Posts Tagged ‘Marie Vanoni’

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Billie Barlow

April 23, 2013

a cabinet photograph of Billie Barlow (1865-1937), English burlesque actress and singer, as Mercury in the burlesque Orpheus and Eurydice on tour in the United States, 1884/1885
(photo: Falk, New York, probably 1884)

‘The Event of the Season.
‘The Bijou Opera Company will appear at Nevada Theater on Saturday evening in the brilliant operatic burlesque entitled Orpheus and Eurydice. This Opera is full of pith and scintillates with bright music and amusing situations. They music in the present production is bright, the orchestration competent and the costumes superb. The cast includes many popular favorites and some new people who will be strong cards. Mr. Digby Bell as Jupiter, and Mr. Harry Pepper as Orpheus, do all that can be done in the vocalism and the lines. Mr. George C. Boniface, Jr., as Styx, the melancholy porter of Pluto, sings ”The Monarch of Arcadia” with becoming solemnity, and Marie Vanoni does the opera bouffe business of Eurydice with chic enough to make it tell. Miss Billie Barlow, as swift-footed Mercury, recalls the pleasant impression she made in Billie Taylor and other pieces. Miss Amelia Somerville gives an enlarged living picture of an ideal Juno, and Laura Joyce Bell is resplendent in lavender silk, satin stars as Diana. The best work of the evening is accomplished by Miss Ida Mulle as Cupid. She is like a bisque figure of the German-doll type, and as dainty a Cupid as St. Valentine, instead of Jupiter, might have chosen as an emissary, and the applause she gains is accorded without hesitation, and the little lady at once becomes a favorite. The presence of any number of ethereally dressed beauties in Jupiter’s Court will carry the opera to the satisfaction of the management and please the jeunesse doree, who delight in the frolic of the can-can, well danced, under the changing lights in a comfortable and pretty theater.’
(Reno Evening Gazette, Reno, Nevada, Thursday, 14 August 1884, p. 3c)

‘BILLIE BARLOW’S SALARY.
‘Billie Barlow, the dapper Mercury of Orpheus and Eruydice, in the jaunty hat and superbly fitting cloth suit, ascended the witness stand before Judge Browne in the City Court yesterday, and, under the pilotage of Mr. A.H. Hummel, swore that while she was playing at the Bijou Opera House in 1884 it was proposed by Miles and Barton that she should travel with the company. She refused unless an increase of salary from $30 to $50 during the tour was given her. She was paid $50 for her Baltimore engagement, but the defendants declined to give the increase during the period of the performances at Niblo’s Garden, Williamsburg, and the People’s Theatre. Gen. Barton denied the promise of the increase and showed Miss Barlow’s written receipts in full for her salary up to the time she left them. The jury, after fine minutes’ deliberation, returned a verdict for the full amount claimed and costs.’
(The New York Times, New York, Wednesday, 20 March 1886, p. 3)

‘MISS BILLIE BARLOW.
‘This charming burlesque actress who has achieved such a conspicuous success as the principal boy in the pantomime at the Theatre Royal, Newcastle, is not, as may be generally supposed, an American. Her stage appellative was given in America, and given under the following circumstances. Miss Minnie Barlow – her real name – was a member of a comic opera company travelling from Liverpool to New York. During the voyage a member of the same company jokingly called her ”Billie Barlow” after the old song with that title, and on arriving in New York Miss Barlow found herself announced with ”Billie” for a christian name. There was novelty in it, the name stuck, and Miss Barlow has been known by it ever since. Miss Minnie Barlow, however, is a Londoner. She was born in the Metropolis on July 18th, 1865. Her first appearance on the stage was in H.M.S. Pinafore at the Opera Comique, London, June 34d, 1879. In the following autumn Mr. D’Oyley Carte [sic] organised a company for an American tour. Miss Barlow was a member of this combination, and on Dec. 8 she sang in Pinafore at the Fifth Avenue Theatre, New York. On Dec. 31st she appeared in The Pirates of Penzance at the same theatre, and after going on a tour through the principal American cities, we find her in the autumn of 1881 playing in Patience at the Savoy Theatre, London. After remaining there for a year Miss Barlow made her second professional trip across the Atlantic, again with D’Oyley Carte’s company, which opened the season at the Standard Theatre, New York, Sept. 26th, 1882. Miss Barlow appeared successively in Les Manteaux Noirs, Rip Van Winkle, and Iolanthe, under D’Oyley Carte’s management, and then joined E.E. Rice and appeared at the Bijou Opera House as Mercury in Orpheus and Eurydice, and made a great hit. Subsequently Miss Barlow appeared in Falka and The Little Duke, in which she was last seen before her return to England. Her next appearance was in London as a member of the Dixey Burlesque Company at the Gaiety Theatre, when she played Artea in Adonis. When Dixey returned to the Stages Miss Barlow remained at the Gaiety, under the management of Mr George Edwardes, and before long she was playing Fernand in Monte Cristo, jun. During the temporary absence of Miss Nelly Farren from the role of Edmond Dantes, Miss Barlow took up the part at five minutes’ notice, and scored an unqualified success. The charming freshness of her style was quite a novelty to audiences saturated with the conventional. Managers on the look out for attractions for their pantomimes soon had their optics focussed on the new burlesque star, and the competition for her services ended in Messrs Howard and Wyndham securing the prize. Of Miss Barlow’s merits in The Babes in the Wood it is like gilding refined gold to say anything now. The grace and sprightliness of her acting, the conscientious desire she has to please, her sweet, well trained voice, charming face and figure, and above all her modest and becoming demeanour, make her performance of Walter stand out as a revelation in the method of playing burlesque boys.’
(The Newcastle Weekly Courant, Newcastle-upon-Tyne, England, Friday, 10 February 1888, p. 5f)

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Mlles. Serpolette, Folette, Risette and Clair de Lune

March 31, 2013

‘Quadrille Fin de Siecle,’ a cabinet photograph of Mlles. Serpolette, Folette, Risette and Clair de Lune, the Parisian can can dancers who made their sensational American debut at Koster & Bial’s, New York, in November 1892
(photo: Sarony, New York, 1892)

‘KOSTER & BIAL’S.
‘At Koster & Bial’s last night the second half of the programme was made up of imported Parisian ”specialties,” which were loudly applauded by the motley crowd. A novelty announced with a ”quadrille fin de siècle” by four dancers from the neighbourhood of the Batignolles.
‘They were supposed to hail from the Moulin Rouge, the home of high kicking and acrobatic performances, but from their comparatively slight knowledge of the figures of the dance, it is probably that, if they did come from Paris at all, it was from one of the smaller cafés. They have the South Fifth Avenue manner. Mlles. Serpolette, Folette, Risette, and Claire de Lune are four very large and rather vulgar-looking women of mature years. They do not dance ven as well as the four women in The Black Crook, nor do they attempt the same gymnastics, but the ”quadrille” is identical with that dances at the Fourteenth Street house.
‘Their performance seemed to please the crowd at Koster & Bial’s. M. and Mme. Berat, Marie Vanoni, with ”Georgie” and ”La Cantinière”, the grotesque Eduardos, and the Americans, Wood and Shepard, were all more interesting to decent folk. The Rendezvous and Barbe Bleu (condensed) operettas were well given.’
(The New York Times, New York, Wednesday, 22 November 1892, p. 5)

‘New York has a new attraction at one of her music halls. The four French dancers, Mlles. Serpolette, Clair de Lune, Folette and Risette, who made their first appearance in this country last week on Koster & Bial’s concert hall stage gave what may be safely called the most sensational terpsichorean exhibition that has ever been witnesses on the American stage. Their exhibition was anything but artistic, or even fetching. It consisted in a more than liberal display of lingerie, some very high kicking, squatting on the floor with legs stretched out at right angles, making somersaults and other feats of similar nature.’
(Oshkosh Daily Northwestern, Oshkosh, Wisconsin, Monday, 28 November 1892, p. 4a)

‘Dancing before the footlights in New York city just now are a number of young women from Paris’ Maulin Range [sic] and Jardin de Paris, who are creating a sensation, the like of which has not been experienced in many a day, says a writer in the World of that city. According to the writer a new dance has been introduced by the French called le grand ecart. The English name for it is not very dignified. Perhaps the feat is less so, but we must accept it as an artistic excellence. Imagine the dignity of a young woman sinking down to the floor her limbs at right angles to the body. The undignified phase is lost in the rapturous applause which comes from all parts of the house, even from the box tiers of the Four Hundred… .’
(Hamilton Daily Democrat, Hamilton, Ohio, 17 December 1892, p. 3d)

‘COLUMBIA THEATER [Brooklyn].
Babes in the Wood may be seen for another week at this spacious and handsome theater, before making way for The Isle of Champagne. It is a showy, spectacular piece, with a dash of burlesque, a dash of vaudeville, a bit of pantomime, some singing, incessant music, brilliant effects of costume, scenery and lights, and more than a dash of dancing. The performance of the four French dancers, who wrap their legs around their necks and perform the bone racking feat called ”the split,” makes a genuine sensation. Arthur Dunn and Timothy Cronin in the comic parts are really funny.’
(The Brooklyn Daily Eagle, Brooklyn, New York, Sunday, 12 February 1893, p. 5a)

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Ida Mulle

March 22, 2013

a cabinet photograph if Ida Mulle (d. 1934), American actress and singer, as Cupid in Orpheus and Eurydice
(photo: Falk, New York, probably 1884)

‘The Event of the Season.
‘The Bijou Opera Company will appear at Nevada Theater on Saturday evening [16 August 1884] in the brilliant operatic burlesque entitled Orpheus and Eurydice. This Opera is full of pith and scintillates with bright music and amusing situations. The music in the present production is bright, the orchestration competent and the costumes superb. The cast includes many popular favorites and some new people who will be strong cards. Mr. Digby Bell as Jupiter, and Mr. Harry Pepper as Orpheus, do all that can be done in the vocalism and the lines. Mr. George C. Boniface, J., as Styx, the melancholy porter to Pluto, sings ”The Monarch of Arcadia” with becoming solemnity, and Marie Vanoni does the opera bouffe business of Eurydice with chic enough to make it tell. Miss Billie Barlow, as swift-footed Mercury, recalls the pleasant impression she made in Billie Taylor and other pieces. Miss Amelia Somerville gives an enlarged living picture of an ideal Juno, and Laura Joyce Bell is resplendent in lavender silk, satin stars as Diana. The best work of the evening is accomplished by Miss Ida Mulle as Cupid. She is like a bisque figure of the German-doll type, and as dainty a Cupid as St. Valentine, instead of Jupiter, might have chosen as an emissary, and the applause she gains is accorded without hesitation, and the little lady at once becomes a favorite. The presence of any number of ethereally dressed beauties in Jupiter’s Court will carry the opera to the satisfaction of the management and please the jeunesse doree, who delight in the frolic of the can-can, well danced, under the changing lights in a comfortable and pretty theater.’
(Reno Evening Gazette, Reno, Nevada, Thursday, 14 August 1884, p. 3c)