Posts Tagged ‘Nellie Stewart’


Marie Studholme in the United States, 1895/96

September 6, 2013

a colour lithograph cigarette card issued in the United States in 1895 by the P. Lorillard Company for its ‘Sensation’ Cut Plug tobacco with a portrait of Marie Studholme (1872-1930), English musical comedy actress and singer, at the time of her appearances in America in An Artist’s Model
(printed by Julius Bien & Co, lithographers, New York, 1895)

An Artist’s Model, Broadway Theatre, New York, 27 December 1895
An Artist’s Model, as presented last night by George Edwardes‘ imported company, was received with frequent applause, and many of the musical numbers were redemanded. Still it is difficult to understand why the piece should have made such a hit in England, or why it should have been found necessary to bring over an English company to interpret it for the delectation of American audiences… .
‘Marie Studholme, the Daisy Vane of the cast, is fully as pretty as she has been heralded to be. What is more to the point, she acts, sings, and dances with coquettish archness and charming vivacity.’
(The New York Dramatic Mirror, New York, New York, Saturday, 28 December 1895, p. 16c)

‘Another transfer from Broadway is that of An Artist’s Model, which goes to the Columbia immediately after the close of its term in this city. Brooklyn gets it with the London company intact, including a group of good vocalists, a set of competent comedians, and, perhaps above all, a prize beauty in Marie P. Studholme [sic], whose loveliness of person is an object of quite reasonable admiration.’
(The Sun, New York, New York, Sunday, 9 February 1896, p. 3b)

Columbia Theatre, Brooklyn, week beginning Monday, 10 February 1896
‘George Edwardes’ company, direct from the Broadway Theatre, appeared on Monday evening in An Artist’s Model. The bright, catchy songs, funny situations, and pretty girls caught the fancy of a large and fashionable audience, and encores were the order of the evening. Maurice Farkoa‘s laughing song was a great hit, and Marie Studholme’s pretty face and cut manners took the chappies completely by storm. Others were pleased were Nellie Stewart, Allison Skipworth, Christine Mayne, and Lawrence D’Orsay.’
(The New York Dramatic Mirror, New York, New York, Saturday, 15 February 1896, p. 16c)

* * * * *

‘Said to Be the Most Beautiful Woman in England.
‘The present attraction at the Broadway theater, New York, is An Artist’s Model, and the most potent magnet of that successful production is Miss Marie Studholme, who is almost universally conceded to be the most beautiful woman in all England. She was quite popular in London, but it is safe to assert that she has received more newspaper notices during the two weeks she has been in this country than had ever been accorded to her in the whole course of her theatrical career.
‘Miss Studholme is a Yorkshire lass. She was born in a little hamlet known as Baildon, near Leeds, about twenty-two years ago. She was exceptionally pretty, even as a child, and, being possessed of considerable vocal and histrionic ability, it was decided that she should become in time a grand opera prima donna. To this end a thorough training was considered necessary, and Miss Studholme accordingly made her debut in Dorothy, singing the role of Lady Betty. Her next London engagement was in La Cigale, in which she had only a small part. She suffered from ill health at about this time and found it necessary to return to her native village to recoup.
‘After a very brief retirement Miss Studholme was lured back to the British metropolis by an offer of the character of the bride in Haste to the Wedding, at the Trafalgar theater [27 July 1892, 22 performances]. There here remarkable winsomness of manner was first notices by the newspapers. An engagement in Betsy at the Criterion [22 August 1892] followed, and again the fair young actress found it necessary to go home to win back her health and strength, which have since never failed her.
‘She soon returned to the Shaftesbury theater [13 April 1893], where Morocco Bound was the attraction. Here she enjoyed a positive triumph, having been successful in no less than three parts in the piece – those originally assigned to Violet Cameron and Jennie McNulty, besides her own. The enterprising and octopian George Edwardes, recognizing that the little beauty was also possessed of extraordinary versatility, immediately made Miss Studholme an offer to join his Gaity [i.e. Gaiety Theatre] company. This was accepted, and then the Morocco Bound syndicate made her a more tempting proposition to remain. She would have preferred to stay where she was in the changed circumstances, but the agreement had already been signed, and Miss Gladys Stourton in A Gaity Girl [i.e. A Gaiety Girl] at the Prince of Wales’ theatre [14 October 1893]. Her success I that role was enormous, and when Mr. Edwardes was getting together a special company to send to the United States, Miss Studholme is said to have been his very first selection. His wisom is demonstrated by the columns of priase devoted to the little English artiste by the not infrequently hypercritical New York theatrical critics.’
(The Saint Paul Daily Globe, St. Paul, Minnesota, Sunday, 3 May 1896, p. 9c)


Grace Palotta, Minnie Tittell Brune and Nellie Stewart

June 11, 2013

‘Greetings from Australia’, Rotary postcard 5330B, with photographs of
Grace Palotta, Minnie Tittell Brune and Nellie Stewart
(photos: various, the majority London, 1905 and circa)

This real photograph postcard, no. 5330B in the Rotary Photographic Series by the Rotary Photographic Co Ltd of London, was produced for export to Australia about 1907. This example has been decorated with tinsel and is hand tinted. The three main portraits are of actresses well known to Australian audiences: Grace Palotta (daughter of Charles Palotta and his wife Emma, née Kleinhenn; 1867?-1959), Australian by birth but of Viennese ancestry, who became popular in musical comedy in the 1890s and early 20th Century in London and on tour in Australia; Minnie Tittell Brune (b.1883), American actress who toured Australasia between 1904 and 1909 and was also active in the United States and the United Kingdom; and Nellie Stewart (1858-1931), the most popular of all native born Australian actresses, who also appeared in the United States and the United Kingdom. The other photographs are stock images of various actresses, singers and dancers, including Lily Elsie, Vesta Tilley, Marie Studholme, Dorothy Frostick, Phyllis and Zena Dare, Gertie Millar, Gabrielle Ray, Daisy Jerome, Mabel Love, Billie Burke and Camille Clifford. Other examples of this card are to be found in the National Library of Australia ( 1) and (2).


Emily Levettez

May 22, 2013

a carte de visite photograph of Emily Levettez (fl. 1866-1911), actress and dancer, as Prince Can-Can in the pantomime Beauty and the Beast, Royal Theatre, Greenwich, Christmas 1871
(photo: James Clark, Dover, Kent, England, probably 1871)

Emily Levettez, who had a long and varied career, has been noted as appearing in a number of plays, including Streets of London; or, The Real Poor of the World on a tour of the United Kingdom in 1882. She also appeared as the Duchesse de Vervier in J.T. Tanner and Herbert Keen’s The Broken Melody for a single matinee performance at the Opera Comique, London, on 25 October 1894; this production, with Auguste van Biene in the leading role, was toured by him for several thousand performances. In 1902-1903 Miss Levettez was with Nellie Stewart, Harcourt Beatty, Albert Grau and others in Musgrove’s English Comedy Co in a tour of Australasia. Miss Levettez later played the part of Lady Skettles in the stage adaptation of Dickens’s Dombey and Son produced at the Savoy Theatre, London, on 14 June 1911.

* * * * *

The Cabinet Theatre, King’s Cross, London, Thursday, 16 August 1866
‘Mr. A. Lauraine, a well-known Harlequin, an expressive pantomimist, and a graceful dancer, in conjunction with his pupils, Les Petits Levettez, took a benefit here on Thursday night. The entertainments were miscellaneous, and the audience anything but polite… . the real point of interest was a new comic ballet, ”invented by the Costermonger,” and called The Miser. It introduced Master L. Levettez and Miss E. Levettez, who, considering they were on the stage for the first time (we believe), may be said to promise well for the future. The lady, especially, is still very young. The action of the ballet is clear and understandable. Mr. Lauraine plays the Miser, and the Levettez children personate two beggars who come to the miser’s cottage for relief. Finding themselves repulsed they concert a plan of proceeding, and persecute their unfortunate opponents [sic] with great pertinacy. Greengriff bewitches a table so that it opens and lets the bags of money on to the floor. He substitutes blacking for brandy, and thus furnishes Mr. Lauraine with a pretext to introduce a dance expressive of violent internal pains. When east expected Greengriff appears and chastises the parsimonious individual that a bladder and stick as usual. Greengriff is invulnerable, and is vainly shot at by the Miser. A cat is substituted for a shank bone, which the victim intends for his dinner, and he is at length worried into repentance. He meets with forgiveness, and before the curtain falls, Master Levettez dances a hornpipe, Miss Levettez follows with a skipping-rope dance, and Mr. A. Lauraine goes through some of those evolutions peculiar to male professors of the Terpsichorean art. The adult and the juveniles were all enthusiastically called for… .’
(The Era, London, Sunday, 19 August 1866, p. 11d)

According to the 1872 edition of The Era Almanack (p. 32), Emily Levettez’s first official London appearance was as the Duke of York in Richard III, at Sadler’s Wells on 12 November 1867.