CHAPTER XXXII

THE ALHAMBRA 1904-1914

There was plenty of novelty and ample charm in “All the Year Round,” a ballet in seven scenes, written and produced by Mr. Charles Wilson, with bright and appropriate music by the well-known _chef d’orchestre_ of Drury Lane, Mr. James Glover, on January 21st, 1904, by which time the late Mr. George Scott was Manager.

It was one that should always be worth revival, with topical modifications, and though a genuine ballet with a central idea connecting its varied scenes, it seemed in form somewhat to herald the _revue_ which has since become such a craze. It was what one might call a ballet in free form.

The chief theme was the whim of a young French Marquis, who, having invited friends to a dinner-party and engaged a Hungarian band for their entertainment, himself turns up late to find that his _chef_ is about to resign because the dinner is spoilt, and the servants are on the verge of striking, while the guests are dancing. Annoyed at a clock which reminds him of his unpunctuality, he orders its destruction. The band now “strikes” and as everything is topsy-turvy, the young host--not too blasé to enjoy any new freak--suggests that servants and guests shall change places. This done, they welcome in the New Year, and on the departure of the last guest, the butler brings his master a large Calendar which the young man is mockingly about to destroy also, when the Spirit of Happiness descends from it, and as he pursues her, she asks him to learn how he may obtain Happiness throughout the dawning year--thus paving the way for a sort of _revue_ of the Months.

The scheme gave scope for a number of charming and novel effects and topical reference to various old festivals, such as St. Valentine’s Day, St. Patrick’s Day; various sports and pastimes; a river scene, a seaside bathing scene, an August Bank Holiday Revel. But the greatest charm of the production was in scenes where a more poetic fancy had had free play, as in the May scene, with the approach of Spring, a glory of white and pink may, lilac and laburnum, and heralding the blossoms of early summer, finishing with a ballet of swallows and May flowers.

The Autumnal scene, with its ballet of wheat, cornflowers, poppies and autumn leaves, was a charming incident and provided an excellent contrast to the earlier scene in the warmth of its colouring. The November scene was, rightly enough, placed in London, on the Thames Embankment by Cleopatra’s Needle, amid a typical London Fog; while that of December closed with a grand Christmas ballet of holly and mistletoe and icicles, with snow-clad tree and hedgerow in the background.

It was indeed a capital production and was still in the programme when a new and topical ballet, “The Entente Cordiale,” was staged on August 29th following. This also was invented and produced by Mr. Charles Wilson, with excellent music by Mr. Landon Ronald, and dances arranged and composed by Signor Alfredo Curti, who was for the next few years to be closely associated, in the capacity of _maître de ballet_, with the Alhambra Theatre.

The opening prologue took place in the “Grove of Concordia,” where the five Great Powers of Europe assemble to pay homage to the Goddess of Progress. But, later, the Demon of War enters upon the world-stage and stirs up strife among the Nations, so that all the horrors of War are felt throughout the world, until finally Peace prevails and summons the Ambassadors to enter and the Nations to assemble in the Temple of Peace, where the Representatives of all the Nations, assisted by the Orders of the Legion of Honour of France and the Garter of England, at last form a grand alliance of all the Powers and ensure the peace of the world in one _Grande Entente Cordiale_, a scene of splendour strangely annulled in the face of present history but, let us hope, prophetic of the future.

“Parisiana,” a grand ballet in six scenes, invented and produced by Mr. Charles Wilson, with music by Mr. James W. Glover, and dances arranged by Signor Alfredo Curti, and some gorgeous costumes by Alias, from designs by Comelli, gave us in 1905 fascinating glimpses of Paris at various periods--1790, 1830, 1906. Among noteworthy members of the cast were Mlle. Jane May, heroine of the earlier production of “L’Enfant Prodigue,” and one of the finest modern mimes; and also Miss Edith Slack, Miss Cormani, Signor Santini, and, for a time, Signorina Maria la Bella.

Between October, 1906, and May 14th, 1907, the Alhambra underwent partial reconstruction, with complete and elaborate redecoration, under the supervision of Mr. W. M. Brutton, the Alhambra Company’s architect; and big as the task was it was carried through with entire success and with additional triumph in that it was done without closing the theatre for a single night!

Mr. Alfred Moul had now assumed the dual task of Chairman and Managing Director, with the result that under the influence of a gentleman of extensive theatrical experience, and wide musical culture, the Alhambra entered upon a new and even yet more brilliant phase of artistic success in 1907, when “The Queen of Spades,” a striking ballet of which the action and dances were composed and arranged by Signor Alfredo Curti, was staged and proved so successful as to run into a second “edition” and continue in the programme for some months.

Signor Alfredo Curti hailed from the Scala, Milan, where he had studied the difficult art of Ballet composition on the historic lines laid down by the virtual founder of the Milan school, Carlo Blasis, of whom, as of Noverre, he was a great admirer, and about whom I had many an interesting conversation. Signor Curti, whose scholarship in the history of the dance was remarkable, was an enthusiastic follower of the traditional school, and as an accomplished dancer and mime, an artist, trained geometrician, and devotee of literature and music, he brought to bear on his work as composer of Ballet, a theatrical experience and artistic sympathy, somewhat akin to that of Blasis himself; and while the action of his ballet was always coherent and dramatic his appreciation of stage effect and handling of massed groups of dancers in motion, were uncommonly fine.

In the production of “Queen of Spades,” a dramatic ballet, the story of which dealt with the allure of gambling, he was supported on the musical side by that distinguished Italian composer, Signor Mario Costa, some additional numbers being contributed by Mr. George W. Byng, the costumes, of course, being by Alias, from designs by Comelli, and scenery by Mr. T. E. Ryan.

With Signorina Maria Bordin, a finished dancer of the typical Italian school, as _prima ballerina assoluta_, seconded by that admirable mime, Miss Julia Seale, Signorina Morino, Signor Santini, and an excellent _corps de ballet_, the production achieved instant success, and enthusiastically appreciative audiences found special reason for approval in the novelty of the stage effects, such as the “Dream Visions” in the third scene, with its “Valse des Liqueurs,” the “Grand March of Playing Cards and Roulettes,” the novel “Bridge” minuet; the “Conflict between Evil and Good,” not to mention the dramatic effect of the “Temptation” scene which followed, and the gorgeous finale in the “Nymphs’ Grotto of La Source.”

Ambitious and successful as was this production, it was followed, in October, 1907, by one even more striking, namely, “Les Cloches de Corneville,” adapted from Planquette’s world-famous _opéra comique_. The _ballet d’action_ was invented and presented by Signor Alfredo Curti to the original music, as ingeniously selected, arranged and supplemented by Mr. George W. Byng. Some wonderful costumes were supplied by Alias from designs by Comelli, and the entire spectacle was produced under the personal direction of Mr. Alfred Moul. Signor G. Rosi gave an uncommonly fine study of the miserly Gaspard, Signor Santini making a “dashing” Marquis de Corneville, Miss Daisy Taylor an attractive Germaine, Miss Julia Seale playing cleverly as Grenicheux, Signorina Morino as Serpolette, while Signorina Maria Bordin won fresh laurels as the Spirit of the Bells, a part naturally calling less for dramatic ability than for the music of motion.

The production was beautifully staged. No prettier scene has ever been set on the Alhambra stage than that of the Hiring Fair and Apple Harvest, with its dance of apple-gatherers and sabot dance; nor one more gorgeous than the last, in the Baronial Hall of the Corneville Château, with its striking Grand March of Knights. The ballet ran continuously _for over seven months_, and was revived with no less success two years later.

Once more a “topical” ballet held the place of honour in the programme on May 25th, 1908. “The Two Flags,” a Franco-British _divertissement_, arranged and produced by Signor Curti, with some capital music by Mr. George W. Byng, was presented under the personal direction of Mr. Alfred Moul, the chief _rôle_ of “La Gaieté de Paris” being taken by Mlle. Pomponette--the very personification of French _enfantine_ gaiety--well supported by Miss Julia Seale, Signor Rosi, Signorina Morino, and other Alhambra favourites.

In the same programme was given, under the title of “Sal! Oh My!” an amusing satire on what we may term the Salome School of Dancing, then recently instituted by Miss Maud Allan. The Alhambra skit, described as “a musical etcetera” (the delightful music of which, by the way, was by Mr. George W. Byng), served to introduce to a London audience for the first time La Belle Leonora, a very handsome _danseuse_ of, I believe, Spanish origin, who was, for several seasons, to become the “bright, particular star” of the Alhambra.

These two productions held sway for some months, but gave place in October, 1908, to “Paquita,” a charming romantic ballet arranged and produced by Signor Alfredo Curti, with music by Mr. George W. Byng, who once more proved his talent for composition of the kind essential for ballet, music rich in expressive melody, dramatic in orchestration, and always appropriate to the action and mood of the situation. The production introduced to London audiences for the first time, Mlle. Britta, a young Danish dancer, with an interesting personality and a marked gift for acting.

In the same programme was included “On the Square,” a _divertissement_ arranged and produced by Miss Elise Clerc, the scene of which was laid in Herald Square, New York, and formed a background for dances by newsboys, flower-girls, equestriennes, cake-walks, “apache” dances, a dance of “Fluffy Ruffles and Rough Riders,” a clever eccentric _pas de deux_, by Miss Elise Clerc herself and the late Mr. Frank Lawton (the whistler, who first came into prominence in London in the original production of “The Belle of New York”), the most attractive item in the whole production perhaps being a marionette _pas de deux_ by Mlle. Britta and Miss Carlotta Mossetti, a clever dancer and mime.

The _divertissement_ held its place in the programme for a considerable time, but was in general character hardly up to the artistic tone of the Alhambra’s past; and the production of “Psyche,” a classic idyll in three scenes, of which the dramatic action and dances were by Signor Alfredo Curti, and the melodious, and always expressive music was by Mr. Alfred Moul, came as a welcome relief to the banalities of ragtime, the more so in that it provided a fine opportunity for another striking success by Mlle. Leonora, whose statuesque grace was particularly well displayed by the classic beauty of the setting provided for her.

“Femina,” another fine production by Signor Curti, gave Mlle. Leonora opportunities, of which she fully availed herself, more especially in her own national dance, and Mlle. Britta achieved a marked success both as dancer and actress. Since then the more recent influx of Russian dancers to the Alhambra, in “The Dance Dream,” invented and produced by Alexander A. Gorsky, and notable for superb mounting and the fine dancing of Mme. Catrina Geltzer and M. Tichomiroff; then the exquisite “1830,” and since then again, another superb production of a new version of “Carmen,” produced by Mr. Dion Clayton Calthrop, and with some especially fine dancing by La Malaguenita and other Spanish artists, all offered us fresh and delightful examples of the enterprise of the management responsible for them.

We must, however, leave any further consideration of the many notable examples of Ballet at the Alhambra, which during the past two or three years has been mainly given up to the _Revue_; and must now turn to the Empire where an extensive series of always artistic productions have provided those who witnessed them with many interesting and happy memories.