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!