Chapter 14

It was a few weeks later when a letter arrived for the girls from John.
He had cut an old review from the Tatler and sent it, asking the girls if they agreed with it.

“The play-going public owes many a debt to Mr. W.S. Gilbert, and it is particularly grateful to him for having discovered, for stage purposes, the land of the Mikado. Countless thousands, if not millions, of theatre-goers and music lovers have found enjoyment in all parts of the world in the delightful comic opera which brought forth the full brilliance of its witty author and inspired Sir Arthur Sullivan in the composition of some of the very best music which ever emanated from his gifted brain. Again, but for the piece in question, it is doubtful if we should have had the gay and tuneful Geisha [Daly's, London, 25 April 1896] or the clever and melodic San Toy [Daly's, London, 21 October 1899]. So that, directly and indirectly, we owe much indeed to the author and composer of The Mikado [Savoy, London, 14 March 1885].

“Our indebtedness is further increased by A Chinese Honeymoon, which is suggestive of the method of Mr. Gilbert even if it does not remind one of the unceasing melody and the musical skill of Sir Arthur Sullivan. The scene is laid in China at the present time, and the story is sufficiently whimsical and the various complications are undoubtedly funny although – a pardonable fault in comic opera – they are decidedly extravagant. The Emperor seeks a bride who will marry him "for himself alone," so he dispatches an English skipper, who has been promoted to the post of Lord High Admiral of the Chinese fleet, in search of the paragon in question. But the conditions are rather hard, for the high state of the Emperor is withheld and the unlucky admiral has to pretend that he represents a billposter.

“It may be easily understood that the admiral returns from his quest without success. As a lingering death is the penalty of his failure it need hardly be said that he resorts to all sorts of expedients in order to avert the punishment. As there are various fair ones still at hand the ball is kept rolling, and some comical effects are obtained by making him abnormally tall.  It also be said that the imbroglio while diverting is innocent enough, and, save for some questionable lines in the second act, there is nothing whatever to offend Mr. Gilbert's "young lady of fifteen," or anyone else for that matter. If Mr. Dance will just revise his libretto – it only means the cutting out of half-a-dozen lines – he will have given us an amusing story without a flaw. “For this relief much thanks,” for although the London playgoer may not be in the throes of "bitter cold" just yet he is decidedly "sick at heart" when he thinks of the vulgarity and suggestiveness which prevail in many of our so-called theatres just now. Mr. Howard Talbot's music is right, cheerful, exhilarating, and some of it is certainly of the order known as "catchy." Other composers, including Mr. Ivan Caryll and Mr. Ernest Vousden, who conducts the music of the piece, also contribute effective numbers.

“A great element in the success of the production is the comical appearance of Miss Louie Freear, who plays the "slavey" and keeps the house in a roar of laughter whenever she is on the stage. Her quaint facial expression and her curious antics belong to herself, and would seem to have been given to her by nature as compensation for her diminutive size. As a contrast the Emperor is impersonated by an actor of unusual height, Mr. Picton Roxborough, whose bland and perpetual smile is apparently so natural that it is constantly enjoyable. "The long and the short of it" in this piece are in every way excellent and, moreover, the idea is not run to death. The cockney tradesman is humorously represented by Mr. Lionel Rignold, and Miss M.A. Victor carries out in her well-known style the comical idea of an "official mother-in-law" imported from England by the Emperor, who rules the roost and inspires dread even within the bosom of the august potentate who has "invented" her.

A newcomer, Miss Beatrice Edwards, who appears as the princess of the customary type, has a pleasant voice which wants proper control. The production is beautifully mounted the scenery and costumes being capital in all respects. In regard to the former it is curious to observe that while the programme gives the names of tradesmen, the names and addresses of the people who have supplied the costumes and the hats being duly set forth, no mention is made of the scenic artist. This is quite in keeping with the modern manager, who no longer regards the painter of his scenery as of the same importance as the dressmaker and milliner.

(The Tatler, London, Wednesday, 16 October 1901, p.128)”

He had also included a recent review of the leading actress. 

 “Miss Beatrice Edwards was the well-known possessor of a beautiful voice long before she became a member of a theatrical company. In June, 1898, full of nervous fears, she made her début as Muriel in The Old Guard at the Theatre Royal, Dublin. The engagement of the company there extended over four weeks, in each one of which a change was made in the programme. The comic operas performed included Pepita, Olivette, and Madame Favart, in all of which she appeared.

“Then almost immediately an engagement followed to play Mimosa in The Geisha on tour. Four two years she continued in that and only resigned it at last to play Maia (another of Miss [Marie] Tempest's parts) in A Greek Slave. Her appearance at the Strand Theatre, where she is the Princess Soo Soo in A Chinese Honeymoon, made an excellent impression, and there is little probability of her being permitted to leave London for long.

“Previous to going on the stage Miss Edwards was one of the Royal Welsh Choir, and had the honour of singing before Queen Victoria. She was only sixteen when she became a member of that celebrated organisation, with which she paid a professional visit to the World's Fair at Chicago in 1893. Miss Edwards is a native of Cardiff and confesses that her real ambition in life is to play a good part in a successful drama. Her only superstition connected with the theatre is a very uncommon one. She believes that it is unlucky to whistle in a dressing room. Miss Edwards lives at Holland Park [west London], and in addition to being a charming singer is an adept at tennis.

(The Tatler, London, Wednesday, 19 November 1901, p.276”

He also enclosed two posters of the play bill for the girls to put on their walls.
The girls were thrilled to receive the review and the article about the lead actress, and especially the posters, and wrote immediately back to thank John once again for his thoughtfulness.

Muriel, in the meantime, had written a special letter back to Harold. 

“December 3rd

Dear Harold,

I very much enjoyed your quotation from G.K. Chesterton, and think it is very true.

Today we went to the Christmas Fair in Worcester, and I managed to buy most of my Christmas presents. When will you be back for the holidays?  Will we get a chance to see you? I have bought you a present which I think will be of interest to you, so you must come to see me to collect it before Christmas.

I have seen an article in the paper saying that Australia is about to give women the vote. And of course New Zealand did it many years ago. How do you feel about this? Do you think it will be long before women have the vote in England?

“Literature is a luxury; fiction is a necessity.”  

Affectionately yours,

Muriel”

Harold’s response was not long in coming.

“December 6th

My dear Muriel

What a wonderful letter, and I am so pleased that you are looking forward to my return. I can only say that I am counting the days until December 20th, when my term will be finished and I will be returning to Worcester for two weeks.  I will drop in at your house on Monday December 23rd, about noon, if that is convenient.

I applaud the Australians and New Zealanders for giving the vote to women. I hope it will soon come to this country too, but I fear it may not be for awhile, as there is such a feeling in the current House or Commons against it.

One more quote for good luck.

“I owe my success to having listened respectfully to the very best advice, and then going away and doing the exact opposite.”

With my very best wishes

Harold”

This was the first time that either girl had had a letter sent to just one of them. Muriel of course had engineered this by making her letter rather more personal than usual, and implying that she had a very special regard for Harold Day.  But she was very pleased to see that his views not only coincided with hers regarding women’s rights, but that he seemed in his choice of a quote to be encouraging her to rebel. He was her sort of man.