Allea Fleming Dunstan

Allea Fleming Dunstan, 1930, photo attributed to Spencer ShierIvy Allea Hermione Bennett was born in Sydney to an Irish mother from Co. Monaghan, Ulster, and a father, a descendant of the First Family of Free Settlers to arrive in New South Wales—the Roses from Dorset in January 1793—who would in time settle along the Hawkesbury River.

From 1890, as a young child, she grew up in Melbourne. In 1910 she married medical student Harold Fleming Dunstan, a son of an Anglican clergyman, at St. James’ Old Cathedral, then still occupying its original site on the corner of William and Little Collins Streets. Harold’s paternal family-line also stretched back to the Hawkesbury and the early years of colonial settlement.

The next decade brought with it the arrival of three daughters, the War Years, residency in South Australia as well as Victoria where Allea passed her First Year (singing) of a Diploma of Associate in Music at the University of Adelaide, and in 1919, the establishment of Dr. Dunstan’s Practice along with their home Moira in Glenhuntly Road, Elsternwick. Here, and later Brighton, would provide the backdrop  to mny happy musical gatherings. Allea attended the Albert Street Conservatorium in East Melbourne at some point, possibly around the time of her marriage or perhaps between the years 1920 to 1924. Even both times.

In 1925 she became a student of New Zealand-born tenor Walter Kirby, ‘Australia’s Forgotten Caruso’, who taught in Allan’s Music Store in Collins Street. Walter had done very well in Europe, his talent underpinned by strong English patronage, and he had enjoyed the privilege on many occasions of singing before royalty and members of the aristocracy.

Some of his other pupils were Eileen Starr, Gertrude Hutton, Aileen McInerny, Kathleen Rochfort and Ursula Duffy. He also gave vocal coaching to performers such as Dorothy Brunton, Marie Burke, Harriet Bennett and Ward Morgan. A lyric soprano, Allea found something of a niche for herself by specializing in songs of a quaint and humourous nature sung with charm.

Walter Kirby, c.1915, photo by Vandyck

National Library of Australia, Canberra

Marie Antoinette Aussenac

From The Home (Sydney), 1 March 1926

Social occasions, cultural events and charitable causes, several of the last to do with the aftermath of the War, were invariably linked and the women of Melbourne worked enthusiastically in these interconnecting spheres. Unusually, Walter’s manager was a woman—Kathleen Malone. He was known for his ongoing generosity where charities were concerned, and he also liked to celebrate his birthday in a way which would benefit others. This would take the form of a musical party with those invited contributing financially, and substantially, to a chosen cause. Sacred Concerts were also important to him.

At their September meeting Allea joined the Austral Salon as a professional singer. Walter was present and may have nominated her for membership.

During September/October they spent some weeks in Sydney participating in the musical programs at various functions. One of these was the Feminist Club’s Reception for the popular and imposing contralto Dame Clara Butt, her husband baritone Kennerley Rumford, and the brilliant Portuguese-born solo pianiste Mlle Marie Antoinette Aussenac,* which attracted a large gathering. Walter and Allea sang the duet from the first Act of La Boheme. They would repeat this on other occasions including at the Newcastle Symphony Orchestral Society’s Concert in December the following year.

*Later, in Melbourne, she married Prince Jacques de Broglie after his unexpectedly turning-up there. The marriage was not a success as she was focused on her career.

St. Vincent’s Hospital’s Building Appeal was the catalyst for several fundraisers, none so colourful or successful as the Cabaret Entertainment held at the Oriental Hotel at the top of Collins Street on Tuesday evening, 2 February 1926. It was unlike anything of its kind yet seen in Melbourne. It was organised by Lady Tallis, actress turned philanthropist, wife of Sir George, the head of Williamson's, and sister of comic opera star Florence Young, together with American star of silent films and stage, June Elvidge, and producer Ernest C. Rolls. Virtually taking over the premises it attracted nearly 800 patrons including a party from State Government House who arrived to enjoy the crowded carnival atmosphere. Alternating with dancing was the entertainment. In the earlier part of the evening this was presented by Carrie Haase, Madame Kroef, Kathleen Rochfort, and Walter and Allea, among others. When the theatres closed many Williamson artists and theatre-goers added to the festive throng.

Under the direction of Rolls an exceptional theatrical pageant was staged. Walter joined the newly-arrived artists, among whom were Gus Bluett, Claude Flemming, Jennie Benson, Marie La Varre, The Four Karreys, The Williamson Girls and the Hell’s Bells Jazz Band.

Guy Bates Post, 1920, by George Moffett Studios

J. Willis Sayre Collection, University of Washington

Dorothy Brunton, 1925

Frank Van Straten collection

The Guy Bates Post Company spent many months in Australia during 1925 and 1926. The American character actor of stage and screen was best-known for his Broadway roles of Omar Khayyam in Omar the Tentmaker (1914) and the dual characterization of The Masquerader (1917), plus the film versions of both in 1922.

In Melbourne his considerable talent was showcased in plays such as The Bad Man and The Green Goddess. Likewise with The Masquerader, which he opened in at the King’s Theatre seven years to the day after his previous performance there.

Following the conclusion of his company’s season in Melbourne, Dorothy Brunton would join Post as his leading lady in Edward Locke’s play, The Climax, which would play in Sydney and Perth before heading to South Africa and London. This was her first dramatic role, she having finished with musical comedy, and she was a triumph. Coached by Walter for her part as opera singer Angela, she considered it the best one she had ever had but regretted that there was not the opportunity for the play to be seen in Melbourne. Dorothy was applauded in South Africa but unfortunately the play didn’t take-off in London.

Post left Australia with deep gratitude for the kindly reception he had received here but felt that there was little possibility of his returning once more.

On the evening of the 16 May he had been the guest-of- honour at a musical party at Moira. Following dinner, the entertainment was given by Walter, Vera Patterson, George Chant, and Allea, with Charles Tuckwell at the piano.

Allea was the hostess for the Austral Salon’s August ‘At Home’. Nearly 200 guests were entertained amid an especially picturesque floral setting of which she herself seemed to be part—an observation expressed on more than one occasion. Walter was present but didn’t contribute to the singing. Allea sang Dunhill’s ‘The Cloths of Heaven’ and ‘Mia Piccirella’ from Gomes’ Salvator Rosa.

Cast list for Florodora, August 1926. National Library of Australia, Canberra.

In August 1927 the amateur Victorian Opera Company revived the ground-breaking and immensely popular musical comedy hit, Leslie Stuart’s Florodora, for a week’s run at the Theatre Royal in Bourke Street. It had first been seen in Melbourne in 1900 at Her Majesty’s where it had run for nearly four months with a stellar cast. This had included Carrie Moore, Grace Palotta, Maud Chetwynd, George Laurie, Hugh J. Ward, Wallace Brownlow and Charles Kenningham in the Royal Comic Opera Co’s production.

Mason Wood, late of the Oscar Asche Co., was wisely procured for the part of Tweedlepunch, originally taken by the incomparable George Lauri, and was very amusing. Allea stepped into Grace Palotta’s shoes as Lady Holyrood while Frances Lea took the role of Dolores which had been Carrie Moore’s. It was an ambitious production by Val Atkinson with direction by Hubert Clifford and a chorus and ballet of sixty, ‘Tell Me, Pretty Maiden’, of course, the show-stopping number. Of added interest was the finding of Lauri’s costume which Mason Wood wore. Naturally there were a few amateurish glitches but overall, it was well-received with some good comments directed Allea’s way.

The Hotel Alexander, Melbourne, c.1929

State Library Victoria, Melbourne

Lady Fuller, 1930, by Fairfax Corporation

National Library of Australia, Canberra

In May/June of 1928 Sir Benjamin and Lady Fuller spent a busy week in Melbourne with the Fuller-Gonsalez Grand Opera Company. Prior to the opening night at the Princess Theatre of Ambroise Thomas’s Mignon, Lady Fuller, with the help of her husband and daughters, received a large number of her friends together with members of the Company for afternoon tea at the new Hotel Alexander (later the Savoy-Plaza) in Spencer Street. A program of music and recitation included Walter, the young violinist Hamilton Bateman,* Mollie Mackay, and Allea, among others.

On Saturday evening several of her friends then joined Lady Fuller in two boxes at the theatre to be part of the enthusiastic reception awarded Danish Signorina Margherita Flor in the title role of Mignon. Following the performance more than a hundred guests went on to a supper-party to dance and enjoy an entertainment arranged by Walter which included himself, English actress and entertainer Ethel Newman, Hamilton, Allea, and others.

*Hamilton Bateman, a very talented violinist, was often part of these musical programs and Allea joined him for a recital of his at the Assembly Hall in Collins Street.

The Company was pitted against the third, and final season of the Melba-Williamson Grand Opera Company. It comprised several Italians from the previous 1924 Season (the first in 1911) plus Browning Mummery and John Brownlee.

With assistance from his pupils and friends Walter arranged an afternoon party on 1 June at the Oriental in honour of prima donna Signorina Giuseppina Zinetti, known for her roles in Aida and Lohengrin. Though possessing very limited English, Signorina Flor helping out here, she charmed everyone present. The program of music was enjoyed with Edith Harrhy, the pianist and composer, one of the artists.

Mrs Fleming Dunstan, 1929, photo by Spencer Shier

From Table Talk, 14 March 1929

Signorina Giuseppina Zinetti, 1928

National Library of Australia, Canberra

Signorina Zinetti was also among the guests when Walter hosted an ‘At Home’ at the Austral Salon later in the month. Along with the principals of the Company, the guests-of-honour included the Mayoress Lady Morell, the Nevin Taits, and the Consul for Italy. Allea sang at both of these.

I believe that Allea was in the chorus of the Company, which was composed of professional and semi-professional singers, but confirmation is required.

The remaining musical events of the year included one which presumably would have been an evening of light-hearted entertainment and enjoyment, a Concert and Dance held in the Progress Hall at Upwey. This was put on by the versatile Ethel Newman who had performed in almost every genre that the stage offered—excepting Shakespeare. Her monologues and recitations were well-known, and she was supported by an eclectic mix of nine other artists from Melbourne.

After receiving some additional tuition from Walter, and enjoying a round of au revoirparties, Allea stepped aboard the Otranto in early March 1929. She was embarking on an extended stay in Europe to further her musical studies—which would be strenuous—broken with interludes of travel. Based in Paris, she studied with various masters, including in Germany, Vienna, in London with Dinh Gilly, and in Milan with Maestro Albergoni.

Perhaps predisposed to do so, she would also fall in love with Italy.

Writing to a friend in Melbourne from Milan (The Herald, 27 May 1930, p.19), she described the routine of her day. In the pensione where she was staying no English was spoken but instead good French and a little German. Having honed her French, she was able to understand and be understood. The place initially struck her as cheerless, with bad food, but she had stuck it out, reaching the point of being quite sad at the thought of leaving. She found that three lessons a day with the Maestro were too tiring but had been able to reduce it to two. The evening meal was late, and she was usually worn-out by the end of the day.

She complimented Walter by declaring that his method of voice production was the nearest of any in her experience to the system followed by Albergoni.

Allea arrived home on 21 July. Her ambition had been to sing in opera, but this was not to be realised. “She warned Australians of difficulties that lay ahead if they hoped to go abroad and win their way to the top in the singing world, and that money was needed besides voice. There seemed to be an excessive number of artists, including Australians, in Europe, she remarked. Probably because of ‘the talkies’, there was not the demand there had been. There was no cheap living, and anybody who went abroad believing that their voice alone would captivate the world was making a big mistake. Monsignor Rella (Maestro of the Sistine Chapel Choir, which toured here in 1922), however, had told her that he thought Australian sopranos were better than those of Italy”. (The Sun (Sydney), 19 July 1930, p.3).

Welcomed back at the Austral Salon the following week Allea was soon resuming her busy Melbourne schedule.

Edith Harrhy, 1937, photo by Broothorn Studios

National Library of Australia, Canberra

Melba’s funeral procession, Melbourne, 1931, detail from a photo by Ruth Hollick

State Library Victoria, Melbourne

By 1930 Walter felt that professionally it was time he returned to England to resume his career abroad. He had been home for twenty years and opportunities were diminishing for him.

On the 11 September he gave an especially well-received Farewell Recital in the Auditorium with piano soloist Rita Hope, Hamilton Bateman and accompanist Edith Harrhy. His talent and taste were highly appreciated. Beforehand his friends had organised themselves to do what they could to help facilitate its success. However, he did not immediately leave Australia afterwards but remained part of the local music scene for some further nine months.

Melba died in Sydney on 23 February 1931, Walter a mourner three days later at the massive turnout for her funeral at Scots’ Church, Collins Street.

Walter departed on the Mongolia from Station Pier on the 16 June. He gave the large group of friends and well-wishers gathered there one last song—‘Auld Lang Syne’—as the ship moved off and until his voice could no longer be heard.

Warmly welcomed back into Britain’s musical and aristocratic circles all went well for him until repercussions from throat surgery threw things awry for him and from which he didn’t fully recover.

On 4 December 1934, following a short illness, he died in a London nursing-home.

Mrs Fleming Dunstan, 1931, photo by Spencer Shier

From Table Talk, 14 May 1931

Theo Shall, photo by Clarence Sinclair Bull

From The Home (Sydney), 1 November 1932

“The Man Who Kissed Garbo”, experienced European actor and director/producer Theo Shall, arrived in Melbourne on the 29 August 1932, and would be in Australia for nearly two years. He was originally engaged by Williamson’s for the Australian premiere season, opening in Melbourne, of the London stage hit, Autumn Crocus, by C.L. Anthony (Dodie Smith). Dodie would later write the much-loved The One Hundred and One Dalmations and I Capture the Castle.

Shall was of German/French heritage and with him was his Viennese actress wife, Maria Von Wyl, daughter of the noted opera producer, Wilhelm Von Wymetal. Shall, particularly, was very glad to be in Australia as he found it, “a cheerful place, the home of cheerful people”, who laughed. “People do not laugh in Europe. Europe is an unhappy place today”.

Greta Garbo's eleventh film and first talking-picture for Metro-Goldwyn-Mayer was Anna Christie (1930) based on Eugene O'Neill’s play. At the beginning of the sound era the main Hollywood studios also produced foreign-language versions of some of their films for the European market. Jacques Feyder directed a German version (also released in 1930) again starring Garbo, but this time her leading-man being Theodore Shall as Matt Burke.

Despite the interest surrounding its star Autumn Crocus did not immediately do good business at the box-office of the King’s Theatre. Before long, though, it established itself, with theatre-patrons turned away and the leading-man, the rest of the cast, and the production itself, highly praised. 

Shall’s time in Australia was something of a roller-coaster ride despite his talents. Events led to a new company being formed in 1933, Modern Theatres Co., which engaged him to produce, and be the principal actor in, translations of modern European comedies. The Palace Theatre (later Metro), Bourke Street, was leased for twelve months with a further option. Fair Exchange opened in August. It was not a great success.

Two local actresses associated with him were the young Margot Rhys and Coral Browne. The former had a short stage career (Fair Exchange and Baby Mine) but did star in two of Charles Chauvel’s films, Heritage (1935) and Uncivilised (1936) before an early retirement from acting. The latter (The Command to Love) went on to have a long and distinguished career in stage and film.

The shareholders of the new company included a small group of women and in September a tea party was given at the Lyceum Club in honour of Maria Von Wyl. It was an occasion for her to socialise informally and for those present to all converse with her. Margot Rhys was there, and among the others, Allea and one of her daughters. One of the shareholders was Mrs. Harry Emmerton (Dame Mabel Brookes’ mother) and she gave the Shalls a wonderful send-off at her home in which they presented Flirtation, an Austrian play. Esteemed Associate Professor of Melbourne University, A.R. Chisholm, was one who really appreciated Theo’s endeavours, his “finished art” and the “intellectual and artistic pleasure to have the opportunity in Australia of seeing the work of such a distinguished Continental artist”.

The following day, 9 January 1934, the Shalls left for London and home.

Shall made a handful of films in England, the most well-known the crime-thriller, Ten Minute Alibi (1935) based on Anthony Armstrong’s clever and successful play. Directed by Bernard Vorhaus, a mentor to the renowned David Lean, the slice of it available on YouTube shows the assured actor he was.

Back in Germany, he founded in 1936, as artistic director, the International Theatre in Berlin which concentrated on French and English productions. It would be closed down by the Propaganda Ministry in 1939. In between, by 1938, he was beginning to appear in supporting roles in Nazi propaganda films, including some of the most heinous (coercion!).

Following World War 2 he was a resident at the Deutschen Theatre in East Berlin, along with making left-wing films for the DEFA company. In May 1946, an airman from Caulfield on returning home had some news of him. One day when travelling on a tram in Berlin he had got into conversation with another passenger who had introduced himself as Theo Shall. He was living in a tumbledown flat at this point. He sent greetings to his friends in Melbourne.

After a long illness he died in 1955.

What became of Maria Von Wyl is, I think, still unknown.

Mrs. William Mortill, 1920s, photo by Ruth Hollick

State Library Victoria, Melbourne

Madame La Meri, 1936, by Spencer Digby Studios

Museum of New Zealand, Wellington

Allea left for Europe again at the end of March 1935, but this time with her two elder daughters. Spending most of their time in Italy, they returned home in January 1936.

One of Melbourne’s most fascinating personalities was Mrs. William (Lydia) Mortill of Tay Creggan, Yarra Street, Hawthorn. Anne Summers explores her story in The Lost Mother—A Story of Art and Love(MUP 2009) as the enigmatic Russian crossed paths with the painter Constance Parkin/Stokes and by extension her subject, Anne’s mother. Very much a part of the life of Melbourne, the Mortills’ home was a centre of entertaining particularly where visiting Russian and European artists were concerned.

These included Pavlova, members of the Ballets Russe, the French actress Alice Delysia, and probably the great Russian opera singer Chaliapin.

An artist of arguably true originality was the ethnological danseuse Madame La Meri, one of the foremost experts in her field. Her approach to her work was wholistic, integrating with integrity the dance styles of many cultures, especially those of Spain and India. American by birth, she possessed the Latin temperament of spirit and spontaneity together with an agreeable nature.

La Meri opened at the King’s Theatre on 20 June 1936, having brought with her 52 trunks containing representative costumes from around the world, the most valuable collection to come to Australia and which included some priceless objects.

The Mortills gave a supper party for her and her husband and producer, Signor Guido Carreras, a week later. Also invited were Signorina Laura Mollica, her assistant dancer, and Signor Mario Salerno, her composer and pianist. The other guests included Allea and daughters. After extending her season for a week to add on Geelong, La Meri left for New Zealand.

In March 1937, Allea and her daughters went back to Italy.

Soon the clouds of World War 2 would increasingly darken on the horizon. Inevitably, this would usher in, as it would for so many, a different chapter of her life.

With Appreciation to

Pamela Thornley (dec.)

Georgia Robazza

Gayle V. Nicholas (Genealogist)

Samantha John (Lyfelynes Family History)

Principal References

Australian Dictionary of Biography/ANU

Trove/NLA

Newspapers.com

Wikipedia

Frank Van Straten, ‘Walter Kirby: Australia's Forgotten Caruso’, On Stage, 2021-1922

Geraldine Starbrook’s great aunt, Allea Fleming Dunstan (1886-1966) was soprano who performed in concerts and musicals during the early 20th century. In September 2023 the Glen Eira Historical Society at the Glen Eira Civic Centre put on a display called Musical Notes from Glen Eira. Included in the display were two photos of Allea. The accompanying notes reads:

Allea, a resident of Elsternwick in the 1920s-1930s, was a pupil of the esteemed tenor Walter Kirby, ‘Australia’s forgotten Caruso’. In 1929-30 Allea spent a year studying and travelling in Europe, but on her return was unable to achieve her dream of becoming a professional opera singer.

During the 1920s she performed at many ‘at homes’ and fundraisers.

The Louise Lovely ‘At Home’, held at the Renown Picture Theatre, Elsternwick, on Monday afternoon will enable the Alfred Hospital Auxiliary Commitee to... maintain their cot in the children’s ward... The music was much appreciated, also the dancing and recitation. Artists were Mrs. Fleming Dunstan, Mr. Bobby Pearce, Miss Ivy Cook, and Miss Sylvia Jones; also Mrs. Ree’s Orchestra and Mrs. Downing as accompanist. (Prahran Telegraph, 4 December 1925, p.3)

The photo on the left was taken in 1910. The one on the right was taken in July, 1930, possibly by Spencer Shier. He photographed her a few times. It appears to be taken in a theatre. Does anyone recognise this theatre?