Portfolio of 13 colour prints showing costumes for the ballet <i>Our Army and Navy</i> created for the Alhambra Theatre, London, by the theatrical costumier Charles Alias from designs by Lucien Besche. Printed by Alf Cooke, Leeds, 1889.

<i>Our Army and Navy</i> opened on 1 April 1889 at the Alhambra Theatre, Leicester Square. In essence it was a revised version of the ballet <i>Le Bivouac</i>, created in 1885 in response to the war in the Sudan and the death of General Gordon in Khartoum. The ballet was a patriotic work set in the Portsmouth docks and consisted largely of processions in formation.

The 'Dances and Evolutions' were arranged by Eugenio Casati to music selected, arranged and composed by Georges Jacobi. The costumes were made by Alias from designs by Lucien Besche, with accoutrements by Robert Bennett . The scenery representing Portsmouth harbour was by T.E. Ryan.

Six of the costumes in the portfolio represent a nationality incorporating national insignia and/or flags in sashes with a background showing a ‘typical’ national scene, and seven represent military uniforms worn by members of the British armed forces; the army and navy. The costumes were created for women performing ‘en travestie’ and emphasis the feminine body.

The ballet fell into three parts: The Assembly of the British servicemen; the Reception of Nations, and the March Past of the British with military exercises and sham fights, ending with <i>Rule Britannia</i>. America was the final country to enter in the Reception of Nations, to the music ‘Hail Columbia’.

The periodical <i>Entr’acte</i>, 29 March 1890, described <i>Our Army and Navy</i> as ‘not in the strictest sense of the word a ballet - it was a spectacular parade, and appealed to the “Jingo” sentiments of the spectators, a circumstance which accounted for its success’ (p.12). Stewart Headlam (‘New Ballet at the Alhambra’, <i>Manchester Examiner</i>, 3 April 1889) described the ‘Reception of Nations: ’each group of nations being headed by a fine banner bearer and flag, and accompanied by Mr. Jacobi’s always popular orchestra, with the national music’ . The <i>Era</i> (‘The London Music Halls. The Alhambra’, 6 April 1889, p.17) noted that this gave ‘an opportunity for the display of popular feeling with respect to the different nationalities of the Continent. Belgium, Spain, Turkey, and Italy were well received, but Austria, Germany, and Russia appeared to be less popular. The flag of France was cordially applauded and the “stars and stripes” was received with loud acclamations.’ The <i>Rialto</i>, 13 April 1889, went further: ‘A French contemporary has taken the trouble to print the order of popularity of the different nations indicated by the nightly applause at the Alhambra. He states it this:= 1, The United States; 2, France (a good second); 3, Italy; 4, Belgium; 5, Turkey; 6, Spain; 7, Austria; 8, Egypt; 9, Germany; and 10, Russia. The last two are hissed.’ A line drawing by AWA, ‘Scenes from the New Ballet ‘Our Army and Navy, at the Alhambra’, appeared in <i>Pictorial News</i>, 27 April 1889.