Posts Tagged ‘Philharmonic Theatre (London)’

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Ada Lee, English actress and singer, sister of Jennie Lee

March 23, 2014

Ada Lee (1856?-1902) English music hall serio-comic and burlesque actress, as she appeared during 1871,1872 and 1873 in H.B. Farnie’s adaptation of Offenbach’s comic opera, Genevieve de Brabant, first produced at the Philharmonic Theatre, Islington, on 11 November 1871.
(carte de visite photo: Fradelle & Marshall, 230 & 246 Regent Street, London, W, 1871-1873)

Alhambra Palace music hall, Hull, week beginning Monday, 8 February 1869
‘Miss Ada Lee, a lady-like and pleasing serio-comic, meets with great applause in ”One a penny swells.”’
(The Era, London, Sunday, 14 February 1869, p. 12b)

‘Mr. EDITOR. – Sir, With reference to your favourable criticism of Jenny, in Kind to a Fault, I have much pleasure in informing you that my sister, ”Ada Lee,” kindly played the part to oblige me, until Saturday last, when I played it myself, according to previous arrangements. Trusting ou will insert this in justice to her, I remain, dear Sir, your faithfully, JENNY LEE. Royal Strand Theatre, August 11th [1870].’ (The Era, Sunday, 14 August 1870, p. 10c)

The Philharmonic Theatre, Islington, season commencing Monday, 2 October 1871
‘The second dramatic season of this theatre, under the management of Mr. Charles Morton, commenced on Monday evening… . True to its title, the Philharmonic puts forth music as the chief attraction in a remarkably rich bill of fare. The piece de resistance of the present season is a compressed version of Herve’s celebrated opera bouffe, Chilperic, produced under the direction of Miss Emily Soldene, who sustatins the principal character with that spirit and bright intelligence which, added to other gifts of nature and grace of person, have won for this lady a very distinguished place amongst the votaries of the lyric drama in London… . The other parts in the opera are for the most part very happily filled. The Fredegonde of Miss Selina [Dolaro], a lady endowed with a sweet pliant voice and most graceful appearance, is a very charming performance. Miss [Alice] Mowbray, as the High Priestess, Miss [Clara] Vesey as the Spanish Princess, and Miss Lenard as the hero’s sister-in-law, acquit themselves creditably both in acting and singing; whilst Miss Ada Lee and Miss Isabella Harold make very pretty ”pet pages” indeed …’
(The Standard, London, Friday, 6 October 1871, p. 3b)

Bush Street Theatre, San Francisco, 3 November 1879
‘The principal event of the week has been the production of The Magic Slipper by the Colville Opera company, who made their first appearance at the Bush-street Theatre, Nov. 3 to the largest audience of the season… . Miss Eme Roseau, the leading star of this organization, although a beautiful woman, cannot be congratulated on achieving a recognition for any attainments requisite for the position… . Miss Kate Everleigh made a handsome Prince, and might perhaps have scored a success had she been compelled to act the part in pantomime. Miss Ella Chapman nightly received a warm welcome for the sake of ”auld lang syne,” and bids fair to retain her former popularity, as she has already succeeded in dancing herself into the good graces of her audiences. Miss Ada Lee’s graceful bearing, and the charming and pleasing manner in which she portrayed the Prince’s secretary, have made her a favorite. The admiration this little lady excites is not one white lessened by the fact that she bears a great resemblance to her sister Jennie, and the she possesses the most shapely limbs ever seen here… .’
(The New York Clipper, New York, New York, Saturday, 22 November 1879, p. 274g)

Melbourne, Australia, 17 April 1884 – Opera House, Melbourne
‘Mr F.C. Burnand’s burlesque Blue Beard was produced at this theatre last (Easter) Monday. Miss Jennie Lee, Miss Ada Lee, and Mr Harry Taylor sustain the principal roles. The piece suffered much from imperfect rehearsal, and has not go in through going order yet.’
Melbourne, Australia, 21 April 1884 – Opera House, Melbourne
Blue Beard now runs smoothly and evenly. The various performances are at home in their roles, and the burlesque may have a good run. Miss Jennie Lee and Miss Ada Lee are the life and soul of the piece.’
(The Era, London, Saturday, 21 June 1884, p. 15c)

‘Miss Ada Lee has returned to London after an absence of several years in Australia and South Africa, having fulfilled successful engagements with Messrs Williamson and Musgrove, Brough and Boucicault, and Frank Thornton and Jennie Lee.’
(The Era, London, Saturday, 17 August 1895, p. 8c)

Ada Lee succumbed to the bubonic plague during a visit to Australia with the Charles Arnold Company, dying in Sydney on Saturday, 1 March 1902.

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Lennox Grey

July 29, 2013

Lennox Grey (fl. 1870s), English actress and singer
(photo: Hills & Saunders, London, circa 1875)

Lennox Grey was born Louisa Caulfield in London in 1845, the daughter of John Caulfield, a teacher of music, and his wife, Louisa, a vocalist. Her stage name derives from that of her first husband, Lieutenant Francis Lennox George Grey of H.M. 96th Regiment, who she married at the age of 17 in 1862.

‘ACTRESS IN WORKHOUSE.
‘Miss Lennox Grey, Once the Most Admired Woman on the London Stage.
‘Just as a benefit is being arranged for Emily Soldene another old time burlesque actress and a member of the famous Soldene company of other days has been found in poverty in an English workhouse [i.e. the Strand Workhouse, Edmonton, north London]. These two women are said to be the only survivors of the company which originally sang Genevieve de Brabant, which was a New York sensation of the early ’70s.
‘Miss Lennox Grey was the stage name of the old woman who has been taken out of a London workhouse, an anonymous donor having provided a weekly stipend sufficient to support her for the rest of her days. She did not take part in the original production of Offenbach’s operetta in London [at the Philharmonic Theatre, Islington, 11 November 1871], but succeeded Selina Dolaro, who was compelled to retire from the cast after a few performances.
‘Miss Lennox Grey was at that time the wife of an officer in the English army. She had married him after a short stage experience and went to India to live. He deserted her and she returned to the stage in England.
‘she was for years one of the most popular burlesque artists in England and came to this country with the Soldene companies, appearing in Little Faust, Chilperic, and other works of this company’s decollete repertoire. Emily Soldene, who is now a very old woman, came to this country for the last time about twenty years ago and sang in the Bowery variety theatres in New York.
‘Miss Lennox Grey married for her second husband a classical scholar of high attainments, which did not, however, avail to prevent him from going to the poorhouse along with her. When the actress began to lose her youth there was no longer engagements for her, and she finally disappeared so completely that she was commonly supposed to be dead.
‘Yet less than forty years ago she was the most admired woman on the London stage.’
(The Washington Post, Washington, D.C., Sunday, 31 March 1907, Theatrical News and Gossip, p.3e)

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Victor Liston

April 18, 2013

Victor Liston (1838-1913), English music hall vocalist and comedian
(photo: photo: T. Pope, Birmingham, circa 1874)

Collins’s Music Hall, Islington Green, London
‘Mr. Victor Liston adheres to the legitimate, and sings those songs which can hardly be called new-fangled. His “shabby-genteel” impersonation is excellent. Mr. Liston sang four songs, and enjoyed a recall on the evening of our visit to Collins’s.’
(The Entr’acte, London, Saturday, 17 December 1881, p.6b)

* * * * * * * *

Too proud to beg, too honest to steal,
I know what it is to be wanting a meal;
My tatters and rags, I try to conceal,
I’m one of the Shabby Genteel.

* * * * * * * *

‘Mr Victor Liston, another favourite comic singer, made his first appearance when seventeen years old [in 1855] at a benefit at the Old Bower Saloon, Stangate Street [London]. Afterwards he sang at various of the smaller halls, such as Price’s in the Caledonian Road, which was only open on Saturday nights, and where “Billy Randall” [William Randall (1830-1898)] was very popular. Then Harry Fox [1817-1876], of the Middlesex [music hall, Drury Lane], sent Liston to Sheffield, where he played at Parker’s, where J.H. Ridley and his wife, Marie Barnum, sister to Johnny Barnum, started as duettists. After a long provincial probation, Liston returned to London and sang at the Grapes, the Coal Hole, the Cyder Cellars, the Dr Johnson, and Macdonald’s in Hoxton, where Fred Albert [1845-1886] made one of his earliest appearances. This is now used as a mission hall. One night [in 1868] Liston deputised at the old Philharmonic [Islington Green], then under the proprietorship of the late Mr Sam Adams, and made such a success with his song “Shabby Genteel” [written by Henry S. Leigh, a noted contributor to the satirical periodical Punch], that he stayed there for seven months, a ditty which Harry Clifton [1832-1872] used to sing in his “two-hours’ entertainment.” Victor Liston was also popular at the Metropolitan, Collins’s, and at Evans’s, where one night H.R.H. the Prince of Wales [later King Edward VII] brought the Duke and Duchess of Sutherland expressly to hear “Shabby Genteel.” After a five months’ successful visit to America, Liston returned to England. Among his principal songs were “The Auctioneer’s Daughter,” “Charming Arabella,” “Polly Darling,” and “Of Course it’s no Business of Mine.” The last-named was written by Arthur Lloyd [1840-1904], the others by G.W. Hunt [1851-1936]. On one occasion Liston was a member of Sam Hague’s Minstrels. He was also manager of the Bon Accord Music Hall, at Aberdeen, and “ran” halls of his own at Gloucester and Cheltenham, where George Leybourne [1842-1884] and other stars appeared.’
(Charles Douglas Stuart and A.J. Park, The Variety Stage, T. Fisher Unwin, London, 1895, pp.108 and 109)

* * * * * * * *

‘It is sad to relate that towards his end, Victor Liston became the embodiment of [“Shabby Genteel”] himself, for he met with misfortune and, dressed carefully, but in threadbare clothes trying to keep up appearances, was himself, as was the hero of his song, too often wanting a meal.’
(W. Macqueen-Pope, The Melodies Linger On, W.H. Allen, London, 1950, p.311)

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Mons. Marius as he appeared in H.B. Farnie’s English version of Offenbach’s Madame Favart, Strand Theatre, London, 12 April 1879

January 9, 2013

Claude Marius (1850-1896),
French actor, singer and stage manager,
affectionately known by English audiences as Mons. Marius as he appeared in H.B. Farnie’s English version of
Offenbach’s Madame Favart, Strand Theatre, London, 12 April 1879
(photo: The London Stereoscopic & Photographic Co Ltd, London, 1879)

MARIUS, CLAUDE (a nom de théâtre; CLAUDE MARIUS DUPLANY), born February 18, 1850, Paris. He entered the dramatic profession in 1865 as an auxiliary at the Folies Dramatiques, playing parts in most of the popular pieces presented there for a brief period. In 1869 he came to London, and appeared at the Lyceum Theatre in the characters of Landry in Chilperic, and of Siebel in Little Faust. M. Duplany joined the French Army during the Franco-Prussian war; but in 1872 returned to London, and, at the Philharmonic Theatre, appeared as Charles Martel and Drogan in Généviève de Brabant. Subsequently “M. Marius” joined the company of the Strand Theatre, where he has played and “created” many parts, among them the following: viz. Major Roland de Roncevaux in Nemesis, Rimbobo in Loo, Baron Victor de Karadec in Family Ties, Orloff in Dora and Diplunacy, and Dubisson in Our Club. On Saturday, April 12, 1879, first performance at the Strand of an English version of Offenbach’s Madame Favart, he sustained the rôle of M. Favart.’
(Charles E. Pascoe, editor, The Dramatic List, David Bogue, London, 1880, p.256)

‘Marius, Claude. (C.M. Duplany.) – The clever actor and stage manager whose nom-de-théâtre heads this paragraph is by nationality a Frenchman, and was born at Paris in 1850. He was intended for a commercial life, and entered a silk and velvet warehouse in that city, but his natural proclivities soon led him to mingle in stage circles, and he used to gratify his passion for the drama by working as a super at the Folies Dramatiques, where he presently obtained an appointment in the chorus, and from that rose to small parts. In 1868 he forsook the warehouse, and became a regular member of the dramatic profession. Mr. [Richard] Mansell, while on a visit to Paris in 1869, saw him act, and at once offered him a London engagement, which he accepted, and appeared in Chilperic and Little Doctor Faust. His career was cut short by the breaking out of the Franco-Prussian war, and he was recalled to France and drafted into the 7th Chasseurs-à-Pièd. He fought in three engagements, of which the most important was Champigney. His regiment was then ordered to Marseilles, and subsequently to Corsica, to quell the Communal riots. In the autumn of 1872 Mons. Marius returned to London, and appeared at the Philharmonic in Généviève de Brabant, and afterwards in Nemesis at the Strand. Sine then he has played in almost every theatre in the metropolis, creating many clever and original parts, amongst them being that of M. Favart in Offenbach’s opera of Madame Favart when first played in English at the Strand Theatre in 1879, and later as General Bombalo in Mynheer Jan at the Comedy, and Paul Dromiroff in As in a Looking Glass. But he probably achieved his greatest success as Jacques Legros in The Skeleton at the Vaudeville in 1887. In the autumn of 1890 he appeared in The Sixth Commandment at the Shaftesbury, and in the following year in both editions of Joan of Arc. Mons. Marius excels as a stage manager, and under his able direction Nadgy was produced at the Avenue, and The Panel Picture at the Opera Comique in 1888. He was also responsible for the staging of The Brigands, chiefly memorable by reason of the Gilbert and Boosey quarrel. But his most brilliant success in this line was the triple production of The Field of the Cloth of Gold, preceded in the programme by In the Express and La Rose d’Auvergne, at the Avenue in 1889, and more recently was responsible for the mounting of Miss Decima at the Criterion (1891). Mons. Marius is the husband of Miss Florence St. John, the bewitching prima donna of the Gaiety Company.’
(Erskine Reid and Herbert Compton, The Dramatic Peerage, Raithby, Lawrence & Co Ltd, London, 1892, pp.145 and 146)