Katie Barry as Fifi in A Chinese Honeymoon, New York, 1902

Katie Barry (1869?-after 1909), English actress and singer, as Fifi in the first American production of A Chinese Honeymoon, produced at the Casino, New York, on 2 June 1902. The part of Fifi was first played in London (Strand Theatre, 5 October 1901) by Louie Freear who was succeeded by Hilda Trevelyan.
(photo: Gilbert & Bacon, 1030 Chestnut Street. Philadelphia, probably 1902)

‘A CHINESE HONEYMOON.
‘English Musical Comedy is Presented at the Casino.
‘Distinct achievement in A Chinese Honeymoon, the new musical comedy seen at the Casino last evening, is to be credited to Katie Barry, a diminutive newcomer, who, by reason of a quaint personality, a semblance of buoyant good nature and ability in the direction of grotesque activity, scored an unusual success with an audience that was not always as discriminating as it was demonstrative. From the occasion of her first entrance through the successive drolleries in which she figured, as well as in her individual songs, which proved among the most diverting features of the entertainment, Miss Barry’s efforts provided occasion for much spontaneous laughter. Entirely unknown here up to last night, her success is, therefore, a fact to be recorded.
‘Another surprise of the evening was provided by Aimee Angeles, who blossomed forth as an imitator of no mean ability, to the satisfaction of those who had heretofore known her simply as a graceful dance in the Weber and Fields ranks. The enthusiasm evoked by her mimicry, in which she was admirably assisted by William Pruette, was unbounded.
‘Mention of these distinctly favored features of the new musical comedy seem fitting in the very beginning for such success as the piece achieved is largely due to the efforts of the actors, and to those of the scene painters and costumers. If the author of the book and the composer of the music had been as successful as those who had the setting forth of their work, praise, which must now be qualified, might be accorded without stint. But there is little in the book, which is by George Dance, that provides any occasion for humor, and most of Howard Talbot’s music, which it is not reminiscent, is lacking in such tunefulness as is required to make it of the essentially popular sort. One has passed the stage nowadays of asking for great originality in such composition – or, at any rate, one is mightily surprised if it is forthcoming. But that the tunes shall fall pleasingly on the ear and that they shall come readily to the lips of whistlers and singers – that may be fairly demanded. Perhaps after a few nights, too, the tendency toward ear-crashing effects in the rendering of the choruses will have been overcome – that may well be hoped for, for last night noise, rather than melody, marked much of what was sung.
‘In point of lavishness of production A Chinese Honeymoon is entitled to much praise. The two scenes – ”the garden of the hotel at Yiang Yiang” and ”the room in the Emperor’s palace” – are well painted, and the pictures presented, with many richly dressed women on the stage, is one of Oriental splendor. In the combinations of colors one notes the absence of those faults in taste which so often mar. An exceptionally pretty and novel effect was obtained in the second act, where disappearing and reappearing lines of chorus girls in bright colored gowns provide a panorama of changing color.
‘The story of the Chinese Honeymoon is not important. It concerns one Simon Pineapple, who goes to China on a honeymoon with his bride, under the somewhat unusual conditions of being accompanied by her eight bridesmaids. The chief uses of these bridesmaids is apparently to blow screeching whistles, which add to the general clamor, and to wear ”creations” in the now absolutely essential ”octet speciality” [a reference to Leslie Stuart’s song, ‘Tell Me Pretty Maiden‘ from Florodora (1899]. Pineapple meets in China his nephew, Tom Hatherton, who is there for the purpose of falling in love with Soo Soon, the Emperor’s niece, Fifi, a waitress in a hotel, is in love with Tom, but sacrifices herself to make that worthy young man happy. The Emperor has ordered his Lord Chancellor to find him a bride, one of the conditions being that the aspirant for that position shall not known the real rank of her fiance-to-be, but shall be allowed to think that he is a bill-poster. Various complications result through the peculiarities of the Chinese laws. Pineapple finds himself married to his niece-that-was-to-be and Hatherton’s intended bride becomes his aunt-in-law. It may readily be observed, therefore, that atmosphere is not entirely forgotten even to the extent of providing a Chinese puzzle in the disposing of the variously related persons.
‘Thomas Q. Seabrooke, who played ”Pineapple,” won favor for a song, ”Mr. Dooley” and Van Renssalear Wheeler was particularly favored for his number, ”I Love Her.” Edwin Stevens was successful as the emperor, as was Amelia Stone, the ”Soo Soo”.’
(The New York Times, New York, Tuesday, 3 June 1902, p. 9a)

* * * * *

Katie Barry (whose real name appears to have been Catherine Patricia Rafferty or, possibly, Laverty), was a niece of the actor and playwright, George Conquest (1837-1901), sometime manager of the Grecian Theatre in the City Road, London. She is said to have been born in London about 1869 and her career began as a small child at the behest of her uncle. She subsequently had a very busy career, including a tour of Australia in the late 1888s, before going to the United States in 1902 to star as Fifi in A Chinese Honeymoon. Miss Barry remained in America, where she became very popular, both in musical comedy and in vaudeville. Her career appears to have ended upon her marriage in 1908 as the second wife of Julius Scharmann (1867?-1914), a widower with three children and a member of the well-known brewing firm of H.B. Scharmann & Sons of 355-375 Pulaski Street, Brooklyn, New York. Mr Scharmann committed suicide by shooting himself with a revolver on 3 December 1914. It was said that he was grieving over the recent death of his closest friend, Ferdinand Schwanenfingel (various contemporary reports, including The Brooklyn Daily Eagle,, New York City, Thursday, 3 December 1914, p. 1c). It is assumed that Mrs Scharmann (Katie Barry) remained in the United States but her whereabouts following the death of her husband is as yet unknown.

Katie Barry’s recording (Columbia 1797, circa May 1904) of ‘I Want to Be a Lidy’ is included on the CD, Music from The New York Stage, 1890-1920, vol. I, Disc 2, no. 11.

Toots Pounds and chorus in The Flower Garden scene in Palladium Pleasures, London Palladium, 1926

Toots Pounds (1897-1976), Australian actress and singer, as she appeared with chorus in The Flower Garden scene singing ‘Mary Mary, Quite Contrary’ in Palladium Pleasures, a revue produced at the London Palladium on 24 February 1926. The cast also included Toots Pounds’s sister, Lorna, with whom she sang the popular song, ‘Valencia,’ Billy Merson and George Clarke. Also in the cast was Leslie Stuart, composer of a string of hits at the turn of the century, including ‘The Lily of Laguna,’ ‘Little Dolly Daydream,’ ‘The Soldiers of the Queen‘ and ‘Tell Me, Pretty Maiden.’
(photo: The Stage Photo Co, London, 1926)

Toots Pounds, whose real name was Dorice Sophie Mary Pounds, was born at Carlton, a suburb of Melbourne, NSW, Australia on 17 November 1897. She and her sister, Lorna first appeared in London at the Palace Theatre in the summer of 1912. Thereafter they made regular appearances in the United Kingdom in a number of revues and at variety theatres. At the height of their popularity in the late 1920s, Toots decided upon a professional change of name, to Maria Linda after which she appeared for a while as a concert singer, making her debut at the Aeolian Hall, Wigmore Street in 1935. She was married in 1945 as his second wife to William Buchanan-Taylor (d. 1958), an expert in advertising who for some 20 years had been head of publicity for J. Lyons & Co Ltd and was responsible for naming the firm’s waitresses ‘Nippies.’ During the 1950s Toots was seen in small parts in several films, and in 1953 was understudy to Cicely Courtneidge on a tour of the revue, Over the Moon. (The Barrier Miner, Broken Hill, NSW, Thursday, 3 December 1953, p. 8b)
Toots Pounds died in Brighton, Sussex, in January 1976.

song sheet featuring Eugene Stratton singing Leslie Stuart’s ‘My Little Octoroon,’ 1899

colour lithograph song sheet cover for Leslie Stuart’s popular song, ‘My Little Octoroon, with a portrait of its original singer, Eugene Stratton (1861-1918), American-born British music hall star, minstrel and negro delineator
(original artwork by W. George, published by Francis, Day & Hunter, London, 1899)
Eugene Stratton recorded ‘My Little Octoroon’ for the Gramophone & Typewriter Co Ltd in London on 7 December 1903. It was issued as a 10” black label G&T (catalogue number 3-2013) in March 1904. Rather more accessible among his relatively few recordings is his 1911 version of Leslie Stuart’s ‘Lily of Laguna,’ a song which he first recorded in 1903.
Leslie Stuart wrote a string of hit songs, a few of which are featured on a medley recorded in London in 1930.

Bessie Butt

Bessie Butt (fl. early 20th century), English dancer, actress and singer, as principal boy in Aladdin, pantomime, Theatre Royal, Glasgow, Christmas 1909
(photo: Langfier, Glasgow, 1909)

‘Born in London within the sound of Bow Bells [the traditional description of a Cockney], Miss Bessie Butt commenced her stage career at a very early age by playing the child part in [Minnie Palmer’s popular vehicle] My Sweetheart. While still in her early ‘teens she toured through many European countries in company with her brothers – the Reed Family – and made quite a big reputation as a transformation dancer, being billed as “Baby Butt.” An unfortunate illness kept her from the stage for a long period, and her next appearance was under the management of Mr. John Tiller, who looked upon her as one of the most promising of his young recruits.
‘Having ambitions, Miss Butt decided on doing a single turn on the halls, and at once sprang into popularity wherever she appeared. The late Walter Summers saw her, and recommended her so highly to Mr Robert Arthur that she was engaged by him as second girl for the Kennington theatre pantomime of Red Riding Hood, and there she made her first great success in [singing] “Ma blushing Rosie.” The late Clement Scott [dramatist and theatre critic, 1841-1904] was so taken with this number that he went several times to hear it. Miss butt’s next appearance was [on tour] under the management of Mr. George Edwardes as Susan in The Toreador [originated by Violet Lloyd, Gaiety, London, 17 June 1901], and this was followed by Sophie in A Country Girl [originated by Ethel Irving, Daly’s, London, 18 January 1902] and Thisbe in The Orchid [originated by Gabrielle Ray, Gaiety, London, 26 October 1903]. After this she was for twelve months at the London Coliseum, where she created several parts, notably the Black Pearl in Mr. Leslie Stuart’s song specially written for Mr. Eugene Stratton, and produced at the Coliseum in 1905. She also appeared as a wonderfully life-like doll in Mr. Will Bishop’s [ballet] My Gollywog. This was in 1906.
‘A pantomime engagement as Cinderella at Cheltenham was followed by a return to the halls under the managements of Mr. Oswald Stoll, the late Mr. G.A. Payne, and others; and then Miss Butt was seen and secured by Mr. Lester Collingwood to play the title roole in his pantomime of Cinderella at the Alexandra, Birmingham, in 1907. The success was phenomenal, as the run of the pantomime was a record for the country. On that occasion also Miss Butt won the “Owl” cake and diamond ring in a local beauty competition. This year Miss Butt has discarded skirts and gone in for principal boy, and as Dandini at the Royal County Theatre, Kingston, she is undoubtedly the hit of a most successful [Cinderella] pantomime [; other members of the cast were Dorothy Grassdorf, Hilda Vining and Laurie Wylie]. During her short career she has introduced many popular songs, of which probably the most successful have been “Scarecrow,” “Amelia Snow,” “Cherries are blooming,” “Peggy, the pride of the Mill,” and “Sunshine Soo,” her latest effusion, which is likely to eclipse in popularity all the others.
Gifted with youth, beauty, a sweetly clear and distinct voice, a genius for dancing, and unlimited vivacity, there is no knowing to what heights this clever lady may aspire.’
(The Era, London, Saturday, 30 January 1909, p.13c)

Bessie Butt
(photo: White, Bradford, circa 1908)

Madge Temple (1875/80-1943),
English actress, vocalist and music hall comedienne
(photos: unknown, circa 1905)

This tinted real photograph postcard of Madge Temple, actress, vocalist and music hall comedienne, was printed in Saxony and published about 1905 by the Aristophot Co of London.

Miss Temple made her first appearance in pantomime at the Lyric Theatre, Ealing, West London, at Christmas, 1900. She subsequently toured in a production of Leslie Stuart’s musical comedy, Florodora and other similar pieces before making an appearance on the variety stage for the first time, at the London Coliseum on 18 December 1905. After that, she made successful tours of music hall circuits, with such songs as ‘Come, Be My Rainbow,’ ‘He’s a Very Old Friend of Mine’ and ‘I’m Looking for Mr Wright.’ The latter was among a number of songs which she recorded for Pathé in 1909 or 1910, which may be heard on ‘Chez Pathe,’ vol. 2, a CD of music hall songs by original artists issued by Music Hall Masters (MHM 015).

In private life, Madge Temple was married to Herman Darewski, a prolific and successful composer of popular songs, and died in Sheffield on 8 December 1943.

Madge Temple (1875/80-1943),
English actress, vocalist and music hall comedienne
(photos: unknown, circa 1905)

This tinted real photograph postcard of Madge Temple, actress, vocalist and music hall comedienne, was printed in Saxony and published about 1905 by the Aristophot Co of London.

Miss Temple made her first appearance in pantomime at the Lyric Theatre, Ealing, West London, at Christmas, 1900. She subsequently toured in a production of Leslie Stuart’s musical comedy, Florodora and other similar pieces before making an appearance on the variety stage for the first time, at the London Coliseum on 18 December 1905. After that, she made successful tours of music hall circuits, with such songs as ‘Come, Be My Rainbow,’ ‘He’s a Very Old Friend of Mine’ and ‘I’m Looking for Mr Wright.’ The latter was among a number of songs which she recorded for Pathé in 1909 or 1910, which may be heard on ‘Chez Pathe,’ vol. 2, a CD of music hall songs by original artists issued by Music Hall Masters (MHM 015).

In private life, Madge Temple was married to Herman Darewski, a prolific and successful composer of popular songs, and died in Sheffield on 8 December 1943.

a stereoscopic photograph of Willie Edouin as the phrenologist Anthony Tweedlepunch, impressing Charles E. Stevens as Cyrus W. Gilfain in the original production of Leslie Stuart’s successful musical comedy, Florodora, which opened under the management of Tom B. Davis at the Lyric Theatre, London, on 11 November 1899.
(photo: The London Stereoscopic & Photographic Co Ltd, London, 1899)

Mr Edouin repeated his Tweedlepunch when Florodora was first presented to American audiences at the Casino Theatre, New York, on 10 November 1900.