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.