Lola Montez in Grass Valley (PH 17-1)(Undated) (40 pages)

SR I ee i Ea ee ee ae a eh es United States, to prove to them (in a very humble Rese it is true) my appreciation and respect for them. Should you accept my humble services, it will afford me more than ordinary pleasure to bear this testimony to the Firemen of San Francisco whom I esteem to, be the safeguard of this great city.” I am, gentlemen, your most obedient servant, Marie de Landsfeldt Heald LOLA MONTES Chief Engineer’s Office, San Francisco, June 9, 1853 “To Marie de Landsfeldt Heald — Lola Montes Madame: Your favor, dated June 9, has been received in which you tender a benefit to the Fire Department Charitable Fund, to take place on Monday evening, June 13th. instant at the American Theatre, I would respectfully inform you that the above generous assurance of your appreciation of the’ Department is gratefully accepted; and allow me, in behalf of the Firemen to return you their thanks for the same, with the assurance that you will always be remembered by the Firemen for San Francisco -with pleasure, and as one amongst the first artistes visiting our city who has assisted in laying the foundation .of a fund intended for the relief of those who are disabled in health and body, by endeavoring to protect their fellow citizen’ss property. Iam respectfully, your obedient servant, GEO, H. HOSSEFROSS, Chief Engineer, San Francisco Fire Dept.” Lola then wrote, by newspaper column, the French Theatrical Corps and the German Theatre of San Francisco for their services towards the benefit and both groups accepted. Herr Miska Hauser, the well known Austrian violinist, and the George Chapman family also volunteered. Following this successful benefit, Lola’s re-engagement came to a close and she was again given a second and final personal benefit. The following quote may read as a plea to the public to attend: San Francisco Daily Herald, June 15, 1853: “On Monday evening M’lle Lola Montes gave an enter_tainment which threw several thousand dollars into the treasury of one of our most praise-worthy charitable institutions. A few evenings before, her performance in connection with the talents of others was equally substantial in service to the funds of a benevolent, society. On both occasions the theatre was crowded to a degree that was positively disheartening to all late comers . many being turned from the doors in disappointment. With these proceding two arguments in her favor, it is to be supposed that even were M’lle Lola entirely unknown to fame and unlearned in the art of pleasing (which to the contrary she understands to perfection) she should never-the-less be greeted tonight upon the occasion of her benefit and last appearance in San Francisco by an audience numerically in proportion with the capacity of the building. M’lle Lola deserves a crowded house, since she has prepared for the occasion such anentertainment . in keeping with her talent as anactress and danseuse. Unless she receives tonight much less than her deserts, the fair benefactress will close her triumphant engagement in San Francisco without conclusive evidence of the favor her tact, skill and~ many graces have won for the community.” The Daily Herald, June 16, 1853: “Thecall of Lola Montes upon the public of San Francisco on the oc= casion of her benefit, was answered witha heartiness that leaves no doubt as to the lady’s theatrical reputation with this community. The house was crowded and the presence of the Howard Engine Co. No. 3, and: } —— wo ver Or Sr ey ‘ wewenwe ve wewvw we wow we vew SS & their escort, the Empire Engine Co. No. 1, served to fill up every vacant space and made a very brilliant show in the parquette and dress circle. It was the last appearance of Lola Montes in this city, and her performance, always spirited, graceful and winning, seemed unusually so upon the occasion. The fact that her re-engagement has thus early drawn to a close will prove a source of regret tothe community which may be lessenedby a hope thatit will not prove the last opportunity we shall have of enjoying her attractive entertainments.” After the numerous flowery articles written by the San Francisco Herald praising Lola and her stage successes in the city its final item is as follows: The San Francisco Herald, June 21, 1853: “Mr. Adams, the agent of this eccentric politician, danseuse and actress, is now in Sacramento in treaty with the managers of the Sacramento Theatre to secure her engagement.” ‘ ‘Part III “LAUGHTER AND TEARS” Although» Lola Montez made no pretentions of equality with the celebrated tragediennes of the day, she nevertheless emulated their talents by portraying the deep feelings and passions of an ardent-noble woman. She insisted on making her bid in the California theaters by casting herself in heavy roles, only to become the unwitting target of acrude, broad burlesque in the San Francisco Theatre. San Francisco Herald, June 20, 1853: “Tonight the new burlesque which has been sometime in preparation entitled, ‘Who Has Got The Countess?’ will be produced. J. B. Booth, the brother of Edwin Booth, was in partnership with Dr. D. G. (Yankee) Robinson in managing the San Francisco Theatre. The doctor, popular in the ribald Fifties, declined in favor as more women and tamilies joined the theater-going public. His theory that California audiences enjoyed laughing at themselves or others was proven in the farce he wrote about Lola Montez. He opened each performance with a satirical song, “Buggins and the Countess,” Louis Buggins, of course, being a takeoff on Lewis Baker, actor-manager of the American Theatre. The words of the song changed nightly as the doctor ad-libbed new criticisms. . BUGGINS AND THE COUNTESS “Some weeks ago the Countess came to fill us with delight And drew admiring throngs to see her spider dance each night, i The nice young men in tender strains impressions , tried to make, And tho’ they sighed and threw bouquets, she didn’t seem to take. But these gallants determined each that he’d not quit his hold, And tho’ she could not take them all, she kindly took their gold.” ; “Now after all these takes, I’d say that some were taken in, Who think that she won’t take a joke whenever she can win, And while she’s in this taking way, she’s causing great distress In some young men: who fear she’ll take some member of our press. : Tho’ Democrat she long has been, ’tis thought by some she’ll dig And leave the party in the lurch and fasten to the Whig .” wo we.

SR I ee i Ea ee ee ae a eh es United States, to prove to them (in a very humble Rese it is true) my appreciation and respect for them. Should you accept my humble services, it will afford me more than ordinary pleasure to bear this testimony to the Firemen of San Francisco whom I esteem to, be the safeguard of this great city.” I am, gentlemen, your most obedient servant, Marie de Landsfeldt Heald LOLA MONTES Chief Engineer’s Office, San Francisco, June 9, 1853 “To Marie de Landsfeldt Heald — Lola Montes Madame: Your favor, dated June 9, has been received in which you tender a benefit to the Fire Department Charitable Fund, to take place on Monday evening, June 13th. instant at the American Theatre, I would respectfully inform you that the above generous assurance of your appreciation of the’ Department is gratefully accepted; and allow me, in behalf of the Firemen to return you their thanks for the same, with the assurance that you will always be remembered by the Firemen for San Francisco -with pleasure, and as one amongst the first artistes visiting our city who has assisted in laying the foundation .of a fund intended for the relief of those who are disabled in health and body, by endeavoring to protect their fellow citizen’ss property. Iam respectfully, your obedient servant, GEO, H. HOSSEFROSS, Chief Engineer, San Francisco Fire Dept.” Lola then wrote, by newspaper column, the French Theatrical Corps and the German Theatre of San Francisco for their services towards the benefit and both groups accepted. Herr Miska Hauser, the well known Austrian violinist, and the George Chapman family also volunteered. Following this successful benefit, Lola’s re-engagement came to a close and she was again given a second and final personal benefit. The following quote may read as a plea to the public to attend: San Francisco Daily Herald, June 15, 1853: “On Monday evening M’lle Lola Montes gave an enter_tainment which threw several thousand dollars into the treasury of one of our most praise-worthy charitable institutions. A few evenings before, her performance in connection with the talents of others was equally substantial in service to the funds of a benevolent, society. On both occasions the theatre was crowded to a degree that was positively disheartening to all late comers .. many being turned from the doors in disappointment. With these proceding two arguments in her favor, it is to be supposed that even were M’lle Lola entirely unknown to fame and unlearned in the art of pleasing (which to the contrary she understands to perfection) she should never-the-less be greeted tonight upon the occasion of her benefit and last appearance in San Francisco by an audience numerically in proportion with the capacity of the building. M’lle Lola deserves a crowded house, since she has prepared for the occasion such anentertainment .. in keeping with her talent as anactress and danseuse. Unless she receives tonight much less than her deserts, the fair benefactress will close her triumphant engagement in San Francisco without conclusive evidence of the favor her tact, skill and~ many graces have won for the community.” The Daily Herald, June 16, 1853: “Thecall of Lola Montes upon the public of San Francisco on the oc= casion of her benefit, was answered witha heartiness that leaves no doubt as to the lady’s theatrical reputation with this community. The house was crowded and the presence of the Howard Engine Co. No. 3, and: } —— wo ver Or Sr ey ‘ wewenwe ve wewvw we wow we vew SS & their escort, the Empire Engine Co. No. 1, served to fill up every vacant space and made a very brilliant show in the parquette and dress circle. It was the

last appearance of Lola Montes in this city, and her performance, always spirited, graceful and winning, seemed unusually so upon the occasion.. The fact that her re-engagement has thus early drawn to a close will prove a source of regret tothe community which may be lessenedby a hope thatit will not prove the last opportunity we shall have of enjoying her attractive entertainments.” After the numerous flowery articles written by the San Francisco Herald praising Lola and her stage successes in the city its final item is as follows: The San Francisco Herald, June 21, 1853: “Mr. Adams, the agent of this eccentric politician, danseuse and actress, is now in Sacramento in treaty with the managers of the Sacramento Theatre to secure her engagement.” ‘ ‘Part III “LAUGHTER AND TEARS” Although» Lola Montez made no pretentions of equality with the celebrated tragediennes of the day, she nevertheless emulated their talents by portraying the deep feelings and passions of an ardent-noble woman. She insisted on making her bid in the California theaters by casting herself in heavy roles, only to become the unwitting target of acrude, broad burlesque in the San Francisco Theatre. San Francisco Herald, June 20, 1853: “Tonight the new burlesque which has been sometime in preparation entitled, ‘Who Has Got The Countess?’ will be produced. J. B. Booth, the brother of Edwin Booth, was in partnership with Dr. D. G. (Yankee) Robinson in managing the San Francisco Theatre. The doctor, popular in the ribald Fifties, declined in favor as more women and tamilies joined the theater-going public. His theory that California audiences enjoyed laughing at themselves or others was proven in the farce he wrote about Lola Montez. He opened each performance with a satirical song, “Buggins and the Countess,” Louis Buggins, of course, being a takeoff on Lewis Baker, actor-manager of the American Theatre. The words of the song changed nightly as the doctor ad-libbed new criticisms. . BUGGINS AND THE COUNTESS “Some weeks ago the Countess came to fill us with delight And drew admiring throngs to see her spider dance each night, i The nice young men in tender strains impressions , tried to make, And tho’ they sighed and threw bouquets, she didn’t seem to take. But these gallants determined each that he’d not quit his hold, And tho’ she could not take them all, she kindly took their gold..” ; “Now after all these takes, I’d say that some were taken in, Who think that she won’t take a joke whenever she can win, And while she’s in this taking way, she’s causing great distress In some young men: who fear she’ll take some member of our press. : Tho’ Democrat she long has been, ’tis thought by some she’ll dig And leave the party in the lurch and fasten to the Whig ..” wo we.