Posts Tagged ‘Foulsham & Banfield (photographers)’

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Topsy Sinden and Lily Elsie on tour in See-See, early 1907

March 6, 2015

Topsy Sinden (1877-1950) and Lily Elsie (1886-1962), as they appeared respectively as So-Hie and See-See, with ladies of the chorus, on tour in the United Kingdom during the first few months of 1907 with George Edwardes’s Company‘ in the ‘New Chinese Comic Opera,’ See-See. So-Hie and See-See were originally played by Gabrielle Ray and Denise Orme when See-See was first produced at the Prince of Wales’s Theatre, London, on 20 June 1906.
(photo: Foulsham & Banfield, London, late 1906/early1907; postcard no 3283F in the Rotary Photographic Co Ltd’s Rotary Photographic Series, published London, early 1907)

”’SEE SEE” AT HAMMERSMITH.
‘Miss Lily Elsie, who played the title rôle in ”The New Aladdin” at the Gaiety, gave a charming performance of ”See See” at the King’s, Hammersmith, last night. Miss Elsie has an engaging presence and a charming voice, and altogether gives promise of a brilliant future. Mr. George Edwardes has staged the popular Chinese comic opera very handsomely, both as regards scenery and company. Mr. Frank Danby and Mr. W.H. Rawlins keep the fun going, and the singing, acting, and dancing of Miss Amy Augarde, Mr. Leonard Mackay, and Miss Topsy Sinden are delightful. The production was enthusiastically received by a full house.’
(The Standard, London, Tuesday, 30 April 1907, p. 4f)

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Isobel Elsom as Doris in After the Girl, Gaiety Theatre, London, 1914

August 27, 2014

Isobel Elsom (1893-1981), English actress, as she appeared as Doris in After the Girl, a ‘revusical comedy’ by Paul Rubens and Percy Greenbank, which opened at the Gaiety Theatre, London, on 7 February 1914.
(photo: Foulsham & Banfield, London, 1914; postcard published by The Rotary Photographic Co Ltd, in its Rotary Photographic Series, no. 6927A, London, 1914)

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Dorma Leigh and Jan Oyra in The Girl on the Film, London and New York, 1913

August 18, 2014

Dorma Leigh (1890-1969), English dancer, and Jan Oyra (1888-1928 or later), Polish dancer, ballet master and dancing teacher, as they appeared in the musical farce, The Girl on the Film, produced at the Gaiety Theatre, London, 5 April 1913, and at the 44th Street Theatre, New York, 29 December 1913.
(photo: Foulsham & Banfield, London, 1913)

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four members of the corps de ballet in one of the Indian Dances from The Dance Dream, a ballet in seven tableaux, invented and produced by the Bolshoi Theatre’s ballet-master, Alexander A. Gorsky, at the Alhambra Theatre, Leicester Square, London, on 29 May 1911

May 22, 2014

four members of the corps de ballet in one of the Indian Dances from
The Dance Dream
, a ballet in seven tableaux, invented and produced by the Bolshoi Theatre’s ballet-master, Alexander A. Gorsky, at the Alhambra Theatre, Leicester Square, London, on 29 May 1911, with music selected and arranged by George W. Byng. The principals were the Russian dancers, Ekaterina Geltser and Vasili Tikhomirov, with Marjorie Skelley (recruited from the Empire, Leicester Square, where she had understudied Adeline Genée), Gina Cormani and Agnes Healy of the Alhambra’s permanent company.
(photo: Foulsham & Banfield, London, 1911)

For further information, see Ivor Guest, Ballet in Leicester Square, London, 1992, pp. 78-80.

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Ellaline Terriss as the Duc de Richelieu in The Dashing Little Duke, Hicks Theatre, London, 1909

April 8, 2014

two postcard photographs of Ellaline Terriss (1871-1971), English actress and singer, star of musical comedy
(photos: Foulsham & Banfield, London, 1909)

These two postcards, serial nos. 11509 F and 11530 A in the Rotary Photographic Series, published in London during 1909 by the Rotary Photographic Co Ltd, show Ellaline Terriss (left) as she appeared as the Duc de Richelieu in the musical play, The Dashing Little Duke, by Miss Terriss’s husband, Seymour Hicks, with lyrics by Ardian Ross and music by Frank E. Tours. The production, the cast of which also included Hayden Coffin, Courtice Pounds, Elizabeth Firth and Coralie Blythe, opened at the Hicks Theatre (now the Gielgud), London, on 17 February 1909 following an out of town trial at the Theatre Royal, Nottingham. It ran for a disappointing 95 performances. The postcard on the right shows Miss Terriss in private life with a ‘Duc de Richelieu’ doll.

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H. Robert Averell, grandson of Jenny Lind, on tour in the United Kingdom during 1908 in The Girls of Gottenberg

February 12, 2014

H. Robert Averell (1885-1913), English actor and singer, as he appeared on tour in the United Kingdom during 1908 in the role of Prince Otto in George Dance’s The Girls of Gottenberg company. The part was first played by George Grossmith junior in the original production of The Girls of Gottenberg at the Gaiety Theatre, London (15 May 1907).
(photo: Foulsham & Banfield, London, 1908; postcard published by The Rotary Photographic Co Ltd, London, in the Rotary Photographic Series, no. 2356 B)

The promising young actor known as H. Robert Averell (and sometimes as Robert Averell) was born Walter Averell Lind Goldschmidt in Kensington, London, on 4 May 1885. He was the son of Walter Otto Goldschmidt (1854-1929) and his first wife, Mary Julia (née Daniell, 1859-?), who were married in 1884 and acrimoniously separated ten years later. Averell was therefore the grandson of Jenny Lind (1820-1887), the celebrated soprano known ‘The Swedish Nightingale,’ his father being her eldest child by her husband, the German-born musician, Otto Moritz David Goldschmidt (1829-1907).

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‘Mr Robert Averell, a promising young English actor, died suddenly recently from the after effects of a chill. Only a few days previous Mr Averell, who made his name on the metropolitan stage as Hubert in The Girl in the Taxi, was playing in Oh, I Say at the London Criterion. A grandson of Jenny Lind, the famous Swedish diva, he was an old Westminster schoolboy and a ward in Chancery, and, consent to his adopting the stage as a career being practically impossible to obtain, he made his way to South Africa, where although under age he managed to join the Cape Mounted Rifles. Then he joined a travelling theatrical company which was often unable to proceed for lack of funds and the privations he then met with unquestionably hastened his end.’
(The New Zealand Observer, Auckland, Saturday, 13 December 1913, p. 14a)

In 1910 Averell was declared bankrupt, ‘his failure being attributed to his having lived in excess of his income.’ (The Times, London, Saturday, 14 May 1910, p. 17d) This reverse did not interfere with his career, however, and he went on to appear in several West End productions including Our Little Cinderella, a play with music (Playhouse Theatre, London, 20 December 1910), with his kinsman Cyril Maude (1862-1951) in the leading role; and The Girl in the Taxi, the musical play produced at the Lyric Theatre, London, on 5 September 1912. Averell’s last appearance was in the Parisian farce, Oh! I Say!, produced at the Criterion Theatre, London, on 28 May 1913. During the run he became ill and died suddenly in October that year, when his part was taken over by Ronald Squire who went on to become a well-known character actor.

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Topsy Sinden’s music hall appearances during 1908

January 14, 2014

Topsy Sinden (1877-1950), English musical comedy, pantomime and variety theatre dancer, actress and singer
(photo: Foulsham & Banfield, London, circa 1908)

The Hippodrome, Richmond, Surrey, week beginning, Monday, 30 November 1908
‘The first appearance here of Topsy Sinden is another popular item. Her soldier song makes a very favourable impression, and is followed by a striking success in her second song as a demure schoolgirl, where her vivacious and graceful dancing is seen to its best advantage and gains her continual recalls.’
(The Stage, London, Thursday, 3 September 1908, p. 13c)

Holborn Empire, London, week beginning Monday, 26 October 1908
‘Another popular item is the turn of Topsy Sinden, who gives two songs. The first is delivered in good style by Miss Sinden, dressed in a becoming soldier’s costume, while the second, which is of poor quality, serves as an introduction to some of Miss Sinden’s magnificent dancing. Her work is greatly to the liking of the house, and one cannot help feeling that the daintiness and charm of her movements afford a far better expression of the art of dancing that the so-called ”Salome” and similar efforts, a view that is shared by the spectators, if one may judge by the applause.’
(The Stage, London, Thursday, 29 October 1908, p. 12c)