a scene from The Beauty Spot, Herald Square Theatre, New York, 1909

a scene from The Beauty Spot, a musical comedy written by Joseph W. Herbert, with music by Reginald De Koven, produced at the Herald Square Theatre, New York City on 10 April 1909.
(photo: unknown, probably New York, 1909; halftone publicity postcard, publisher unknown, 1909)

‘THE BEAUTY SPOT IS THE ALVIN’S NEXT OFFERING.
‘On March 28 [1910] Pittsburg will have an opportunity to meet Jeff de Angelis in The Beauty Spot, as the management of the Alvin theater announce that attraction for this date. The production will be identically the same as it was during its run of over six months at the Herald Square theater, New York city, while the principle [sic] roles will be interpreted by the same brilliant cast including George James, James MacFarlane, Frank Doane, Viola Gillette, Isabel D’Armond, Jacques Kruger, Alf Deball, Jean Newcomb, Katherine Bowen and Frances Burns.
‘In the role of the flurtatious old Russian general, Jefferson de Angelis is most happily cast, and not in recent years has he had a part that suited him so admirably. George J. MacFarlane as Jacques Baccrel is both manly and capable, while his splendid cultivated voice renders his performance most pleasing. Frank Doane in the character of the negro valet, masquerading as a Prince of Borneo, is screamingly funny. Diminutive Isabel D’Armond as Madine, the general’s daughter, is exceedingly dainty and graceful.’
(The Pittsburgh Press, Pittsburgh, Sunday, 20 March 1910, Theatrical Section, p. 3d/e)

‘DE ANGELIS. – Jefferson De Angelis, now at the New York in The Pearl Maiden, has been on the stage practically all his life. He had a company of his own as far back as 1884, when he made a world tour. He used to be the character comedian in Colonel McCaull’s opera company at Wallack’s, and there established himself as a crowd-drawing attraction in New York whenever he comes to town. His activities in musical comedy have been very numerous, and covered a long time at the Casino. The Jolly Musketeers was one of his biggest drawing cards, and lasted him for four seasons. Fantana is looked back on now as one of the funniest shows ever in the city. Since then he has starred in The Great White Way and The Beauty Spot. He was a member of the all-star cast of The Mikado at the Casino. While in St. Louis this Fall, Mr. De Angelis contracted a tired feeling of everything pertaining to theatricals, and so expressed himself publicly. He seems, however, to have recovered his old-time enthusiasm.’
(The New York Dramatic Mirror, New York, Saturday, 24 January 1912, p. 10a)

Lina Abarbanell (1879–1963),
German born American actress and singer
(photo: unknown, USA, circa 1915)

Lina Abarbanell stars in The Student King, Chicago, 1906
‘The warm welcome accorded to Lina Abarbanell by Chicago music lovers bespeaks as prosperous a career on the English lyric stage for this clever little artist as that achieved by her in the principal opera houses of Holland, Germany, and Austria. As Ilsa the Tyrolean princess in the new romantic comic opera, The Student King, by de Koven, Ranken, and Stange, Miss Abarbanell shines to exceptional advantage and is a decided acquisition to the American comic opera field.’
(The Washington Post, Washington, D.C., Sunday, Editorial Section, 10 June 1906, p.4a)

Lina Abarbanell (1879–1963),
German born American actress and singer
(photo: unknown, USA, circa 1915)

Lina Abarbanell stars in The Student King, Chicago, 1906
‘The warm welcome accorded to Lina Abarbanell by Chicago music lovers bespeaks as prosperous a career on the English lyric stage for this clever little artist as that achieved by her in the principal opera houses of Holland, Germany, and Austria. As Ilsa the Tyrolean princess in the new romantic comic opera, The Student King, by de Koven, Ranken, and Stange, Miss Abarbanell shines to exceptional advantage and is a decided acquisition to the American comic opera field.’
(The Washington Post, Washington, D.C., Sunday, Editorial Section, 10 June 1906, p.4a)

Andrew Higginson as Danilo and Carrie Moore as Sonia
in the Australian production of The Merry Widow,
Her Majesty’s Theatre, Melbourne, 6 May 1908
(photo: Talma, Melbourne, 1908)

Carrie Moore as Sonia in The Merry Widow, Her Majesty’s Theatre, Sydney, and her sudden marriage, May 1908
‘Sydney, N.S.W., Nov. 25 [1908].
‘The theatrical sensation of the past month has been caused by the unexpectedly sudden wedding of Carrie Moore – at present appearing in the name part in The Merry Widow at Her Majesty’s Theatre – and the subsequent happenings. Hardly had Mr. and Mrs. Percy Bigwood recovered from the host of congratulations showered on them when news of their marriage leaked out, when a lady in the person of Ivy Salvin comes post haste from Melbourne and, through her Sydney solicitor, issues a Supreme Court writ, claiming £5,000 damages for alleged breach of promise on the part of the gentleman now known in Sydney as “Carrie Moore’s husband.” This action was subsequently settled to the satisfaction of both parties, and Ivy Salvin accepted her first theatrical engagement in The Belle of Mayfair at the Criterion Theatre, which engagement she is now relinquishing to enter the married state. Such is fame!
‘“Carrie Moore’s Husband” is a young Englishman of means, not altogether unknown on the African and Australian turf, where his racing colors have met with judge’s eye on more than one occasion.
‘Carrie Moore is retiring from the cast of The Merry Widow and returning to England, where she is under engagement to appear as principal boy under the management of Bob Courtneidge in the forthcoming pantomime of Cinderella at London’s Adelphi Theatre. Her place as the dashing Widow will be filled by Betty Ohls, an actress well known on your side, where in 1904 she appeared with the Bostonians as Maid Marian in De Koven’s Robin Hood, and subsequent American appearances include those in The Queen of Laughter, at Boston; The Student King, at Chicago, and The Rose of the Alhambra, in New York. She has recently been appearing at the Empire and Tivoli, London, in gesture songs.’
(The New York Dramatic Mirror, New York, Saturday, 19 December 1908, p.5c)

Flora and May Hengler, American duettists and dancers

Hengler Sisters (Flora and May, fl. late 19th/early 20th Century),
American duettists and dancers
(photo: Morrison, Chicago, mid 1890s)

‘Announcement is made that the Hengler sisters lately danced at an entertainment in the house of one of the Vanderbilts at Newport. The unimpeachability of the Vanderbilts is less significant in this instance than the delicate compliment carried to the taste of the entertainment committee of the Hanover club. It will be remembered that the Hengler sisters danced at that club with so much chic and agility that the integrity of the organization was seriously threatened by the women who were not present.’
(The Brooklyn Daily Eagle, Brooklyn, New York, Monday, 24 July 1893, p. 4e)

‘The Hengler sisters, two little girls, who began their professional career about the time that they made a stir by dancing at the dignified Hanover Club of this city, are in Paris. They began a return engagement at the Folies Bergeres in Paris on September 4. During their previous engagement they made such a hit that M. Marchand, the manager, gave them this return engagement, which is for three months. They are the stars of the bill, and the fact that they are Americans is noted on the programmes. They are said to be the first performers to make a success in Paris with what is known as a ”neat” singing and dancing act.’
(The Brooklyn Daily Eagle, Brooklyn, New York, Sunday, 3 October 1897, p. 16c)

‘In connection with this production [The Sleeping Beauty and the Beast, Broadway Theatre, New York, 4 November 1901] the appearance of the Hengler sisters brings back memories to the old-time theatre-goer. They are the daughter of T.M. Hengler, dead these many years, who with his partner, W.H. Delehanty, was a pioneer in what for many years was known as the ”refined clog-dancing speciality.” Both men were Albanians, and had been in minstrel troupes for several years, when, in 1868 they formed the team of Delehanty and Hengler and joined Dingess and Green’s minstrels. Then they introduced the act of coming on dressed in the pink of costume fashion, the stage usually being set as a garden. There is a sample of the kind of song they sang:

White wandering in the park one day
In the pleasant month of May,
What was my surprise
When a pair of roguish eyes
Met me by the fountain in the park
Tra-la-la-la.

‘At the end of each verse they broke into a clog-step in rhythmical harmony with the music.
‘The little Hengler girls have speaking parts in the extravaganza. One of them has had more serious dramatic ambitions, and has devoted time to the study of Shakespeare and reading. Tony Pastor first saw their talent, and was largely responsible for their first opportunities in London.’
(The New York Times, New York, Sunday, 10 November 1901, Magazine Supplement, p. 3d)

‘Shuberts Sign Hengler Sisters.
‘The Hengler sisters, Flora and May, have signed a contract to appear under the management of Shubert Bros. when they make their new production that Reginald De Koven is writing for the new Lyric Theater. Prominent roles will be assigned the Hengler sisters, and it is said they will be seen in more pretentious parts then they have yet essayed.’
(The Post-Standard, Syracuse, New York, 30 November 1902, p. 11c)

‘The Hengler Sisters are reported to be arousing the audiences to great enthusiasm at the Alhambra Music Hall, London, with their dainty turn. They are billed to appear at 10.30 P.M., which is headliners’ time in England, and are effectively singing ”The Maiden With the Dreamy Eyes” and ”Down Where the Cocoanut Grows,” Horowitz & Bowers’ latest effort. It is expected that they will arrive in new York shortly, to go into one of the Shubert productions.’
(The New York Clipper, New York, 4 April 1903, p. 134d)

‘Mrs. Stuyvesant Fish gave a dinner Thursday evening at her house, 25 East Seventy-eighth street, New York, for Mr. and Mrs. Albert Zabriskie Gray. Her guests were seated at tables decorated with spring flowers.
‘After the dinner, which was accompanied by the music of Highland bagpipers, there were songs and dances by the Misses May and Flora Hengler. General dancing followed the entertainment, and for this other guests arrived.’
(The Washington Post, Washington, D.C., Saturday, 4 February 1911, p. 7e)