Humpty Dumpty

Event Information

Venue(s):
Olympic Theatre

Record Information

Status:
Published

Last Updated:
22 August 2017

Performance Date(s) and Time(s)

30 Mar 1868, Evening
31 Mar 1868, Evening
01 Apr 1868, Evening
01 Apr 1868, 1:30 PM
02 Apr 1868, Evening
03 Apr 1868, Evening
04 Apr 1868, Evening
04 Apr 1868, 1:30 PM

Performers and/or Works Performed

1)
Text Author: Fox
Participants:  Mlle. [actress] Laurent (role: Columbine);  La Petite Ravel;  George Washington Lafayette Fox (role: Clown);  Charles Kemble Fox (role: Pantaloon);  Alice M. Harrison [vocal-actor] (role: Burlesque);  Rita Sangalli;  Betty Rigl;  Mrs. C. [actress] Edwards (role: Romance)

Citations

1)
Announcement: New-York Times, 29 March 1868, 5.
2)
Advertisement: New York Herald, 30 March 1868.
3)
Announcement: New-York Times, 30 March 1868, 5.
4)
Advertisement: New-York Times, 30 March 1868, 7.
5)
Review: New York Herald, 31 March 1868, 3.

“‘Humpty Dumpty,’ derived from the veracious history of ‘Mother Goose,’  is still attractive at this house. ‘Humpty Dumpty’ is a great hit, a great success, a refreshing entertainment. The only difficulty is that they who have not reserved seats must be content to stand or call again.”

6)
Announcement: New York Clipper, 04 April 1868, 414.
7)
Review: Courrier des √Čtats-Unis, 04 April 1868.

“. . .we find ourselves comfortable praising unreservedly the fairy-pantomime that they’re playing at the moment at the Olympic Theater, under the title Humpty-Dumpty. The allegorical introduction in which Poetry, decorated with a large gilded goose-feather, figures, doesn’t present anything remarkable, except that they dance the cancan from the Grande-Duchesse. The pantomime itself is one of the most enjoyable, very varied, very finely played and crammed with comical incidents. It’s intermingled with ballets that feature some first-rate artists, Mme Sangalli among others: nothing is lacking in this dancer to be consumed in her art except for ever so little delicacy and roundedness. The final tableau of Humpty-Dumpty is so beautiful and worthy that one is disturbed. The accompaniments are very well arranged and of great gaiety: they abound with motifs from La Grande-Duchesse. Let’s not forget a little five-year-old dancer, who would be more than a match for many very marriageable bellerinas. This one created poses, performed some jetés-battus, minced and divided her toe-shoes like father and mother the whold the most graceful thing in the world. You must go see this little one, who’s none other than the niece of Gabriel Ravel. [French troupe, toured the U.S. for more than 30 years beginning in 1832.]”

8)
Review: New York Clipper, 11 April 1868.

“No better proof of the great popularity of pantomimes in this country is needed than the great success that has attended the production of ‘Humpty Dumpty’ at the Olympic theatre. Instead of there being any falling off in the attendance it appears to be greater, for nearly every seat in the orchestra and balcony is secured from three to five days in advance, and matinee performances on Wednesday and Saturday are as largely attended as at night. Frank Lacy, the harlequin, having recovered from his late accident, takes his leaps with as much daring as before. La Petite Ravel has made a decided hit by her dancing, and is loudly cheered each evening. For one of such tender years she is indeed a terpsichorean curiosity.”