Theatre Production - The Dancing Mistress

In the course of his managerial career, Mr. George Edwardes has given the public many sumptuous and exquisite scenes, but for sheer picturesqueness he has done nothing so scenically beautiful as the Alpine "set" in the piece under notice. Nor would it be fair to the artist, Mr. Joseph Harker, if we did not associate him with Mr. Edwardes in this delightful representation of Switzerland in the winter. The same praise must he awarded Mr. J. A. E. Malone, the "Producer," for the admirable manner in which he has given human life and colour to the majesty of mountainous peaks and made snow fields echo with cosmopolitan gaiety. It may seem for the moment unfair to the author, Mr. J. T. Tanner, and the composer, Mr. Lionel Monckton, thus to relegate them as it were, to the third list of honours - but just think what a spring chicken is in the hands of a bad cook, and what the accomplished chef can make of its tender body! And, to carry my gastronomic simile a little further, the artists are the piquant sauces that complete the exquisite quality of the dish.

"The Quaker Girl" enjoyed a phenomenal success, but I think "The Dancing Mistress" is going to perform to a still more triumphant tune. In every way it is stronger in that valuable dramatic element - contrast. The characterization is more firmly marked and the individuality of each artist is given more play. Everyone stands out clear, and each character remains a fixed entity in the mind. In common with the great majority I suppose I may frankly avow I do not care a rap for the plot of a musical comedy. I want the lilting melody, the ready wit (even if it be a gag), the captivating personalities of the leading artists, the pretty faces and shapely figures of the chorus ladies. Mix these ingredients with a clever hand and the resuIt spells success.

But for the sake of our many enthusiastic admirers across distant seas to whom the Play Pictorial (as they so frequently write and tell us) is the one touch that keeps them akin with London theatrical life, I will briefly relate the leading incidents of the piece.

In the first place I imagine that the author intended a quite serious love episode between Miss Elsie Spain and Mr. F. Pope Stamper, in-as-much as the latter, although an English Peer, is accompanying the former in rides on the Brighton Downs in the guise of a riding master, but the love interest takes a ride on its own account and vanishes over the hills what time the curtain is falling on the first act.

PRESS REVIEW

(Lloyds Weekly News [London, UK] - 20th October, 1912)
"DANCING MISTRESS"
Dainty New Musical Comedy at the Adelphi, Last Night
MISS GERTIE MILLAR'S SUCCESS

Pretty airs (by Mr. Lionel Monckton) and pretty graces (by the ladies of Mr. George Edwardes's company) are the outstanding features of the new musical play, "The Dancing Misstress," which was received so affectionately at the Adelphi last night.

Of humour there is, at present, not much, for the "book" is by Mr. James T. Tanner, unaided and alone, and humour is not in Mr. Tanner's line. He does not pretend to do more than plan out a story on the dotted lines that determine the various lengths and breadths of acts and scenes and situations, and it is for Mr. George Edwardes's comedians to fill in the fun as opportunity or necessity occurs.

Last night one felt that they had more necessity than opportunity; but one also felt, knowing how resourceful are Mr. Joseph Coyne and Mr. James Blakeley when their talents are not hustled, that the humour would soon be sprouting out and blossoming into happy visibility, to the joy of future audiences and to the shame of the down-at-heel "jokes" about insurance and stamp-licking.

Apart from this lack of humour (which, of course, will not be a lack for long), "The Dancing Mistress" is unquestionably "good goods." It passesses to a large degree the quality of brightness, and it presents Miss Gertie Millar in a part after her own merry heart - that of a young dancing mistress whom the girls at Miss Pindrop's establishment at Brighton all love as a pal, and who is sought in marriage "for herself alone" (for it does not transpire until late in the piece that she has won a lottery prize of Ł20,000) by a young American aeroplanist, Teddy Cavanagh.

The story opens in the dancing hall at Miss Pindrop's, where there is a good deal of merry romp and chatter, to be chilled constantly into silence - too constantly, perhaps, for those who might be excused for looking for variety - by the sudden entrances of the stiff-backed and severely-gowned "Principal " - a character that Miss Agnes Thomas, clever actress as she is, is unable to lift out of its very conventional self, not being accustomed to tackle such weight. This incessant appearance of prim Miss Pindrop when the riot of the schoolroom has reached its height is, however, a bit of tiresomeness that can very easily be remedied. Mr. Tanner is always careful to construct his scenes in such a fashion that anything can be removed from them without hurt - anything, that is, but the songs and their singers and the dances and their dancers.

When the fascinating young dancing mistress is dismissed from her situation for leading the pupils a dance that does not belong to Miss Pindrop's curriculum she accepts an engagement to sing and dance for the amusement of the visitors at the Grand Hotel des Alpes, in Switzerland, and to the chalet thereof, in the second act, everybody who is anybody in the story duly arrives, in various ways and costumes.

Fun on Skis

The butler of the Brighton school and the school's "tuckwoman," with whom he is comically in love (it would have been Mr. Edmund Payne's part at the Gaiety), approach the chalet on skis, which gives Mr. James Blakeley and Miss Gracie Leigh (who had a wonderful reception last night) an admirable chance of being funny at the expense of their bones. Their duet in this scene, "Not at Present," is one of the most striking numbers of the piece, and if time, had permitted they could have hung to it encore verses without end, so insistent was the applause it evoked. It is in this scene, too, that Mr. Joseph Coyne, as Teddy Cavanagh, has one of his most effective songs, "Jusk bring her along," which follows upon an excellent number written in praise of the sports of the "sport" of Switzerland, and sung by a master of beautiful young ladies whose coats and muffs and dress-trimmings reflect the latest fashions in furs as displayed on the covers of the autumn numbers of our ladies' fashion papers.

But the "star" number in this second act - if it is not the best one in the whole of Mr. Lionel Monckton's singularly tuneful score - is Miss Gertie Millar's dainty song. "Dance, Little Snowflake" - a delicious bit of melody of the coaxing order, sung and danced to by the actress on a darkened stage which receives now and again, only a faint glow of light from the electric lamp nestling in the "white fox" of her ample muff, the silvery snowflakes twinkling down in the dark blue distance, notched into by the mountain peaks beyond. In this snowflake song, and in her duet with Mr. Coyne, "Fly away, Jack; Fly away, Jill," Miss Gertie Millar is an unforgettable delight.

In the third and last act, the Hotel Bristol, London (which is going back a few years!), "The Dancing Mistress" justifies its title by slipping almost entirely into waltzes and two-steps performed in a ballroom which provides Mr. George Edwardes's several costumiers a most helpful background for the display of the latest things from Paris in the way of evening gowns. It is towards the end of this ball that the pretty dancing mistress and her aeroplanist parted in the second act by an extremely ridiculous mistake over a necklace, are reunited, and that the curtain comes down to a mixture of the principal airs of the piece, of which, it should be said, Miss Gertie Millar's "Somehow, Some time, Somewhere," sung by her early in the first act, is perhaps, the must ear-haunting of all.

The general interpretation of the new piece is quite up to the mark of the performers best records. Particularly successful is Mlle. M. Caumont as a French mistress with a passion for fortune-telling. Miss Gracie Leigh, finished little comedienne as she is, is delightful always as the schools "tuckwoman"; Miss Elsie Spain is her own pretty self as one of the most "sporty" of the Pindrop pupils; and as Lili, a Parisienne, Miss Gina Palermo is conspicuous for her quaint and fascinating English and her beautiful presence.

It only wants some fun for Mr. Coyne and Mr. Blakeley to be funny with, and "The Dancing Mistress" is an assured success. Even with nothing witty to say they managed to do pretty well last night - if one does not interpret the applause they received as the audience's mere appreciation of their brave efforts to make their commonplace line's tell.

Then we are introduced to the mistresses attached to the "Down House" School. Buxom and breezy Mlle. Gaumont instructs the girls in French and, surreptitously, indulges in an unconquerable and unprofitable propensity for gambling. Her last investment is a ticket in the Panama Lottery which may result in a prize of £20,000. Mlle. Gaumont has taken under her capacious wing dainty Miss Gertie Millar and promises the young dancing mistress that if 00,999 "takes the biscuit" she shall be a rich woman for life.

It is time now for Mr. Joseph Coyne to put in an appearance, and he does so in the up-to-date aviator's suit. In the course of his travels an Indian squaw handed Mr. Coyne a curious stone - a very susceptible stone - a kind of amorous thermometer. In its normal state its colour is green, but brought into contact with any ardent emotion it quickly changes to red. Needless to speak of the influence that Miss Millar exercises on its hue in association with the impressionist ardour of Mr. Coyne. It was fated, however, to play an almost tragic role in the second act when Mr. Coyne sends it to Miss Millar with the request that she shall wear it before he sets forth on his aeroplane to England, as a signal that his affection is returned.

There is a naughty Baron in the piece, Mons. G. Carvey, and he intercepts Mr. Coyne's dumb messenger and substitutes for it a gorgeous necklace of diamonds, for Mons. Carvey is in love with the fascinating lady who acts as the chief dancer at the Grand Hotel des Alpes, and he is a bold, bad man and will not stick at anything to gain his ends. But poetical justice is done in the last act, which is a scene of luxurious splendour, for the Panama Lottery ticket has turned up trumps and Miss Millar and Mlle. Gaumont and all their friends are having a high time at the Hotel Bristol.

As if to contradict the old saw that "enough is as good as a feast," we have two delightfully comic characters in Miss Gracie Leigh and Mr. James Blakeley - the one as Butler and the other as the Scotch " Tuckwoman" to the school, while Miss Gina Palerme contributes a touch of Parisian diablerie and Miss Maud Cressall a picture of English aristocratic stateliness. Voila tout!

A more charming and fascinating lot of schoolgirls it would be difficult to find, than those who frequent the "Down House" finishing school in Mr. George Edwardes latest successful production, "The Dancing Mistress." They are as dainty as their frocks.

In the first act these frocks are white, picturesquely varied by touches of colour of white charmeuse, opened at one side of the skirt, disclosing wedgwood blue underskirt. The bodice prettily rounded at the neck and straps and pipings of blue. Others of white crepe de chine showing striped green chiffon where the skirt divides. Long sleeves, finished with buttons and short coatees to the waist, with green sashes and ends falling to the front. These coatees are slightly high waisted and have a pleated frill finish below the waist. Another variety in these frocks has pretty mauve coatees with rounded basque at the back and the white skirt opens over a net underslip, trimmed with ribbon work. White silk satchels hung with ribbons from the waist are worn with these frocks.

Bella Peach, the Argentine millionairess, personated by charming Elsie Spain, makes a dashing entry in a very becoming riding costume up-to-date. Tan under garments and high tan boots make a pretty contrast to the well-cut divided astride skirt of pale biscuit cloth and the smart cut-away coat, showing the neat white shirt and tan stock.

An extremely elegant gown is worn by Miss Maud Cressall as Lady Margrave. This gown is fashioned of charmeuse in the new petunia shade, most wonderfully draped and panelled over an underskirt of the same colour mousseline de soie, accordion-pleated and ribbon-embroidered. The corsage of very handsome old gold metallic lace forming a basque back and front. The sleeves of charmeuse finished with a corresponding band of gold lace. The pointed empiecement to the throat was of finely tucked French net. A velvet hat and feathers of the same tone completed this beautiful creation; one could not help regretting the short visit paid to the establishment.

Gracie Leigh in black and white check taffeta with coral buttons and coral patent leather belt was natty and smart with her muslin apron, collar and cuffs, and invested the role of Tuckwoman with her usual drolleries.

Mile. Gaumont was quite irresistible as the French mistress in her black silk frock, the skirt gracefully draped at the side. Crystal buttons finished the corsage, which was high waisted, and a dainty little lace collar round the neck. Black shoes with high red heels added to the comic movements of this actress, who has won her way very quickly with the public.

Then came Miss Gertie Millar on the scene, a harmony in green, of soft green silk, accordion-pleated from the waist to hem of skirt, which was spoke stitched and a kimono bodice, the sleeves turned back with white lawn and white lawn facings on the deep pointed corsage, where at the waist nestled a deep crimson rose. An underskirt of green net with green ribbon insertions and a pretty touch of lavender ribbons hanging at one side, showing when she danced. Green shoes and stockings and black velvet in her hair and you have the picture that haunts you.

The second act takes us to the "Chalet" Grand Hotel des Alpes, Oberwald, where Miss Millar looked absolutely bewitching in her white skating costume. The short white cloth skirt edged with white fox, slit at one side showing a blue satin underskirt. The straight white coat, edged fur to match, had pockets at each side of heavy white braiding. A very original effect was given to this costume by the black velvet facings to both coat and skirt, that only came into evidence with movement. A close fitting silk beaver cap, with black velvet ribbon round the crown looked very saucy, also a huge white fox muff.

The skating costume of Bella Peach was extremely chic. This was of white velour de laine, with stripe golden brown, the skirt edged with white fox and a dainty brown coat of broche velvet, white muff and cap of fur.

Miss Gina Palerme, as Lili, wore a curious combination of black velvet and canary satin, which formed the inner lining to both dress and long coat. High canary-coloured boots and a Henry II. hat of black velvet with a long white ostrich feather. Her friends, French women of the world, were very smartly gowned in very strong colours. They made the pretty and simple costumes of the skaters stand out in refreshing relief. There were two amongst them in long white coats with squirrel and grey fox. Another was attractive in white skirt, edged fur and with a curious shade of banana cloth or chamois leather coat with long chenille fringe. Bright blues and greens and every possible variety of brightness was seen in these French toilettes. The hats were charming. Lady Margrave looked well in a simple but elegant costume of mole velvet with skunk.

It was truly bewildering the number of times the gowns were changed in this act.

Bella Peach in a charming gown of palest peach pink charmeuse, with lace underskirt peeping out from the opening of the skirt. Lili changing from canary to sea-green chiffon over white satin, resembled an undine. The loose flowing draperies were becoming to her fair skin and hair.

In the third act, which takes place at the Hotel Bristol, London, the dresses are, perhaps, most beautiful. The guests were perfectly gowned and the colour blending exquisite. There was a delightful double pannier gown in turqoise blue chiffon velour, showing a dainty skirt of lace. Another gown of lace was beautifully draped in wild rose satin. Pink, green and apricot posed and superposed in wing-like draperies was a fascinating scheme of colour. White and gold brocade with facings of green was yet another delightful creation.

Gorgeous in the extreme, however, was a magnificent flame and gold brocade worn by Mdlle. Virginie Touchet, the hostess of the evening. The front of this gown was of purple and gold with gold tissue underskirt. This was a wonderfully conceived gown that absolutely defied description, yet fitted Mlle. Gaumont so perfectly and the colours blended so marvellously, that one was fascinated by the colouring.

Miss Gertie Millar, in this act, wears white charmeuse, fashioned in long simpe lines; over this, scarf-like draperies that showed the graceful lines of her figure to perfection. These were of black diamante fine tulle in striped design. The corsage draped in a very low V back and front and a square-shaped panel of diamante with deep diamante fringe-finished front, the fringe falling well below the waist.

Another very elegant gown, woarn by Miss Cressall, was in a dark wedgewood blue brocade, most artistically draped in long flowing lines. The high waisted effect in the Louis XIV. period was terminated by black and white ribbon band, with long ends that fell to the ground. The upper part of the corsage was transparent white.

There were many other lovely gowns, but space fails to describe them all, nor can we do more than call passing attention to that all-important part of woman's attire - her boots, which show to such advantage in this production.