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Sylvia Grey (1866-1958)
English actress and dancer
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'Grey, Sylvia. – The poetry of motion has no more charming exponent than Miss Sylvia Grey. Born in London, partly of Swiss parentage, she commenced her stage career at the early age of ten, but not in that Terpsichorean arena in which she was subsequently to shine. Her original appearances were in children's parts in Shakespearean plays, under the ægis of Mr. E.H. Brooke, at Sadler's Wells Theatre. After two years she left the boards in order to resume her education, and a long period of earnest study followed, until she graduated in music at Trinity College, Manchester Square [London]. She then joined Mr. Stedman's well-known choir, and enjoyed the benefit of his tuition, taking a share in his concerts and oratorios, and in church music. On her return to the stage she obtained several openings for small parts from Mr. Thos. Thorne [of the Vaudeville] and Mr. Lytton Sothern, whilst Mr. Charles Wyndham offered her a three years' engagement, which, however, she did not accept, preferring an invitation from the Gaiety, where she has confessed that her tuition in sacred music has not been of much service to her. She had always felt a predisposition for dancing, long before she joined the Gaiety, and with the examples of success and excellence everywhere around her, it was not surprising that the desire came to emulate them. She therefore commenced a course of study [in dancing] under Signor [Léon] Espinoza and Madame Katti Lanner, and finished up under Monsieur [John] D'Auban, learning the distinct and special style of each teacher. In 1884 she made her début as a danseuse. Two years later she entered into an agreement with a company about to tour the country, but no sooner had she signed the contract than she received an offer to join the Gaiety for a dancing part in The Vicar of Wide-awake-field [8 August 1885]. This – which was distinctly the tide in the flood – she would have been obliged to refuse, had it not been for the good nature of the gentleman who had the lien over her services, and who, bending a willing ear to the equally kindly suggestions of his acting manager, allowed Miss Grey to go – an act of liberality which was justified, if not compensated, by the collapse of his own theatrical speculation three weeks later. Since then Miss Sylvia Grey has been a permanent and a prominent member of the Gaiety Theatre, and risen to première danseuse in its ranks – a notable position which places her at the head of her branch of art in London. She is an enthusiast as regards dancing, and very rightly considers that the true artiste despises vulgarity in any shape. She often appears in comedy parts at matinée performances, and if perchance at any of these the exigencies of the piece permit of a momentary lapse into terpsichorean performance, it invariably gives rise to a burst of enthusiasm. Miss Grey adds very considerably to her income by teaching the accomplishment in which she has so few equals – in fact her emoluments from that source surpass the salary she draws from the Gaiety. Many of her pupils are members of the aristocracy, and often after receiving their visits at her "house," she returns them at their own houses if they happen to be entertaining. Amongst her latest pupils are Miss Ellen Terry and her sister Minnie. Miss Grey, who accompanied the Gaiety Company to Australia in 1891 [in the burlesque Cinder-Ellen Up Too Late], has a face that is full of charms and irresistible smiles, and her sylph-like figure, when she dances, seems to float above the long skirts and profusion of lace petticoats that she wears, whose fashion has certainly elevated and refined the standard of stage dancing in this decade of grace.' Sylvia Grey's last appearance in a West End of London theatre seems to have been as the Countess Acacia (a part in which she was succeeded by Ada Reeve) in the opera bouffe Baron Golosh, with E.J. Lonnen, Harry Paulton, Florence Perry and Alice Lethbridge, at the Trafalgar Theatre, which opened on 25 April 1895 and ran for 43 performances. |
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The Vicar of Wide-awake-field; or, The Miss Terry-ous Uncle,
'The experiment which is being made at this theatre at the present time is directed by Mr. F.H. Harris, who has made up his programme out of Lord Dundreary's Brother Sam, and a "respectful burlesque perversion" of the play [Olivia by W.G. Willis, founded on incidents in Oliver Goldsmiths The Vicar of Wakefield, first produced at the Court, London, 28 March 1878, revived with Henry Irving and Ellen Terry, Lyceum, London, 27 May 1885] which was drawing crowded houses to the Lyceum a few weeks ago. The "respectful burlesque perversion" is entitled The Vicar of Wideawakefield; or, The Miss-Terry-ours Uncle, and has been written by Messrs. H.P. Stephens and W. Yardley. This skit has been evidently produced in haste, for, on the night when we witnessed its performance (the fourth), symptoms of insufficient rehearsal were continually cropping up. Awkward pauses were plentiful; while it may be said that the performers and the musical director were not too much en rapport - hardly en rapport enough. There is an abundance of quaint and funny conceits in this travesty, though in places it requires a rigorous pulling together. Mr. Arthur Roberts as Dr. Primrose gives signs of having closely studied Mr. Irving, though, perhaps, it would have been better if this millstone were not round his neck throughout the performance, for in our humble opinion this enforced counterfeit saddles Mr. Roberts with responsibilities which embarrass him. The result of this mimicry is – Mr. Roberts is not himself, and he certainly is not Mr. Irving. Of course, a clever comedian like Mr. Roberts cannot help being amusing, but he is not altogether at his best. As Olivia, Miss Laura Linden imitates Miss Ellen Terry most daintily and happily. Throughout the performance she keeps her model well in her eye, and faithfully follows the peculiarities, and beauties, of Miss Terry's method. There is nothing offensive in her mimicry; all is pretty, even graceful, and if the Lyceum Olivia were to make a point of seeing herself imitated, she would like herself none the less, and Miss Laura Linden all the more. Miss Violet Cameron is cast as Squire Thornhill. It need scarcely be said that she makes no attempt to imitate Mr. [William] Terriss, or if she does, her efforts are well disguised. Miss Cameron plays very fairly, but we think that this part would probably have received better treatment in the hands of a man. The two or three musical numbers allotted to Miss Cameron are charmingly sung. Miss Harriet Coveney makes every possible use of her opportunities as Mrs. Primrose; Mr. [J.H.] Jarvis as Moses is happy; Mr. [Tom] Squire's Burchell is commendable, and Miss Sylvia Grey dances the part of Polly Flamborough very neatly. One of the best features of the burlesque is the music, which is far and away superior to that which is generally associated with burlesque. The glee, part-song, or whatever it may be called, which is given in imitation of the "harmony" furnished in the serious version of the story at the Lyceum, is admirable, and forms one of the happiest features of the performance. Very well is this sung, too.
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© John Culme, 2003