Posts Tagged ‘La Poupée (comic opera)’


Adeline Burgon

July 21, 2013

Adeline Burgon (b. 1890), English actress and singer, as she appeared as Tommy in the pantomime Dick Whittington, produced at the Grand Theatre, Leeds, on 23 December 1910, with Lillian Lea in the title role and Madge Crichton as Alice.
(photo: Garratt, Leeds, 1910)

Adeline Burgon, born Edith Lina Burgon, was the daughter of William Henry ‘Harry’ Burgon (1858-1898), a well-known concert baritone and sometime member of the Carl Rosa Opera Company, and is wife Zoe Josephine Philomene (née Chatenet, born in Paris about 1862), who were married in London in 1887. The couple also had a son, Adrian (Adrien) Burgon (1888-1970), who began his stage career as a choir boy.

Adeline Burgon’s career flourished from about 1906 to 1916, mostly on tour in the United Kingdom. In 1906 she was in C.P. Levilly’s Company in La Poupee, with Stella Gastelle, before touring in The Gay Parisienne (1907), in Charles Macdona’s Company in The Girl from Kay’s (1908), and in The Merry Widow in 1909 with Octavia Barry and Leonard Mackay. At Christmas 1910 she appeared as Tommy in the pantomime, Dick Whittington at the Grand Theatre, Leeds, after which no more is heard of her until 1913 when she appeared in Horace Goldin’s Theatrical Company at the Palace Theatre, New York. Her final performances seem to have been on tour during 1916 in the United Kingdon in The Girl in the Taxi.


Mariette Sully

December 31, 2012

Mariette Sully (1874-?1940), Belgian born French actress and singer, as Pervenche in The Merveilleues, Daly’s Theatre, London, 27 October 1906 (photo: probably Foulsham & Banfield, London, 1906)

‘The dramatic profession across the water possesses no such thing as a distinctive club. It has, that is to say, no professional club-house. Paris can show nothing in the nature of the London Garrick, and provides nothing in the shape of the Beefsteak, or a Green Room, or a Savage. The clubability of ”the’ profession has never extended to anything of this kind. Its individual members appear to find quite sufficient everyday accommodation in the café of their predilection. Still, there are actors’ clubs of sorts in Paris, and the hieroglyphic seeming rubric above is, or rather was, the name of one of them.
‘This particular society meets in the good old Johnsonian fashion, at a tavern, and there, once a month, it dines. The tavern lies outside the ruck of restaurants, in a quiet and sequestered quarter, whither the feet of the roysterer never stray. But the dinners to be had there are none the worse for that, and the liquors all the better.
‘When the ”Gym-Co-Vau-Dé-Pa-O” was started a decade or so ago its members numbered thirty. The method of election was eclectic, and the original name of the club implies as much. Writ long it means, ”Gymnasc, Comédie Française, Vaudeville, Déjazet, Palais Royal, Odéon.” Not, however, that members of the companies of these theatres only are eligible.
‘The original designation of the Club, however, has been changed, and more than once. It became first the ”Petites Vedettes,” then the ”Mentons-Bleus,” or Blue Chins. To-day it is known fondly as the ”Guignot,” and the monthly symposium is thus a monthly Punch Dinner. But once a year, in this present month of January, the Punch dinner takes the form of supper; and, on these occasions, the Punchmen have a pretty custom of asking a lady – of course, a member of the profession – to preside. The first lady president was Mdme. Blanche Pierson, of the Gymnase. One of her successors was Mdme. Alice Lavigne, the désopilante soubrette of the Palais Royal. Last year Mdlle. Cheirel took the chair and the other night the revels were ruled by Mlle. Mariette Sully, the bewtiching heroine of Audran’s Poupée, who found under her serviette a counterfeit presentment of herself as she appears upon the stage of the Gaieté – a Doll of Dolls, which a floral tribute in her wooden hands, the offering of the gallant Guignol.
‘After reflection, and with the cigarettes, comes the literary portion of the entertainment. This habitually takes the peculiarly Parisian form of a ”revue,” or rhymed skit upon things in general, as wicked and as witty as the club pens can make it. Sarah in excelsis [i.e. Sarah Bernhardt], Sarcey in his critic’s seat, and M. Antoine in the shades, formed its features on this occasion.
‘The whole concluded with a tombola, conducted on professional lines, and lasting till the traditional baked apples had all given out.’ (The Pall Mall Gazette, London, Tuesday, 12 January 1897, p. 3c)