Lizzie Webster, American burlesque actress and singer

Lizzie Webster (1858-1937), American burlesque actress and singer, whose short career flourished between about 1877 and 1879 under the management of Edward E. Rice.
(photo: Mora, New York, 1877/79)

Lizzie (Elizabeth) Webster, who is said to have begun her career at McVicker’s Theatre, Chicago, retired from the stage upon her marriage in June 1879 to Jacob Nunnemacher (1853-1928), a Milwaukee businessman who built the Nunnemacher’s Grand Opera House at Milwaukee and who in 1880 was connected with Edward E. Rice in a theatrical venture. Nunnemacher was born in Milwaukee, one of the children of Jacob Nunnemacher (senior) and his wife, Catherine, who were natives respectively of Switzerland and Prussia.

‘Rice’s Evangeline Combination.
‘Rice’s Evangeline Combination begins an engagement at the Memphis Theater Monday night. In speaking of this grand spectacular extravaganza, the Louisville Courier-Journal says: ”Evangeline comes to us with a new brightness and freshness. Several substitutions have been made, notably Miss Lizzie Webster for Miss Eliza Wethersby in the character of ‘Gabriel,’ Miss Venie Clancy for Miss Flora Fisher, as ‘Evangeline,’ and Mr. Richard Golden for Mr. N.C. Goodwin as ‘Le Blanc.’ The loss and gain are so evenly balanced that it is hardly worth while discussing, and, besides, the new-comers give to the extravaganza an air of newness quite refreshing. Many points have been added in the way of hits and in the business of the different characters, and there is such a variety of matter than the extravaganza will bear seeing many times and other seasons yet. Miss Lizzie Webster and Miss Eliza Wethersby differ in qualities rather than quality. The present ‘Gabriel’ has not quite the assertive dash of the former one; is not quite the actress or quite the singer, but is quite as charming in appearance, and has an air of sweet disposition, freshness, gentle archness and purity, with that degree of sprightliness which win the good-will and affection of the audience. Thus there is no loss in the change.”’
(The Memphis daily Appeal, Friday, Memphis, Tennessee, 30 November 1877, p. 4c)

Lizzie Webster appeared as Ralph Rackshaw in an ‘unofficial’ production of Gilbert and Sullivan’s H.M.S. Pinafore when it was produced at the Lyceum Theatre, New York, under the management of Edward E. Rice on 23 January 1879.

‘It is published in the leading New York papers that Lizzie Webster has had a house in that city make a pair of tights for her which cost one hundred dollars – and she fills the bill plumply.’
(Sedalia Weekly Bazoo, Sedalia, Missouri, Tuesday, 18 March 1879, p. 2a)

‘Ned Rice’s Evangeline Revival and the Memories That it Awakes …
‘… Of Gabriels there have been many, but none more sweetly picturesque than Venie Clancy, a delicate and pretty little girl, whom consumption carried away all too soon; there was a roguish Gabriel in Lizzie Webster, a brunette whom to see was to worship, and whom Jacob Nunnemacher, the Milwaukee manager, now esteems as his wife… .’
(The News Herald, Hillsboro, Ohio, Thursday, 5 May 1887, p. 5b)

* * * * *

‘In 1871, German-born [sic] businessman and theater enthusiast Jacob Nunnemacher was able to fulfill his aspirations of providing Milwaukee with its first opera house… . this, the Nunnemacher Grand Opera House was constructed at the northwest corner of Wells and Water Streets in the center of Milwaukee’s civic activity.’
(Megan E. Daniels, Milwaukee’s Early Architecture, Arcadia Publishing, Charleston, SC, &c., 2010, p. 34)

‘Messrs. E.E. Rice and J. Nunnemacher have leased the Fifth Avenue Theater, N.Y., for an indefinite period, commencing Monday, March 29, (Easter Monday,) and on that day will produced Mr. James A. Herne’s Hearts of Oak’
(The Evening Star, Washington, D.C., Saturday, 20 March 1880, p. 2d)

Laura Joyce Bell

a carte de viste photograph of Laura Joyce Bell (1858-1904), American actress and singer in comic opera before her marriage in 1883 to Digby Bell
(photo: Sarony, New York, circa 1878)

‘Notwithstanding the decree of the New York Court, which granted a decree of divorce to Mrs. Digby Bell and prohibited the husband from marrying again, that gentleman made his appearance at a Chicago hotel on Sunday with a new wife, known to the stage as Miss Laura Joyce, who was herself divorced a short time ago from James V. Taylor, a wealthy New Yorker. Bell and Miss Joyce were married in Pennsylvania.’
(Decatur Daily Republican, Decatur, Illinois, Saturday, 17 March 1883, p. 2d)

‘Haverly’s Theatre, Chester, Pennsylvania, January 1885.
‘Monday evening the McCaull Opera Company will present Gilbert & Sullivan’s esthetic [sic] opera Patience in a brilliant manner, with new scenery, a large and thoroughly drilled chorus, and the following cast: J.H. Ryley will be Bunthorne; Digby Bell, Grosvenor; C.W. Dongan, Colonel Calverley; George Roseman, Major Murgatroyd; George R. Appleby, the Duke; Mary Beebe, Patience; Irene Perry, Lady Angela; Emma Ellsner, Lady Saphir; and that pronounced favorite, Laura Joyce Bell, the massive Lady Jane.
‘In this series of revival Manager McCaull has determined to produce the operas in the very best possible manner, selecting from his various companies those artists who are best adapted for the different roles. The present company could not be surpassed, all being especially fitted from their respective parts.’
(Chester Times, Chester, Pennsylvania, Monday, 12 January 1885, p. 3b)

Grand Opera House, San Antonio, Texas, 31 December 1896
‘Tonight and Tomorrow Matinee and Night.
‘Hoyt’s greatest comedy, A Midnight Bell, which portrays more accurately than any other of its rivals, the charms, sweetness and fragrance of New England life, will be presented in this city shortly with an ideal cast of metropolitan favorites, headed by America’s foremost comedian, Dibgy Bell, and the famous comedienne, Laura Joyce Bell. An entire carload of scenery has been painted by the celebrated artist, Arthur Voegtlin. New music has been specially arranged by Victor Herbert, author of Prince Ananias and The Wizard of the Nile and leader of Gilmore’s famous band.’
(San Antonio Daily Light, San Antonio, Texas, Thursday, 31 December 1896, p. 5a)

‘DEATH OF SINGER.
‘Laura Joyce Bell Once Popular Comic Opera Star.
‘Chicago, May 30 [1904]. – Announcement from new York city yesterday of the death of Mrs. Laura Joyce Bell, the comic opera singer, saddened scores of theatrical people who had known her when she was in the height of her popularity and success.
‘Mrs. Bell was the wife of Digby Bell, the vaudeville star.
‘Mrs. Bell had been ill for nearly a year. She suffered from fatty degeneration of the heart.
‘Laura Joyce Maskell was born in England. She received her musical education at the Royal Academy of Music, London. Her first appearance in America was in Niblo’s Garden in New York in 1872. In 1882 she was married to Digby Bell. Mrs. Bell was 46 years old.’
(The Daily Review, Decatur, Illinois, Monday, 30 May 1904, p. 3d)

‘LAURA JOYCE BELL CUTS OFF DAUGHTER
‘Because the Girl Ran Off and Got Married.
‘New York, Oct. 21. – ”I give and bequeath to my daughter, Laura Seymour Bell, for her sole support and separate use, $1.” In these words Laura Joyce Bell, the actress, wife of Digby Bell, by her will, cut off her daughter from participation in her estate except as stated. The will was drawn may 3, 1904. Only a short time before that Miss Bell eloped from the normal college on the eve of her graduation and was married, her name now being Wilson.’
(The Daily Review, Decatur, Illinois, Friday, 21 October 1904, p. 1c)

For further photographs of Laura Joyce Bell, see NYPLDigitalGallery and University of Louisville, Digital Collections.

Alma Stanley

a cabinet photograph of Alma Stanley (1854-1931), English dancer, actress and singer, at the time of her appearance in the United States of America with Leavitt’s Grand English Opera Burlesque Co, 1881
(photo: Scholl, Philadelphia, United States of America, 1881)

‘Alma Stanley, now playing in Patience at the Standard, is also English and tall. She is, indeed, very tall – almost the average man’s height – and has a fine complexion, with brown hair and eyes, and remarkably long eyelashes. She comes here from England with a burlesque company, and is the daughter of an English army officer, who named her Alma in honor of the battle in the Crimea where he won promotion.’
(Daily Kennebec Journal, Kennebec, Maine, Tuesday, 10 January 1882, p. 1g)

Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)

Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)