Molly Wynne as Jack in the pantomime, Jack and the Beanstalk, Crystal Palace, London, Christmas 1912

Molly Wynne (active early 20th Century), English actress and singer, as she appeared as Jack in the pantomime, Jack and the Beanstalk, produced at Crystal Palace Theatre, south London at Christmas 1912.
(postcard photo: Elwin Neame, London, 1912, negative no. 2252-9)

‘FUN AT THE CRYSTAL PALACE.
‘All hypochondriacs ought to go to the Crystal Palace pantomime, ”Jack and the Beanstalk.” Jaundiced indeed will be their view of life if they fail to laugh. There are go-ahead comedians like Mr. Alfred Passmore, Mr. Bobbie Hall, Mr. Alfred Hurley, and Messrs. McKie and McKay. There is reality about Giant Big Bloke, played by Mr. J.M. East; there is a dainty little Jack in Miss Molly Wynne, and there is an outstanding artist in acting, singing, dancing, and smiling in Miss Doris Lee. The vast Giant Big Bloke puts his baby to bed, and this terrible infant is a quaint little chap full of antics, a ”comforter” in his mouth, and a sash around his waist. This little comedian is Little Tony, and the grotesque contrast of giant and ”child” is very comical.
‘I a good all-round company even the Fairy Queen has a voice, and the singing of Miss Violet Parry in this character of ”Fairy Star of Hope” called forth rounds of applause. Of course, there is ”Everybody’s Doing It!” and it is given with spirit and artistic effect by Miss Euphan Maclaren and Mr. Harry Davis. Political allusions, for the moment at any rate, are kept down. They are confined to the two great so-called ”above party” subjects – the Navy and the Insurance Act. When discussing beneath the frowning walls of Giant Big Bloke’s cloudland castle a map of places in the air one of the comedians points to a place marked ”Lloyd George’s Sanatorium.” ”It’s non-existent,” retorts another. ”This is a map,” answers Jack, ”of places in the air.” The scenery and the ballets deserve a special word. Village scenes in the fairest English countryside, such as you may find in Buckinghamshire and Oxfordshire, Hampshire and Sussex, are presented with an air of reality, while the silvery aerial ballet, the ”Dances of the Fairy Beans,” and the ”Palace of Happiness” are all beautifully done. ”Jack and the Beanstalk” is Mr. Bannister Howard‘s seventh Crystal Palace pantomime. He and the authors, Messrs. Brian Daly and J.M. East, and all concerned are to be congratulated on having exemplified the truth that a pantomime can avoid coarseness without approaching dullness. The Crystal Palace is much nearer London than it used to be, and the pantomime is jolly.’
(The Standard, London, Thursday, 26 December 1912, p. 4b)

Marie Fenton, ‘The Blonde in Black’

Marie Fenton (active, early 20th Century), American musical comedy and vaudeville singer, billed as ‘The Blonde in Black’
(photo: Frank C. Bangs, New York, circa 1910)

‘Miss Marie Fenton, a strikingly beautiful singer, is known as ”The Blonde in Black,” and aside from the attractive picture she presents on the stage, she appeals with her selection of popular songs. Miss Fenton is best known through her connection with several important New York musical comedies, and for her vaudeville tour she has chosen several of the numbers she originally made popular on Broadway.’
(The Morning Standard, Ogden, Utah, Sunday, 25 September 1910, p. 3b)

Palace Theatre, London, week beginning, Monday, 5 June 1911
‘[One of] two special items at the Palace Theatre this week consist[s] of Miss Marie Fenton, an American singer after the style of Miss Clarice Vance, with the added reputation of extreme celerity in the changing of her costumes.’
(The Playgoer, London, Wednesday, 7 June 1911, p. 366b)

Fifth Avenue Theatre, New York, week beginning, Monday, 19 February 1912
‘Marie Fenton, in four different changes of costumes, all of which were beautiful, sang herself into the good graces of her audience. ”To My Home in Dixie,” ”I’m Afraid,” ”Please Leave My Baby Grand” and ”Everybody’s Doing It” were the songs sung by Miss Fenton. Her changes were rapid and she was a solid hit.’
(The New York Clipper, New York, Saturday, 24 February 1912, p. 8a)

‘Marie Fenton, when seen at the Fifth Avenue theater in her new singing act, was cordially received, not only on account of the way she put the act through, showing experience and capability, but because she made a dashing and stylish appearance.
‘The frocks she wore for one matinee performance were: First – an emerald green satin made on slender graceful lines with a narrow pointed train, veiled in black net, draped and held to the front by a large gold and green jeweled ornament, a black satin girdle, and the round corsage a mass of gold and jeweled embroidery; one sleeve is of the black fabric, and the other sleeve and side is of the gold embroidery and jet. A high green aigrette in the hair finishes an effective toilette enhanced, of course, by a slender, graceful figures.
‘Her first change is to a smart black satin costume, also built en train, draped and slashed on the front, the outline bordered by jet banding; short tight sleeves of black net are set-in; there was a chemoisette of the net with jet bands over the shoulders and forming the girdle with tasseled ends down the side. Miss Fenton looked very handsome in all black, being a blonde and having the ability to wear clothes effectively.
‘The last frock was a black and white striped satin, a Princess in general design, the material plaited in at the waist and over the hips, making the stripes narrower and then wider; the short skirt is bordered by deep black fringe and black fringe also forms a bertha and falls over the shoulders, forming the tiny sleeves; black silk tights were worn and black satin slippers. A bandeau of rhinestones gave the tasteful finish to a very striking make-up.’
(The Player, New York, Friday, 1 March 1912, p. 9c)