 1915/16)

‘Dear Girls and Boys –
‘How many of you have never seen a pantomime? Not many, I imagine, for the funny business between clown and pantaloon with which all proper pantomimes still conclude has always strongly appealed to the hearts of the children. I wonder if any of you have seen Whimsical Walker, the world’s most famous living clown. For some years he has been appearing regularly in the pantomime at Drury Lane Theatre, and because he is also appearing in the Trans-Atlantic British-made film comedies I have published his portrait, and feel sure a few facts about his adventurous career will interest you.
‘Mr. Walker was born at sea on July 5th, 1854, and first appeared before the public at Burnley as a tiny clown who emerged from a carpet bag carried by another member of the company. In 1872 he was engaged for the famous Sanger’s Circus in Westminster Bridge Road, London (as a boy “Uncle Tim” saw and enjoyed many shows there), where a stage performance was given in addition to the circus. Mr. Walker admits that his stage efforts were so bad that he was sacked every night, but always re-engaged because of his skill in the circus. In 1874, and important period in his career, he was engaged by Charles Hengler to appear at his circus in London, where he was christened “Whimsical Walker,” and for fourteen winter seasons he appeared there regularly. (“Uncle Tim” also enjoyed himself on rare occasions at Hengler’s, which stood on the site of the present Palladium.) In America Mr. Walker appeared with other circuses, including the great Barnum and Bailey shows, and was also commissioned to purchase the famous elephant Jumbo from the Zoo at a cost of £1,000.
‘Jumbo was an enormous success in America, many single day’s takings amounting to as much as £3,000. The cast was poured into great wooden casks and sent to a bank in New York.
‘In 1882 Whimsical Walker opened a theatre of his own in new York with a pantomime called Three Wishes. Its success brought temporary misfortune, for the top gallery dropped a bit when filled with people, a stampede followed, and actions for damages reduced poor Mr. Walker to the clothes he wore and a few dollars. He had to borrow money to return to Liverpool, where he was again engaged by Mr. Hengler.
‘On boxing Day, 1882, feeling in need of a refresher, Whimsical Walker chartered a horse at 7 a.m., and started off for a gallop. Before he had travelled far, however, the horse stumbled and fell, and the clown sustained a fractured leg, which laid him up for five months.
‘In a singularly adventurous career, this is the only serious accident he has ever suffered.
‘On February 20th, 1886, Whimsical Walker was honoured by a Command Performance to appear with his singing donkey before her Majesty the Queen at Windsor Castle. In commemoration of this visit the queen presented Mr. Walker with the beautiful diamond tie-pin which he is wearing in the [above] photograph.
‘In 1904 the great clown embarked for Australia for a long tour there, but on landing at Melbourne he was cabled for by Mr. Arthur Collins, of Drury Lane Theatre, and he returned immediately. The fact is that Whimsical Walker had been appearing every season in the Drury Lane harlequnade since 1890, and the reason for his sudden recall was that, owing to the death of Herbert Campbell, and the absence of Dan Leno from the cast, Mr. Collins felt that he could not possibly do without the popular clown as well.
‘I hope these details have not bored you. The subject fascinates me. I should like to write a big book about Mr. Walker’s life. Oh, I’ve forgotten to tell you that the first of these films in which he is now appearing on the screen is called The Knut and the Colonel, so mind you look out for it.’
(Uncle Tim, ‘The Young Picturegoer,’ Pictures and the Picturegoer, London, weed ending Saturday, 12 February 1916, pp. 463 and 464)

Fred Aretlli

a carte de visite photograph of Fred Artelli (fl. 1870s-1890s), ballet dancer and Harlequin
(photo: T.J. Tungate, 35 Queen Street, Edgware Road, London, circa 1875, negative number 1504)

Theatre Royal, Liverpool
‘To make way for novelties which are certain to please ”Royal” patrons, Humpty Dumpty has signified that he will shortly quit the sphere of his prosperous career at the patent Theatre. The lovely scenery, lively business, and talented company have contributed in a large measure to the success of the Pantomime, and the author (Mr J.F. M’Ardle) has displayed an ingenuity in connection with its construction which cannot be too highly praised. His peculiar ”Argument,” like the ancient ”Chorus,” is worth reproducing, and is to the following effect:- ”There was seen a great stone, and in ye midst thereof was like an anvil of steel, and therein stack a fair sword naked by ye point, and letters there were written in gold about ye sword that said thusly:- ‘Whoso pulleth out this sword of this stone is rightwise kind born of all England!’ Then ye people marvelled muchly, and all ye knithts and ye squires went to behld ye stone and ye sword. And when they say ye scripture some assayed, such as would have been king. But none mote stir ye sword nor move it. ‘Marry come up, beshrew my heart, i’ fackins, by my halidame,’ exclaimed Arthur, ’ I shall gette that sworde, or, as ye manne in ye playe sayeth, I will perish in ye attempt.’ Accordingly, he dydde get ye sworde from ye stone, and he overcame ye villaine Surlichurl, and ye wicked Impe, yclept Humpty Dumpty, and married ye Lady Guinevere, ye king’s daughter, and Arthur’s sweethearte, and, like all ye folkes who gette married, they lived happy ever afterwards. (For all ye further particulars see ye Small Bills, and ye Grande Pantomime itself. N.B. – Ye children in arms not admitted by themselves.)” The Harlequinade is of the most bustling kind, the principals being Madame Elise (Columbine), Miss E. Rowella (Harlequin à la Watteau), Signor Artelli (Harlequin), Mr A. Bolton and Mr E. Burgess Pantaloons), the De Castro troupe (Sprites, and Dolph Rowella and the Great Little Rowella (Clowns).’
(The Era, London, Sunday, 4 February 1877, p. 8d)

‘ROYAL PARK THEATRE.
‘Great Success every Evening of
‘SIGNOR FRED. ARTELLI’S COMIC BALLET TROUPE. At Liberty for Fetes and Galas. For terms, address, Mr GEORGE HADLIEGE HUNT, Park Theatre, Camden-town.’
(The Era, London, Sunday, 6 May 1877, p. 15b)

‘MR EDITOR. – Sir, – will you allow me to state that, owing to the illness of Mr Willie Warde, the part of Rapless, the oofless swell, in Round the Town, at the Empire, Leicester-square, has been played for some considerable time by, yours faithfully, FRED. ARTELLI
‘Empire Theatre, June 6th, 1893.’
(The Era, London, Saturday, 10 June 1893, p. 17c)

* * * * *

For references to Artelli’s appearances at the Empire Theatre, Leicester Square, London, during the 1890s, see Ivor Guest, Ballet in Leicester Square, Dance Books, London, 1992.

three unidentified clowns, 1870s

a carte de visite photograph of three unidentified clowns
(photo: Bernhardt Tilehne, Posen, Germany, probably late 1870s)

Eugene Ray

a carte de visite photograph of Eugene Ray (fl. 1880s), ‘fil de fer’ (wire walker)
(photo: Richard Stuart Brown’s Photographic Rooms, Edinburgh, probably early 1880s)

Keith’s Circus, Hyde, week beginning Monday, 3 July 1882
‘… Eugene Ray, a clever performer on the slack wire …’
(The Era, London, Saturday, 8 July 1882, p. 10b)

‘Sanger’s Circus
‘There is a considerable change in the programme at this establishment this week. After a month’s successful run, the pantomime of Dick Whittington, which has by its novelty delighted old and young, has been withdraw… . The first part of the programme is of the usual miscellaneous character, and comprises clever feats on barebacked horses by Mdlle. Lizzie and Mr. C. Clarke; a daring performance on the invisible wire by Eugene Ray, and Alfrano and Linder on the flying rings, Mdmme. E. Ray also introduces her highly-trained steeds, which go through some wonderful manoeuvres, and there is also an amusing sketch of a day’s shooting by a Cockney sportsman by Mr. Rolland and Little Sandy… .’ (Leicester Chronicle and the Leicestershire Mercury, Leicester, Saturday, 27 January 1883, p. 2a)hire Mercury</I>, Leicester, Saturday, 27 January 1883, p. 2a)

Funny Fred Hall, English clown and comedian

a carte de visite photograph of Funny Fred Hall (Frederick Tudor Hall, 1857-1898),
English clown and comedian
(photo: Taney & Co, Foreshore Road, Scarborough, and
Prince of Wales Road, Norwich, England, circa 1885)

Boston, Lincolnshire, England
‘CORN EXCHANGE STOODLEY’S CIRQUE. – The Corn Exchange continues to be well fitted nightly, a very good programme having been provided this week. A Night in Pekin is very creditably put on. The horsemanship of Miss and Mr C.W. Stoodley and the Clown business of Funny Fred. Hall evoke merited applause. The notable additions to the company are Henry Brown (jester), and Mdlle. Zara and Libra Adela (equilibrists).’
(The Era, London, Sunday, 2 March 1879, p. 8a)

‘MR. STOODLEY’S CIRCUS. – This source of public amusement, which comprises such an able and talented company, has been largely patronized during the present week. On Tuesday evening a performances was given under the patronage of the Mayor (A.F. Nicholson, Esq.) and other influential gentlemen, there being a full house. Cee-Mee [tightrope walker] continues his ariel performance at an altitude of 40 feet with a great Alpine leap of 25 feet through a fire balloon to a stationery trapeze. This certainly is a most wonderful feat, and is watched by the audience in breathless silence. The horseback riding is excellent, as are also the performances on the bar and flying rings. As regards the clowns, John J. Cooke and Funny Fred Hall still maintain the reputation they acquired here whilst the circus was staying at Ipswich some time back. Abe Daniels, the musical clown, is well worth seeing, he being a complete master of the violin, as he is also of the banjo.’
(The Ipswich Journal, Ipswich, England, Saturday, 12 April 1879, p. 5c)

Frederick Tudor Hall was married in 1881 at St. Saviour, Southwark, to Julia Lucretia Butler.

‘DIED, April 17th, at Liverpool, Henry Tudor Hall, the beloved brother of William Tudor and Funny Fred Hall, age forty-six years. Interred at Everton Cemetery. American papers please copy.’
(The Era, London, Saturday, 30 April 1887, p. 7c)

‘IN MEMORIAM.
‘HALL. – In ever-loving memory of my dear husband, Frederick Tudor Hall (Funny Fred Hall), who departed from this life, Aug. 28th, 1898. Never forgotten by his loving wife.’
(The Era, London, Saturday, 26 August 1899, p. 14d)