Jose Collins (1887-1958)
Jose Collins (1887-1958)
(Cosmopolitan [US] - October, 1913)
The Carmen of the "Follies"
"George Edwardes did me a greater favor than he or anybody knew two years ago, when he gave me his blessing and a leave of absence from Daly's Theater in London to come over here and try my luck in the New York production of 'The Merry Countess' - which is Strauss' 'Fledermaus' with all the modern improvements, youy know."
It was Carmen whom spoke - if looks count for anything. Her stage name, which is her real name, is Jose Collins, and she is the prima donna of the 1913 edition of the prodigal "Follies," which beguiled the listless summer days and nights of the metropolis. But she has the Sevillian Carmen face, and the lyric voice as well, that suggest another Calve. The "Jose" also hints of a Spanish grandfather in the genealogical background.
Her mother was Lottie Collins, of "Ta-ra-ra-boom-de-ay" memory; her father, a musical director of lesser note; and the London music halls her earliest artistic environment. What her near future may develop is to be figured with rather flattering certainty from her present and very recently past performances. A little entr'acte chat with her, and you begin to see splendid visions.
"In the Strauss operetta, and with Maurice Farkoa in the Vaudeville, I was a hard working, ambitious singer - one just waking up to fairly high-class music. Here in the 'Follies,' and in 'Vera Violetta' at the Winter Garden last season, it has been a case of rollicking. I like to rollick, especially since I am convinced that it helps me in my serious work. When Marcella Sembrich heard me sing the Strauss Czardas - which she has sung herself, and she is the finest coloratura singer in the world - she praised me, and said it was a wonder I had the voice for that sort of thing, working as I did. Well, I work in a way that I enjoy, and it benefits me. I lead a healthy natural life, don't you know. In the two years that I have been here, UI have really grown up in - well, please call it my Art, with a big A, when you write about me. I not only get better parts than in London, but I have fallen into a little of real grand-opera instruction. And besides, I learn a lot teaching. Yes I have a class of girls, mostly shop-girls, whom I help along to make good vocally, just for fun. It really benfits me, and it cost them anything."
"I guess that will be all about my art. I wish some day somebody would interview me about something else besides singing."
"Something might be said, possibly, about sentimental episodes?"
"Yes, that's what people want to know about - love affairs. I've been in love, time and time again. And I hope to be in love some more before I'm through. How else can one be a light-opera prima donna? Fot you can't fool the public, and it is nece4ssary to know how to simulate the real thing. Isn't it all to the good finally?"