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.