DOI issue:
January 10, 1880
DOI Page / Citation link:https://doi.org/10.11588/diglit.17763#0011
January 10, 1880.] PUNCH, OR THE LONDON CHARIVARI.
JUDGING BY APPEARANCES.
Old Scotch Wife. “Losh me ! There’s a Maun Dkenkin’ oot o’ Twa Boattles at ance ! ! ”
\Thc Old Gentleman was trying his new Binocular, a Christmas Present to his Nephew.
Then a Morris ! a Morris! round brave old San Marco !
If all’s true that they say, be’t a caper of joy,
That through all risks of wreck in Yenetian barco,
His mosaics and marbles are safe, dear old boy !
But if, thanks to Italy’s tastes unsetherial,
Your fears point to risks that still hang o’er his head,
Let your Morris do duty for dance more funereal,
Like that danced in Basle cloister by Death—o’er the dead!
OUR REPRESENTATIVE MAN.
A Visit to the Alhambra—Drury Lane—German Reed's—The
Gaiety—End of First Round.
Rothomago, at the Alhambra, belongs to a class of entertainmenl
exactly suited to this house. It is the right piece in the right place
There is only one mistake in it, and that is the absence of tricks anc
transformations. The French original was full of these grotesque
surprises, perpetually surprising and delighting the audience. Given
one good piece of this sort, starting at Christmas time, and it oughi
to last the year through, Rothomago is the sort of elastic story whicl
like Le Tour du Monde, admits of perpetual variety. As soon as £
novelty could he obtained, something that was played out or tha1
didn t go quite so well as the rest could be removed, and the novelt}
popped into its place, when, of course, all the world must be told tq
every means of advertisement at money’s command, of the additiona
attraction, to the spectacular-extravaganza of Rothomago, or what-
ever the piece might be at the Alhambra.
An this way, La Riche au Rots and the Pied de Mouton, ran fo:
about twenty years in Paris. They are always running. Were (
see m the affiche of the Porte St. Martin that La Riche was nov
eing played with five new Acts, fifteen new tableaux, and that al
aris was going to see it as all Paris has been to see it for the las
quarter of a century, I should not be in the least surprised. And s<
« might be at the Alhambra.
the music of Act I. is by Mr. Solomon, who shows the usua
saom of Solomon in being remarkably like Sullivan, — anc
none the worse for having studied in that Doctor’s. school. In
Act II. it is by Signor Bucalossi, where a concerted piece, and the
ballet-music were the best numbers: in Act III. M. Gaston Ser-
pette gives us one concerted piece worthy of his name, and in
Act IY. our old friend, and the Alhambra’s best servant, Mr. J. G.
Jacobi, comes out strong in his ballet, as does also Mile. Roselli,
the new dancer, who has danced from Paris, Turin, Milan, and Bord-
eaux, all the way up to Leicester Square, where I hope to “meet
her once again.”
The Fourth Act is the best of the lot, and merits separate notice.
That the last should be the best is true Alhambra policy (if it
only begins at a reasonable time, as no doubt it does by now), in-
tended for the entertainment of those whom Club dinners have
detained, and who, alas! poor creatures, turned loose on the cruel
streets of London at ten o’clock at night, scarcely know whither to
bend their steps. To these waifs and strays the hospitable doors of
the Alhambra are open. Within all is brightness and lightness.
Mr. Paulton lectures in his own peculiar' vein of humour. Miss
Loseby looks charming, and sings melodiously. Miss Hetty Tracy
is a sweet Fairy, and Miss Emma Chambers a saucy Soubrette.
Heither Mile. Julic (who seems to know as little of the stage as
she does of our language), nor Miss Rose Stella, is an acquisition.
A Frenchwoman, wno has little to recommend her but a name which
may he mistaken for “ Judic,” is of very little use at the Alhambra,
judging at least from her first performance of the Princesse Allegra.
The costumes in the Egyptian Ballet are peculiarly effective; and
the dancing of Mile. Gilbert, and “little Rosa,” in the Vintage
Ballet, is as graceful as it is full of life and spirit, where the har-
monious clinking of bright metal cups as an accompaniment to the
chorus, is a novel and striking effect. So much for Rothomago ;
and now for Drury Lane.
What! Rlue Reard never been seen before at Drury Lane!
Well, so they say. Who are they ? Mr. Harris, Mr. Yokes, and
the “ Brothers Grinn.” I can’t believe it.
If not as a pantomime, surely the drama of Rlue Reard must have
been done here ever so long ago, before this Representative Person
was born or thought of. Be that as it may—and. I am not an anti-
JUDGING BY APPEARANCES.
Old Scotch Wife. “Losh me ! There’s a Maun Dkenkin’ oot o’ Twa Boattles at ance ! ! ”
\Thc Old Gentleman was trying his new Binocular, a Christmas Present to his Nephew.
Then a Morris ! a Morris! round brave old San Marco !
If all’s true that they say, be’t a caper of joy,
That through all risks of wreck in Yenetian barco,
His mosaics and marbles are safe, dear old boy !
But if, thanks to Italy’s tastes unsetherial,
Your fears point to risks that still hang o’er his head,
Let your Morris do duty for dance more funereal,
Like that danced in Basle cloister by Death—o’er the dead!
OUR REPRESENTATIVE MAN.
A Visit to the Alhambra—Drury Lane—German Reed's—The
Gaiety—End of First Round.
Rothomago, at the Alhambra, belongs to a class of entertainmenl
exactly suited to this house. It is the right piece in the right place
There is only one mistake in it, and that is the absence of tricks anc
transformations. The French original was full of these grotesque
surprises, perpetually surprising and delighting the audience. Given
one good piece of this sort, starting at Christmas time, and it oughi
to last the year through, Rothomago is the sort of elastic story whicl
like Le Tour du Monde, admits of perpetual variety. As soon as £
novelty could he obtained, something that was played out or tha1
didn t go quite so well as the rest could be removed, and the novelt}
popped into its place, when, of course, all the world must be told tq
every means of advertisement at money’s command, of the additiona
attraction, to the spectacular-extravaganza of Rothomago, or what-
ever the piece might be at the Alhambra.
An this way, La Riche au Rots and the Pied de Mouton, ran fo:
about twenty years in Paris. They are always running. Were (
see m the affiche of the Porte St. Martin that La Riche was nov
eing played with five new Acts, fifteen new tableaux, and that al
aris was going to see it as all Paris has been to see it for the las
quarter of a century, I should not be in the least surprised. And s<
« might be at the Alhambra.
the music of Act I. is by Mr. Solomon, who shows the usua
saom of Solomon in being remarkably like Sullivan, — anc
none the worse for having studied in that Doctor’s. school. In
Act II. it is by Signor Bucalossi, where a concerted piece, and the
ballet-music were the best numbers: in Act III. M. Gaston Ser-
pette gives us one concerted piece worthy of his name, and in
Act IY. our old friend, and the Alhambra’s best servant, Mr. J. G.
Jacobi, comes out strong in his ballet, as does also Mile. Roselli,
the new dancer, who has danced from Paris, Turin, Milan, and Bord-
eaux, all the way up to Leicester Square, where I hope to “meet
her once again.”
The Fourth Act is the best of the lot, and merits separate notice.
That the last should be the best is true Alhambra policy (if it
only begins at a reasonable time, as no doubt it does by now), in-
tended for the entertainment of those whom Club dinners have
detained, and who, alas! poor creatures, turned loose on the cruel
streets of London at ten o’clock at night, scarcely know whither to
bend their steps. To these waifs and strays the hospitable doors of
the Alhambra are open. Within all is brightness and lightness.
Mr. Paulton lectures in his own peculiar' vein of humour. Miss
Loseby looks charming, and sings melodiously. Miss Hetty Tracy
is a sweet Fairy, and Miss Emma Chambers a saucy Soubrette.
Heither Mile. Julic (who seems to know as little of the stage as
she does of our language), nor Miss Rose Stella, is an acquisition.
A Frenchwoman, wno has little to recommend her but a name which
may he mistaken for “ Judic,” is of very little use at the Alhambra,
judging at least from her first performance of the Princesse Allegra.
The costumes in the Egyptian Ballet are peculiarly effective; and
the dancing of Mile. Gilbert, and “little Rosa,” in the Vintage
Ballet, is as graceful as it is full of life and spirit, where the har-
monious clinking of bright metal cups as an accompaniment to the
chorus, is a novel and striking effect. So much for Rothomago ;
and now for Drury Lane.
What! Rlue Reard never been seen before at Drury Lane!
Well, so they say. Who are they ? Mr. Harris, Mr. Yokes, and
the “ Brothers Grinn.” I can’t believe it.
If not as a pantomime, surely the drama of Rlue Reard must have
been done here ever so long ago, before this Representative Person
was born or thought of. Be that as it may—and. I am not an anti-