Wood’s Museum and Metropolitan Theatre

“The leading characters will be sustained by Miss Thompson. . . the musical arrangements being in the hands of Mr. Michael Connolly, who also accompanied the troupe from England.”

“Miss Lydia Thompson and company will appear at Wood’s Theatre about the middle of September, following the engagement of Miss Maggie Mitchell.”

Follows announcement of Maggie Mitchell performances. “She [Mitchell] will be followed by the English burlesque company, of which Miss Lydia Thompson is the head. Without paying any attention to the absurd puffing of this actress contained in a remarkable pamphlet biography, we have trustworthy information as to her ability, which authorizes us to believe that she will at once win a great popularity. With a talent for comic and burlesque acting of the first order, she is said to have in a rare degree the peculiar gifts of the drummer, the dancer, the banjo-player and the singer, or, in other words, she is a Mary Gannon and Lotta ‘rolled into one.’ If this report, which we credit, shall prove correct, Mr. Wood’s theatre will be altogether too small for the audience who ‘will be there to see.’”

“Miss Pauline Markham (to pass to the accompanying five) is a blonde beauty, and is said to have a fine soprano voice, which has been highly cultivated. This lady was a pupil of the Royal Academy. Her earliest successes were made in concert. . . . Miss Lisa Weber has we are assured, held high positions in the theatrical companies at Covent Garden, the St. James’s Theatre, the Theater Royal at Glasgow, and other kindred establishments. She is described as an excellent actress in comedy, and is called dashing and brilliant in farce and burlesque. She is also a complete musician, being possessed of a fine soprano voice, thoroughly cultivated. . . . The Musical Conductor of the ‘Lydia Thompson Burlesque Troupe’ is Mr. Michael Connolly; and of him we hear—as testimony to the estimation in which he is held in London—that four different theaters in the British metropolis offered him his own terms if he would break his present engagement to Mr. Henderson, and remain there to wield the baton..”

Full cast lists. First appearance of Harry Beckett.

“Miss Lydia Thompson and the company that recently arrived from England to support her presented themselves last night for the first time at this house. The audience was immense in numbers and more than immense in applause, encores and the liberal disposal of floral tributes in bouquets, baskets, wreaths, harps, and anchors. Indeed, so copious was the rain of flowers poured upon by each of the favorite ladies that the colors of the scenery and costumes were almost eclipsed. The management has been fortunate in producing for the leading ladies four women of more than ordinary beauty and three of them pure blondes—Miss Lydia Thompson, Miss Harkman and Miss Weber. Miss Harland is the exception in complexion only. The Misses Logan—Alice and Grace—although having small parts to play, contribute their own share to the general charm. An admirable mythological burlesque of English conception, but with most of its witty points localized to suit our times, our faults, our fun and our frailties, from the Presidential election to Saratoga and the Grecian end, was the play Ixion the title. The scene is set on earth and in Heaven, giving a wide scope to the artists. As a good burlesque, continuing all the fun and extravagance of opera bouffe. Without any of the coarseness slightly refined, which is an essential to perfection in that class of performance, and a most commendable absence of the vulgarity which usually tinges English productions of this kind, Ixion is about as good a burlesque as we have had upon the New York stage. As to its success there can be very little doubt. The variety of talent displayed by the leading artists, actresses, danseuses, and vocalists, as a feature which would create success anywhere, and may commend it in a community like ours, where levity is a just now, the soul of life in all our amusements. A word of commendation for the costumes and scenic effects and we have done, adding, however, the suggestion that although the orchestra is apparently in good hands the music of the piece is meagre and might be improved.”

“The music of ‘Ixion’ is taken from all quarters.  Offenbach’s lively airs are liberally used, and the latest popular songs are introduced freely. The dances—especially one that resembles very much the ‘walk around’ of the negro minstrels—are all comical, and the ensembles delightfully absurd.”

“An audience which is represented by the neat little sum of $1,500, assembled here last evening to greet Miss Lydia Thompson and the company of English burlesque artists that Mr. Wood has seduced from their British homes. They began the work of ensnaring American hearts in an extravaganza by Mr. Bumand, a write on Punch, entitled ‘Ixiom,’ and their success was unbounded. The wildest symptoms of delight burst forth as each individual of the new company appeared, and Miss Thompson, Miss Markham and Miss Weber were nearly lost in several floral avalanches which occurred during the progress of the entertainment.”

No mention of music.

“Mr. Wood finds the auditorium of his Museum altogether too small since the Lydia Thompson company astonished our public by their superb burlesque performances. Standing room is difficult to obtain, and a large number of seats have been engaged for ten days ahead.”

Plot synopsis. “The music of ‘Ixion’ has been, for the most part, culled from that eccentric collection which just now fills the popular album, and ‘The Sabre,’ ‘Capt. Jinks,’ ‘Through the Park’ and ‘Barbe Bleu,’ exhibit the susceptibility of burlesque to be burlesqued. The height of absurdity seems to be reached in a treatment, after the most approved operatic rules, of the nursery rhyme about ‘Taffy the Welshman;’ and Miss Harland, Miss Markham, Miss Weber, Mr. Harry Beckett, (as Minerva,) and Mr. Sol. Smith, Jr., (as Ganymede,) who have the leading share in this concerted parody, to use the common phrase, ‘literally bring down the house.’ Of course it has to be repeated, a pleasant fate that meets a very effective chorus of voices and belis on the area ballad, ‘Ringing for Sarah,’ in which the whole force of the troupe has a hand, and bells of every conceivable tone, kind and size combine in the most original sensation of the whole entertainment. . . . Miss Thompson . . . breathes the breath of life into everything she does, whether it be in making wicked advances on the wives of the gods, or singing local songs, or in beating Dan Bryant at his own trade. . . . Miss Thompson’s voice is quite sufficient for the duty required in a burlesque of this character, where distinctness is one of the first requisites. She sings correctly and very pleasingly. Miss Ada Harland is a much better dancer—the cleverest and most graceful of the troupe, indeed—and Miss Weber’s vocalism is better, but in the possession of that ‘general spicy way’—which Dr. Marigold declared to be indescribable—and which Miss Thompson carries into everything she does, she is, as Capt. Cuttle would say, (to keep in Dickens,) ‘equaled by few and surpassed by none.’ Her versatility is displayed in a clever solo upon a tiny cornet, which had a furious encore.”

Review of Ixion. No mention of music.

“The Burlesque Company engaged in England by Mr. Colville for Wood’s Museum and Theatre, consisting of Lydia Thompson, Pauline Markham, Lisa Weber, Ada Haland, Harry Beckett, and M. Connelly, musical director, made their debut at the above mentioned place on Sept. 28th, in the burlesque of ‘Ixion, or the Man at the Wheel.’ This same burlesque was originally produced in this country at Williamsburgh, L.L., in June, 1864, by E. Warden, but owing to the warm weather and other drawbacks, it failed to attract. At the Museum it has been put upon the stage in a careful manner, and has the good fortune of being presented by a quartet of beautiful ladies, vis:—Lydia Thompson, Miss Markham, Lisa Weber and Miss Harland. The three first are perfect blondes, whose flowing golden hair charms all beholders. This burlesque appears to have been written expressly to bring into play the histrionic powers and fatal fascinations of these ladies, setting the city in a fermet. Lydia Thompson looks charming as Ixion, the male character, and

In breeches so well she played the sheet,

The pretty fellow, and the rake complete,

Each sex was, with different passioens mov’d:

The men grow envious, and the women lov’d.

Lydia Thompson is well proportioned; her face, rather pleasing, but by no means handsome, is lighted up by the expressiveness of sweet sunny smiles and merry humor. Her voice, plaintive and pathetic in the highest degree, thrilled every pulse and communicated a strong feeling of pleasure. Pauline Markham is a real blonde, tall and commanding and of the most perfect symmetry, and her face is the perfection of sweetness and expression; her form is graceful by nature and polished by art. The tones of her voice are very flexible and pleasing, and her action graceful. Lisa Weber is petite in figure; her features are regular and her countenance illuminated by most bewitching eyes, exceedingly fascinating and expressive. The open, ingenuous style of her performance, the girlish gaiety and wildness of youth, took the audience completely by surprise, and she became the favorite of the performance; her singing of several songs similar to Lingard took the audience by storm, and besides being heartily recalled, she got a little reception every time she appeared on the stage during the evening. She is brimful of talent and will make her mark in this country.

See little Weber, gay, [illeg.], part and free,

The liveliest lam of all the company;

With talent rare and industry [illeg.],

With skill to please, and always pleasing.

Ada Harland is a clever actress and a most finished danseuse, rivaling in the latter all others in the company. She dances with abandon and does a jig in a pleasing and taking manner. Harry Beckett, who is a most excellent low comedian, made a very favorable impression in the burlesque, as well as in the farce of ‘To Oblige Benson.’ He promises a fund of humor, and knows the difference between low comedy and buffoonery. ‘Ixion,’ as a burlesque, is a success, and as regards construction and the provision of effective [illeg.], deserves praise. It is exceedingly [illeg.] and well written. The couplets, [illeg.] tripping and [illeg.], ripple and sparkle from beginning to end without flagging, thickly strewed with puns, jokes and parodies upon the present times; and though the puns are made up, so is usual with that article, of good, bad and indifferent, still the good, both as regards quantity and quality, cut a respectable figure in proportion to the remainder. The costumes of the four principal ladies are handsome, while some are of that lavish [illeg.] which is doomed to be so very important a concomitant to success in burlesques generally. The setting is good throughout. Miss Alice Logan plays the part of Juno, the wife of Jupiter and love of Ixion, with considerable spirit. Sol Smith, Jr., who was added to the company, appeared to advantage. The burlesque was received throughout with marks of favor, all the songs and dances being encored two to three times, while the four ladies who made their debut were showered with bouquets and huge baskets of flowers during the performance. The house was densely crowded and continued so during the week. ‘Ixion’ and the ladies of the party have made a most favorable impression, and will continue the leading feature in the amusement [illeg.] in this city for some time.”