| Title: | The Fairy Tales of Mother Goose |
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| Description: | The Fairy Tales of Mother Goose, author unknown, composer Alfred Mellon. Lively Jack was Sarah Woolger. Here she rescues Little Red Riding Hood (Mary L. Keeley) from the wolf (Paul Bedford). Mother Goose was played by Miss Wyndham. |
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| 1st Performance: | Apr 9, 1855 |
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| Theatre: | Adelphi |
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| Source: | The Illustrated London News, May 5, 1855, p. 428 |
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| See Source: | Go to Source Images (8.8 MB) |
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| Review: | The Illustrated London News, May 5, 1855, p. 428 |
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"MOTHER GOOSE'S FAIRY TALES."
The scene, which we have this week presented, has for its subject the contest
between Miss Woolgar as Lively Jack, and Mr. Paul Bedford as the Wolf,
in the story of "Red Riding Hood." Mother Goose herself, admirably impersonated by Miss
Wyndham, forms part of the group, with the heroine, so interestingly represented
by Miss Mary Keeley. The contest is most perseveringly maintained on
the part of Miss Woolgar, who wins the triumph by indomitable and persevering
energy. The thorough-going air and spirit which this inimitable actress
lends to all such characterisations require the exercise of a peculiar art,
melodramatic in its basis, but not to be obtained without prolonged practice. The art demands, indeed, the
perfectly
experienced actress;
yet they are, after all, thankless parts. But Miss Woolgar has, from
the beginning, consulted the advantage of the theatre in preference to her
own, and has, we believe, as she well deserves, found her private account in
it. The public are as much indebted to her for her kindness as for her talent.
Sadler's Wells.--
The courtesy of visiting each other's houses, now adopted by the managers
of our theatres, is one that be accepted as the test of our present
civilisation. Mr. Webster and Madame Celeste make their appearance
here, while Mr. Phelps is enjoying the honours of a guest on Mr. Creswick's
boards. The favourite Adelphi piece introduced to the Islington audience on
Monday was well received The "Green Bushes" is a stock attraction in the
Strand, and its merits are such as to command recognition
wherever acted. Madame Celeste's Miami is an interesting conception,
romantically realised, and one which always
displays the best points of this artiste's acting. It touches the feelings
with extraordinary power; and, aided by the situations which the dramatist has so
adroitly contrived, enforces an irresistible appeal on the sympathies. Madame
Celeste evidently aimed on this occasion to commend her art to the judgment of an
audience now so long accustomed to the highest drama; and her success was complete.
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