Page:A Dictionary of Music and Musicians vol 3.djvu/103

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and favourably known in England. Its object was to provide good dramatic amusement for a large class of society who, on various grounds, objected to the theatres. It was opened at St. Martin's Hall, April 2, 1855, as Miss P. Hor- ton's Illustrative Gatherings,' with two pieces called 'Holly Lodge' and 'The Enraged Musi- cian' (after Hogarth), written by W. Brough, and presented by Mrs. Reed, with the aid of her husband only, as accompanyist and occasional actor. In Feb. 1856 they removed to the Gallery of Illustration, Regent Street, and there produced 'A Month from Home,* and 'My Unfinished Opera' (April 27, 57) ; 'The Home Circuit' and 'SeasideStudies'(June20,59) all by W. Brough; 'After the Ball,' by Edmund Yates ; ' Our Card Basket,' by Shirley Brooks ; ' An Illustration on Discord' ('The Rival Composers') by Brough (Ap. 3, 61) ; and 'The Family Legend,' by Tom Taylor (Mar. 31, 62). They then engaged Mr. John Parry, and produced the following series of pieces specially written for this company of three, and including some of Mr. Parry's most popular and admirable songs, in the characters of Paterfamilias at the Pantomime, Mrs. Roseleaf, etc., etc.

��The Charming Cottage.' Ap. 6. 1863.

The Pyramid. 1 Shirley Brooks. Feb. 7. 64.

The Bard and his Birthday.' W. Brough. Ap. 20. G4.

' The Peculiar family.' Do. Mar. 15,65.

The Yachting Cruise.' F. C. Burnand. Ap. 2, 66.

��A Dream In Venice.* T. W. Robertson. Mar. 18. 67.

Our Quiet Chateau.' B. Beece. Dec. 26. 67.

Inquire within.' F. C. Bur- nand. July 22. 68.

Last of the Paladins.' B. Beece. Dec. 23, 68.

��At this period the company was further in- creased by the addition of Miss Fanny Holland and Mr. Arthur Cecil, and soon after by Mr. Corney Grain and Mr. Alfred Reed. The follow- ing was the repertoire during this last period :

��Lischen and Fritschen.' Offen- bach. Feb. 8. 59.

No Cards.' W. S. Gilbert, and Cox and Box.' Burnand and Sul- livan. Mar. 29, 69. (A. Cecil's 1st

��appearance.) Ages Ago.'

��W. S. Gilbert and

��F. Clay. Nov. 22, 69.

Beggar my Neighbour.' F. C.

��Burnand. Mar. 28. 70.

Our Island Home.' bert. June 20. 70.

The Bold Becrult.' July 19, 70.

��W. 8. Gil- F. Clay.

��A Sensation NOTC!.' Do. Jan. 30.71.

��Near Belations.' Arthur Sketch- ey. Aug. 14,71.

' King Christmas.' PlanchcS. Dec. 26, 71.

'Charity begins at Home.' B. Bo we and Cell ier. Feb. 7,72.

' My Aunt's Secret.' Burnand and Molloy. Mar. 3, 72.

'Happy Arcadia.' W. S. Gilbert and F. Clay. Oct. 28. 72.

' Very Catching.' Burnand and Molloy. NOT. 18,72.

Mildred's Well.' Burnand and German Beed. May 5, 7*

��When the lease of the Gallery of Illustration expired, the entertainment was transferred to St. George's Hall, and there the following enter- tainments were produced :

��' He's Coming.' F. 0. Burnand and German Reed.

' Too Many by One.' F. 0. Bur- nand and F. Cowan.

The Three Tenants'; 'Ancient Britons.' Gilbert a Beckett and German Beed.

A Tale of Old Chin*.' F. C. Burnand and Molloy.

Eyes and no Eyes.' W. 8. Gil- bert and German Beed.

' A Spanish Bond'; 'An Indian Puzzle'; 'The Wicked Duke.' Gil-

��bert Beckett and German Beed.

Matched and Match.' F. 0, Burnand and German Beed.

'A Puff of Smoke.' 0. J. Bowe and Mme. Goetz.

1 Our Dolls' House.' 0. J. Bowe and Cotsford Dick.

'A Night's Surprise.' West Cro- mer and German Beed.

'Foster Brothers.' F. C. Bur- nand and King Hall.

' Happy Bungalow.' A. Law.

��During the Galley of Illustration period a diver uion was made by the introduction of ' Opere d Camera,' for four characters. These comprised :

��Widows bewitched.' Virginia Gabriel.

A Fair Exchange'; 'A Happy Result'; Thinn Chow Hi.' All' three by Offenbach.

��Jessy Lea.' Oxenford and Mac- Earren.

Too Many Cooks.' Offenbach.

The Sleeping Beauty.' Balle.

The Soldier's Legacy.' Oxen- ord and Macfarren.

While the entertainment still remained at the jrallery of Illustration, Reed became lessee of St. Seorge's Hall for the production of Comic Opera. Ele engaged an orchestra of 40 and a strong chorus, and ' The Contrabandista' (Burnand and- Sullivan), 'L'Ambassadrice' (Auber), 'Ching Chow Hi' and the 'Beggar's Opera' were pro- duced, but without the necessary success. Mr. Reed then gave his sole attention to the Gallery of Illustration, in which he has been uniformly successful, owing to the fact that he has carried out his entertainments, not only with perfect respectability, but always with great talent, much tact and judgment, and constant variety.

His brothers, ROBERT HOPK and WILLIAM, are violoncello players; Robert has been Principal Cello in the Crystal Palace Band for many years,

MRS. GERMAN REED, nte PRISCILLA HORTON, was born at Birmingham, Jan. I, 1818. From a very early age she showed unmistakable qualifi- cations for a theatrical career, in a fine strong voice, great musical ability, and extraordinary power of mimicry. She made her first appearance at the age of ten, at the Surrey Theatre, under Elliston's management, as the Gipsy Girl in 'Guy Mannering.' After this she was constantly en- gaged at the principal metropolitan theatres in a very wide range of parts. Her rare combination- of great ability as a singer, with conspicuous gifts as an actress, and most attractive appearance, led to a very satisfactory step in her career. On Aug. 16, 1837, she signed an agreement with Mr. Macready for his famous performances at Covent Garden and Drury Lane, in which she acted Ariel, Ophelia, the Fool[1] in 'Lear,' the Attendant Spirit in ' Comus,' Philidel in ' King Arthur,' and Acis in 'Acis and Galatea.' After the conclusion of this memorable engagement, Miss Horton became the leading spirit in Planche's graceful burlesques at the Haymarket Theatre. On Jan. 20, 1844, she married Mr. German Reed, and the rest of her career has been related under his name. [G.]

REEL (Anglo-Saxon hreol, connected with the> Suio-Gothic rulla, to whirl). An ancient dance, the origin of which is enveloped in much ob- scurity. The fact of its resemblance to the Norwegian Hallung, as well as its popularity in Scotland, and its occurrence in Denmark, the north of England, and Ireland, has led most writers to attribute to it a Scandinavian origin, although its rapid movements and lively character are opposed to the oldest Scandinavian dance - rhythms. The probability is that the reel is of Keltic origin, perhaps indigenous to Britain, and from there introduced into Scandinavia. In Scot- land the reel is usually danced by two couples ; in England—where it is now almost only found in connection with the Sword Dance, as performed in the North Riding of Yorkshire—it is danced

  1. See Macready's Reminiscences, by Sir F. Pollock. H. 97.