Bessie Skeet, Marion Brown, Helen Paites, Billy Blane and Camille Barnette as they appeared in bathing costumes in High Jinks, produced at the Lyric Theatre, New York, on 10 December 1913

left to right: Bessie Skeet, Marion Brown, Helen Paites, Billy Blane and Camille Barnette, American chorus girls, as they appeared in bathing costumes in High Jinks, the musical comedy produced at the Lyric Theatre, New York, on 10 December 1913 (after a short out of town trial run) and transferred to the Casino Theatre, New York, on 12 January 1914. High Jinks eventually reached London on 24 August 1916, when it was produced at the Adelphi Theatre.
(photo: White, New York, 1913)

‘Arthur Hammerstein will bring his musical comedy High Jinks to the Lyric Theatre Wednesday night [10 December 1913]. The book of the new musical show is by Leo Ditrichstein and Otto Hauerbach and the music is by Rudolph Friml, who was first introduced to the American public a year ago by Mr. Hammerstein through the production of The Firefly
‘High Jinks is in three acts, and the action all takes place in Paris during a carnival. Dr. Thorne, an American nerve specialist practicing in the French capital, has a friend by the name of Dick Wayne, an explorer, and Wayne has discovered a drug in the form of a perfume called ”High Jinks.” The effect of this perfume is to make the timid brave, the pessimist an optimist, the serious man jovial, and the prudish person a daredevil. The complications of the piece are brought about by the manner in which Dr. Thorne experiments with this curious drug. Much of the plot is told in songs.
‘The cast of High Jinks includes Elizabeth Murray and Tom Lewis, featured at the head of a lit of principals. Among the other players are Ignacio Martinette, Elaine Hammerstein, the daughter of Arthur Hammerstein, who makes her professional début in this production; Robert Pitkin, Burrell Barbaretto, Snitz Edwards, Blanche Field, Ada Meade, Mana Zucca, Emilie Lea, Augustus Schultz, and Elsie Gregley.’
(The New York Times, New York, New York, 28 December 1913, p. 23)

* * * * *

One of the hit songs of High Jinks was ‘The Bubble,’ a studio recording of which was made on cylinder by Emory B. Randolph and chorus. (For another copy, click here.) ‘The Bubble’ also recorded in 1916 by Marie Blanche, a member of the London cast of High Jinks. For a selection of orchestral highlights from the show, click here.

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Alice Delysia in Carminetta, Prince of Wales’s Theatre, London, 1917

Alice Delysia (1889-1979), French actress and singer, star of London revues
(photo: Foulsham & Banfield, London, circa 1916)

Carminetta, an operetta adapted from the French by Monkton Hoffe, with music by Emile Lassaily, Herman Finck and Herman Darewski, and lyrics by Douglas Furber, was produced by Charles B. Cochran at the Prince of Wales’s Theatre, London, on 22 August 1917. Delysia appeared in the title role (understudied by Sylva Dancourt), and other important parts were played by Leon Morton, Robert Cunningham, Dennis Neilson-Terry (succeeded by Geoffrey Gwyther), May Beatty, Florence Vie and Marie Blanche. Alec S. Clunes, grandfather of Martin Clunes, was also in the cast.

‘Delysia Returns.
‘Whatever else may be said of Carminetta, at the Prince of Wales Theatre, it is undeniable that it gives Alice Delysia the opportunity of demonstrating to the full her completely-equipped temperamental gifts. Her picture of Carminetta, own daughter to Bizet’s immortal Carmen, is one of those performances that, should you brain and heart happen to be tuned to the appeal of the artist, simply thrill and hold you from beginning to end. Stormily tempestuous, utterly lovable, a tiger-cat, a hoyden – everything by turn, and always a great personality – so does Delysia assert herself at the Prince of Wales. It may be pointed out by the hyper-critics that she is not always perfect and that she is sometimes too violent in her passion. But what do such flaws matter with an artist who can sing and act three such absolutely dissimilar numbers as the ”Habanera,” the ”Cliquot” song, and that utterly lovely ”Farewell” which brings down the final curtain? Delysia’s is a truly splendid accomplishment, and Carminetta should find a sanctuary in every heart.
‘M. Morton is, as always, a great comic artist. As the South American wine-grower Panelli he is superlatively quaint. Another excellent bit of character acting comes from Mr. Robert Cunningham as Escamillo, one the Toreador of Carmen’s fatal attraction, Mr. Dennis Neilson-Terry as Ensign O’Hara plays a difficult part with much skill. Then there are pretty Miss Marie Blanche as the English Lady Susan – a skilful contrast to Carminetta’s violent personality – Miss May Beatty clever as Frasquita, and Miss Florence Vie comical as Panelli’s sister. There is also a charming chorus in crinolines and peg-top trousers, and a gay and youthful spirit about everybody and everything!’
(The Lady, London, Thursday, 30 August 1917, p. 199a)

Ida René and Marie Blanche in Samples!

a scene with Ida René and Marie Blanche from Harry Grattan’s revue, Samples!, Playhouse Theatre, London, 30 November 1915
(photo: Wrather & Buys, London, 1915)

a scene with Ida René and Marie Blanche from Harry Grattan’s revue, Samples!, Playhouse Theatre, London, 30 November 1915
(photo: Wrather & Buys, London, 1915)

a scene with Ida René and Marie Blanche from Harry Grattan’s revue, Samples!, Playhouse Theatre, London, 30 November 1915
(photo: Wrather & Buys, London, 1915)