Liane d’Eve, French chanteuse and dancer

Liane d’Eve (active 1903-1925), French chanteuse and dancer
(photo: Dobson, 132 Bold Street, Liverpool, circa 1919)

Liane d’Eve was born about 1878/78 in Saint-Dizier, north eastern France. She appears to have begun her career about 1902/03 and then made the first of many appearances in London at the Empire Theatre, Leicester Square, during November 1905. She also went to the United States on two occasions, the first in 1907, when she made her debut on Monday, 18 November 1907, at the New York Theatre (where she was said to have been earning £200 per week), and again in 1923. Mdlle. d’Eve resided in London for part of her career, from about 1911 until about 1920.

The Eldorado, Ostend, Belgium, July 1903
‘Au clair de la lune … . L’autre soir, à l’Eldorado, la très élégante Liane d’Eve, en chantant cette délicieuse sérénade ”Bonsoir, madame la Lune … .”, a évoqué le souvenir deces autres couplets qui bercérent notre enfance: ”Au clair de la lune, mon ami Paierrot… .”.’
(Le Carillon, Ostend, Friday, 17 July 1903, p. 2d)

‘On nous demande le nom de l’éditeur de la nouvelle danse chantée et dansée par Mme Liane d’Eve. Cette danse a été éditée par la maison Veiller, 21, rue de Choiseul. It est certain que ”la Talonnette”, par son genre distingué, sera dansée demain dans tous les salons parisiens.’
(Le Figaro, Paris, Thursday, 4 April 1907, p. 5d)

The Tivoli music hall, London, week of Monday, 8 July 1907
‘Mr. Joseph Wilson’s programme at the popular Strand resort underwent a few changes on Monday evening, the chief new-comer being Mdlle. Liane d’Eve, a French singer with an attractive personality. The chief feature of her turn is that her changes of costume are made coram publico in a specially arranged dressing-room in the centre opening of the stage. Mdlle. D’Eve has a very agreeable voice, which is heard in five songs, of which the ”Mattiche” air is the last, this being followed by the characteristic dance.’
(The Stage, London, Thursday, 11 July 1907, p. 12d)

‘Mlle. Liane D’Eve, who appeared at the Tivoli on Monday night, is no stranger to town. She appeared at the Empire over twelve months ago, not, however, in exactly identical circumstances. Mlle. D’Eve is a beautiful girl who emerges from a large picture frame at the back of the stage. She sings and dances quite delightfully, returning from time to time to her frame, which is, in fact, a little dressing-room, and there changing her costume, even to delicate details, in full view of the audience.’ (Weekly Dispatch, London, Sunday, 14 July 1907, p. 10d)

The Holborn Empire, London, week beginning Monday, 24 July 1922
‘Liane D’Eve, the French comedienne, sings a number of songs in French and English to evident approval, but no artistic purpose is served by her changing her costumes in front of the audience. Nor is her idea of coming down right among the audience in her ”Play With Me” number a practice to be encouraged. Many people object to being singled out in an audience by a performer – to do so at close quarters only aggravates the business.’
(The Stage, London, Thursday, 27 July 1922, p. 10b)

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George W. Walker in In Dahomey

George W. Walker (1872/73-1911), African-American vaudevillian, as Rareback Pinkerton for the song, ‘The Czar, He is the Greatest Thing,’ in In Dahomey, the all African-American musical comedy which took London by storm after its opening there at the Shaftesbury Theatre on 16 May 1903. In Dahomey was first produced at the New York Theatre, New York, on 18 February 1903.
(photo: Cavendish Morton, London, 1903)

The Grand Theatre, Woolwich, London, week beginning Monday, 25 January 1904
‘Mr. Clarence Sounes has undoubtedly scored in securing In Dahomey, played by Williams and Walker and their company, for the first week of its tour. There was an enthusiastic audience on Monday. Messrs. Williams and Walker are without doubt the mainstay of the play. Mr. Bert Williams as the lugubrious Shylock Homestead causes roars of laughter, and his son, ”The Jonah Man,” is redemanded again and again. As the mercurial Rareback Pinkerton, Mr. Geo. W. Walker causes much merriment, and his dancing is one of the features of the show. His song, ”My Castle on the Nile,” was on Monday encored five times. The chorus business in his son, ”The Czar,” is also well done. Mr. G.A. Shipp as Hustling Charley acts with a fine sense of comedy, and his dancing is extremely clever. Mr. Harry Troy scores with his son, ”Mollie Green.” As George Reeder Mr. Alex. Rogers acts quietly. Mr. J. Lebrie Hill and Mr. Peter Hampton are successful as Hamilton Lightfoot and Dr. Straight. Miss Hattie McIntosh makes a dignified Cecilia Lightfoot. Miss Lottie Williams as Mr. Stringer brings her part into prominence. As Rosetta Miss Ada [Aida] Overton Walker makes a decided hit, and dances in a capital manner. Her song, ”A Actor Lady,” is well sung, which touches of burlesque. Miss Ada Guignesse sings ”Brown skin baby mine” in a style that makes one regret that it is her only appearance. At the finale of the last act there is a cakewalk competition among the members of the company for a prize presented by the management. Thunders of applause greet the efforts of each pair of dancers. Mr. J. Gladwin, the courteous acting-manager, should have difficulty in finding room for his patrons for the rest of the week.’
(The Stage, London, Thursday, 28 January 1904, p. 15b)

George W. Walker (1872/73-1911), African-American vaudevillian, as Rareback Pinkerton for the song, ‘The Czar, He is the Greatest Thing,’ in In Dahomey, the all African-American musical comedy which took London by storm after its opening there at the Shaftesbury Theatre on 16 May 1903. In Dahomey was first produced at the New York Theatre, New York, on 18 February 1903.
(photo: Cavendish Morton, London, 1903)

The Grand Theatre, Woolwich, London, week beginning Monday, 25 January 1904
‘Mr. Clarence Sounes has undoubtedly scored in securing In Dahomey, played by Williams and Walker and their company, for the first week of its tour. There was an enthusiastic audience on Monday. Messrs. Williams and Walker are without doubt the mainstay of the play. Mr. Bert Williams as the lugubrious Shylock Homestead causes roars of laughter, and his son, “The Jonah Man,” is redemanded again and again. As the mercurial Rareback Pinkerton, Mr. Geo. W. Walker causes much merriment, and his dancing is one of the features of the show. His song, “My Castle on the Nile,” was on Monday encored five times. The chorus business in his son, “The Czar,” is also well done. Mr. G.A. Shipp as Hustling Charley acts with a fine sense of comedy, and his dancing is extremely clever. Mr. Harry Troy scores with his son, “Mollie Green.” As George Reeder Mr. Alex. Rogers acts quietly. Mr. J. Lebrie Hill and Mr. Peter Hampton are successful as Hamilton Lightfoot and Dr. Straight. Miss Hattie McIntosh makes a dignified Cecilia Lightfoot. Miss Lottie Williams as Mr. Stringer brings her part into prominence. As Rosetta Miss Ada [Aida] Overton Walker makes a decided hit, and dances in a capital manner. Her song, “A Actor Lady,” is well sung, which touches of burlesque. Miss Ada Guignesse sings “Brown skin baby mine” in a style that makes one regret that it is her only appearance. At the finale of the last act there is a cakewalk competition among the members of the company for a prize presented by the management. Thunders of applause greet the efforts of each pair of dancers. Mr. J. Gladwin, the courteous acting-manager, should have difficulty in finding room for his patrons for the rest of the week.’
(The Stage, London, Thursday, 28 January 1904, p. 15b)

Kitty Gordon in Victor Herbert’s The Enchantress

Kitty Gordon (née Constance Minnie Blades,1878–1974), English actress and singer, as she appeared in The Enchantress, a musical comedy written for her by Victor Herbert. The production opened at the New York Theatre, New York, 19 October 1911, later transferring to the Grand Opera House, New York, 1 April 1912, before a United States tour
(photo: White, New York, 1911/12)

The Nixon Theatre, Pittsburgh, 28 October 1912
‘KITTY GORDON TO BRING ”THE ENCHANTRESS.”
‘Beautiful Kitty Gordon who comes to the Nixton theater next week in ”The Enchantress,” is said to wear some of the most wonderful gowns that have ever been seen on the stage. ”The Enchantress” is rated by musical and dramatic critics as Victor Herbert’s masterpiece.
‘The English prima donna has never appeared to better advantage than in this colorful production and she is supported by a cast of stellar quality, including the charming dancer Nellie McCoy.’
(The Pittsburgh Press, Pittsburgh, Sunday, 20 October 1912, Theatrical Section, p. 4c/d)

Cort Theatre, Los Angeles, October 1913
‘KITTY GORDON’S TROUPE ”BROKE”
”’Enchantress” Fails in Los Angeles – Owes Star $6,000
‘LOS ANGELES, Oct. 31 [1912]. – As a result of the collapse of Kitty Gordon, the famous English actress, who has been playing a week’s engagement in ”The Enchantress” here, the company has disbanded and will be returned to New York. Miss Gordon collapsed at the end of the first act.
‘Captain Beresford, her husband, says she has been on the verge of a breakdown for some time, and she insists on her taking a long rest.
‘KITTY MAKES STATEMENT.
”’There are many contradictory reports relative to the unfortunate affair which brought the engagement of ”The Enchantress” to a close in Los Angeles,” said Kitty Gordon. ”Not being able to locate the producer, I am forced to protect myself with the truth.
”’The financial condition of theatricals is not responsible for the closing of ”The Enchantress.” We have been supported well enough to continue, if the funds which have gone to the company had been competently handled in the New York office. The show would have been attached today had we continued our performance, and yet royalty money has been repeatedly sent to New York.
‘The money which was sent to New York for our railroad tickets has not been used for this purpose. I realized these facts nightly, and for the first time in my career as a star three weeks ago I accepted postponement for payment of my salary that the chorus and other members of the company who needed the money more than I might be paid.
‘THREE WEEKS’ SALARY DUE
””I have always received my money before the matinee started on Saturday, but during the last three weeks it has not been paid.
”’I have sacrificed my salary to help out my chorus, and today Gaieties’ theatrical office in New York owes me $6,000.”
‘From her bed Miss Gordon arranged this afternoon for an additional performance of ”The Enchantress” to get money to transport the company to New York.’
(The San Francisco Call, Los Angeles, Friday, 31 October 1913, p. 1b)

* * * * *

In a recording made in 1911, Lucy Isabelle Marsh sings ‘(To The) Land of My Own Romance,’ one of Victor Herbert’s songs from The Enchantress, originally sung by Kitty Gordon. Another version was made in 1938 by Richard Tauber. In 1912, Victor Herbert’s Orchestra made a recording of a selection of music from The Enchantress.

Kitty Gordon (née Constance Minnie Blades,1878–1974), English actress and singer, as she appeared in The Enchantress, a musical comedy written for her by Victor Herbert. The production opened at the New York Theatre, New York, 19 October 1911, later transferring to the Grand Opera House, New York, 1 April 1912, before a United States tour
(photo: White, New York, 1911/12)

The Nixon Theatre, Pittsburgh, 28 October 1912
‘KITTY GORDON TO BRING ”THE ENCHANTRESS.”
‘Beautiful Kitty Gordon who comes to the Nixton theater next week in ”The Enchantress,” is said to wear some of the most wonderful gowns that have ever been seen on the stage. ”The Enchantress” is rated by musical and dramatic critics as Victor Herbert’s masterpiece.
‘The English prima donna has never appeared to better advantage than in this colorful production and she is supported by a cast of stellar quality, including the charming dancer Nellie McCoy.’
(The Pittsburgh Press, Pittsburgh, Sunday, 20 October 1912, Theatrical Section, p. 4c/d)

Cort Theatre, Los Angeles, October 1913
‘KITTY GORDON’S TROUPE ”BROKE”
”’Enchantress” Fails in Los Angeles – Owes Star $6,000
‘LOS ANGELES, Oct. 31 [1912]. – As a result of the collapse of Kitty Gordon, the famous English actress, who has been playing a week’s engagement in ”The Enchantress” here, the company has disbanded and will be returned to New York. Miss Gordon collapsed at the end of the first act.
‘Captain Beresford, her husband, says she has been on the verge of a breakdown for some time, and she insists on her taking a long rest.
‘KITTY MAKES STATEMENT.
”’There are many contradictory reports relative to the unfortunate affair which brought the engagement of ”The Enchantress” to a close in Los Angeles,” said Kitty Gordon. ”Not being able to locate the producer, I am forced to protect myself with the truth.
”’The financial condition of theatricals is not responsible for the closing of ”The Enchantress.” We have been supported well enough to continue, if the funds which have gone to the company had been competently handled in the New York office. The show would have been attached today had we continued our performance, and yet royalty money has been repeatedly sent to New York.
‘The money which was sent to New York for our railroad tickets has not been used for this purpose. I realized these facts nightly, and for the first time in my career as a star three weeks ago I accepted postponement for payment of my salary that the chorus and other members of the company who needed the money more than I might be paid.
‘THREE WEEKS’ SALARY DUE
””I have always received my money before the matinee started on Saturday, but during the last three weeks it has not been paid.
”’I have sacrificed my salary to help out my chorus, and today Gaieties’ theatrical office in New York owes me $6,000.”
‘From her bed Miss Gordon arranged this afternoon for an additional performance of ”The Enchantress” to get money to transport the company to New York.’
(The San Francisco Call, Los Angeles, Friday, 31 October 1913, p. 1b)

* * * * *

In a recording made in 1911, Lucy Isabelle Marsh sings ‘(To The) Land of My Own Romance,’ one of Victor Herbert’s songs from The Enchantress, originally sung by Kitty Gordon. Another version was made in 1938 by Richard Tauber. In 1912, Victor Herbert’s Orchestra made a recording of a selection of music from The Enchantress.

Kitty Gordon (née Constance Minnie Blades,1878–1974), English actress and singer, as she appeared in The Enchantress, a musical comedy written for her by Victor Herbert. The production opened at the New York Theatre, New York, 19 October 1911, later transferring to the Grand Opera House, New York, 1 April 1912, before a United States tour
(photo: White, New York, 1911/12)

The Nixon Theatre, Pittsburgh, 28 October 1912
‘KITTY GORDON TO BRING “THE ENCHANTRESS.”
‘Beautiful Kitty Gordon who comes to the Nixton theater next week in “The Enchantress,” is said to wear some of the most wonderful gowns that have ever been seen on the stage. “The Enchantress” is rated by musical and dramatic critics as Victor Herbert’s masterpiece.
‘The English prima donna has never appeared to better advantage than in this colorful production and she is supported by a cast of stellar quality, including the charming dancer Nellie McCoy.’
(The Pittsburgh Press, Pittsburgh, Sunday, 20 October 1912, Theatrical Section, p. 4c/d)

Cort Theatre, Los Angeles, October 1913
‘KITTY GORDON’S TROUPE “BROKE”
“’Enchantress” Fails in Los Angeles – Owes Star $6,000
‘LOS ANGELES, Oct. 31 [1912]. – As a result of the collapse of Kitty Gordon, the famous English actress, who has been playing a week’s engagement in “The Enchantress” here, the company has disbanded and will be returned to New York. Miss Gordon collapsed at the end of the first act.
‘Captain Beresford, her husband, says she has been on the verge of a breakdown for some time, and she insists on her taking a long rest.
‘KITTY MAKES STATEMENT.
“’There are many contradictory reports relative to the unfortunate affair which brought the engagement of ’’The Enchantress” to a close in Los Angeles,“ said Kitty Gordon. ’’Not being able to locate the producer, I am forced to protect myself with the truth.
”’The financial condition of theatricals is not responsible for the closing of “The Enchantress.” We have been supported well enough to continue, if the funds which have gone to the company had been competently handled in the New York office. The show would have been attached today had we continued our performance, and yet royalty money has been repeatedly sent to New York.
‘The money which was sent to New York for our railroad tickets has not been used for this purpose. I realized these facts nightly, and for the first time in my career as a star three weeks ago I accepted postponement for payment of my salary that the chorus and other members of the company who needed the money more than I might be paid.
‘THREE WEEKS’ SALARY DUE
“’’I have always received my money before the matinee started on Saturday, but during the last three weeks it has not been paid.
”’I have sacrificed my salary to help out my chorus, and today Gaieties’ theatrical office in New York owes me $6,000.“
‘From her bed Miss Gordon arranged this afternoon for an additional performance of ’’The Enchantress” to get money to transport the company to New York.’
(The San Francisco Call, Los Angeles, Friday, 31 October 1913, p. 1b)

* * * * *

In a recording made in 1911, Lucy Isabelle Marsh sings ’(To The) Land of My Own Romance,’ one of Victor Herbert’s songs from The Enchantress, originally sung by Kitty Gordon. Another version was made in 1938 by Richard Tauber. In 1912, Victor Herbert’s Orchestra made a recording of a selection of music from The Enchantress.

Maude Raymond

Maude Raymond (Mrs Gus Rogers [Solomon], fl. late 19th/early 20th Century),
American actress and singer
(photo: White, New York, circa 1910)

Max Rogers and Maude Raymond star in The Young Turk, New York Theatre, New York, 31 January 1910
‘The Young Turk continues to be one of the theatrical magnets of Broadway that draw the crowds in quest of divertisement and recreation. Max Rogers, Maude Raymond and their supporting company have settled well and comfortably into their parts, while the elaborate production supplied by Klaw & Erlanger is a pleasing pictorial background for the comedy and music of the piece.’
(The Newark Advocate, Newark, Ohio, Saturday, 26 February 1910, p. 6d)

The Six Brothers Luck (fl. late 19th/early 20^th Century), British music hall entertainers, burlesque and sketch artists

‘THE SIX BROTHERS LUCK Burlesque and Sketch Artistes, In their enormously successful, Up-to-date Farcical Stketch, ”THE DEMON OF THE CELLAR and many other eccentric Variety Acts. QUAINTNESS, HUMOUR, ORIGINALITY. ECCENTRICITY, NOVELTY, REFINEMENT. Sole Agents – GEORGE WARE & SON.’ (photo: unknown; advertisement from Charles Douglas Stuart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895)

‘Negotiations were completed yesterday for the appearance on the Klaw & Erlanger circuit of the six brothers Luck, English comedians. There are twenty-five persons in the company, and the six brothers Luck are the principal comedians; Ernest Luck, the star comedian of the organizations, is manager for Miss Hetty King [Mrs Ernie Lotinga, whose husband was a member of the Six Brothers Luck], who is now appearing at the New York Theatre.’ (The New York Times, New York, Tuesday, 8 October 1907, p. 5d)

‘Six Brothers Luck, ”The Demon in the Cellar” (Pantomime). 20 Mins.; Full Stage (Special Set). New York.

‘The Six Brothers Luck are the latest Klaw & Erlanger European importation. They opened Monday afternoon in ”A Night in an English Cafe,” but changed to ”The Demon in the Cellar” for the evening show, the first named offering having signally failed to please. ”The Demon in the Cellar” is a pretty crude collection of rough knockabout comedy material, made universally familiar on our shores by the Hanlon Brothers’ ”Fantasma” and countless other pieces of the same sort. The Lucks have nothing to add to this style of humor as we know it on this side of the water. The inflated bladder, seltzer syphon and slapstick have been relegated to obscurity and long since thrown out of burlesque over here, and only our visiting British cousins have the courage to bring them forth again. The sketch tells the story of a wicked uncle, who seeks to cheat his nephew of a fortune by means of a false will. The nephew dons a horned mask and red tights and haunts the old man into confession. The comedy comes from the clowning of a French waiter and an English soldier (Shaun Glenville Luck), who comes a-courting the uncle’s house-maid, and are terrified by the appearance of the horned apparition. Shaun Glenville Luck makes a capital grotesque comedian and might, under more kindly circumstances, be really funny, but the seltzer-bottle-bladder-slapstick mess that makes up ”The Demon in the Cellar” leaves him stranded. The audience hopes for a minute that the introduction of acrobatics of some sort might enliven the proceedings, but they hoped in vain. It was just childish horseplay and buffoonery, almost without a redeeming virtue. (Rush, ‘New Acts of the Week,’ Variety, New York, 2 November 1907, p. 10b)

The Six Brothers Luck (fl. late 19th/early 20^th Century), British music hall entertainers, burlesque and sketch artists

‘THE SIX BROTHERS LUCK Burlesque and Sketch Artistes, In their enormously successful, Up-to-date Farcical Stketch, “THE DEMON OF THE CELLAR and many other eccentric Variety Acts. QUAINTNESS, HUMOUR, ORIGINALITY. ECCENTRICITY, NOVELTY, REFINEMENT. Sole Agents – GEORGE WARE & SON.’ (photo: unknown; advertisement from Charles Douglas Stuart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895)

‘Negotiations were completed yesterday for the appearance on the Klaw & Erlanger circuit of the six brothers Luck, English comedians. There are twenty-five persons in the company, and the six brothers Luck are the principal comedians; Ernest Luck, the star comedian of the organizations, is manager for Miss Hetty King [Mrs Ernie Lotinga, whose husband was a member of the Six Brothers Luck], who is now appearing at the New York Theatre.’ (The New York Times, New York, Tuesday, 8 October 1907, p. 5d)

‘Six Brothers Luck, ’’The Demon in the Cellar” (Pantomime). 20 Mins.; Full Stage (Special Set). New York.

‘The Six Brothers Luck are the latest Klaw & Erlanger European importation. They opened Monday afternoon in “A Night in an English Cafe,” but changed to “The Demon in the Cellar” for the evening show, the first named offering having signally failed to please. “The Demon in the Cellar” is a pretty crude collection of rough knockabout comedy material, made universally familiar on our shores by the Hanlon Brothers’ “Fantasma” and countless other pieces of the same sort. The Lucks have nothing to add to this style of humor as we know it on this side of the water. The inflated bladder, seltzer syphon and slapstick have been relegated to obscurity and long since thrown out of burlesque over here, and only our visiting British cousins have the courage to bring them forth again. The sketch tells the story of a wicked uncle, who seeks to cheat his nephew of a fortune by means of a false will. The nephew dons a horned mask and red tights and haunts the old man into confession. The comedy comes from the clowning of a French waiter and an English soldier (Shaun Glenville Luck), who comes a-courting the uncle’s house-maid, and are terrified by the appearance of the horned apparition. Shaun Glenville Luck makes a capital grotesque comedian and might, under more kindly circumstances, be really funny, but the seltzer-bottle-bladder-slapstick mess that makes up “The Demon in the Cellar” leaves him stranded. The audience hopes for a minute that the introduction of acrobatics of some sort might enliven the proceedings, but they hoped in vain. It was just childish horseplay and buffoonery, almost without a redeeming virtue. (Rush, ‘New Acts of the Week,’ Variety, New York, 2 November 1907, p. 10b)

Mimi Margotine (fl. late 19^th/early 20^th Century), actress and dancer (photo: Alfred Ellis & Walery, London, 1901, negative no. 36170-12)

This cabinet photograph of Mimi Margotine shows her as she appeared as the Queen of Venus in The Silver Slipper, which opened at the Lyric Theatre, London, on 1 June 1901. She is also recorded as having appeared as Ivy in the musical comedy The Man in the Moon, produced at the New York Theatre, New York, on 24 April 1899.