PE0257. THE LADY OF THE ROSE (Jean Gilbert) & English Lyrics by Harry Graham), recorded 1922, w.Merlin Morgan Cond. Daly's Theatre Orch.; Phyllis Dare, Huntley Wright, Thorpe Bates, Ivy Tresmand & Leonard MacKay, (Members of Original Cast, 21 Feb., 1922, London); Additional material by Herman Finck conducting, plus Light Opera Company. (England) Palaeophonics 93A, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production plus 8pp. facsimile of original Daly's Theatre programme, with photos of the production & biographies. Excellently transferred from the legendary Acoustic 78rpm rarities.
"DIE FRAU IM HERMELIN (Book & lyrics by Rudolf Schanzer and Ernst Welisch) - Thalia-Theater, Berlin (1919); as THE LADY OF THE ROSE (book by Frederick Lonsdale; Lyrics by Harry Graham and Frederick Lonsdale. Additional songs by Leslie Stuart and Sigmund Romberg - Daly's Theatre, London 21 February, 1922; as THE LADY IN ERMINE (Book by Frederick Lonsdale and Cyrus Wood; Lyrics by Harry Graham and Cyrus Wood) Ambassador Theatre, New York, 2 October 1922, transferred to Century Theatre, New York, 29 January, 1923 (238 performances).
In 1909, Phyllis Dare created the role of Eileen Cavanagh in the hit musical THE ARCADIANS at the Original Shaftesbury Theatre. This was an extraordinarily long-running musical, playing for 809 performances, and Dare stayed for the entire run. The musical marked the beginning of Dare's association with producer George Edwardes, and she went on to star in several more of his productions in the next three years, including THE GIRL IN THE TRAIN at the Vaudeville Theatre (1910, as Gonda van der Loo), PEGGY at the Gaiety Theatre (1911, as Peggy), THE QUAKER GIRL IN PARIS (1911, as Prudence) and THE SUNSHINE GIRL at the Gaiety and then on tour (1912-13, as Delia Dale). She left THE SUNSHINE GIRL in 1913 to join the cast of THE DANCING MISTRESS, as Nancy Joyce, at the Adelphi Theatre.
Dare performed on stage rarely for the next few years, appearing in HANKY-PANKY at the Empire Theatre in 1917. She returned to the stage in 1919 as Lucienne Touquet in KISSING TIME at the Winter Garden and then played Princess Badr-al-budur in ALADDIN in 1920 at the Hippodrome, London. She continued to star in successful productions throughout the 1920s, including as Mariana in THE LADY OF THE ROSE at Daly's Theatre (1922), as Yvette in THE STREET SINGER (1924; 360 performances at the Lyric Theatre and on tour), and as Fay Blake in Rogers and Hart's LIDO LADY at the Gaiety Theatre (1926), in which she introduced the song ‘Atlantic Blues’. She then turned to straight plays. Some of these included AREN'T WE ALL (1929) WORDS AND MUSIC (1932), and THE FUGITIVES (1936). Dare also appeared in a few films including THE ARGENTINE TANGO AND OTHER DANCES (1913), DR. WAKE'S PATIENT (1916), THE COMMON LAW (1923), CRIME ON THE HILL (1933), DEBT OF HONOUR (1936), MARIGOLD (1938) and GILDERSLEEVE ON BROADWAY (1943).
In 1940, for the first time in over four decades, Zena and Phyllis Dare shared the stage, in a tour of FULL HOUSE, in which Dare played Lola Leadenhall. In 1941-42, she was Juliet Maddock in OTHER PEOPLE'S HOUSES, and in 1946 she played the Marchioness of Mereston in LADY FREDERICK at the Savoy Theatre. In 1949, Dare opened as Marta the mistress in Ivor Novello's musical, KING'S RHAPSODY, again with her sister Zena. The show ran for two years and was Dare's last theatrical endeavour.”
- Z. D. Akron
“Thomas Thorpe-Bates studied at the Guildhall and the Royal Academy of Music. He sang as principal baritone at provincial Music Festivals, Choral Societies, Promenade Concerts and the Hallé and Brand Lane Concerts, Manchester. He played in THE YANKEE PRINCESS in New York in 1922. He also appeared in THE MAID OF THE MOUNTAINS, THE REBEL MAID and many other plays. Bates’ daughter was the actress Peggy Thorpe-Bates, perhaps best remembered as one of three actresses who played Hilda Rumpole in the TV adaptations of John Mortimer’s RUMPOLE OF THE BAILEY novels.”
- Ned Ludd
“Ivy Tresmand was an English soubrette who appeared mostly in musical theatre. Tresmand’s earliest appearances were in the chorus of the revue SHELL OUT (1915), in the musicals HOUP LA! (1916–1917) and Betty, and in the revue BUBBLY.
In 1922 Tresmand won the leading role of Tina in a West End revival of the Broadway show THE RED MILL. She was in the revue JUST FANCY and followed May Beatty as Margot in SYBIL. In 1923 she was in THE MERRY WIDOW at Daly's Theatre. She continued to play in musicals through the 1920s and early 1930s. In 1936 she took the leading role of Penelope Lee in Ivor Novello's CARELESS RAPTURE (1936), remaining with the show while it was on tour and at the Prince's Theatre, Bristol, in 1937–38. She had a part on screen in the film THE DARK STAIRWAY (1938).
After appearing with Leslie Henson in GOING GREEK and SWING ALONG in South Africa, she settled there, continuing to take part in concerts and plays. She died in South Africa in 1980.”
- Hans Lick
“A gentleman farmer with a love of Edwardian and early Twentieth Century music has created a home industry of preserving early Musical and Revue scores as recorded on 78 and cylinder, the latter of which he is certainly a specialist. It is an impressive list of shows that Dominic Combe has digitalised and issued on Compact Disc. Not only is it the recordings but the lovingly created books that attach.
Early theatre recordings abound in Great Britain, more so than in the United States where it took them some time to start recording original cast material. And so, many early scores are available to be heard. But what Dominic discovered when he started assembling these scores was that often latter day British 78 and cylinder record collectors turned their noses up on recordings of dance music or covers and ‘best of’ or ‘gems’ making them hard to find. And, it is those recordings which can often contain songs not otherwise recorded. He has built strong connections with other collectors willing to lend material to make each issue as complete as possible.
Modern equipment and an aptitude for perfection have helped Dominic ‘clean up’ old 78 and cylinder records to deliver a sound quality that can be stunning. The booklets are produced with as much care by using original theatre programmes or magazines such as PLAY PICTORIAL and MUSIC FOR ALL so that the listener can get a good idea of how the show looked as well as to see the unique art work used to advertise the show back then.
Dominic has issued over fifty of these gems and still has titles either being completed or awaiting to be started on. The label is called PALAEOPHONICS.”
- y phayward, OVERTURES: The Bunnet-Muir Musical Theatre Archive Trust, 10 July, 2017