Posts Tagged ‘dancer’


Maud Allan, Canadian-born dancer and choreographer, London, 1908

September 13, 2015

Maud Allan (1873-1956), Canadian-born dancer and choreographer
(postcard photo: W. & D. Downey, London, circa 1908)

This postcard, postmarked twice during September 1909, is addressed to a Mrs Barton in Newton Abbot, Devonshire, England. The message reads: ‘You can get her life written by herself I hear, so I’m going got get it out of a library. This I should imagine is specially like her. Love May.’

Maud Allan’s My Life and Dancing, was published by Everett & Co, London, in 1908. A special souvenir edition was printed to commemorate Miss Allan’s 250th performance at the Palace Theatre, London, 14 October 1908.


Sadrene Storri

May 13, 2013

Sadrene Storri (1899-1918), musical comedy dancer
(photo: unknown, probably London, circa 1913)

This real photograph postcard of the dancer Sadrene Storri (otherwise known as Sadie or Saddie Storrie, daughter of Fred and Nana Storrie, both actors) was published by the Rotary Photographic Co Ltd of London (no. A.451-2) about 1913. It was in 1913 that she first made a wide impression for her dancing in The Pearl Girl. She was married in 1915 to George Cecil Murray Tinline (1895-1958), but died at the age of 19 in 1918. For further photographs of Miss Storri taken by Bassano, London, during 1913, see the National Portrait Gallery, London.

* * * * *

‘HAMMERSMITH: NAZARETH HOUSE. – Through the great kindness and exertions of Mr. Fred Storrie (Staff Manager at the ”White City”) and of his little daughter, ”Saddie,” 275 of the children from Nazareth House, Hammersmith, were a few days ago admitted to the Exhibition and entertained by these good benefactors. To the great delight of the children they were allowed to remain to see the illuminations.’
(The Tablet, London, Saturday, 3 October 1908, p. 554a)

‘Is the Tango Doomed?
‘Very elaborate tango teas are announced for the Palace Theatre next week. Remarkable dresses are expected. Miss Sadrene Storri and Miss Kitty Mason will dance, and Mr. George Grossmith will dance and sing. The prices have been fixed at five shillings, which is quite a ”royal opera” charge for tango teas. Meanwhile people are already prophesying that Christmas will see the beginning of the end, so far as this craze is concerned.’
(The Daily Mirror, London, Saturday, 22 November 1913, p. 9c)

‘Miss Sadrenne [sic] Storri … will remain in the cast of the ”Bing Girls,” having failed to get her release for the new Empire revue.’
(The Daily Mirror, London, Wednesday, 26 March 1917, p. 12a)

‘Dancer Dead. – Admirers of graceful stage dancing will regret to hear of the death of Miss Sadrenne [sic] Storri, of the Shaftesbury and the Alhambra. Great sympathy will be felt with her husband, Mr. Cecil Tinline, an old Etonian, who was recently invalided out of the Cameron Highlanders with shell shock. Miss Storri was only nineteen.’
(The Daily Mirror, London, Tuesday, 30 April 1918, p. 6d)


Albina di Rhona

March 26, 2013

a carte de visite photograph of Albina di Rhona (fl. 1850s/1860s), the Servian actress, dancer and singer who arrived in London in 1860, in 1861 revived the fortunes of the Soho Theatre, which afterwards became the Royalty Theatre, and who the following year embarked on a brief tour of the United Kingdom
(photo: Mayer Brothers, 133 Regent Street, London, 1860 or 1861)

St. James’s Theatre, London, 26 November 1860
‘A young Servian lady, Mdlle. Albina di Rhona, who has made a great sensation in St. Petersburg, made her first appearance last night in a little sketch written for the display of her talent as a dancer. Very pretty, and with a little elegant figure, expressive face, and graceful action, Mdlle. di Rhona soon won the favour of the audience, and was greeted in each successive pas with thunders of applause. In the little skeleton of plot of the piece (which is called Smack for Smack) she personates a young French girl, who so captivates an English soldier that he foregoes for her sake a determination to avenge an insult offered by a Frenchman to his sister by boxing the ears of the French girl he encountered, and finally abstracts a kiss from the savage Briton. The Cracovienne, the Ecossaise (our old friend the Highland Fling, we thought, made fashionable for a St. James’s audience), and one or two other dances, were performed with great spirit and taste, and the young lady was well seconded by the blunt absurdities of Mr. Belmore.’
(Daily News, London, Tuesday, 27 November 1860, p. 3b)

‘St. James’s. – Mdlle. Albina di Rhona, the danseuse-sou-brette, whose performance, in private, at this theatre, we recorded a fortnight ago, made her first public appearance here on Monday evening in a semi-Anglicised version of the little vaudeville of which we spoke on that occasion. The piece, now entitled Smack for Smack, has thus the peculiar novelty of being played in French and English, for Madlle. Albina, as Fanchette, speaks only the former language, and Mr. George Belmore, who, as John Trott, takes the place of the original Prussian, supplies the other half of the dialogue with good honest Saxon vernacular. The latter individual (who during the farce attempts a comic song that might wisely be expunged), is supposed to be a soldier attached to the army of occupation in our last war with France, but he is here only used as the means of preventing the stage being wholly vacant, whilst the danseuse heightens her personal attractions by some becoming assumptions of various national costumes. The piquant style and expressive action, which we described as being the prominent characteristics of this young Servian artiste when seen by a select few, we found even more strong marked when the additional stimulus of a public performance was afforded. The sprightliness of her acting is accompanied by a dashing dexterity in her dancing, which, although not distinguished by any original features, will not be unlikely to attract the public on account of the novelty of the medium through which they are presented. At the end of the piece, which did not severely tax the patience of the auditory, Mdlle. di Rhona was called before the curtain, and, amidst a vehement expression of approval, received a further tributary acknowledgement of her success in the form of numerous bouquets from a friendly box. In fact, Mdlle. Albina di Rhona is not superior (if equal) to Miss Lydia Thompson as an actress or dancer, but dresses with similar indelicacy. The little vaudeville was preceded by the comedietta of A Loan of a Wife, and was followed by the petite drama of Mons. Jacques, and the farce of Next Door.’
(The Era, London, Sunday, 2 December 1860, p. 10b)

‘Mdlle. Albina di Rhona, the ”dancing soubrette,” who first raised the Soho playhouse to the rank of a recognized theatre, and endowed it with its present title, the ”New Royalty,” has lately been exposed to serious peril. Her present calling, it seems, is that of a performer of legerdemain, and at the Salle de l’Orient, Brussels, she has been giving a series of performances, comprising the well-known trick of receiving uninjured the supposed contents of an apparently loaded pistol. One evening, when the weapon, after it had been handed round for the inspection of the public, was returned into her hands, she inserted her magic wand into the barrel, and felt it come into contact with an unexpected obstacle. She retired, and afterwards reappeared in a state of violent agitation. It subsequently transpired that some scoundrel among the spectators had slipped into the barrel a screw of about an inch in length, which, if it had not been discovered, would have killed or seriously wounded the fair enchantress.’
(The Pall Mall Gazette, London, Thursday, 29 October 1868, p. 7b)


La Sylphe

December 23, 2012

Keith and Proctor’s 125th Street Theatre, New York City, July and August 1908

‘A Dancer from Paris.

‘Ly Sylphe, billed as “Principal Dancer, Follies Bergeres, Paris,” was one of the principal attractions at Keith and Proctor’s 125th Street Theatre. She is a very slight and extremely supple young woman, and shows some cleverness in her work. She opened with a “Danse Classical,” which proved to be a very ordinary ballet dance done in the usual ballet costume. The second number was “Parisienne Gigolette,” which brought a change of costume and some good balancing on one foot. The picture screen was then lowered and a series of moving pictures showing La Sylphe in a Salome dance in Paris was displayed. This gave the dancer time to change her costume for the somewhat sensational Salome number. She wore a transparent skirt and a small bodice, and did some excellent contortion work, the effect being more acrobatic than terpsichorean. Owing no doubt to the amount of advertising received by Maud Allan and some very good press work in the New York papers, the business throughout the week was phenomenal for this season of the year. On several occasions people were turned away, even when the thermometer was flirting with the 95 mark. Incidentally, La Sylphe has been retained for a second week.’

The New York Dramatic Mirror, New York, Saturday, 18 July 1908, p.14a