Posts Tagged ‘Marie Lloyd’

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Améliè de l’Enclos, French soprano, billed in London as ‘the vocal phenomenon’

January 7, 2015

Améliè de l’Enclos (active early 20th Century), French singer, billed as ‘the vocal phenomenon,’ who made United Kingdom appearances at the Tivoli, Stand, and other London and provincial music halls between about 1909 and 1911
(photo: Ernst Schneider, Berlin, 1908/09; postcard no. 5779, published by The Rapid Photo Printing Co Ltd, London, circa 1909. This postcard, stamp and postmark missing, was sent by Mlle. De l’Enclos to Luigi Motto, 12 Foster Road, Chiswick, London, W. In the 1911 Census for that address, Luigi Motto (1894-1968) is recorded as a music student. He subsequently became a noted ‘cellist and sometime member of The Mozart Concert Party.)

The Tivoli music hall, London, week beginning Monday, 3 January 1910
‘The holiday programme at the Tivoli contains the names of several of the chief music-hall favourites. Miss Marie Lloyd, with her inimitable wink, Mr. Gus Elen, in excellent voice, Mr. George Formby, the Lancashire comedian, who becomes more of an artist the longer he sings, and last but not least (in one sense) Little Tich, all combine to keep the audience in the best of humours… . One of the newcomers to the Tivoli, Mlle. Améliè de l’Enclos, is described on the programme as a phenomenal soprano vocalist, and well deserves the title. She has, to begin with, quite a pleasant and well-trained voice. But over and beyond and far above it she produces some extraordinary vocal harmonics which reach to a positively dizzy height. They are much more like the notes of a flute than a human voice, and of course this part of her performance is merely a variety of trick-singing. But for all that it is not only astonishing, but also, which is a different thing, agreeable to listen to.’
(The Times, London, Tuesday, 4 January 1910, p. 11c)

‘Some Close-range Studies of Personalities of the Week [beginning Monday, 21 November 1910] …
‘A Marvellous Singer
‘Mlle. Amelie de l’Enclos, who is singing at the Tivoli, is able to reach C sharp in alt.’
(The Sphere, London, Saturday, 26 November 1910, p. 181)

* * * * *

‘FAMOUS SINGERS’ TOP NOTES.
‘What are the utmost limits of the human voice? Since, years ago, Mme. Patti reached G in altissimo, doctors of music have been asking themselves this question. As a matter of fact, no singer seems to have exceeded Mme. Patti’s range, although she herself seldom touched that not, her real top note being E flat. Since then, however, several singers have astonished the world by reaching G in alt. even more easily than Mme. Patti.
‘A few days ago a young singer, Miss Florence Macbeth, who has been hailed as ”a second Patti,” appeared at the Queen’s Hall and astounded the critics with her phenomenal voice, which ranges from low G sharp to the G in alt. – three octaves – which she can sing with a clear note.
‘Miss Macbeth was born in Minnesota, and is not the first American nightingale who has astonished the world. Miss [Ellen] Beach Yaw as one of the first to break all musical records on the other side of the Atlantic, and there is a passage in Mozart’s ”Magic Flute” which took her to F, but Miss Yaw demonstrated that she could sing a note higher than that – G.
‘Then there was Miss Editha Helena, a young American diva, who sang at the Empire, London, some time ago, and who claimed to have the greatest vocal register ever possessed by a woman. She could sing with perfect musical intonation (in addition to the two octaves of the ordinary good soprano) F in the altissimo, and even climb to the remote altitudes of the A above F. Besides, this, she could take the low G, and could thus, like Miss Macbeth, sing three octaves, a vocal achievement unprecedented in the whole history of music.
‘In 1910 Mlle. Camille Obar appears at the London Coliseum, and astounded the critics by raising her voice above the level of the C – that ”high C” which is commonly supposed to mark the limit of the ordinary soprano’s efforts in the ”top note” business. As one critic put it, ”The dictionaries of music contained no name for Mlle. Obar’s vocal sky-rockets.” In the same year another French lady, Miss Amelie de l’Enclos, appeared in London and showed that she could reach the four-line C and C sharp, her voice retaining its marvellous purity at this great range.
‘One of the most wonderful singers who ever appeared on the London stage is undoubtedly Miss Florence Smithson, whose song, ”Light is my Heart,” was one of the chief numbers of ”The Arcadians” at the Shaftesbury Theatre. When she first sang the song she set all musical London discussing the wonderful note – F in alt. – which she reached, and not only rendered with astonishing purity and sweetness and without apparent effort, but held with undiminished strength for 24 bars.
‘Naturally the question arises, How do these phenomenal voices compare with the great prima donne of to-day and yesterday? Tetrazzini‘s trill on E flat in alt. has been her greatest and most admired effort. Mme. Melba is credited with an F sharp, Nordica sings C sharp, Calve sings B flat, while Mme. Eames and Mme. Sembrich each easily attain E. Christine Nilsson was able to touch G, and Jenny Lind even an A – ranges, of course, which are phenomenal, and rarely to be found among concert singers.’
(The Advertiser, Adelaide, South Australia, Saturday, 19 July 1913, p. 6h)

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January 7, 2015

Améliè de l’Enclos (active early 20th Century), French singer, billed as ‘the vocal phenomenon,’ who made United Kingdom appearances at the Tivoli, Stand, and other London and provincial music halls between about 1909 and 1911
(photo: Ernst Schneider, Berlin, 1908/09; postcard no. 5779, published by The Rapid Photo Printing Co Ltd, London, circa 1909. This postcard, stamp and postmark missing, was sent by Mlle. De l’Enclos to Luigi Motto, 12 Foster Road, Chiswick, London, W. In the 1911 Census for that address, Luigi Motto (1894-1968) is recorded as a music student. He subsequently became a noted ‘cellist and sometime member of The Mozart Concert Party.)

The Tivoli music hall, London, week beginning Monday, 3 January 1910
‘The holiday programme at the Tivoli contains the names of several of the chief music-hall favourites. Miss Marie Lloyd, with her inimitable wink, Mr. Gus Elen, in excellent voice, Mr. George Formby, the Lancashire comedian, who becomes more of an artist the longer he sings, and last but not least (in one sense) Little Tich, all combine to keep the audience in the best of humours… . One of the newcomers to the Tivoli, Mlle. Améliè de l’Enclos, is described on the programme as a phenomenal soprano vocalist, and well deserves the title. She has, to begin with, quite a pleasant and well-trained voice. But over and beyond and far above it she produces some extraordinary vocal harmonics which reach to a positively dizzy height. They are much more like the notes of a flute than a human voice, and of course this part of her performance is merely a variety of trick-singing. But for all that it is not only astonishing, but also, which is a different thing, agreeable to listen to.’
(The Times, London, Tuesday, 4 January 1910, p. 11c)

‘Some Close-range Studies of Personalities of the Week [beginning Monday, 21 November 1910] …
‘A Marvellous Singer
‘Mlle. Amelie de l’Enclos, who is singing at the Tivoli, is able to reach C sharp in alt.’
(The Sphere, London, Saturday, 26 November 1910, p. 181)

* * * * *

‘FAMOUS SINGERS’ TOP NOTES.
‘What are the utmost limits of the human voice? Since, years ago, Mme. Patti reached G in altissimo, doctors of music have been asking themselves this question. As a matter of fact, no singer seems to have exceeded Mme. Patti’s range, although she herself seldom touched that not, her real top note being E flat. Since then, however, several singers have astonished the world by reaching G in alt. even more easily than Mme. Patti.
‘A few days ago a young singer, Miss Florence Macbeth, who has been hailed as “a second Patti,” appeared at the Queen’s Hall and astounded the critics with her phenomenal voice, which ranges from low G sharp to the G in alt. – three octaves – which she can sing with a clear note.
‘Miss Macbeth was born in Minnesota, and is not the first American nightingale who has astonished the world. Miss [Ellen] Beach Yaw as one of the first to break all musical records on the other side of the Atlantic, and there is a passage in Mozart’s “Magic Flute” which took her to F, but Miss Yaw demonstrated that she could sing a note higher than that – G.
‘Then there was Miss Editha Helena, a young American diva, who sang at the Empire, London, some time ago, and who claimed to have the greatest vocal register ever possessed by a woman. She could sing with perfect musical intonation (in addition to the two octaves of the ordinary good soprano) F in the altissimo, and even climb to the remote altitudes of the A above F. Besides, this, she could take the low G, and could thus, like Miss Macbeth, sing three octaves, a vocal achievement unprecedented in the whole history of music.
‘In 1910 Mlle. Camille Obar appears at the London Coliseum, and astounded the critics by raising her voice above the level of the C – that “high C” which is commonly supposed to mark the limit of the ordinary soprano’s efforts in the “top note” business. As one critic put it, “The dictionaries of music contained no name for Mlle. Obar’s vocal sky-rockets.” In the same year another French lady, Miss Amelie de l’Enclos, appeared in London and showed that she could reach the four-line C and C sharp, her voice retaining its marvellous purity at this great range.
‘One of the most wonderful singers who ever appeared on the London stage is undoubtedly Miss Florence Smithson, whose song, “Light is my Heart,” was one of the chief numbers of “The Arcadians” at the Shaftesbury Theatre. When she first sang the song she set all musical London discussing the wonderful note – F in alt. – which she reached, and not only rendered with astonishing purity and sweetness and without apparent effort, but held with undiminished strength for 24 bars.
‘Naturally the question arises, How do these phenomenal voices compare with the great prima donne of to-day and yesterday? Tetrazzini’s trill on E flat in alt. has been her greatest and most admired effort. Mme. Melba is credited with an F sharp, Nordica sings C sharp, Calve sings B flat, while Mme. Eames and Mme. Sembrich each easily attain E. Christine Nilsson was able to touch G, and Jenny Lind even an A – ranges, of course, which are phenomenal, and rarely to be found among concert singers.’
(The Advertiser, Adelaide, South Australia, Saturday, 19 July 1913, p. 6h)

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Daisy Wood, English music hall singer

June 23, 2014

Daisy Wood (1877-1961), English music hall singer and pantomime celebrity, whose oldest sibling was Marie Lloyd.
(photo: Ralph & Co, Preston, Lancashire, circa 1914)

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Tivoli music hall, Strand, London, week beginning Monday, 28 December 1908

May 4, 2014

programme cover of the Tivoli music hall, Strand, London, for the week beginning Monday, 28 December 1908

1. Overture – ‘La part du Diable’ Auber
2. Orpheus – Instrumentalist
3. Miss Minnie Mace – Comedienne & Dancer
4. The San Remo Girls – Speciality Dancers
5. Miss Hilda Jacobsen – Contralto Vocalist
6. Desroches & Bianca – French Comedy Act
7. Mr. Charles Whittle – Comedian
8. Henri de Vries & Company (Henri de Vries, Dorothy Drake and Arthur Stanley) in A Modern Othello by Ina L. Cassilis and Auguste Van Biene
9. Jordan & Harvey – Hebrew Dialect Comedians
10. Les Marbas – Acrobatic Dancers
11. Mr. T.E. Dunville – With new song ‘The Territorial Soldier’
12. Selection – ‘The Gold Mine,’ on Popular Melodies Warwick Williams
13. Mr. Alfred Lester – In a Screamingly Funny Burlesque Skit entitled A Restaurant Episode Supported by Miss Gwen Howard
14. Miss May Moore Duprez – The Jolly Dutch Girl
15. Miss Marie Lloyd – Queen of Comediennes
16. Mr. George Formby – A real Lancashire Comedian
17. Courtice Pounds & Co (Courtice Pounds, Blanche Gaston Murray, Pearl Keats and J. Cooke Beresford) – In Musical Sketch Charles, His Friend by Keble Howard, music by Howard Samuel and Hermann Finck
18. Little Tich – The One and Only
19. Cole & Rags – Eccentric Jugglers
20. Russell’s Imperial Bioscope.

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Jenny Golder at the Apollo music hall, Rome

April 21, 2014

programme cover for the Apollo music hall, Rome, undated, circa 1924, when Jenny Golder (1893?-1928), Australian-born English variety theatre dancer and singer, headed the bill with her song, ‘Éléonore!’ following her appearances at the Folies Bérgère, Paris.

The popular Apollo music hall in Rome suffered a catastrophic fire caused by an electrical short circuit in December 1926. Four actresses were caught in their dressing rooms and burnt to death.

Jenny Golder‘s real name was Rosie Sloman. According to information given for the 1901 United Kingdom Census (36 Claremont Road, Tunbridge Wells, where she was boarding), she was then 8 years old and born in Australia. In 1910/11 she and Joseph Bowden (whom she married in 1914) toured United Kingdom music halls with a song and dance scena. In 1913, under her own name, she appeared as a dancer in two short films: The Cowboy Twist and The Spanish-American Quickstep; in the latter she was accompanied by Harry Perry. Miss Golder’s career began to flourish in the early 1920s when she went to Paris, where she made several recordings.

‘Jenny Golder, an English girl, with a French reputation, looks a good bet for America. But when an artiste can do low comedy a la Marie Lloyd; step dance like Ida May Chadwick, and give Ella Shields and Hetty King a run for their money as a male impersonator, she is not to be blamed for looking forward to starring with Harry Pilcer at the Palace, Paris, in August.’
(The Vaudeville News and New York Star, New York, Friday, 2 July 1926, p. 8a)

Jenny Golder committed suicide at her flat in the Rue Desaix, Paris, on 11 July 1928, by shooting herself through the heart.

Jenny Golder’s sister, Muriel M. Sloman, a quick-change artist known on the music hall stage as Myra Glen, was married in 1944 to Joseph H. Black and died in October 1971.

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Marie Lloyd as ‘The Directoire Girl,’ 1908

April 20, 2014

Marie Lloyd (1870-1922), English music hall star comedienne, in costume for the song ‘The Directoire Girl,’ written and composed in 1908 by John P. Harrington (1865-1939) and Orlando Powell (1867-1915).
(postcard photo: Alfred Ellis & Walery, London, 1908)

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Beth Tate, American vaudeville soubrette

November 8, 2013

Beth Tate (1890-), American vaudeville singer
(postcard photo: unknown, circa 1914)

‘BETH TATE MARRIED.
‘Utica, N.Y., Feb. 1 [1911]
‘William Hurley, a Montreal business man, was married here last week to Beth Tate, who is appearing at Hammerstein’s, New York, this week.’
(Variety, New York, 4 February 1911, p. 10d)

London Pavilion, week beginning Monday, 4 September 1911
‘Marie Lloyd joined the Pavilion bill on Monday evening, and won enthusiastic favour for her chic and piquant rendering of her three latest numbers. One of these, in the character of a ”grass widow,” was a special favourite with the audience. Beth Tate, a Californian comedienne who is new to English audiences, scored an emphatic success on Monday with four songs, which she delivered in a most dainty and pleasant fashion. In a short speech of thanks at the close of her performance she expressed the hope that English audiences would ”keep her here.” She should be assured of that – with the right material. Such favourite and ”reliable” performers as the Two Bobs, Violet Loraine, Athas and Collins, Madge Temple, Helen Charles, Ernest Shand, and Dan Crawley also figure successfully in the Pavilion bill.’
(The Stage, London, Thursday, 7 September 1911, p. 13c)

An interview with Beth Tate at the time of her appearance at the Tivoli music hall, Adelaide, South Australia, August 1914
‘A CHARMING COMEDIENNE.
‘A CHAT WITH BETH TATE.
‘Miss Beth Tate’s characteristics on the stage are a quiet manner and well-worn very smart attire, as is evinced in her turn at the Tivoli, where she is starring. They are just as markedly her traits off the stage. She has that sweetest thing in a woman – a low, rich voice, and her words seem to flow gently, so softly are they pronounced, while every syllable is sounded; there is no consciousness of the harsh consonants, and the words do not, as Shakspeare [sic] directs, come ”trippingly from the tongue,” they are so even a tide. She has glorious dark eyes which kindle with feeling, and a very expressive face.
‘She speaks so like a reserved Englishwoman that for a moment, after meeting her, one wonders if it can [be] true she is American, and she is asked.
”’Yes, I am an American, from San Francisco. Speak like an Englishwoman? Perhaps it is because I like them so much. I think I am always quiet, and from the first I have got on well with the English people. No, I have not known them so very long. It is only four years since I began this work.
”’I do not know why educated Americans should have any distinguishing accent; but it is not surprising we have, is it? – for we are such a mixed community racially. I am an American, but I have Spanish and Jewish blood, and Scotch. I guess, for my mother’s name was Tate, and that is Scotch enough, isn’t it?”’
‘The very smart frocks she wears in her turn are mentioned, and she is asked if she will have her portrait taken in them to reproduce.
”’Why, certainly,” she says, good-naturedly, and changes from one gown to another without a murmur, posing just as is suggested with a quick sense of what is wanted, which is very helpful. She makes only one protest, and that is when the photographer wants her to assume the straight-front attitude and endeavours to smooth down the frock, and she quickly says:-
”’Oh, no. That is quite wrong. It must be that way. Why, they are putting bustles there now, and it was only with the greatest difficulty I persuaded my dressmakers not to insert a bustle in these frocks.”
”’Do you go to Paris for your dresses?”
”’No, Bond street (London) is good enough for me. As a matter of fact, if you know how to go about it you can get them cheaper in Paris, but I like my Bond street dressmaker.”
‘One frock is all beautiful diamente [sic] trimming, in front, and the remark is made that they glisten like the real thing at night.
”’You would not mind if they were real, I suppose?”
”’If they were I should not be here,” was the quick reply, ”but should be pleasing myself, doing what I like – serious drama. I have a great desire to make people cry. Not to hurt them seriously, but to arouse their emotions by my acting.”
‘She makes some half-dozen changes, and as there are inevitable interruptions the conversation is very disjointed, so a chat later on is suggested, and she cordially says, ”Why, certainly; I shall be charmed.”
‘So it is resumed later over afternoon tea. Miss Tate is a very modish little figure all in mole colour and a soft shade of rose; the flounced skirt of mole taffetas, and over it the little rose-coloured coatee with more touches. She tells of the charm England has for her, laughs quietly at a memory, and says:-
”’I must tell you a funny thing. Just before we came here we went to New York for a lovely five weeks’ holiday. The first week I went about and thought I was enjoying myself. The second I began to feel fidgety and unsatisfied. The constant noise and bustle got on my nerves – the music while we were eating, and at the best hotels and restaurants, just the same class we stay at in England; the clatter of crockery and all the rush and confusion – oh! I did get so tired of it. We ended by only staying three weeks,” she ends laughing.
‘We refer to herself and husband, for in private life this dainty little lady is Mrs. Hurley, her husband being Irish.
‘She talks quietly about her English experiences, and tells of a tour in South Africa, and of people she has met at different places, which have made her realise how small the world is after all.
”’How did you come to take up this work? Have you always been in vaudeville?”
”’Oh, no. I started in serious drama with a stock company under Mr. Fred Belasco’s management. You know of David Belasco? Well, this is his brother. My mother died when I was 13. I had never [seen] a theatrical performance up to then. The first one I did see was Miss Nance O’Neill, a beautiful woman, and I was mad to act afterwards. My father used to tease me about it, and tried to laugh me out of the fancy. He was a friend of Mr. Belasco, though, and every time I went to a matinee and saw Mr. Belasco I used to ask him to let me go on the stage. At last they gave way. I went into his company, just to walk on.
”’Very shortly afterwards my chance came. They were gong to stage Ghosts, and could not think of any one to play Regena. At last Mr. Belasco was struck by the fact he thought I looked like the part – young and girlish, you know. So he asked me, ‘Do you think you could play Regena?’ And with all the confidence of youth, I said, ‘Oh, try me; please give me the chance.’ I was quite sure I could act anything then. I could not go and ask to play such a part now, thought – an important role in an Ibsen play. You cannot when you begin to realise things, as you get older.
”’Well, I did play it, and I suppose I got through sufficiently well to please them, for after that I was given parts. It is hard work in a stock company always studying and rehearsing and often putting on a fresh thing each week. I stayed there 12 months and then went, still under Mr. Belasco’s management, to Los Angelos [sic].’
”’By-and-bye I begn to be more ambitious, and thought San Francisco not big enough for me, so I went to New York with an idea of conquering there. For some time I had not chance, then I was engaged for a part to tour, but I did not like the part, so gave it up and went back to New York. There seemed no opening for me, and at last I was persuaded to go into musical comedy. I had never known I could sing a song up to then, but you never know what you can do till you try. In fact, you can do anything you want if you only set your mind to it. The second piece I appeared in was The Girl from Rector’s, and I played the French maid. By the way, I followed Nella Webb in the part. Friends of mine were big publishers in New York, and they used to say to me, ‘Why don’t you get up some songs and go into vaudeville; you would do well.’ I would not think of it – did not think vaudeville good enough for me, then; but they kept on so much that they persuaded me to go down to the warehouse and try over some songs. They had me there coaching me up and rehearsing, and at last arranged for me to appear at a trial night.
”’This was on a Friday after the performance, and was about half-past 12. I sang before a lot of agents and managers, and they said I did very well. Next day an agent rang me up and asked me to call. It is a great thing to have them come to you. Generally it is the most difficult thing to get to see them at all. I went down and he offered me an engagement. I might say I was not earning very much in those days, and the terms he suggested seemed very big to me, and I jumped at them. I did not stop to consider that I should have to pay my own fares, buy my own dresses, and everything connected with the turn; my songs, music, and all the items generally covered by the management. The engagement was one that meant such jumps as from new York to Toronto (Canada), and then to Vermont (Virginia), a journey that would swallow a whole week’s salary for the fare alone. I signed the agreement and fixed everything without even letting Mr. Hurley know. He was not my husband then, but we were engaged, and he was away in Canada.
”’I got some pretty frocks, for I do not believe in going on as some do, in a make-shift way, saying, ‘Oh, anything will do for the stage’ – the front presentable, the inside anyhow. No; I believe in having good things. If I could not afford to have them I should choose songs which did not call for dress, but could be more suitably interpreted in a plain frock or character dress.
”’After New York, it happened my first move was to Toronto. I met Mr. Hurley there, and showed him the agreement. I am not a bit business-like or smart about such things. He explained at once hoe I stood and that I could not afford to go on like that. We were married then. When word came for me to go to Virginia he wrote pointing out that I simply could not make such a jump. This caused the cancelling of all the arrangements. The agents said, ”Suffering from swelled head,” and resolved to leave me alone, with the idea I would come to my senses. I waited, doing nothing, and when they found I could not give in they met me and I was engaged again.
”’An English manager saw me, and made me an offer to go to England, but the terms were not quite good enough, and I told him so. He said he would see about it. Another man came and engaged me at the terms. At the time I did not understand I was not going to the same management. It was not until I reached London that I found I was to appear on another circuit. From the first I have got on in England. I have been to South Africa, and could have stayed there longer, but did not think it wise to be away from London too long just as I was becoming known.
”’Yes, I have great trouble to secure songs. Sometimes I buy dozens before I find one that will do. Then very often I have to re-write much of them; that is, I have to alter a line here and there to remodel a verse. You see the song must tell a story and express a sentiment; each verse must have its point.”
‘As Miss Tate tells of her career there is never a touch of egotism or even self-satisfaction at her quick success, but at times a little scorn for her want of foresight and her youthful confidence and often a smile as she recalls an episode. She is still heart and soul a dramatic actress, and her great desire is to do big things in tragedy.
‘She prefer the theatre to the music hall because of the atmosphere gained by working with other people. She says:- ”They are generally nice. At any rate, there are always some nice people in a company you like to be with, and that makes it pleasant. At this work very often I do not meet or know any one else appearing in the theatre.”’
(The Mail, Adelaide, South Australia, Monday, 10 August 1914, p. 2e/f)

‘BETH TATE’S RETURN
‘Back to American Vaudeville After World’s Tour
‘Following a tour of the world, Beth Tate, in the single woman class of vadeville, has returned to New York. She will open next week to break in on the Poli time with restricted material written by Blanche Merrill.
‘Miss Tate, before leaving for the other side, was noted among the single turns for her appearance and voice. Both are said to have been improved during her absence.’
(Variety, New York, Thursday, 3 May 1923, p. 4b)