Saturday, August 31, 2019

Duruset or not Duruset ...


Just who was this charming singer and delightful actor, who spent three decades on the stage of London's theatres ... I have started the search, charted the facts, but will we ever know the whole truth?

DURUSET, John [DUROUSSET, John Baptiste William] (b London c 1792, x Westminster, 5 May 1793; d 13 Panton Street 6 November 1843).

‘Though not a star in his profession, he was always a favourite with the public’.

Jack Durousset only narrowly qualifies as a Victorian vocalist, for the most significant part of his career took place in the years before Victoria came to the throne. However, he is, and apparently was, a very pleasant character – both on the stage and off it – and I deem deserves his place in my collection.
‘As a singer he possessed a pleasing organ and was an accomplished musician, and as a performer, where the opportunity was afforded, always displayed a degree of quiet humour which was highly entertaining. He carried this vein of playful humour into society…’
Jolly tales of angling and hunting, and of chop-suppers with the lads, featuring our friend, Jack, pop up in a good number of C19th memoirs, but it is his career as a singer that has earned him a place in the reference books.

Jack was registered as born in London, probably at number 13 Panton Street, Haymarket, where his father, John Baptiste Durousset (d 19 May 1823) long had a shop, as a print merchant and picture dealer. Exactly when he was born is not precisely known – printed dates range from the ridiculous 1723 and 1776 to 1796 – but it seems that it was some not-very-long time after Durousset’s marriage, in 1788, to Sarah Dodd, and probably around 1792. He was baptised at St James’s in 1793.



As a boy, Jack was indentured to Domenico Corri, and he made his first appearances, on the stage and in concert, as a boy soprano. Again, folk cannot agree on where these first appearances took place – Drury Lane and Sadler’s Wells are both credited, and his teacher’s opera The Travellers cited (he is not among the boys in the original cast list) – but I spot him, first, on 14 November 1807 at the Adelphi Theatre (Sans Pareil) playing ‘a woodman’ in Miss Jane M Scott’s grand serious operatic spectacle, Ulthona the Sorceress (she played the title-role) and, subsequently, with Flexmore, as Yanko in the pantomime Monkey Island, or the faithful Negro, and as the old farmer, Corizi, in Valdevina the Cruel. He also appeared, during the run of these three highly popular pieces, giving ‘two Negro songs by Master Durousset, written by Miss Scott’. Miss Scott was the theatre-owner’s daughter.


 The Sadler’s Wells engagement – Charles Dibdin’s A[c]quatic Theatre, Sadler's Wells – began at Easter. An 1840s paper claimed that Master Durousset’s debut there was as a sailor, in a piece named Pipe all hands. Well, I haven’t found an entertainment by that name, but Jack was evidently there from the beginning of the season, at Easter, because I see his name apparently listed to play in an aquatic romance, The White Witch, or the Cataract of the Amazonia (18 April 1808). I think, perhaps, the 1840s paper is muddling up with Grimaldi’s July pantomime Harlequin Highflyer, or Off she goes! in which young Jack, as a sailor, was featured with a number, alongside the clown’s hits ‘O, my deary’ and ‘Call Again Tomorrow’. His season culminated with ‘a new acquatic Persian melodramatic romance' The Magic Minstrel, or the Fairy Lake (August 1808), in which he was cast as Oberon, alongside Mrs C Dibdin, Messrs Pyne, Broadhurst and Grimaldi. He made a hit, during the season, with a Dibdin ditty about ‘The saucy little powder-monkey, Pete’, presumably as the sailor, rather than as Oberon.



Later in 1808, he made his first appearance at Drury Lane in an unsuccessful piece entitled The Siege of St Quintin, or Spanish Heroism.‘Masters Durousset and Huckle, pupils of Corri’ interpolated the famous duet ‘All’s Well’, originally sung by Incledon and Braham, in the latter’s opera The English Fleet in 1342, into Hook’s score .‘The part of the vocal performance which excited the greatest applause was a beautiful duet between Masters Durousset and Huckle which was rapturously encored’. Another juvenile performer, in the same short-lived play, was one Master Wallack.

The two singing boys were featured again in Venoni, or the Novice of St Mark, where Jack was the soloist in Monk Lewis and Michael Kelly’s glee ‘Ply the boat, fisherman’ (aka ‘Ply the boat, brother’), and, the following season, Corri took the pair of lads on a concert tour, in a party including Mrs Corri and the bass singer Higman (later to be the original Gabriel of Guy Mannering). Jack sang 'The Death of Abercrombie', 'Slow broke the night', 'The Bay of Biscay', 'My Heart with Love is Beating',  Corri’s 'Victory', and the boys joined in the Venoni glee, and 'All's Well' 'as performed, with universal applause, for 70 nights last season at Drury Lane'.

On 12 June 1809, the two youngsters had a Benefit concert at the Freemasons' Hall in which Mrs Dussek, Mr and Mrs Corri, Miss Bellchambers and the London debut of Higman were featured (‘Beware of Love’ and ‘Victory’ from The Travellers, ‘All’s Well’). They continued on to Cheltenham, where Jack played Patrick to the Norah of Mrs Corri and the Darby of Huckle in The Poor Soldier, and gave ‘The Death of Sir Ralph Abercrombie’ in concert. ‘A fine, mellow volume of voice, which he manages with much taste and discretion. His ear appears very correct, and his voice well answers it. We rarely hear so easy a transition from the natural to the feigned tones’. On 21 July, they repeated their concert at Edinburgh, at Birmingham, Liverpool and Newcastle (‘excellent singing’), 11 August they are at York where Jack added Braham’s ‘On this cold, flinty rock’ (Kais), 15 September ‘Corri and his pupils’ were at the Chester Theatre Royal, 10 October back at York, where Jack’s contribution to the programme included Braham’s ‘Said a smile to a tear’ (False Alarms) ‘accompanied by himself on the grand pianoforte’, 18 October at the Northampton Theatre …

I see him (1 June 1810) back at Northampton and he is still billed as 'Master', in a concert given by Mr Lacy at the King's Theatre on 5 July 1810 on a bill with Mme Feron, Mrs Dickons and Incledon. 

Evidently, at some stage, Master Duruset (as he eventually became spelled), soprano, had turned into Mr Duruset, tenor, and for several years – even though it was asserted that he ‘went to Covent Garden in 1810' -- I could not see his name in the bills. Maybe, I thought, because he was playing insignificant parts, which seemed a little odd considering his juvenile stardom. And then, there was a portrait [allegedly] by Henry Pickersgill [allegedly] of ‘Master Dourousset of the Covent Garden Theatre’ that was exhibited as number 426 at the Royal Academy in 1811.  Oh .. Unless he is the ‘Mr Droset’ in the small letters of the 1810 pantomime. And the Mr Droset in the chorus of pilgrims in the opera Gustavus Vasa. 





I think I see him as Pindarus in the Kemble Julius Caesar in 1812. But in 1811, on a playbill for Timour the Tartar, forty-seven male actors are credited. Not he. But – ah! -- there is ‘Master Dros[s]et’, though, cast as Warder, leading the Soldiers’ Chorus, ‘Gallant liegemen’, in The Knight of Snowdoun, and playing in the chorus of Spahis of Bluebeard…. OK. He was there from 1810 … but under a different name, and carrying a spear in minuscule type.


 By 1813, he was a more visible member of the Covent Garden company. I see him playing Lindoff in The Miller and his men, ‘a prisoner’ in Douglas, Pompey in The Way to Keep Him, something in The Students of Salamancaand, at Christmas, taking part as what looks like 'Sir T Upity' in the pantomime Harlequin and the Swans, or the Bath of Beauty, in which he performed ‘The Oyster Song’ (‘An oyster cross’d in love’) as a duet with Grimaldi. 






In 1814-5, I notice him singing in the Covent Garden oratorios, and appearing as Bacchus in Midas, as Belville in Rosina with Miss Stephens, as the Footman in The Devil to Pay, starring Incledon and Emery, as Vincent in the first English performance of Boieldieu’s (and Bishop's) John of Paris ('The Maid my Heart Adores' ‘parfaitement chanté’)the title-role of Artaxerxes with Miss Stephens, as well as alongside Miss Foote in the petite pièce The King and the Duke, as the Constable of France in Henry V, the Huntsman in The Siege of Belgrade, as Barnardo in Bobinet the Bandit,  and as Malic, singing the glee ‘When the sun thro’ the cypress grove’ in the melodrama Zembuca or the Net-Maker and his wife, as the singing Spirit in Comus, but it seems to have been in the revival of Garrick’s Cymon (20 November 1815) that he made his greatest mark, in the comic title-role, singing Michael Arne’s ‘You gave me last week a young linnet’ (The celebrated Linnet Song). ‘[He] sang well and played the very foolish part allotted to him with sufficient vivacity’ reported the press. 'He is rapidly advancing to the top of his profession', ‘a rare union of vocal accomplishment and histrionic ability’.
His talent for comedy would be more and more displayed in the years to come, both in singing and non-singing roles – when he appeared in the frankly comic role of Sidi in The Mountaineers, a reviewer commented ‘The attempt was a respectable one and, amongst the group of our popular vocalists of the same sex, where could we be expected to select an individual of whom we could say the same thing?’
But Duruset also appeared regularly as romantic jeune premier – in the off season, 1816, he appeared at the Haymarket as hero Harold in Peeping Tom --  and as a popular vocalist, with a voice of sufficient quality that he was on occasion cited alongside Braham amongst favourite British singers. At Covent Garden, he played alongside Miss Stephens, as Captain Clifton in The Slave (12 November 1816), and when he took part in the Concert of Ancient Music, for which he was engaged as a tenor singer in 1816, he joined in duet with Madame Camporese.


 When he appeared at Bath, in 1817, for Loder’s Benefit, as Carlos in The Duenna and Cheerly in Lock and Key, a critic commented ‘Poor Pearman has been thrown most lamentably into the background by this cursory view of Mr Duruset’s superior powers’.

When he sang at Sola’s concert at Southampton, 2 October 1819, he was billed as ‘principal singer of the Theatre-Royal, Covent Garden’.



Jack Duruset stayed at Covent Garden for over twenty years, filling a vast list of roles operatic, comic, Shakespearian and even pantomimic. When Charles Kemble played The Libertine/Don Giovanni, Duruset was Masetto, and palliated the star’s vocal deficiencies by singing ‘La ci darem’ for him. When A Comedy of Errors was given, he was Antipholus of Ephesus (‘Beauty’s Valuation’), to the Syracuse of Jones (the press commented on their notable dissimilarity of physique!), when The Devil to Pay was staged he was now Sir John Loverule, in place of Incledon. He sang Florian (‘Weary is the wanderer’s lot’) in The Devil’s Bridge, duetting ‘Rest, Weary Traveller’ with Braham, he sang Fiorillo in the Bishopped The Barber of Seville, Rodolph, the Wolf in Boieldieu’s Little Red Riding Hat, William Fairly in A Friend Indeed (‘two or three sweet airs’), Duke Sigismund in Bishop’s The Gnome King (‘The Gabres' Glee’, ‘They who with hearts sincere’),


the tenor role of Jocoso in Clari, took over the mistakenly-cast part of Sherasmin in Oberon, played Lovel in Bishop’s The Antiquary, Sir Maurice de Bracey in Ivanhoe or, the Knights Templar, Gervais in Henri IV or Paris in Olden Times, and continued, throughout, in the role of Captain Clifton, in the highly successful musical drama The Slave. He was Fabian then Sebastian in Twelfth Night, Hippolito inThe Tempest, Ubaldo in Two Gentlemen of Verona, Lorenzo in The Merchant of Venice ('in a stile of great sweetness and simplicity'), Amiens in As You Like It, Arviragus in Cymbeline, Oberon in A Midsummer Night’s Dream (with extra Acis and Galatea music)


as the Interpreter in The Critick, he was Isidor to the Valentio of Macready in The Conquest of Taranto (‘The White Rose of Honour’, ‘If Fortune’s Smile’), Duke Sigismund in Isabella, the Earl of Mentieth in Montrose (glee, 'Green Grow the rushes, O'),



Florence in The Curfew, Marcello in My Native Land, Captain Agib in The Law of Java opposite Miss StephensFlorian in The Devil’s Bridge, Ganem in The Forty Thieves, gave a couple of songs in The Battle of Bothwell Bridge, and played in the classic musical repertoire – Osbaldistone in Rob Roy, Leander in The Padlock, Macheath in The Beggar’s Opera, Belville in Rosina, Winlove in Fontainbleau, Lorenzo in The Cabinet, Don Fernando in The Castle of Andalucia, Ferdinand in The Duenna et al.






He created the leading role of Don Sylvio in the successful opera Brother and Sister, sang the title-role in Artaxerxes with Miss Paton, with Braham, and took another comical turn as Edward the page in Charles the Second, or the Merry Monarch (‘Mr Duruset played the page with much freedom archness and humour. We did not know that this clever singer had so much comic talent...’ ‘Love, One Day’). However, his singing was always prominent. When he appeared in the spectacle Cortez ‘written for horses and abounding in songs’, including a prized duet for Jack and Miss Paton, ‘Stay, Amazili, stay!’, The Harmonicon critic wrote ‘Mr Duruset pleases us more than any male singer at this theatre; were his voice equal to his taste he need not shrink from rivalry’. Only rarely was a quibble to be found: when he played Don Luis in Love’s Victory or, the School for Pride a smart fellow quipped ‘Mr Duruset sang a song which, being in the fifth row, we had not the pleasure of hearing…’


Amongst the many new pieces which came and went at Covent Garden in a handful of performances during the later 1820s, Duruset’s happiest creation was the part of the young farmer, Delorme, in the little musical farce ‘Twas I, in which Vestris scored a personal hit, and the pair secured a long future for the play.
Amongst the revivals, he played in Colman’s Bluebeard (Selim/Shacabac), The Duenna (Ferdinand or Antonio), he Country Girl (Belville),The Recruiting Officer (Worthy), Lionel and Clarissa (Harman), Hamlet (Guildenstern), As You Like It ('Mr Duruset is a very delicate and touching singer. We could hear him sing ‘Under the greenwood tree’ twenty times a day and rise up, at last, without fatigue’), Rob Roy (‘sang his ballad ‘The red, red Rose’ with the elegance of taste and expression which are so perfectly at his command’), Figaro nowadays in The Marriage of Figaro, Careless in The School for Scandal, and, amongst the nearly new pieces, he took the part of Albert de Malvoisin in Rophino Lacy’s rehash of Ivanhoe as The Maid of Judah.





The arrival of Joseph Wood in the Covent Garden company meant that many of the tenor roles now went his way, but, in the 1830s, Mr Duruset was still omnipresent, whether playing Henry Dunderford in the hit comedy Teddy the Tiler, Paris in Romeo and Juliet, Pembroke or the Dauphin in King John, Demetrius in A Midsummer Night’s Dream, Felix in Presumption or the fate of Frankenstein, Count Wintersen in The Stranger with the KemblesSeymour in The Irishman in London, Bonnivet in Francis the first, Percival in The Kentuckian, Count Lindor in Raymond’s Robert the Devil, Wilford in The Hunchback, or Charles Hart in Douglas Jerrold’s Nell Gwynne. He sang in Masaniello (Alphonso), The Night Before the Wedding (Jocelyn), Lovinski in YelvaStroloff in Auber’s Lestocq, Ali Coumourgi in The Siege of Corinth and Gustavus III (Bjelke) and when Fidelio was sung in English for the first time, with Maria Malibran in the title-role, Duruset was cast as Jacquino and ‘he rendered the trifling part of Jacquino highly amusing by the quaint humour he threw into the character’. And indeed, the comic was now clearly Duruset’s area, for he played Dandolo in The Corsair, Yanko in The Bronze Horse, and laid his claim to two roles which he would play, over and over, till the end of his career: Lord Allcash in Fra Diavolo and Alessio in La Sonnambula.





 In 1837, Duruset moved from Covent Garden to Drury Lane, where he gave many more Alessios and Lord Allcashes, repeated Fidelio and Masaniello, and was seen as Peter in Cinderella (‘exceedingly outré and not a little entertaining’), as Isaac in The Maid of Palaiseau, and the Chief of the Canton of the Schwyz to Braham’s William Tell, and a range of others for four seasons. In 1841 he was engaged at the English Opera House, as a secondary tenor in mainly comic character roles in such as The Deerstalkers (‘Lowland Mary’), A Day Near Turin, Il Paddy Whack in Italia, The Handsel Penny and as Christie in The Mountain Sylph.
It seems to have been, at something like fifty years of age, his last engagement.
He died a little more than two years later, ‘after an illness of a few months’ and a wholly successful career of some 35 years.

In 1824, when he published a set of vocal solfeggios, arranged from the works of Crescentini, Paer and Pellegrini, he was described as ‘Member of the Royal Academy of Music and of the Theatre Royal, Covent Garden’. His work won high praise, and he himself was described as being ‘known to the public as a tenor singer with a sweet voice, of good taste and of a modesty which is rare enough in these days of universal pretension …’

So, there are the fact of Jack’s career. I would have liked to fill out the ‘person’ a little better. Apart from the jolly tales, I don’t know much more of Jack Duruset’s personal life. Apparently, he was married – a very terse entry in the 1841 census shows J Duruset and what is, presumably, his (unnamed) actress wife, living in Panton Street. But there are a couple of things that I should like to sort out …

Firstly, Jack’s presence at Covent Garden was apparently patroned-sponsored by the (6th) Duke of Devonshire. It doesn’t seem to have been a secret of any kind, the fact featured in many an article, and one newspaper, handing out a bad review, called on the Duke to take him home to sing in his parlour rather than inflict him on the theatre. The young ‘Bachelor Duke’ (only two years older than Jack) seems to have been a splendid fellow, of forward ideas, and grand interests – notably in the realms of building, horticulture and book collecting – but not, notably, of the theatre. I wonder how and why he became the virtual ‘protector’ of a young actor. Well, here is one version of the tale, purveyed by the gossips of the Garrick Club …
‘[he was] said to be the natural son of the late Duke of Devonshire, to whom his parents were gatekeepers. He bore a very strong personal resemblance to the present Duke, who patronised him in the outset…’

Gatekeepers? What about the print shop in Panton Street …

Similarly, the Royal Academician Pickersgill, noted largely as a portrait painter to the rich and famous. What inspired him to paint (if he did) a 19 year-old chorus boy?  Well, the old Duke died in 1811 ….  so, maybe … 



Thursday, August 29, 2019

Oh my Willie! or, Memories of the Broadway Theatre ...

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Just a few nice bits that I've picked up in the last weeks ...

All of us who diligently researched and wrote biographical books in the years before the Internet made knowledge (real and false) so much more attainable, have to suffer the sigh-storms that come with finding extra material and even occasionally (horror!) corrections in this day and age. This week, my blog led me to a lady in America whose husband is a great-great-grandson of my beloved Willie Gill. And guess what -- yes, it actually happens in real life -- they have found an old suitcase in the attic ... I don't know whether to exult or to weep, I just know I want to re-do my book! And I very well may!

Of course, as a result, I've thought a lot about dear old Willie -- the largely-forgotten author of Broadway's biggest C19th hit musical -- in these last days. And a few Willie-related bits have even surfaced on ebay ...

Like this.


This piece was a huge long-touring hit for E E Rice, and its musical-comedy bill is littered with memorable names. Henry Dixey, star of Willie's famous show Adonis, English burlesque actress Topsy Venn, John Gourlay of Skipped by the Light of the Moon fame, George Howard from Evangeline, little Ada Lee of the Soldene troupe, Lina Merville, Marion Elmore, J A Mackay ...

This playbill is not from Horrors year-one. The cast was even more rich then! The great Willie Edouin and his delicious wife, Alice Atherton, William A Mestayer, Louis (brother of Alice) Harrison, the Thompson troupe's Ella Chapman (undoubtedly with her ubiquitous banjo) ... and look! Here are photos of two original cast ladies


Lizzie Dana had a 'thinking' role. But she 'thought' for several years, sometimes alongside younger sister Rose, who went on to play Iolanthe, Lady Angela, Kate Stanley et al ..


Marion Singer had a little more to do as The Jolie Housekeepaire ...

Another member of the original cast was Donald Harrold. I suspect he may have been brother to another Rice starlet, Lizzie Harrold ..


They were the children of a Pennsylvania Irish blast furnace founder, the eldest of whom, Maggie Harrold (1850-1907) had a neat career before becoming Mrs William Davidge II and a mother. Lizzie (b 1854) went on the stage in 1876, and featured with the Rice organisation, in Evangeline, before becoming the wife of William J Comley, producer and publisher. His efforts to promote her as a star were only mildly successful. She played in another written-to-order Willie piece, A Royal Tramp, in 1889. It sank. Elizabeth [Harriet] Harrold-Comley had two daughters and a son, and seems to have spent a lot of pains chopping a decade off her age. She died 19 March 1920.


This is Rosa Lee. I wrote a lovely wee biog of Rosa last year. It has been swallowed by my computer crash. But I can tell you that Rosa was not just a pair of legs. She was a trained opera singer. And Rice was far from the only one to feature her. Nor Houseworth the only one  to photograph her.

Oh dear, this was supposed to be just a wee post to 'save' some nice pictures. Well, here goes! After Willie, my favourite 'American' person is another (of course)  unfairly forgotten man: Adolf Philipp. The originator of the style of show which has been hi-jacked by the more facile 'historians' of the American musical and credited to BoltonWodehouse'n'Kern and the Princess Theater. How great to find two photos of perhaps not his most successful show, The Girl Who Smiles ...




American Musical Theatre History!  Willie Gill, Edward Rice, Adolph Philipp (under his muititude of pseudonyms) ... that's the core! NOT Black Crook and Guy-Plum-Jerry.

Oh well. One can only try! Once fake history has been put in place .....

And to end up, here are some pix from run-of-the-mill musicals of those splendid theatrical years of last century ..













Advertising cards for some of long-touring farce comedies of the nineteenth century ... and one, more discreet one .. what seems to have been an adaptation of La Poupée de Nuremberg put together, with a pasticcio score of comic opera hits, for local girl Miss Bessie Louise King by Benjamin E Woolf of Boston. She trouped it for several seasons through Sheboygan Wisc, Appleton, Green Bay, Pesthigo, Marinette, Oconto, New London ... with a support team of four ... and in between headlined Moss's [Boston Operatic] Minstrels ...





Bessie Louise (1855- ), 'late of the Corinne Merrymakers', went on to a long career as a soprano in comic opera and in vaudeville (I see her, still, performing in variety, in 1914, billed as 'the Irish prima donna', doing 'Swanee', 'Il Trovatore', 'classic statuary' and comedy patter), during which career she appeared as Miranda Maple in Willie's musical Bluff (1885), alongside female impersonator Charles Heywood.

My tirelessly researching colleague, Betsy, tells me that Bessie Louise married or 'married' American gymnast/acrobat/trapezist Frank Perez, and they can be seen in the 1900 census of Kansas City, with their children Joseph (b 1897) and Minnie Louise (b 1899). Frank is seemingly still doing his 'novelty aerial act of surprises' in 1922 ...


Bessie Louise aged fortyish in variety



Wednesday, August 28, 2019

The Musical Bentleys



When I came across this photo, my immediate reaction to the rather-endearing couple pictured therein was 'ah, right, minor English entertainers ... sketch artists, maybe .. mother probably sang'. Piers and things ....  So I went looking, and ...




Well, of course, they weren't named Bentley. Oh, and they weren't English either. And they were married. But not to start with.

He was Benjamin Dwight Coonley, son of Holland Chadwick Coonley (1834-1919) of South Bend, Indiana. But father Coonley spent time in Australia, married Australian  Helen Mary (d 1908), and young Ben was actually born 7 February 1879 in Townsville, Queensland. His brother Charles Coridan Coonley had been born in New South Wales. Mr Coonley apparently worked as a carpenter. Anyway, Ben was not Australian for long. In 1881 the family moved to California, and they can be seen in the 1900 census, at 91 Clay, where 21 year-old Ben is working as a lithographer. Father is now an insurance agent.

But he's already got the showbiz bug. And he's performing locally. I see him at the Olympia Republican Club, 'an adept on the xylophone' in 1898 and thereafter.

She was Alice Dora Helms, born San Francisco, 27 January 1880, of a father, teamster Friedrich Helms from Hannover, Germany and his Irish-American wife, Kate.

The two of them moved quickly after that 1900 census. By June, they are in Baildon, Yorkshire, proffering an entertainment as 'The Musical Bentleys'. But they seem to have been there the previous year too with their 'musical melange, cinematograph and living marionettes'. The cinematograph was a 20 foot film of Kissing in a Tunnel, which they soon sold off ('only slightly damaged') as they advertised 'Wanted: piers, gardens, on shares or certainty...', adding 'FOS' to their description. 'From overseas' as the picked up dates 'This week Helmsmore, Bradford, Keighley, Haslingden, Colne ..' 'Victoria Pier, Blackpool'. Madame recited 'The Absent-Minded Beggar', but the part of the act that went down the best was their performance on 'a number of rare and curious instruments'



That was the part of the act which Ben and Alice developed, as they trouped the middle-bills of Britain with their 'musical and patter act'


My last sighting of them in Britain is on a bill at Cambridge, in 1918.  But they weren't in Britain all of the time ... in 1917-1918 they were in Australia and New Zealand , exceedingly popular with their 'monster xylophone' ...


They got grand billing when they visited Hawaii, where Ben's brother Charles (1871-1914) lived


And on several occasions they visited America, where I see them in 1908, 1910, 1911 ... oh, and 1904, when they got married 9 November, at Santa Clara. And 17 October 1918 when their daughter, Evelyn Maude, was born in San Francisco. What? That has to be an imitator in Cambridge. Or a misdated newspaper!

Ben stayed in the profession. In the 1930 census of Maine, Illinois he is listed as 'actor, unemployed, 51'. Alice is hemsticher 50. Yet I see an advertisement from Winnipeg advertising the Musical Bentleys with the world's biggest marimba ... and again in 1947 .. maybe they passed on 'the act as known'?

Alice died 29 June 1951 in San Francisco, Evelyn (Mrs Shafer) lived to be 100 and died in Florida only last year ...

I guess it was her heirs who sold the family scrapbooks, diaries and photographs on ebay ... I hope they found their way into a museum ...



'Evelyn Corland'