CHAPTER XXXI

THE ALHAMBRA: 1854-1903

Both the Alhambra and the Empire were alike in having had a somewhat varied career before they became the rival “homes of English ballet.”

There was something like a craze for music-halls in the early ’sixties of last century, and it was probably partly due to this that the Alhambra, which had been opened in 1854 as a Panopticon of the Arts and Sciences (with a Royal Charter granted by Queen Victoria in 1850) failing of its more ambitious purpose, ceased (unsuccessfully) to instruct, and sought (with better success) only to amuse.

First it was given over to more or less unorthodox religious services on the Sundays and to boxing contests and wrestling on the week days! Then for a time it came under the direction of a then well-known theatrical manager and speculator, the late Mr. E. T. Smith, who called it the Alhambra, and in 1870 secured a regular music-hall licence. The place was still not very successful. It became a circus for a short time.

Then it was taken over by a Mr. William Wilde, of Nottingham, who introduced Leotard, the famous gymnast, about whose wonderful grace and daring London went mad, so much so that on his return visit in 1866, under the late John Hollingshead’s management, he received a salary of £180 a week.

Then Mr. Frederick Strange, who had been connected with the Crystal Palace, became manager and introduced ballet, his most notable production being one called “L’Enfant Prodigue,” which was adapted from Auber’s opera. Mr. Jules Riviere was the conductor of the orchestra; and among those who became responsible for the arranging of the ballets were the brothers Imré and Bolossy Kiralfy, assisted by their sister Aniola, one of their most successful productions being one entitled “Hungary.”

At this period the old quarrel between the young “music-halls” and the “legitimate” theatres was growing serious. A ballet might be produced so long as it was called and was, in effect, a mere _divertissement_. Anything else, a musical sketch, or opera--in which words were said or sung--was held an infringement of the rights of a regular theatre, and when John Hollingshead, as stage director during 1865-1867, produced in 1866 a pantomime called “Where’s the Police?” the management were fined by a magistrate some two hundred and forty pounds. Apart from ballet and such a production as this pantomime, there was, of course, plenty of the “variety” element, contributed by such performers as Leotard, the Farinis, and the Foucarts, gymnasts; and various vocalists known to their period.

With the dawn of the ’seventies came a new taste for ballet and “Les Nations” was staged at the Alhambra with a Mlle. Colonna and other dancers, including Esther Austin (a sister of Emily Soldene) in the cast; and a “Parisian Quadrille” became a feature of the production.

Then came a season of “Promenade” Concerts, and during the Franco-Prussian war the conductor, Mr. Jules Riviere, gave the “War Songs of Europe,” those of the French and Prussian nations evoking such passion that free fights occurred, and the theatre lost its music-hall licence; and the Directors of the Alhambra Company promptly secured a regular theatre licence from the Lord Chamberlain!

So on April 24th, 1871, the place was opened as the Alhambra Theatre, with an evening’s entertainment including a farce, “Oh, My Head!”; a comic opera, “The Crimson Scarf”; and two ballets, “The Beauties of the Harem” and “Puella.” Then followed another ballet “The Sylph of the Glen”; and then “A Romantic Tale,” by J. B. Johnston, and an extravaganza, “All About the Battle of Dorking.”

In September of the same year the Vokes, a famous family of dancers, made their appearance, the programme including “The Two Gregorys,” a comic ballet, and “The Mountain Sylph,” and “The Beauties of the Harem,” in which a Mlle. Sismondi appeared with much success. The Christmas pantomime which followed, with the title “Harlequin Prince Happy-go-Lucky, or Princess Beauty” (a title quite in the good old pantomime style), included a ballet, with such performers as Mlles. Pitteri, Sismondi, and another well-known dancing family, the Elliots.

There was a change of management in March, 1872, when John Baum, from Cremorne Gardens, took up the reins and produced Offenbach’s “Le Roi Carotte,” with M. Jacobi as musical director, and ballets as a feature of the production. Then followed “The Black Crook,” and Offenbach’s beautiful opera, “La Belle Hélène,” and then, in December, 1873, “Don Juan,” in each of the last two Miss Kate Santley playing “lead.”

In the spring of next year came “La Jolie Parfumeuse,” followed in the autumn with a ballet, “The Demon’s Bride,” and “Whittington,” an _opéra bouffe_, in which the honours were shared by Miss Kate Santley and Miss Julia Mathews.

In the autumn of 1875, with Mr. Joseph A. Cave as Manager and producer, came “Spectresheim,” and a comic ballet, “Cupid in Arcadia,” in which the Lauri family and “The Majiltons” appeared. A succession of farces, pantomimes, extravaganzas, light opera and ballets followed, the more noteworthy productions being Strauss’s “Die Fledermaus,” produced at the Alhambra on January 9th, 1877.

As an example of the lavish manner in which the audiences of those days were catered for, the programme for that evening is interesting. There was none of the “9 to 11” business about the theatres then. The “gallery boy” paid his sixpence, or the “pittite” his two shillings expecting a run for his money--and got it! The majority of theatres began their performance at 7.15 p.m.; and those that did not, started even earlier, sometimes as early as six o’clock, and often with four or five productions. On January 9th, 1877, the programme at the Alhambra was as follows:

7.15. “A Warning to Parents.” A Farce. 8.0. “Die Fledermaus.” Opera Comique by Johann Strauss. 10.0. The Celebrated Girards. Eccentric Dancers. 10.15. “The Fairies’ Home.” A New Grand Ballet.

“Die Fledermaus” had an excellent cast, including Miss Emma Chambers--a very popular soubrette of the time--and Mr. Harry Paulton; while in the ballet were a Mlle. Pertoldi, a very handsome _danseuse_ of statuesque proportions, a Mlle. T. de Gillert, a clever mime, and among lesser lights Mlles. Sismondi, Melville, Rosa and Richards, who were for several years to be more or less prominently associated with the Alhambra ballet.

In September of the same year was staged Offenbach’s _opéra bouffe_, “Orphée aux Enfers,” with handsome, golden-tressed Cornélie d’Anka as the chief attraction; the same programme including the ballet of “Yolande,” “invented and designed” by Alfred Thompson, with music by Mons. G. Jacobi, and dances by Mons. A. Bertrand, from the Paris Opera, who was later to become more closely associated with Alhambra productions. The principal _danseuses_ were Mlles. Passani, Pertoldi, de Gillert and M. A. Josset.

It has been stated that it was “towards the end of 1877” that the late Mr. Charles Morton--one of the ablest theatrical managers London has known--took charge of the Alhambra, and that he started his connection therewith by reviving one of his former great successes, namely, “La Fille de Madame Angot.” He may have become connected with the theatre towards the end of 1877, but apparently the first time his name appeared on the programme as Manager was early in January, 1878; and not with “Madame Angot” as his first production, but with “Wildfire,” a “Grand, Spectacular, Fairy, Musical and Pantomimic Extravaganza” (as it was described) by the then very popular _collaborateurs_, H. B. Farnie and R. Reece--an extra extravagant extravaganza in three acts and fourteen tableaux!

This remarkable production had a strong cast, including Harry Paulton, J. H. Ryley, two charming singers, Miss Lennox Grey and Miss Pattie Laverne; and among the _danseuses_ in the _divertissement_--Mlles. Pertoldi, de Gillert and Sismondi.

Next month came a triple bill, starting at 7.20 with a farce, “Crowded Houses”; then, at 8, “La Fille de Madame Angot,” with Mlles. Cornélie d’Anka, Selina Dolaro and Lennox Grey as the bright particular stars; followed, at 10.30, with “Les Gardes Françaises,” a grand military ballet; with Mlles. E. Pertoldi and T. de Gillert as the leading artists, the dances being arranged by Mons. A. Bertrand, the whole production proving very successful.

Much of its success--as in the case of the two or three preceding spectacles--was attributable largely to the beauty of the staging and the splendour of the costumes, apropos to which it should be noted here that it was first in 1877 that M. and Mme. Charles Alias first began to make costumes for the Alhambra, and were associated with it in several subsequent productions until the end of 1883.

It was not, however, until 1884, when the Magistrate’s licence for music and dancing was again recovered, that M. Alias (to whom I am indebted for several details of the theatre’s history) regularly took up the position of Costumier to the Alhambra, in which capacity he had entire control of the costume department--a very important factor in spectacular production--and supplied every dress worn on the stage for a period of about thirty years. Considering that there were some nine or ten complete changes of management during that time it speaks volumes for his ability and the excellence of the work done by M. Alias that his services should have been retained through so lengthy a period.

To return, however, to the days when the Alhambra was not a “music-hall” but a theatre, with the Lord Chamberlain’s licence, and was giving _opéra comique_ and _opéra bouffe_ as well as ballet. Charles Morton’s next production, in April, 1878, was another Offenbach revival, namely, “The Grand Duchess,” with Mlle. Cornélie d’Anka, Miss Rose Lee and J. D. Stoyle (“Jimmy” Stoyle), Pertoldi and T. de Gillert in the cast, M. Bertrand (by now engaged as “resident” ballet-master) introducing two ballets, one Hungarian and the other Bohemian.

In the following June came the production of Von Suppé’s comic opera, “Fatinitza,” adapted by Henry S. Leigh, with the late Aynsley Cook, Miss Rose Lee, John J. Dallas and other popular stars in the cast. It was preceded by a farce, “Which is Which,” and followed by a “grand Indian” _ballet d’action_ by the late J. Albery, entitled “The Golden Wreath,” arranged by Bertrand, with music by Jacobi, and with Mlles. G. David, E. Pertoldi and T. de Gillert as dancers. It was, from all accounts, a very gorgeous production. Indeed, so successful was it that when Offenbach’s “Geneviève de Brabant” was staged in the autumn, this ballet was “still running.”

The sensation of the following spring was the production of “La Poule aux Œufs d’Or,” a “new grand Spectacular and Musical _féerie_,” by MM. Denhery and Clairville, adapted to the English stage by Frank Hall, with a very strong cast including such well-known favourites as Constance Loseby, Emily Soldene, Clara Vesey, Violet Granville, the celebrated French duettists Bruet and Rivière, Aynsley Cook, E. Righton (“Teddy” Righton), with Pertoldi and de Gillert as leading _danseuses_.

In the autumn came a revival of Offenbach’s “The Princess of Trebizonde,” with Miss Alice May, Miss Constance Loseby, Miss Emma Chambers, Mr. Charles Collette, Mr. Furneaux Cook, in the cast, the opera being followed by “Le Carnaval de Venise,” a ballet in which that fine, statuesque dancer and expressive mime, Mme. Malvina Cavallazi--later to become so great a favourite with the Empire’s audiences--was supported by Mlle. de Gillert and other Alhambra favourites, and for which, as in the case of many ballets at this period--the gorgeous costumes were from designs by Faustin.

This was succeeded by Lecocq’s comic opera “La Petite Mademoiselle,” of which the English libretto was by Reece and Henry S. Leigh, a very brilliant cast including the late Fred Leslie, Harry Paulton, Constance Loseby, Emma Chambers and Alice May, the opera being preceded by a farce and followed by a ballet, “Carmen,” dances by Bertrand and music by Jacobi.

On December 22nd, 1879, came the production of “Rothomago,” a “Grand, New, Christmas Fairy Spectacle,” arranged by H. B. Farnie from the French, in four acts and _seventeen tableaux_! It was the day of big adjectives and big productions.

This apparently started the modern fashion of requiring a positive syndicate of musical collaborators, for the late Edward Solomon was responsible for the music of the First Act, P. Bucalossi for the Second, Gaston Serpette (composer of “Les Cloches de Corneville”) for the Third, no less than three ballets being contributed by Jacobi. The cast included Constance Loseby, Mlle. Julie, Emma Chambers, Harry Paulton, Pertoldi, de Gillert, Rosselli; the costumes were designed by Mr. C. Wilhelm, and executed, as were so many of the costumes for these earlier productions, by Madame Alias, Miss Fisher and Mrs. May.

The spring of 1880 was marked by the successful production of Offenbach’s “La Fille du Tambour-Major,” with an excellent cast including Constance Loseby, Edith Blande, Fanny Edwards, the fascinating Fanny Leslie--who later became so popular a “variety artiste”--Fred Leslie, and Fred Marvin. It was followed by a gorgeous Egyptian ballet “Memnon,” in which Mlle. Pertoldi, Miss Matthews--a very handsome English dancer--and Mlles. Rosa and Marie Muller (pupils of Mme. Katti Lanner) were the chief attractions, not to mention Ænea, known as the “Flying Wonder.”

Mr. Charles Morton left the Alhambra in 1881, and a striking success was achieved by the new manager, Mr. William Holland, with “Babil and Bijou,” the cast including Miss Rosa Berend, Miss Constance Loseby, Harry Paulton, and Harry Monkhouse; while in the two grand ballets arranged by Bertrand and for which the dresses were designed by Mr. Wilhelm, were to be seen Mlle. Pertoldi, and Mme. Palladino, a _petite_ and fascinating dancer who later was to become one of the leading favourites at the Empire.

In December, 1882, the theatre was burnt down, and on rebuilding various successful productions were staged. The house, however, did not really enter upon its most triumphant phase until October, 1884, when it became the Alhambra Theatre of Varieties, with ballet now as its main attraction.

The first of the productions was “A Village Festival,” a new grand ballet of Olden Times, with Mlle. Palladino as the _première danseuse_. It was followed in the December with another, a very successful ballet, “The Swans,” with Mlle. Palladino and a Miss Mathews, a very popular dancer in her day. On the Christmas Eve yet another was staged, “Melusine,” a new fantastic ballet, in which a Mlle. Sampietro was supported by Miss Mathews. “Nina the Enchantress”; “Le Bivouac”--a military spectacle; “Cupid;” “The Seasons”; “Nadia”; “Algeria”; “Dresdina”; “Enchantment”; “Antiope”; “Ideala,” a “pastoral divertissement”; “Irene”--a fantastic ballet; “Our Army and Navy”--patriotic spectacle; “Astrea,” were progressively successful productions.

“Asmodeus”; “Zanetta” followed, bringing us to June, 1890, and these too, were notable for some gorgeous stage effects which drew “all London,” and for the dancing of principals such as the two already mentioned, and of Mme. Cormani, Signorina Legnani, Signorina Bessone, Mme. Roffey and Signor de Vicenti, the last named being for many years associated with the Alhambra productions.

“Salandra,” given for the first time on June 23rd, 1890, was a remarkably fine production, and with the late Charles Morton as Acting Manager, Vernon Dowsett as Stage Manager, Mr. T. E. Ryan for Scenic Artist, Signor Casati as _maître de ballet_, M. and Mme. Alias responsible for the costumes; and a superb orchestra of fifty instrumentalists under Mons. G. Jacobi, the Alhambra’s new era of growing prosperity was now assured.

The ballet was in five tableaux, and involved some striking changes of scene. The heroine, Salandra (Signorina Legnani) was a Gipsy Queen, and the opening scene introduced various Tzigane dances. There was an exciting wrestling match, and a lively hunting dance in the third tableau; a charming fair scene in the last, and the whole production exhibited to the full those characteristics of brightness, efficiency of performance, and splendour of stage effect, which were long to mark the Alhambra as a house of distinction and one high in popular favour.

For Christmas of that year “The Sleeping Beauty” proved attractive, and was followed in 1891, by “On the Roofs,” a “pantomime ballet” by the famous Lauri troupe. “Oriella,” a new fantastic ballet--described as “the most beautiful of all” then produced at the Alhambra--followed; then a musical pantomime by Charles Lauri, “The Sculptor and the Poodle”; then a comic ballet, “The Sioux,” by Charles Lauri and his troupe, with music by Mr. Walter Slaughter; and in September, 1892, came “Up the River,” a very popular production invented by the late John Hollingshead (who was now Manager) in which the rural and riverside scenery by Mr. T. E. Ryan was very much admired; the scenic effects--including a remarkable storm--being admirably managed; the ballet capitally performed; and M. Jacobi’s flowing and richly orchestrated music proving better than ever.

“Temptation,” a “new, grand fantastic ballet, in three tableaux,” invented and arranged by Signor Carlo Coppi, with scenery by Ryan, and music by M. Jacobi, was a big and very successful production, in which a Signorina Elia, as _première_, made a hit.

The production of “Aladdin” by John Hollingshead on December 19th, 1892, called forth tributes of praise for the enterprising and ingenious Manager. The familiar story was well kept to, the situations were telling, and the four changes of scene were effected without once lowering the curtain, while the last, “The Veil of Diamonds,” was amazing. A tableau curtain of glass was introduced, composed of some 75,000 glass facets held together by _twenty-four miles_ of wire, and illuminated by various electric and other lights of different colours, the whole achieving one of the most wonderful effects ever seen on the stage, one not easily forgotten.

The cast was a strong one, Signorina Legnani--a finished dancer of the typical Italian school--as the Princess; Mlle. Marie, a charming little dancer and clever mime, as Aladdin; Signorina Pollini, as the Spirit of the Lamp; that fine actor and dancer, Mr. Fred Storey, as the Magician; with good support from Mme. Roffey, Miss Hooten, the Almonti Brothers, and, of course, a wondrous array of beauty among the Alhambra _corps de ballet_. Mr. Bruce Smith had provided artistic scenery; Mr. Howard Russell was the designer of the costumes--as for several of the Alhambra ballets--which were admirably turned out as usual by M. and Mme. Alias; and M. Jacobi had once again surpassed himself in the music, that for the beautiful “chrysanthemum” scene and a waltz in A, in the finale, proving especially popular.

Another great success was achieved in the production of “Chicago,” in March, 1893, a lively, up-to-date production, which later ran into a second edition. “Fidelia,” adapted from “Le Violon du Diable,” was a romantic ballet that also went into a second edition. The Alhambra by now had as Business Manager, Mr. Albert A. Gilmer, with Mr. A. G. Ford as Stage Manager, though Signor Casati, as _maître de ballet_, M. G. Jacobi, as conductor and composer of the music, were still continuing in their accustomed spheres.

Yet another success achieved under the same able direction was “Don Quixote,” with Mr. Fred Storey as a brilliant exponent of the title-_rôle_, and Signorina Porro as the Dulcinea, La Salmoiraghi as the niece, and Mr. Fred Yarnold, as the Sancho Panza, other parts being well filled by Miss Julia Seale (a handsome and clever dancer and mime long associated with the Alhambra), Mme. Roffey, Miss Hooten and the Almontis.

The ballet was a great success with the public, and a happy comment by a leading critic was as follows: “Within the charming framework of the four admirably painted scenes by Ryan there is a continuous procession of ballet incident, the costumes quaint, picturesque, poetic, splendid, and nevertheless suggestive always of old Spain. Mr. Howard Russell, the designer, deserves great praise for the fancy and versatility which he has been able to show without proving unfaithful to his theme. While his beautiful dresses give rare variety and character to the dances of maidservants, pages, millers, grape-gatherers, brigands, wood-nymphs, in the earlier portions of the piece, they are seen to really magnificent effect in the grand gathering of all the Terpsichorean forces of the theatre in the final tableau. The stage organisation of the Alhambra is always good. Nowhere do we see better mass dancing; and nowhere either do the dancers receive more assistance from the musician. M. Jacobi’s ballet music is as sympathetic as its tunefulness is inexhaustible. This is M. Jacobi’s eighty-ninth ballet here.” That last remark may come as a revelation to those who do not realise how much of ballet we have had at two London theatres in the past thirty years. “Don Quixote” was M. Jacobi’s “eighty-ninth ballet” at the Alhambra, and--there were other Jacobian productions to follow!

Mr. Alfred Moul in 1894 became the General Manager of the Alhambra and the evidences of his long associations with the dramatic and lyric stage were quickly apparent in the series of brilliant successes with Ballet which now were placed to the credit of the historic house of which he had assumed control.

A marked success in the summer of the same year was “Sita,” the story of which dealt with an Indian girl’s hopeless love for the accepted lover of her master’s daughter.

A grand spectacular ballet, on the familiar theme of “Ali Baba and the Forty Thieves,” was the sensation of the close of 1894, more particularly owing to the introduction of an “aerial ballet” by the well-known Grigolati troupe. The treatment of the story was on conventional lines, naturally, but the ballet was gorgeously staged, and introduced an especially attractive dancer, Signorina Cecilia Cerri, while Mlle. Louise Agoust, as Morgiana, added to the laurels she had already won in other productions as a first-rate mime of dramatic character. “Bluebeard” was another popular success on familiar lines; and “Rip Van Winkle”--with Mr. Fred Storey, masterly as Rip--yet another, towards the end of 1896.

Mr. Alfred Moul then staged “Victoria and Merrie England,” a “grand national ballet in eight tableaux,” the scenario being arranged and the ballet “invented” by Signor Carlo Coppi, the music being by no less a personage than Sir Arthur Sullivan, M. Jacobi still conducting, while the scenery was by Mr. T. E. Ryan, the costumes by M. and Mme. Alias from designs by Mr. Howard Russell, the cast including Signorina Legnani, Miss Ethel Hawthorne, Miss Julia Seale and Miss Josephine Casaboni. The ballet was a huge success. It was certainly one of the finest spectacular and “patriotic” productions ever seen on the London stage, and it is one of the proudest records of the Alhambra that the performances were honoured with nearly a score of Royal visits.

One of the great successes of the spring of 1898 was a grand ballet on the old theme of “Beauty and the Beast,” invented and produced by Signor Carlo Coppi, with music by M. Jacobi, the interest being kept up throughout in a _crescendo_ of pageantry. The sensation of the production was, perhaps, the second tableau, “The Garden of Roses,” in which the popular Signorina Cerri, supported by the _corps de ballet_, appeared in a grand valse representing every known kind of rose, each dancer being almost hidden by gigantic presentments of the flowers--red, tea, moss roses and every other type--a luxurious mass of living blossoms, weaving itself into ever fresh and endless harmonies of colour and enchantment. Yet another gorgeous effect was attained by a Butterfly ballet, and the whole thing was one more triumph for Mr. T. E. Ryan as scenic artist, Mr. Howard Russell and M. Alias, responsible for the wonderful costumes; a triumph indeed for all associated with the production.

On the retirement of Mr. Moul, which took place in 1898, Mr. C. Dundas Slater became General Manager, with Mr. James Howell as Business Manager, Mr. Charles Wilson as Stage Manager, Mr. H. Woodford as Secretary and Treasurer; and Mr. G. W. Byng as Musical Director--the last two named gentlemen holding their appointments for many years following.

A very popular production of this year was “Jack Ashore,” modestly described as “an unpretentious Sketchy _Divertissement_ in One Tableau” which was invented and produced by Mr. Charles Wilson, with dances arranged by Signor Pratesi, and music by Mr. George Byng. It had a delightful early nineteenth-century setting for its dramatic little story and was capitally done by a cast including Miss Julia Seale, Miss Casaboni, the Misses Grace and Sybil Arundale, Mr. Albert Le Fre, and the Brothers Almonti.

An attractive production of the following year was “A Day Off,” which, however, was somewhat outshone by the beauty of “The Red Shoes,” a fine spectacular ballet based on Hans Andersen’s famous story, with a good cast including Mlle. Emilienne D’Alençon, Miss Julia Seale, and Miss J. Casaboni--a very vivacious and attractive dancer.

Two noteworthy ballets of 1900 were “Napoli,” in one scene, written by Signor Giovanni Pratesi, produced by Mr. Charles Wilson, with music by Mr. George W. Byng; and a patriotic military display, “Soldiers of the Queen,” produced by Mr. Charles Wilson, under the direction of Mr. C. Dundas Slater, the scene representing Queen’s Parade, Aldershot, from sunrise to sunset, concluding with an Inspection and Grand March by the combined bands of Infantry, Drums and Fifes, _corps de ballet_, chorus and auxiliaries, numbering over two hundred and fifty, and representing some thirty leading regiments. Needless to say, produced as it was when patriotic feeling was at its height on account of the Boer War, it was as successful as it was magnificent.

A “romantic nautical ballet,” in three scenes, entitled “The Handy Man,” followed in January, 1901. It was written and produced by Mr. Charles Wilson, with music by Mr. George W. Byng, and dances arranged by Signor Rossi. In the same programme was a vocal _ballet divertissement_, “The Gay City,” by the same author and musician, the dances arranged by Mme. Cormani. Later this was retained, and was followed by a “fanciful” grand ballet, entitled “Inspiration,” invented and written by Mr. Malcolm Watson, the music being by Mr. George W. Byng, and the dances by Signor Carlo Coppi, the cast including Miss Audrey Stafford, as the Goddess of Inspiration, Miss Judith Espinosa, as the Genius of Inspiration, Miss Edith Slack, as a Greek Dancer, Mr. Fred Farren, as Caliban, and other well-known people. The year closed with a charming _divertissement_, “Gretna Green,” and a revised edition of “Soldiers of the King.”

“In Japan,” a delightful ballet, adapted by Mr. S. L. Bensusan, from his story, _Dede_, with music specially composed by M. Louis Ganne, proved particularly attractive. There was a good story, the acting and dancing were unusually good, and the mounting and stage effects, under the direction of Mr. C. Dundas Slater and Mr. Charles Wilson, were fresh and beautiful, especially the “Ballet of Blossoms.”

The theatre at this period was now again to come under the influence of Mr. Alfred Moul. At an Annual General Meeting of the Shareholders at the commencement of the year 1902, when the fortunes of the theatre seemed once more uncertain, Mr. Moul was invited again by both Shareholders and Directors to assume control. He responded, and within a few weeks was installed as Chairman of the Company, once more throwing his energies into a congenial task. One of his first achievements was to secure the services of an old _protégé_ and a now eminent musician, Mr. Landon Ronald.

From the pen of that accomplished artist came the music for a spectacular Patriotic Ballet entitled “Britannia’s Realm,” in a prologue and four scenes, invented and produced by Mr. Charles Wilson, with dances by Signor Carlo Coppi. It was one of the best planned and most extraordinarily sumptuous productions ever seen at the Alhambra, long famous for the splendour of its effects, and while there were several charming novelties, such as the _Pas des Patineurs_, in the Canadian Skating Carnival scene (the music of which must still haunt those who heard it), for sheer magnificence probably nothing finer has ever been produced on the Alhambra stage than the Indian jewel scene, and the grand _finale_ representing “Homage to Britannia,” and the formation of the Union Jack. It was a remarkable achievement, and well deserved the enthusiasm with which, night after night for some months, it was received.

An excellent ballet of 1903 was “The Devil’s Forge,” invented by Mr. Charles Wilson and Mme. Cormani, with music by Mr. George Byng. This also ran for some months, and was a charming and dramatic work, beautifully staged, and uncommonly well acted, particularly good work being done by Miss Edith Slack (a clever mime) as the hero, Karl, and Miss Marjorie Skelley, a sound and graceful dancer, as the Fairy of the Mountain.

Before this was withdrawn a delightful adaptation of “Carmen” had been staged, with much of Bizet’s music, ingeniously handled by Mr. George Byng, who had composed some admirable extra numbers. It was finely staged, notable for the strength of the cast and vitality of the entire _corps de ballet_, but above all for the superb acting of Guerrero as Carmen and M. Volbert as Don José.

Apart from Guerrero’s fine presence, her magnificent dancing, the breadth, realism and intensity of her acting throughout, all of which one could never forget, there were two particularly memorable moments of that production; one was the fortune-telling scene, the other--the scene in which Carmen flirts with the Lieutenant of Gendarmes in order to lure him away from the gipsy camp, and is dividing her attention between her flirtation and the knowledge that Don José has only just been frustrated from stabbing her while so engaged, by the sudden intervention of her comrades, who are endeavouring to drag him away silently so that the Lieutenant who is just in front shall not hear and so discover the presence of the gipsy band.

In the card scene, Guerrero gave in all its fullness the sense of a tragic, overhanging doom. In the other, all the combined cunning and fighting instinct of a savage animal at bay with circumstance, and trying by sheer cunning and audacity, to master it, came out, and it was not acting but reality, the real Carmen of Mérimée extricating herself and her comrades from discovery and disaster by superb daring in the use of her dazzling, unconscionable charm.