Broadway

By Elisabeth Kumm & Rob Morrison

MADAME POMPADOUR Play with music in 2 acts by Clare Kummer, adapted from the German. Music by Leo Fall. Presented by Charles Dillingham-Martin Beck. Produced under the direction of R.H. Burnside. Musical numbers staged by Julian Alfred. Orchestra under the Direction of Oscar Radin. Scenery by Willy Pogany. Costumes by Wilhelm (London).

Madame Pompadour was the first production at the newly-built Martin Beck Theatre (now Al Hirschfeld Theatre), opening on Tuesday, 11 November 1924, playing until 17 January 1925, a total of 80 performances. The play had received a two-week tryout at the Forrest Theatre, Philadelphia, from 27 October 1924, with Hollywood movie actress Hope Hampton making her stage debut in the title role. Press reviews of her performance were generally good, but for various reasons, her contract was cancelled and she did not play the role on Broadway.

The Philadelphia premiere of Madame Pompadour was a glittering affair. Among the first night audience was Charles Dillingham and Martin Beck; composer Leo Fall (his first—and last—trip to America, he was to die in Vienna in September 1925); R.H. Burnside and Julian Alfred, who directed the show; scenic artist Willy Pogany; Veronica Blythe, respresenting Wilhelm of London, who designed the costumes; Albert Herter, who painted the murals of the new Martin Beck Theatre; and architect G. Albert Lansburgh.

The 1,400-seat Martin Beck Theatre, West 45th Street, New York, designed in the Moorish style by G. Albert Lansburgh. From Theatre Arts Monthly, January 1925.With only a week to learn the role, Wilda Bennett was engaged to take Hope Hampton’s place. Wilda was an experienced stage actress. She was one of the leads in The Girl Behind the Gun (see Notable Productions) in 1918. On Broadway, she also performed in The Only Girl (1914), The Riviera Girl (1917), Apple Blossoms (1919). Music Box Revue (1921) and The Lady in Ermine (1922).

Clare Kummer (1873–1958), who adapted the operetta for the Amerian stage, was a well-respected and prolific composer, lyricist and playwright. Her great-aunt was the novelist Harriet Beecher Stowe who wrote Uncle Tom’s Cabin, and she was a cousin of the actor-playwright William Gillette. She wrote dozens of songs and several original musicals. She is best remembered for her play Good Gracious Annabelle (1916) on which her musical Annie Dear (1924) was based.

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The controvery surrounding Hope Hampton’s dismissal was outlined in the following series of articles.

HOPE HAMPTON OUT OF ‘MME. POMPADOUR’

 Husband of Screen Star, Replaced in Title Role by Wilda Bennett, Says There'll Be "Fireworks."

Special to The New York Times.

PHILADELPHIA. Pa., Nov.  Hope Hampton, screen star, has been notified that her engagement as a light opera prima donna, begun here in “Madame Pompadour” two weeks ago, will end tomorrow night, at least for the present. Wilda Bennett, musical comedy star, will assume Miss Hampton’s role when the opera makes its bow to New York audiences next Tuesday.

The report that Miss Hampton received a note from the Charles Dillingham-Martin Beck management of “Madame Pompadour” telling her that she would not be used in her role longer than tomorrow night, was confirmed today by Jules Brulatour, husband of Miss Hampton.

“I really don’t know just what will happen,” Mr. Brulatour said today. “There will be fireworks, of course. Miss Hampton’s contract was not drawn with the usual two weeks clause and so far as her salary is concerned that is all right. It is a matter of fame.”

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Announcement was made here on Thursday that Miss Hampton would be replaced by Wilda Bennett when “Madame Pompadour” opens here next Tuesday night. The title role in the new Leo Fall operetta calls for an experienced singer and actress and, since Miss Hampton’s experiences have been confined to the screen, some surprise was expressed by theatrical men at her original choice for the role. In Germany the part was sung by Fritzi Massary, most celebrated of the Continental prima donnas.

Since the opening of “Madame Pompadour” in Philadelphia two weeks ago reports have been reaching Broadway that another actress would come to New York in the piece, and it was said that no less than three others have been rehearsing the part. The fact that Miss Bennett is able to undertake the part on such short notice indicates that the change is not an unforeseen one.

A few days ago Mr. Brulatour, Miss Hampton’s husband, asked theatrical friends to witness Miss Hampton's performance in Philadelphia with a view to offering expert testimony in the event that the matter was taken into court.

The New York Times, 8 November 1924, p.18

Hope Hampton on the cover of Theatre Magazine, September 1920. From a painting by Hamilton King.

archive.org

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HOPE HAMPTON TO SUE

Replaced In “Madame Pompadour,”

She Will Seek Damages

Max D. Steuer, attorney for Hope Hampton, the actress who last week was replaced in the leading role of “Madame Pompadour” by Wilda Bennett, said yesterday that there would be no legal action on behalf of his client leading to an interference with the opening of the show, scheduled for tonight at the Martin Beck Theatre. He said that papers would be filed, probably Wednesday, in a suit calling for the payment of damages by Martin Beck and Charles B. Dillingham, proprietors of the show, for an alleged breaking of their contract with Miss Hampton.  At the offices of Martin Beck it was said that the advertisement announcing tonight's opening with Miss Bennett in the part played on the road try-out by Miss Hampton spoke for itself and that there was no possibility of a last-minute readjustment restoring Miss Hampton to her original role.

The New York Times, 11 November 1924, p.20

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LEO FALL DENIES THAT HE CRITICISED HAMPTON

He Writes Actress That She Had All the Qualifications for Mme. Pompadour Role.

Hope Hampton, the actress, who was replaced In the title role of “Madame Pompadour” by Wilda Bennett a few days before the New York opening, yesterday made public a letter addressed to her by Leo Fall, the noted Viennese composer of the score of the piece. In it Mr. Fall makes reference to and denies printed reports that one of the reasons for Miss Hampton's departure from the cast was criticism by him of her efforts.

Mr. Fall’s letter was yesterday submitted to the advertising departments of a number of New York dailies by Jules Brulatour, husband of Miss Hampton, with a request that it be printed in the form of paid advertising.

The letter follows:

“It has come to my knowledge that it has been claimed by C.B. Dillingham or Martin Beck, or both, that I adversely criticized your performance in 'Madame Pompadour’ and stated in words or substance that you were incapable of singing and acting, either or both, the leading role.

“I beg to assure you that never in any way did I do so. Quite the contrary is the fact. After observing you in rehearsal I stated that you would make a most satisfactory Madame Pompadour and probably as good as any who performed the part and much better than some who were playing it satisfactorily, but it was necessary to rehearse you in the part somewhat differently than the rehearsals were then proceeding. I desired to make suggestions in that regard, and, to my great astonishment, they were rejected in their entirety.

“I saw and heard a part of your performance in Philadelphia. I then reiterated what I had said, that you had all the qualifications necessary for the making of a splendid Madame Pompadour, but that you had not been properly rehearsed. My criticisms were not at all directed to you, but on the contrary, were directed to the book, the lyrics, the way the music was being played, some of the acting and the business of the performance.

“I regret very much that you should have been misinformed and trust that if it occasioned you any discomfort you are now entirely relieved.”

The New York Times, 15 November 1924, pg.16

Having been denied the opportunity for a New York debut, Hope Hampton’s dream of becoming a diva of light opera on Broadway was finally achieved in 1927, when she starred in the Sigmund Romberg operetta My Princess. Alas, the show only achieved 20 performances at the Shubert Theatre.

The Cast

*In the British adapatation, this character, Madame Pompadour’s maid, was called Mariette. The role of Belotte was also played by Leeta Corder.

Musical Numbers

Sets and Costumes

Sadly there are few images in the public domain of the 1924 American production of Madame Pompadour. As the opening spectacular at the new Martin Beck Theatre, both the theatre and the show must surely have been well photographed.

One of the few images is a drawing by Willy Pogany of the Act 1 set. Reproduced in Theatre Arts Monthly (January 1925), the captions reads:

Willy Pogany’s sketch for the first-act setting of Madame Pompadour, the operetta by Leo Fall, which has opened the new Martin Beck Theatre ... The scene is a cellar cabaret of the Bohemian Paris of the eighteenth century, The Stable of the Muses.  At the left Pogany makes amusing use of a stairway which seems to carry the actors off overhead.

Willy Pogany (1882–1955) was a Hungarian artist, best known for his illustrations of children’s fairytales. He emigrated to America in 1914 and expanded his focus to include stage and costume designs. In addition to his work for the Metropolitan Opera, he designed sets for numerous Broadway shows, including The Magic Melody (1919), Madame Pompadour (1924), Earl Carroll’s Vanities (1925), When You Smile (1925), Florida Girl (1925) and Queen High (1926). In 1926, he created the murals—“Lovers of Spain”—for the Herbert J. Krapp-designed Royale Theatre (now Benard B. Jacobs Theatre) on West 45th Street. From the 1930s, he worked in Hollywood as an art director on films.

Willy Pogany’s Act 1 set for Madame Pompadour. From Theatre Arts Monthly, January 1925.

The costumes for the production were designed by London-based Wilhelm (1858–1925). Born William John Charles Pitcher, he created his first costume designs in 1877. His earliest commissions were for the pantomimes of Sir Augustus Harris at Drury Lane. He also designed the costumes for some of the original Gilbert and Sullivan operas, including Iolanthe (1882), Princess Ida (1884), The Mikado (1885) and Ruddigore (1887). In addition he worked on costumes for many London musicials, including A Runaway Girl (1898), A Spring Chicken (1905). The New Aladdin (1906), Tom Jones (1907), The Arcadians (1909) and The Mousme (1911). As well as the London productions that transferred to Broadway, he designed costumes for many original shows, such as The Lady of the Slipper (1912), The Yankee Princess (1922) and Stepping Stones (1923). His costumes for Madame Pompadour were among his last commissions before his death in March 1925. Many of his original drawings may be found in the Victoria and Albert Museum in London (mainly designs for pantomimes and Gilbert & Sullivan operas). He also sent many of his designs to Australia, including those for A Runaway Girl (1898) which are at the Australian Performing Arts Collection, Arts Centre Melbourne.

The Reviews

Madame Pompadour

Philadelphia, Oct. 28.

After several premieres greeted rather coldly, this city had a “first night” of real distinction last evening when Leo Fall’s latest musical play, presented jointly by Charles Dillingham and Martin Beck, opened at the Forrest.

“Madame Pompadour” looked as sure-fire as a new show can possibly look on its opening night. The performance went off like clock-work, the final curtain was down at 11:10, and the end of the first act was greeted by applause that, even disregarding the obvious “friends in the rear”, was not a bit uncertain in its approbation.

“Madame Pompadour” is one of the most beautifully staged productions that has ever visited this city; the period and the costumes were of course conducive to that. There are two settings, one in a Bohemian resort, and the other the boudoir of the king’s favorite. The story concerns the nocturnal ramblings of Pompadour through Paris streets, her meeting a handsome (though married) man in the inn, making of him a soldier in her regiment, and finally of her predocament when Louis XV discovers this same gentleman in Pompadour’s bedroom. In the end the lover returns to his wife, and Pompadour is showing every indications of finding a new “sweetie” in the person of a member of her guard.

There was almost as much interest at the opening concerning the abilities of the prima donna as there was of the show itself. Hope Hampton, making her stage debut, was visibly nervous in her opening scene and showed it in her first song, but she quietened as she went along and by the end of the act was a success. Her voice is undoubtedly just a trifle light for the difficult score, but her notes are sweet and have a warmth and attractiveness about them. She has a few “cute” mannerisms that might be dropped, but they by no means mar her performance.

The cast is splendid throughout. John Quinlan sings the leading role opposite with much feeling and has a comedy zest as well. Florenz Ames scores heavily in the chief comedy role, that of Calicot, a down-at-the-heels poet. He has built his characterisation with patience and skill. Oscar Figman is effective as the minister of police, and Louis Harrison is even better as his assistant.

Wanda Lyons, the second feminine lead, has a dandy personality and a good voice. Her scene and song with Ames in the first act got the greatest applause last night. Frederick Lewis, who does not sing at all, was engaged to play Louis XV. He appears only at the end, but he makes the role stand out.

Four girls, Janet Stone, Elaine Palmer, Irma Bartlett and Dorothy Krag, had specialties that whizzed across, especially a cambination of “Katinka” and the “Wooden Soldiers”, in which Miss Stone was immense.

The music was beautiful, with outstanding musical numbers “Magic Moments”, the catchiest piece; “One, Two, and One, Two, Three”, “I'll Be Your Soldier”, “Serenade, Madame Pompadour”, and a couple of march finales.

The end of the first act is a corker. The last act is a real innovation, and may or may not go. The play ends on action instead of a musical ensemble and there is no happy clinch. It’s a corking bit, but may be a bit unusual for some of the mob.

With the action quickened in a couple of spots in the second act, the first is o.k. as it stands. “Madame Pompadour” looks like a wallop despite the none-too-inspired book of Clare Kummer. Some of the numbers she has translated delightfully, but in attempting to remove the ultra-raciness she has made certain portions rather milk-and-water.

The fine work of the principals pretty nearly obliterated that.  WATERS.

Variety, 29 October 1924, p.18

'MADAME POMPADOUR’ OPENS IN NEW HOUSE

Veterans Find Production at Martin Beck Theatre More Beautiful Than Those Abroad,

In reporting the dual festivities in Forty-fifth Street last night it must first be set down that Martin Beck has presented the town with one of its handsomest playhouses. It is just a bit to the west of Eighth Avenue, and marks the first encroachment of the theatre district upon that territory. It is called the Martin Beck.

By way of acquiring something sufficiently lustrous for the occasion, Mr. Beck, with the assistance of Charles Dillingham, crossed over to foreign parts and brought back the far-famed “Madame Pompadour." This is the operetta which, largely by reason of Leo Fall’s score, has been popping up all over Europe in recent seasons, getting in the way of American tourists. Last night’s audience was filled with veterans of other productions—folk who had viewed it in Budapest and Berlin, in London and Vienna.

They reported, practically unanimously, that it never had been given quite so beautiful a production as it had received at the hands of the Messrs. Dillingham and Beck, One who has witnessed none of the previous productions felt also that this must be the finest of them. It is a handsome production of an operetta, that will make its greatest appeal on its score—perhaps to a greater degree here than elsewhere. For Clare Kummer has made a pretty uninspired adaptation of the book. From beginning to end there is hardly a shred of humor.

Most of the good things are reserved for the second act. Here, in the boudoir of Mme. Pompadour, the chorus girls donned white wigs, and so did Wilda Bennett. All of them responded gloriously, and none more so than Miss Bennett, who was never quite so pretty before. In this act, too, occurred a good comedy song entitled “Oh, Joseph,” and there was also a sweep of incident and a certain savor that the first act distinctly lacked.

The operetta dramatizes an anecdote in the life of the favorite of Louis XV.—carries her for an act to a resort of Paris Bohemia, where the object of her adoration is discovered. Somehow, it was not a particularly convincing love affair—even operetta demands a certain semblance of credibility. Accordingly it was hardly a poignant moment when finally she relinquished him—the program is at pains to point out that the lady was “keen-brained and ambitious”—in favor of his Majesty the King.

But there is a consistent richness in Leo Fall’s score, and the fifteen numbers, with the many reprises, well repay one for the evening. The music, also, is well enough sung. The difficult title-role, after some rapid reshuffling of prima donnas, fell at the last moment to Wilda Bennett. She gave a vivacious and generally competent performance, and one which is certain to be even better when she has got past the uncertainties of the early performances.

John Quinlan, in the opposite role, sings well, but his casting for the part immeasurably weakens the love story. Wanda Lyon is appealing as the maid of Pompadour, and Florenz Ames, Louis Harrison, and Oscar Figman do their several bests with Miss Kummer’s leaden dialogue. Only an occasional lyric showed a flash of comedy.

The New York Times, 12 November 1924, p.20

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Madame Pompadour

If Clare Kummer, in making the American adaptation of Leo Fall’s Viennese operetta, had substituted enough comedy in the book to compensate for some of the effects that undoubtedly were lost in the expurgation, Madame Pompadour might easily rank as one of the best operettas to come along in several seasons. If, in addition, it could have been possible to put the two chief roles in the hands of Eleanor Painter and Walter Woolf, the event even might have made some interesting theatrical history.

There is no intention to disparage the efforts of Wilda Bennett nor those of John Quinlan. Considering the brief space of time she had in which to prepare for her extremely difficult role, Miss Bennett rose to the occassion in noble style. Quinlan sang admirably.

But Miss Painter would have been more glamorous as Madame Pompadour, and Woolf would have held the audience spellbound with romantic illusion in every one of his scenes.

It amounts to the difference between a successful event and an eventful success.

The story of Madame Pompadour is one that cannot be delineated quite as fully and frankly on the American stage as it can and was on the Continental stage. The glorifying of court “favorites”, which has always been a delectable pastime abroad, is superseded here by the glorification of the human form en masse. Nevertheless, the former holds enough attraction for our classes to enable it to get by pretty well, especially when served as apitizingly as Madame Pompadour is.

An unusually absorbing plot holds the suspence at a proper temperature all the way thru the piece. The music is real music, rich and joyous and sweeping, much after the style of the Viennese waltzes that are so well liked on this side. The spacious settings and the colorfully costumed men and women of the company combine in creating many attractive pictures—artistic ensembles that appear to be the result of accident rather than design. But there is Julian Alfred’s name on the program to testify that these ensembles are not accidents.

These depended upon for the comedy are Florenz Ames, who plays the part of Calicot, a bibulous poet; Oscar Figman, in the role of Maurepas, the Minister of Police, and Louis Harrison, as Poulard, his assistant. They do all that could be expected with the material provided them and incidentally show that they could do a whole lot more if the opportunities were there. The best bit of comedy in the performance is a song number. Oh, Joseph, in which Ames and Miss Bennett participate.

Wanda Lyon takes special honors for her comeliness, her delightful singing and the generally fascinating manner in which she fills the bill as Pompadour’s maid and ally. Frederick Lewis portrays the King with credit. Eva Clark does an ingratiating bit. Edgar Kent handles two roles most acceptably and Henry Vincent, Elliott Stewart, Raymond Cullen and Curt Peterson are satisfactory in the little that is required of them. Also worthy of mention are the charming grisettes, especially the one—Janet Stone, if the eye caught alright—who injected something extra enjoyable in the way of a dance along about the end of the first act. The chorus is beautiful to look upon.

Reverting to the principal players, Miss Bennett appears uneasy and in difficulty with her voice during the early part of the evening, a situation that will doubtless be overcome when she is more accustomed to her role. In the second act she was much more at home. The practice indulged in by Miss Bennett of lifting the shoulders and thrusting the head forward could be eliminated to her advantage. As a whole, however, she cuts a pretty dashing figure as Pompadour. Quinlan, too, scores very strongly. His voice is excellent and he has good control of it. Only a certain matter of appearance—of magnetic personality—keeps him for achieving the full possibilities of his role.

The scenery, designed by Willy Pogany, is a notable feature in itself. Its chief beauty lies in its spaciousness, and in the fact that there are no clashes of harsh colors. The cellar scene, which forms the set for the first act, is an artistic representation, and Pompadour’s boudoir, the second act, is a deliberately designed affair. Also praisworthy are the attractive costumes worn by both principals and chorus. R.H. Burnside’s staging of the production is thoroly excellent, and Oscar Radin directs the orchestra with proper feeling. The esprit that is an essential part of Madame Pompadour remains intact in the music, whereas in the book it was largely killed in the process of adaptation.

There remains to be said something adequate—not an easy matter—about the new Martin Beck Theater, which had its formal opening simultaneously with the Broadway premiere of Madame Pompadour. Beck’s playhouse is more than just a theater. The unprecedented extremes to which he has gone in providing for the comfort and convenience of his patrons, as well as the imposing beauty and simplicity, combined with utility, both inside and out, makes it stand out as a momument, a shrine, a vertiable temple to Thespis.  DON CARLE GILLETTE.

The Billboard, 22 November 1924, p.10

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Madame Pompadour

“Madame Pompadour” is a disappointment.

Widely fames and long heralded, much was expected, for it possesses many qualities in its favor. It presented one of this rare instances, such as only an assured entertainment, like a Sousa or a Metropolitan opera diva can command, of having been “sold” to the critics almost before they came into Martin Beck's new and beautiful theatre. With a reputation, already earned, on the continent and through its London production, plus a time-honored respect for the composition of Leo Fall, “Madame Pompadour”, the famous courtesan of history, bespoke of very likely libretto material.

As presented in that artistic oasis west of Eighth avenue and 45th treet, it disclosed a cast that could not cope with the delicate Vienna strains of Fall; an unfunny “book”, and a gorgeous production. That scenic and sartorial flash in both acts cost Messres. Dillingham and Beck a pretty penny, obviously a bit more that other European-touted productions, “Hassan”, which A.L. Erlanger and Dillingham sought so unsuccessfully to introduce on this side, but there is a parallel in each case of a sensational foreign success proving a disappointment here.

Whatever the merits the libretto of Schanzer and Welisch possessed remained a secret in the Clare Kummer translation. The comedy was dull and the action ditto.

Wilda Bennett was naturally the cynosure of all ears and eyes in view of the Hope Hampton experience following the Philadelphia premiere and for other reasons. To state Miss Hampton could hardly have done worse by the title role should not be misinterpreted as cansite comment. For a role as difficult as this, it is no more than to be expected the principal songstress must be possessed of some voice. Miss Bennett certainly is nlessed with pulchritude and a pleasant musical comedy soprano. But the difficult Fall score called for a brillian casting.

“Inside stuff” has it that Fritzi Massary, who created the role on the continent in German, was available for the American production and that she could handle it in English. Evelyn Laye, who did the part in London, while not parring Miss Massary, was also spoken of favorably.

Nor was Miss Bennett the only one at fault. John Quinlan, in the principal male role, was shy on personality, besides sounding flat off and on. Forenz Ames strived hard to lighten the tenor of the proceedings, proving the only comedy relief. although physically miscast as the bibulous poet, Calicot, played more in the spirit of a buffoon.

Wanda Lyon as the Pompadour’s personal maid was a beautiful personality highlight throughout the proceedings. Louis Harrison as the minister of police's assistant was pleasing in the little bit he did, as was Frederick Lewis as Louis XV, the King of France. One dreaded that Mr Lewis might burst into song and spoil his favorable impression.

The first act is set in the “Stable of the Muses”, a converted cellar cabaret which has become the haunt of Bohemian Paris. It is in this cafe that the inebriated poet contrives and sings his derogatory songs anent Pompadour. The latter, incognito, accompanied by her personal maid, is bent on a night of adventure here since the king and his entourgae are absent. Rene, a country nobleman, is also seeking to forget his family differences with his proud young wife, and the inevitable of both meeting happens.

Madame Pompadour is faced with some of the sarcastic ditties that are sung about her by the masses. To extricate the poet, for the sake of her maid, she orders him to write the birthday masque in honor of Louis XV. Rene, who sides with the hapless rhymester, is also punished by being pressed in the service.

The new recruit in the second acts is elected to remain stationed outside Pompadour's boudoir. The climax has the king returning unexpectedly and Pompadour explains the compromising situation of Rene in her bedroom as a ruse to reconcile him with his wife, who happens to be the famous courtesan’s sister.

The production is massive and eleborate. The period costuming is a great flash and a pretty picture.

The score is by far the most appealing factor of the production. Some of the melodies are not entirely unknown over here already. “Magic Moments”, “I'll Be Your Soldier”, and the “Madame Pompadour” serenade are particularly outstanding of an exceptionally tuneful and melodious score, which fetched numerous recalls for the featured numbers. “Oh! Joseph”, by Pompadour and Calicot, was the comedy highlight, a number more to the taste of the performers, with some clever lyrical phrasings to distingish it.

“Madame Pompadour” may eke out something chiefly on the strength of the Fall score and the production, but as theatrical entertainent it does not merit a prolonged stay. The likelihood is, naturally, that Beck and Dillingham will seek to “plug” it for a run at Beck’s own house.  ABEL.

Variety, 29 October 1924, p.18

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In 1928, it was announced that Beppie de Vries, fresh from success in Australia would play Madame Pompadour on Broadway. Alas this was not to be. The saga is told in the follow articles from the New York Times.

'MADAME POMPADOUR' AGAIN

Beppie De Vries, Dutch Prima Donna, to Sing Title Role.

A revival of “Madame Pompadour,” in which the title role will be sung by Beppie De Vries, a Dutch prima donna; is promised for the latter part of the season by J.F. Lebret, a Dutch producer. The cast, aside from Miss De Vries, will be American. Miss De Vries, who is at present in New York, will pay a visit to Amsterdam before the start of rehearsals, which are scheduled for January.

J.C. Williamson, Ltd., of Australia, who have recently been presenting the operetta in that country with Miss De Vries as its star, will be associated with Mr. Lebret in the American production.

The New York Times, 11 December 1928, p.40

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Beppe De Vries on Way Here.

Beppe De Vries, Dutch prima donna, who made her Broadway debut about two years ago, will arrive tomorrow on the Statendam from Holland. In a letter to a friend, Miss De Vries recently said that she expected to appear soon in “Dorine,” an adaptation of a German musical show. It is also possible that she will be seen in the Frederick Lonsdale version of “Madame Pompadour,” a project which she first announced three years ago. Last April Miss De Vries appeared in a road tryout of “Accidentally Yours” which was withdrawn after a brief engagement.

The New York Times, 30 October 1931, p.26

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ROLE FOR BEPPE DE VRIES.

 She Will Appear in New Version of “Madame Pompadour.”

Beppe De Vries, the Dutch prima donna, will appear early next month under the management of her husband, J.P. Lebret, in the Frederick Lonsdale-Harry Graham version of Leo Fall's operetta, “Madame Pompadour.” The adaptation used seven years ago in the Broadway presentation, which had a run of eighty performances, was the work of Clare Kummer. With the Lonsdale-Graham libretto, the operetta was performed for 469 times in London.

The New York Times, 7 November 1931, p.24