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.

Vera Neville

Vera Neville (née Vera Blanche Neville Snepp, 1888-1953), English actress
(photo: Rita Martin, London, circa 1908)

Vera Neville was the daughter of Alfred Neville Snepp (1857-1935), an electrician and later a cigarette manufacturer, and his wife Laura Kate (née Browne, 1861-1941) who were married at All Souls Church, Marylebone, London, on 1 December 1887. Her paternal grandfather was the Rev. Edward Snepp (1827-1899), sometime vicar of St. Paul’s Church, Kings Cross, Halifax, Yorkshire.

In 1909 Vera Neville was married to ‘Tommy’ Graves (Henry Algernon Claude Graves, 1877-1963), who became 7th Baron Graves of Gravesend upon the death of his cousin in 1937. Their son was the actor Peter Graves (1911-1994) whose wife was the actress and singer, Vanessa Lee (1920-1992). Following Miss Neville’s divorce in 1922 from Graves she married in the same year Philip Ernest Hill (1873-1944), the successful property developer and financier, from whom she was divorced in 1933.

The details of Miss Neville’s introduction to the theatre are as yet unknown apart from the fact that one of her earliest engagements was as understudy to Gabrielle Ray. Her first substantial part appears to have been as Perlie in Grossmith and Laurillard’s production of Victor Herbert’s musical play The Only Girl, which opened at the Apollo Theatre, London, on 25 September 1915. She was next seen in Mr Manhattan, a musical play which was produced at the Prince of Wales’s Theatre, London, on 30 March 1916; and then in the comedy with music Houp La! (St. Martin’s Theatre, London, 23 November 1916), starring Nat. D. Ayer and Gertie Millar. Her next engagement was in the ‘War Economy Revue’ £150 (Ambassadors’ Theatre, London, 30 April 1917); and then finally in A Certain Liveliness (St. Martin’s, 17 February 1919), a play by Basil Macdonald Hastings.

Vera Neville, English actress and mother-in-law of the actress and singer, Vanessa Lee

Vera Neville (née Vera Blanche Neville Snepp, 1888-1953), English actress
(photo: Rita Martin, London, circa 1908)

Vera Neville was the daughter of Alfred Neville Snepp (1857-1935), an electrician and later a cigarette manufacturer, and his wife Laura Kate (née Browne, 1861-1941) who were married at All Souls Church, Marylebone, London, on 1 December 1887. Her paternal grandfather was the Rev. Edward Snepp (1827-1899), sometime vicar of St. Paul’s Church, Kings Cross, Halifax, Yorkshire.

In 1909 Vera Neville was married to ‘Tommy’ Graves (Henry Algernon Claude Graves, 1877-1963), who became 7th Baron Graves of Gravesend upon the death of his cousin in 1937. Their son was the actor Peter Graves (1911-1994) whose wife was the actress and singer, Vanessa Lee (1920-1992). Following Miss Neville’s divorce in 1922 from Graves she married in the same year Philip Ernest Hill (1873-1944), the successful property developer and financier, from whom she was divorced in 1933.

The details of Miss Neville’s introduction to the theatre are as yet unknown apart from the fact that one of her earliest engagements was as understudy to Gabrielle Ray. Her first substantial part appears to have been as Perlie in Grossmith and Laurillard’s production of Victor Herbert’s musical play The Only Girl, which opened at the Apollo Theatre, London, on 25 September 1915. She was next seen in Mr Manhattan, a musical play which was produced at the Prince of Wales’s Theatre, London, on 30 March 1916; and then in the comedy with music Houp La! (St. Martin’s Theatre, London, 23 November 1916), starring Nat. D. Ayer and Gertie Millar. Her next engagement was in the ‘War Economy Revue’ £150 (Ambassadors’ Theatre, London, 30 April 1917); and then finally in A Certain Liveliness (St. Martin’s, 17 February 1919), a play by Basil Macdonald Hastings.

Vera Neville (née Vera Blanche Neville Snepp, 1888-1953), English actress
(photo: Rita Martin, London, circa 1908)

Vera Neville was the daughter of Alfred Neville Snepp (1857-1935), an electrician and later a cigarette manufacturer, and his wife Laura Kate (née Browne, 1861-1941) who were married at All Souls Church, Marylebone, London, on 1 December 1887. Her paternal grandfather was the Rev. Edward Snepp (1827-1899), sometime vicar of St. Paul’s Church, Kings Cross, Halifax, Yorkshire.

In 1909 Vera Neville was married to ‘Tommy’ Graves (Henry Algernon Claude Graves, 1877-1963), who became 7th Baron Graves of Gravesend upon the death of his cousin in 1937. Their son was the actor Peter Graves (1911-1994) whose wife was the actress and singer, Vanessa Lee (1920-1992). Following Miss Neville’s divorce in 1922 from Graves she married in the same year Philip Ernest Hill (1873-1944), the successful property developer and financier, from whom she was divorced in 1933.

The details of Miss Neville’s introduction to the theatre are as yet unknown apart from the fact that one of her earliest engagements was as understudy to Gabrielle Ray. Her first substantial part appears to have been as Perlie in Grossmith and Laurillard’s production of Victor Herbert’s musical play The Only Girl, which opened at the Apollo Theatre, London, on 25 September 1915. She was next seen in Mr Manhattan, a musical play which was produced at the Prince of Wales’s Theatre, London, on 30 March 1916; and then in the comedy with music Houp La! (St. Martin’s Theatre, London, 23 November 1916), starring Nat. D. Ayer and Gertie Millar. Her next engagement was in the ‘War Economy Revue’ £150 (Ambassadors’ Theatre, London, 30 April 1917); and then finally in A Certain Liveliness (St. Martin’s, 17 February 1919), a play by Basil Macdonald Hastings.

Laura Joyce Bell

a carte de viste photograph of Laura Joyce Bell (1858-1904), American actress and singer in comic opera before her marriage in 1883 to Digby Bell
(photo: Sarony, New York, circa 1878)

‘Notwithstanding the decree of the New York Court, which granted a decree of divorce to Mrs. Digby Bell and prohibited the husband from marrying again, that gentleman made his appearance at a Chicago hotel on Sunday with a new wife, known to the stage as Miss Laura Joyce, who was herself divorced a short time ago from James V. Taylor, a wealthy New Yorker. Bell and Miss Joyce were married in Pennsylvania.’
(Decatur Daily Republican, Decatur, Illinois, Saturday, 17 March 1883, p. 2d)

‘Haverly’s Theatre, Chester, Pennsylvania, January 1885.
‘Monday evening the McCaull Opera Company will present Gilbert & Sullivan’s esthetic [sic] opera Patience in a brilliant manner, with new scenery, a large and thoroughly drilled chorus, and the following cast: J.H. Ryley will be Bunthorne; Digby Bell, Grosvenor; C.W. Dongan, Colonel Calverley; George Roseman, Major Murgatroyd; George R. Appleby, the Duke; Mary Beebe, Patience; Irene Perry, Lady Angela; Emma Ellsner, Lady Saphir; and that pronounced favorite, Laura Joyce Bell, the massive Lady Jane.
‘In this series of revival Manager McCaull has determined to produce the operas in the very best possible manner, selecting from his various companies those artists who are best adapted for the different roles. The present company could not be surpassed, all being especially fitted from their respective parts.’
(Chester Times, Chester, Pennsylvania, Monday, 12 January 1885, p. 3b)

Grand Opera House, San Antonio, Texas, 31 December 1896
‘Tonight and Tomorrow Matinee and Night.
‘Hoyt’s greatest comedy, A Midnight Bell, which portrays more accurately than any other of its rivals, the charms, sweetness and fragrance of New England life, will be presented in this city shortly with an ideal cast of metropolitan favorites, headed by America’s foremost comedian, Dibgy Bell, and the famous comedienne, Laura Joyce Bell. An entire carload of scenery has been painted by the celebrated artist, Arthur Voegtlin. New music has been specially arranged by Victor Herbert, author of Prince Ananias and The Wizard of the Nile and leader of Gilmore’s famous band.’
(San Antonio Daily Light, San Antonio, Texas, Thursday, 31 December 1896, p. 5a)

‘DEATH OF SINGER.
‘Laura Joyce Bell Once Popular Comic Opera Star.
‘Chicago, May 30 [1904]. – Announcement from new York city yesterday of the death of Mrs. Laura Joyce Bell, the comic opera singer, saddened scores of theatrical people who had known her when she was in the height of her popularity and success.
‘Mrs. Bell was the wife of Digby Bell, the vaudeville star.
‘Mrs. Bell had been ill for nearly a year. She suffered from fatty degeneration of the heart.
‘Laura Joyce Maskell was born in England. She received her musical education at the Royal Academy of Music, London. Her first appearance in America was in Niblo’s Garden in New York in 1872. In 1882 she was married to Digby Bell. Mrs. Bell was 46 years old.’
(The Daily Review, Decatur, Illinois, Monday, 30 May 1904, p. 3d)

‘LAURA JOYCE BELL CUTS OFF DAUGHTER
‘Because the Girl Ran Off and Got Married.
‘New York, Oct. 21. – ”I give and bequeath to my daughter, Laura Seymour Bell, for her sole support and separate use, $1.” In these words Laura Joyce Bell, the actress, wife of Digby Bell, by her will, cut off her daughter from participation in her estate except as stated. The will was drawn may 3, 1904. Only a short time before that Miss Bell eloped from the normal college on the eve of her graduation and was married, her name now being Wilson.’
(The Daily Review, Decatur, Illinois, Friday, 21 October 1904, p. 1c)

For further photographs of Laura Joyce Bell, see NYPLDigitalGallery and University of Louisville, Digital Collections.

a photograph of Elsie Janis as Cinderella
with David C. Montgomery as Punks and Fred A. Stone as Spooks,
in Victor Herbert’s musical play, The Lady of the Slipper,
produced at the Globe Theatre, New York, 28 October 1912
(photo: unknown, New York, 1912)

‘THE LADY OF THE SLIPPER.
‘Globe (H.D. Kline, mgr.) – The Lady of the Slipper; or, a Modern Cinderella, a musical fantasy in three acts, book by Anne Caldwell and Lawrence McCarty, lyrics by James O’Dea, music by Victor Herbert, staged by R.H. Burnside, produced Monday night, Oct. 28, by Charles Dillingham, with this cast:
The Crown Prince Maximillian … Douglas Stevenson
Prince Ulrich … Engene Revere
Captain Ladislaw … James G. Reaney
Baron Von Nix … Charles Mason
Alzel … Vernon Castle
Mouser (the Baron’s cat) … David Abrahams
Albrecht … Samuel Burbanks
Louis … Harold Russell
Joseph … Edgar L. Hay
Matthias … Ed. Randall
Punks … David C. Montgomery
Spooks … Fred A. Stone
Cinderella … Elsie Janis
Dollbabia … Lillian Lee
Freskotte … Queenie Vassar
Romneys … Allene Crater
The Fairy Godmother … Vivian Rushmore
Valerie … Peggy Wood
Sophie … Florence Williams
Prins … Edna Bates
Clare … Helen Falconer
Ludovica … Gladys Zell
Malda … Lillian Rice
Gretchen … Angle Welmers
Premiere Danseuse … Lydia Loponklwa [i.e. Lopokova]
‘There are no more popular stars in musical shows to-day than the team of Montgomery and Stone and Elsie Janis, and a show that is headed by either the first two named or the last mentioned is reasonably sure of success, but when the three names are to be found in one entertainment, as they are in The Lady of the Slipper, there seems to be only one answer – pronounced and undoubted success.
‘The names of David C. Montgomery and Fred A. Stone have been inseparably linked with fun and frolic ever since years ago they forsook vaudeville to enter the musical comedy field, and the same applies to Miss Janis, and in their present vehicle they live up to their reputations to the utmost degree. The piece is little more than a vehicle, and if it had to rely upon either its book, lyrics or music it would stand little chance of winning the public favor, but it offers opportunities for the trio of stars to introduce their specialities, and these, familiar as they are to us, are always welcome.
‘Elsie Janis never did better work. She had several songs which she ”talked” in her usual clever manner, and the one in the first act with the ”kiddies” was ”put over” in the best style of this clever little lady. She had another song with David Abrahams, in the same set, that also won favor. For her waltz number with Douglas Stevenson she also scored. Then in the last act she gave her well known imitations of well known stage celebrities, for which she won well deserved storms of applause. She was recalled many times, and for one of her encores she gave a perfect imitation of Mr. Stone’s exit earlier in the piece, in which he uses a most peculiar dance step.
‘Montgomery and Stone first appear in characters that remind you of their famous roles in The Wizard of Oz. In this present show Montgomery is transformed from a pumpkin, while Stone is a scarecrow brought to life. They made several changes of costume, and in the second act they hark back to their early vaudeville days and reproduce a travesty on the first song and dance they ever did, entitled ”Then Were the Childhood Days.” Mongtomery, with the aid of a chorus, got a good deal out of a song entitled ”Bagdad.” Stone did a single number entitled ”Punch Bowl Glide,” in which he was immense. In this he introduced some eccentric movements and dancing, and also did some trampoline work, two tables, a lounge and a stage trap being supplied with the bouncing rubber.
‘Vernon Castle, assisted by a female chorus, did a capital number, entitled ”Fond of the Ladies.” Mr. Castle has a capital voice, and while the number gave him little chance to display it to the best advantage, he rendered it with good effect. But Mr. Castle is also a capital eccentric dancer, and the finish of this number was one of the most novel seen on the local stage. With a swaying dance movement, not unlike the ”Turkey Trot,” but absolutely devoid of objectionable features, the girls form a line, with Mr. Castle in the centre (he serving as a pivot round which the line revolves). With each half turn a girl joins the line until all of them, about sixteen in all, are in the line. Then with the same swaying movement the line revolves, and at each half turn a girl leaves the line until Mr. Castle once more stands alone. It is a capital number, and one which caught the house.
‘David Abrahams deserves great credit for his work as Mouser, the cat.
‘In the second act Lydia Lopoukowa [sic], premier danseuse, assisted by a corps de ballet, did some excellent dancing, and was deserving of the hearty applause accorded her efforts.
‘Founded upon the well known story of Cinderella, the work admits of very elaborate singing, which Mr. Dillingham has given it without stint, and the deficiencies of the authors are atoned for to a large extent by Mr. Burnside, who has put his best foot forward in staging the work, and this means that the very best results have been attained.’
(Whit., The New York Clipper, New York, Saturday, 2 November 1912, p. 6a)

‘Charles Dillingham has arranged to reproduce in moving pictures, in natural colors, the production of The Lady of the Slipper,’ which is now playing at the Globe Theatre. He has also arranged with the Victor Company to secure records of the score. These pictures and records will be kept on file.’
(The New York Clipper, New York, Saturday, 7 December 1912, p. 2c)

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)