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

Alonzo Delano, of the Roosevelt Delano’s, author and agent of the Wells Fargo Express in Grass Valley, wrote the following to the Sacramento Union on July 22, 1853: “Lola Montezis here! She is taking the hearts of our people by her affability and good na. ture. Despite all the. ugly stories your papers have published about a Marysville fight, the smiles of the bridegroom are still upon the husband’s face, and happiness and good nature prevade the countenance of the heroine and her liege lord. From this place they go to Nevada and Downieville, more to enjoy the mountain air and unrivalled scenery than for the , worship of mammon.” PART VI “Danseuse in the Northern Mines” The Alta Theater in Grass Valley, constructed in 1853 over a saloon of the same name on Main Street was conceivably the scene of a near riot as mobs of miners from the creeks and nearby hills stormed the ticket office for Lola’s first appearance on the evening of Wednesday, July 20, 1853. Many of them, unhappily turned away, were pacified to some extent with the assurance that she would again appear the following evening. Lola avoided being cast as Madame Teazle or Charlotte Corday of the tragic San Francisco plays; then too, scenic and lighting effects were limited in crude theaters of the mining camps. She preferred to appear only as a danseuse, relying on the beauty of her form, face and elaborate costumes to Captivate an audience, most of which was miners hungry for the sight of a beautiful woman. Of all the thespians who came to gather gold by entertaining the argonauts, none achieved the legendary fame of the incomparable Lo-la-la. The following item appeared in the Nevada Journal, from a Grass Valley correspondent, the day after Lola’s premiere in the little valley town. “.the echo of the tempest occasioned by so august a presence, could be heard last evening through the bounds of our lively berg, drowning even the clatter of the eternal stampers and tonight . sufficient it is that we enjoy the good that God sends us, and not anticipate the greater blessings yet in store for us, the humble worshipers of the beautiful in Nature and Art.” (Quotes are chosen from the Nevada Journal, as the Grass Valley Telegraph did not begin operations until September, 1853) The Nevada Journal, July 22, 1853: “The worldrenowned Lola is now at Grass Valley and danced there on Wednesday and Thursday evenings. We believe she dances there again this evening because the hall in this city is engaged till after Saturday. Next week our citizens may expect a visit from this extraordinary woman’ and her talented company. In spite of all the Opposition she has met with, from whatever source, during her remarkable career, she has been everywhere triumphant, and has left behind her in every instance a high admiration of her intellect and wonder for her versatility and originality. That this great ‘star’ will be received with distinction in this city we doubt not.” The noted “Spider Dance” was Virtually Lola’s greatest contribution to California theatricals of that day. “La Tarantella,” a rapid, whirling dance Originating in southern Italy, was executed by Lola ina full-skirted, multicolored costume, A description of this dance is in the San Francisco Whig for June 3, 1853, (During the rapid rotations) . “she unwittingly gets into one of those huge nests of spiders, found during the spring time in meadows, stretching away into an infinit commences to dance and the colvebe entinele Ree ankles. The myriad spiders, young and old and half grown begin to colonize. The music is a slowmeasured but fascinating amalgamation of polka, waltz, mazurka and jig. The spiders accumulate ‘and the danseuse stamps. They appear in myraids. 5° “sprattle about the stage, invading the edge of milady’s petticoats and taking such unwarrantable liberties ‘that the spectator imagines an inextricable mass of cobwebs and enraged spiders, and would sympathize with Demoiselle, but she seems to take it so easily herself that one jumps to the conclusion that she is : enough for them. It is Lola versus the spiders. After a series of examinations and shaking dresses, she succeeds in getting the imaginary intruders away — apparently stamps daylight out of the last ten thousand, and does it with so much naivete that we feel sort of satisfaction at the triumph. The picture .-winds up with Lola’s victory, and she glidesfrom the “stage overwhelmed with applause, and smashed spiders, and radiant with parti-colored skirts, ‘smiles, graces, cobwebs and glory.” Many versions of the famed “Spider Dance” have been handed down from one generation to the next. One description is of spiders made of whalebone and rubber attached to her costume and some artists have interpreted it in this manner. : The Sailor’s Hornpipe, when Lola donned sailor's trousers and jacket, was a favorite among the miners. This dance included effective musical accompaniments, the roar of an angry ocean, the howling of the storm, a pantomine of a shipwreck and a variety of nautical properties not usually introduced in the choreography of those days. The audience was surprised and pleased. Lola had charmed them with a novelty. i “El Olle,” a dance of Spanish origin, quite Andalusian in character, being made up of a succession of graceful attitudes and movements, was effected by Montez as a study of sculptor. The Swiss Dance, from the opera of William Tell, distinguished for having been performed by Lola at the Grand Opera in Paris, completed her repertoire of dances in the mining camps. Between costume changes, the two muscians entertained the delighted audience. It is not recorded whether they entered into the musical interlude by singing or kept time tothe rhythm with their feet, but it would not be surprising. The troupe performed in Nevada City from July 25 (Monday), through July 30, 1853, at Dramatic Hall, built over Hamlet Davis’ store, corner of Broad and Pine Streets, where Alice’s Dress Shop is presently located. / Nevada Journal, July 29, 1853: M’lle Lola Montez “The people of Nevada have been entertained the past week for several nights with performances of the eccentric and accomplished woman whose name heads this note. The houses have been crowded with an enthusiastic audience at double the usual pricés. The lady has exhibited herself here in her most gracious mood, and shown that where the Jesuits and other annoyances intrude not like spiders on her arrangements, she can be sunny as any of her sex, She has reversed many prejudices that had obtained her in the public mind (of course all emanat-— ing from the malignant ‘fathers long legs’ thatcrawl over the path of merit) and will leave here with good wishes of all devotees to amusement. She gives a farewell concert on Saturday, when she of course will have a crowded house. Her speeches are not the least piquant part of her entertainment, and take an audience by storm by the pregnant hints they contain. Lola has made a decidedly successful visit to the mountains. Her two supporters, Mons. Chenal and Eigenschenck, are most accomplished performers, and of themselves a host inentertainment.” The following is an admirer’s poem found written on back of a playbill and published in the San Francisco Daily Herald: TO LOLA MONTES “Fair Lola: I cannot believe as I gaze on thy face And into those soul-sparkling eyes There rests in thy bosom one lingering trace wees Sse eeTegeeaeegegegeweegaegeegeagaeseeoeaoagnaueeqgeeeeeegee ge € € E GS SC © 1.

Alonzo Delano, of the Roosevelt Delano’s, author and agent of the Wells Fargo Express in Grass Valley, wrote the following to the Sacramento Union on July 22, 1853: “Lola Montezis here! She is taking the hearts of our people by her affability and good na. ture. Despite all the. ugly stories your papers have published about a Marysville fight, the smiles of the bridegroom are still upon the husband’s face, and happiness and good nature prevade the countenance of the heroine and her liege lord. From this place they go to Nevada and Downieville, more to enjoy the mountain air and unrivalled scenery than for the , worship of mammon.” PART VI “Danseuse in the Northern Mines” The Alta Theater in Grass Valley, constructed in 1853 over a saloon of the same name on Main Street was conceivably the scene of a near riot as mobs of miners from the creeks and nearby hills stormed the ticket office for Lola’s first appearance on the evening of Wednesday, July 20, 1853. Many of them, unhappily turned away, were pacified to some extent with the assurance that she would again appear the following evening. Lola avoided being cast as Madame Teazle or Charlotte Corday of the tragic San Francisco plays; then too, scenic and lighting effects were limited in crude theaters of the mining camps. She preferred to appear only as a danseuse, relying on the beauty of her form, face and elaborate costumes to Captivate an audience, most of which was miners hungry for the sight of a beautiful woman. Of all the thespians who came to gather gold by entertaining the argonauts, none achieved the legendary fame of the incomparable Lo-la-la. The following item appeared in the Nevada Journal, from a Grass Valley correspondent, the day after Lola’s premiere in the little valley town. “..the echo of the tempest occasioned by so august a presence, could be heard last evening through the bounds of our lively berg, drowning even the clatter of the eternal stampers and tonight .. sufficient it is that we enjoy the good that God sends us, and not anticipate the greater blessings yet in store for us, the humble worshipers of the beautiful in Nature and Art.” (Quotes are chosen from the Nevada Journal, as the Grass Valley Telegraph did not begin operations until September, 1853) The Nevada Journal, July 22, 1853: “The worldrenowned Lola is now at Grass Valley and danced there on Wednesday and Thursday evenings. We believe she dances there again this evening because the hall in this city is engaged till after Saturday. Next week our citizens may expect a visit from this extraordinary woman’ and her talented company. In spite of all the Opposition she has met with, from whatever source, during her remarkable career, she has been everywhere triumphant, and has left behind her in every instance a high admiration of her intellect and wonder for her versatility and originality. That this great ‘star’ will be received with distinction in this city we doubt not.” The noted “Spider Dance” was Virtually Lola’s greatest contribution to California theatricals of that day. “La Tarantella,” a rapid, whirling dance Originating in southern Italy, was executed by Lola ina full-skirted, multicolored costume, A description of this dance is in the San Francisco Whig for June 3, 1853, (During the rapid rotations) .. “she unwittingly gets into one of those huge nests of spiders, found during the spring time in meadows, stretching away into an infinit commences to dance and the colvebe entinele Ree ankles. The myriad spiders, young and old and half grown begin to colonize. The music is a slowmeasured but fascinating amalgamation of polka, waltz, mazurka and jig. The spiders accumulate ‘and the danseuse stamps. They appear in myraids. 5° “sprattle about the stage, invading the edge of milady’s petticoats and taking such unwarrantable liberties ‘that the spectator imagines an inextricable mass of

cobwebs and enraged spiders, and would sympathize with Demoiselle, but she seems to take it so easily herself that one jumps to the conclusion that she is : enough for them. It is Lola versus the spiders. After a series of examinations and shaking dresses, she succeeds in getting the imaginary intruders away — apparently stamps daylight out of the last ten thousand, and does it with so much naivete that we feel sort of satisfaction at the triumph. The picture .-winds up with Lola’s victory, and she glidesfrom the “stage overwhelmed with applause, and smashed spiders, and radiant with parti-colored skirts, ‘smiles, graces, cobwebs and glory.” Many versions of the famed “Spider Dance” have been handed down from one generation to the next. One description is of spiders made of whalebone and rubber attached to her costume and some artists have interpreted it in this manner. : The Sailor’s Hornpipe, when Lola donned sailor's trousers and jacket, was a favorite among the miners. This dance included effective musical accompaniments, the roar of an angry ocean, the howling of the storm, a pantomine of a shipwreck and a variety of nautical properties not usually introduced in the choreography of those days. The audience was surprised and pleased. Lola had charmed them with a novelty. i “El Olle,” a dance of Spanish origin, quite Andalusian in character, being made up of a succession of graceful attitudes and movements, was effected by Montez as a study of sculptor. The Swiss Dance, from the opera of William Tell, distinguished for having been performed by Lola at the Grand Opera in Paris, completed her repertoire of dances in the mining camps. Between costume changes, the two muscians entertained the delighted audience. It is not recorded whether they entered into the musical interlude by singing or kept time tothe rhythm with their feet, but it would not be surprising. The troupe performed in Nevada City from July 25 (Monday), through July 30, 1853, at Dramatic Hall, built over Hamlet Davis’ store, corner of Broad and Pine Streets, where Alice’s Dress Shop is presently located. / Nevada Journal, July 29, 1853: M’lle Lola Montez “The people of Nevada have been entertained the past week for several nights with performances of the eccentric and accomplished woman whose name heads this note. The houses have been crowded with an enthusiastic audience at double the usual pricés. The lady has exhibited herself here in her most gracious mood, and shown that where the Jesuits and other annoyances intrude not like spiders on her arrangements, she can be sunny as any of her sex, She has reversed many prejudices that had obtained her in the public mind (of course all emanat-— ing from the malignant ‘fathers long legs’ thatcrawl over the path of merit) and will leave here with good wishes of all devotees to amusement. She gives a farewell concert on Saturday, when she of course will have a crowded house. Her speeches are not the least piquant part of her entertainment, and take an audience by storm by the pregnant hints they contain. Lola has made a decidedly successful visit to the mountains. Her two supporters, Mons. Chenal and Eigenschenck, are most accomplished performers, and of themselves a host inentertainment.” The following is an admirer’s poem found written on back of a playbill and published in the San Francisco Daily Herald: TO LOLA MONTES “Fair Lola: I cannot believe as I gaze on thy face And into those soul-sparkling eyes There rests in thy bosom one lingering trace wees Sse eeTegeeaeegegegeweegaegeegeagaeseeoeaoagnaueeqgeeeeeegee ge € € E GS SC © 1.