La Revue Tricolore

‘It will be remembered that the Moulin Rouge was gutted by fire in January of this year [actually on 27 February], and the whole of the artistes and staff were thrown out of employment. Mr. Jean Fabert’s wife is an English lady, resident in London, and it is in accordance with her suggestion that on the 14th inst., Mr. Jean Fabert will present the first of a series of Moulin Rouge productions at the London Pavilion, opening on that day with the revue which was running successfully at the Moulin Rouge prior to the fire. If Mr. Jean Fabert finds that bright, sparkling Parisian productions appeal to the London audience, it is his intention to continue their presentation in London until his house in Paris has been reconstructed’ (Sporting Times, 12 June 1915; similarly The People, 13 June 1915). ‘Paris in London. I turned into the Pavilion last night, and there found a charming bit of Paris transported bodily from the Hill of Montmartre to Piccadilly-circus. It is the revue that was stopped at the Moulin Rouge by the fire that destroyed the theatre. The stage fairly bubbled with pretty Montmartre dancing girls, They are in nowise like London chorus girls, for they are as vivacious as birds, though, perhaps, they do not so sing well’ (Daily Mirror, 16 June 1915). 'It is announced that play and players have come direct from the Moulin Rouge, having been rendered temporarily without an artistic home owing to the disastrous fire which destroyed the Paris house. Whatever the cause of the French season at the Pavilion, the effect is very welcome, for it would be difficult to imagine a brighter entertainment than that which the company manage to crowd into ninety minutes traffic of the stage. Probably owing to a longer acquaintance with the form of work, the French revue writer has a surer touch and considerably more finesse when dealing with topical matters than his English confrère, and though, naturally, the War looms largely in the general scheme, references are always made in a manner that commands respect and admiration. We have, for instance, the actual life of the trenches reproduced, and English and French soldiers are found fraternising and enjoying the contemplation of home affairs. In lighter vein is an amusing street incident in which Royalist, Socialist, and Radical forget their heated quarrels upon the receipt of their mobilisation papers. A striking scene introduces counterparts of Wellington and Cambronne, and, the military spirit pervading the dressmakers and the opera stage, incidents dealing with the new order of things find places in the revue. One cannot, of course, detail all the items of the eighteen scenes, but it is possible to say that on the opening night there appeared to be nothing unnecessary in the piece, and that everything went with a capital swing from start to finish ... The Moulin Rouge season at the popular Piccadilly Circus house should prove a very successful venture for all concerned’ (The Stage, 17 June 1915). '“Le Moulin Rouge from Paris to Pav.” is of the general Parisian order. The performers, like the play, are “straight from” the Moulin Rouge, Paris, which is a guarantee of brightness and vivacity ... Life in the trenches as taken by the Allies is faithfully reproduced, as are also incidents in Parisian life, including one in which Socialists, Royalists and other partisans bury their political differences on receipt of their order to go the front’ (The People, 20 June 1915). The Stage, 24 June 1915, reported on a charity matinée organised by the Woman’s Theatre at the London Pavilion on Monday 21 June in aid of the War Distress Fund, which included ‘the laughable Midinette and Scotsman scene from the Pavilion Moulin Rouge revue, by Mlle. Leo Darly and Frank Attree’. ‘"Le Moulin Rouge,” the typical French revue straight from Montmartre to the London Pavilion, has never belied the promise of its opening nights. It is running more vigorously than ever, with, this week, some new features which displace none of the best of the old ones. While the variations are pleasing, there is still nothing to compare in patriotic interest with the light and shade of the trench scenes, which continue deeply to stir the emotions, not alone of the emotional French people from Soho and round about, but of the less easily aroused English as well'. (Westminster Gazette, 6 July 1915). 'The present revue would appear to represent the chastened spirit of the Parisian in these days of affliction, when he is no longer in the mood to give rein to his reckless and unrestrained wit, but is more disposed, as it were, to hang his harp on the willow and lift his eyes to the hills. For the most part this revue is all about the war, and I am not quite sure that the choice of subject is a happy one. People go to places of entertainment just now in the effort to forget for an hour or two the shadow that is over them and theirs instead of which, as the learned magistrate remarked, this revue is simply soaked with bellicosities ... One of the most realistic scenes in the revue is that which shows a trench occupied by British and French soldiers, including a large specimen of the “Turco” breed. The spectacle of the representatives of the two great nations fraternising is, of course, enthusiastically received, but the scene is no more than a picturesque record of the obvious. The difficulties of a Scots soldier endeavouring, with the aid of a pocket dictionary, “to be courteous and no more than courteous” (see Army regulations) to a lively midinette are well emphasised by Mr. Frank Attree and Mlle. Leo Darly, though it seems to me that when a nice girl throws her arms round your neck and says that she loves you dearly, it is time to put your dictionary back in your pocket, and let the language difficulty slide ... According to the programme, one of the items is a reproduction of the celebrated quadrille of the Moulin Rouge. The Quadrille is there right enough, but it does not seem a very hilarious affair away from its customary surroundings. I think the Quadrille owed much of its success to the fact that it was danced among the spectators. Performed on the stage in specially designed and most artistic costumes, it loses half its daring ... A scene that is not very illuminating is that in which we are shown an engaged Belgian couple on their way to Havre to be married. It appears that if the wedding were to take place in Brussels it would be performed by the “Boches,” and this, the prospective bride informs us, would be too horrible. It may be so, of course, but as we do not know anything about German rule in Brussels we are not able fully to appreciate the ghastly horror of such a ceremony. If the “Boches” have revived the ancient rule of les droits du Seigneur our sympathies are naturally with the young couple; but until we know what danger they are flying from it is not easy to take a very great interest in their welfare, beyond, of course, wishing them joy, first a girl and then a boy, and all the rest of it ... Perhaps a little more humour could be socked into the programme without overdoing the fun of it; but no doubt, like most other entertainments of its kind, it will grow in grace as time rolls on’ (The Bystander, 7 July 1915, which also had a full page of caricatures of the characters, including the Royalist, the Socialist and the Radical mentioned in The Stage’s review, and of the cast including Mlle. Anna Martens, Miss Dorothy Selborn and Jack Lerner, captioned ‘The new Revue at the London Pavilion is necessarily very military in character, since it comes from Paris, where the people are not allowed to forget the war for a moment’). 'Because, apparently, Englishmen could not go to see the Moulin Rouge, the Moulin Rouge has come to them. It took the London Pavilion by storm ... In all conscience the French revue, From Paris to the Pav, was dull enough at the beginning. But even its initial dullness became so popular that the management set to work to brighten it up a bit, with the result that it is at the present moment one of the gayest “shows” in town' (The Tatler, 25 August 1915). ‘The London Pavilion announces the last week of “Le Moulin Rouge” revue, and on Monday, September 6’ a new Anglo-French revue entitled ‘Honi-Soit’ would be produced (Pall Mall Gazette, Thursday 26 August 1915).

'There are Revues and Revues, and it is passing strange that this particular one, with a large company of French artists, and with the name of a place which in times gone by was a synonym for naughtiness, should be one of the best of the bunch, and with nothing that the most lynx-eyed Connor could find fault with. In fact, this Revue, with its quaint mixture of French-English and English-French, makes a quite delightful pour passer le temps. It is in ten scenes, not all of equal value, but each containing something good. “A Glimpse of the Trenches” caught on immensely, and the spirited French soldier song, so different to the Tipperary song, excellently sung and acted, was encored again and again. Nothing more delightfully charming and funny than ‘‘The Entente Cordiale” scene could be wished. Mdlle. Leo Darby (sic - Darly), as the little Parisian midinette, who couldn’t speak English, and Mr. (surely not M.) Frank Attree, as the Highlander, who couldn’t speak French, making love, was really killing. Again, Mr. Albert Brouet as *“Arsene Lupin” gave us the cracksman as he ought to be - a fine piece of acting. Then the same gentleman as Napoleon and Mr. Frank Attree, as Wellington, had a fine scene, the idea of the one-time antagonists fraternising and the words of the former, ‘We fought hard, but we fought like gentlemen” brought down the house. Much more than one word of praise is due to Mdlle. L. de Sehgue and M. F. Demery for their dances. These, cleverly conceived by Espinosa, were excellently well danced by the lady and gentlemen. The ensemble dances and groupings were also picturesque and effective and the whole makes a thoroughly good and enjoyable slow. We don’t think the other items in the programme were up to the level of the Revue …’ (Norwood News, 10 September 1915). [* Arsène Lupin was the gentleman thief-cum-detective created by the French writer Maurice Leblanc.]

‘The Moulin Rouge Revue comes from to us from Paris, via the London Pavilion, Piccadilly Circus, W. It is, of course, played in English by a brilliant French cast, including Mesdames Aldona Redo, Nellie Corti, Leo Darly, Ethel Bert, Henriquitta, Symia, De Sehgue, and Messieurs Jaques Lerner, Frank Attree, Lucien Dia, Aristide Semis, Mirroy, F. Demery, and Albert Brouett. There will be a chorus of 50 French and English beauties. Mons. Jean Fabert, manager and proprietor of the famous music hall, “Le Moulin Rouge,” in Paris, is responsible for this unique entertainment, which should make a furore in Hastings particularly, the home of L’Entente Cordiale”’ (Hasting and St Leonard’s Observer, 11 September 1915). After some variety acts ‘the remainder of the programme [at the Gaiety Theatre, Hastings] is taken up by “Le Moulin Rouge Revue,” by a powerful Company, direct from a great success at the London Pavilion. It is a brilliant show, presented by M. Jean Fabert, proprietor and manager of the Moulin Rouge, Paris, and though the artistes are French (with only one or two exceptions), the piece is given mainly in English, and can easily be followed all through by playgoers with no know ledge of the French language. The Revue consists of series of scenes, ten in all, and each scene represents an incident. These are all very interesting, and vary from the highly dramatic to the intensely comical. Throughout there is dancing and singing by a powerful Company of superbly-dressed young ladies, whose work is of a brilliant nature. Representing the various incidents are several capable artistes, and one these, M. Albert Brouett, is a wounded French soldier, who has been invalided out the Army, and whose war trophies are displayed on a board at the entrance to the Theatre. In the Revue he appears as *Arsene Lupin, Napoleon, and Albert, a young Frenchman. M. Jean Fabert, and another of the principals in the revue. M. Armandy, have also served in the French Army and been wounded. Perhaps the most popular artiste is M. Jaques Lerner, a first-class comedian, who is responsible for many highly-humorous scenes; but all the principals are excellent, and the ladies are charming, particularly Mdlle. Aldona Redo and Mdlle. Nelli Corti. M. Lerner is from the 22nd Section, French War Office, and is the artistic producer of the Revue. It is a delightful entertainment, with never a suspicion of vulgarity' (Hasting and St Leonard’s Observer, 18 September 1915). [* Arsène Lupin was the gentleman thief-cum-detective created by the French writer Maurice Leblanc.]

‘That fascinating entente cordiale revue “Le Moulin Rouge,” which had such a successful season at the London Pavilion, was presented at the Park Theatre on Monday, when a large audience revelled in the sparkling production. In “Le Moulin Rouge” we have something distinctly original; the author has struck out on new lines and with admirable results. The revue is played by a very superior company of forty-five Parisian artistes, and those who have speaking parts have a good command of English ... the entente cordiale is very effectively represented. The element of fervid patriotism runs through the performance. Of bright and wholesome humour there is an abundance, but perhaps it is to the delightful dancing and the charming setting that the revue chiefly owes its success. A very pretty scene is “The Land of Oranges,” in which exponents of the terpsichorean art are at their best. The Entente Cordiale scene evokes very hearty laughter, “Jock’s” conversation with a French lassie being absurdly funny. Two special dances by Mdlle. M. de Sehgue and Mons. F. Denery win expressions of very hearty appreciation. In the *Arsene Lupin scene M. Albert Brouett gives a very fine delineation of the audacious bandit, while his other impersonations are also cleverly done. M. Frank Attree, M. Jacques Lerner, and M. Miroy do good work, while ladies are ably represented by Mdlle. Aldona Redo, Mdlle. Nelli Corti, Mdlle. Leo Darly, Mdlle. Henriquetta, and Mdlle. Ethel Bert’. Eastbourne Gazette, 22 September 1915. [* Arsène Lupin was the gentleman thief-cum-detective created by the French writer Maurice Leblanc.] ‘All the French actors at the Park Theatre this week have been on active service. M. Jean Fabert (proprietor of the “Moulin Rouge”) was wounded at the battle of the Marne; M. Armandy at Antwerp; and M. Albert Brouett near Nancy. M. Jack Lerner, M. Milroy and M. Semis have been invalided. M. Armand Dias, who was also invalided, received on Monday a message calling him back to the Front; and his battle song (En avant les petits gars,” written by H. Fragson) is now rendered by M. Armandy. The song expresses the French aspiration: “We must get back Alsace and Lorraine!” Mlle. Leo Darly was a French Red Cross nurse at the Front and was wounded, being sent to England to recuperate’ (Eastbourne Gazette, 22 September 1915).

‘Next week the revue, “Moulin Rouge,” will be at the Theatre, coming direct from a great success at the London Pavilion. It is a brilliant show, presented by M. Jean Fabert, proprietor and manager of the Moulin Rouge, Paris, and though the artistes are French (with only one or two exceptions), the piece is given mainly in English, and can easily be followed all through by play-goers with no knowledge of the French language ...' (Folkestone Express, Sandgate, Shorncliffe & Hythe Advertiser, 25 September 1915). ‘If we cannot go to the Moulin Rouge, the Moulin Rouge must come to us, and M. Jean Fabert, proprietor and manager of the Red Mill in La Ville Lumiere is the man to perform the feat. It comes as a revue, and the enormous success which the production achieved at the London Pavilion, followed by provincial triumphs, is easy of comprehension. The essential point about the revue is its refreshing novelty. It is not quite comparable with anything; it stands alone. It seems to bring to us the old-time joyous atmosphere of the Moulin Rouge, with its carefree abandon and utter surrender to the Spirit of Mirth, and the fact that it is done in English robs it not one atom of its charm. Indeed, this is, in more ways than one, an added attraction. Practically all those taking part are Moulin Rouge artistes, and it is not without interest to record the fact that the Frenchmen appearing have done their share in les tranchees [i.e. les tranchées, the trenches] or at the base ... It is difficult to indicate in a small space all the “resources” of the revue, but we see *Arsene Lupin (M. Albert Brouette) at grips with the police; an amusing representation of the Entente Cordiale (L’Ecossais et la Midinette); some beautiful dancing in the Land of Oranges, in which Mdlle. L. de Sehgue shows the very “poetry of motion”; the great rivals of another war, Napoleon (M. A. Brouett) and Wellington (M. Frank Attree, the only English comedian in the company) (“We fought hard, but we fought like gentlemen”); and a glimpse of the trenches. It is here that M. Jaque Lerner does such excellent work; that M. Armandy so finely sings the thrilling song, “En avant! les petits gars”; that M. Miroy renders with polished care the “Berceuse” by Godard, and where M. F. Attree, as the Scotch soldier, quaintly tells of his French love, the little Midinette, bewitchingly played by Mdlle. Leo Darly, and, as through the smoke, sees a vision of her daintiness. Then there is a fascinating little episode “Kisses and Cigars,” by M. A. Brouett and Mdlle. Ethel Bert. which is sheerest joy. But enough. The Revue terminates with the Night of the Four Arts Ball in the Moulin Rouge, arranged by M. J. Lerner, and featuring the champagne dance by Mdlle. M. de Sehgue and M. F. Demery. In addition to the Revue there are three capital vaudeville “turns”...’ (Folkestone Express, Sandgate, Shorncliffe & Hythe Advertiser, 2 October 1915). [* Arsène Lupin was the gentleman thief-cum-detective created by the French writer Maurice Leblanc.] ‘There were large houses at the Pleasure Gardens Theatre on Monday, when M. Jean Fabert presented “Le Moulin Rouge” revue, which has been very successfully played at the London Pavilion. M. Fabert, who is the proprietor and manager of Le Moulin Rouge, Paris, has served at the front during the War, being wounded at the Battle of the Marne. Several of the male members of the company now appearing at the Theatre have also taken part in the War, and been wounded. The revue is succession of gay and lively scenes, with the exception of one or two which have a sterner aspect, although even into these the element of comedy is introduced by way of relief ... There is an Anglo-French atmosphere about the whole production which is bound to catch the popular fancy just now, and the various episodes are enthusiastically received' (Folkestone, Hythe, Sandgate & Cheriton Herald, 2 October 1915).

‘In “Le Moulin Rouge” we have a revue entirely new to Liverpool. It is styled as a French revue in English, but it would be more correctly characterised as Anglo-French, with a distinct leaning towards the latter. As the production progressed last night the audience, despite a fairly general inability to master our Allies’ tongue, nevertheless appreciated the excellent vocal efforts of the various artistes. The setting and general staging of the revue is excellent. Jacques Lerner, Frank Attree, M. Cayto, and Nelli Corti fill their respective roles successfully’ (Liverpool Echo, 23 November 1915). ‘Full measures are invariably better than half measures. That is how “Le Moulin Rouge” is likely to impress at the Shakespeare Theatre this week. If it had been all French it would have been much more comprehensible than in its present state of half French and half English. To those content with a knowledge of their own tongue only, such a production necessarily lacks continuity. Especially is this so in revues, where at all times incidents and movement are strung together somewhat hotch-potch fashion. This want of cohesion is the chief reason why “Le Moulin Rouge” revue cannot be said to be a great production - in fact, why it is almost an uninteresting production. The mixture of French and English is certainly deftly welded in one humorous scene where a kilted soldier is struggling to overcome linguistic difficulties with a winsome French maid. But apart from this incident the revue is singularly devoid of wit, or even farce. The patriotic vein is allowed to run to a point when it becomes little else but insipid sentiment. What the revue lacks in construction, however, it makes up in attractive stage settings and general staging, and it is well cast, Jaques Lerner, Frank Attree, M. Cayto, Leo Daly, Mdlle. Dora Harvey, and Mdlle. Nelli Corti filling their respective roles successfully’ (Liverpool Daily Post, 24 November 1915). ‘Le Moulin Rouge is a little out of the present run of revues, if it were only for the number of its scenes, there being no fewer than ten taken to unfold its course, though one-half of these would be sufficient, in view of how little takes place in some of them. Doubtless curtailment has taken a great deal of body out of it, for it is rather attenuated as seen here' (The Stage, 25 November 1915). ‘The light humour of the French has not been altogether “gathered” at the Shakespeare Theatre this week. There has been an abundance of patriotism and not sufficient of that amusing comedian, Frank Attree’ (Liverpool Echo, 26 November 1915.

The Daily Record, 27 November 1915, advertised for the following week at the Pavilion, Glasgow (‘Scotland’s premier vaudeville theatre’) ‘by arrangement with M. Jean Fabert, Manager and Proprietor of the Moulin Rouge (Red Mill) in Paris, Le Moulin Rouge Revue. Played in English! Direct to Glasgow Pavilion via the London Pavilion after Fourteen Weeks’ Successful Run’. The newspaper gave the following ‘Synopsis of Scenery’: Scene 1 Outside Havre, the New Belgium Capital. Compere Mdlle. Dora Frank Harvey. Commere Mdlle. Nelli Corti. Sailors, Normandy Girls, Flemish Girls, Dolls, &c. Solo Dance, Mdlle. Evelyn Kelly. Scene 2 Man Proposes - Woman Disposes. The Man, Jacques Lerner. The Woman, Leo Darly. Scene 3 The Mad Skater, M. Gayto. Scene 4 The Entente Cordiale. The Milliner, Leo Darly. The Scotch Soldier, Frank Attree. Scene 5 The Land of Oranges. Shepherds, Shepherdesses, Country Boys and Girls, and Gendarmes. 1st Shepherd, Mdlle. Olive Auliffe. 1st Shepherdess, Mdlle. M. Gati. Solo Dance, Evelyn Kelly. Interval. Scene 6 Outside the Moulin Rouge. The Amateur Singers, Frank Attree and Jacques Lerner. The Flower Girl, Leo Darly. Scene 7 The Rivals of Another War. Wellington, Frank Attree. Napoleon, M. Semis. Scene 8 A Glimpse of the Trenches. Cricri, Jacques Lerner. Gen. Joffre/The Captain, M. Semis. Corporal, M. Gayto. The Sentry, M. Ziklis. The Scotch Soldier, Frank Attree. Cello Solo played by M. Georges Colbert. Scene 9 The Periscope, Leo Darly. Scene 10 Inside the Moulin Rouge. The Night of the Four Arts Ball.

Previewed in The Scotsman, 4 December 1915, which mentioned that Jean Fabert was badly wounded at Marne, Jaques Lerner was severely wounded serving with the 22nd Stretcher Bearers, and Leo Darly served as a Red Cross nurse and was wounded when the hospital at Luchon St Luc was bombarded by the Germans and three of her colleagues were killed. An advertisement in the Edinburgh Evening News, 4 December 1915, listed the same ‘Synopsis of Scenery’ as had appeared in The Daily Record, 27 November 1915, except that the Mad Skater, M. Gayto, was included in the penultimate scene with The Periscope. ‘The Moulin Rouge Revue at the King’s Theatre is a novelty, and last night both performances had crowded attendances. While French predominates, there is sufficient English to enable the audience as a whole to follow the production intelligently. The characteristic feature is light and airy dancing; the vocalism, solo and concerted, is of good quality; and there are several pretty stage effects. There is an ample vein of comedy, and a particularly amusing item is the endeavour of a Highland soldier with an English accent, and a little French milliner, to express through the medium of an inadequate phrase-book, the thoughts that burned within them. That they succeeded in arriving at an understanding is no credit to the phrasebook’ (Edinburgh Evening News, 7 December 1915).

‘Patrons this week are afforded a unique opportunity of witnessing a genuine French revue. “Le Moulin Rouge” is quite typical of the revue as it is known in France. It is played by French artistes, and it has the distinctive Parisian savour. The music, the dancing, and the dresses are all delightful, humour is not lacking, whilst Frank Attree and Jaques Lerner are on the stage, and the little scene “In the Trenches” played by men actually wounded in the present war is most effective’. Daily Gazette for Middlesbrough, 14 December 1915.

‘The programme at the Bradford Alhambra this week is mainly French. Most of the time is occupied by a smart musical revue entitled “Le Moulin Rouge,” much of which is given in French, but the drift of things can be followed easily enough, even though the language is not understood’ (Yorkshire Evening Post, 21 December 1915). ‘A sparkling revue, and a welcome change from the show generally associated with this title, should prove a big attraction at the Alhambra Theatre, Bradford, this week. It is produced under the name of “Le Moulin Rouge” (first appearance in Bradford), and is presented by M. Jean Fabert, manager and proprietor of the Moulin Rouge in Paris. Although most of the artistes are French, the major portion of the revue is played in English, and a strong feature is some splendid singing and classical dancing. Mention must also be made of a most effective tableau representing a supposed meeting of Wellington and Napoleon, who compare the present conflict with that of historic fame, whilst a realistic scene is furnished by the appearance of a French trench “somewhere in France,” in which an old French song is well sung. The principal parts are effectively sustained by Mdlle Adlou Lona and Mdlle. Nelli Corti, whilst a clever solo dance is executed by Mdlle. Evelyn Kelly. The comedy element is by no means neglected, and in this respect Frank Attree and Jaques Lerner keep the audience merry with their witticisms. M. Gayto, “The Mad Skater,” gives a wonderful dancing performance on roller skates, and the vivacity of Leo Darly delights the audience, and is especially good in a little love episode with a Scotch soldier. The closing scene is a feast of splendour, representing “The night of the Four Arts’ Ball”' (Bradford Weekly Telegraph, 24 December 1915).