The Little Cherub

Performed at the Prince of Wales' Theatre.
A musical play by Owen Hall and Adrian Ross.
Music by Ivan Caryll.

Opened 13th January, 1906 - ran for 114 performances.

Starring: Evie Greene, Lily Elsie, Gabrielle Ray, Zena Dare.

Editorial and Photos all as published in 'Play Pictorial' Vol 7, No. 43 (1906).

Cast		The principal players in this production.
Review		Review of the play.
Cherubic Chiffons		Descriptions of the costumes worn in the play.
Scenes from the Play		A selection of scenes the play

THE CAST

Principal performers in the play.

REVIEW

This is the little story of "The Little Cherub." Let us assume we are seated in a stall at the Prince of Wales' Theatre, or on a chair in the townhouse of the Earl of Sanctobury: it doesn't matter which. And now let us peep into a room and discover a big crowd of ladies and gentlemen all wildly endeavouring to do something. In point of fact they are trying to "act." Of course their efforts are like nothing on the stage, if not the earth, for they are only a lot of utterly incompetent society amateurs. The company is headed by the Earl's four pretty daughters, whose intention it is to reproduce a successful London play called "The Little Cherub" for the benefit of some charity.

And so we find them wandering abstractedly through the mazes of a rehearsal under the guidance of their dear friend Algy Southdown, who knows as much about stage management as he did when he was just born. Their muddle is hopeless. Clearly the charity will never reap this particular benefit unless professional help rushes to the rescue. Wherefore the Earl's youngest and cheekiest daughter wires off to Miss Molly Montrose, the star of the real "Cherub" company, which is on tour, praying that she will come and show them all how to do it. And Molly, the actress, replies by visiting the Earl's house and giving the distinguished amateurs the benefit of her advice.

Now the Earl has, or is supposed to have, the most rigid theories of propriety - and this brings us to the thickening of the plot. As I have stated, "The Little Cherub" has, professionally, been a highly successful play, so much so that his lordship, in the course of his supervision of public morals, has thought it necessary to write to the papers and comment upon the play's debasing influence. And all the time his daughters rehearse the awful play under his very nose. His shock when he makes this discovery is bad enough, but nothing to his condition when he meets a celebrated actress in his own drawingroom. Words completely fail him. For one long minute the sanctimonious Earl is indignant, and then-well, what Molly doesn't know about men and their ways isn't worth much. In less than another minute she induces the Earl to believe that the alleged impropriety of her performance is a matter calling for further consideration, and extracts a promise from him to run down to Dunbridge Baths, where the play is being performed, that very evening.

And so it comes to pass that a slightly disguised Earl departs in the best of spirits to have a real good time, and with the knowledge that no one is likely to find him out. Where ignorance is bliss 'tis folly to be wise. How was he to know that his four pretty daughters also make up their minds to witness that night's performance of "The Little Cherub," and follow him by the next train? We, too, have followed them and go right into the saloon of the Dunbridge Baths Hotel, the manager of which has been ordered to provide supper tables for two separate parties. We know these parties; one consists of the Earl and Miss Molly Montrose and some of her companions, and the other is Algy Southdown accompanied by Lady Isabel, Lady Dorothy, Lady Agnes and Lady Rosa, the Earl's dutiful daughters.

The hotel is very full in consequence of a ball which is in progress, and as there are no private rooms vacant the manager uses a screen to separate the two tables with exhilarating results. What with the cracking of bon-bons, the popping of champagne corks and the laughter of the actresses, there is quite a "noise" on the Earl's side of the screen. The comparatively sedate ladies on the other side become curious, and Dorothy, the youngest, tip-toes on the table and peeps over the screen. She recognises her papa, and now it is their turn to be shocked. "He never let us know one word of it," says Dorothy. "It's a sensation!" says Isabel. "A revelation!" says Rosa. "There would be fun if people heard of it," says Agnes. After which Algy discreetly takes the girls out of the room.

Matters are not made smoother either by the arrival at the hotel of the Rajah of Talcutta, a sort of universal lover, at present running after Molly, or by a gallant river-plunge by Algy, the amateur stage manager, who has a mania for rescuing persons whether they desire it or not! On this occasion Algy mistakes a professional swimmer (swimming for a wager) for a drowning man, and having dragged him from the water, is thanked by the Mayor, who in turn mistakes Algy for the Earl.

This incident partly helps to smooth over his lordship's difficulties after the family have returned home, but it is Miss Molly Montrose who really clears the air. As you know, she has more than made him regret his scathing criticism of her play, and by way of compensation he has fallen in love with her. So she determines to complete the cure by accepting his offer of marriage. She does not risk much for, as she explains in song:

When Polly marries Molly,
  He won't be so severe;
He'll leave our plays to go their ways,
  And will not interfere!
He'll never write to papers,
  Denouncing comic capers,
  For with his lady at his side
    He will be mollified,
Yes. Molly, Molly, Moll-
Yes, Molly, mollified?

For Polly and Molly
  Will find the sunlight jolly,
With Molly and Polly
  Beneath one parasol;
For Polly loves Molly,
  Though people call it folly,
    And Polly marries Molly,
    Molly marries pretty Poll!

"The Little Cherub" first saw the light at the Prince of Wales' Theatre on January 6th, 1906, and as it is produced with that lavishness, combined with good taste, which Mr. George Edwardes gives all his productions, it simply runs over with things good enough to tickle the palate of its patrons for many nights to come, In truth this riot of gay music and gorgeous costume, with its sparkling and spirited numbers, its rippling accompaniment of really engaging melody, its witty and well turned lyrics, and its clever and interesting book, is a feast for eye and ear alike, The happy audience realized all this on the first night, when there were ringing cheers at curtain-fall for everybody concerned.

I have only to add that Mr. Owen Hall is the author of the book, Mr. Ivan Caryll the composer of the music, and Mr. Adrian Ross the writer of the lyrics. Further, that the company includes such popular favourites as Miss Evie Green, as the actress, Mr. Fred Kaye, as the converted Earl, and Miss Zena Dare, Miss Lily Elsie, Miss Gabrielle Ray, Mr. Maurice Farkoa, Mr Lennox Pawle, and Mr. George Carroll.

FRED DANGERFIELD.

CHARMING CHIFFONS

The four charming daughters of the Earl of Sanctobury show a special predilection for white frocks, and in the first act those worn by Miss Gabrielle Ray and Miss Lily Elsie are distinctly worthy of note. The former displays a most dainty white embroidered muslin, the hem of the skirt worked in deep scallops and medallions of a rather bold design; a soft blue sash encircles the waist and falls in wide ends to the hem of the frock, while pale blue ribbons are tied around the sleeves, which have a small puff at the shoulder and are finished by rows of small kilting at the elbow, a knot of blue ribbons appearing on the bodice and champagne coloured stockings and shoes completing the costume. Miss Lily Elsie's gown is of white voile, the skirt displaying spaced tucks nearly the whole way down, similar tucks decorating both bodice and sleeves, while the low turn-down collar of the same material is finished at the throat with a bow of blue ribbon.

In the second act the frocks of this quartette are exceptionally fascinating. Miss Zena Dare's white net dress has three rows of satin ribbon encircling the skirt, separated by two bands of cream silk guipure. The bodice is made with revers which fall in handkerchief points over the arms, and her cream waistband displays net tabs at the back, bordered with satin ribbon, a cluster of pink roses being tucked into the bodice. Quite delightful is Miss Gabrielle Ray's dress of cream chiffon with a Greek key design carried out in lace upon the skirt, two rows of this design framing a band of painted chiffon displaying wild roses and foliage in natural colours. The bodice is full and ornamented with cream satin ribbon, which is crossed over from shoulder to waist and extends round the bodice to the back, long white ribbons adorn the sleeves and a cluster of pink roses are tucked into the pointed belt.

A very dainty cream net frock is worn by Miss Lily Elsie, with satin ribbon arranged in vandykes around the skirt, which is also encircled by festoons of pink banksia roses; a row of these blossoms also encircles the underskirt, giving the effect of a pale pink border. Roses deck the lace berthe and the tight sleeves are held in place by two bands of pink ribbon. Equally pretty is Miss Grace Pindar's frock of cream spotted net trimmed with bands of satin and a wide border of white leaves carried out in satin applique; a similar adornment decorates the bodice, the berthe being fastened in front by a large white bow.

When starting on their trip to Dunbridge Baths these young ladies also display some very attractive coats, cream-coloured too, which serve as an excellant model for truly comfortable travelling wraps. Each is slightly different in its smaller details, though all have elbow sleeves with turn-back cuffs, are gathered into a tight waistband, and adorned with white buttons; the picture will show how delightful the details of these coats are.

Miss Evie Green, as the fascinating Molly Montrose, wears some truly beautitul gowns. Her first entrance is graced by a long cream satin coat bordered by rows of narrow black and cerise ribbon velvet. The inside of the coat is faced on either side of the front by a broad band of pink floral brocade; heavy cream guipure constructs the collar and decorates the whole coat and the deep cuffs, a strap of satin edged with the two coloured velvets holding the coat in at the back. With this she adopts a white circular toque decorated with a waving white Paradise plume. Upon removing her coat she is discovered in an elegant Princess gown of pastel blue cloth liberally ornamented with medallions of cream lace and embroidered in pastel blue and cream silk. The sleeves are particularly graceful, a puff of pale blue chiffon hangs from shoulder to elbow at the back, while the front of the sleeve displays a panel of heavy lace at the shoulder with the cloth falling round it, the under-sleeves, from wrist to elbow, being of fine lace caught into a wristband of cerise velvet. The bodice, which is cut zouave fasion in the front and caught up over lace medallions at the back is completed with a vest of fine lace edged with a band of cerise velvet at the throat.

Her second dress is an exquisite creation of two kinds of lace, the finer forming the groundwork of the gown, and strips of heavy insertion affording the decoration; the gown is spangled all over with silver sequins, her belt being of silver tinsel. This is crowned by a black velvet hat with a brim of silver tinsel ornamented by a cluster of white ostrich plumes. Typical of a coming mode is the dainty little mantelette she has around her shoulders. This is made entirely of cream lace and chine ribbon lined with chiffon and pink silk and completed by a rather wide flounce of fine lace.

Her Directoire costume in the last act also represents one of the latest of Madame la Mode's edicts. It is built of white chiffon over pink silk, the skirt edged with two bands of painted flowers and lace medallions, each band bordered with pink ribbon. The little coat, cut with a basque nearly to the knees, is built of white brocade bearing a design of bunches of pink roses upon it. The pointed waistcoat is of pink silk edged on either side by a row of diamond buttons, the points of the coat being turned back to display the pink silk lining, and held by paste buttons. The sleeves are strictly Directoire and finish at the elbow, while this gown is crowned by a pink tulle hat ornamented with a huge pink aigrette, a cluster of pink roses being arranged beneath the brim. Her sunshade is of floral silk in the same pattern as the coat.

The only other notable costumes are worn by the ladies who grace the Earl of Sanctobury's supper party. Of these the most charming is a princess gown entirely composed of silver tissue; a gathered tucker of pale blue chiffon edges the decolletage which is further beautified by revers of silver spangled lace. A picture hat of pale blue satin accompanies this gown, a band of silver encircling the crown and a cluster of pale blue feathers completing it.

Very handsome is a costume of rich gold tinsel, the skirt partly veiled with yellow painted chiffon, but cut up to display panels of kilted gold tissue. The bodice is cut square and is made coat fashion with tails; the front of the bodice folds over a lace vest and golden tassels decorate the revers. The sleeves are quite tight and cut open in rather a pretty fashion on the shoulder and decorated with gold buttons. This is crowned by a hat of pink tulle in mushroom shape, gathered chiffon veiling the under brim and a band of pink silk encircling the crown, finished in front with a huge chou, on either side of which comes a flowing pink Paradise plume.

Another gown which has dis tinct charms is one of pale pink satin embroidered in silver. The front of the bodice is made crossover fashion over which is worn a short velvet coat in a slightly deeper shade of pink, the turned back cuffs at the elbow being of satin. The coat has small tails at the back which are edged with silver braid, while the design upon the skirt is carried out in wreaths of silver embroidery. A white hat in one of the new sailor shapes trimmed with white feathers and pink roses accompanies this gown.

Equally desirable is a frock of pale blue satin liberally adorned with silver paillettes embroidered on both skirt and bodice. The bodice is prettily draped and cut in a point at the back, while the hat is of pale blue satin trimmed with shaded blue plumes. Indeed the millinery displayed at the Prince of Wales' Theatre is truly excellent and typical of "the things which are to be."

During the coming Spring and Summer we shall see much silver and gold embroidery, especially the former, adorning our costumes and millinery, and in "The Little Cherub" there are many examples of the various ways in which this delicate trimming can be utilised with particularly charming results, and though perhaps one usually associates a Cherub with a paucity of garments, yet I can assure you that at the Prince of Wales' Theatre there is quite an exhaustive study of both Modes and Millinery.

EDITH WALDEMAR LEVERTON.

SCENES FROM THE PLAY

Click any image for a larger view
Molly Montrose (Evie Greene)	Shingle and Lord Sanctobury	Lady Dorothy Congress (Gabrielle Ray)	Ethelbert Applies to be Page Boy	Molly Montrose
The Sanctimonious Earl Succumbs	The Earl and Family go to Dunbridge Baths	Lady Isobel Congress (Zena Dare)	People in the Play	Ethelbert and Letty
Algernon Southdown	Lady Agnes Congress (Lily Elsie)	Molly Montrose	The Rajah of Talcutta	Molly Montrose
Lady Dorothy plays Cupid	Cupid and the Cherubs