Tag Archives: Marie Lloyd

Brighton Hippodrome

The Brighton Hippodrome started life as a skating rink and then became a circus before finding it’s true calling as a venue  for dramatic and variety performances in 1902. Tucked away in a narrow side street the rather plain exterior hid a glamorous venue designed by Frank Matcham, the theatre architect extraordinaire. IMG_0029It held around 2000 people and had five bars, refreshment rooms, lounges and promenades, warehouses, stabling and a large open yard. Before the grand opening a journalist from the trade paper, the Entr’acte, remarked that the facilities for dispensing liquors are very considerable while an advert for musicians states that evening dress and sobriety are indispensable. There was to be an orchestra of eighteen musicians, all to be experienced in the variety and circus business, and a first violin, piano, cello and bassoon were needed to complete it. In July 1901 first-class acts of all kinds were directed to write immediately to secure their bookings.

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Vesta Victoria

We know that the biggest music hall stars of their day appeared at the Brighton Hippodrome, including Marie Lloyd, Vesta Tilley and Hetty King. Vesta Victoria, a very popular singer and comedian, had an off-stage adventure during her time at the Hippodrome in 1906. She went for a moonlight motorboat ride with some friends and when they were seven miles out to sea the petrol for the engine caught fire. They couldn’t put out the flames and the Derby Daily Telegraph reports that just when the situation appeared to be desperate, Miss Vesta Victoria lit upon the expedient of tying her motor-veil to a boat-hook and of waving it in the moonlight. This was seen by fishermen who rescued the group and brought them ashore.

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Vesta Tilley

In her autobiography, Vesta Tilley tells of her experience in Brighton when playing the Hippodrome in the First World War. As Brighton was a coastal town no lights were permitted at all and she says she was obliged to literally feel her way from the Hippodrome to the Metropole Hotel each night after the performance. On one particularly dark night she and her maid found their way to the seafront and Vesta suggested guiding themselves by the railings. They finally realised they were getting no closer to the hotel and found they were walking round and round a small circular  garden in the centre of the road. VestaTilley is reputed to haunt the Brighton Hippodrome, but in a dress rather than stage costume, and there is said to be a whiff of her favourite perfume backstage.

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Marie Lloyd

 

In 1921 Marie Lloyd appeared before the Duke of York (George VI) and the Prince of Wales (Edward VIII) at the Hippodrome and received the royal approval in that the ‘democratic‘ Prince of Wales applauded the performance despite the fact that it was not customary for royalty to applaud in theatres. So in the year before she died Marie was accepted and appreciated by the establishment.

To end with a bizarre story – in March 1907 the Mid-Sussex Times reported that the musical director at the Brighton Hippodrome had written to say that one of his hens had laid an egg weighing over five ounces. The egg could be seen at the Hippodrome any evening.

 

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This is the Hippodrome at the present time. There is a campaign to save and restore the building. The website is ourHippodrome.org.uk

Thanks to the British newspaper archive.co.uk, Recollections of Vesta Tilley, Marie Lloyd – Richard Anthony Baker

 

 

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Merry Nelly Power

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Nelly Power

Merry Nelly Power was born in 1854 and according to an article in the Illustrated Sporting and Dramatic News started out on stage in 1863 at the Southampton Music Hall which was owned by her uncle. Her charm and vivacity  carried her to success in the provinces and London, where she entertained in pantomime and burlesque. In those days burlesque was a drama, usually with song and dance, which spoofed serious productions and made fun of the politics of the day. The topical references would often change from one performance to another and there were often exchanges between the actors and the audience. The risqué element was provided by women playing the part of men, dressed in tights and short trousers and sometimes smoking. The costumes were embellished with feathers, silks and fringes.

In 1867 Nelly was appearing at the London Metropolitan Music Hall in the Edgware Road with no star billing but by 1870 she was in the Four-Leaved Shamrock at the Canterbury Hall in London. The advertisement in The Sportsman tells us she is appearing every evening in the Grand Ballet, as Dermot, as the Pet Jockey and as Apollo. She also gave her celebrated imitations of the most popular songs of the day. She is obviously a big draw as the management is keen to point out prices will not rise during the engagement of this charming burlesque actress and the advertisement is devoted solely to Nelly. Here are two photos of burlesque costumes from the 1870s.

Augustus Harris engaged her as principal boy in pantomime and the up and coming  Vesta Tilley had her nose put slightly out of joint when she realised she was to play second fiddle to Nelly and also to be her understudy. In her recollections, Vesta makes the best of it, commanding a high salary and having a scene to herself to sing one of her popular songs. She points out, It was the one and only time I had played second fiddle’ while acknowledging Nelly Power was a great star in those days.

In 1874 Nelly married Israel Barnett who seems to have been an unscrupulous character and the marriage was not a happy one. In 1875 Nelly’s admirer, Frederick Hobson, was charged with assaulting Barnett who was by now living at an hotel in Covent Garden while Nelly lived with her mother in Islington. Nelly was filing for a divorce but Barnett hoped for a reconciliation and was upset to find Nelly in Hobson’s company on several occasions. From the reports of the trial we find out that Barnett had been involved in dodgy financial dealings and had spent a brief time in prison. He was unable to remember if there were any charges of fraud against him but did remember he was a bankrupt. Nelly gave a strange statement in which she said since she had known Barnett all her jewellery had been ‘swept away’ . Hobson was bound over to be of good behaviour for six months on a bond of £50. Nelly’s statement made more sense when I came across a report of a theft of jewellery from her home to the value of £1,500 in 1874. There was no evidence of a break-in and the theft was described as mysterious.

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La-di-dah!

Nelly made a name for herself as an early male impersonator wearing tights, spangles and a curly-brimmed hat. She had a great hit with a song entitled La-di-dah which made fun of the swells of the day.

                                       Ee is something in an office, lardy dah!

                                       And he quite the city toff is, lardy dah!

It seems that females didn’t wear authentic male attire in the early days of male impersonation and Nelly may have been adapting a burlesque costume.

She faded for a while, suffering ill health, but in 1885 was appearing at three London music halls nightly and was said to retain all her old go. She died two years later, performing to the end, but there was no money to pay for the funeral. A subscription was got up to pay the undertaker but in the following year her agent, George Ware, was sued for £18 19s 6d as the full funeral costs had not been met. Not long after Nelly’s death her mother Agnes was taken to court by a draper who claimed £4 4s 3d for various articles supplied to the deceased in 1885 and 1886. These included bonnets, underclothing, gloves, fancy aprons, dress materials etc. The judge remarked that there was no money even to pay for the funeral and found for Mrs Power. Nelly’s greatest hit was ‘The Boy in the Gallery’ adopted cheekily and successfully by rising star Marie Lloyd.

Nelly Power was buried in Abney Park Cemetery in north London and her funeral procession was attended by at least three thousand people. The British Music Hall Society restored her neglected grave in 2001 and the inscription reminds us she was only thirty-two when she died.

NOTE – on some devices the last illustration of Nelly Power in male impersonator costume is showing upside down. I have tried to rectify this to no avail, so many apologies if she is standing on her head in your version.

Thanks to the British Newspaper Archive, Michael Kilgarriff, Recollections of Vesta Tilley

 

 

 

 

Daisy Jerome

daisy-jerome-1Daisy Jerome was born in the States in 1888 but moved to England as a child when her father suffered a financial crisis. Money was needed and she followed her sister on to the stage. She was a small, dainty figure with bright red hair, compelling eyes and an expressive face. Her appearance belied her risqué performances and her hoarse, sensual voice. She was a toe-dancer and a wooden shoe dancer, but best known as a mimic and comic singer. Daisy married Frederick Fowler in 1906 but they lived together for less than a year with Fowler blaming the marriage breakdown on the constant presence of his mother-in-law. He filed for divorce on the grounds of Daisy’s misconduct. She was living with Mr Cecil Allen in Battersea by this time and claimed Allen would marry her if she was divorced. The decree nisi was granted with Fowler saying he would shoot Allen if he didn’t marry Daisy. She left for a three year tour of Australia shortly after accompanied only by her mother. She adopted the name ‘the electric spark‘ and seems to have lived up to this in her public and private life.

In February 1910, before the divorce, Daisy took out a libel action against the Walsall Observer who had reported that ‘Daisy Jerome, without much provocation, is constrained to give three more than usual number of songs we get from one artist.’  The insinuation was that she gave encores when they were not required and this was a serious allegation with regard to future bookings. Daisy said she was not at all anxious to give encores but that she ‘made one of the hits of my life in Walsall.‘ The journalist replied that the house was a poor one on that night and that Miss Jerome received very little applause. He felt his article was a fair one. Daisy was awarded one farthing in damages.daisy-jerome-2

In Australia in 1923 Daisy, now married to Captain La Touche took her maid to court for stealing and pawning some of her clothes and jewellery. Her maid, Cecil Lightening, said she was innocent and had only followed Daisy’s instructions. The maid had been told on one occasion that her employers were hard up and that she, the maid, was there to bluff the public and to bluff them into giving Daisy a big salary. The maid was acquitted.

Daisy Jerome was capable of arousing strong feelings in her audience and one young man jumped on to the stage from a box two tiers above the dress circle breaking his legs and injuring his spine. He is reported to have said, ‘Tell her I had to do it to tell her what I felt.’ He eventually recovered. Her star waned when film became more popular and and she dropped into obscurity. To finish, a snatch of one of her songs, previously sung by Marie Lloyd.,

And the parrot sat there with a nonchalant air and a cynical smile on it’s beak

At last the young fellow exclaimed with a leer am I the first you have ever loved dear?

And the parrot said, YES THIS WEEK!

Thanks to britishnewspaperarchive.co.uk  &  Trove.nla.gov.au

 

 

 

 

 

 

 

The Music Hall Strike

The previous post talked about the harsh contracts imposed on music hall performers by managers and owners of the halls. This hit those lower down the bill particularly hard as their pay wasn’t great and they had previously relied on playing more than one hall a night to make a living. The Variety Artistes Federation was formed in February 1906 and was a union of music hall entertainers created to represent them in negotiations with owners and managers. There was a long running dispute over matinée performances which were inserted into the programme with payment for one matinée regarded as covering five matinees if the manager chose. This was true for performers, musicians and stagehands. The Trade Disputes Act later in the same year meant that the right to strike was enshrined in law in the event of a trade dispute with an employer.

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Oxford Music Hall

In 1907 there was a strike of performers, musicians and stagehands bringing together the members of three unions. Many London music halls were affected with picket lines, including well-known stars, dissuading the public from entering. Managers reduced prices and put on new and untried acts which played to small audiences who often left part way through. The Daily News reports that the new programme at the Canterbury Music Hall, Lambeth, was abandoned as the trainers couldn’t get a troupe of performing elephants to leave the stage. At other halls such as the Oxford the manager appeared on the stage to explain the situation and for the most part the audience were given their admission money back.

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Marie Dainton

Some encouragement was given to popular artistes to break the strike with Marie Dainton, actress and mimic, being offered the carrot of a future engagement at the Holborn Empire and a motor-cab to make her journey easier. She replied ‘I can only be led by the Variety Artistes Federation.’ This performer is often credited with being a leading figure in the strike but in a letter to the London Daily News she writes ‘ I do not wish to be exploited as taking a prominent part in the strike—as statements have been made in one or two papers that make it appear as though I was taking special steps in the matter.‘ A week later the Daily News received another letter from Marie Dainton saying that although she would not accept engagements at the affected halls she was resigning from the Federation. She concludes ‘I have the greatest respect for the artistes of the music hall profession, but I refuse to be identified with the scene-shifters or stage employees.’

Some of the higher earning stars did not support the strike but Marie Lloyd was a enthusiastic spokesperson stating that ‘We can dictate our own terms. We are not fighting for ourselves, but for the poorer members of the profession, earning thirty shillings to three pounds a week. For this they have to do double turns, and now matinées have been added as well. These poor things have been compelled to submit to unfair terms of employment, and I mean to back up the Federation in whatever steps are taken.’ She was a regular on the picket line and when the unfortunate Belle Elmore crossed the line to perform Marie urged her companions not to stop her, saying she was such a bad performer she would empty the hall anyway.

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Marie Lloyd

Some performers took advantage of the situation by appearing in the affected halls but it didn’t always turn out well for them. Evelyn Taylor was reported as appearing at eight of the picketed halls each night but found she was unable to find a cab to take her between halls. The drivers refused the job. The London Tram, Bus and Motor Workers Union resolved to support the strike in any way possible. The official artistes association in America, the White Rats, cabled that they were with the strikers ‘heart and soul’ and would do everything possible to help the cause. Financial support came from individuals and provincial branches of the Alliance and from a levy on the salaries of working members of the Alliance. There was a surge of performers calling to be enrolled as members of the Federation with two hundred names being taken before two o’clock on one day. Most of these had refused engagements in the affected halls. The Federation increased it’s membership to around five thousand.

It came to be known as the music hall war and we’ll continue next time.

 

 

Yvette Guilbert

Yvette Guilbert was born in 1865 and lived her early life in poverty but became the toast of Paris, adored by everyone from the poor of the Marais to artists and the literati. She was tall and thin with hennaed red hair and wore a long dress and long black gloves on stage. Yvette Guilbert said of herself, ‘I was looking for an impression of extreme simplicity, which allied itself harmoniously with the lines of my slim body and my small head —in a repertoire that I had decided would be a ribald one. To assemble an exhibition of humorous sketches in song, depicting all the indecencies, all the excesses, all the vices of my contemporaries and to enable them to laugh at themselves — that was to be my innovation, my big idea.’ 

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Yvette Guilbert

She was said to come on to the stage in a rather distracted manner with her shoulders drooping and her arms hanging limply by her sides and was termed a diseuse as she half sang, half spoke her songs. Yvette Guilbert sang earthy songs about characters polite society would rather forget and some were so filthy they were said to make a Sapper blush. She had perfect diction and not a word of the songs escaped the audience. However Yvette was not universally admired and one British newspaper report states that, ‘Mdlle Guilbert is not specially pretty, dresses very simply, and unlike the majority of her vocalising countrywomen, does not indulge in high kicking.’ Faint praise. The reviewer  was not impressed by the fact that Mdlle Guilbert had turned down an offer of several hundred pounds to sing at Marlborough House at a party for the Prince of Wales. She asked for a much higher amount but received no reply from the royal household.

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Portrait by Toulouse Lautrec

When she first appeared in London in 1892 it was noted that she spoke fluent English but it was suggested she should be careful not to translate her songs too literally in case of action from the Lord Chamberlain and the London County Council. In 1894 she appeared on the same bill as Marie Lloyd which must have given the authorities sleepless nights. In London in 1909 she was appearing at the London Palace Theatre and remarked that the theatre  impresario Sir Alfred Butt ‘neglected my publicity for the sake of my fellow actor, Consul the chimpanzee.’  Consul appeared above her on the bill. Yvette was given the honour of an impersonation by the celebrated music hall mimic Cissie Loftus but Yvette sang one of Cissie’s songs, Linger Longer, Loo copying the mannerisms of it’s original singer.

 

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Cissie Loftus

In 1899 Yvette had an operation to have a kidney removed. She had been in great pain around the waist, said to be caused by excessively tight lacing. The road to recovery was long and she could not avoid thinking about the future. A highly intelligent woman, Yvette Guilbert realised that to remain popular she needed to move on from the crude songs which had made her name. She had researched old French chanson and sung them to small audiences on occasion. She determined this would be her new path. She was interested in mediaeval songs as well as those from later centuries and set about studying Latin grammar and collecting old manuscripts. For her first public performance after her illness she had Baudelaire’s poems set to music and sang dramatic songs by Maurice Rollinat. She did not wear the black gloves. It was a brilliant performance but in a small theatre with a high class clientele. It took longer to win round her previous audience who perhaps felt she was deserting them for a greater respectability.

Yvette Guilbert was admired by George Bernard Shaw, became a friend of Sigmund Freud and was painted by the leading artists of her time, although she rebuked Toulouse Lautrec for his depictions of her on stage. She wrote novels, lectured on chanson, appeared in  operetta, was a suffragette and was elected to the French Société des ancients textes. She died in Aix en Provence during the Second World War in 1944, having moved there from Paris with her husband Max Schiller who was Jewish.

Thanks to the britishnewspaperarchive.co.uk, and That was Yvette by Bettina Knapp and Myra Chipman

More pantomime

So here we are coming to the end of the pantomime season. In Victorian and Edwardian times we could have witnessed music hall stars dressing up in gorgeous finery as Prince Charming or Aladdin. Elaborate hats and hairstyles were the order of the day with costumes of silk and lace which  would hopefully inspire awe and wonder in the audience. Here are just a few of these wonderful women.

From left to right: May Beatty as Dick Whittington, Dorothy Ward as Robin Hood (smoking!), Carrie Moore in Cinderella and Hetty King as Aladdin.

Marie Lloyd played the part of Red Riding Hood at the Theatre Royal, Drury Lane in 1892. At one point, Augustus Harris who was managing the production, wanted Marie to say her prayers before going to bed in her grandmother’s cottage. She knelt down and clasped her hands but instead of saying her prayers suddenly felt under the bed for the chamber-pot. Not finding it, she searched the whole room, accompanied by loud laughter from the audience. Augustus Harris did not join in the laughter and Marie was close to getting the sack.

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Marie Lloyd

Pantomimes would often run for three months and provided a steady income in a precarious world. There could be other perks if the show was successful as the trade paper, The Era, tells us. On the last night of The Forty Thieves at the Theatre Royal in Hull the star, Miss Annie Montelli, was presented with a silk umbrella, a dressing-case, a box of gloves and a pearl and coral ring. It’s not clear if these gifts were from admirers or the theatre management. David Beattie, in the same production, was given a silk handkerchief and tie, a cigar case and cigars, a large pork pie, a Madeira cake, a bologna sausage and a bottle of whisky by his admirers in the audience.

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Birdie Sutherland

Birdie Sutherland took on pantomime roles and in 1901 described as the ‘bountiful Birdie Sutherland’ was engaged to play in the Drury Lane panto to be produced in New York. She had become a household name some years earlier when she sued the Hon.Dudley Majoribanks for breach of promise. The engagement had been announced and then denied by the young man’s father, Lord Tweedmouth. The newspaper reports take an amused tone, assuring us that the couple were devoted to each other with Birdie becoming ill and retiring to the country on the break up of the relationship. The Hon.Dudley was sent to Canada in the hope of curing him of his infatuation with Birdie. When the case was heard the court was beseiged with people wanting to enter but numbers were restricted and those present heard the Lord Chief Justice find in favour of Birdie Sutherland, awarding her £5000 damages plus costs. There is no comment from Lord Tweedmouth. A bit of an “Oh yes she will. Oh no she won’t” situation. Sorry, couldn’t resist it. The bad jokes are the best!

Thanks to the British Newspaper Archive

In the courts

Music hall artistes, stars or unknowns, were no strangers to the courts and the newspapers had a field day reporting drunken escapades, thefts, adultery, assaults and disputes between managers and performers. Not quite respectable but still a good source of entertainment on and off the stage. In London, March 1897, Lily and Ellen Brown were charged with being disorderly and using obscene language. Shrieks and cries were heard around two in the morning in the Regent’s Park area where two young men accused the women of robbing them in a cab. The men refused to bring charges and the Misses Brown used ‘filthy and most disgraceful language — creating so great a disturbance that the whole neighbourhood was roused’. They said they had been taking part in a ballet at the Empire Theatre and were on their way home. The magistrate felt that dancing in the Empire ballet should have been sufficiently exciting for them and that they seemed to have an exuberance of artistic talent. They were fined ten shillings.

May Levey

May Levey

The Sisters Levey were a popular song and dance act but were subjected to ‘clowning’ by a cellist in the orchestra at the the Royal Court Theatre in Liverpool. ‘Clowning’ was the term used for purposely substituting the wrong music during a music hall act. The cellist, Frank Richardson, also absented himself from the orchestra during the performance. He was sacked and went to court to claim £4 10s (£4.50) for wrongful dismissal. He claimed it was customary for a musician to leave the performance for a few minutes if not needed for the piece but the theatre management responded that he was absent during the playing of two numbers, in one of which he was a soloist. The conductor appreciated that Frank Richardson was an excellent cello player but he had frequently been reprimanded for ‘clowning’ which took place when the Sisters Levey were on the stage and they had complained. The judge found against the cellist remarking that he had been properly dismissed, considering his conduct.

Marie Lloyd seems to have spent quite a lot of time in court on her own behalf or connected to other cases. In January 1893 her husband, Percy Courtenay, summoned Bessie Bellwood for assaulting him at the Trocadero Music Hall. Bessie Bellwood, a former rabbit skinner from Bermondsey, was a fiery character who gave hecklers a hard time. Although a devout Roman Catholic she was known for her strong language on and off stage. Like many music hall performers she was a heavy drinker which might explain her tendency to lash out when riled. This case was adjourned and all parties seemed to have calmed down as it wasn’t pursued.

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Marie Lloyd

Marie Lloyd  took her coachman to court in 1896 for stealing a gold watch and diamond ring from her. Herbert Norton, aged twenty-four, had worked for Marie Lloyd for two years and disappeared one Saturday without notice. The ring was missing and found at a local pawnbroker’s along with the gold watch. Marie Lloyd was notoriously soft-hearted and generous and rather than prosecute Herbert she sent a telegram to his address saying if he returned the items by six o’clock she would not go to the police. She heard nothing but on Monday a parcel arrived containing Herbert’s uniform breeches, a tie and two pawn tickets. She sent the parcel back and went to the police. At the trial Marie Lloyd said, ‘Herbert, if you had asked me to forgive you I would have done so’. Apparently Herbert had robbed her before but she had forgiven him. The magistrate asked Marie if she desired to recommend him to mercy now to which she replied, ‘Oh, yes, please’. Herbert was sentenced to two months’ hard labour.

Cissie Loftus

Cissie Loftus

Next, the sad case of Cissie (Cecilia) Loftus who was a popular and gifted mimic on the music hall stage. In 1922 she was arrested for the possession of drugs and also had blank prescriptions in her bag. She told the arresting detective that she was undergoing a cure and a court case would ruin her. It was said in her defence that that she had had a long period of ill-health through which she had to work as her husband had left her with large debts. Drugs were administered to her during a serious operation and during childbirth and she became unable to resist them. Cissie said she had become almost afraid to appear on the stage and drugs helped her. She said her friends knew she was trying to free herself from the drugs habit. The judge ruled that she be placed on probation for a year on the condition that she went into a home for six to twelve months where she would be under strict medical supervision. Two of Cissie’s friends undertook to see that she complied with the terms of the judgement.

Less seriously, but still worthy of a court case, a waiter at the Tivoli Music Hall in London was charged with unlawfully offering cigar ends for sale. There was said to be a thriving trade between the music halls and cigar makers in the East End who used the ends to make cheap cigars. An attendant at the Pavilion Music Hall was prosecuted on behalf of the Inland Revenue with selling cigar ends without a licence. One line of defence was that in Paris and New York this was considered an acceptable business but the Inland Revenue wanted to stop the collection of cigar ends in large places of entertainment. Do you think they succeeded? The case was adjourned.

Thanks to britishnewspaperarchive.co.uk