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

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

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)

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

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)

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

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.

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

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.

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

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.

Topsy Sinden’s music hall appearances during 1908

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)

La Malaguenita in the ballet Carmen, Alhambra, Leicester Square, London, 1912

La Malaguenita (active 1912), Spanish dancer, as she appeared in the revival of the ballet Carmen, choreographed by Augustin Berger and produced at the Alhambra, Leicester Square, London, on 24 January 1912.
(photo: Foulsham & Banfield, London, 1912)

‘OUR LONDON LETTER … JAN. 27 [1912].
‘Carmen, in the shape of a ballet, was revived at the Alhambra on Wednesday night. The present production is vastly better than the first, some two or three years ago [actually 7 May 1903], which had Guerara [Rosario Guerrero] for its heroine. The hand of Dion Calthrop Clayton, the new art director of the theatre, is apparent in the picturesque color scheme. The very atmosphere of Spain is reproduced. Alfred Moul, the managing director of the Alhambra, has for a long time been in Spain collecting characteristic dancers. He has certainly met with very great success. At the head of the importation is La Malaguenita, whose table dance is likely to be the sensation of the city. Mlle. Gaschewska [Anna Gaszewska], who was originally engaged to play Carmen, was suddenly prevented, but in her place Mr. Moul got Maria Le Bella, who gives a perfectly ideal performance. Bizet’s music is used, with the interpolation here and there of a composition by George Byng, the libretto maestro essential to ballet dancing. Carmen is likely to prove a great success.’
(The New York Clipper, New York, Saturday, 17 February 1912, p. 2a)

Rena Goldie leaves court without a stain on her character, London, 1907

Rena Goldie (1880-), English musical comedy actress
(photo: probably Foulsham & Banfield, London, circa 1907)

‘VICTIM OF A POLICE BLUNDER: THE FLAT CHARGES THAT FAILED – Miss Catherine Goldie, The Young Actress Who Was Accused Of Conducting Her Flat In Langham Street In An Improper Manner, But Left The Court Without A Stain On Her Character.
‘As we have already noted, the police failed utterly to substantiate their charge against Miss Goldie, known professionally as Rena Goldie, and a member of The Gay Gordons company. The young actress was able to prove, indeed, that at the time the police imagined her to be in her flat she was on the stage at the Aldwych. To an interviewer, she stated that she was in bed when the police came to arrest her, and that one of the officers insisted on remaining in her room while she dressed. Similar charges brought against two other ladies [Mrs Maud Cooper, 26, and Mrs Jessie Crawford, 26] at the same time also failed.’
(The Sketch, Saturday, 25 September 1907, p. 331)

Phyllis Dare as Peggy in The Dairymaids, 1907-1908

Phyllis Dare (1890-1975), English actress, singer and star of musical comedy as she appeared in The Dairymaids, a farcical musical play, with music by Paul Rubens and Frank E. Tours, 1907-1908
(photo: Foulsham & Banfield, London, 1907/08)

The Dairymaids was first produced by Robert Courtneidge at the Apollo Theatre, London, on 14 April 1906, with Carrie Moore in the leading role of Peggy. The piece ran for 239 performances and closed on 8 December 1906. Courtneidge organized various tours of The Dairymaids, including one for the autumn of 1907 which began at the Gaiety Theatre, Douglas, Isle of Man, on Monday, 19 August, with Phyllis Dare playing Peggy. Miss Dare was obliged to abandon her appearances for two weeks (Belfast and Sheffield) because of laryngitis, when the part of Peggy was taken by Violet Lloyd.

After a break during the Christmas season of 1907/08, during which Phyllis Dare appeared with Carrie Moore, Gwennie Hasto, Esta Stella, Rosie Berganine, John Humphries, Dan Rolyat, Stephen Adeson and Fred Leslie junior in the pantomime Cinderella at the Theatre Royal, Birmingham, she was again seen as Peggy in The Dairymaids. The production opened at the Queen’s Theatre, London, on 5 May 1908 for a run of 83 performances and closed on 18 July 1908.

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‘LONDON, May 13 [1908]… . Revival of The Dairymaids this week at the Queen’s, the newest of London theaters, brings up that precocious little actress, Phyllis Dare, who, although she has been an established London favorite for three years, is only 19 years old. She has more ”puppy” adorers than any other woman on the English stage. The junior ”Johnnydom” goes mad over her, assures her of a well-filled house whenever she appears, and buys her postcards in thousands. It was the fair haired Phyllis who was summoned back from boarding school in Belgium when only 17 years of age to assume Edna May’s part in The Belle of Mayfair, when that independent American actress threw up her part because of the importance given to Camille Clifford, the original ”original” Gibson girl. The papers made so much of the fact that the little Phyllis’s studies had been interrupted by the siren call of Thespis that she packed the playhouse for many weeks with a curious public, many of whom had never before heard her name. Now I hear that Miss Dare will shortly essay the role of Juliet at a special matinee to be arranged by Robert Courtneidge, her manager.’
(Deseret Evening News, Salt Lake City, Utah, Saturday, 23 May 1908, p. 16c)