Friday, November 26, 2021

Mozart for tuppence: the Wybrow story


While I was wading through the opus of Ezra Read, I came upon a puzzling piece of music not by the said Mr Read.

So? Well-known (Jewish) song, by well-known Jewish songwriter. Eighteenth edition already. No particularly interesting except ... the Misses Wybrow? I know pretty well all the featurable singing sisters of the Victorian(ish) concert world. Not they. Who were they, and why did they get such big billing?

Ah. Printed by W Wybrow. Daddy. Hadn't heard of him, either. So, just a proud papa getting his girls' names on a music sheet?  No. Not at all. William Wybrow was, for thirty years, a music publisher based in Rathbone Place, off Oxford Street. And, as I was to discover, a whole lot more than that.

So, who was he. Well, he was born in London 5 December 1790, the first son of William Wybrow (1761-1840), cordwainer and Mary née Waller (1763-1815), and he began his working life as a carver and gilder. He and his wife. Hannah (née Downs, 1792-11 December 1844), (married 16 May 1813) settled in Jewin Court, Aldersgate, then in Hammersmith, and started a family ...  They would have eight children, of whom three girls and one son survived childhood ..

Mary Ann (b Aldersgate 1815), Rhoda Ann (b Hammersmith 1818), Sidney Hampden Waller (b Hammersmith 1820), Ann Elizabeth (b Hammersmith 1823).

Actually, by 1823, while stillmaintaining Wybrow's Hammersmith Library 'near the Angel Inn', they had already established themselves in Rathbone Place, and William had launched his new career as a bookseller and then as a music-printer ...

June 1821

The business took off mightily, for Mr Wybrow undercut the quality publishers: 'One thousand songs, including 'Maid of Athens' 3d each or fifteen for 3s. Catalogue gratis...'. 'New and fashionable music'.  Mozart for tuppence... It appears he had got hold of a large collection of elderly plates, which enabled him to produced music for little more than the price of ink and paper.

And soon the house of Wybrow had found a stable star, to take over where Henry Thomas Heathcote Esq comedian (whoever he may have been), had left off  ...

Sidney Waller began softly, in 1824 ...

8000 copies? Only one seems to have survived. And the words reek a little of Samuel Loney Barker.

Anyway, Sidney was a multi-talented chap. He wrote songwords, he composed and arranged music, from Weber to Rossini, for new words, and his material was performed by such stars as Miss Love, Miss Graddon, Eliza Vestris over a whole decade.

Among his most successful early venture were an arrangement of Weber as 'Love from the Heart' which as sung by Miss Love made its way to the Covent Garden oratorios, and the Manchester Festival, before being taken up by Vestris.

The 'operatic extravaganza' Juan's Early Days opened at Drury Lane 18 February 1828 and seems to been played six times.

Now the hits started to pour forth. 'Oysters, Sir', a combination of tunes from Rossini's Donna del Lago, was introduced by Miss Graddon, but it soon found wider fame, as did 'The Calais Shrimp Girl', as sung by 'a pupil of Mr Waller': the infant star Elizabeth Poole.

Messrs Wybrow and Waller had got other helpers aboard: in 1827 Signor Leander Zerbini, then Mr Evelyn Manners, then a certain J B Phipps ...

Brother Stephen Wybrow who had partnered William in the publishing venture was alas no longer aboard. He had died in 1826 at the age of 23. It seems that other brother, John Warren (1800-1838) was momentarily involved too .. and then a little Miss Warren Wybrow made a childish debut singing 'Oysters, Sir' efficiently at the Queen's Theatre  ...

Yes, Warren. Mama's maiden name ... so Sidney?  I suspected something was amiss when he didn't turn up anywhere but on music sheets. 'Sidney Warren' was none other than Mr Wybrow himself. As were 'Signor Zerbini' 'Evelyn Manners' e tutti quanti ... I even suspected poor Thomas Blomer Phipps, the guitarist, of being another Wybrow doppelgänger .. and Mr (1775-1837) and Mrs Walter Turnbull (the former Anne Charlotte Fayerman), music-sellers of Oxford Street ...

So: Miss Waller Wybrow. Mary, Rhoda or Annie? At her debut, in 1831, she was said to be six. To get anywhere near, it would have to be Annie.  Well, Miss Waller Wybrow might not have been a Miss Poole, but she had her moment. And it was announced that Bayley would write a play for her, with music 'by her godfather, Sidney Waller'. Haha. But Willie was a joker. On one occasion he gave a lecture on the life and works of Leander Zerbini. 

She stayed around for several years, playing Little Pickle at the Sans Souci, Albert in William Tell (Sloman's 'I am a merry mountain child'), and in concert and protean comedy at the Colosseum .. and there she is singing 'I'm the Little Drummer Boy' 'accompanied by herself on the drum' at the Queen's. The imitation of Miss Poole was just too palpable!

At the same time 'Miss Wybrow, pupil of Waller and Alberti, gives practical instruction in singing, style of Miss Stephens, also the pianoforte and Spanish guitar ...'. No. Not Annie. It must be Mary or Rhoda. And Fernando Alberti? I assume a reincarnation of the dear departed Signor Zerbini ..?

But he's added Miss Paton and Miss Inverarity to his star list ...

So in 1836, here is Miss Wybrow in the London concerts. Heaven knows which one. Singing 'Sloman's beautiful ballad 'Shall we sing tonight' at the King's Concert Rooms, Alexander Lee's ''Ere I watch the star to see' .. and occasionally 'the Misses Wybrow' ... 

Well, from 24 April 1839 we know who the Misses are. Annie and Rhoda. Because Mary, on that date, became Mrs Vincent Robert Albert Brooks, wife of an Oxford Street stationer. Rhoda was a witness. Mary Ann died in 1842 (3 August) in what I assume was childbirth. And Mr Brooks 'married' Rhoda! They had two children. When Willie died he named Rhoda and Annie as his executors. Both, he said, were spinsters. I suppose it was that 'deceased wife's sister' thing. Anyway, Vincent became a lithographic tycoon, boss of over a hundred printworkers, the printer of the famous 'Spy' cartoons of Vanity Fair, and died in 1885. Rhoda was the last survivor of the Misses Wybrow, and died 22 April 1892.

Brooks the lithographer .. 99th edition? Hah!

So, anyway, then there was one. Annie. She is with her parents at Rathbone place in 1841; by 1851, with Hannah gone, she is still there with papa.  Only when he had died did she become Mrs Wilson Twentyman, wife of a silk manufacturer. She died in 1885.

Rhoda published an 1838 set of sacres melodies for the guitar, Annie published all sorts 'professor of singing, pianoforte and guitar, pupil of Signor Crivelli, authoress of 'The Blind Girl's Dream', 'Ties of Home' and 'Dearest Spot on Earth'. ' 'Pupil of Crivelli, H R Allen and the Royal Academy of Music'. 'The Heart's Wish, or Dieu vous benisse', 'Rosalia Waltzes' ...

Willie Wybrow died 16 October 1859, at 40 King Street, Covent Garden. He didn't leave a heap of money, but I think he owned the freehold on no 33 Rathbone Place ... I see that after his death it became the home of Winsor and Newton ..

That should be the end of this tale, but I have a wee coda. I had to investigate, even though it's past my bedtime. 

In the late 1700s and early 1800s the name of Wybrow was somewhat celebrated in the London theatre. A 'Mrs Wybrow' was a favourite dancer, especially as Columbine in pantomime ('enchanting', 'incomparable'), and her likeness has survived in a couple of contemporary engravings. She looks ... lush. And apparently her love/sex life was a six volume novel of more than usual chapters.

Just to set the record straight, Mrs W was born Clarissa Blanchet (sic), daughter of publican Thomas Blanchet who, at one stage, ran the pub across from where I used to live in London's Bruton Street. She was trained by d'Egville at Drury Lane, and danced there as Mlle Blanchet until 1793 (30 December) when she married Mr William Wybrow. 'The eminent surgeon'. Eminent, my foot. The young Mr Wybrow was a 'pupil to Mr Paine of Brook St' and in 1796 he was seconded as an assistant surgeon to the 1st Regiment of Foot Guards. In 1799 he was promoted to Surgeon. He went to Ceylon and India, remained there for his whole career, with various regiments (Meron's, 17th Light Dragoons, and doubtless never saw Clarissa again. But she kept his name.

She didn't lack replacement 'husbands', although they seem not to have been durable. At various stages a Mr Morris, a Mr Dobson 'attorney', Lord Craven (of 10 Queen Street, Mayfair) and, finally, a Mr White are mentioned. When shed died, at an age somewhere between 48 and 52, in July 1826, he death was registered as Mrs White.  She wasn't of course, because Mr Wybrow was alive and still militarily active out in India. He went onto half-pay in 1828, was still alive in 1847 ... and I see a wee mention of a Mrs Wybrow accompanying him at one stage!

But I don't imagine he was related to our Willie. He just got in the way when I was looking.

Tuesday, November 23, 2021

THE LOST CHORD..... lost again!


I found the sheet music to "The Lost Chord" on e-bay this morning. We all know "The Lost Chord". One of the most famous ballads of the Victorian Era. "It may be that death's bright angel .." while whacking out a stentorian imitation of "Erlkönig" on the keyboard. Glorious stuff. Words in the soulfilled style of the Victorian era by Adelaide Anne Proctor, set rousingly by Arthur Sullivan, first sung at the Boosey Ballad concerts 31 January 1877 ... fourteen years after the poet's death ...

So what did I think when this item turned up ....

Ezra ... who? Ezra when...? Ezra why?

The why is easy. Mr Read (who claimed at the age of 33 to have published 900 piano, mandoline and vocal composttions and arrangements) was one of those writers who grabbed every topic and theme of the day to put on the cover of his easy-to-play music. Example ..

And the London Music Publishing Stores, whoever they may have been, poured forth his music on to the public through the 1890s and 1910s ...

But let's get on to the 'who'.

Ezra Read was born in Willenhall, Staffs 14 February 1862 , one of the sons of James Read, a gun-sight filer, and his wife Mary. The other sons seem to have followed father into filing, but Ezra became a coachsmith in Wednesbury. But some time in the 1880s he got into performing, and left Staffordshire for the south coast. I suspect he is the Mr E Read giving 'Darkie's Holiday' with the 'Cinq Port Minstrels' in 1887-8. I know he was the Ezra Read who married in Bristol in 1886. And the two things are connected. He ('of Wednesbury') married (30 October 1886) a lass named Beatrice Ida Bertha Hampden, from Melksham, Wilts, who was really the female equivalent of himself. As well as being 'grand-daughter of the late Rear Admiral Cumberland'. Beatrice (calling herself 'Ida Hampden') was a mass producer of ditties and arrangements, she played piano and 'organ' ('own organ').. was it she who got him performing and writing?Ah, no. There he is in earlier 1886 already, playing the Britannia Music Hall, Coventry.

Anyway, they went off to the south coast where they apparently picked up small music-hall engagements, and turned out the first of those hundreds of ditties. The first I spot is called 'The Don't Tease Schottische' (1889) which got published by Joseph Williams, then the 'Winged Hours' Schottische. The flood had begun.

In the 1891 census the couple are in Portsmouth, staying in the Albert Tavern, Warblington St. The Tavern had a 'Concert Room' 'a small music hall', and the landlord, Henry Charles Hughes, is listed as 'music-hall proprietor' and most of the guests are music-hall performers. The week's bill? The Albert was described in the licensing court as 'a low class [tavern] and frequented by soldiers, sailors and loose woman ... prostitutes in the ballroom ... immoral purposes'. Oh dear. Ida, what would the Rear Admiral have said? And Ezra is advertising that he will send free songs to those who send him a stamped addressed envelope c/o the Casino.

After a while, they moved out of 'the Casino' and he is next seen advertising from 'Fernleigh', Inglis Rd Southsea: pianoforte, harmony and composition. Parties attended. Class tuition. Moderate terms'. 'Music hall preferred'. I don't see them working, but the easy-to-play, cheap-price, parlour-piano music continues to roll.

They eventually left the coast and returned north. In 1899 they are advertising from 72 Rigby St, St Helens. They finally settled in Shirebrook, Derbyshire, where Ida died in 1912

Ezra carried on, turning out occasional pieces for the nursery, the schoolroom, pianistic beginners etcetera, occasionally with a pictorial cover ..

So, why did he re-set Miss Proctor's poetry? Well, it seems he wasn't shy of anything. Here he had a go at Mrs Hemans's 'The Better Land', famously set by Frederic Cowan

Ezra Read died at 8 Church Hill, Shirebrook 13 December 1922, aged 60.  He left the sum of L644 7s 0d.
But he left a tonne of sheet music -- from 'Youthful Hearts' and 'The Nick-Nack Polka' to 'The Motor Car Galop' ...
On e-bay today there are 77 items from amongst what, if his tallying is true, must have been thousands. ...

I wonder if anyone heard his 'Lost Chord' or 'Better Land' and thought ... wot?

Sunday, November 21, 2021

Linking the generations: 'Alan's great-grandmother'


I couldn't resist investigating this lady from the e-bay store of 'crouching gerbil' ...

Mrs F H Durant. 'Alan's great-grandmother'.

Alan who? Well, let's try.

I don't think Mrs Durant was a milliner. What IS she wearing on her head? A gerbil? 

So, what and who was she?


She was born as Isabel Maria Robinson, in 1860, in Shoreditch, a later daughter of John Robinson, cabinet maker, and Rebecca Maria née Wallbank, and soon left fatherless. Mother (with half a dozen children in tow) remarried another cabinet-maker, William Henry Bransgrove, but died herself in 1866, at which Mr Bransgrove married ...  her daughter, Kate. Isabel was brought up with her stepfather-brother-in-law, siblings, and the new Bransgrove children who soon came forth, until she married (25 December 1879) a Bethnal Green butcher, Frederick Henry Durant (d Walton-on-the-Naze 27 October 1924). She had her first child in 1880, her second on 15 October 1882 ...

And look! The next day Mr Gerbil proferred a second photo. 'Alan's grandfather'. P W Durant. OK, that's the second son: Percy William (d Frinton on Sea 27 November 1947)...

An hereditary butcher. Meat runs in the blood, it seems, as well as vice versa. 

Well, Percy married Rose Maria Tricker, and I see them in 1911 living in Leyton, with a four-year old daughter, Doris Louie (b 10 November 1906, d 2000) ... only one child? Well that makes things easy!

Here's the mysterious Alan!  Alan Roger Devereux (b Tendring 18 April 1933; d Strathblane 1 February 2019).

Doris married Donald Charles Devereux (1898-1989), a builder, and brought forth Alan and Janet Rose (Mrs Radcliffe-Smith, 1938-2005) ...

I guess the photo was inscribed by Alan's wife, Gloria Alma née Hair (b Brentford 28 January 1933; d Newton Mearns 1985) ...

Alan himself became DNB material as an Industrialist and a CMG in Scotland .. but that's all on google ... I'm just happy to have linked him to his ancestors, and identified the mysterious 'Alan'  ...

Friday, November 19, 2021

Tyacke-y times ... a family investigated, or Mr Livingston, I presume


It is simply too hot and sticky, and life is too covidly complex right now to work on anything that needs long concentration ...

So I plucked a photograph -- nay two -- from ebay and tried to bring it to life.

The reason there are two, is that they were sisters, and listed oh-so-sensibly by vendor coowlstuff as such. And they were inscribed with both maiden and married names of the ladies. Should be a doddle. Well, it wasn't!

So, here are Miss Minna Elizabeth TYACKE, and her younger sister Ellen Esther TYACKE, born respectively in Marylebone (16 January 1856) and Stoke Newington (24 July 1857).

Tyacke? Hmm what sort of a name is that? It is said to be Cornish in origin, and yes I spy a bundle of Tyacks down there -- vicars, solicitors, and others less lofty.  I think our branch, which appears to be one of the 'others' type -- might have got cross-bred with a semitic strain somewhere along the line ..

Anyway, father William Andrew Tyacke was indeed born in Marazion in 1826 and I spy him in the 1841 census at Marazion aged 15. Grandfather is a timber and iron merchant a iron smelter. It seems that grandfather might have died in 1851 ... but there are a bunch of WTs around, so one can't be sure. Anyway, William Andrew married, in 1855 (19 May), Miss Rosa Goodman daughter of Abraham Goodman (Jewish, I knew ish!) of Marylebone, and we have the marriage registration ...

Well, we ignore the nonsensical 'gentleman' bit.  But the document does rise the odd question mark. First, what was W A doing in Lincolns Inn Fields. Clerking for a lawyer? Secondly I have to go in search of her father. Because an Abraham 'Goody' Goodman otherwise Levy was a well-known lowlife character -- prostitution, race-fixing, gambling houses) around London at this time ... hmm. 1841 census of Nottingham Terrace Abraham 'independent', Rosa his wife, youngest daughters Rosa and Minna: well, youre innocent till proven guilty, but Miss Rosa Goodman of Nottingham Terrace was up at the Old Bailey (1850) as 'victim' in a fraud case, and her rather odd financial transactions were gone into. The fraudulent prisoner (female) was transported for life.


Oh, Rosa was by 1850, an orphan maid, so I guess she had to financially fend for herself. And I guess 5 Nottingham terrace was hers ... so, go go, Rosa!
And if she wasn't, seemingly, related to the dreadful 'Goody' Goodman, she was a sister to 'Australia's first photographer'. You can read all about that here  George Barron Goodman: Revealing the True Identity of Australia’s First Professional Photographer,<>

Anyway, Rosa married the 'gentleman' clerk from Cornwall, and they produced our two ladies of the cdvs in double quick time.  Later, there were two sons: William George [Stevens] Tyacke (b 2 Goldsmith Square 15 July 1861-1921) 'engineer' and Richard Andrew Tyacke (b Goldsmith Square 15 September 1863-1907) accountant, as well another daughter, Clara Matilda, who survived only few months.

Father worked his whole life as a clerk in insurance, and died 3 September 1894. Mother lived to a grand old age, dying, aged 95, on 19 February 1915. 

Now the girls. They were brought up Hornsey and Prittlewell ...

Then, Minna went to work as a governess up in Durham. But a pretty grand governess. He charges were the five children of Thomas Wood, mining engineer, aged from two to eleven. But Mr Wood owned and lived at the grandiose Coxhoe Hall, and Minna had for backup a cook, housemaid, nursemaid, butler, gardener ...  I wonder how long she was there. She was there in the 1881 census. But in 1883, she married.

Her husband was Mr Robert Russell, linen and cotton manufacturer from Bangor, County Down, and the couple moved thither.  A daughter, Mabel E was born in 1884, and a son, Robert in 1894.  Mr Russell died at some stage between the 1901 and 1911 censi, and in that latter the widow Russell and her children can be seen living in Tottenham. In 1939 she is lodging at 54 Park Street, Burgess Hill. No sign of the children ..
She lived to the age of 93.  I haven't succeeded in tracking the children, so don't know if there were any mini-Minnas.

Ellen married in 1887, Mr Edward Löwenstein 'merchant, timber, matches and paper'' 'of Alsing and Co' (b Manchester 1860) son of Leo Löwenstein 'wine merchant' from Wurttemberg and his German wife Rosalie. The Löwenstein family: papa, mama and five children can be seen in Croydon in 1881. With or without their umlaut, which modern Anglophone goverments still can't master).
They, too, had two children. Eleanor May (b Norwood 2 June 1888) and Edward William Leopold (b ditto 4 March 1890), and lived comfortably at 17 South Side, Streatham Common until 1913 ...
And then they seem to vanish. Further away from Germany, I imagine.  I don't know where they went. They probably changed their names (PS THEY DID!!) ..  yet I see a British war record for Leopold 'clerk at Alsing and Co'. Affected to the Surrey Yeomanry. He seems to have done one training camp a year between 1911 and 1916 and was then discharged as 'no longer necessary'. His next-of-kin in 1916 is his mother, so it seems father -- managing director of Alsing & Co, 110 Cannon Street, London EC -- may have died (PS HE HADN'T, read on!) 

I see Alsing was a Swedish company, making matches and gas mantles, exporting wood pulp .. Maybe they all went to Sweden?

Well, some of them stayed home, and died at home  ... and lie in Brompton cemetery ...

I wonder who arranged for that stone ... (is it fallen, or meant to be like that? Careful, they plough under old headstones at Brompton .. I know from experience) ... One of the girls?  Hardly likely to be William George whose sense of family came down to walking out on his wife and children to shack up with another woman on whom he laid three more children ...

Courtesy of Iain George, here are pix of our girls at younger age



I see George's daughter Elsie (b Croydon 23 July 1901) married Denis O'Neil East in 1927 ... in the 1939 listings they are living with the now widowed Lillie in Salisbury ... no children ..

Really, I hav'n't succeeded in tracing a legitimate descendant anywhere -- maybe my friends at Family Treasures Reunited can do better ...  

But wait!  Eleanor May ... married George Brinkworth Massingham (1880-1854), bank clerk ... .. died Lowshells Nursing Home, Peacehaven, E Sussex 31 May 1975 ...  and there she is with her husband .. still a bank clerk in 1939 .. Powis Square, Brighton ...   I missed that completely, until I realised that Eleanor had done a name change and was calling herself 'Miss Livingston'. Daughter of Edward Lingstone ex-Löwenstein, 'war office offical' in 1915. And still at Streatham Common. 

I was tossing up between a nap and a cocktail . Now I have to follow the trail ... of course, with the cocktail!

Right. Mrs Livingston, I presume. A with the first sip .. there she is!  Died in a hospital, at Brighton 30 July 1944. And still of number 17 South Side, Streatham Common. Widow. Probate To George Massingham and Edward William Livingston, accountant. Son-in-law and son. Son has dropped the Leopold. 

OK widow. Here they are in 1935. Edward, Ellen, Edward jr, and  Mary Edith? ... no17 ...   Ah, Edward William's wife. Mary Edith née Swallow.

Oh! Died 14 October 1936 ... effects L37 11s 8d.  Those Alsing shares must have melted away ... and the war office?
And Edward William didnt live long after his mother. Died at Guy's Hospital 11 April 1945.  No issue. 

It looks as if the Ellen branch withered ...

Enough. I leave it to you guys to decorate the branches of this tree!

Saturday, November 13, 2021

Girls of the Théâtre du Châtelet: 1866 ...

While investigating little Mons Tousé/Touzé, my eye wandered (as it does) to other members of the cast of Cendrillon of whom I knew little or nothing ...

The original Prince Charmant (Marie Desclauzas) and Cinderella (Irma Marié) both went on to fame in the theatre, and I've written of them before ...

The original Uranie, Clarisse Miroy [MIDROY, Marguerite] (b 20 April 1820; d Neuilly 1 September 1870), has been written about extensively -- both professionally and, particularly, privately. The tales of her affair with the famous Frédéric Lemaître, whom she abandoned for the much less consequent Jenneval, has been told endlessly ...

Those other ladies ...? The sisters, Javotte and Madelon, for example.

The original Javotte was a curious Jewish lass who called herself LAURIAN[N]E. Her real name was Thérèse Angèle Brag, daughter of Beer Brag and his wife Pauline née Haas, born Paris 1 April 1851, which made her just fifteen years of age. She was fresh from the Paris Conservatoire, pupil of Beauvallet under whom she had been awarded a 1er accesit .. in tragedy!!

After her stint at the Châtelet she moved on to the Gaîté (Julie in Le Courrier de Lyon, Carlotta in La Dame des Roses, Mathilde de Hérouville in Le Moulin rouge), the Ambigu (Léopold Robert, Jeanne in La Vagabonde, Sylvie in Le Roi d'écoles) and in a career 'intermittent et nomade' I see her playing Le Cid in Angoulème, La Reine Margot and Zaire in Brussels, later back in Paris at the Chatelet (Alice in Le Tour de Londres, Claire-de-Boeuf in Le Chachemire vert, Amintha in Camorra), the Cluny (Marie in La Chambre ardente) and the Porte Saint-Martin .. in 1878 at Rouen .. at the Odéon (Sabine in Horace) ..

She married (16 October 1881) François Aimé Marie Louis Gervais Lasteyras and had issue.

The other sister, was played by a lass a decade older. Marie GRANDET [MOULARD, Marie] (b Lyon 21 April 1840; d Paris 27 February 1916) seems to have played figurantes at Bouffes -- unless it were another Mlle Grandet (there were several) -- until she was cast as the Fairy Queen in the spectacle Pied de mouton at the Théâtre National (1861). 

Pied de mouton

She spent some time at the Théâtre des Célestins in her native Lille, but returned to Paris and the Châtelet for Cendrillon ('un perle blonde du plus vif éclat'). She deputised for Desclauzas as Prince Charmant when the star pulled out for end-of-year revue rehearsals.

She subsequently played at the Palais Royal, the Ambigu, at the Théâtre de la Renaissance, as well as at Cairo and Odessa, and surprised the theatre world when, in 1873, she appeared in Daphis and Chloe, singing the role of Daphnis. 'Une nouvelle étoile d'opérette' excalimed those who had forgotten her days in féeries. But she still appeared in 1874 in the Renaissance production of Les Bibelots du diable with Léa Silly. In 1880 she returned to the Châtelet in Le beau Solignac.

In the 1890s, she played Isabelle to the Jeanne d'arc of Sarah Bernhardt at the Porte St Martin, Oenone to the star's Phèdre, and supported her and Guitry in Gismonda, Magda et al.
Marie Grandet was still on the stage into the twentieth century, and died in Paris at the age of 65.

The small part of La Présidente de la Cour d'Amour was taken by a lass who called herself DELVALLÉE.  We are told that her real name was Céline Chéri, but more than that I cannot tell. I see her at Galeries St Hubert in Brussels ('Mdlle C Delavallée') as early as 1856 and for some years thereafter. She played soubrette roles in the provinces, and in 1863, I spot her at Versailles (Grévin in Le Vicomte de Letorières) and 1864 at Toulouse and Metz ('physique superbe, une taille charmante, de la verve comique de bon goût ..'), before she turns up in the casts at the Châtelet ... Cendrillon, where she succeeded Mariani as Luciole and also stepped in as Prince Charmant, Le Diable boiteux (Une Épingle), as Le Roi Crinière in Gulliver 


Over the following years, she was a part of the Châtelet company, in statuesque roles ('une des plus belles fées du Châtelet')

However, she also returned, on ccasion, to the provinces, and I see her at Poitiers playing La Grande-Duchesse in 1869. 

One of the most futureful actresses to come out of the run of Cendrillon was a 20 year-old lass who took over as one of the sisters during the run.  Mlle Maria Gaultier made her earliest appearances as 'Mlle Gabrielle' but finally settled on Gabrielle GAUTHIER (b Paris 1845; d 14 rue Dupéric, Paris 16 July 1883). She is said to havent made her first appearance in Spectres et fantômes at the Délassements-Comiques in 1865 (recte: 1863) and gone on to appear in the féerie La Reine Crinoline (La Royaume de femmes) et al. She at first pursued her career largely in féerie at the Châtelet (5ème fée in Aladin, Cendrillon, Hélice in Gulliver, La Fée bruyère and later Prince Pompadour in La Chat blanche at the Gaîté) until she was engaged at the Théâtre de Variétes where she would remain for something like a decade, appearing in opérette -- notably creating the role of Eglantine in Les Cent Vierges -- in revue (Mont-Cenis in La Revue en Ville etc), in comedy (Le Commandant Frochard, La Poudre de l'escampette etc). 

She played at the Gaîté in Le Chat Botté with Grivot and Berthe Legrand, and at the Châtelet in the lesser role of Comtesse Andreina, but with the coming on of the kilos switched to playing drama at the Ambigu (Robert Macaire, L'Assomoir, Nini-flora in Paillasse). The critics still found her 'ravissante' as the cantinère Houzarde in Quatre-vingt-treize at the Gaîté (1882), but it was to be her last role. She died the following year, aged 38. Her death was notified by librettist Albert Millaud of the Variétés ...

One more Cendrillon girl. The Châtelet seems to have been well supplied with stand ins. Desclauzas, in particular, had to be deputised when other duties round the theatre called.Delphine Ugalde, Marie Grandet and Mlle Delvallée had all played the Prince during the long run. But here I see a programme where the role is being played by one Atala Massue. Or Massüe. Who, I asked, may she be?

Rosine Josephine Atala MASSUE (b Paris 27 March 1849; d Paris 2 June 1916) was the eldest daughter of actor-theatre manager Alfred Pierre Massue and his wife Marie Rosine née Doux. I say 'eldest' because two other daughters, Janne Marie Irma (b Nantes 8 November 1850) and Marie Louise Lucie (b Paris 3 May 1852; d Paris 29 April 1927) also took to the stage. The three took to the stage, of course, at their father's theatre, the Grand Théâtre Parisien in the rue de Lyon. I see Atala 'starring' there in a flop opera on the Jeanne d'arc story in 1865. She moved up to appear at the Luxembourg (with her sisters, La Leçon d'amour, Ches une petite dame) and the Folies Saint-Germain  (Entrez vous êtes chez vous, Je m'demande, Venus in La Planète de Venus) and then moved to the Folies-Dramatiques to play Queen Mab in Les Canotiers de la Seine

And somewhere in here she did her ephemeral appearance at the Châtelet. Her light soprano voice was heard in the original productions of L'Oeil crevé (Eclosine), Chilpéric (Fana), Le Canard à trois becs (Madeleine), Le Roi Carotte, as Mignonette in the féerie Pif-Paf at the Château d'Eau, in a revival of Le Royaume de femmes. She scored a fine success in the leading role of La Jolie parfumeuse in Brussels, played Giroflé-Girofla and Les dernières Grisettes, and it was said that she had been engaged by Cantin for the Bouffes, but ... there I lose her. It seems the theatre did, too ... but who knows?  She died in Paris, unmarried, in 1916.
Jeanne wed, at 18, Louis Joseph Dugué (who died in 1892) and Lucie became Mme Jacques Waubert in 1883, both continuing their careers.

And (for the moment) the last of these ladies. In the part of the pretty page, Oculi, was cast Mlle PANSERON.
Joséphine Françoise Panseron (b Paris 14 April 1842) was the daughter of ebéniste Jean-Charles Panseron and his wife Rose Eugénie née Paschal. She passed broiefly by the Conservatoire, and I first see her on the stage in 1864, in the revue En chasse, en chasse at Pigalle. However, by 1864 she was at the Châtelet playing 'un lutin' in Aladin. There, in Cendrillon, she proved decidedly useful, both deputising for the physique of Mariani as Luciole, and taking-over the part of Fleurette in the latter  part of the run. She also took part in the end of 1866 revue Le diable boiteux. 

Le diable boiteux

During the run she married the widowed Antoine [Charles] Jean-Baptiste Cabot, dramaturg and régisseur at the Châtelet, to whom she had already born (17 August 1864), at 22, a daughter.

In 1873 she was engaged at the Renaissance, where she took, among roles in little comedies, small and very small parts in the creations and re-creations of a number of opérettes -- Amélie in Les deux cousines, Olivier in Héloise et Abelard, Théobaldo in La Petite mariée, L'Echansonne in La Tzigane, Louison in La Camargo, Julien in Le Petit Duc, Fatmé in La jolie Persane, Toinette in Belle Lurette, Rose in Janot, La Duchesse in Les Voltigeurs de la 32ème, Loulou in Mademoiselle Moucheron, Jacques in the revived L'Oeil crevé, Leilah in Le Saïs, Justine in La jolie parfumeuse, Juana in La Bonne Aventure, Frédéric in Ninetta  -- through a decade. My last sighting of her on stage is in 1883 when she created the part of Militza in François les bas-bleus at the Folies-Dramatiques. 

Her husband died in 1886, by which time their daughter, Charlotte Christine Cabot or Panseron had begun a useful career as an operatic soprano. As 'Mlle Panseron'. In 1890 she married the baritone François Mondaud, and continued as Mme Mondaud-Panseron.
It is said the Joséphine died in that same year. And in 1907 a little para about Charlotte mentioned that she was 'petite-nièce' of the well-known Auguste Panseron. Really? I think not, but I'll leave the genealogists to say yea or nay to that one. Anyway, Charlotte had an appreciated career as leading soprano in the provinces, spent two seasons at the Opéra-Comique, and became latterly a teacher at the Bordeaux Conservatoire.

Well, that was fun. It's far from complete as regards credits for 'ces dames', and I always like to sort out those birth and death dates ...  but the nice thj\ing about a blog is that you can always go back and add stuff when you stumble upon it.  Which I no doubt shall!

Bonne Bouche:  Mlle PETIT as the éleve Poney in GULLIVER

And mystery. This photo is labelled Châtelet. And what looks like "Liénard". He is clearly, with his miniskirtish herald's costume, a character in a féerie. But which one?  I thought it could be Cendrillon. That looks like an "H" on his tuniquette. H for Hurluberlu? Puzzle.

A couple more wandering pensionnaires of the Châtelet ... one of whom I know nothing, who appeared in the opening Rothomago as 'l'Heure de Minuit', and as Envy in the seven-deadly-sins spectacle Les Sept Chäteaux du diable as Mlle LAGRANGE

Another who would go on to become well-known as a leading lady around Europe. Denise [Olympe?] Ferrare, pictured here in her youthful Châtelet days in Le Naufrage de la Méduse became an opéra-bouffe leading lady in the provinces, and scored a particular hit as Cupid in the enlarged Orphée aux enfers in Paris, under her married name of Mme MATZ-FERRARE (b Paris 17 March 1842; d Bône, Algeria 1886). 

More, doubtless, to come!