March 19, 1975 (8 pages)

a SS, rrr -_ — ae (Lola Montez’ life has provided much material for biographers and novelists but what the press had to say about her has long been hidden in musty files. Author Doris Foley diligently searched early day California newspaper files, reading every issue published between 1853 and 1861, to document what they said about the divine =a Lol aand then for contrast included Lola’s autobiography in this work.) CHAPTER THREE = LAUGHTER AND TEARS Although Lola Montez made no pretensions of equality with the — celebrated tragediennes of the day, she nevertheless emulated "+ their talents by portraying the deep feelings and passions of an ;-= “ardent noblewoman. She insisted on making her bid in the a California theaters by casting herself in heavy roles, only to become the unwitting target of a crude, 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’s 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 f ; declined in favor as more women and families 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 CAROLINE AND WILLIAM B. Chapman, stars of the burlesque on Lola Montez, were a sister-brother team. Their father, William Chapman Sr., managed the Theatre Royal in Covent Gardens, London, for 30years. On coming to America, he kept his large family e together by opening a showboat on the Mississippi : River known as Chapman's Floating Palace. After his death; the family scattered; Caroline and William Jr., coming west as did another brother, George, with his large family. Caroline's warm and winning perThe Divine LOLA MONTEZ AND Countess,” Louis Buggins, of course, being a take-off 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 a throngs to see her spider dance each night, sae nice young men in tender strains impressions tried to e, ps And tho’ they sighed and threw bouquets, she didn’t seem to e. 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 And leave the party in the lurch and fasten to the Whig. But since you’ve come out in such crowds to see poor Buggins dance, sonality charmed San Francisco audiences and they possessively called her “Our Caroline." As Mula in the burlesque of "Who's Got the Countess?", she impersonated a tempestuous actress who never knew her lines. William B. Chapman, known particularly for his low comedy and flair for burlesque, stamped and whirled through a ridiculous interpretation of La Tarantella called the “Spy-Dear ''Dance. (Photo courtesy of the Bancroft Library, University of California) 7 . By Doris I'll throw bad rhyming to the For in our burlesque every ni Have loaded him with cabbe For he’s a man of family, and The flowers are only fit to sm The San Francisco papers 0 back as one would expect Lola t fuming and smouldering within. the American Theatre had ende laughing, riotous mobs. The burlesque became the n indicated from the following ne San Francisco Herald, June: crowded ‘alow and aloft’ last e' some time to come during the « upon the stage.” Daily Alta, June 25, 1853: “‘A has been played. . . during the p Crowds of persons who have bee the theatre-going public since it ' The Golden Era, June 26, 18 of ‘Who Has Got the Countes: Theatre to overflowing every ev sustained in the burlesque by . W.B. Chapman are of themselv congratulate the Dr. upon prod piece in California. It is capital, . Dance’ lays it on a little too th The Herald, June 26, continues to be received with unl laughter.” Daily Alta, June 28, 1853: ‘ again produced and with its loca kept the audience in a roar of One who viewed the perfo letter to the San Francisco He: “Editor of the Herald: Curiosity to witness for the attracted me to the San Francis to be present at its first present novelty of its feature and carri of the principal performers, abandoned myself to the enjoy or caring much about the objec presentation of Miss Chap! Chapman’s grotesque dance, v the burlesque . . . make the wh and vulgar attack upon one ¥ may have-been, has proved he woman and who little deserv suffering humanity . . . be repa “Who is there, after serio conduct of Lola Montez while a with pleasure and delight a manners and behavior, and rid a coarse exaggeration of her “Not you, gallant Firem spoke with so much heartfe' charity she so freely and vc dollars. Not you, members of t she toiled with so much pleasu of your charity was not confin Not you, or those who throt recipients of her bounty. Not taste, a spark of chivalry, unprotected, but lovely, gene “Such performances as tl legitimate sources of fun, anc Gentlemen, a lady! If no grati taste should have decreed at should not be publicly ridicul but besides all this, there 1s an of genius should not have be See ees ae ae ~—-—

a SS, rrr -_ — ae (Lola Montez’ life has provided much material for biographers and novelists but what the press had to say about her has long been hidden in musty files. Author Doris Foley diligently searched early day California newspaper files, reading every issue published between 1853 and 1861, to document what they said about the divine =a Lol aand then for contrast included Lola’s autobiography in this work.) CHAPTER THREE = LAUGHTER AND TEARS Although Lola Montez made no pretensions of equality with the — celebrated tragediennes of the day, she nevertheless emulated "+ their talents by portraying the deep feelings and passions of an ;-= “ardent noblewoman. She insisted on making her bid in the a California theaters by casting herself in heavy roles, only to become the unwitting target of a crude, 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’s 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 f ; declined in favor as more women and families 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 CAROLINE AND WILLIAM B. Chapman, stars of the burlesque on Lola Montez, were a sister-brother team. Their father, William Chapman Sr., managed the Theatre Royal in Covent Gardens, London, for 30years. On coming to America, he kept his large family e together by opening a showboat on the Mississippi : River known as Chapman's Floating Palace. After his death; the family scattered; Caroline and William Jr., coming west as did another brother, George, with his large family. Caroline's warm and winning perThe Divine LOLA MONTEZ AND Countess,” Louis Buggins, of course, being a take-off 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 a throngs to see her spider dance each night, sae nice young men in tender strains impressions tried to e, ps And tho’ they sighed and threw bouquets, she didn’t seem to e. 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 And leave the party in the lurch and fasten to the Whig.. But since you’ve come out in such crowds to see poor Buggins dance, sonality charmed San Francisco audiences and they possessively called her “Our Caroline." As Mula in the burlesque of "Who's Got the Countess?", she impersonated a tempestuous actress who never knew her lines. William B. Chapman, known particularly for his low comedy and flair for burlesque, stamped and whirled through a ridiculous interpretation of La Tarantella called the “Spy-Dear ''Dance. (Photo courtesy of the Bancroft Library, University of California) 7 . By Doris I'll throw bad rhyming to the For in our burlesque every ni Have loaded him with cabbe For he’s a man of family, and

The flowers are only fit to sm The San Francisco papers 0 back as one would expect Lola t fuming and smouldering within. the American Theatre had ende laughing, riotous mobs. The burlesque became the n indicated from the following ne San Francisco Herald, June: crowded ‘alow and aloft’ last e' some time to come during the « upon the stage.” Daily Alta, June 25, 1853: “‘A has been played. . . during the p Crowds of persons who have bee the theatre-going public since it ' The Golden Era, June 26, 18 of ‘Who Has Got the Countes: Theatre to overflowing every ev sustained in the burlesque by . W.B. Chapman are of themselv congratulate the Dr. upon prod piece in California. It is capital, . Dance’ lays it on a little too th The Herald, June 26, continues to be received with unl laughter.” Daily Alta, June 28, 1853: ‘ again produced and with its loca kept the audience in a roar of One who viewed the perfo letter to the San Francisco He: “Editor of the Herald: Curiosity to witness for the attracted me to the San Francis to be present at its first present novelty of its feature and carri of the principal performers, abandoned myself to the enjoy or caring much about the objec presentation of Miss Chap! Chapman’s grotesque dance, v the burlesque . . . make the wh and vulgar attack upon one ¥ may have-been, has proved he woman and who little deserv suffering humanity . . . be repa “Who is there, after serio conduct of Lola Montez while a with pleasure and delight a manners and behavior, and rid a coarse exaggeration of her “Not you, gallant Firem spoke with so much heartfe' charity she so freely and vc dollars. Not you, members of t she toiled with so much pleasu of your charity was not confin Not you, or those who throt recipients of her bounty. Not taste, a spark of chivalry, unprotected, but lovely, gene “Such performances as tl legitimate sources of fun, anc Gentlemen, a lady! If no grati taste should have decreed at should not be publicly ridicul but besides all this, there 1s an of genius should not have be See ees ae ae ~—-—