Ada Lee, English actress and singer, sister of Jennie Lee

Ada Lee (1856?-1902) English music hall serio-comic and burlesque actress, as she appeared during 1871,1872 and 1873 in H.B. Farnie’s adaptation of Offenbach’s comic opera, Genevieve de Brabant, first produced at the Philharmonic Theatre, Islington, on 11 November 1871.
(carte de visite photo: Fradelle & Marshall, 230 & 246 Regent Street, London, W, 1871-1873)

Alhambra Palace music hall, Hull, week beginning Monday, 8 February 1869
‘Miss Ada Lee, a lady-like and pleasing serio-comic, meets with great applause in ”One a penny swells.”’
(The Era, London, Sunday, 14 February 1869, p. 12b)

‘Mr. EDITOR. – Sir, With reference to your favourable criticism of Jenny, in Kind to a Fault, I have much pleasure in informing you that my sister, ”Ada Lee,” kindly played the part to oblige me, until Saturday last, when I played it myself, according to previous arrangements. Trusting ou will insert this in justice to her, I remain, dear Sir, your faithfully, JENNY LEE. Royal Strand Theatre, August 11th [1870].’ (The Era, Sunday, 14 August 1870, p. 10c)

The Philharmonic Theatre, Islington, season commencing Monday, 2 October 1871
‘The second dramatic season of this theatre, under the management of Mr. Charles Morton, commenced on Monday evening… . True to its title, the Philharmonic puts forth music as the chief attraction in a remarkably rich bill of fare. The piece de resistance of the present season is a compressed version of Herve’s celebrated opera bouffe, Chilperic, produced under the direction of Miss Emily Soldene, who sustatins the principal character with that spirit and bright intelligence which, added to other gifts of nature and grace of person, have won for this lady a very distinguished place amongst the votaries of the lyric drama in London… . The other parts in the opera are for the most part very happily filled. The Fredegonde of Miss Selina [Dolaro], a lady endowed with a sweet pliant voice and most graceful appearance, is a very charming performance. Miss [Alice] Mowbray, as the High Priestess, Miss [Clara] Vesey as the Spanish Princess, and Miss Lenard as the hero’s sister-in-law, acquit themselves creditably both in acting and singing; whilst Miss Ada Lee and Miss Isabella Harold make very pretty ”pet pages” indeed …’
(The Standard, London, Friday, 6 October 1871, p. 3b)

Bush Street Theatre, San Francisco, 3 November 1879
‘The principal event of the week has been the production of The Magic Slipper by the Colville Opera company, who made their first appearance at the Bush-street Theatre, Nov. 3 to the largest audience of the season… . Miss Eme Roseau, the leading star of this organization, although a beautiful woman, cannot be congratulated on achieving a recognition for any attainments requisite for the position… . Miss Kate Everleigh made a handsome Prince, and might perhaps have scored a success had she been compelled to act the part in pantomime. Miss Ella Chapman nightly received a warm welcome for the sake of ”auld lang syne,” and bids fair to retain her former popularity, as she has already succeeded in dancing herself into the good graces of her audiences. Miss Ada Lee’s graceful bearing, and the charming and pleasing manner in which she portrayed the Prince’s secretary, have made her a favorite. The admiration this little lady excites is not one white lessened by the fact that she bears a great resemblance to her sister Jennie, and the she possesses the most shapely limbs ever seen here… .’
(The New York Clipper, New York, New York, Saturday, 22 November 1879, p. 274g)

Melbourne, Australia, 17 April 1884 – Opera House, Melbourne
‘Mr F.C. Burnand’s burlesque Blue Beard was produced at this theatre last (Easter) Monday. Miss Jennie Lee, Miss Ada Lee, and Mr Harry Taylor sustain the principal roles. The piece suffered much from imperfect rehearsal, and has not go in through going order yet.’
Melbourne, Australia, 21 April 1884 – Opera House, Melbourne
‘Blue Beard now runs smoothly and evenly. The various performances are at home in their roles, and the burlesque may have a good run. Miss Jennie Lee and Miss Ada Lee are the life and soul of the piece.’
(The Era, London, Saturday, 21 June 1884, p. 15c)

‘Miss Ada Lee has returned to London after an absence of several years in Australia and South Africa, having fulfilled successful engagements with Messrs Williamson and Musgrove, Brough and Boucicault, and Frank Thornton and Jennie Lee.’
(The Era, London, Saturday, 17 August 1895, p. 8c)

Ada Lee succumbed to the bubonic plague during a visit to Australia with the Charles Arnold Company, dying in Sydney on Saturday, 1 March 1902.

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Lizzie Marshall

a carte de visite photograph of
Lizzie Marshall (fl. 1850s-1870s), English actress and singer
(photo: The London Stereoscopic & Photographic Co Ltd, London, circa 1870)

‘LEICESTER. Theatre Royal. – The Lessee, Mr John Windley, has never produced so good a Pantomime here as the present one of The Babes in the Wood; or Harlequin robin Hood and His Foresters Good and the Brave Little Soldiers of Lilliput. He has done well in entrusting the authorship to Mr Charles Horsman, who has written it smartly and intelligibly. For the burlesque portion of it, Miss Lizzie Marshall (from the Philharmonic Theatre, London), is specially engaged, and, as Norval Smith, is perhaps the most saucy, pretty, well-dressed ruffian of the age. She is seconded by Mr A. Thomas as Brown, No. 2 Ruffian. It is the best part we have seen him in. The pretty babes are richly burlesqued by Mr. Harry Windley and Mrs Charles Horsman, the latter the post prodigious baby extant. Mr Windley has some good songs, and introduces with effect several local matters into one of them. Miss Louisa Payne looks extremely nice as Robin Hood. Miss E. Windley is King of Lilliput, and songs, acts, and dances very creditably. She has, moreover, under her charge forty diminutive children, dressed as an army, and their surprising precision in marching, under Mdlle. Fanchette, their solo [sic] instructress, is decidedly the feature of the Pantomime. Mr Jackman was a cruet looking Uncle. Mr. G. Raffal, Mr. W.H. Whatton, and Miss K. Thomas represent the Governess, Black Diamond, and Little John. Mr Laffar has again distinguished himself as scenic artist; his efforts in the Ballet and Transformation scenes were worthily recognised. Mr C. Bigwood (Britannia Theatre, London) is Harlequin; Messrs Laffar and Raffal, Clown and Pantaloon; and Mdlles. Fanchette, Columbine and Harlequina. Mr. W.H. Whatton is the Policeman, and takes the customary cuffs with the air of a martyr. Mr T. Green has charge of the elaborate mechanical arrangements, Mr Selvidge the lime-light effects, Mr W.H. Nicholson is responsible for the overture, and Mr T. Weston for the incidental music.’
(The Era, London, Sunday, 31 December 1871, p. 10c)

‘MISS LIZZIE MARSHALL (late of Philharmonic Theatre) thanks Managers for offers of Engagements, and begs to say she is Specially Engaged by F. Strange, Esq., ROYAL SURREY GARDENS, to sustain the part of MERCURY in Orphee aux Enfers.’
(The Era, London, Sunday, 30 March 1873, p. 1a)

‘MR. E. MARSHALL (ROYAL PHILHARMONIC THEATRE, every Evening), the original Gendarme, Genevieve, 450 Nights; Sam Crisp, Cabinet Secret, 126 Nights; Dr O’Toole, Irish Tutor, 100 Nights; Wormwood, Lottery Ticket, 150 Nights. Miss LIZZIE MARSHALL, as MERCURY, ROYAL SURREY GARDENS, every Evening. At Liberty shortly, London or America.
‘Agents, Messrs English and Blackmore.’
(The Era, London, Sunday, 1 June 1873, p. 1d)