Monday, September 30, 2019

Strayed: one grand character tenor ....


This splendid fellow is [Pierre] Adolphe Girardot (b Paris 1 December 1808; d Paris 16 February 1874). I wouldn't have known it, but its clearly labelled on the back ...

Girardot was for a good ten years a trial (character tenor) at the Théâtre Lyrique, playing a whole register of parts in new French opéras-comiques, of which the best remembered would be Le Dragon de Villars (Thibaut), but which included Clapisson's Fanchonette, Gounod's Le Medecin malgré lui and Ymbert's Les deux cadis. He also took the role of Aboulifar (whoever he may have been!) in the French-language premiere of Oberon.
In 1869, he had a success in the commercial theatre, when he created the role of von Bontronch in Emile Jonas's hit opéra-bouffe, Le Canard à trois becs at the Folies-Dramatiques.

But this photo, allegedly, comes from the Châtelet. What is it? It's clearly a costume and a character from one of their fairytale musical spectaculars. But which? I hasten to a list of his credits. Bah! His roles at the Lyrique are carefully charted, but he's just mentioned as having played at the Châtelet in 1864, and 1867. My copy of Bruyas is on the other side of the Tasman Sea, but 1867 should be easy. It's La Grande-Duchesse year, the year of the Great Exhibition. And the Châtelet played the spectacular Cendrillon, for over 400 nights, at that time. As far as I know, Lesueur and Clarisse Miroy featured ... and anyway, we can see that this garb has nothing to do with Cinderella!

1864 then? Not Gulliver. We have the whole cast of Gulliver

There's Mlle Miroy again, and Alphonsine, Lesueur, and wonderful big Tissier from Le voyage à la lune ... and Mlle Schneider from the Bouffes-Parisiens!

Before that, La Jeunesse du roi Henri? Hardly.

I'm beginning to think that whoever labelled the photo did so whenever Girardot was at the Châtelet, whenever that was, and that the picture is from another show. You know, I'm sure I've seen those stripey horns somewhere, before .... although stripey horns are rather favoured by féerie designers. Like those odd little hats, that look like upside-down ... well, never mind ...

I give up. For now. Be nice if it turned out to be Oberon! Other than that, anyone got any ideas? I'm a little worried that he seems to have changes physiognomy between the Châtelet and the Folies-Dramatiques ...

Bits of bouffe ...

Yes, my desktop is getting cluttered again. So it's time for a bit of a sweep ...  I seem to have collected a good few bits and pieces of opéra-bouffe material, so I'll make a little gallery out of them.

La Grande-Duchesse first, of course. This is an interesting sketch of the Act 2 Finale, made at the New York Théâtre Français, showing, I imagine, the original American Duchess, Lucille Tostée, as she conspires with 'interested parties' to make away with the unresponsive soldier, Fritz. It also shows the kind of eccentric staging from which opéra-bouffe profited in its early days, as compared with 'operatic' stagings and performances which too often weigh such pieces down today.

And here is a little bundle of American French Duchesses. Not, as you can see, dressed for the part! When James Fisk brought out an opéra-bouffe troupe from Paris, in 1870, to play at New York's Grand Opera House, he star-billed two established ladies: Léa Silly and Céline Montaland. They opened playing Méphisto and Marguerite, respectively, in Le Petit Faust ... but, less than a month into the run, they needed or got some reinforcement. Apparently, their deuxième chanteuses, Mlles Juliette Jousse, Suzanne Thal (a young artiste, who was given a try in several roles) and Julie Hache weren't seriously promotable, so ...

Céline Montaland

Léa Silly

It came to the time for La Grande-Duchesse, and both ladies wanted that role. Neither of them was exactly a Wanda! Mlle Thal was given the part, but it was time for a third prima donna. It was to be Elise Persini. She, firstly, took over some performances of the role of Marguerite ... but she also took a turn at the Duchess! And when Les Brigands was staged, she was Fragoletto, when La Belle Hélène went on, she took Silly's famously original rôle of Orestes, in Les Géorgiennes she was Nani ...


So, who was Mlle Persini? Damned if I know. She had turned up in Paris a couple of years earlier, said to be 'from Buenos Aires and Montevideo', and had charmed the audiences at the Fantaisies-Parisiennes (La Fête du village voisin, Gilles ravisseur, Une folie à Rome) and then at the Athénée (Les deux billets, Calonice), and next thing she was back in America, rubbing shoulder-pads with the stars of the opéra-bouffe. She also, allegedly married the company's conductor, Edouard Brunel, and for the next few years worked as Mme Persini-Brunel. But that work was not just in opéra-bouffe. She was a much-loved leading lady at Liège for two years, singing Gilda, Marguerite de Valois, Lucia di Lammermoor ... but also Mademoiselle Lange ... then moved on to Egypt ... and, just when I thought I'd lost her, in 1886 she turns up at the Opéra-Comique. In 1894, I see her billed for the role of Dalila at the Teatro dal Verme ...

Elise Persini in Une Folie à Rome

And, of course,  no tally of Framerican Duchesses would be complete without little Marie Aimée whose story I have told so often ...

Change of direction.  I liked this picture of the famous 'fly duet' from Orphée aux enfers ... it's from the 1874 Paris revival ... Jeanne Granier as Eurydice and the great Vauthier as Jupiter ...  and, now, I find that there's a whole set of photos from this production in the BNF ... along with the costume designs from 1858!

A more modern version. From the Opéra-Comique. I do wish that Offenbach could have known that his 'off-off-Place-Favart' show had finally made it there a century on ..

The God and demi-semi-gods set off for Enfers

And here's one more Offenbachian lady. This is Mdlle Gabrielle. I was looking for a photo of this artiste a while back when I was putting together a little piece on the Wives of the original Barbe-Bleue. Now, that article and its notes and pictures have gone the way of all sodden computers, but I've found this delightful picture of Gabrielle ...

There were an awful lot of Mlle Gabrielles over the years, but assuredly this is the one who created parts in Barbe-bleue (Isaure) and La Belle Hélène (Loena). But why? why is she wearing a sword, and sporting a chicken on her head? 

Ah, well, plenty more for me to find out yet ... onwards and upwards ..!

PS.  Oh! Poor Suzanne Thal! After a respectable career in France (Château d'Eau), Belgium and America, in 1887 she fell, on stage, in Bucharest and broke both legs ...

Friday, September 27, 2019

Ixion ... the musical hit of 1863..

I first came seriously in contact with F C Burnand's burlesque, Ixion, when working on my biography of burlesque megastar, Lydia Thompson. It was Lydia, of course, who made (her version) of the piece into a Transatlantic hit. But, before becoming famous in America and further afield, the piece had already been a huge London and provincial triumph in England. And it had had no Lydia Thompson at a top-billed star. The original production was very largely cast with young folk with no or little professional stage experience, a good few of them from amongst the wannabe 'pupils' of one aged actress. Of whom two put up the wherewithal .....  Enter The Misses PELHAM. Here's a little piece I wrote about the girls, a year or two back ...

Sophia PELHAM [PARKER, Sophia Beckett] (b Victoria Terrace, Newington 7 July 1837; d The Priory, Wandsworth Common 9 August 1913)

Harriet PELHAM [PARKER, Harriet Sarah Beckett Patrick] (b Sunderland 28 February 1840; d London 1876)

The Misses Pelham hold a quaint little place in the history of theatre and music in England, which has earned them a mention in a number of books, the authors of which (myself included) really had and have no idea who they were. So I thought I had, finally, better find out.

The aristocratic names were, of course, too good to be true, echoing those of the seriously social Ladies Sophia and Harriet Pelham, but although the ‘Pelham’ was indeed fake, the christian names were, actually, real. The Misses Pelham were the Misses Parker, daughters of one Benjamin Parker from Kettlesing Bottom, Yorks, and his wife Harriet Beckett née Bamford (x Newcastle-under-Lyme 19 August 1816, m Walworth 16 May 1836). And therein hangs a vast tale.

Harriet Parker was, if not exactly an heiress, the subject of various trusts and properties, as the youngest daughter of her mother, Mrs John Bamford née Sophia Beckett, and the granddaughter of a certain John Beckett who counted his fortune in thousands. Benjamin, son of another Benjamin and his wife Sarah, of Hampsthwaite, was a plausible, good-looking fellow ‘of a gentlemanly appearance’, who turned out to be, at best, a rogue and, at worst, a villain. Harriet bore him three children (a son died, aged 12) and stuck with him , through more thin than thick, for more than 20 years.

The details of Benjamin’s misdeeds, and his countless appearances in every kind of British court, Criminal to Chancery, aren’t very exciting. Regular bankruptcies, sometimes tactical (the main ‘creditor’ was the widow Bamford, who seems to have harrassed her trustees into lending him impossible sums), fraud, forgery of bills of exchange, conspiracy and the like, all under a variety of names. Like his name and his crime, his profession changed, each time he came up in court. So much so, that a judge was reduced to unkindly laughter. Wholesale tea dealer, wholesale grocer, a builder and architect in Hastings, dealer, contractor, starch manufacturer, merchant. When he filled in the 1841 census (shortly after a bankruptcy), from a three-servant home in Hampstead, he called himself ‘independent’, when the 1851 census came round, he was doing a turn in Queen’s prison, labelled ‘gentleman’.

So, Benjamin’s two daughters – ‘showy, good-hearted girls’, a contemporary described them -- grew up in an atmosphere of disarray, moving from one home to another as the former address became too hot. But somewhere in all this strange life, Sophia and Harriet had music lessons, and they developed into pretty fair amateur vocalists. They first appear, to my eyes, on the platform as a pair, opening the programme at one of Howard Glover’s megaconcerts (3 January 1863), singing ‘I would that my love’ well enough to be brought back at the next (7 February) to give ‘The autumn song’ and no less than ‘Giorno d’orrore’. In March, they appeared at the Vocal Association, with Samuel Glover’s ‘I heard a voice’.

Then fate intervened, in the person of a certain Sarah Susannah Wilson née Prynn[e], previously Jarvis, otherwise ‘Mrs Charles Selby’, a former burlesque and character actress grown, in her sixties, into an acting teacher. Mrs Selby became ‘vastly interested’ in the two girls, took them up, and introduced them to the stage, on 18 May, at her Benefit. ‘The two sisters must go to school again for another season; the stage fright had such an effect on them that we were expecting them to break down every moment’, wrote a reviewer.
But, only a few months later, the recently widowed Mrs Selby (d 8 February 1873) announced that she had taken the Royalty Theatre for a season, and the Misses Pelham were to be in the company. The truth? They were in the company, because Mrs Selby was nowt but a figurehead, paid 5 pounds a week and a split of the profits to be ‘directress’. The money was coming from somewhere in the Parker-Bamford-Beckett purse. Was it coincidence that Sophia Beckett Bamford had died weeks earlier?

Harriet as Prince Lollius

The situation and the season would have been banal, except in that, during the said season, the theatre had a very big hit. After Sophia had appeared as Mme de la Fleury ‘a rich young widow’ in the play Court Gallants, on a programme including ‘a duet by the Misses Pelham’, Harriet came out in the supporting role of Jupiter in a new burlesque, penned by the young F C Burnand, entitled Ixion. There was no talk of nerves this time: ‘Miss Pelham’s clear and correct reading is a fine thing for this class of performances’. Sophia was Diana. And Ixion was a major hit. Soon, the Royalty was coining it. And the Misses Pelham were getting exposure. In Madame Berliot’s Ball ‘the sweet voices of the two Misses Pelham’ got special mention, and come Easter 1864, when Ixion finally gave way to a successor in the same line, Rumpelstiltskin, Harriet was the Prince Lollius and Sophia the heroine, Roseken. And discontent brewed in the lap of success.
Mrs Selby wanted more. More money, more credit. And the girls responded by billing themselves, on the occasion of their Benefit, as ‘responsible manageresses of this establishment ...’
So, it all ended up in court, and, when the Royalty reopened, it was now under the management of the Misses Pelham, who were by this time playing Ixion (Harriet) and Mercury (Sophia) in Ixion. ‘The part of Ixion is sustained with great spirit by Miss H Pelham, whose comic dancing is of the most unexceptionable kind, and she is most efficiently supported by Miss Pelham as Mercury, a character that demands a similar talent’. And meanwhile the court cases ran on, with much dirty washing getting an airing.

Mrs Selby in Rumpelstiltskin

On 22 November 1864, the girls came out as Perky and Flipperta in Snowdrop (‘excellently fitted in their parts’), took part in several plays and then produced another burlesque, Pirithous. All seemed hunk dory. In June, the Royalty closed for the season. And that was that. The girls were declared bankrupt for 1,544 pounds. Well, it ran in the family. They must still have had an interest in Ixion, for they were subsequently to be seen at the Haymarket, at Astley’s and on the road in the various leading roles of the piece (‘the performances of the Misses Pelham gave every satisfaction for which they were well applauded’). But otherwise, apart from Harriet’s appearance in the 1865 Astley’s panto, they seem to have faded from the stage.
I see them running a stall at the Fancy Fair at the Crystal Palace in 1867, but on stage – in 1868-9 they gave a two handed entertainment Two Does It (‘The dancing of Miss Harriet and the singing of both sisters were much applauded’) which played the Liverpool Monday Evenings, 6 April 1868 – but, otherwise, mostly, starring with the amateurs of the Phoenix Dramatic Club, the Vaudeville Club, and in local concerts. Harriet shows up as a soloist with the Walworth Choral Union, in 1872 they are playing The Waterman with amateurs at Sydenham alongside one G H Snazel, and, in 1873, they are on the bill at Wade Thirlwall’s concerts. Harriet sang ‘Una voce’, Sophia ‘Should he upbraid’ and they performed The Woman of Samaria and operatic excerpts. Harriet takes part in the duet ‘Ai nostri monti’. My last sighting of the girls ‘of the Royalty Theatre’ is in an amateur ballad concert at the Horns, Kennington. Back in the amateur world they should never really have left. But for Ixion.

I don’t know what happened to mother and father Parker. Father is still alive in 1878, somewhere, under one of his names. Mother vanishes. But not completely. In 1891 she resurfaces, living with Sophia, and a family historian tells us she died in 1895. 

Sophia did all right. On 1 June 1878, 40 year-old former ‘Miss S Pelham’, now billing herself as an ‘authoress of light literature’, married a 24 years-young civil service clerk, John Forsey. They would have 35 years of married life, during which Forsey rose to be director of the naval stores at the Admiralty and Sir John, Commander of the Royal Victorian Order. And Sophia, thus, Lady Forsey. Sophia died in 1913, her husband 21 February 1915. Half a century on from Ixion.

Harriet was less fortunate. She married the first, in 1875, to a young Wiltshire cheesemonger, Edward James Pocock Francis (1845-1925). She died the following year, I assume, in childbirth.

So, Ixion. It's referred to a lot in theatrical histories. Does anyone know what it, truthfully, was like? Has anyone read it? Has anybody tried to match the lyrics (all printed in the script) to the indicated second-hand tunes? They range from a chunk of Sonnambula and one of Ballo in maschera to old tunes and pop ballads. Oh, I should say that it is drenched in wordplay and rhymes ...  

Well, here's the script ... have a read!

And here is the original cast.

Not a lot of names in there that mean much, to most people. And even fewer that would have meant anything to an audience in 1863. Unless they'd been kibbutzing at Mrs Selby's acting classes, whence almost all the damsels came. But there were some tried professionals there: [John] Felix Rogers, who played the grande-dame Minerva, and his wife Jane ka Jennie Willmore who took the title-role:

Felix Rogers

A memorist related:  The success of the evening was Felix Rogers, as Minverva, a spectacled old crone with a scholarly look about her. I'm afraid to say how many times Burnand's happy parody of Dr Watts's hymn 'Let dogs delight to bark and bite' was encored ...

Jennie Willmore

Jennie and her sister, Lizzie, had professedly been on the stage for a decade. John had seemingly become Felix before he, probably not aged 19, married Jennie at Blackburn. He ('low comedian') and she ('soubrette') worked the British provinces, produced a son Felix (2 June 1860) and a daughter, Katy, played in pantomime, notably in Hull, for half a dozen years together, getting no closer to the West End than Sadler's Wells, until Mr Burnand and the ladies of the Royalty called. One week they were playing Hanley and Lincoln, the next whisked to the West End. And undoubted success. But they played their new stardon wrongly. They left the cast after four months, with all sorts of ambitions, and though they got to play some nice roles in nice places for a few years, including a goodly stint at the Adelphi, they ended up traipsing to Dublin and Plymouth in the later 60s, before they upped baggage, and shoving little Felix into a school in Weston-super-Mare and little Katy into the care of a gardener's wife in Portsea, headed for America. America thought they were OK. And they plugged the 'original Ixion' hard. But they were too late. And then Jane found herself a boyfriend. Mr Henry Franck, 'Irish comedian'.

So Felix went back to England. He worked more, and better, than she did, and made a speciality of playing Rip van Winkle on the halls and in minor theatres (he'd supported Jefferson, as Cockle, in the original London cast). She made minor appearances here and there: the last I see is in 1883. My last sightings of Felix are in the 1891 British census: in Heckmondwike, with son Felix, his wife and children, while in 1894 he pops up in Wrexham.  Jennie? ... She somehow became the wife of theatrical manager George Goddard Whyatt and died 8 August 1894.

Comic actor Joe Robins (where is his photograph?) (b 4 April 1827; d 23 August 1878), who played Ganymede as the naughty, little fat boy, was another who had had a career before (initially as clown in amateur pantomimes) and would have more, after Ixion. And the most durable of them all, the twenty-years established danseuse, Rosina Wright, who seems to have been a pal of Mrs Selby from Strand Theatre days, and who, here, lead the dancing as Terpsichore.

Then, there was the young actor, Mr D James [né David Belasco], born in Eagle Court, the son of a Jewish tobacconist. He had been on the stage for a couple of years, as an extra and then at the Royalty, the previously year ('plays fops and exquisites very well'), with Joe Robins, and in Jack the Giantkiller, the pantomime, and plays at Birmingham Operetta House, but, cast here as a lively Mercury, he made his mark. However, he jumped ship three months into the run to go to the opposition Strand Theatre, and to jump on the fast track to a famous career.

David James, in days of fame

And now, the girls. Apart from Jenny Willmore, Rosina Wright, and Mrs Selby herself, it seems all the girls were neophytes. Burnand, decades on, gave some delightful Reminiscences of the Royalty, in Theatre magazine, and it really does seem that he was presented with Mrs Selby's 'class' and told to pick which ones he wanted for which parts ...

Of course, the Pelham girls came first, and Harriet was given the important part of Jupiter

Clara got the much lesser one of Diana

Venus, Cupid, Apollo, Juno ... the last-named, Mrs Selby wanted for another of her already-launched pupils 'a lady of title' ...

Burnand chose for his Venus a lass who insisted that Ada Cavendish was her real name. It almost certainly wasn't, but I've never found out what it was. What also wasn't real was the mass of long blonde hair which she wore in the role. What was real, was the daringly slit skirt Goddess of Love sported ...

Ada had stepped on the stage already, in the company at Mr Nye Chart's Theatre Royal, Brighton, playing, amongst others, Titania in the Christmas pantomime, so she was a smidgin more experienced than many of her colleagues

But Ada was more than a pair of pretty legs. After she had played in Ixion, and its successors Rumpelstiltskin and Pirithous at the Royalty, she went on to a good career as an actress ...

Ada as a feisty Princess to Harriet's Prince

The other featured part was cast with the lass named 'Lydia Maitland'. Real name? Could be. But I doubt it. She got the part because Burnand thought her ideal for the boy's role in the accompanying play. He was right. But she made much more effect as Apollo in the burlesque

Lydia too had ventured on to the stage before (although her 'of the Theatre Royal, Derby' was a bit of a fraud ... one night amateur Benefit!) but she had a decade of career before her.

Lydia in Burnand's Snowdrop

Alas, she also apparently had a decade of 'living' -- Burnand relates a sad meeting -- and she was ultimately reduced to the odd guest appearance with amateurs. I last spot her in 1873, touring in Mazeppa. And then ... buried Brompton Cemetery 27 June 1873: 'Lydia Maitland aged 34' ...

Lydia and Sophia Pelham in Rumpelstiltskin

Little Marie or Maria Longford was give the role of Cupid. She played it right through the run and I never see her again

The role of Juno, that Mrs Selby had earmarked for her friend and erstwhile pupil, 'Mrs St Henry', went, instead, to one Blanche Elliston ..

Mrs [Charlotte] St Henry, the alleged 'lady of title', who was actually no slouch as an actress, would get to play it in revival .. Old school ties proved durable: when Ada Cavendish played The New Magdalen at the Olympic, a decade on, Mrs St Henry was her Janet Roy.


Oh, plenty more Gods and Goddesses to come!

Mars was played by a Mr F Olivier, who I otherwise spot only in Richardson's Show at the Crystal Palace, and maybe at Doncaster with ah! Mrs St Henry and Joe Robins ..

However, he was another early departure, and his role was taken over by the much more appreciable Fred Hughes, seen in and out of costume

Fred (b High Holborn,13 August 1842; d London 23 May 1883), who'd been an auctioneer's clerk before this, had a good career as a comic actor, as a theatre manager, and as a playwright, and allegedly 'retired from the stage on the acquisition of a fortune'.

That's almost my lot, pictorially ... but I did dig up a few crumbs on the peasants, villagers and minor deities, down the cast list ...

Mr Charles Lambert, who was cast as Bacchus, was an amateur. He put his nose into the Grecian Theatre for one night, mendaciously billed as 'of provincial celebrity', in a famous role, and got torn to tatters by the critics. He went back to Mrs Selby and the amdrams.

Mr Phelps, cast in a tiny role, was a loyal company member who got his reward. On the opening night of Rumpelstiltikin, the new actor, hired to play the role of the miller, fell down in a fit backstage and died. Mr Phelps went on with the book ... and kept the part.

Miss Clara Granville (and her brothers), Miss Edith Leslie, and doubtless al, were Selby pupils, but here's a surprise ... Miss Emily Turtle. That name! Surely Mrs Selby couldn't have invented that! And she didn't. Miss Emily Mary Elizabeth Turtle was the daughter of one John Turtle of Covent Garden. Mama was a dresser and supernumary in a theatre, brother Willie was a gasman in the theatre. Papa was dead. Emily, born 1837, got a job at the Strand Theatre in 1860 (with Marianne Lester!), then progressed to the Royalty ... look! here's a picture of her from a website. It's Rumpelstiltskin and that's Mrs Selby as the hag. Emily is on our left!

Why do I persist on Emily? Because Emily stuck doggedly to her 'career'. 1861, 1871, 1881 she is 'actress': and by golly she got there. Princess's Theatre, Adelphi, Crystal Palace and Criterion with Charles Wyndham in the Dickens plays, Aquarium ... still going in the profession in 1895, when most of her little Ixion mates were dead, long-retired, vanished ... hurrah! for Emily Turtle!

Puzzle. Emily and her old Mum lived together at 17 Henrietta Street, Covent Garden. Is it just coincidence that 'Mrs Selby' died at .... 17 Henrietta Street, Covent Garden ...?

Oh, wee note about Mrs Selby, whose history I have tried, laboriously, to track down. She ultimately did become 'Mrs Selby' ... well, Selby was her second husband's nom de théâtre. His real name was George Henry Wilson, and he was apparently born in Barbadoes. Anyway he was a first-class actor, playwright/adaptor under the name of 'C Selby'. Sarah Susannah officially became Mrs Selby or Wilson in 1858. Prior to that she had been, since 1819, Mrs Jarvis. However, I guess either Mr or Mrs Selby, or both, had a prior impediment, because they had been a de facto couple for a long time. They had been together in the censi of 1841 and 1851, and I see them acting together at the Strand in 1839. Oh, cripes! There they are, together, at Plymouth, in 1829, where she is described as 'our favourite actress of all work' and 'late Miss Jervis'. Miss! 'Miss Jervis' is at the Theatres Royal, Newcastle and Birmingham, in 1827-8 ('Miss Jervis's Lady Macbeth was a complete failure', but 'capable of performing every line of business respectably') and at Dover singing 'Oysters, sir?'... Mr Jarvis or Jervis clearly hadn't lasted long ...

Mrs Selby in 1839

Joe Robins, in Paul Pry. Since we don't have him in Ixion ...

Nelly BURTON 'late of Astley's', whom I have yet to investigate, joined the cast of Ixion during the run to take over as Venus. Here she is, in mufti ..