Waverley Theatre

Event Information

Venue(s):
Waverley Theatre

Event Type:
Variety / Vaudeville

Record Information

Status:
Published

Last Updated:
24 September 2019

Performance Date(s) and Time(s)

28 Apr 1869, Evening
29 Apr 1869, Evening
30 Apr 1869, Evening
01 May 1869, Evening
01 May 1869, 2:00 PM

Program Details

First appearance of Viola Crocker at the Waverley Theatre. Scenery by J. S. Schell.

Performers and/or Works Performed

2)
aka Nan, the good for nothing
Text Author: Buckstone

Citations

1)
Advertisement: New York Herald, 27 April 1869, 3.
2)
Advertisement: New-York Times, 28 April 1869, 9.

“New Music, selected by Miss Holt, arranged and instrumentalized by Mr. Howard Glover.”

3)
Announcement: New-York Times, 28 April 1869, 7.

Brief. “Announcements of some interest are before us. One refers to the production of a new extravaganza at the Waverley Theatre this evening.”

4)
Advertisement: New-York Daily Tribune, 28 April 1869, 7.
5)
Review: New York Herald, 29 April 1869, 9.

Positive review; no mention of music.

6)
Review: New York Post, 29 April 1869.

“The management of the Waverly Theatre has not been fortunate in the selection of the burlesque produced at that establishment last night. ‘Paris,’ although adapted in part from Burnaud’s burlesque of the same name, by D. Ratiray, Esq., is by no means as entertaining as its predecessors, ‘Lucrezia Borgia’ and ‘Ivanhoe.’ Perhaps it will appear to better advantage when the performers shall have learned their parts in which they were last night very deficient.” Reviews individual performers; no mention of music.

7)
Advertisement: New-York Times, 29 April 1869, 4.

“‘Paris; or, the Judgment’ is the title of the new and successful burlesque at the Waverley Theatre. The work is not as its caption would imply, an imitation of ‘La Belle Hélène,’ but an adaptation, by Mr. C. R. Rattray, from Burnand’s extravaganza bearing the same name. This house-bill admits, while upholding it subject matter as wholly original. Yet it is not even an elaborate adaptation. A great deal of the English stage business has been retained in it, and to the bewilderment, of course, of local audiences. But there is cause, we think, for satisfaction at the incomplete naturalization of the piece, rather than for sorrow. The aged pleasantries that greet one at other theatres are less numerous in ‘Paris,’ and the allusions to politics put into the mouths of actors by imported dramatists, for whom Joe Miller is the latest text-book to be had, are too few to deserve censure. In the novelty the admirers of burlesque will recognize a version of the contest of the goddess for the golden apple, told in verse of the usual order, and in a succession of incidents that amuse in spite of their constant recurrence in familiar productions of the kind. A liberal allowance of music, including scraps from Mendelssohn, Meyerbeer, and the composer of ‘Tommy Dodd’ accompanies the play, which, despite its defects, is made really entertaining by the spirit and talent of Miss Elise Holt, the singing of Miss Viola Crocker, and the comicalities of Messrs. Lewis, Wall, Ryan, and Parsloe. Miss Holt, who is unquestionably the most acceptable of all the representatives of English burlesque in this City, has quite recovered the use of her voice. Her manner, which is entirely free from that self-conciousness characteristic of most pretty women filling similar parts, is as vivacious as ever. ‘Paris,’ with the preliminary farce of ‘The Good For Nothing,’ will be enacted at the Waverley all this week.”

8)
Advertisement: New York Clipper, 01 May 1869, 31.