Bonnie Maginn – ‘Dashing Bonnie Maginn’ – New York City, 1898

Bonnie Maginn (Bonalin Maginn, active before 1898 – 1906, still living 1931), American burlesque actress, singer and dancer
(cabinet photo: B.J. Falk, New York City, 1898)

‘MAGINN, Miss Bonnie:
‘Actress and dancer, was born in Chicago and made her first appearance there at the Grand Opera House, under the management of David Henderson, when she was a mere child, in ”The Mikado.” She then joined Weber and Fields in New York, with whom she remained nearly six years. In 1903 she played in ”Mr. Bluebeard,” under Klaw & Erlanger, and then joined Frank Daniels in ”The Office Boy.” In 1904 she again joined Joe Weber’s company and remained with him two and a half seasons. She then went into vaudeville.’
(Walter Browne and E. De Roy Koch, editors, Who’s Who on The Stage 1908, New & York, 1908, p. 297)

‘DASHING BONNIE MAGINN.
‘There are few prettier or sprightlier soubrettes on the stage than Bonnie Maginn, who for several years has been one of the idols of Broadway. She made a bit hit as Ines Dasher in ”Mr. Blue Beard” and in the Weber burlesques shared honors with such veterans of comedy as Joe Webr, Edward Connelly and even the redoubtable Marie Dressler. Miss Maginn has a good voice – is a better singer in fact than many of the higher salaried soubrettes – and as a fun maker she has few rivals.’
(Centralia Daily Chronicle, Centralia, Washington, Saturday, 15 August 1908, p. 4b)

Advertisement

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)

Dorothy Vane

Dorothy Vane (née Gertrude Amy Mackenzie,1870-1947), English actress and singer in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado, mid 1890s
(photo: unknown, mid 1890s)

This real photograph cigarette card of Dorothy Vane in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado was issued in England about 1900 with Ogden’s Guinea Gold Cigarettes.

Dorothy Vane as Pitti-Sing in a D’Oyly Carte touring production of The Mikado, mid 1890s

Dorothy Vane (née Gertrude Amy Mackenzie,1870-1947), English actress and singer in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado, mid 1890s
(photo: unknown, mid 1890s)

This real photograph cigarette card of Dorothy Vane in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado was issued in England about 1900 with Ogden’s Guinea Gold Cigarettes.

Dorothy Vane (née Gertrude Amy Mackenzie,1870-1947), English actress and singer in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado, mid 1890s
(photo: unknown, mid 1890s)

This real photograph cigarette card of Dorothy Vane in the role of Pitti-Sing in a D’Oyly Carte touring production of The Mikado was issued in England about 1900 with Ogden’s Guinea Gold Cigarettes.

J. & P. Coats ‘Best Six Cord Thread’ advertising card with Courtice Pounds as Nanki-Poo

a J. & P. Coats ‘Best Six Cord Thread’ advertising card, featuring a portrait
of the character Nanki-Poo from Gilbert & Sullivan’s opera, The Mikado.
Although Nanki-Poo was created by Durward Lely when The Mikado
was first performed at the Savoy Theatre, London, on 14 March 1885, and the part was played by Charles Kenningham in the 1895 revival at the Savoy, the image on this card is almost certainly after a photograph of Courtice Pounds as Nanki-Poo when The Mikado was first produced by
the D’Oyly Carte company in New York, at the Fifth Avenue Theatre, on 19 August 1885
(lithograph, printed by Donaldson Brothers, New York, circa 1885)

Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)

Lucia Nola (fl. late 19th/early 20th Century),
American soprano
(photo: Baker Art Gallery, Columbus, Ohio, circa 1905)

Lucia Nola, a soprano from Washington, D.C., has joined the Roscian Opera Company, 1905
‘Miss Lucia Nola, who was for some years prominently identified with the local singers as a soprano, is now with the Roscian Opera Company as prima donna soprano. The operas being given by the company are Sousa’s El Capitan, Gilbert and Sullivan’s Mikado, Balfe’s Bohemian Girl, [Robert Planquette’s] Chimes of Normandy [i.e. Les Cloches de Corneville], and [Victor Herbert’s] The Serenade which the Bostonians made famous. Miss Nola is heard in all the leading roles. She has hots of friends in this city, who will be interested to known of her success. Her work in Washington was characterized by a large amount of charitable work, such as the singing in the hospitals and the jail, and she did much other philanthropic work. She was a prominent and active member of the Doubleday Sunday Night Club.’
(The Washington Post, Washington, D.C., Sunday, 15 October 1905, Part Two, Editorial Section, p. 10a)