541:. It also drew fierce criticism from those who felt it transgressed the boundaries of propriety. Burlesques, colloquially referred to as leg-shows, started off tame, clever and sophisticated, drawing in all types of people, especially women. Unfortunately, âthe female audiences for burlesque did not last for long. In the summer of 1869 a wave of âanti-burlesque hysteriaâ in the New York press frightened away the middle-class audiences that had initially been drawn to Ixion and sent the Thompson troupe prematurely packing for a national tourâ. After this untimely closure, the hatred toward American burlesque continued to grow. Thompson's shows were described as a âdisgraceful spectacle of padded legs jiggling and wriggling in the insensate follies and indecencies of the hourâ. Times called their shows âan idiotic parody of masculinityâ. Shakespeare scholar Richard Grant White, called burlesque âmonstrously incongruous and unnaturalâ.
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562:, horsewhipped Storey at gunpoint, for which they were arrested and fined. Thompson told a reporter that Storey "had called her by the most odious epithet that could be applied to a woman, and she could stand it no longer. She was glad at what she had done." This resulted in more publicity and popularity for the troupe. Actress Olive Logan protested, "I cannot advise any woman to go upon the stage with the demoralizing influence which seems here to prevail more every day, when its greatest rewards are won by brazen-faced, stained, yellow-haired, padded-limbed creatures, while actresses of the old school â well trained, decent â cannot earn a living." Thompson continued her tour to California and Nevada.
620:, she received a review in the Illustrated Sporting and Dramatic News saying, âthe acting of Miss Lydia Thompson not even the most fastidious can find fault. Her chic amuses, her abandon bewitches, her personal charms delight and indeed, in all she does, whether speaking, singing or dancing she exercises over her audiences an influence which is perfectly irresistible, taking by storm the hearts of all who see and hear her.â The author christens Thompson the savior of the once-dying art form of burlesque, saying, âThe name of Miss Lydia Thompson has acted as a spell and has charmed the apparently dead back to life.â
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cross-dressing, extravagant stage effects, risquĂ© jokes and saucy costumes â while familiar enough to
British audiences, took New York by storm." The six-month tour was extended to almost six years, and during two subsequent tours the British Blondes drew large crowds at leading theatres across the US. The troupe launched the careers of several actors, including Markham,
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for middle-class New York audiences by adding topical and local references and reworking the lyrics of popular songs. Her adaptations, however, preserved the rhymed couplets and comic puns of the burlesque form. Her productions included wit, parody, song, dance, spectacle, music and strong, clever
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Thompson's troupe, called the "British
Blondes", was the most popular entertainment in New York during the 1868â1869 theatrical season: "The eccentricities of pantomime and burlesque â with their curious combination of comedy, parody, satire, improvisation, song and dance, variety acts,
631:. In the following years, Thompson returned to America several times, where she remained popular. Thompson separated from Henderson, but the two continued to work together into the 1880s. In 1881, after two years in retirement, she returned to the stage as Mrs Kingfisher in the farce
144:
on the London stage. In 1868, she introduced
Victorian burlesque to America with her troupe, the "British Blondes", to great acclaim and notoriety. Her career began to decline in the 1890s, but she continued to perform into the early years of the 20th century.
447:. Thompson excelled as "principal boy" in burlesques: "She was charming to look at, a good singer, a really clever dancer, and the life and soul of the scene while on the stage." Other successful London runs from 1866 to 1868 included Sophonisba in Delibes'
225:; it was one excellent dancer following in the steps of another, catching the spirit of her model, and rivalling her in the audacity of her execution. The youth and beauty of Miss Thompson gave an additional charm to her Andalusian feats."
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Still a teenager, Thompson toured through Europe for over three years. She danced in Russia, Germany, Austria, France, Scandinavia and elsewhere, "winning acclaim for the dexterity of her dancing â which included the
558:, led Thompson and her troupe first to post notices calling Storey "a liar and a coward" and appealing for the sympathy of the people. Then, on 24 February 1870, Thompson, her husband and her colleague,
40:
236:. These performances brought a period of prosperity to what had come to be regarded as one of the unluckiest theatres in London. She also appeared that year in
169:. Her father died in 1842, and her mother remarried Edward Hodges. By the age of 14, Thompson had left home and joined the stage professionally as a dancer.
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Thompson, Henderson, and her troupe finally returned to
England in 1874, and she resumed her starring roles in London and provincial productions, including
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Thompson married
Henderson, and together they sailed in August 1868 to the United States. She headed a small theatrical troupe, adapting popular English
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Thompson returned to New York following the death of
Henderson in 1886 and again in the winter seasons of 1888 and 1891. In 1887 she opened at the
701:. She also recited a rhymed "farewell address" written for her by Gilbert. Her final performances were in 1904, as the Duchesse du Albuquerque in
672:(1888, Antonio), but her voice was judged inadequate. After this, her career began to decline. Her last American performances were in 1894 in
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293:â as well as the charms of her person and the vivacity of her character." She returned to England in the summer of 1859, by which time
716:, became an actor known first on the London stage and later for playing wise or evil older characters in films, such as Grandma in
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Thompson married John
Christian Tilbury, a riding-master, in 1863 and soon gave birth to a daughter. She returned to the stage in
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Saxon, Theresa (2009). ""A Pair of
Handsome Legs": Women on Stage, Bodies on Show, in Mid-Nineteenth-Century American Theatre".
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women characters. These burlesque productions were novel in
America; Thompson's first American show in 1858, her version of
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constantly expressed its disgust of burlesque, even headlining an article with the plea âExit
British Burlesqueâ.
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in 1876, and it became a burlesque house, with Thompson in the lead roles. The first piece was a production of
689:(1895), but by 1899, she had depleted her funds. A London benefit night was held for her on 2 May 1899 at the
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133:; 19 February 1838 â 17 November 1908), was an English dancer, comedian, actor and theatrical producer.
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GĂ€nzl, Kurt. The encyclopaedia of the musical theatre, 2nd edn, 3 vols. (2001) Schirmer Reference
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In the winter season of 1859â60, Thompson danced at the St James's in several pieces, including
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Shipwrecked steamer named Lydia Thompson in 1905 ad for the Alaska Company, Inc. of Seattle
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Allen, Robert C. "Horrible Prettiness: A Cultural Analysis of âBritish Blondesâ.",
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Allen, Robert C. "Horrible Prettiness: A Cultural Analysis of âBritish Blondesâ."
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322:. In 1860, Thompson performed at Dublin's Queen's Theatre. In 1860â1861, at the
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Cooper) and Philip Thompson (c. 1801â1842), owner of the Sheridan Knowles, a
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recalled: "The present school of burlesque originated with Lydia Thompson."
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Harlequin and the Three Bears, or, Little Silverhair and the Fairies
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dismissed the piece but praised her performance highly: "It was no
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W. J. Lawrence, rev. J. Gilliland, "Thompson, Lydia (1838â1908)",
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referred to her as "one of the most eminent of English dancers."
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260:. She then returned to complete the season at the St James's in
411:. She joined Henderson's company at Prince of Wales's Theatre,
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The London stage: its history and traditions from 1576 to 1888
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by Thomas Selby, playing the famous dancer Señora Perea Nena.
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393:. In 1864, 15 months after their marriage, Tilbury died in a
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Little Bo Peep, or, Harlequin and the Girl who Lost her Sheep
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Moses, Marlie. "Lydia Thompson and The âBritish Blondesâ.",
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accident. In 1864, at the opening of the new Theatre Royal,
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Moses, Marlie. "Lydia Thompson and The âBritish Blondesâ."
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Thompson died in London at the age of 70. She is buried in
203:. She gained wider public attention later that year at the
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Women in the American Theatre: Actresses and Audeiences
16:
English dancer, comedian, actor and theatrical producer
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Women in the American Theatre: Actresses and Audiences
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From 1852, as a teenager, she danced and performed in
1159:, 1790â1870. New Haven: Yale UP, 1994. 164â71. Print.
801:, Oxford University Press, 2004; online edn, Jan 2008
668:. She next starred in the French vaudeville-opérette
874:"Desperately Seeking Lydia" and "Appreciating Lydia"
356:. She also played Norah in the first production of
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846:London's lost theatres of the nineteenth century
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885:The Friends of Kensal Green Cemetery Magazine
443:and as Prince Florizel in another burlesque,
1155:Dudden, Faye E. "The Rise of the Leg Show."
1011:Dudden, Faye E. "The Rise of the Leg Show",
548:Reflections on the virtue of her dancers by
352:) and as Mephisto in the fairy extravaganza
1072:, University of Nevada Press (2020), p. 197
616:and other burlesques. In her production of
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1115:"Classical Plays: Souvenirs and Portraits"
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228:There, she also played in the burlesque
19:For the English rugby union player, see
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849:, pp. 307â08, Ayer Publishing, 1925
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172:In 1852, she became a member of the
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455:) at the Drury Lane and, at the
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346:The Pets of the Parterre
230:Ganem, the Slave of Love
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449:Wanted Husbands For Six
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767:. "Lydia Thompson",
674:The Crust of Society
648:Royal Strand Theatre
364:, as Blondinette in
1053:Hudson, Frederic.
880:13 May 2011 at the
719:The Grapes of Wrath
665:The Sultan of Mocha
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478:1868 programme for
209:The Spanish Dancers
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85:(1908-11-17)
45:
25:
1251:1908 deaths
1246:1838 births
909:GĂ€nzl, Kurt
765:GĂ€nzl, Kurt
660:comic opera
441:The Brigand
387:The Alabama
272:Star dancer
250:J. L. Toole
167:Clara Bracy
149:Early years
118:Clara Bracy
1240:Categories
1136:References
652:management
531:Lisa Weber
504:burlesques
461:Blue-Beard
399:Birkenhead
360:'s comedy
328:Magic Toys
312:Magic Toys
242:Tom Taylor
234:Magic Toys
142:burlesques
138:pantomimes
64:1838-02-19
1145:. 3rd ed.
897:The Times
811:The Times
629:Bluebeard
618:Bluebeard
598:Piff-Paff
582:Bluebeard
498:, c. 1870
413:Liverpool
378:, called
296:The Times
223:burlesque
218:The Times
182:pantomime
114:Relatives
74:, England
46:Bluebeard
943:41274454
878:Archived
728:(1941).
308:Virginus
291:Hornpipe
213:burletta
120:(sister)
104:Children
670:Babette
463:(after
445:Perdita
389:at the
187:at the
1180:
1170:
941:
853:
614:Pluto!
606:Oxygen
588:, and
429:Ernani
129:(born
48:(1872)
995:Ixion
939:JSTOR
915:Ixion
732:Notes
654:, in
513:Ixion
480:Ixion
404:Ixion
1178:ISBN
1168:ISBN
971:2024
851:ISBN
633:Dust
533:and
423:and
289:and
244:and
211:, a
80:Died
54:Born
697:by
658:'s
604:),
592:'s
407:by
344:'s
240:by
207:in
195:'s
176:at
159:née
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
